How to Win the Game of VO Aggravation

Aggravation was one of my all-time favorite board games when I was a kid. If you’ve never played, the object is to move your four marbles from “Base” to “Home” before anybody else does the same. And you don’t want to get aggravated in the process, which means another player landed on one of your four marbles during their turn and sent the marble back to your Base to start again.

Voice acting has aggravating moments. And like the game Aggravation, starting over from Base is part of the business. For me, there are four stages of a booking. Let’s call these my four marbles, which are waiting to move from Base to Home.

Marble 1 – Quote
Marble 2 – Audition
Marble 3 – Session
Marble 4 – Payment

Marble 1 – Quote
 This is the first one to hit the board. Along with rate information, a quote should answer all the client’s questions in detail plus anything else you feel they should know. I use a boilerplate and fill in with the type of project I’m quoting for and the dollar amount. It takes me about five minutes to write. Make it a practice to send it the same day as requested. Potential clients appreciate a quick response.

I usually give the prospect a day to respond. If I don’t hear from them, I follow up and ask if I’ve missed anything or if they have questions about the quote. When I’ve addressed their issues, and we agree to terms on the rate, it’s time to move to the next stage.

One marble down, three to go.

However, if after three follow-ups I haven’t heard a peep, I move my marble back to Base. Aggravation.

Of course, there is always the possibility they’ll contact you again several weeks or even months later. If that’s the case, move your marble from Base to Home and proceed to the next stage.

Marble 2 – Audition
The client wants an audition to consider with other talent they’ve contacted. Read the script and pay attention to the directions.

If there are unfamiliar, profession-specific words or acronyms in the script, there may be a phonetic guide included. Read it. Even if you think you know how to say every word in the script. If a phonetic guide isn’t part of the audition, you’ll need to investigate pronunciations on your own. The web has some tools (How-j-say and Forvo) plus YouTube is a great source too.

Along with what to read, there may be specifics about filename, slating, file type delivery, and deadline. If you have questions after reading the script, and you couldn’t find answers on your own, ask. ALWAYS ASK!!! Don’t guess.

“We love it!” or similar client response followed with a booking is what will advance your marble Home. Sometimes, after you’ve moved your audition marble back to Base, the client notifies you they’re ready to book.

Yay! Advance marble 2 to Home. Two down. Two to go.

However, when there’s no immediate response, this marble may sit on the board longer than you like. My advice is to submit your audition and forget it. Most times, if you didn’t get the booking, you’ll never hear back. Aggravation. (Don’t let it get to you. It happens a lot.)

Marble 3 – Session
It’s a busy time. The script gets recorded. The audio edited. The final files delivered. The project approved by the client. This marble should be the easiest to get Home. At most, the client may want some pickups or a reread. Convince them it’s a good thing for them to direct your recording session. Also, if you have it to offer, talk about connecting to your studio by SourceConnect or ipDTL.

Directed sessions have the added pressure of an audience, and the recording is in real time. Be prepared with enough sleep, water, a fresh mouth, and being familiar with the script. Make sure you have the correct connection info, whether it’s patch, Skype, or any of the voice over Internet services.

Self-directed sessions are all about you. Include everything from the previous paragraph, sans the bit about connection info. If the script is short, be flexible by delivering a few reads. When the script is lengthy, a sample read of the first few sentences sent to the client for review is a good thing. It’s better to make changes in speed, tempo, and overall sound before you read several pages of narration.

Three marbles down. One to go.

On rare occasion, you might find yourself in the session from hell. You and the client may not be able to dial in the sound they’re listening for. You’ve been stopped and spoon-fed lines, and it’s feeling a little humiliating.

Or, you’ve sent what you thought was your best work ever. You delivered many reads to the client for review, and nothing worked. You’ve read the script a dozen different ways, and you sense that maybe you’ll never get it.

How thick is your skin?

Time to take a deep breath and tell the client, “Thank you, but this just is not working out.” 

Aggravation. Move the Session marble back to base. I know, ouch, right?

Marble 4 – Payment
 At this point, you’re just waiting for the check to arrive to get that last marble Home. Make it easy for clients to pay and discuss options ahead of time. Once you agree to payment terms, make sure to include the details in your contract with the client. Advancing your last marble Home means that you’ve won. Good for you!

