Double Dutch

What do the Vatican, the United Nations, the German Parliament, the BBC and my company Nethervoice have in common?

We all use top of the line microphones from a family-owned business in the small German town of Gefell.

If you’ve never heard of Gefell and you enjoy European history, let’s travel back in time for a moment.

In 1943, Georg Neumann‘s main microphone laboratory in Berlin was hit by bombs and caught fire. To avoid more damage, Neumann and his technical director Erich Kühnast moved the entire company to Gefell where they continued their work in an old textile mill.

After Germany’s surrender, Gefell was occupied by the Americans and then handed over to the Soviet Union. In 1946 a number of Gefell employees returned to Berlin to establish a small workshop. This workshop eventually became Georg Neumann GmbH, the second Neumann company.

Kühnast and most of the original staff stayed in Gefell and continued to develop and build microphones. Neumann made Kühnast manager of the limited partnership Georg Neumann & Co. which was later nationalized by the German Democratic Republic (GDR). Despite the building of the Berlin Wall in 1961, the management of the two companies stayed in touch with one another.

In 1972, the GDR prohibited use of the Neumann trademark, and the East-German company was renamed VEB Mikrofontechnik Gefell.

After the Wall came down in 1989, Georg Neumann’s heirs reclaimed their share in the company and a new period of cooperation began. Here’s what’s remarkable. When the Neumann engineers took a closer look at the Gefell products that had been developed behind the Iron Curtain, they discovered microphone technology that was more sophisticated than some of that in the West.

After Sennheiser took over Neumann in 1991, Microtech Gefell -as it is now called- became an independent, privately owned company, known for hand-made, high-end microphones. (this overview is in part based on an article in Sound on Sound and on information on the Gefell website).

MY NEW BABY
Fast forward to Tuesday, January 17th, 2012, the day I became the first person in America to own a Gefell M 930 Ts studio condenser microphone.

Out of thousands of microphones on the market, why did I pick this particular make and model? I have to be honest with you: I didn’t pick this mic. It picked me. Or rather: I got lucky. Very, very lucky!

In my radio days I never paid any attention to the equipment I was using, but since I became master and commander of my own studio, things have changed. As a professional, I think it’s important to get to know the tools of the trade. I don’t consider myself to be a gearhead, but I do enjoy reading up on the latest audio equipment.

Before I’m ready to make any type of investment in my business, I spend months doing research, reading reviews and talking to colleagues in the know. Mark Magdich, my Sales Engineer at Sweetwater, is another excellent resource. He makes sure I don’t fall for the latest fad, and that when I finally decide on a new purchase, I invest in quality that will last for many years to come.

Any professional chef, musician or mechanic can tell you that well-made, reliable tools make the job a lot easier because they work with you instead of against you. Good tools can’t make an artist more creative, but they can inspire. Without them, he’s less able to realize his dreams. A great set of tools can take you to that proverbial next level.

It’s a cliché, but quality never goes out of style. It is remembered long after the price is forgotten.

RISING FROM THE PACK
As home studios are becoming the norm and more people are having a go at voice-overs, it’s increasingly important to distinguish oneself. It all starts with the way the voice is captured.

The quality of your sound is your signature.

Clients are sick and tired of having to put up with hiss, rumble, interference and echoes coming from inferior equipment recorded in so-called ‘professional’ booths set up in someone’s boudoir. By the sound of it, these spaces aren’t studios. They sound more like shacks. Radio shacks.

If you can’t provide clean, crystal clear audio, you should start a website where amateur VO’s can go forth, multiply and make a lot of noise. Why not call it VoiceRabbit (after the rabid growth I predict it will undergo)?

Alternatively, you could consult men like Dan Lenard, Dan Friedman, George Whittam or Mel Allen. They will set you up with the right gear and help you fine-tune your sound in less time than it will take you to learn the ropes through trial and error.

Although it never paints a complete picture, quality equipment does make a statement. When a client or agent sees you are using professional grade gear, they know you mean business and they have one less thing to worry about.

Imagine going to a wedding photographer to find out if he’s going to be a good fit for your big day, and the man pulls out a cheap point-and-shoot camera. Would you hire him? I don’t think so. Now, owning a Hasselblad 503CW does not make one a brilliant photographer, but that’s a different story. My colleague Rick Lance knows all about that.

RECORDINGHACKS
In my quest for the best equipment, I spent many hours on Matt Mcglyn’s creation: www.recordinghacks.com. It’s an online magazine as well as the world’s most extensive database of a 1000+ microphones.

If you happen to be looking for a good podcasting mic for $200, recordinghacks has put them to the test. If you need the specs of the Manley Reference Gold tube condenser, look no further. Interested in a $60,000 ribbon mic shootout? You know where to go!

Last year, recordinghacks gave away a new mic every month: a Cascade Fathead II, a Blue Yeti Pro, a Lauten Horizon etcetera. December’s prize topped it all: a brand new Microtech Gefell 930 Ts. This small, large diaphragm condenser was made with broadcasting and voice-over applications in mind.

AND THE WINNER IS…
In the first week of January, Matt Mcglyn said he had some good news for me: I was the lucky winner of the giveaway! It was unbelievable. What a start to the new year!

I want to thank Microtech Gefell GmbH for such a generous gift, and for their ongoing, uncompromising dedication to quality.

Matt Mcglyn deserves a big ‘thank you’ for creating such an excellent database and magazine, and for magically pulling my name out of his recordinghacks-hat.

As for the rest of you, I’m sure you’d like to know how my new mic sounds, and how it stacks up against other voice-over microphones. Well, it just so happens that I’ll be writing a review for recordinghacks, and you’ll find out for yourself why the Vatican has given its blessing to a small German company.

If there ever was one brand that has earned the right to capture the voice of G-d, it has to be Microtech Gefell!

Paul Strikwerda ©2012
www.nethervoice.com

PS Be sweet. Please retweet.

Technorati Tags: Dan Friedman, Dan Lenard, Double Dutch Blog, Erich Kühnast, Gefell, Gefell M 930 Ts, Georg Neumann, George Whittam, home studio, Matt Mcglyn, Mel Allen, microphone giveaway winner, Microtech Gefell GmbH, Nethervoice, Paul Strikwerda, recordinghacks, Rick Lance, Sound on Sound, voice-over, voiceover, voiceovers

In the past these were dirty words for dirty people. Now these very same words can be used to describe the average social media addict.

We like strutting our stuff in public. We want the world to watch us. And we follow the fools who think that tweeting nonsense all day long makes them relevant.

8:05 AM. In line at Starbucks.

8:10 AM. Ordering a tall latte.

8:15 AM. Should have asked for a double shot of espresso.

8:18 AM. Back in my Mercedes. New Jersey Turnpike, here I come!

8:21 AM. In a car accident. Tweeting and drinking coffee don’t go well together.

9:33 AM. Thank goodness this hospital has a Starbucks.

We can laugh about it. We can cry about it, but things like Twitter and texting are changing the way we communicate. Even the way we dress.

If you don’t believe me, you should shop for winter gloves today, and count the pairs with holes in them or with special patches. Touchscreen gloves, that’s what they are called. Snowstorms, twisters, Republican primaries and other natural disasters won’t prevent mankind from texting.

Every single day, two hundred trillion text messages are received in America alone (source). That’s more than an entire year’s worth of regular mail.

Nielsen reported that the average American teen sends 3,339 texts each month. That’s more than six per every hour they’re awake. The girls are beating the boys with 4,050 texts per month, (boys send an average of 2,539 texts). Mind you, these numbers are from 2010!

But it’s not just the kids. Go into any supermarket and count how many times you’ll hear a mother tell her stroller-toddler:

“Not now sweetie. Mommy’s texting.”

8:42 PM. At Trader Joe’s. Should I buy broccoli or cauliflower?

Thanks to all these very important messages, safety is no longer the number one reason for getting a phone. We just love being social, don’t we?

THE FACEBOOK REVOLUTION
In 2010, Facebook beat Google as the most visited site (if we leave out visits to Google-owned YouTube). A year later, Facebook’s U.S. advertising revenue of 2.2 billion dollars had surpassed that of both Google and Yahoo.

It is THE place to hang out and make new friends. It’s that wonderful platform where -in the midst of an economic crisis- everything is always A-Okay. No matter what happens, the show must go on so we keep on dancing.

Smile people! Always beware of your brand. Heaven forbid we become real and share our fears and failures.

Occasionally, some Facebook friends will vent their frustrations, but overall, a happy-go-lucky attitude seems to be the norm: Do what you love and the money will follow. Really?

Many Europeans consider this attitude to be “typically American.” They see the States as a country where people have a hard time accepting failure. We’d rather take a happy pill than deal with our problems. We’re certainly not going to share them on our Facebook Walls. We’ve turned those into advertorials and infomercials:

9:15 AM. Join me for an online seminar where I’ll teach you how not to waste your time on Facebook. Remember the early bird discount!

10:02 AM. Finished an amazing gig with an amazing director. Life is good. It’s great to be back in L.A.

11:46 AM. Jesus rocks! He guided me to book another gig for Playboy Enterprises. Praise the Lord.

11:47 AM. Deuteronomy 5:11

11:48 AM. John 8:7

11:49 AM. Broccoli or cauliflower?

