Mic Quotes

Here, we’ve compiled a list of the best Mic Quotes from famous persons: Tito Ortiz, Tay Keith, Joey Diaz, Trombone Shorty, Greg Fitzsimmons. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Mic Quotes before, but that’s because they truly are great.

I'm really articulate when I do my thing - when I speak

I’m really articulate when I do my thing – when I speak on the mic, when I do interviews. I’m a colorful personality.
I was like 13, 14 years old. I had a Rock Band mic, and I used to record music and put it on YouTube and DatPiff. Then I started getting to producing my own music because I didn’t want to keep rapping on beats I was getting on SoundClick.
I’m a stand-up comic, but I also have ideas, and I want to get them out. People think getting in front of the mic is the only way to work out. You’ve got to try different situations.
Joey Diaz
When we’re ready to do the dress rehearsal, we’ll rehearse in the dark. No lights. The reason why I do that is because I don’t want the band to rely on me for anything. ‘Cause anything can happen – I might stop singing or unplug the mic, just so everybody knows: Keep going, no matter what.
When I was in college, I would go out, and I would go to these open mic nights at Stitches and Nick’s Comedy Stop, so I was going to classes during the day, and then at night, I would be signing up on the lists.
Greg Fitzsimmons
My dad was just so charismatic and witty. One day, I hope people say that I was just as good as my dad on the mic in my own way. I will never be sayingSpace Mountain‘ or ‘limousine riding,’ but I hope people say I can control an audience, that I was as captivating as him.
I’d like to manage someone, a young talent that maybe doesn’t have the mic skills.
The first band I was in out of college was a Celtic band, and I had to learn to sing with a microphone, because I’d never done that before. At Oberlin, I never used a mic for any kind of singing.
As soon as I touched the mic, I knew that’s what I would do for the rest of my life.
‘Funny’ is really cool live. You break it down into an acoustic set, and sometimes I’ll do that one unplugged and off the mic, depending on the venue.
One of the problems with ‘SNL‘ is that, if you tried to adlib, the director would put you off camera and off the mic, so only you would know that you ever did it. The director always directed to the script; he wasn’t listening to what you were doing. He was calling shots whilst looking at the page.
There was an open mic night when I was about 11 years old and I went and I played the songs that I’d written in my bedroom and it was the first night where I felt like I was myself at school.
I don’t want to be on the mic, man. I want to stay producing.
Enterprising law-enforcement officers with a warrant can flick a distant switch and turn a standard mobile phone into a roving mic or eavesdrop on occupants of cars equipped with travel assistance systems.
If I’m not in the theatre, I’m in an open mic night or doing a guest set at the Comedy Club, or whatever, just trying to develop stuff.
When I first started recording music, we would record in the closet with socks on the mic.
For me, the moment the mic is on and it’s rolling, it’s impossible to vocally relax for some reason. But one day, I’m going to be able to sing the way I sang when I was a little kid, completely open and free. That’s, I think, the one thing that’s changed: Growing older, I’m not ashamed to hear my voice.
I’ve already done enough to prove myself. Win or lose, I think I’ve done enough to cement my name in the history of this sport. So for me, it’s more like I have to win just for an opportunity to get on the mic and say all that.
Before doing my first open mic, I was sitting in the back watching all these comedians banter back and forth and fire jokes and up each other, and I thought, ‘This is where I wanna be.’
My older sister was into grime, so she got me into it. When I was ten, I begged her to take me to my first house party, where there were decks and a mic. I ended up falling asleep standing up in the corner.
My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you’ve lost it. It’s pretty much a case of ‘lock the door and set up a police line.’
I am awesome. I’m the most must-see WWE superstar: I’m proven inside the ring and outside the ring. I’m the best on the mic; I get the ratings.
I’ve done music since I would sit and make songs on my computer mic when I was 11.
I play Rock Band, which is Guitar Hero times ten. You can play with four people, so when you have parties, you have a real band. Nobody ever wants to sing, so I’m always the one throwing down on the mic.