When the due date arrives, and payment didn’t happen, reach out gently to your client and remind them.

“I noticed your invoice is a few days past due. Would you like an extension?” 

Most times this is enough to trigger action. However, there may be times when a kind nudge isn’t enough. I recommend waiting a few days then reach out to them again. Sometimes life derails the best intentions, and your client may just be off track.

To recap, there are things you can do to improve the chances of a complete booking or moving all marbles to Home and winning the VO aggravation game.

Marble 1 – Quote
Respond same day as requested
Provide your rate
Include detailed information about services
Followup when you don’t hear back

Marble 2 – Audition
Review the script before recording
Follow all instructions/directions
When something is not clear, ask questions
Deliver promptly

Marble 3 – Session
Prepare mentally and physically
Have patch number or other connection details
Give multiple, different reads
Know when to quit

Marble 4 – Payment
Establish payment method and due date
Include payment details in your contract
Offer easy methods of payment
Nudge gently when payment is missed

Not having a clue about what you’re doing in the studio can make you sorry. Managing risk when dealing with clients creates a smooth operation. There were other careers you could have chosen, but you settled on the one that allowed you to have a life.

What gets your marbles around the board?

© 2017 J. Christopher Dunn

It’s Booth Gear, Baby!

When you stand or sit in your recording area (whatever your booth may be), are the tools you need at arm’s-length away? I’m almost positive your copy or music stand has at least one item you use every time you record. Maybe a pencil? A stopwatch? A good luck Beanie Baby? Almost everybody has something. At the very least a script.

The accumulation of booth gear doesn’t necessarily reveal the type of person you’ve become. It’s not a reflection of what makes you, you. Instead, it’s what makes you comfortable so you can do an excellent job recording and impress the heck out of your clients who will shower you with repeat work. It’s all important stuff.

This picture is a snapshot I took of what’s on the music stand in my booth. (click to enlarge)

Big Office Clip– It’s a simple and efficient headphone hanger. However, since it’s two wires doing the job, the clip has destroyed the padded head cushion covering. There are better choices, like this from Sweetwater- K&M 16080 Headphone and Cable Hook.. (Also check out the K&M 16020 Drink Holder.)

Headphones – I’m using my Sennheiser HD 280 Pros less for self-directed projects but find them necessary for remote booth direction. They spend most of the time on my editing desk.

iPad – Going green is a good choice to reduce printer/paper usage. Printed scripts in the booth are becoming more rare with each passing year. Apple’s iPad (or similar tablet) is the way to go. Mine is an iPad 2, which I bought new in 2011, and with its 9.7-inch display, it’s a good size for reading scripts.

However, while visiting the Apple Store recently, I saw the bigger display of the iPad Pro (12.9-inches), and I think it’d be a sweet upgrade. I would see more of the script on a brighter, crisper display. That’s a win for my eyeballs.

Mighty Bright Light – On those few occasions where I print a script or need to read from an actual book, this light is fantastic for its brightness and adjustability. Since I purchased mine, Mighty Bright has created new, brighter versions that appear to take up less space.

In Your Face iPhone Holder – Phone-patched sessions have become more common and the In Your Face iPhone Holder is a handy place to mount my phone.

Carpet Sample – A music stand is nothing but a flat piece of sheet metal on a pipe. The flat surface can produce unwanted sound artifacts, which are muted with a carpet sample.

Make a trip to your local carpet retailer and ask if they have any samples they’d let you take off their hands. Just make sure it’s clean and a color you can live with. And while you’re there, introduce yourself as the person to call for everything VO.

Pencil – This is a carry over from when I was working with paper scripts. I got in the habit of having it in my hand and feel naked when I don’t. It’s handy for gesticulation. Not so good for marking up copy on an iPad.

Dog Clicker – Marking the waveform with a clearly defined click is indispensable during audio editing. I use it to mark mistakes (1 click), takes (2 clicks), and self-guided booth tantrums (countless).

Cork – For the times when I can’t convince my mouth to cooperate, and articulation seems more like fantasy than reality, I rely on my cork. Pop it in. Read the script. Pop it out. Magically, my mouth takes notice and articulation improves.