1:15 PM. There’s a new article on the Double Dutch blog. Be the first one to read it before it appears on VoiceOverXtra.

Yep, Facebook is definitely a site we can’t live without. In fact, we need more of those online chatrooms. What did you just tell me? You’re not on Google+ yet? Boy, you’re missing out on something spectacular. It’s great for your business. The other day I saw a video of a dog. Man, that was funny. Every time his owner began playing the guitar, this dog started smiling. No kidding. I’ll send you the link.

3:30 PM. Wasted another 3 minutes watching a dog on YouTube. Completely forgot to register for Faffcon 4. 

A WINDOW TO THE WORLD?
Look, I am not going to pooh-pooh social media again, but we should bury the idea that these sites are widening our world and increase interpersonal connections.

First of all, we don’t seem to know the difference between socializing and advertising. Socializing is all about connecting with others. Advertising is drawing attention to oneself in order to sell. If that becomes the main purpose of the interaction, it will turn people off. Sooner rather than later.

Secondly, people mainly interact with people they know or agree with. We block the rest and ban them from our circles. And if we don’t do it ourselves, algorithms will make sure that we see what we want to see and hear what we want to hear. Author and activist Eli Pariser calls this the “Filter Bubble.”

Based on our location and on what you and I have searched for and looked at in the past, certain websites (like Facebook) and search engines now use algorithms to predict and select what we’d be interested in right now. They call it “creating a personalized experience.”

YOUR WEB YOUR WAY
If you’re in the market for a new set of wheels and you’ve been browsing a few dealerships, chances are that you’ll be presented with car commercials instead of chewing gum ads. If you’re a fan of the current man in the White House and you keep track of his party’s politics, you won’t be exposed to Tea Party rhetoric. So far, so good, right?

Amazon and Netflix work the same way:

“If you liked this product or that movie, here’s what we recommend you check out next.”

I once made the mistake of tweeting about how much I love my memory foam mattress. Within the hour I was followed by three companies selling mattresses. I wanted to challenge them to a pillow fight.

But wait, there’s more!

If you and I were to enter the same keywords in Google, we would receive different results, based on past online behavior. You will get sites that are more in line with your interests and I will get sites that -presumably- will resonate more with things I prefer. Why is that so terrible?

DIVERSITY IS THE SPICE OF LIFE
I happen to think that it’s good to be exposed to different points of view. If I am only presented with an invisibly edited and uncontrollable stream of information that confirms my own bias, I lose something very important. Eli Pariser puts it this way:

“The Internet is showing us a world it thinks we want to see, but not necessarily what we need to see.”

We need to see how other people live and we need to hear what other people think. Intellectual discourse is part of a healthy democracy.

If we wish to promote peace, understanding and compassion in the world, we have to open ourselves up to other ideas, other traditions and the very things we don’t comprehend. Things that may make us uncomfortable. Otherwise, stupid stereotypes will go unchallenged and the people on this planet will never overcome their conflicts.

5:15 PM. More of the same is not only boring, it’s dangerous.

5:16 PM. I don’t want some geek at Google to tell me what’s relevant.

Knowledge empowers. Ignorance separates.

NOW WHAT?
It’s time to burst that filter bubble and give us control over the selection of sources of information. I don’t need Yahoo to determine what types of news stories will appear when I switch on my computer.

I want Facebook to be more about sharing and less about selling. I want parents to care more about their children than about their smart phones.

I want drivers to switch off their Blackberries and pay attention to the road. I want more people to be in the moment, instead of describing it on some electronic device.

That’s all great in theory, but here’s the question that’s been haunting me:

Will that ever happen or did we pass a point of no return?

5:24 PM. I am a practitioner of Positive Pessimism.

5:25 PM Hoping for the best. Expecting the worst.

Paul Strikwerda ©2012
www.nethervoice.com

Technorati Tags: Amazon, Double Dutch Blog, Eli Pariser, exhibitionists, Faffcon, Filter Bubble, Google, Netflix, Nethervoice, Nielsen, Paul Strikwerda, Social Media, stalkers, texting, twitter, VoiceOverXtra, voyeurs, Yahoo

In order to know where you’re going, it’s essential to know where you are and where you came from.

As predicted, 2011 is history.

Because we’re always so focused on the future, we rarely take the time to look back and appreciate what we’ve accomplished. Yet, in this first week of the new year, people like to take stock of their lives as they welcome a new beginning.

Had I not done that, I would have missed the fact that this is my hundred and first contribution since I started writing this blog. My stats reveal that -on average- every article was read 965 times.

Numbers, however, are cold and cannot express how deeply grateful I am that week after week you have taken a few moments out of your day to walk through this Double Dutch door.

Yes, it’s flattering to have made this year’s list of Most Influential VO-Bloggers, but I didn’t make it happen all by myself.

You did.

You are the soundboard that resonates when I strike a chord.

Without you, my words would dissipate as swiftly as a New Year’s resolution on January 2nd. Without your comments (almost 1,700 so far), emails and other conversations, I would be talking to myself (and believe me, I do too much of that already).

Since this is the official blog of Nethervoice, I’d like to indulge myself and use this last post of 2011 to revisit some of this year’s milestone moments in the history of… me.

Here are a few things I am proud of and thankful for:

1. In 2011 I landed four new agents on three continents

2. I designed and built a soundproof voice-over studio in my basement

3. Moving to a Mac, I upgraded practically all my hard- and software

4. At Faffcon 3 I had the opportunity to share my blogging secrets

5. I published two eBooks: “Building a Vocal Booth on a Budget” and “Boosting your Business with a Blog”

6. My eighth audio book just went on sale. It’s called “Brains on Fire” and (appropriately) it’s about word of mouth marketing

MY YEAR IN QUOTES
If you don’t mind, I’d love to end this year by looking back at 2011 as we flip through the pages of past posts. What’s worth remembering and what shall we put into the recycle bin? To refresh your memory, here are some of my favorite quotes:

“It’s so easy to speak in generalizations and pretend we understand one another. When we do, we usually don’t.”

from: “Taken for a Ride”

“I strive to inform, I attempt to entertain and yes… I also like to rock the boat every once in a while. As a voiceover professional, it is my job to be outspoken.”

from: “Hanging Up My Hat”

“Most people find it easier to sum up what they don’t want. Take it from me: You’ll never get anywhere by focusing on the things you wish to avoid. In fact, you’re more likely to attract the very things you’re running away from.”

from: “Are You a Winner or a Whiner”

“If you never stick your neck out, you won’t get hurt, but you won’t rise above the rest either.”

from: “Finding your Value as a Voice-Over”

“The voice-over future is filled with gloom and doom. When people tell you less is more, they’re usually referring to your rate and not to your interpretation of the script. ”

“If you want to make lots of money, you have two options: you either apply for a job at the U.S. Mint, or you start an online voice casting business.”

from: “Pimping Your Pipes”

“How long does it take to find a quality needle in a huge haystack made of scrap metal?”

from: “Why Pay to Plays will Implode”

“Is Ted Williams honing his Kraft or is he still recovering from rehab?”

from: “Pimping Your Pipes”

“Every year, tens of thousands of self-employed people file for bankruptcy because they made one big mistake: they followed a dream and forgot to run the numbers. They are what I like to call ‘under-estimators’.”

“Your fee structure will help you attract the kind of customers you want to be working for, and the type of jobs you are shooting for. At the same time it will weed out the folks that cannot or will not afford you; the ones that are most likely to give you a hard time anyway.”

from: “The Power of Pricing”

“Just because a client needs you, doesn’t mean they can afford you, or that you can afford to work for them.”

from: “The Lowdown on Lowballing”

“Stop making excuses for those who don’t respect you enough to pay you a decent fee. Unless you’ve seen their balance sheet, you don’t know what they can or cannot afford. Know your bottom line. Add value. Don’t compromise so easily. Negotiate. Dare to say NO to a bad deal. Study the art of making the sale. It’s part of being a pro.”

“The key is adding value. If you don’t offer exceptional value, then your product or service becomes just another commodity. People buy commodities on price. If you’re just another web designer, voice-over artist or a car dealership, you’re in trouble. Value means offering more for a higher price.”

“Those who can’t build value, have nothing left but to compete on price.”

“Being extraordinary talented in what you do, doesn’t guarantee instant success. Life might have dealt you a pretty good hand, but if you don’t know how to play the game, even the best cards are useless. “

from: “Those Bloody Bottom Feeders”

“You can set the stage, learn your lines and lessons and strive to be the best you can be. But you can’t force feed your target markets, especially if you don’t know what they’re hungry for.”

“Stop pushing and start listening. Don’t offer a solution before you know what the problem is.”

“If self-control were that easy, very few people would smoke; all of us would maintain the perfect weight and prisons would be empty.”

from: “Can You Control Your Career”

“We are free people, living in a free country who earned the right to free themselves of any free time.”

“You’re self-employed. You embody your service. Literally. If you don’t take care of yourself, no one else will. If you don’t guard your boundaries carefully, good people with the best of intentions will step on them and leave you depleted.”

from: “Give Me a Break”

“Bad habits are very effective strategies for consistently getting undesired results.”

from: “Your Biggest Blind Spot”

“If you happen to hire voices, I have a message for you: We can read your script but we can’t read your mind.”

from: “What the heck is Neutral English?”