Especially watching him struggle, cause I was with him when he was struggling – changed his name to The Rock, all of a sudden he has the attitude a little bit, he started getting the mic, started cutting promos. His character just developed.
During my stage shows, I am so energetic. It’s constant! I just don’t stand still. I actually got given a mic stand from my team to say ‘Just calm down. Stand still for at least two songs.’ But now I just pick it up and walk around with it.
On the microphone, I’m not scared to step up and say, ‘This is my ability, this is how good I am.’ In other areas of life, I’m not so confident; I’m still adjusting to the photo shoots, all that stuff. But behind the mic, I’m fully confident.
Comedy is getting more diverse – you can do anything on a stage now. It doesn’t have to be just one man and a mic.
I go to more open mic nights than open mikers.
I actually like to sing on ‘Rock Band.’ I prefer to take the mic.
I don’t even start singing anything until the mic is on and recording, because my first ideas are usually my best ones. So I’ll just press record; I’ll freestyle a whole three minutes.
When I was, like, 12, I remember grabbing a mic, pretending it was a guitar, and performing in front of my friends. I didn’t know at the time I wanted to be an artist.
Lars Sullivan and EC3 are made for the main roster, more so than NXT. Obviously, Lars because he’s just freakish in so many ways. But EC3, I look at him, and I look at his mannerisms, his mic skills: he’s tailor-made for a good push on the main roster.
Obviously, wrestling is a lot of fun, and I love it. But on the mic is where I have the most fun.
Performing live actually thrills me. Just get me a stage, get me a mic, and I’m going to be happy.
Rita Wilson
We don’t live in an ancient era. Today, collaboration doesn’t mean two singers standing next to each other at the mic to sing together.
Sunidhi Chauhan
It’s an enthralling experience to be in front of the mic and record a song.
I’m not going to lie. I’d love to have the mic in my hand opposite of Dixie Carter in the ring and say my piece, say what’s on my mind. And if she’s willing to sit there and listen to it, I think it could make for some great television.
It’s nice to work with people who know how to mic drums right and how to record properly. But there’s something to be said for doing it yourself.
The experiences I go througheverything you hear in my lyrics is real. Good or bad, I take it all in and put it all on the mic.
When the Miz came in, most of the hazing was me working. Me on the mic, me talking to him. I gave him as much advice as I possibly could because I thought he had the ability to be a good heel. But I’m not going to apologize for hazing him.
In general, I’m pretty shy and nervous about a lot of things. For me to get on stage for the first time took so many times at an open mic before I finally got on stage and did it.
Tyler Hilton
I lived in a pretty big house, and we had a guesthouse, so when I was 14, I built a studio in my bedroom, which was pretty big. It was two rooms connected, so I turned the second into a studio and ran the mic in my closet.
Just give me a mic, and I’ll rock it.
On one level, we’re on Matador, but our amps still might explode on stage, or they’ll be an echo in the mic. It’s like climbing a ladder. I like to climb it really slowly. I could probably get really professional right away, but I like to take baby steps and find my own way.
I started out in 1989 doing open mic nights. The first 10 years, I was literally all about I’m going to be a star. I want leather pants, I want a kangaroo, I want to be on ‘MTV Cribs,’ I want to go to the mall with a pet monkey and I want everyone to go, ‘Wow, that guy‘s huge, he’s successful.’
If you give a bipolar man a mic, I don’t know what you expect.
I’ve been spending quite a bit of time writing, acting, and making films. Because I’m doing all this extra writing, acting, and creating short comedy skits with my friends in improv shows, I feel like that’s really filled out my confidence on the mic.
I was born with a mic in my hand.
Like for ‘Black Nails,’ I just had black nails – and I never have black nails. It was my first and last time getting black nails. And that’s so not normal for me. So when you’re recording, you’re up at the mic and you gotta name the file, so I just look down and I’m like, ‘Black Nails!’ That’s literally what it was.
My second year of college, I started performing comedy at an open mic. It was good to do open mics with the kids. It’s a good, safe spot to start, you know?