Bath Towel – When I slapped my carpet sample on my music stand, I quickly saw it was on the small side. Sooo…  a bath towel covers the entire stand. It’ provides a bit of contrast and color plus keeps the carpet in place. I know it’s a stretch, but it sounds good, doesn’t’ it?

Do I use all the items every time I’m in session? Nope. One or two items come in handy. The rest are on standby waiting for their chance to be helpful.

Do you have things on your stand (or in your booth) that help you get through a session? What’s the one or two items that make what you do easier? I’d like to hear about them, so leave your comments below.

© 2017 J. Christopher Dunn

Freelance VO Survival: Pt 1 – Find Work

“I love doing it!”

“It’s easy to do.”

“It lets me be creative.”

“It’s a perfect work-at-home job.”

“It gives me a chance to do my own thing”

“It” is freelance work and there are many reasons why people decide to move from corporate comforts to a career in (insert any freelance title here). They all sound so positive, filled with dreams of rainbows and unicorns. Why work the 9 to 5 grind when it’s 1-million times easier to work from home? Duh, who would pass that up?

For the next few weeks I’ll be sharing with you the efforts it takes to work a freelance gig. These are insights discovered by me during my transition from the corporate high-tech cubes to freelance voice actor, plus tips I picked up from other freelancers. They’ll help get your head wrapped around what it takes to freelance.

Day 1 Excitement 

Good bye, full time job. Hello, ‘I get to work whenever I want to’ passion! Calling it a passion makes it sound so… Passiony. Warm, fuzzy and oh so comfortable.  First day excitement will have you full of good intentions. Now it’s time to find, dare I say, WORK.

Before, when you were working a full-time corporate job, work found you and you never felt like you had enough time to get it all done. Now, finding work is a necessity and quite possibly, to begin, you’ll have more time on your hands than work. Finding work takes much effort. Your hunter and gather instincts, which have been dormant for several millennia, need to be shocked back to consciousness.

“Much effort, much prosperity.” –Euripides

Make Some Noise

There is one sure way to find work that outweighs all others and you should use it from day one. Tell everybody you know and meet that you are available for hire. If nobody has a clue what you’re up to, you’ll never work or you’ll work very little. It‘s a numbers game, and the more people who are aware of what you have to offer, the better.

Contacting family, friends, past business connections, peers and acquaintances should be included in your list of people to notify about your new freelance business. Get the word out to as many people as possible.

Don’t be bashful and hide behind the feeling people on your list won’t be interested in hiring you. You may be surprised by those who you thought were long shots when they become your first clients. At the very least, people you contact might be able to introduce you to somebody who is looking for the type of professional freelance services you’re offering. Anyone is a potential client.

Let the Socializing Begin 

The best contact methods to consider are social media, e-mail, phone and in-person.

Establish yourself on LinkedIn and say you’re looking for clients in your profile. Join groups specific to your freelance business. Follow businesses you’d like to work with and start building your professional connections and developing relationships.

Reference the list you created of people you want to let know about your freelance offerings. They are probably on LinkedIn so don’t miss the opportunity to connect.

Facebook, Twitter, Instagram, and others should be considered along with LinkedIn. Use those that make the most sense for your business.

Little Black Book

Your address book is full of names and e-mail addresses. Start from A and work your way down through Z. All are potential clients.

Start by creating a boiler plate message about your new freelance business that you can paste into an e-mail and send to everybody.

When creating individual messages, write something personal in the first few sentences. Paste-in your boilerplate message. End with a single sentence personal closing. Keep the entire message brief.

One Phone – Many Numbers

The phone can be your friend. You have many people you talk with on the phone that should know about your decision to go freelance. These might be the people in your inner circle of friends, the ones you feel closest to. Take the opportunity during your conversation to tell them about your freelance business. They’ll have questions and this is the perfect time to practice your answers.

It’s Been a While

Running into old friends, business connections, and people you went to school with are opportunities for catching up face to face and finding out what’s new in each other’s lives. Make sure to have business cards available to hand out wherever you go. You never know whose path you’ll cross.

Listen Up!

The primary point is to let people know your freelance offerings are available. But, remember, it’s not all about you.

