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

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

Should every (freelance) business have a blog? 

How do you become a successful blogger?

What should you write about? 

How much time does it take? 

Can blogging really increase business? 

Many readers have asked me these questions. That’s why I have written a 33-page guide to blogging.

I’ll take you behind the scenes of Double Dutch, to share my  very best blogging secrets with you.

Download your copy at Scribd.com today.

Part of the proceeds will go to www.kiva.org, changing the world, one micro-loan at a time!

You can preview and buy the guide on Scribd. International readers can purchase a download of this guide for $3.49 using this PayPal-link. Once your payment clears you will receive the PDF-file via email.

Happy blogging!

Paul Strikwerda ©2011
www.nethervoice.com

Be sweet: please retweet!

Technorati Tags: blogging secrets, blogging tips, boosting business with a blog, content marketing, Dutch voiceover, Paul Strikwerda, search engine optimization, SEO, should every business have a blog, Social Media, twitter, voice-over, voiceover, voiceovers, writing a successful blog

“When I use a word,” Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean—neither more nor less.”
“The question is,” said Alice, “whether you can make words mean so many different things.”
from Lewis Carroll’s “Through the Looking-Glass”

 

One sunny day, a fishmonger put up the following sign:

TODAY: FRESH FISH

One of his first customers said to him: “What’s this sign I see? You only have fresh fish today?”

“Of course not,” said the fishmonger. “I have fresh fish every day. You’ve been coming here for the past eight years. You know that.”

“Then why did you write: Today: Fresh Fish? That’s confusing,” said the customer.

So the fishmonger erased the word TODAY.

An hour later another customer questioned him about the sign:

“Why does it say ‘Fresh Fish’? Isn’t your fish always fresh? Or have you been selling me unfresh fish all these years?”

“Of course not,” answered the fishmonger a bit annoyed. “Each day I go to the harbor at the crack of dawn and buy my fish straight from the men who caught it. It can’t get any fresher than that.”

“Then why did you write: Fresh Fish? That’s confusing,” said the customer.

So the fishmonger erased the word FRESH. “I don’t get these people,” he mumbled. “Wasn’t it obvious what I was trying to say?”

ASSUMPTIONS
Our life is filled with unspoken assumptions. The obvious does not need to be stated, does it? If we hold that to be true, we’re forgetting one thing:

What’s obvious to one person might not be obvious to another person.

Language in and of itself is vague, inadequate and ambiguous, and therefore up for interpretation. If you have any doubts about that, talk to theologians or lawyers. In both cases you often need divine intervention to get them to agree on anything, even if they speak the same language.

Polish-American scientist and philosopher Alfred Korzybski (1879–1950) is the developer of what he called “General Semantics”. Simply put, this refers to the study of how you and I react to our environment or an event, and how we derive meaning from it.

Korzybski coined the phrase “The map is not the territory,” meaning that a word is not what it defines (the territory), but merely a symbolic representation of it (the map). That’s why we don’t get wet from the word water. Here’s the problem: if we don’t know what the territory looks like, how on earth can we know what the map refers to?

Take Nike’s famous trademark “Just do it”.

Without knowing anything about it, would you have any idea what these three words stand for? For instance: what is “it”? And if we don’t know what “it” is, how are we supposed to know how to “do” “it”? It could mean a million things, and we’re supposed to “just” do them? Forget it!

Let’s move away from fishy advertising and “just do” a little experiment. Take this simple sentence:

“We only have a small budget.”

That’s plain English, isn’t it? But what does it really mean? Do we have enough information to know what the writer intended it to mean?

If you say “yes” to the question, please tell me what you think it means and what you are basing it on. If you say “no,” tell me what is missing.

I have a feeling that you’ve seen this sentence before. I will also go as far as to imagine that every day, freelancers like you and me allow these six words to influence the bids they put in, to win a project. Am I right?

In order to truly know what the client means by “We only have a small budget,” a lot of blanks need to be filled in. First of all: who is “we”? Is it a client? And if so, who is this client? Donald Trump? I bet you anything that what “the Donald,” considers to be small, will forever redefine your meaning of the word!

My voiceover agent sometimes sends me five hundred-dollar jobs and apologizes for the “small budget”. To some, five hundred dollars might be a huge step up from the hundred-dollar jobs they’ve been auditioning for, just to break into the business. But considering the fact that this client is a key retailer and that the job involves all major markets and a six-year buyout, five hundred bucks is very low pay.

