nethervoice

The Emotional Dilemma

by Paul Strikwerda in Articles, Career 14 Comments

For most of my life, I have been running away from my emotions.

I grew up believing that showing emotions was a sign of weakness.

Strong people keep everything inside. They don’t lose their temper. They don’t act impulsively. Strong people are always in control.

Strong people stay detached in order to make rational decisions. They look at facts and disregard feelings.

In my old-fashioned model of the world, it was okay for women to be emotional. Being strong was masculine, and I wanted to be a “real man,” whatever that meant.

STAYING SANE

Looking back, this attitude of “nothing affects me” might have been a coping mechanism that helped me deal with the breakdown of my parents’ marriage. I was in my teens when my dad left and I became the man of the house. I needed to be there for my mother and my younger sister.

Later on, my emotional detachment served me well in my career. As part of the news team of an international radio station, every day was a confrontation with death, disaster and human tragedy. The newsroom was and is no place for tears.

What I had yet to learn was this:

In one context, certain behavior is necessary in order to function. In another context the same behavior could be highly inappropriate. Being all business and unmoved might work when you’re anchoring the news, but not when you’re coming home and your significant other needs warmth and affection.

Looking back, my emotional detachment was a protective wall that helped me survive. It also made it hard for me and others to connect with the real, vulnerable me. But it went deeper.

The fact that I wasn’t letting the pain in, also subdued the pleasure. Without lows there were no big highs either. Because I felt the need to stay calm and collected, I lost a part of my enthusiasm and spontaneity. Deep inside, I was fearful. What would happen if I would take off the lid that kept my emotions at bay? Would people still like me? Would I like myself?

At this point you might wonder what all of this has to do with voice acting. Stay with me. I’ll get to that in a minute or two.

OPENING UP

It took me several decades and lots of soul-searching to discover that daring to be vulnerable can be a sign of strength. The world wasn’t going to crash down on me just because I showed some emotion.

Tears can be cleansing. Laughter can be liberating. Hugs can be healing.

Keeping my feelings to myself had left me lonely. When I finally started opening up to people, it became easier for people to reach out and open up to me.

It was freeing to be able to tap into my anger and frustration. In the past, bitterness and resentment would fester inside and grow. Inward anger would lead to darkness and depression.

Once the wall had been broken down, I felt light and alive.

Looking back, I wasted so much energy on keeping the lid closed. Today, I use that energy to move forward, and I spend much of my life following my gut feeling. I use what Malcolm Gladwell describes in his book Blink: The Power of Thinking Without Thinking.

Even though I’m happy to have opened my emotional house to all kinds of guests, there are consequences to wearing my feelings on my sleeve.

I’m more easily moved by the kindness of strangers and the cruelty of friends. When I see someone hurting an animal or hitting a child, I feel it in my body. I tear up when I see the veterans parade through our town, knowing that they have risked their lives so I could live in liberty.

In other words: life has become more intense, and I’ve become a sentimental wuss!

Professionally speaking, being more easily affected by my emotions has made me more effective and less effective. Let me explain.

PAINTER’S PALETTE

As a (voice) actor, I believe it is vital that we can tap into a whole range of emotions. I often compare it to the colors of a painter’s palette or the instruments in an orchestra. The more colors or instruments we have at our disposal, the greater our dramatic range.

If we wish to convey genuine enthusiasm to our audience, we must access that state ourselves first, in order to be convincing. The same is true for other emotions such as disbelief, amazement, rage, being heartbroken, in love, feeling rejected, et cetera.

When our words, our tonality and our body language all say the same thing, we become believable.

However, we cannot unleash those raw emotions unfiltered and unpolished. That’s where we become ineffective.

I once asked one of my students to read a page of a novel that touched her deeply. It was about someone who had just lost her father. Little did I know that my student had recently lost her dad.

It didn’t take her long to feel the emotional impact of the story. After reading a few lines, she was overtaken by emotions and I could barely understand what she was saying. Then she started to cry.

Once she had calmed down, we talked about the experience. She realized that there and then, she did not go into character or into what I call “narrator-mode.” She was merely being herself, reading the lines as if it was her autobiography.

It’s understandable, but unprofessional.

NO EGO

Acting is a most selfless profession. It can never be about ego. We don’t serve ourselves. We serve the authors, the screenwriters and the playwrights. It requires a detached involvement. If we do it well enough, the audience will believe that we are the character we portray.

In order to create that character, we need a frame of reference. It can be completely imaginary, or we can tap into our life experiences.

Our emotions are like a goldmine. We can delve into it, but we must transform the gold ore into something we can melt and mold according to our desire and design.

As a (voice) actor, we must channel and manage these emotions to create the guise of spontaneity and authenticity. We don’t act out reality. We’re merely the creators of something that looks and sounds like it.

Director Richard Linklater put it this way when he talked about his latest movie “Before Midnight.” He said:

“There is no reality in film. It’s all a huge construct. But what we’re trying to construct is something that feels like there’s nothing there, like it’s just unfolding very simply.”

Great actors are like the violinist who’s so much in control of his technique that he can forget about it and give a passionate performance. Instead of playing notes, he’s allowing the music to unfold.

INTIMATE DISTANCE

While we personify the characters we play, I believe it’s healthy to keep an intimate distance to them, if only to preserve our own sense of self. Without emotion, there is no character, but if we become too emotionally invested, we may cross the line between reality and fiction.