Relationships are easier to build when two people are involved. Word of mouth is important because referrals work both ways. Make an effort in your approaches to network and take notes about your connections. Find out what’s going in on in the businesses and lives of the people you contact.

Somebody you connect with may be looking for a web designer and within your contacts you can easily refer the person to someone you know. And likewise, a contact you’ve developed a networking relationship with knows you offer mad skills in the type of freelance work you do and feels comfortable referring people to you.

Once you’re plugged in the good vibes keep on flowing. You want your freelance business to survive so making the effort to continually network is key in building your client list.

More clients = more work = more $$$ = survival = SUCCESS!

What to Remember

1. You are now a hunter! Work used to come to you unavoidably. Now you need to find work so your freelance business thrives.
2. Tell everybody you’re a freelancer. One of the best methods of finding work is to tell people you’re available and looking for work.
3. Use multiple types of networking methods. Social media, e-mail, phone and in person meetings are all business development tools.

For more suggestions on how to build your network and tell people about your freelance business, this post from Freelance Digital Consultant, Ben Matthews is worth a read.

11 Effective Ways to Grow Your Freelancer Contacts

Next time (Pt 2) Motivation

What drives you to keep traveling the freelance path? Next time I’ll focus on motivation. Self motivation is an important trait to develop to grow your business and become a successful freelancer.

© 2015 J. Christopher Dunn

Don’t Blame the Bird

However you celebrate, surround yourself with the people you love to be with.

Be thankful. Have fun. Stay safe.

And, don’t blame the bird. Scientists say that extra glass of wine, the high-calorie meal or relaxing after a busy work schedule is what makes you drowsy. Turkey isn’t responsible for “food coma.”  So eat until it’s gone. You have no excuse other than not wearing stretchy pants.

Enjoy an amazing Thanksgiving!
Chris

Secure Your VO Floatation Device: Are You Sponge Worthy?

The big VO talent sponge, in which we cling is saturated to the point of being unable to absorb any more. Capacity has hit a limit and any moment now we’ll hear a great big soggy SQUISH!!!

Just thought I’d toss that out there. It’s my opinion.

Welcoming All Comers

Folks out of work are hoping a swing at a voice-over career will get them by. Parents home with kids are looking for some easy-grab money. Even retirees are giving it a go. And why shouldn’t they? They’ve read it’s easy, there’s work for everybody and working in pajamas is super cool!

Polly Anna Would Love Us!

As a group of clear-speaking, well-intending professionals, we put a positive face on and pretend everything is fine and there is room for all. Heck, I welcome any talented individual who has it together enough to jump in the sponge. I wish them well and will provide any advice when asked.

The Low-Ballers

There is this ever-present thing with low-ballers. These folks will do anything on the cheap. That’s outrageous you scream, but they simply don’t care, I reply.

The sad truth is that the low-baller mentality is this bread’s suicide pill. They are in business for a few magical months, and after a time, will most likely decide it’s not so magical and the money amounts to just enough to buy a thimbleful of used breakfast cereal.

So they leave. Only to be replaced by the next wave of Kitchen-Table-Studio-VO-Newbies from the Low-Baller Academy. It never stops!

To use a phrase coined by Elaine from the TV show Seinfeld, they are not “sponge-worthy.”

Can’t Get No Satisfaction

I’ve read a number of blog posts from established talent who are feeling the impact of the impending squish. They are finding gigs elusive and are auditioning more and landing fewer jobs.

The letters and messages I’ve received personally and read in a variety of online forums, indicate that instant gratification is at an unattainable level. “How do I get jobs today?” “I wan’t to make good money.” “How come I haven’t landed one job in over a year?” “How come nobody is contacting me?” I don’t have the exact answers for any of them. Do I utter encouragement to keep going? <heavy sigh> …yeah.

I wonder, are we doing our biz a disservice by being so openly optimistic? Shouldn’t we instead be writing and talking about the direction voice-over has taken in precise, laser focused words that everybody can understand?

But WAIT, There’s More!

Voice-over support seems to be in the business for it’s own sake. An increasing number of options for education are popping up. Personal coaching, Online group classes, virtual meet-ups, studio workshops, and a growing number of conferences. Go. Buy. Enjoy. All are tax deductible!