“I go online for information and communication; not for salvation. For me, conversion rate is about turning visitors into customers. Let’s not trivialize the sacred scriptures and turn the internet into a stairway to heaven.”

from: “8 Things I Hate About You”

“I’ve come to the conclusion that VO-Pros and cows have one thing in common: they are ruminants. Most ruminants have four stomachs. The first stomach chamber (the “rumen”) is the chamber in which large amounts of food are stored and softened. Once it is processed, it is regurgitated and chewed and digested again in different chambers. At the end there’s only one thing left: bullsh*t.”

from: “Why you a boring me to death”

“Shit happens. You just have to make sure it doesn’t hit your fans.”

from: “Mad as Hell”

“I firmly believe that the quality of our life is greatly determined by the quality of our relationships. Taking the time to strengthen those relationships is vital and invigorating.”

from: “How I Became An Egotistical Bastard”

“People in our profession have a strange relationship with the truth. We get paid to pretend. The most convincing liars get the nicest paychecks, an Oscar and a star on Hollywood’s Walk of Fame. However, true talent, trust and integrity are the cornerstones of a successful career. Trust must be earned. True talent and integrity can never be faked.”

from: “Ten Lies Voice Overs Tell”

“Your mindset is the filter through which you look at reality and interpret what it means to you and which actions to take.”

“There are no silver platters, silver bullets or golden shortcuts to the top.”

from:  ”Why some will never make it”

“Money is a means to a beginning. That beginning is called “autonomy”. As long as you low ball whatever it is you’re offering, you’re telling the world that you don’t believe that you’re worth a penny more. That’s not the road to independence. It’s a road to nowhere.”

“Passionate people have a tendency to be stuck in the now, absorbed in the moment. But even those who have reached the top will tell you that you need to think ahead if you want to stay ahead. If you want to manage your career, you have to learn how to manage your money.”

from: “Right on the Money”

“You will never do your best work for the love of money. You do your best work when you hold yourself up to standards no one else can or will match. Your best work is always a labor of love and never the result of greed.”

from: “Are you taking kickbacks?”

“Quality calls for experience, dedication, patience and passion. It’s so much easier to be average. Mediocrity can be phoned in. It doesn’t require effort, enthusiasm or attention to detail. It doesn’t ask for sacrifice, continued education or for high-end equipment.”

from: “Finding your Value as a Voice-Over”

“The greatest goals are never about personal fame and fortune, and they will never come true the way you imagined them to come true.

At the end of the day, every goal is a picture of what you believe you’re capable of, with all the resources you have available right now.

That means that every goal is limited by your imagination and your perception of what is possible.

The most ambitious goals will seem unrealistic and unreasonable, and yet, even those are confined by what you think you can or cannot accomplish.”

from: “Are You a Winner or a Whiner”

Have a peaceful, productive and prosperous new year!

Paul Strikwerda ©2011
www.nethervoice.com

PS Be sweet. Please retweet!

Technorati Tags: best blogs of 2011, Double Dutch Blog, Dutch voice talent, most influential voice over blog, Nethervoice, Paul Strikwerda

Etymology is the study of the origin of words. If you love language the way I do, you probably love looking into its history. Delving into the deeper meaning of the things that come out of our mouths is as revealing as it is rewarding.

Take the word competition. To most people it is synonymous with rivalry or a fight to outdo another; a race that can only have one winner and lots of losers. It’s Darwin’s theory in a nutshell.

It wasn’t always understood like that.

The word competition comes from the latin verb competere. Com meaning ‘together’ and petere ‘to strive or seek’. Hundreds of years ago, competition actually meant ‘to strive or come together’ or even ‘to agree’.

Whenever people tell me that the voice-over business is getting more and more competitive, I prefer to think of it in terms of the original meaning of the word.

Ideally, it should be about amicable cooperation and not about bitter confrontation. We shouldn’t be at each others’ throats. Instead, we have to strive together…. but for what exactly?

To me the answer is simple: to further our field and make this a profession we’re proud to be part of. The way to do that is to set and live by the highest standards, both professionally and ethically.

In a world where the lowest (and cheapest) common denominator often seems to win the day, this is not a popular message. Our culture promotes and rewards passive consumption, and it excels in upholding minimum standards. Take a look around you. Everywhere, highly skilled craftsmen have been replaced by robots and cheesy prefab.

Quality calls for experience, dedication, patience and passion. It’s so much easier to be average. Mediocrity can be phoned in. It doesn’t require effort, enthusiasm or attention to detail. It doesn’t ask for sacrifice, continued education or for high-end equipment.

Perhaps I’m prejudiced, but I see no pride in delivering a perfunctory performance or an ordinary product. There’s absolutely no value in that.

Some will say that today’s culture of coasting is a result of people playing it safe. If you ask me, it’s based on laziness, carelessness and fear.

If you never stick your neck out, you won’t get hurt, but you won’t rise above the rest either.

Do you know anyone who has ever reached the top of his or her game by playing it safe?

It’s only good for preventing two things: accidents and unwanted pregnancies.

ADDING VALUE
Two weeks ago, I promised to get back to the topic of adding value in voice-overs. At this point you might expect a top 10 of the best tips on how to increase your worth as a voice-over artist. Any blogger will tell you that readers love numbered lists. But without the right frame of mind, these tips could easily turn into tricks. Tricks are for circus animals and con artists.

When discussing value, we need to talk about your motivation first. So, let me ask you this:

What drives you to be in this business?

Fame? Fun? Fortune? Fulfillment?

I’m sure you can come up with some other f-words.

Please don’t just read on, but take a few moments to really answer the question. But think of it, not so much in terms of what you hope to get out of it, but in terms of what you’re willing to put into it.

You don’t need Dr. Phil to tell you that the more you’re prepared to give, the more you’re likely to get.

Eventually.

Back to the question.

What drives you to be in this business?

Write down five to seven things that immediately come to mind. Don’t censor or analyze them. Just jot them down.

Now, let’s go one level deeper and ask ourselves:

What determines what people are willing to give (and give up), in order to get something that’s valuable to them?

That -of course- depends on what’s important to them, how important it is to them and why. Ultimately, this is determined by their values.

Values are the intangible things we really care about; they are the fundamental principles we live by, and they’re often compressed into abstract words such as honesty, integrity, health, love or liberty. Most of us take these notions for granted and never really think about what drives us deep down inside.

We’re motivated by things that matter to us most.

If I were to use some psycho-babble I’d say: Values provide an upfront motivation and an after-the-fact evaluation of the things we do and the choices we make in any context of our life.

Take the value of being truthful. As with all values, it can mean different things to different people. To my friend Fred it primarily means being truthful to himself. He’s a Democrat and he’d never do a voice-over for a campaign ad for a Republican candidate, no matter how much it would pay. Principles are more important than money.

To my friend Julie, being truthful means being truthful to her art, which she translates to being as convincing as possible when reading copy, whether it’s written by a Democrat, a Republican or a Libertarian.

Julie loves taking on challenging projects, and she has no problem putting her own political persuasions aside. As long as she can sound as if she totally means what she says, she’ll happily take the money. After all, she’s just playing a role. She doesn’t have to vote Republican.

NO RESPECT
Fred and Julie have noticed something else. Every time they felt uncomfortable or uncertain about a job or their performance, it usually had to do with their values.

Julie wasn’t at all happy with the condescending way a director had treated her in one of her last sessions. She made good money but it came at a hefty price. Afterwards she told me: “I’ll never work with that man again, no matter how much he’d pay me.”

Not so long ago, Fred was offered a project that seemed to be made for him, and the client agreed. “Finally, there’s someone who recognizes what I’m capable of,” Fred said to me, right after his audition. But as soon as he saw what the client was willing to offer for his services, he felt offended.

It turned out that for both Julie and Fred, the value of respect was very important. Julie felt disrespected by the rude director, and Fred felt insulted by the rate they offered him.

When core values are violated, people draw the line.

Now, how does all this digging into our psyche relate to adding value in voice-overs? I’ll tell you.

Before considering the additional benefits you think you can offer your clients, you have to value what you bring to the table first (and I don’t necessarily mean in a monetary way).

It works a bit like self-esteem. You will never be able to convince others that you believe in yourself, if that timid voice inside of you doesn’t believe a word of it. At best, you’d be sending mixed signals. Here’s an example.

The worst salespeople are those who don’t believe that their product is worth the asking price. They start apologizing right off the bat, and most of them don’t even realize they’re doing it. They give themselves away by using innocent words like usually or normally, when discussing their rate or price. Here’s what they might say:

“I usually charge….” or “Normally, this would sell for…”

What’s the not so hidden message here, and how would you respond?

How about this: “So, you’d normally charge $350, right? Well, what can you do for me today?”

And so the salesman steps into the hole that he just dug for himself by using one revealing word.

As long as he isn’t convinced of the value of what he has to offer, you can forget about teaching this old dog new tricks.

In the past, colleagues have come up to me and said: “Interesting concept, Paul, but this doesn’t really apply to me. I’m a voice-over actor. Not a sales person.”

To them I say: “Believe it or not, you ARE in sales. It is your job as an independent contractor to negotiate the best terms and the best price for your services.

Secondly, as an actor it is your job to sell your character to me as convincingly as you can. If you don’t believe you can pull that role off, don’t waste your time. I’ll be able to tell within a matter of seconds.”