We all know celebrities who have become their characters. Wherever they go, they’ve always got it turned on. I know a few voice-overs who can’t stop doing funny voices or strange accents no matter where they are. They have forgotten the difference between playing a character and being a character.

It is useful to learn to turn it on and turn it off. At home, Tom Kenny (the voice of SpongeBob SquarePants) is just Tom Kenny, Jim Carrey keeps a straight face and Steve Martin is not this Wild & Crazy Guy.

There’s another reason why we need to keep an intimate distance to our copy and character. If we allow ourselves to be overtaken by personal grief, joy or disappointment, it can easily lead to overacting.

Here’s my rule of thumb:

The more dramatic the language and the more powerful the images, the more we must restrain ourselves as voice-overs. Otherwise, our delivery could be overemotional and could become a distraction.

Sometimes though, that’s easier said than done, especially for those who have embraced their inner emotional selves at a later age.

SAYING GOODBYE

Almost two weeks ago, I was asked to lead a Celebration of Life for my friend Kyle Burkhart. After battling with brain cancer for many years, Kyle passed away at the age of 41. It seemed only a few years ago, that I had married Kyle and his wife, when his cancer had been in remission. For those of you who don’t know: I occasionally act as a non-denominational wedding officiant.

Leading the memorial would be honoring one of Kyle’s last wishes, and of course I accepted. In the days before the gathering, I had no idea how I would handle my emotions. I was afraid that I would break down in the middle of a reading, putting the focus on me instead of on Kyle. Then I thought of the concept of intimate distance.

In order to fulfill my job as officiant, I made sure to become intimately acquainted with what I wanted to say that day. In voice-over terms: I thoroughly familiarized myself with the script. Preparation is one of the best ways to deal with nerves and other emotions.

I also realized that in order to be there for friends and family, I had to distance myself from my own feelings. In voice-over terms: I had to focus on my role by separating the personal from the professional. It was the only way I could truly serve the purpose of this Celebration of Life.

MAKING A CHOICE

In my studio I use the same strategy. When I decide how to approach a particular script, I ask myself: For what purpose was this written? What are the intentions of the author or the client? How can I best communicate these intentions without me getting in the way?

I no longer run away from my emotions. They’re my friends. Being able to tap into them has strengthened me as a voice actor and it has made my life a lot richer. But like any color on a painter’s palette, there is a place and a time to use them.

Sometimes I listen to an audition I just recorded and I know something’s missing. It sounds too detached.

When that happens, I tell myself: “Once more, with feeling.”

Sometimes I hear myself overdoing it. I sound too sentimental.

When that happens, I hear Arnold Schwarzenegger in a scene from Kindergarten Cop, telling me the following:

“It’s time now, to turn this mush into muscles!”

Paul Strikwerda ©nethervoice

PS Be sweet Please retweet!
photo credit: katerha via photopin cc

Can CAD’s Cool Colored Cans Cope with VO?

by Paul Strikwerda in Articles, Gear, Studio 11 Comments

Over the years, people have commented that I have a good head on my shoulders, and they’re right. In fact, I’m rather bigheaded.

I’m also blessed with sizable ears that turn bright red when it’s hot or cold outside. And because they continue to grow as I age, there will come a time that I’ll be all ears. When that happens, I shall probably take up sailing.

My big head never really bothered me until I had to select a pair of headphones for my voice-over work. When I’m recording I prefer not to wear them (it takes me out of the moment), but when I’m doing detailed editing, I use them for hours in a row.

FACTS and OPINIONS

Searching for the perfect cans was quite an education. Just as with microphones, not everybody has the facts, but most people have an opinion:

“You must buy the Beyerdynamic DT770. They’re great.”

“Get the Sony MDR7506. Everybody in the business is using them.”

“The Sennheiser HD-280 PRO is the industry standard.”

I’m always interested in what others have to say, but I also know that what works for one person, doesn’t necessarily work for me. Part of that has to do with our individual anatomy.

All ears hear differently, and you and I may have different tastes of what sounds good. If you love listening to classical music, you probably want headphones designed for audiophiles. I needed cans that would allow me to accurately pick up breaths, mouth noises and other unwanted sounds. I wasn’t going to use them to listen to the Berliner Philharmoniker or to mix the latest Rap album. I wasn’t even going to listen in stereo!

COMING TO TERMS

When comparing headphones, you’ll find that many brands display a total lack of modesty. They describe their products as “world-class,” “revolutionary” and “exceptionally accurate“. While much of this lingo is just marketing hype, there are a few terms that come back again and again. Let’s take a quick look at them.

Open versus Closed

Open Headphones are designed to allow some outside noise to come in. Closed or sealed headphones isolate your ears from ambient noise. Open headphones tend to be lighter; they put less pressure on the ears, so they’re usually more comfortable. They also produce a more “open” sound, a bit more like your studio monitors.

Closed headphones produce a more “inside the head” sound, and they’re often used in music production where critical listening is vital and outside noise should stay out of the mix.

If I were to were to use my headphones to listen to music on the train, the bus or in bed, I’d go for closed ones, so as not to bother other people. In my studio, that’s not an issue. Because I work in a very quiet environment, isolation from ambient noise is not so important either. Comfort, on the other hand, is.

My favorite pair of cans share a feature with my mind: they’re semi-open.

Frequency Response

Sound is measured in terms of frequency. Frequency response refers to the range of bass, mids and treble (highs). Let’s say the range of a pair of headphones is 15 to 25,000 Hz. What does that tell you? Well, the first number represents the bass end of the spectrum and the second number the treble end. One of the headphones I was looking at, had a range of 15 to 25 kHz. Is that any good?