Yeah, they’re all write-offs. When tax time comes around they end up being line item deductions. However, there has to be income to make the expense a tax deduction.

Pain-to-Play

Pay-to-Play sites continue to pop up, offering the chance to audition with 100s of hopeful, (and UN-vetted) new talent. The competition is fierce for these lower paying jobs. It appears to be a race to the bottom for the new voice-over talent coming online to participate. Are they forcing the rates of all gigs down? Could they be creating a VO bubble?

A Possible Direction

On the (not-so) far-fetched side, since the ‘natural’ or ‘conversational’ delivery is the direction more producers ask talent to go, how soon will it be before voice-over is handled in-house by the clients. They sound natural and oh so conversationally convincing, right?

Almost Done…

When a sponge releases water, it’s indiscriminate about which molecules get pushed out.

Are you ready for the squish? What will it take to survive? Will you remain in the talent sponge or be wrung out and looking for someone to buy your gear? Is there anybody safe from the squish?

Your comments are always welcome.

© 2015 J. Christopher Dunn

Increase Your Voice-over Income Potential: One Simple Action

“Whatever good things we build end up building us.”
― Jim Rohn,  Entrepreneur, Author and Motivational Speaker

How can you continue to build client relationships and increase your chances of more positive outcomes?

One word: Followup.

A followup e-mail or phone call will tell people you want to work with that you’re still interested and available. Your message or conversation should be short and to the point. They’re busy and so are you.

Following are e-mail and postal mail suggestions about when to follow up and what to write.

Post Quote Request

A potential client has contacted you requesting a quote for a job. You reply with your typical response and rate numbers. After a few days, take a moment to send them a followup e-mail, asking if there are any questions that need to be answered.

“Hello, I’m following up with you to make sure you received the proposal you requested for [voiceover / narration] and to invite you to contact me to answer any questions you might have.”

After Delivering Audio

Your client has the amazing audio you created for them and now you’re waiting for their fat check to arrive. Let them know you’re still interested in their project and send them a quick e-mail asking if they have everything they need.

“I’m checking in to see if you have everything from me for [name of project(s)]. I know sometimes additional audio or changes to what’s been delivered are needed.”

Project Completion

Once you’re satisfied the client has what they need for their project, remind them about getting a copy of the final video or audio for your demo reel and a testimonial.

“Thanks again for booking me to create the [project name] voiceover.

As a reminder, I would still love to receive a copy of the finished project and a testimonial from you. Both validate success for potential clients and feature my collaborative ability and talent. 

Thank you for taking a moment out of your busy day for me. I appreciate it.”

The Missed Payment

Not many people enjoy nagging clients to pay. I’d say the number is higher for folks who enjoy dental exams. When a client is past the due date for paying, be polite and accommodating. An article by Sheldon Nesdale, has what I think is a brilliant approach to the missed payment. The entire article is worth reading.

“I just noticed invoice [invoice number] is a few days overdue. Would you like an extension?”

When Asking for a Referral

It’s been a month or so since you last connected with your client. Followup by thanking them again for the work and to ask for a referral. Type your message on letterhead for an added professional touch and send it through the US mail.

“It was a pleasure working with you on the [insert project name here]. Thank you for using my voice!

When you come across other [producers / directors / professionals] that are looking to hire a voice actor, please feel free to share my name and contact information with them. For convenience, I’ve included two of my business cards with e-mail and phone number.”

Maxine Dunn has created a valuable package of 12 Voice-Over Business Templates and a referral request is included.

You care. You’re available to help. You like to be remembered. All are good additional reasons to Followup!

Do you followup with clients and prospects in other ways? Which one works best for you? Enter it in the comments section below.

© 2015 J. Christopher Dunn

photo credit: The Socialist (2/12) via photopin (license)

Session Improvement Tips for Producers from Voice Talents

Fill in the blank: “During my last session, I wished the producer would have ________________________.”

Or, if you’re a producer, “During my last session with a voice talent, I wished I would have ________________________.”

The job of a producer is not an easy one. They are part psychologist, part friend and part conductor. One minute, hand-holding a talent through a tricky script read.  The next minute, driving to keep the session from going off the rails.

Good producers want you to perform well and will do what it takes to bring out your best.