I normally work like a vampire. Around 8 to 9 P.M., what I call ‘the spirits‘ actually show up, and then I just go in the booth and scream on top of a track. I only sing on the mic. I don’t sit down and write anything.
When someone gets passed that mic, and they know deep down inside that they wanna say something or sing something or produce something, but they don’t do that, it’s like killing your musical life.
We were gradually playing larger venues and in the early days PA systems were kind of non-existent. So to play loud, we had to use louder equipment. The PA systems back then didn’t mic the instruments – only the vocals.
John Entwistle
I love karaoke and totally hog the mic when I go out and do it with my friends.
I couldn’t just be good on the mic. I needed to be good on the mic; I needed to be good in the ring; I need to be good in my presentation; my ring attire need to look good, my appearance. Everything about me needed to be the best. I couldn’t be weak in any area because you’re only as good as your weakest aspect.
Usually a manager is put with someone who has got good rings skills, but is not necessarily good on the mic. So I have no idea why they put me with Steve Austin, he didn’t need any help!
I want to stay in my home studio because I’ve pretty much done everything sitting next to the mic by myself as far as engineering, but No Excuses studio in L.A. has become my new favorite place.
When I worked with Jermaine Dupri for his label, he would have So So Def parties and he’d tell me, ‘Yo, go on get this thing started.’ I had to go get on the mic and get people turnt up. I mean, I don’t want to be that turnt up guy all the time. It’s part of my job so I do what I gotta do.
On Warped Tour in Boise, Idaho, I broke my tooth on the mic. I took a pretty significant chunk out of my tooth and had to have it sanded down. It wasn’t the most painful injury, but it was the most unexpected one.
Singing is something I do every day – not every other month. When I touch the mic, the same thing happens every time.
I did so many open mics. I would write jokes on Twitter constantly, and then slowly, over time, open mics turned into shows. If you can get a joke to work at an open mic, it’s a good joke.
My dad got me the same mic I use on everything now – this $200 mic from Guitar Center.
I’ll never forget when we played Shepherd‘s Bush in London. We played ‘I Run To You’, and we put the mic out for the last chorus, and you could hear them singing the chorus with the beautiful accent that they have.
The song of the blues, the song of the music, was something a lot of people missed out on. They thought they had to swagger a certain way or bark at the mic, and you don’t have to do that.
When I performed at ‘Open Mic U.K.’ I had this connection with the audience that I’d never felt before, and I loved it. It was my first big thing, and looking out into the crowd… was just amazing.
I don’t think most guys can handle a mic even close to what I do if I’m honest and I say that with no ego, that’s the honest truth. I know what I do and I’m self aware.
I remember feeling the energy of people. That stuck with me. Understanding that I could stand behind a mic and captivate people. I was always obsessed with that.
I can always improve in the ring; I can improve on the mic. I can consistently keep improving.
I often take things I find in vintage crawls and hand them to a very good seamstress, who then replicates them and makes a more robust version in different colors, with a pocket for my mic pack.
In the metal world, if you’re using a wireless mic… I was so scared to do that. I’m, like, ‘They’re gonna boo me in the beginning.’
The days of an open mic night when I’d rock up in an old jumper are over.
Honestly, I never really put the mic down.
I just started the way most comics start, doing open mic shows around Sacramento and San Francisco, and eventually, I moved to L.A. After about four or five years in L.A., I got the call to join the ‘The Daily Show.’
Raging and having good feelings and having fun is something I plan on doing and spreading across the world. I just need air and a mic.
In WWE, they’re real big on letting you sink or swim, and they let you go out there, and they’re going to give you the stick and a live mic in front of a packed house and millions watching at home, and if you’re not prepared for that moment, you’re going to go down in flames.
I did a tour down South someplace, and it was an all-day festival, and there were about 2,000 people. It was pouring down rain, and I went to grab the mic, and I got electrocuted. I felt the electricity flow through my body.
One time, it was really funny, I was going on stage… and they were like, ‘Oh, we didn’t mic the puppet! Mic the puppet!’ So, that’s how I know that sometimes I do a very good job, because they think that the puppet is actually, like, real.