Your actions and your results start with what you value. It all begins with what’s important to you and why.

People who truly value what they bring to the table state their price with conviction and then shut up. And you know what? These people are more likely to get what they’re asking for. They know that quality knows no shortcuts or compromises.

If you’re committed to furthering the field and make this a profession you’re proud to be part of, I hereby challenge you to raise your standards and increase your value in the year to come.

Let the competition begin!

Paul Strikwerda ©2011
www.nethervoice.com

PS Be sweet. Please retweet!

Technorati Tags: competition, Double Dutch Blog, Dutch voice over, finding value, Nethervoice, Paul Strikwerda, voiceover, voiceover blog, voiceovers

She jokingly called her students “germ bags” and described school parents as “snobby” and “arrogant.”

On Facebook.

As a result, this Massachusetts math and science teacher lost her $92,636-a-year job.

A waitress at a pizza restaurant in uptown Charlotte was fired after making derogatory remarks about customers who’d made her work an hour past the end of her shift and only left a small tip.

On Twitter.

Comedian Gilbert Gottfried lost his job as the voice of the Aflac duck, after the insurance company found out he was tweeting “jokes” about the devastating tsunami in Japan.

Free speech is a wonderful thing, as long as you realize who’s listening. Big Brother is following you. He might even be a Facebook friend or a Google Spy-der.

Digital Inspiration discovered last month, that:

“Googlebots, or the spiders that crawl web pages, are now reading Facebook comments on websites just like any other text content and the more interesting part is that you can also search the text of these comments using regular Google search.”

Many sites allow you to use your Facebook profile to leave comments. It’s easy and it saves time. But when you do that, your remarks are linked to your user name, profile picture and they link back to your Facebook profile.

As CNET’s Sharon Vaknin warned:

“A Google search for your name may reveal your comments. Since your Facebook account is tied to your (presumably) real name, anyone googling you may stumble upon your political, religious, or general views expressed in comments you’ve left across the Web. Consider this when leaving comments using the Facebook Comments platform.”

And it’s not just your comments that could get you in trouble.

One of my European colleagues had landed a voice-over job for a high-end electronics company. She was thrilled to be associated with such a big name, and she liked the video she had voiced so much, that she put a link up on her blog.

The next day the phone rang. The legal department of the electronics giant asked her to read the fine print in her contract. It stated that she was not allowed to publicly associate herself with the company and that she could not use any material for promotional purposes.

Even though she removed the link immediately, she never heard from this client again.

Later she told me: “It was just a link to a video that was on the company website. It was in the public domain. What’s the big deal? The way I see it, I was creating some free publicity for this company.”

It amazed me how quickly the legal department had discovered the link on a blog that wasn’t exactly popular. It goes to show that you never know who is watching over your shoulder.

This week, one of my agents received the following message from a casting director:

“Agents – it has come to our attention that many actors excited about their auditions, will post notices on facebook and twitter. This weekend, an actor lost a job because the tweet got back to the client on a product that had not been announced. Please ask your actors to not tweet/facebook the products for auditions.”

My agent immediately sent an email to all talent:

We know you get excited about auditions and bookings, but please do not tweet, facebook, blog, or share in any way before the finished media is out.

The safest sharing rule for the entertainment industry: only share information on your project AFTER the date of first insertion. No exceptions.

DO NOT announce clients or products for auditions, callbacks or bookings.

DO NOT check in on facebook.

DO NOT use social media on set.

Remember: You have the right to remain silent.

Anything you say can and will be used against you.

Paul Strikwerda ©2011
www.nethervoice.com

PS Be sweet. Please retweet.
PPS Next week I’ll talk about adding value in voice-overs.

Technorati Tags: Aflac, CNET, Digital Inspiration, Double Dutch Blog, Dutch voice over, Facebook, Gilbert Gottfried, Google, Googlebots, Nethervoice, Paul Strikwerda, Sharon Vaknin, Social Media, twitter, voiceovers

“Those who can’t build value, have nothing left but to compete on price.” Paul Strikwerda

By the end of December, Alex Rodriguez will have earned $39,000,000. That’s 33 million in salary and winnings from the New York Yankees, and 6 million in endorsements. Not bad for a year’s work.

Do you think he’s worth it?

In 2006, entertainment tycoon David Geffen sold Jackson Pollock’s painting No. 5, 1948 for 140 million dollars. Assuming you had that kind of spare change, would you spend it on a painting described by some as “stunning drip”?

Can you tell me why 15-year old actress Abigail Breslin reportedly made $65K for 5 hours of voice-over work for the animated film “Zambezia”? Yes, that’s $13,000 per hour!

Let’s be honest: what did these people really do?

Mmm… let’s see. Rodriguez is pretty good at hitting a ball with some sort of stick; Pollock simply threw some paint on engineered wood, and all Breslin did was talk into a microphone. Why is that worth so much money?

Two words: PERCEIVED VALUE

Before I deal with the notion of perception, let’s first talk about the connection between cost, price and value.

Unless you are selling something that is basic and interchangeable (such as a commodity), there’s often no direct correlation between the cost to produce a certain article, the price the article sells for and the value people attribute to it. Art is an extreme example.

“No. 5, 1948” is currently the most expensive painting ever sold. Did you ever wonder how much Pollock spent on paints, brushes and the 8′ × 4′ sheet of fiberboard he drizzled on? Does it even matter?

What does matter is the subjective value of the painting and not the cost of the materials. In fact, to the new owner, the subjective value of Pollock’s masterpiece might very well be more than 140 million dollars.

Warren Buffet summed it up nicely:

“Price is what you pay. Value is what you get.”

That’s why people who only compete on price (those darn lowballers), are making a huge mistake. By doing so, they are devaluing what they have to offer, even before the client has had a chance to respond.

As soon as you start competing on price, you treat your valuable service or product as a dime-a-dozen commodity.

Peter Drucker was right when he said: “In a commodity market, you can only be as good as your dumbest competitor.”

Perceived value is in the eye of the beholder. It’s intangible. It’s a reaction to the assumed benefits you receive from owning and using a certain product or service. It’s an emotional response, based on a belief (and I define a belief as “a feeling of certainty”).

BELIEVING = SEEING?
A belief can be very powerful in overriding logical reasoning:

• as long as we believe that these dirty pieces of paper with the faces of dead people on it represent a certain value, we will continue to use them as money.

• people who were given two identical red wines to drink, said they got much more pleasure from the one they were told had cost more. Brain scans confirmed that their pleasure centers were activated far more by the higher-priced wine. (source)

• at least a third of the population consists of so-called placebo reactors. This means that if they feel that something is doing them good, it will indeed do them good.

Do you believe that?

Now, I’m not saying that “the market” has nothing to do with the way we put a price on goods and services. But economics is not always about numbers. It’s just as much about psychology. Let me give you two examples.

The law of scarcity states that if what you desire is in (seemingly) limited supply, its perceived value increases. This, in turn, increases the urge for people to want it and want it now. That’s why marketers love to create the perception of scarcity by saying things like “for a limited time only,” or “while supplies last.” Don’t miss out, people!

WALL STREET WISDOM
How about the stock market? What causes stock prices to change? Well, the idea is that the price movement of a stock indicates what investors feel a company is worth. For that, they look at things like earnings. Without profit, no company can survive.

However, during the dotcom bubble, some internet companies were valued at billions of dollars without ever making a profit. Their value was based on the perception of Wall Street, a strong feeling that these companies would do well in the future.

Feelings overruled facts.

Whoever said “Feelings don’t lie,” was in for a rude awakening!

For one last blast about the power of perception, let’s look at politics.

Why did republican hopeful Herman Cain suspend his bid for the White House? Did it really matter whether or not he had had extramarital affairs? If anything, his campaign was killed by allegations.

What mattered was that Cain was not able to change the perception of the public. Where there’s smoke, there must be fire, right?

BACK TO YOU
Now, let’s move away from politics, placebos, wine and the stock market, and talk about how all of this relates to your pricing strategy. Let’s summarize:

The price people are willing to pay greatly depends on how people evaluate what you have to offer. Value is a matter of perception. Perception is personal and therefore subjective. Perceptions influence a client’s expectations upfront, and the level of satisfaction after the purchase has been made.

Here’s the good news: because perceptions are subjective, they can be changed. That’s what branding, marketing and advertising are for. A successful campaign can turn simple pants made of rugged blue cloth into desirable designer denim.

True Religion’s top-selling jeans, the Super T, cost about $50 to make and sell wholesale to retailers for $152 a pair. The average price in stores is $335. (source) Gucci Low-rise flared jeans sell for $720. Talk about perceived value…

Most solopreneurs don’t have the funds to hire Saatchi & Saatchi and have them create a campaign to convince customers. Luckily, there are other -much cheaper- ways to position yourself in the market and sell your services at a higher price. This has to start with one question:

Do YOU believe you’re worth it?

Alex does. Abigail does, and so do their agents.

And guess what? The New York Yankees and Triggerfish Animation Studios agree!

They know that the added value A-rod and Abigail bring to their game, is much, much higher than their salaries.

You and I see price. They see value.

The pricing of art is an example of the art of pricing.

I can guarantee you that since 2006, the price of Pollock’s painting has gone up considerably.

Have you raised your rates lately? Are you selling yourself based on price or on value?