At the end of one of my sessions, I was asked by the producer if I had time to chat about working with voice talent. I was the first he’d directed and he felt unsure of his working method.

He was asking about what to do and know before the session begins and how to direct during the session.  I came up with a handful of suggestions, which I shared with the producer.

It Got Me Thinking

Afterwards, I wondered if I may have missed something so I asked the Voice-Over Pros group on Facebook for their thoughts and suggestions.

Their responses were brilliant and clearly came from the perspective of having worked with many producers over several years.

Another producer recently asked me for similar feedback so maybe there are others who would like the same. I think it’s good idea to make the info available to a wider audience.  So, I’ve compiled the best responses from Facebook and removed contributor names since the group is closed.

From The Mouths Of VO Pros

If you’re a producer, consider the things you may be missing. If you’re a voice talent, here’s some useful insight to remember during your next session.

Imagine being at the local pub or coffee joint and overhearing this conversation…

“Keep the sessions light, relaxed and fun where possible. Nobody’s life is on the line.”

“The thing about voice talent, as apposed to actors doing VO, is that we are generally affable and have a desire to fulfill the vision of the producer rather than have the producer conform to our artistic vision…”

“Always compliment them first.”

“Clear communication… From my time in the producer’s chair I found that open clear communication and friendliness got what I needed every time…it’s recording, not rocket science…”

“Keep their confidence high.”

“One safety is appropriate. When a producer asks for SEVERAL safeties then I’ve either not hit the magic spot or I’m totally clueless to what I’m being directed to do. In either situation, those extra takes are really not for safety, it’s more like the director saying, “what else ya got?” Yeah, there are times what a director says and what a talent hears is a mismatch.”

“…cant tell you how many sessions have been saved because of safety takes. Some times there are micro issues in your “good” take that you don’t hear until final processing of the vocals….and many times, the safety take can be even better than the “good” one….because the “pressure” is off the talent. I used that as a technique to get the delivery I wanted on numerous occasions…”

“In a commercial session, time your script before the session starts, and if it’s in danger of being long, have some edits in mind beforehand.”

“Always have the check cut so you can pay the talent when they leave!”

“Be positive, encouraging, and be mindful of the fact you both want the same thing and by working together you’ll accomplish it.”

“Trust the talent to tell the story. Don’t microdirect!”

“I’d never say this to a producer but: Know what you’re looking for before you hear it.”

“Sometimes the talent is not seeing the story the way the producer is hearing the story in their minds. I remember working with a talent once a long time ago in a galaxy far away where I was directing something that I had written. I could not get the talent to inflect the words I wanted inflected. I do this to myself in self-directed sessions. I record, and then during the edit I hear that I inflected the second word in a two-word grouping and send myself back into the booth to redo it. Sometimes by the time I get into the booth and find the script and record it again, I end up doing the same thing.”

“My advice to producers is, don’t settle. If you haven’t gotten exactly what you wanted, explain what you want done differently and go again. And once you do get what you want, say so.

“The moment a Producer makes the vo perp feel welcome, and at home, he/she can lead you a million miles in any direction.”

“It’s challenging working with anyone who isn’t sure what they’re looking for and it seems a bit time consuming coaching a client or producer on how to coach us. In the friendliest way possible, I would tell them to call me when they have a good idea on how they want the script read. Or, if the rate is good and the script is short, I don’t mind doing multiple takes for them and avoiding the live directed session altogether.”

“Know what you want! Be open to possibilities…but know what you want before the talent steps in front of the mic.”

“… remember why you hired this particular talent in the first place. They are trying to essentially interpret what is in your head and give their own spin on it.”

“…be clear in your communication on what you are listening for…. and if you don’t know, let the talent know that you would like to try a few different approaches to the project and even ask for suggestions. Creating a comfortable atmosphere is also a big help…”

“I agree with everyone else and would add: have another person look over your script and make sure it’s at least assumed to be the ‘final’ before you bring in the talent.”

This virtual conversion was priceless and full of suggestions that would help make most sessions a breeze to get through.