Sennheiser HD280 Pro, Beyerdynamic DT770, Sony MDR-7506 & AKG K240 MK II

The audible frequency range for human beings is about 20 Hz to 20,000 Hz. Below 20 Hz, the bass frequencies are more felt than heard, but loudspeakers are much better at delivering that punch. Frequencies over 20 kHz aren’t always audible.

Because of the limitations of the human ear, a wider frequency range doesn’t necessarily lead to better sound quality. So, don’t be fooled by the numbers.

With some headphones and loudspeakers, certain frequencies are exaggerated and others are attenuated (reduced). Because headphones don’t give you the physical oomph that sound waves from a room speaker have, some makers of headphones overcompensate and build in a hyped bass response.

When listening to your voice track on these types of cans, it sounds like you’ve been recording too closely to the microphone (proximity effect). The flatter the audio response, the more accurately it reproduces the sound from the input source. Those headphones are best suitable for voice-overs.

Impedance

The impedance of a headphone (measured in Ohms) refers to the headphones’ ability to resist electricity. Here’s what you should know: The lower the impedance of the headphone, the easier it is to get higher volume. Higher impedance doesn’t necessarily mean higher quality.

The higher the impedance, the more power your headphones will require. If you’d plug a high impedance headphone (e.g. 600 Ohms) into an iPhone or MP3 player, you’d definitely notice a loss in quality because the drivers can’t handle it. That’s why those models usually need an amplifier to drive the speakers inside the headphones.

Some manufacturers make different impedances for the same model (the Beyerdynamic DT880 comes in three ratings: 32 Ohms, 250 Ohms, and 600 Ohms), so be sure to look at the specs before you place your order.

Sensitivity

Another factor influencing the loudness of the headphones is the sensitivity. Impedance determines how much power the headphones will draw, while sensitivity indicates how much of the electrical signal delivered to the headphones is converted into sound. This is measured in decibels of Sound Pressure Level per milliwatt, or dB SPL/mW.

Headphones of a higher sensitivity (and with high impedance) will sound louder than those of lower sensitivity. Be aware that the human ear may experience hearing loss if sound is sustained above 85 dB. So, if your cans are more sensitive than that, be extra careful.

Comfort and Fit

Even the best studio headphones would be pretty useless if they don’t fit right. When it comes to fit, manufacturers use fancy words to describe the two main types of studio cans:

Supra-aural headphones like the Koss porta pro, rest against the outer ear. The ear pieces can be flat pads against the ear, but can also be shallow bowl-shaped, or deeper ear cups that are too small to completely surround the ear.

Koss porta pro supra-aural headphones

Circumaural headphones like the Sony MDRXB700, have ear pads that completely surround the ear, and ear cups that completely enclose the ear.

Professional audio reviewers recommend wearing headphones for at least fifteen minutes when you test them for comfort. I’m not sure I agree. If they’re not comfortable, I can tell within seconds. Keeping them on for an extra ten minutes is not going to change that.

This is what you should ask yourself: Do the earpads exert too much pressure on the ears? Can the headband be easily adjusted? Remember that headphones that enclose or cover your ears can get uncomfortably hot. To find out, you do have to wear them for a while.

Sony MDRXB700 circumaural headphones

There’s one other thing I pay attention to: the cord. I happen to hate coiled cords. They tend to be heavier and there’s always something that gets caught in them. I also prefer the cord to be detachable from the headset, in case I need to replace it. Every studio engineer I know has messed up some cords by rolling over them with their chair. Cheaper headphones usually don’t come with a detachable cable.

CAD’s CANS

You probably remember that I’m a big fan of the CAD Audio E100S microphone. Voice-over colleagues are finally catching on to this amazing, affordable mic. This American company has a lot more to offer, though. CAD recently came out with the “Sessions” MH510 studio headphones, and asked me to give them a try. Would these be just as good as the E100S?

Before I share my impressions with you, you should know that I’ll judge them based on my needs as a (bigheaded) voice-over artist only. Secondly, I’ll compare them to the reasonably priced cans I have been using for the past three years: the AKG K240 Studio headphones that are quite popular in my field. You can buy both the CAD and the AKG for around $99.

First off: this CAD offers more than cans. The MH510 headphones are a fashion statement. It comes in few colors: red/white, black/orange, black/chrome and pure black. Each pair of headphones comes with two detachable cables (coiled and straight) and two sets of earpads (leatherette & velveteen), as well as an 1/4″ adapter and a carrying bag.

Compared to the light-framed, self-adjustable AKG K240, the MH501 is rather bulky. There’s a lot of rubberized plastic and the leather headband is thick and cushy. The AKG weighs 8 ¼ ounces (235 g) and the CAD comes in at 11 ¼ oz. (320 g). During longer sessions, the weight of the CAD began to bother me.

AKG K240 Studio & CAD MH510

With the MH510, CAD wanted to make isolating headphones that “virtually eliminated bleed into the playback environment.” In order to do that, the earpads firmly push against the ears. CAD has reached its objective because these headphones isolate really well. However, the price you pay is comfort. My ears did not enjoy the sustained pressure. The K240 Studio headphones, on the other hand, fitted like a glove. The semi-open design offers less isolation, but there’s also much less pressure to keep the earpads in place.

HEAD to HEAD

And what about the sound? Would CAD’s Sessions headphones be suitable for the simple, subtle sound of voice-over?