It’s all relative, relatively speaking.

DEFINING MEANING
By giving you these examples, what did I just do?

I provided you with some context.

The meaning of words is not only determined by what you find in the dictionary. It is defined by the setting and circumstances in which they are used. In fact, dictionary editors define the meaning of words by studying the context in which they appear. They even come up with sentences in which a word is used to illustrate its meaning.

But let’s assume that little or no context is provided. What do we usually do to attempt to understand the words we read or hear?

We start making things up. Believe it or not, there’s a mindreader in all of us! To me, this is where things get really interesting. On what exactly do we base our uninformed guesses?

I remember the first time I drove on an American highway and saw a sign that said RAMP. I must confess that I had no idea what it meant (for first-time readers: I’m originally from The Netherlands).

In an attempt to understand its meaning, my mind started making associations based on my personal frame of reference. In Dutch, the word RAMP means DISASTER! Till this very day, I get uncomfortable whenever I see that sign.

Without a clear context and without the ability to ask any questions, we generally base our understanding on speculation, which in turn is based on our subjective experience. In other words: the way you interpret “we only have a small budget,” will tell us a lot about you and next to nothing about the person who wrote it. This gets us into trouble all the time.

As a service provider it is not supposed to be about us. It’s about what the client wants to see and needs to hear. But clients typically hand out maps and leave it to us to second-guess what their territory is supposed to look or sound like.

They’ll tell you:

“I don’t know how to describe to you what I want, but I know it when I hear it. As long as you try to sound warm but professional…. If you know what I mean.”

No I don’t know what you mean. How could I? We don’t even know each other. Sometimes I don’t even understand my wife, and I think that I know her better than most people.

MISUNDERSTANDING
Now, do you still wonder why you didn’t land that ‘warm and professional’ gig?

Could it be, because you were led by your own assumptions? Did you forget to ask critical questions, or were you unable or not allowed to contact the client and get some context?

Beginners often wonder: “If only I could get some feedback after the fact. That would give me some idea as to why my audition was rejected.”

I think it would be much more helpful to get some perspective before the fact; some sense of direction. Dump the vague and ambiguous verbiage. If you don’t tell us what you want, how are we supposed to give it to you? I know that words are inadequate ways of describing an experience, but can you at least try a little harder?

Meanwhile, we have a new debate in voiceover land. Following last year’s National Voice Over Appreciation Month, my colleague Dave Courvoisier has dedicated this September to “Voice Over Awareness Today”. There’s a logo. There’s a website. And each week there’s a new question. Those who answer it, could win a prize.

I applaud Dave’s ingenuity and creativity, but already questions have been raised about the meaning and purpose of a month devoted to “Voice Over Awareness”.

Dave writes that he wants to “celebrate the business of Voice Overs, and to find some collective wisdom.” (…) VOAToday seeks to elicit simple information easily shared, and makes it available for all to see.”

Voice talent John Bigl told me:

“The word ‘Awareness’ kinda puts me off … makes voice acting sound like some kind of disease or dysfunction…”

Diane Havens commented:

“I think Dave’s purpose, one of them anyway, is to shed some light on how much goes into VO, that it’s not as simple as it looks, uh, sounds.”

Mike Harrison’s response:

“I’m aware of who I am and what I do, and most other people couldn’t care less.”

Jody Silvers said:

“I think good VO is probably a lot like good acting: If you’re aware that someone is doing it, then they’re probably not doing it very well. Whether or not acknowledgment comes from a job well done SHOULD be irrelevant – as long as the check clears.”

As you can see, the map is not the territory. I’m sure you’re aware of that by now.

How would you define “Voice Over Awareness” and why would we need it Today?

Isn’t Dave in a way a bit like the fishmonger and his sign? Speaking of which, let’s go back to the story.

TODAY: FRESH FISH

After erasing the first two words, the fishmonger stared at the sign that now read “FISH”.

That should do it, he thought.

No one can argue with that.

He was ready to go inside when a boy walked up to him. He had a ten-dollar bill in his hand.

“Sir, sir…” the boy said, “Can I ask you a question?”

“Of course,” said the fishmonger. “What can I help you with, young man?”

The boy looked at him with big, hopeful eyes.

“Sir, I just saw your sign and I was wondering: do you sell goldfish?”

The fishmonger made a gesture of utter exasperation.

People are completely clueless, he thought.