My Advice

Adding to what was said by other VO Pros, this is what I shared with my producer:

1. Make sure the script is final and has been approved by the client.
2. Keep the session relaxed and offer input when necessary.
3. Allow the talent some creative freedom.
4. Keep the momentum of the session moving forward.
5. Take breaks during long-from narration sessions.
6. When hearing mouth noises, suggest a water break.
7. For short sessions with commercial scripts, allow the talent to make it through the script once before taking them in a different direction.

I’m sure there are more that haven’t been mentioned. So, I ask you, what would be the single best thing you would share with a producer or director that would improve their workflow during sessions?

Please leave your comments below.

© 2015 J. Christopher Dunn

Other posts you might find interesting:
Five Tips for Better Client/Talent Workflow
Unplugged and Loved It!
The Disturbing Voice Disappearance

A Fish Story and Your Studio

Lake Quinalt Lodge

A few weeks ago, Cameron and I traveled to the Olympic Peninsula to spend a few days at the beautiful, historic Lake Quinault Lodge. The weather was unseasonably perfect with sunshine and comfortable temperatures. It was a perfect getaway.

Before we made it to the lodge, we took a detour to Neah Bay to enjoy the Makah Museum and grab some smoked salmon Cam read about in Yelp. The museum was spectacular with many Native Makah artifacts and loads of historical references and information about the Makahs. It was well worth the drive.

Take Home Fish Co.

Our other destination, Take Home Fish Company, was quite a surprise. When Cameron told me about it, I imagined a well-lit store with a refrigerator case packed with smoked salmon and other delicious Pacific Northwest treats. To my shock, my imagined fish shop was nothing more than a garage, slightly modified to be used as a fish shack.

Diesel flavored smoked salmon swam through my thoughts.

We walked in feeling skeptical about the offerings. Diesel flavored smoked salmon swam through my thoughts. The guy behind the small counter presented us with a number of options, which were neatly vacuum packed and ready for immediate sale.

This was it? I admit, I hadn’t taken the time to check out Yelp to see what this place was about. I was close to walking out without spending a dime. Cameron was a more willing customer and decided on two vac-packs of smoked fish, one salmon the other deep sea black cod.

Makah Bay

As we drove away from Neah Bay with our purchase, I started thinking about the many voice talents starting out who create their magic from a closet, spare bedroom and other home areas that don’t resemble a studio, even remotely. If an area can be treated and used to record and the result is flawless fidelity, what does it matter?

I’ve read studio descriptions from established talent who don’t record in a closet or bedroom but have an acoustically designed booth of some sort. I congratulate them for making the financial decision to invest in their recording area. But, it’s uncool to trash talk those who work out of something less and still deliver amazing audio.

Evidently the clients don’t care as long as it sounds good.

The deliverable is what the client is most interested about. I’m pretty sure they care 1% or less how or where their ready-to-use sound was created. They know what sounds good for their project. I’ve read about jobs being done in hotel rooms with comforters, blankets and pillows used to create a satisfactory recording environment. Evidently the clients don’t care as long as it sounds good. It they did care where it was recorded few people, if any, would record on the road.

Lake Quinault

And, as for the smoked fish? Best. Smoked. Fish. EVAR! It was tasty and the perfect first meal at the Quinault Lodge. We gobbled down the fish along with some cheddar cheese, sourdough bread and a few glasses of port. Kimm, the owner of Take Home Fish Co. didn’t need a fancy store or state of the art tools to create what will be tough to beat by anybody else smoking fish. He had talent and an understanding of how to best use his workspace.

© 2015 J. Christopher Dunn

Other posts you might find interesting:
6 Questions to Ask Mr. Google!
Your Next Client Could be a Return Call Away
Are You Available?

Your Best Narration is Just a Breath Away

 

Do you find yourself meticulously removing every breath in recorded audio like a chimpanzee nit-picking fellow chimps? You may be afflicted.

It starts with difficult breathing brought on by nervousness and stress. It’s recorded as gasping for air or a huge sucking sound.

Common studio remedies include removal or the significant reduction of breath noises. This process can build to neurosis, where beginner to professional voice talent compulsively delete every obnoxious, normal and subtle breath recorded.

If this describes you, you may be suffering from Spiritus Aveho.

Spiritus – The Latin word for “Breath” and defined as: breath, breathing / life / spirit.

Aveho – The Latin word for “Remove” and defined as: to carry away / remove.