The AKG has an impedance of 55 Ohms and a sensitivity of 91 dB. The CAD has an impedance of 26 Ohms and a sensitivity of 103 dB. Remembering what I wrote above, this should tell you that the CAD cans are definitely louder. You don’t need to turn the volume up that much, in order to get a solid sound. CAD calls the sound pressure level “rivaling a concert experience.”

If you’d like to relive your experience at a Tiësto dance party, perhaps that’s exactly what you’re looking for in a pair of headphones. As a voice talent, I want detail. Not volume. Besides, volume can be dangerous! It can lead to hearing loss.

In terms of frequency response, the MH510 can be characterized by what CAD calls “extended lows”. One Amazon-reviewer described the bass as “intense”. I wouldn’t go that far, but the low is definitely overemphasized. For certain types of music this might be just what the doctor ordered, but not for voice-over. To me, the extended lows just made my voice recordings sound muddy.

In contrast, the K240 Studio headphones are open, airy, natural and neutral. The spoken word has a realistic, uncolored clarity to it. The best way to illustrate this is by sharing an audio sample with you.

I placed my microphone in between the earpads of both headphones, and I played one of my voice-over tracks. Of course a condenser microphone can never replace the human ear, but this will give you some idea of the difference in sound coming from both headphones. You’ll notice that I alternate between the AKG and the CAD. The K240 Studio headphones are the first ones you’ll hear.

CONCLUSION

What I’ve done in this review is unfair and unscientific. Yes, both the CAD MH510 and the AKG K240 are sold as studio headphones, but comparing one to the other is a bit like comparing heavy-duty hiking boots to running shoes. Both are footwear but made for a different purpose. It might have been better to compare the K240 to CAD’s MH310 cans, which look remarkably similar.

I don’t think CAD had voice-over applications in mind when they designed the MH510. That’s where the AKG shines.

The CAD is more geared toward tracking, mixing and mastering of pop music in a recording studio. If you don’t want to have a scratch-track/click bleed through, the closed CAD is the better choice.

Secondly, reading reviews can tell you a lot about the personal preferences of the author, preferences which you don’t necessarily have to share.

And then there’s the size of my head. We must take that into account.

It’s only fitting…

Paul Strikwerda ©nethervoice

PS CAD Audio kindly sent me a pair of MH510′s for evaluation purposes.

PPS Interested in headphone reviews? Here are a few websites I researched as I was writing this article:

http://www.head-fi.org

http://www.headphone.com/index.php

http://www.headfonia.com/category/headphones/

http://www.innerfidelity.com/headphonereviews

http://www.goldenears.net

Vida Ghaffari: Baklava and Apple Pie

by Paul Strikwerda in Articles, Career, International, Journalism & Media 1 Comment

Vida Ghaffari

Vida Ghaffari is a second generation Iranian-American, and her career has certainly taken off since she left the nest.

Actress, red carpet reporter, voice-over talent… Vida is as vivacious as she is versatile.

Vida comes from a famous and influential Iranian family of actors, directors, writers. That’s quite something to live up to. I had to ask her:

Is it a blessing or a curse?

VG I think before the revolution (the Iranian revolution of 1979, PS), it would have been a blessing as the Ghaffaris were well-known for their contributions to the fine and dramatic arts and were active in the media and the performing arts.

Sometimes, it’s a curse as a lot of other (Iranian) people expect me to do anything: paint, direct, be a scholar, rocket scientist, politician… the list is endless.

PS In what way has this rich family background influenced your career choices?

VG Well, my dad is in the sciences, but I always had an interest in the arts as my mom was an illustrator in the old country before she married my dad. My grandmother was a suffragist and she has been such a source of inspiration in my life. She was also a poet, so the house was full of art and impromptu poetry recitals.

I’m pretty sure that most Iranian families quote full verses of renowned poets such as Hafez, Saadi, Khayyam, and Rumi at the dinner table, but for me it was a constant. My mom also was a child actress. She performed in a play for the Shah and Ambassador Grady, the former US ambassador to Iran at the time, and many other prominent political figures of that era.

Unfortunately at the time in Iran, the performing arts weren’t highly regarded as a path for young women to pursue, so my mom was forced to quit acting at her father’s insistence at the tender age of 9. I’m sure she would have been very successful. So fast forward to years later, and my dad being the very practical mathematician and scientist, he wanted me to get a job at the World Bank, because he had friends there who got great salaries, benefits, and job security.

I suppressed my artistic side and studied Economics at the University of Maryland and minored in theater and journalism. Even though these weren’t my majors, I was very involved with theater at Maryland and wrote for the school paper. I even DJ’ed my own radio show on WMUC, the campus radio station. It was a tough pill for me to swallow as in high school, I was invited to enroll into a couple of great performing arts magnet schools, but chose to go to regular high school at my dad’s insistence.

After college, I had some stints on Capitol Hill, where I was awarded journalism and research grants from the Woodrow Wilson Center and the National Journalism Center.

PS Immigrants and/or political refugees usually have two choices when coming to a new country: assimilate or hold on to their own identity. It’s a choice between blending in or standing out.

You were born in the U.S. and you sound like an all-American girl. However, you seem to have embraced your heritage with open arms. How do you reconcile both worlds?

VG My parents have lived here in the US for many years (my dad was invited here in 1948 and my mom came here in the 1960′s), so I think they have assimilated very well and truly love this great nation. I was born and raised in the DC area and I have a sense of pride, being raised in such a historically significant and political town.

I’m often told that I have the warmth of an Iranian and the integrity of an American, whatever that means. I guess I’m a paradox of sorts in that I can seamlessly incorporate the two. I love baklava and apple pie!