In the next installment, I’ll look at ways you can add value to what you have to offer, so you can stop selling yourself as a commodity, and start positioning yourself as a premium service.

Are you sold yet??

Paul Strikwerda ©2011
www.nethervoice.com

P.S. Be sweet. Please retweet!

Technorati Tags: Abigail Breslin, Alex Rodriguez, David Geffen, dot com bubble, Double Dutch Blog, Dutch voice over, Herman Cain, Jackson Pollock, law of scarcity, Nethervoice, New York Yankees, Paul Strikwerda, perceived value, Peter Drucker, placebo reactors, Saatchi & Saatchi, Triggerfish Animation Studios, value added pricing, voice-over, voiceover, voiceovers, Warren Buffet, Zambezia

They’re everywhere. Haven’t you noticed?

Take one good look. Let’s start with your online Holiday shopping.

Who’s responsible for most reviews on Amazon.com?

Experts? Consumer advocates? Independent test laboratories?

No. Amateurs!

Who just gave your favorite movie two stars on Netflix? Roger Ebert?

No. Amateurs!

What kind of people put the “reality” in reality TV?

Amateurs!

Where would talent shows like “American Idol,” “The X Factor” and “The Voice” be without…

Amateurs!

Credentials are so yesterday. Experience is optional. If it breathes and has half a brain, any Nobody can be Somebody.

On the web, pretenders pose as pros, and social proof trumps scientific evidence. Now, that’s what I call progress, ladies and gentlemen!

CULTURE SHOCK
A few years ago, British-American entrepreneur Andrew Keen wrote “The Cult of the Amateur: How Today’s Internet is Killing Our Culture.”

In it, Keen describes how he holds the participatory Web 2.0 responsible for at least two things:

1. Making it almost impossible to find high quality material amidst mediocre user-generated web content;

2. destroying profitable professionalism.

Take Wikipedia, which relies heavily on volunteer editors and contributors. Wikipedia gets more traffic than the online edition of the venerable Encyclopedia Britannica, written by experts and scholars. Keen writes:

“Every visit to Wikipedia’s free information hive means one less customer for a professionally researched and edited encyclopedia such as Britannica.”

But why would that necessarily be a bad thing (apart from putting encyclopedians out of business)?

The ever-evolving world wide web is all about user participation. Since the dawn of the egalitarian Internet, experts have had to leave their ivory towers. Information has become democratic: for the masses, by the masses.

We’re now living in the age of the Citizen Reporter, the self-styled critic and open source software. Anyone can share anything, no matter how profound or pathetic. How liberating is that?

Think about it.

In this 24/7 global, unfiltered data dump, there are very few knowledgeable gatekeepers to separate fact from fiction. Any amateur can claim to be an expert, and no one is going to stop them until they are found out.

Case in point:

THE  ESSJAY CONTROVERSY
In 2007, a Wikipedia contributor using the name Essjay, had edited thousands of articles. He once was one of the few people given the authority to arbitrate disputes between writers.

According to his user profile, Essjay was a tenured professor of religion at a private university with expertise in canon law. But in reality, Essjay turned out to be a 24-year-old impostor named Ryan Jordan, who attended a number of colleges in Kentucky and lived outside Louisville.

“People have gone through his edits and found places where he was basically cashing in on his fake credentials to bolster his arguments,” said Michael Snow, a Wikipedia administrator, after Jordan admitted that he had fooled everyone.

Boston Globe columnist Alex Beam called the Essjay affair an illustration of the problems of “crowdsourcing” and the “wisdom of crowds,” saying that the crowd accepts authority unquestioningly. Beam:

“Who would you rather have write your encyclopedia entries? Bertrand Russell, T.H. Huxley, and Benedetto Croce, who wrote for the Britannica? Or … Essjay?”

Andrew Keen was even stronger in his criticism. He said the whole affair was just one example of people ignoring expert guidance in favor of what he called the “dictatorship of idiots.” In this new “idiocracy,” amateurs rule and professionals are no longer cool.

Thank goodness that’s not the case in my profession: the wonderful world of voice-over acting!

Or is it?

THE DIFFERENCE THAT MAKES THE DIFFERENCE
Before I go on, let’s just define the territory, shall we?

To me, an amateur is a hobbyist, knowledgeable or otherwise, someone who does not make a living from his or her field of interest, a layperson, lacking credentials.

According to the same dictionary, a professional is someone engaging in a given activity as a source of livelihood or as a career; a skilled practitioner, an expert.

It’s no secret that each year, hundreds -if not thousands- of hopeful amateurs attempt to break into the business, by presenting themselves as voice-over professionals. It’s never been easier, and I’m not going to belittle anyone for trying.

However, if you present yourself as a pro, you have to leave your amateur attitude behind. In order to compete with the best, you have to hold yourself to the highest standards of professionalism. If you’re not ready, don’t enter the market. Otherwise, you’re wasting your time.

Now, some of you might say: “I’d rather hire an enthusiastic, talented amateur than a burnt-out, uninspired pro. There’s an abundance of fresh talent at the online voice casting sites and they deserve a chance. Everybody’s got to start somewhere, right?”

Well, let’s see how that works out.

HORROR STORY
A colleague with years and years of experience, gave me permission to share the following with you:

I’m trying to establish a new voiceover service targeting a specific niche.

I listened to hundreds of demos on Pay to Plays, and I was appalled at the reads (Radio DJ Syndrome) and by the Audio Quality Disorder (AQD).

While clicking through the demos, it was like… ”no, no, no,no,no,no,no,no, maybe, no,no,no,no, yes. no,no,no,no,no…” Maybe .005% of the people were worthy.

Ultimately, I found about 10 voiceover “professionals” on voices.com and voice123, and from various vo groups.

I contacted the people and explained my project. They all agreed to be involved. I needed some demos to get started. I sent them scripts with pronunciations and asked for demos as .wav files. (The 10 scripts consisted of only two or three sentences each!)

I received their demos of my scripts. The audio was shockingly bad.

Here’s what I heard:

Plosives all over the place; lip sounds; miscellaneous noises; “fff” and ”whoosh” breathing sounds; pops; distortion; headphone feedback. Additionally, there was a high pitch whine/buzz throughout the entire recording of one person’s demo.

In one case, I heard a kind of crackling noise that I knew could be due to a bad hard drive.

I sent samples of the people’s audio to Dan Lenard, the Home Studio Master. He confirmed my claims and he said he’s heard worse! (He said the noise that I thought was a bad hard disk was probably a broken microphone.)

One person ignored the phonetic pronunciations I provided. A few ignored the audio file-type specification. A couple people sent me .wav files not compressed as .zip files. One person sent me a .wav file that did not contain any audio!

One person told me he would be part of the project. In that email, he said he’d been having email troubles, and that’s the last I’ve heard from him! I tried contacting him through one of the p2p sites. I’ve had no response following his first email that stated he would be part of the project.

The audio from almost all the people was unusable.

So, in an email to each person, I explained in detail the issues with his or her audio, and asked for retakes

Then, the retakes deadlines passed, and I hadn’t received the retake demos from 5 of the people, so I emailed those 5 people and asked if they were still participating.

One guy said “I’m going to pass at this time. Thank you though”. His demo had already been sent to two voice-seekers. Had I not inquired, I would have discovered he was no longer interested only at the time I had committed to a job using his voice! He did not have the courtesy to inform me he was withdrawing from the project.

The demos of these people, on their profile pages, sounded good. The audio they sent me was crap.

According to Dan, the audio I received is representative of what ”professional voiceover talents” are giving to paying clients.

I’m absolutely dumbfounded that the poor quality of the audio that these ”pros” gave me is the same poor quality audio that goes out to clients.

I’m dismayed by the unprofessionalism displayed by some of the people.

Bad audio and amateurism are two big reasons the business is going to hell in a handbasket.

ATYPICAL OR A TREND?
It’s very easy to discard this story as anecdotal evidence. If that were the case, why are more and more voice-seekers leaving comments like:

“I cannot emphasize enough that I need high-quality audio. I expect all reads to be performed in some kind of professional or home recording studio with high-quality gear. Second-rate audio quality is not acceptable for this project.”

“MUST be absolutely crystal clear audio with none/minimal ambient noise.”

“Narrators must be able to record in high quality (either at a recording studio or at home with the appropriate equipment that can produce high quality). ”

“The audio must sound professional! Please do not send me audio that sounds like you recorded with a cassette player!”

“We would need the person hired to record the voice over in his own home studio with professional voice equipment, we had someone do it on their computer and it sounded awful and unprofessional.”

Well, one response would be: “If you expect professional quality, start paying professional rates! You get what you pay for.” My voice-seeking colleague continues:

“When clients have to ‘beg’ for quality audio, it indicates there is a problem of poor quality in the industry! Why do clients have to specifically demand high quality audio? We are supposed to be professionals!

For my new service, I’ve decided to only hire members of SaVoa, the Society of Accredited Voice Over Artist.”

The amateur invasion has opened many doors to deserving, talented individuals. But as always, if you don’t apply a fine filter, the floodgates will bring a lot of crap too, stinking up the business.

ARE YOU ALARMED?
In a strange way, my colleague’s story put my mind at ease. I’m not as worried anymore by the influx of upcoming voice talent as I used to be.