This OCD variant troubles many professional voice-talent and producers from beginner to expert.

Well, take a deep breath and relax.  Help is available. With treatment and self-help strategies, you can break free of the unwanted thoughts and irrational urges and take back control of your life and your breath.

Have you ever been asked not to breathe while talking? Have you experienced a conversation where you’ve been asked to repeat what you said, but to do so without taking a breath? Of course you haven’t.

Like conversation, narration is suited well for the inclusion of breath sounds. It’s OK.

Preventive Treatment

Most times, treatment is as easy as becoming familiar with your script and minimizing stress. Taking only a few minutes to prepare the words you’ll be reading with indicators to breathe will make you sound more natural and full of life. And, reduce stress by including deep breathing exercises as part of your daily warm-up routine.

Wake in the morning feeling alive and free to breathe and keep Spiritus Aveho out of your studio.

Killing the Microphone by rawmarius

Not to be confused with other oral noises such as mouth clicks, lip smacks, tongue ticking or spit bubble pops. Tummy noises may also happen during sessions, so make sure to eat ahead of recording, but avoid the foods which cause mouth clicks, ticking, smacks and pops. Staying hydrated and getting enough sleep also helps reduce stress.

Avoid Spiritus Aveho and breathe life into your scripts. Don’t become an unnatural sounding breathless voice-over zombie.

 

© 2015 J. Christopher Dunn

 

Other posts you might find interesting:

Your Next Client Could be a Return Call Away

5 Reader Recommended VO Podcasts Not to Miss

The Disturbing Voice Disappearance

6 Questions to Ask Mr. Google!

The Google search box begs me to type in a question whenever I pop open a browser. The code-smiths of Google have spent years creating and refining their cornerstone service. Of the search engines available, Google is by far the most robust and powerful answer retriever available.

Google made search non-geeky by allowing the use of simple phrases. That’s helpful to me when I’m working in my studio; I’d rather reserve my brain power for creativeness behind the mic. Here are a few tools I use regularly that you should try.

Say WHAT?!

Whenever I get a script that has a word I don’t know how to pronounce, my go to helper is Google. The results include entries from several sources including Forvo.com, howjsay.com and others. This comes in handy for audition scripts when the client isn’t available. And, it’s particularly helpful for audiobook production. In the search bar type in…

How do you pronounce [word I’d like pronounced]
(How do you pronounce discombobulated)

At the Tone, the Time is…

I’ve got clients all over the planet and the multiple time zones are difficult to keep straight. A quick way to check current time info is to ask Google. The current time, date, and time zone displays taking the guess work out of calling a client at an appropriate time. Type in…

What time is it in [City] [State] or [Zip Code]
(What time is it in Pie Town NM) 

City and State, Please.

When I’m crafting one-off marketing e-mail to clients, I like to check out what’s going on in their town so I can personalize my message. Google makes getting quick details a snap! I get the basics, including time and current weather, plus points of interest, upcoming events and more. Type in…

[City] [State]
(Poughkeepsie NY)

It’s How Far?

Got a gig at a studio in another town? When your travel expenses include mileage and you need a quick way to calculate the distance, Google is the undisputed source for speed. Type in…

[Starting point] to [Ending point]
(Left Hand WV to West Thumb WY)

Convert this!

With clients all over the globe, I occasionally have one that want’s to pay me in their local currency. Google has a mind for conversion and has no problem returning a value based on the current exchange rate. Type in…

[Amount] [Currency 1] to [Currency 2]
(1500 USD to GBP)

Let Me Google That for You

Could an answer be just a Google search away? You probably know somebody who asks questions that trigger you to think, “Why don’t you just Google it?” To help them see the laziness of their ways, use LMGTFY to create a search and send it for them to use.

This is my fav… http://lmgtfy.com/?q=How+do+I+become+a+voice+talent%3F

 

Those are the ones I use the most, and of course there are many more Google tips and tricks to discover. What is your favorite Google shortcut or tool—one you couldn’t get along without in your studio?

© 2014 J. Christopher Dunn

 

Other posts you might find interesting:

Your Next Client Could be a Return Call Away

5 Reader Recommended VO Podcasts Not to Miss

The Disturbing Voice Disappearance