I also feel very grateful and privileged to be born here in the land of the free, but I truly have a profound respect for my heritage. The pony express was created in ancient Persia and there have been countless contributions made to mathematics, the sciences as well as poetry and literature.

The renowned poet Saadi’s poem used to grace the entrance to the “Hall of Nations” of the United Nations building in New York, with a call for breaking all barriers:

“Human beings are members of a whole, in creation of one essence and soul. If one member is afflicted with pain, other members uneasy will remain. If you have no sympathy for human pain, the name of human you cannot retain.”

The first Declaration of Human Rights was created by Cyrus the Great. Also, Iranian-Americans have become so successful in this country, not only as businesspeople, but as doctors, lawyers, engineers and other professionals. It’s so inspiring to see how they’re making so many contributions to this society in such a short time. I know this is true of most Iranian immigrant communities internationally as well.

I’m very proud of the struggle of the brave Iranian youth in search of the freedom they so rightly deserve and have covered many protests in LA as a journalist.

PS I’ve heard that casting agencies sometimes list you as “ethnically ambiguous”. What does that even mean?

VG Ethnically ambiguous means that one is ethnic, but not categorizable as what nationality he/she actually is. There are more and more casting notices looking for “ethnically ambiguous” actors, so for me and many of my friends and colleagues, it’s a good thing as there are more roles and opportunities out there for us.

PS Actors from Middle Eastern countries are often typecast as terrorists or as the stereotypical submissive women. In other words: as caricatures. Do you think that’s fair?

VG Not at all. After all, the renowned poet Ferdowsi referred to them as lionesses. I think Middle Eastern women are very strong and silently brave, considering the sexist culture(s) they live in.

As for me, I can’t even get seen for any Middle Eastern roles as many casting directors don’t think I look ethnic enough. There’s such a strong stereotype of what a Middle Eastern person should look like. I usually go in for Caucasian roles. I even used to be a translator back home in DC and I worked for Persian TV here, so my Farsi is pretty good if the role calls for it.

PS At some point everyone in the entertainment industry faces a tough choice: Should I specialize and make it easy for the public to put me in a box, or should I diversify and risk being accused of a lack of focus. What’s your answer?

VG As a character actress, I have a little bit more room in terms of the variety of the roles I play. I feel very blessed and lucky about that. As an artist, I like widening my range.

PS You’re a big proponent of networking. Why is it so important to make the rounds and make sure you stay in the picture?

VG Because we’re in a business of referrals and contacts. It’s very important to network and put yourself out there. But I also love meeting new people, especially other folks in the arts. I guess I’m a people person! I do have to add that what I spent the most time on is my craft first and foremost. I’m either in a class, workshop, acting workout group, staged reading, et cetera.

PS At what point does networking become a nuisance?

VG It doesn’t really become a nuisance, but it can be very time-consuming… meeting like-minded people, staying in touch with them, planning meetings with them. It’s very hard to schedule things properly also when one takes into consideration this crazy LA traffic!

PS It must be nice to have a Rolodex full of contacts, but then what? What tips do you have for maintaining these relationships?

VG Staying in touch via email is great. Let folks in the industry know what you’re up to by updating on Facebook and Twitter, but not so much that you’re doing status updates 24/7!

I also give back to my friends as much as possible if they need a referral, advice, or I inform them of a project they’d be right for. I even give free voice-over lessons to some actors from time to time who really want to study voice-over, but can’t afford it. I think it’s so important to be a part of the community and give back, especially in an artistic one.

PS You’ve also mentioned that you think it’s important to have a mentor. What does a mentor mean to you? Who’s your mentor and what’s the most important thing you’ve learned from him/her?

VG A mentor for me has been like a total career guide. I was lucky enough to meet mine by chance. I enrolled in instructor Doug Rye’s excellent voice-over class at LA Valley College and soon he became my mentor.

There’s also, Ivy Bethune, a legendary character actress, whom I consider to be a dear friend and she’s like a mentor to me. I aspire to be like her one day! She’s one of the sweetest, most generous, talented and humble artists I’ve ever met.

I met her in my voice-over workout group and I’ve learned more from watching her read her copy in the booth for a 30 second ad that I have in many years of classes, workshops, et cetera. I also was on the planning committee for the Ivy Bethune Tri-union diversity awards that were named in her honor.

Speaking of volunteer work, I contribute to various causes such as voicing many charity events as well as the NOH8 campaign (a silent protest photo project against California Proposition 8, PS). I even acted in their PSA.

PS You’re not only an actor, reporter, presenter… you’re also a voice-over professional. You’re obviously comfortable in front of the camera and an audience.

Voice-over talents usually hide in dark studios and talk to an audience that’s not there. Yet, you say it’s your passion. What do you like about it? Is it easier or harder to do than the on-camera stuff?

VG Voice-over is a lot of fun. I love that I can play a wider range of characters from sultry leading ladies to sassy bosses to pushy soccer moms. You name it. And don’t even get me started on dialects!

Voice-over actors tend not to get typecast like on-camera actors as they’re not being seen, just heard. Voice-over is a different medium, so I can’t really compare it to on-camera work, but I have fun doing both.

PS Pretend for a moment that I am a budding actor/voice-over talent. What mistakes have you –Vida- made that I could learn from, and what are those lessons?

VG I’ve made more mistakes on-camera than in voice over, probably because I’ve done it longer. I would have probably invested more time and money in my career early on. I would also reach out to more people in the industry more often and try to maintain contact with them.