Wikipedia learned from the Essjay affair, and in an article addressing the reliability of the site, writes:

“The Wikipedia model allows anyone to edit, and relies on a large number of well-intentioned editors to overcome issues raised by a smaller number of problematic editors.

It is inherent in Wikipedia’s editing model that misleading information can be added, but over time quality is anticipated to improve in a form of group learning as editors reach consensus, so that substandard edits will very rapidly be removed.”

I predict that a similar kind of self-regulation will take place in the voice-over industry, or in any type of market that is overcrowded by freewheeling wannabes. Otherwise, something like a Pay-to-Play model will be as sustainable as the career of an aspiring voice actor.

Erik Sheppard of Voice Talent Productions puts it this way:

“The average lifespan of a voiceover “career” seems to be about a year. Every year old names drop off the radar and new ones appear, just to be replaced again the next year.

It seems to take about that long for The Blue Snowball Coalition of new talent to realize that they jumped into this without knowing what they heck they were doing and then they are on to the next get-rich-quick scheme. Sad really. I imagine there are a lot of old USB mics collecting dust out there…”

So, what’s your take on the avalanche of amateurs? Do they cheapen our community, or do they enrich us? Are they to blame for the steady decline of rates and standards?

Are they stealing jobs that should have gone to seasoned pros, or do they pick up the crumbs no one wants to eat?

Should some Pay-to-Plays put up a barrier of entry and be more rigid in their quality control, or will the weakest links just put themselves out of the game?

Paul Strikwerda ©2011
www.nethervoice.com

PS Be Sweet. Please retweet!

Technorati Tags: Alex Beam, Amateur Infestation, Andrew Keen, crowd sourcing, Double Dutch Blog, Dutch voiceover, Encyclopedia Britannica, Erik Sheppard, Essjay affair, Nethervoice, Paul Strikwerda, social proof, The Cult of the Amateur, voice acting, Voice Talent Productions, voice-over, voice-over career, web 2.0, Wikipedia

“It’s not the crook we fear in modern business; rather, it’s the honest guy who doesn’t know what he is doing.” Owen Young

The lines have been drawn.The time to mince words is over. Every day, our community seems to get more polarized around the issue of low rates. Listen to the buzz. Look at the chatter. Do you think this bubble is about to burst?

Some people are past being polite. They’re frustrated and angry. I like that. If you’re pissed off at something, it means you give a damn and you want things to change.

Some of my voice-over friends are a bit more diplomatic. Recently, I asked a few Facebook buddies a loaded question:

“Is charging low rates a sign of fear and lack of confidence, or just a smart strategy to attract more business?”

Here are some of the responses:

“You left out “ignorance” – some don’t know what they’re worth …” Joe J. Thomas

“It’s not a smart strategy because sooner or later, you will be up to your eyeballs with a multitude of low-ball clients and you’ll be working 15 hours a days, just to make ends meet. If you have to do this to survive, I respect that but you’ll never reach the next level working like this.

For every low rate I have to turn down, it’s usually made up a few days later when I get a new client who gets it. I would rather work with five good paying clients a week as opposed to fifteen who have $50 for their budget.” Terry Daniel ”

I believe it’s mostly be the influx of part timers and hobbyists to VO that drive down rates. They simply don’t depend upon the income to pay their bills. Anyone who has to depend on this work to feed, house and clothe themselves (not to mention a family) could never survive charging such low rates. To them, it’s pocket money. And in some part of the country the cost of living is much lower than in others, so those fewer dollars go further.” Diane Havens

Not everyone agrees. Of course most colleagues would rather do a well-paid job than a low-budget project, but they say there’s no shame in accepting work in the first place. Peter Sandon:

“Many of us are low volume workers, for a variety of reasons, and do not see the need or value in becoming union members. denigrating comments like “bottom feeders” are not only irrelevant but wrong and rude.

For many of us a low paid job is better than no job at all, and there is the chance that someone will hear our voices and offer us a well paid job. Did the “top feeders” start up there? I doubt it, most worked their way up, leaving low paid jobs for new arrivals, and maybe they don’t like the competition coming up behind them, because they may just be better – perish the thought!”

Here’s what Phil Sayer had to say:

“Do low rates ruin it for the rest of us? No, they don’t. They really, really don’t. They mop up low-budget work that others don’t want. If they didn’t provide that service, the money would simply be spent elsewhere, such as print.”

If you’ve been following my blog for a while, or if you’ve read my last article on lowballing, you know where I stand. Today I’ll give you my take on some of the arguments that are being used to defend, excuse or justify low rates. Even though we’re talking about voice-over services, you’ll find the same type of reasoning when other freelance rates are discussed. Here we go!

1. There will always be a high end and a low end of the market. Accept it and move on. 

That’s a given and it’s not addressing the real issue. We all know that there’s a market for KIA and Roll-Royce. The point is: how low is the KIA dealer willing to go to make a sale? Is he prepared to sell his cars at a loss, just to get his business going? How long can he keep that up before he goes bankrupt? It’s not a way to get loyal customers either. Next time, they’ll just buy from someone who’s willing to go even lower.

Bottom line: You need to cover your costs and then factor in a profit. But once you get clients hooked on cheap prices, they will never pay full price again.

2. You may lose money on every sale, but you’ll make it up in volume!

That’s like buying melons for a dollar each, and then selling 12 for 10 bucks. Does that make any sense? No matter how many KIA’s a dealer sells, if he sells them below cost, he’s not making any money. A small business owner once said: “Sales numbers feed egos, profits feed families.”

It’s not how much you sell, but how much you keep that matters. Business is a game of margins, not volume. Bargain airlines tried making money on volume. Guess what? They’re gone! To paraphrase Terry Daniel: would you rather do less for more, or more for less?

3. Purchase decisions are primarily based on price.

If that were the case, Mr. client, I will send you your order in two years, okay? I’ll also make sure that it will fall apart in two weeks, and you won’t be getting your money back. Don’t bother calling me, because I just closed our customer service department.

Most people do not buy on price alone. They will talk about price, but what they really mean is that you haven’t offered enough value to justify paying the price you’re asking.

There’s this cartoon with a picture of a brother and sister each with their own lemonade stand side by side. The brother’s lemonade stand reads “Lemonade 25 cents”. The sister’s lemonade stand reads “Lemonade 50 cents (clean water)”.

Do you want your service to be known for being the cheapest on the market, or for high quality? Competing on price is a losing battle.

Lawrence Steinmetz and William Brooks are the authors of “How to sell at margins higher than your competitors. Winning every sale at full price, rate or fee.” They say:

“If you want to earn a solid living in sales, you need to remember that you are going to face a consistent challenge to hang on to a higher price, because you will always find yourself competing with a fool who is going broke cutting prices.”

The key is adding value. If you don’t offer exceptional value, then your product or service becomes just another commodity. People buy commodities on price. If you’re just another web designer, voice-over artist or a car dealership, you’re in trouble. Value means offering more for a higher price.

4. Price does not influence the perception of a product.

If that were the case, why are people prepared to pay thousands of dollars for a Rolex, instead of buying a $50 Seiko? Most watchmakers agree that the Seiko is the better time piece.

Let’s talk about brain surgery. Why don’t people go to the cheapest surgeon in the area? Because low prices make people think he isn’t any good.

Price makes a statement. Cheap = cheap. What does your rate tell the world about what you think you’re worth?

5. Some clients just can’t afford paying higher rates. I can’t change that.

How do you know they can’t pay you a better rate? Buyers lie in order to get you to lower your price. It’s the oldest trick in the book. If they could get it from someone else at a better price, why are they still talking to you?

Stop making excuses for those who don’t respect you enough to pay you a decent fee. Unless you’ve seen their balance sheet, you don’t know what they can or cannot afford. Know your bottom line. Add value.

Don’t compromise so easily. Negotiate. Dare to say NO to a bad deal. Study the art of making the sale. It’s part of being a pro.

6. I don’t set the rates. The market does.

So, what you’re saying is that you don’t take responsibility for your prices? They are forced upon you at gunpoint? You’re just a helpless leaf in the wind?

Let me put it bluntly: The market doesn’t determine your price. Your client doesn’t set your fee. YOU do. It’s just very convenient to tell the world that you don’t have any influence over your rate. If you can’t control it, you can’t change it. You’re a victim of circumstance. End of story. Now go feel sorry for yourself.

Price-cutting is a self-inflicted wound. Should you decide that $10 for an 8 paragraph voice-over script is fair compensation, so be it. Contract law states that parties must agree to enter into a contract freely and must be of sound mind.

I’m not saying that you should ignore the competition or forget about the rate cards that are floating in cyberspace. It’s up to you if you want to look at Odesk, freelancer.com or the $100 voices.com minimum rate, and decide that that’s what “the market” is willing to pay. After all, all the client cares about is price, right? Or you could decide to look at union rates and make those the basis of your pricing structure.

Why not talk to an agent? If you’re any good, she might want to represent you. She’ll fight for a decent rate because if you do well, she will do well.

7. I’m not a sales person. I’m an artist. I don’t know how to negotiate.

No, you’re a wimp and you need a firm kick in the pants! Nobody is forcing you to be a full-time freelancer. But if you tell the world you are doing this to make a living, it automatically means that you’re the head of the sales department, whether you like it or not. Lawrence Steinmetz has this to add:

“The first thing you have to understand is that the selling price is a function of your ability to sell and nothing else.”