As soon as I get on the mic that’s something you can’t really match with me, so whenever I accompany Andrade to the ring I make sure that no matter what it was I was doing, I make sure that I was a part of it and to make sure that the moment you will remember when Zelina does a crazy thing.
I’m so into making music and being behind the scenes. I’m such a visionary person that I don’t see myself being the person in front of the camera or the person in front of the mic.
I auditioned for Robert Redford once and I was so starstruck I couldn’t even speak. I had a mic wire at a screen test clipped to me and then I got kind of nervous and I paced in a circle and then took a step and tripped and fell on my face. You just have to forgive yourself and keep going on.
I remember being on a red carpet and they put the mic to us and asked ‘are you feminists?’ and we panicked. We were so terrified to speak back then.
Occasionally, especially on video games and with a lot of the fighting stuff, to get what you feel is the proper sound, you have to imitate what you’re doing, and occasionally I’ve gotten carried away and kicked over mic stands or punched things.
I’m a huge karaoke fan. Oh my God. I’m one of those girls who don’t give the mic away. It’s a problem. I’m a closeted pop star.
I did a sitcom with Desi Arnaz Jr. in a pilot called ‘Whacked Out.’ We were bombing, and Lucille Ball grabbed the mic and started berating the audience.
Anybody with a sharp brain and a mic can become a comedian, but there’s a need to move beyond it. The audience wants to witness the marriage of theatre, comedy and something more.
Technology means the kind of music you can make on your own if you’ve got an imagination is amazing. It’s crazy that I can sit with a Mac and a keyboard and a mic and create a symphony.
My priority doesn’t lie with the whole website and Facebook and such; I’m still walking down the road in a pair of real shoes. You need to just play as much as you can. Get in front of people, as I’ve always said. It doesn’t matter if it’s ten people at an open mic or opening a show for someone. Play all the time.
I was 18 when I started. I was hanging out with some friends and they asked if I had tried stand-up before. I hadn’t, but I thought: ‘What the hell?’ So I went to an open mic night, and I liked it.
All day long you write little ideas on the piano and the guitar, but sometimes all you have to do is come in, set up the mic, press record and start the process.
There were people that grabbed you just by talking, and that’s what I loved about professional wrestling when I started out. That’s why I’m already so good. That’s why people literally hang on the edge of their seats when I have a mic because they want to know what I’m going to say.
I’m still the same guy who gets in front of the mic and just sings.
I advise wannabe singers to form a band, practise in your garage if you have to, but do as many charity or open mic shows as possible to get experience. I sang for seven years before getting a record deal, and I was already loving what I was doing. I just got lucky and got discovered.
You get a different respect when you can handle things on the behind the scenes end as well as in front of the camera or in front of the mic.
I think, for me, I should have worked harder on my mic skills, and I should have been a lot easier to deal with, and I would have been pushed a lot better.
I’d like to say I’m R&B’s savior. Whether that’s the truth or not, I’m definitely going out there with my mic and my shield to declare, ‘I am here to save R&B.’ I will have the people saying, ‘Sir, there is a man at the musical gates saying he is here to save R&B.’
Honestly, I’d love to be remembered as one of the best to ever pick up a mic, but if I’m doing my part to lessen some racial tension I feel good about what I’m doing.
As an artist, I want it to be so simple that anyone can understand it. No matter what age you are, you’re going to feel it because it’s real. I don’t like to sugar coat. There’s not too many artists that can tell stories and be vulnerable on the mic.
What we do every day onstage, there’s lights, there’s lots of other musicians, there’s an audience, there’s a microphone and mic stands – layers of the onion we have to kind of hide behind.
The WWE has the largest amount of eyes on it and is the biggest wrestling company in the world. It would be a huge honor for myself to work there, but am I going to be given the same ‘Villain‘ mic time?
Before I had a record deal, I was living in New York and playing anywhere I could, from somebody‘s house to an open mic to coffeeshops.
Langhorne Slim