As I mentioned earlier, I think the most important thing to do as an artist is to continually work on your craft on a daily basis, be it on the stage, in a booth, or even in your living room. I think it’s also to find a community of like-minded people you can collaborate with.

Also, as I mentioned earlier, finding a mentor would be great thing to do, especially in a career path like this one that is constantly changing and evolving.

PS If I could offer you a dream job today, what would it be and why?

VG I think being a correspondent for “the Daily Show” would be the perfect fit as I have a strong background in journalism, news, comedy, acting, and sometimes I hear the correspondents do voice-overs. Besides John Hodgman, I think I’d be the only correspondent with a journalism background and I think with my unique point-of-view

I could add a lot to the show. Did you hear that Jon Stewart?

Paul Strikwerda ©nethervoice

Headshots by Robert Kazandjian and Courtney Beckett

Factory Demos: Fatal First Impressions

by Paul Strikwerda in Articles, Promotion, Studio 10 Comments

You know what they say about first impressions and second chances.

As a voice-over, a demo is often your only chance to make that first impression. It’s your business card, resume, portfolio and audition all compressed into one 60-90 second package.

A great demo is the result of the combined expertise of those behind the mic and behind the glass. If done right, it condenses years of experience into a minute or more of magic.

A professional demo does not come cheap, but not having one could be an expensive mistake.

There’s one thing it should not be:

Mediocre.

If that’s a given, then why are so many demos completely underwhelming and unmemorable?

Audio and production professional Cliff Zellman thinks he knows the answer. He has been hiring talent for over 35 years, and receives between 12 to 15 demos a week. He’s heard everything. From the best of the best to the worst of the worst.

As the Voice-Over industry began to change, Cliff noticed what he calls a detrimental shift in the way VO demos are created. A shift, he says, that does not play well for the VO Artist.

DISTURBING TRENDS

Emmy Award Winner Zellman, who has a degree in Audio Engineering, is referring to a few things.

First of all, he receives demos that have been slammed together after a “talent” has taken some entry-level voice-over class. You’ve probably seen the ads for those trainings. They always end with the words “demo included.” These demos are usually stitched together from old scripts and they’re overproduced to mask someone’s level of incompetence and inexperience.

Then there are demos that will tell you more about the single-mindedness of the director, than about the versatility of the voice talent. Zellman told me he often wonders:

“Whose demo is this really, the VO artist’s or the director’s? There’s no variety. The copy is uninspired and the music is outdated.”

Demos from a third category may sound terrific, but Zellman says:

“I have been disappointed more times than I care to remember because the talent could not reproduce the level of competency I heard or that I require. And they give me no indication of what their audio will actually sound like.”

In other words, each line of the demo was spoon-fed by the director and recorded and sweetened in a million-dollar studio. It’s false advertising, because the talent can not deliver the same quality in a home studio setting.

Cliff has a name for all these demos. He calls them “Store-Bought,” and warns they are a big risk to buyers.

Cliff Zellman

A NEW CONCEPT

Having listened to way too many of them, Zellman started asking questions:

“When a talent leaves the booth after three or four grueling hours of a store-bought demo session, did they do their best? Were they relaxed? Were they intimidated? Is one session really ample time to allow the talent to shine?

And when they leave the studio, what do they have, really? An audio file. No real world education, no new knowledge of microphone selections, what works best for them in their environment with their voice. They are not receiving the collective years of experience and success of multiple directors… Just one person’s ability or inability.”

And out of his frustration, an idea was born:

• What if he could get the best directors and voice-over coaches in the nation under one umbrella?

• What if one voice talent could pick six of these coaches and work with them via Skype for six one-hour sessions in his or her home studio, using six different microphones?

• What if the result of these sessions would be professionally edited and mixed by an award-winning master digital music editor to create one outstanding 60-second demo?

This is precisely the concept behind Zellman’s latest endeavor: Done By Six Productions. (click on the name to visit the website)

He calls it “The Industry’s first On-line, Menu-based Voice Over Demo Production Company.” Cliff introduced it to the VO-community gathered at Faffcamp in Charlotte, NC.

EXCLUSIVITY

I have to warn you. It will take more than a dream and a credit card to get access to Zellman’s roster of experts. He explains:

“There is a vetting committee of four or five industry professionals. If someone is NOT ready, we will be happy to suggest a coach that can help with their gaps. When the coach says they are ready, we re-evaluate. We are a team created to actually HELP the voice talent succeed… not a factory.

This is also why Done By Six REQUIRES a talent to have a professional website, an approved home studio, knowledge of delivery methods and previous VO experience. We exist to elevate, not to hold hands.”

CONFUSION

At this time, talent can choose from a list of 39 seasoned professionals who cover all areas of the voice-over industry. People like Marc Cashman, Roy Yokelson, M.J. Lallo, Peter O’Connell, Dan Friedman, Randye Kaye, Doug Turkel, Amy Snively, and even the writer of this blog.

When I first heard about the concept, I thought:

Six directors for a 60-second demo. Isn’t that overkill? Aren’t six different coaches going to give conflicting advice, thus confusing the talent? Zellman:

“ABSOLUTELY NOT. It is a “real world” experience. When one goes to college, they don’t have the same professor for four years. Six directors will produce 60 seconds each. Each 60 seconds can be used as a full spot demo as well. 360 seconds will pretty much ensure that there is quality sections within each read.