Any idiot can cave in at the first sign of buyer resistance and offer a price cut. That’s not selling. That’s being lazy and fearful. It’s a sign that you don’t believe in the value of your product or service. Clients always pick up on that and it will cost you dearly.

Being extraordinary talented in what you do, doesn’t guarantee instant success. Life might have dealt you a pretty good hand, but if you don’t know how to play the game, even the best cards are useless. We all know starving geniuses.

The way I see it, you have two choices. You either learn the rules and become good at playing the game, or you stay out of it. Remember: experience is the slowest teacher.

8. Low end rates do not affect high end rates.

If that were the case, why aren’t rates going up, instead of down? Why have so many auditions turned into a bidding war? Actor, writer and producer J.S. Gilbert:

“While it’s not being broadcast, I’m seeing people I know who have made six figure+ incomes at voice-over for years now, looking at incomes that are fractions of what they were a few years ago.”

I understand that we’ll never get back to the golden days of Don LaFontaine and his limo. Thanks to the internet, the rise in home studios and online job boards, clients no longer have to book union talent at union rates through an agent. Talk has become a lot cheaper.

As Gilbert points out in response to my previous post, a job that used to cost the client $1000, is now offered at $250. But why pay $250 if some fool is willing to do it for $25?

As I said before, once clients are taught they can get it for less, why should they pay a penny more? Give me one reason why this trend does not impact today’s prices, and has never done so in the past.

9. But I’m just getting started. I can’t possibly ask full price. 

Some beginners admitted to me that they’ve offered their services for free, just to be able to build a portfolio. Mind you: they were not talking about doing stuff for charity.

I think a freebie only makes sense if you have something else to sell. That’s why a baker hands out samples, and that’s why my custom demos are free of charge. But if you’re giving 500 dollars worth of services away for free, you’re not only creating expectations, you’re in fact saying: this is what I think my work is worth. Meanwhile, you’re robbing a colleague of the chance to make five hundred bucks.

Jason Fried is the co-founder and President of software solution provider 37signals. He recommends you practice charging a reasonable rate from day one. But what he said next was a real eye-opener to me:

“It’s very safe to charge low rates, because you don’t have to prove anything. But as soon as you charge a customer a good price, it gives them the power to demand something from you, such as good quality and great service. Those are the types of pressures you want on you as a small business owner. You want to be forced to be good. Charging for something forces you to be good.”

10. I don’t need to make a full-time income. It’s only a hobby.

If it’s only a hobby, why are you advertising yourself as a voice-over professional? I play the piano, but I don’t market myself as a concert pianist.

If you enjoy reading to other people, go volunteer at your local children’s hospital or elder care facility. You will probably get more appreciation for doing this, than for anything you’ve ever done before.

Most talent I know are only freelancing part-time, because they’re still building what they hope will become a full-time business. A part-time teacher only gets paid less because she puts in fewer hours. Does a part-time cab driver fix the meter so he can drive you around at half-price? So, why should you offer your services at bottom dollar?

Oh… I see. Your partner has a steady job, and the money you make doing the occasional voice-over doesn’t have to pay the mortgage, right?

Guess what? In this economy there’s no such thing as a steady job anymore. What would happen if your partner gets laid off and you become the sole breadwinner? Can your beer money pay the bills? Do you really think you could raise your rates to make ends meet?

Price buyers are the first to look elsewhere. They don’t care about your personal situation. They care about cutting costs. But stop thinking about your own situation for a moment.

There are people who depend on doing this for a living right now, and they think your price dumping is nothing but unfair competition.I admit: you’re quite talented, and by charging these low rates, you are making it harder and harder for them to justify their fees.

I think it’s time for you to think about the bigger picture.

This is not about shameless greed or about becoming filthy rich and famous. This is about being able to provide for your family; being able to send your kids to college and save some money for a rainy day.

Your voice could help sell millions of dollars worth of product. It can introduce people to brilliant books that enrich their lives. Your voice can be the voice of a mentor, teaching valuable skills to e-learners across the globe. Your voice can inform, entertain, sell and assist. Surely, that must be worth something?

However… Those who can’t build value, have nothing left but to compete on price.

Paul Strikwerda ©2011
www.nethervoice.com
Be sweet. Please retweet!

Technorati Tags: 37signals, bottom feeder, cheap voiceover, Diane Havens, Double Dutch Blog, J.S. Gilbert, Jason Fried, Joe J. Thomas, Lawrence Steinmetz, lowballing, Nethervoice, Owen Young, Paul Strikwerda, Peter Sandon, Phil Sayer, Terry Daniel, voice-over, voice-over rate, voiceover, voiceover rate card, William Brooks

You’ve probably heard the story of the priest who preached the same sermon every Sunday.

After a few weeks, some of the parishioners got tired of it and demanded an explanation.

“Do you really want to know why I’m repeating myself at every service?” asked the priest. The crowd nodded.

“I will continue to tell you the same thing over and over again, until you take it to heart and do something with it.

If you don’t change your behavior, I don’t see any reason for me to change my sermon.”

Well, I may be the son of a minister, but as a blogger, I can certainly relate to this priest. When it comes to setting rates, I sometimes feel I’m talking to a sea of people with frighteningly short memories and no backbone.

Watch me as I go to my pulpit and address the crowd:

FELLOW FREELANCERS, do you know how much you’re worth?

Do you have a good sense of how much to charge when a client asks you for a quote? Do you have an idea of how much your full-time colleagues are charging… nationally and internationally?

If you don’t, you shouldn’t even think of responding to that online job offer. Don’t you dare come up with an estimate. You have no business being in business until you’ve figured out a basic fee structure.

Imagine going to a photographer to get your headshot taken. Of course you want to know ho much it is going to cost. “Well, let me get back to you on that,” is not the answer you expect to hear from a pro, is it?

How on earth are you going to determine your basic rate?

Let me get one thing out of the way first. It’s not the responsibility of your clients to offer you a good rate. It would be the decent thing to do, but it’s your job to negotiate a fair fee.

That fee is determined by how much you need to make in order to survive and by how much you want to make in order to thrive (today and 30 years from now).

In my experience, most freelancers aren’t capable of giving a clear answer to both questions. Can you? If not, you’re running your business based on guesswork and you’re setting yourself up to be taken advantage of.

Your rate should be high enough for clients to take you seriously, and reasonable enough to still attract business in your segment of the market.

As a beginner, here’s the worst thing you could do: trying to break into the business by working for stupendously low rates. If you don’t know what I mean by a low rate, it’s time you do your homework. Don’t you know that low rates flag you as an amateur?

If you want to be a pro, grow up and act like it!

It is self-evident that as a beginner you’re not yet in a position to command top-dollar, top-euro or whatever currency you prefer. But that doesn’t mean that you should sell yourself short and become a predatory pricer.

Predatory Pricing is the practice of selling a product or service at a very low price, intending to drive competitors out of the market. It is a strategy for losers and I’ll tell you why.

• Bargain prices attract bargain shoppers. Low paying customers are usually high maintenance customers. Now, you can either believe me, or find it out the hard way. Your choice.

• Secondly, people tend to not value things that don’t cost them much, and they’re much more likely to be dissatisfied with it – regardless of the quality of the product.

• Third: you will attract clients that expect a gourmet meal at a fast food price (and at drive-through speed). As in mountain biking, it’s easier to go down than to go up. Once your price level is set, it is hard to justify a higher price.

• Fourth: predatory pricing is unfair competition. I work as a voice-over professional. A lot of people are complaining that there’s no money in voice-overs these days. I know I’m not the only game in town. Anyone with a mic and a computer can enter this business. While the cost of living is going up, rates are steadily going down.

Dumping your product or service will isolate you from your colleagues and it will negatively impact prevalent prices. Don’t blame the anonymous forces of demand and supply for a steady decline in rates. You are as much part of the problem as you are a part of the solution.

• Last but not least: show some self-respect! If you don’t value your own work, why should I? You have a unique talent. You have invested so much time and money in making it this far. Why would you want to put yourself up for sale in the bargain basement? Don’t you deserve better than that?

Now here’s a question for you:

Would you charge the same fee for the same type of work to a client in Europe and let’s say India?

If you don’t know the answer, that’s okay. Just stop reading and think about it for a moment. The internet has turned every business into a global business. Sooner or later, you’ll have to deal with this issue.

Have you ever heard of the Big Mac index, the Tall Latte index or the iPod index? Clever economists came up with these lists after a lot of hands-on research to illustrate the idea that identical goods have different prices in different markets.

Prices are based on a local standard of living, the price of raw materials, transportation, labor, taxes and frankly, on what companies feel they can get away with. That’s why pharmaceutical companies sell the same drugs at different prices in different countries.

Economically speaking, the product or service you provide is no different than a burger, a cup of coffee or an iPod, iPad or an eye-liner. That means that your client in India is likely to have a different budget than your client in Denmark.

Whether or not you want to work for that budget, is up to you.

You know what you’re worth.

If you’re okay with an Indian salary as a US-based freelancer, just tell me how you intend to make ends meet in the States. I don’t think your local gas station has started accepting rupees yet. But let’s make a deal. Once you’ve chosen to accept a low rate, stop contaminating social media with complaints that it’s so hard to earn a living.