Remember, we are NOT working with newbies. A talent is already used to working with different directors. Otherwise, why would someone attend a seminar with Pat Fraley, then Marc Cashman, then Myself, then Peter O’Connell et cetera. Conflicting advice opens doors! If everyone would bet on the same horse, the race would be boring.”

OWNERSHIP

When talking to Zellman, I mentioned that one of my colleagues had recorded a demo he wasn’t happy with. The pacing was off and the music was dreadful. He asked the producer for the dry audio so he could go somewhere else for a remix. Even though he had paid for his demo, the producer refused to give him the building blocks. And so I wondered: if a demo is produced by Done By Six Productions, who owns the audio? Cliff Zellman:

“The talent owns it! All dry files are already in the possession of the talent on their computer. I think any demo producer that doesn’t “gladly” give all dry audio to the talent is a paranoid fool and a charlatan. I am not looking to “lock-in” someone. I WANT them to spread their wings! Let them grow. Let them edit… let them punch-in!

I especially do not want the responsibility of being the ONLY one to help a talent. That’s ridiculous and I know demo coaches that feel very differently. I totally disagree. This is THEIR future, not mine. I am here to help, not control.

As far as music, I sublicensee it to the talent for this specific project. If a director has music in mind, cool. If not, all music used will be mixed into the production. If a talent wants to get creative in a few months, change up things on their own, I say YES! They are one step closer to mastering this profession. Again, we are to HELP, not control.”

PS What happens if the voice talent isn’t happy with the end-result?

CZ “As long as they are in possession of the mics, every director I have spoken with agrees to an additional session of up to 15 minutes (or within reason) Some may stick to 15 minutes sharp, others may be more liberal. If things get out of hand, I will step in, take responsibility and make sure the talent gets what they need. If I receive multiple complaints/concerns with a director, I remove them from the roster. Simple as that.”

Speaking of microphones, each talent receives a flight case with six of the industry’s most popular microphones: the Neumann TLM 103, the Sennheiser MKH-416, the AKG Perception 220, the CAD E100S, the Audio Technica T2020 and the Harlan Hogan MXL VO: 1-A.

This is the perfect opportunity to test these microphones in your own studio. It also ensures that each segment of your demo will sound differently. Shipping and insurance is part of the price of the package.

VOICEZAM

But there’s more. Included in the demo-package is a free 2-month subscription with VoiceZam.

VoiceZam is a new way of showcasing voice-over demos that gives clients and agents an opportunity to skip through the individual tracks of each demo. The user can also track who’s been listening to their demos. Cliff Zellman:

“I LOVE VoiceZam. My time is VERY valuable. I appreciate the speed, playback quality and ease of operation. I have had lengthy conversations with Bob Merkel (the man being VoiceZam), even to the point of offering him ideas and strategies at no consultation fee.

VoiceZam shows a professional attitude and a certain amount of savvy. I know if I go to a talent’s site and I see a VoiceZam player, there is a very good chance I am dealing with a solid pro.”

By the way, the VoiceZam image is just a picture. If you want to get a feel for how VoiceZam works, go to Bob Souer’s site and try it out.

PS Why just focus on demos? You have a great line-up of coaches. Why don’t you offer more coaching services?

CZ “In time. Many new start-ups fail by trying to do too much too soon. Every Done By Six director is a potential coach. I know each of them personally and professionally. I know their strengths and weaknesses. Between the members of the vetting committee, we can steer the talent in the right direction. One of the benefits of being a Done By Six Director is the possibility of being selected as a coach. Once a coach is suggested by Done By Six, it is between the coach and the talent… for now.”

TASTE TEST

Go to any supermarket and you’ll find shelves filled with factory-baked breads. They may be packaged a bit differently, but you know that most of them are low on nutrition and they all taste the same.

I usually buy my bread at the local Farmers’ Market from an artisanal bakery. They have a huge variety made from different grains, nuts and herbs. The ingredients are high-quality and the bread is baked with love. I can taste the artistry and dedication that went into the making of the bread. It’s a taste that lingers on.

If voice-overs are your bread and butter, what type of taste test are you serving your clients?

Are you feeding them stale, factory-baked bland bread with margarine, or fresh, wholesome, hand-made bread, topped with real butter?

If you only had one chance to make a first impression, what would you rather serve?

PS: Be sweet. Please retweet!

photo credit: Barbara.K via photopin cc, photo credit: Phil and Pam via photopin cc

Get the boom out of the room

by Paul Strikwerda in Articles, Studio 14 Comments

When I decided to become a full-time voice-over artist, I made myself a promise.

I would never lose an audition because of poor audio quality.

They might not like my voice. They might not like my read, but I would not let them ditch me because I wasn’t able to deliver broadcast-ready audio. In order to get there, I needed two things:

1. A dedicated, isolated and treated recording space

2. Quality equipment

I purposely put them in that order. You can place the best equipment in a poorly isolated and barely treated room, and you’re still going to sound like an amateur at the kitchen table. I’d rather take an affordable microphone and preamp into a (semi)-professional booth, because the end result will be much better.

So, if you’re wondering where to spend your money, buy a Studiobricks cabin, or build your own space like I did. Then we’ll talk about getting that coveted Neumann U87 Ai, okay?

I still remember the day my 7′ by 7′ recording space was finally ready. The floating studio walls consisted of multiple layers. Auralex® Mineral Fiber and Green Glue were sandwiched between several sheets of 5/8″ drywall. All the seams were caulked with SilenSeal.

Outside noise was kept at bay, but inside, the space sounded like this:

CHAMBER OF HORRORS

Unknowingly, I had created an echo chamber! It was an ugly beast, waiting to be tamed. Especially in small spaces with parallel walls like mine, flutter echoes can be a big problem.

The best way to kill those echoes, is to put foam or other absorbing materials on the side walls. As a rule of thumb, the smaller the space, the more acoustical treatment you’ll need. Thankfully, I had a whole bunch of Auralex® Studiofoam Wedgies left over from my previous space.

I covered parts of the wall with SoundTrax™ from NextAcoustics™ and I added four CornerBlox™ bass traps, also from NextAcoustics™. The SoundTrax™ took care of the mid- and high frequency reflections. The bass traps absorbed the lower frequencies.

If you’ve ever seen pictures of my studio, you probably know that it’s also my office. My Mac Mini, Grace Design preamp and A/D converter sit right next to me in a small cabinet. Behind me are two bookcases, and I’ve lined the backs of those cases with Sonex Mini acoustical Panels.

A DIY REFLECTION SCREEN

In spite of those panels, I felt I was still getting too much reflection from the back. I tried to remedy that by taking a room divider and placing it behind my chair. I then took an old duvet cover, a few blankets and a sleeping bag, and hung them over the divider for absorption, creating a rear reflection screen. It wasn’t pretty, but it did the trick. The boom was out of the room!

Unfortunately, my improvised contraption was heavy and unstable. It also had a life of its own. I can’t tell you how many times it decided to fall down on me, usually in the middle of a recording. Two months ago, I had had it with this thing and I started looking for a replacement.

My search lead me to GIK Acoustics, a company that is selling in the U.S. as well as in Europe. They make a wide range of high-quality acoustic panels, bass traps and diffusors.

I especially like the fact that GIK uses ECOSE® Technology in their products, a formaldehyde-free binder, based on renewable materials instead of petroleum-based chemicals. It’s used in wood based panels and glass, rock and mineral wool.

GIK makes a versatile screen panel (32″W x 72″H x 3″ thick) that seemed ideal for my booth. Audio engineers would call it a Gobo. That’s slang for a portable acoustic isolation panel. Some people believe the word “Gobo” comes from “go between.”

“

Being the gearhead I am, I enjoy watching these types of videos. But when I watch something that’s put together by a manufacturer, the skeptic in me always wonders: does the product actually live up to the hype? I’ll let you be the judge, because I ordered a Gobo!

First, let’s listen to something I recorded in my booth without the GIK screen panel. You might want to use your headphones for this.

As you can hear, compared to the first sample, room treatment makes a huge difference. However, for me the sound wasn’t quite dry enough. You can hear a bit of reverb at the end of each sentence.

Once the GIK panel came in, I made two modifications. I added wheels so I could easily roll the panel into position, and I added handles. That way, I wouldn’t have to touch the coffee-colored fabric while moving the panel.

Here’s me reading the same lines from my booklet “Building a Vocal Booth on a Budget,” which is available in my store. This time, the Gobo is in place. By the way, both samples were recorded in WAV-format and converted to MP3.

Having used the screen panel for a few weeks now, I can confirm that it absolutely delivers as promised. It’s well-made, easy to position and it comes in many colors.

REVERB ON THE ROAD

Even though this screen panel is portable, it’s great for a studio but too big for road trips. So, what do you do when you’re fighting flutter echoes in a hotel room? Well, there’s a solution that fits into your computer. It’s a De-Verb plug-in made by SPL, which stands for Sound Performance Lab. It’s a German company.

Originally developed to shorten the sustain period for drums and guitars, I’ve found that it also works well in the vocal booth, as long as you use it wisely. Once you’ve recorded your audio, you simply select the De-Verb plug-in from the effects list. This what you’ll see:

The left button controls the level of reverb reduction and the right one the output gain. Both can be operated with the mouse wheel. When diminishing the reverb, you also diminish the output a little bit, and that’s why it’s good to turn up the gain slightly.

Now, don’t expect this plug-in to “fix” the first bit of audio you listened to (that’s the sample I recorded before I added any treatment to my booth). It’s by no means a substitute for acoustic panels or foam. However, if you’re recording in a less than ideal setting or you like your audio “extra dry,” this will definitely add the finishing touch.

Here’s the sample I recorded without the screen panel in my studio. This time, I added a bit of De-Verb. Once again, I recommend you listen with your headphones on. You might want to start by listening to the first sample, followed by this one. That will give you a nice contrast.

Perhaps you find the difference quite subtle. To me, it’s just one of those small changes that, when you add it all up, can set you apart and take your product to the next level.

But how do you know that these changes really matter? Couldn’t it just be between the ears?

Well, in our profession everything is pretty much between the ears, isn’t it?

You’ll know you’re on the right track when nobody comments on your audio improvements, because they could not be picked up.

It comes down to this.

Bad audio is an obvious earsore.

Quality audio is blissfully inconspicuous.

PS My voice is for hire but my opinion is not for sale. I did not seek or receive any compensation from the manufacturers mentioned in this blog.

PPS MY LAST APPEAL

If you feel you are benefiting from my stories, ideas and suggestions and would like to show your support, kindly consider this. Make a donation to the National Multiple Sclerosis Society today. When you click on this link, you will be taken to my Walk MS page. Scroll down to the Donate to Paul-button, and surprise me.

So far, readers of this blog have donated over $2,500.00. WOW! That means I’ve had to raise my fundraising goal to $2.750! We have one more week to go before I take part in the annual Walk MS event in my area. Can I count on you?