By the way, I don’t blame a Chinese company for trying to hire talent at the lowest possible price. They’re probably working for a US-based firm that has outsourced certain activities because labor is cheap. After all, we all want our Black Friday bargains, so we’re driving that demand for cheap products and services.

I do blame North American or European clients that are trying to make us work for rates that would be only be acceptable in countries like India. I also blame online job boards that enable those clients to set these bargain basement rates. And lastly, I blame so-called colleagues who willingly devalue our business by accepting jobs at these rates.

So, how do you determine your fee in an international context?

Let’s recap. First you have to know what your bottom line is before you do anything else. In other words: how much would you minimally need to charge to turn a profit? You are running a for-profit business, aren’t you?

Once your bottom line is covered, find out how much this particular job would be worth in the country of the client. If you can live with that rate, that’s where you want your quote to be… minimally!

Don’t quote that German client 250 US dollars if the going rate in Germany is 250 Euro. Why should you leave any money on the table?

If you start working for less, don’t be surprised that this same client will post his next project for 180 Euro. After all: we teach people how to treat us, and this is how rates go down. Clients aren’t stupid.

And remember: just because a client needs you, doesn’t mean they can afford you, or that you can afford to work for them.

If you would charge $1000 for a project, and they’re willing to pay $800, it’s totally worthwhile to see if you can meet in the middle. But don’t spend any time trying to sell champagne to someone on a beer budget, no matter where they live.

These would-be customers don’t care that you’re using the latest equipment or that you recently completed a project for a prestigious brand.

They just want to know how low you’re willing to go.

Got it?

Thus endeth my sermon.

Go in peace, and may you lead a prolific and prosperous life!

(and don’t make me post the same story next week, okay?)

Paul Strikwerda ©2011
www.nethervoice.com

PS Be sweet. Please retweet.

Technorati Tags: big mac index, Double Dutch Blog, freelance rates, freelancer, Freelancing, Nethervoice, Paul Strikwerda, setting voice-over rates, voice-over, voiceover, voiceover rates

We all do it.

With the best of intentions.

We tell ourselves that this is the year we will turn things around.

Finally.

We even tell the world.

And then we move on with our lives and ‘forget’ about it.

A year passes, and we wonder why nothing has changed.

And we always find something or someone to blame.

Our greatest accomplishments and our greatest disappointments are well-planned.

People are good at setting themselves up for failure, and good at setting themselves up for success.

It starts between the ears.

Winners understand the power of planning.

Whiners live from day to day.

Winners say: There’s no day like today.

Whiners say: There’s always tomorrow.

Winners take action.

Whiners sit around and wait.

Winners get their hands dirty and dig in.

Whiners expect others to do the work for them.

Winners produce results.

Whiners have excuses.

Winners are proud of their accomplishments.

Whiners feel sorry for themselves.

I could fill an entire page with these bold statements, but I think you get my drift. It’s all about attitude.

Instead, let’s delve a bit deeper into the anatomy of a loser. Yes, I know. It’s a derogatory term and I’m only using it for dramatic effect. I’m not writing anyone off and I’m not pointing any fingers.

Here are some surefire ways to sabotage your own success.

1. WISHFUL THINKING
Life’s not a fairy tale where three wishes are granted to the humble but noble underdog. Yet, most of us keep on wishing things would change for the better, but are we really willing to work for it?

You can spot lack of commitment from a mile a way by the language someone uses. You’ll hear a lot of:

“I would like to”

“I may or might”

“That sounds interesting, perhaps I should explore that…”

Their favorite word is “but,” as in: “I really wanted to do that, but….

If you want to get something done, get off your butt. Take that first step, no matter how small.

Life is overwhelming. That’s why we break complicated processes down into small pieces. It makes them more manageable.

Nobody expects you to finish a full meal in one bite.

2. LACK OF URGENCY & MEANING
A goal is a more than a dream with a deadline.

No one gets excited about the things they want to accomplish… some day.

Be brutally honest. If you don’t want it badly, it probably doesn’t mean a lot to you at this point in time. Otherwise, you would feel that inner urge burning inside of you like a fire that makes you unstoppable.

The feeling of being driven comes from doing things that matter more to you than anything else. This feeling will excite you when things go well, and it will give you the energy to climb those mountains that still stand in your way.

So, stop talking about the things you’ve always wanted to do.

Start doing them. NOW.

3. BEING NON-SPECIFIC
If you don’t know your destination, how will you know you have arrived?

Vague ideas are daydreams. Vague ideas never inspire. Vague ideas let you off the hook, and you know it!

The statement: “I just want to be happy” is a great example.

What does happiness mean to you? It’s not even a goal. It’s a touchy-feely by-product of something else, but of what exactly?

Here’s another one: “I want to be better.”

Better than what? Compared to what?

What’s preventing you? Who’s preventing you?

A favorite of motivational trainers is the statement:

“I want to make more money.”

Some self-help gurus will walk up to you and give you a dime, saying:

“Look, you’ve just accomplished your goal. You now have more money! Are you happy now?”

Besides being unspecific, making more money is not what they call an end-goal. It’s a means-goal, meaning it is a means to an end.

Concrete goals have a starting point and a finish line. They require careful planning and a clear vision of the end result. Once you have that clear vision, ask yourself:

“What is the last step I take that will get me to accomplish my goal?”

Then you work your way back, figuring out all the steps you have to take to get you to that point, until you arrive at the present.

It’s -to use a Steve Jobs expression- connecting the dots backwards, in advance.

Unfortunately, most people find it easier to sum up what they don’t want. Take it from me: You’ll never get anywhere by focusing on the things you wish to avoid. In fact, you’re more likely to attract the very things you’re running away from. (see this article)

Great goals are always stated in the positive.

4. BEING OVERLY DEPENDENT ON OTHERS
Waiting for others to make your dreams come true is not only lazy, it also means you make yourself dependent on others as you’re giving away your personal power. How many times have you said to yourself:

“I would feel so much better, if only this person would….” You fill in the blanks.

Forget it. People won’t change unless they want to. I believe I wrote about that recently, didn’t I?

A great goal is self-initiated and self-maintained. You OWN it. You’re the captain. It’s your ship. Why is that essential?

No person in the world is ever willing to work as hard to accomplish something that’s meaningful to you, as you are.

Yes, it’s nice to surround yourself with the right type of supporters and critics. But you don’t need cheerleaders chanting empty slogans or Debbie-downers that rip your plan to pieces before it’s even born.

You need friends that can give you an honest assessment, and that can help you fine-tune your grand plan. You also need the right people who have the expertise you don’t have, and who are willing to put their weight behind your project.

However, it is your vision and your responsibility to make it a reality.

5. BEING SELF-CENTERED
You might reach your goal and feel like a winner, but I see it as a failure, if you’re the only one benefitting from your success.

There’s no doubt that it’s an accomplishment to get out of the ghetto and become a successful multimillion dollar recording artist. But all your golden shower heads and bling don’t mean a thing, if you spit on your roots instead of giving back to where you came from.

Results come with responsibilities.

Decisions have consequences. That’s why I encourage you to look at the impact pursuing and reaching your goal will have on the world around you.

Pursuing a goal with passion means you’re willing to pay a price. Remember that you don’t live on an island and that sometimes, that price may be too high.

In William Shatner’s documentary “The Captains,” Kate Mulgrew (Captain Kathryn Janeaway), reveals that her two children resented her always being on the set, working 18 hour days. To this day, they still refuse to watch Star Trek Voyager.

Both Shatner and Patrick Stewart (Captain Jean-Luc Picard) link the breakdown of their marriages to the demands of their careers. That is, the choices and sacrifices they willingly made to ‘make it’.

One last example.

Your company might have successfully launched a new product, boosting business like never before, but if your production process is poisoning the wells and killing wildlife, is it worth it?

Think about the bigger picture. It’s a matter of ecology.

Before you commit or decide to quit, here are four questions I want you to ask yourself.

1.What will happen if I do X?

2. What won’t happen if I do X?

3. What will happen if I don’t do X?

4. What won’t happen if I don’t do X?

The answer to these questions will help you determine whether or not the price is worth paying.

And finally…

The greatest goals are never about personal fame and fortune, and they will never come true the way you imagined them to come true.

At the end of the day, every goal is a picture of what you believe you’re capable of, with all the resources you have available right now.

That means that every goal is limited by your imagination and your perception of what is possible.

The most ambitious goals will seem unrealistic and unreasonable, and yet, even those are confined by what you think you can or cannot accomplish.

That’s why some of the philosophers of the word will teach you to set clear outcomes, and then let go of the form.

That way, you allow the universe to exceed your expectations.

Steve Jobs’ sister Mona Simpson, was there when her brother died.

She recently told us what his last words were:

“Oh wow. Oh wow. Oh wow.”

We don’t know what prompted him to say these words, but whatever Steve saw in his final moments, I’m pretty sure it exceeded all his expectations.

Paul Strikwerda ©2011
www.nethervoice.com

PS Be sweet. Please retweet!

Technorati Tags: Double Dutch Blog, Dutch voiceover, Kate Mulgrew, Mona Simpson, Nethervoice, Patrick Stewart, Paul Strikwerda, setting goals, Steve Jobs, William Shatner, winners and whiners