Then he took a damp sponge and erased the word FISH.

Paul Strikwerda ©2011
www.nethervoice.com

Technorati Tags: Alfred Korzybski, Dave Courvoisier, Diane Havens, Donald Trump, Double Dutch Blog, Dutch voiceover, General Semantics, Jody Silvers, John Bigl, Mike Harrison, National Voice Over Appreciation Month, Nike Inc., Paul Strikwerda, The map is not the territory, Voice Over Awareness Today, voice-over, voiceover, voiceover blog, voiceovers

“I will give you my personal prediction on what will implode first: Blogs containing information that serves no one but the writer, and his/her inner circle without fact-checking.”
Steven Lowell

The dust has finally settled.

Give it a few months, and last week’s discussion will rise out of the ashes and begin a new life somewhere else.

Same topic. Different voices, perhaps.

Steven’s remark about self-serving blogs and bloggers did make me think about my vision for Double Dutch. Believe it or not: I have one, and you can find it on the About & Contact page that no one ever reads. I know, because my analytics tell me exactly which pages attract most traffic. Here are the opening words:

DOUBLE DUTCH is a platform and playground for ideas, dialogue and discourse about things personal and professional related but not limited to voice-overs and freelancing.

That covers pretty much everything, doesn’t it? Now, let me also tell you what it is not.

This blog is not some grand podium built to glorify my personal accomplishments or to sell Mr. Strikwerda’s amazing pipes. Why would anyone want to read about that? Not me!

If you’re interested in the technical side of voiceovers, you have to look elsewhere too. Although I’m fascinated with the tools of the trade, I am not a gearhead or audio specialist. I don’t receive free products from companies, take them out of the box, dangle them in front of a camera and post it as a “review”.

It’s true, I did write a series about building my voice-over booth on a budget, but I did not seek or receive any compensation for mentioning products, manufacturers or stores.

This blog is not a source of fair and unbiased industry news either.

In essence, Double Dutch is nothing but a blog revolving around one man and his ideas and experiences, and a bunch of friends who like to chime in, every once in a while. If you’re looking for objective, investigative journalism, you’ve come to the wrong place.

Just like a lot of other stuff you’ll read online or in the papers, my articles are usually a mix of subjective opinion based on personal selection and interpretation of data. If you’d like to fact-check my sources, all you need to do is click on a few links, embedded in the articles.

Nobody has to agree with anything I write. My readers are intelligent enough to understand that it would be foolish to generalize my personal stories and turn them into an overall verdict on the issue at hand.

I don’t consider myself to be an authority or expert. My opinion is one of many, and one quick look at Bob Souer’s blog roll will tell you that I’m certainly not the only blogger in this voiceover town. Of course I’m tickled to see that some people seem to care about what I have to say, but that’s as far as it goes.

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. I don’t feel comfortable standing on the sidelines.

Unlike Steven Lowell, I am not a paid spokesperson for a company. I don’t pretend to proclaim and promote an objective, universal truth. This is my personal platform and I can be as passionate and opinionated as I want. I represent no one but myself.

So, why do I take a day out of every week to write this blog?

The short answer: Because I feel like it.

The moment it becomes just another chore, I will stop and take up billiards or Bingo.

Here’s another reason: I love to write and I think I have something to say that  -at times- is moderately insightful and interesting. At least, that’s what my readers keep on telling me.

As you may know, most of my stories start out as simple Notes to Self. The series about building a voice-over studio is a perfect example.

It took me many months before I was ready to start building my own studio. During that time, I had compiled a wealth of information and I thought it might be useful to share it with you. Now it’s available as a booklet and most of the proceeds go to a very good cause. Sharing is important to me.

Over the years, I have benefited so much from the kindness, knowledge and insights of friends and colleagues. I wouldn’t be where I am today, had it not been for their advice and encouragement. In a way, I am repaying my debt to them by publishing this blog.

Thanks to Double Dutch, I’ve also made countless new friends from all corners of this planet. Many of them won’t publicly comment on my articles, but each and every week they email me with questions and observations.

As far as the future goes, I’m branching out. Most of you already know that I write on all things international for Internet Voice Coach. I also conduct interviews with colleagues across the globe.

Recently, I started recording three-minute vignettes for the International Freelancers Academy on building your business. There’s also a book on the way.

I’m not telling you this to impress you. Frankly, my dear, I don’t give a damn if you think this is impressive or not. The fact is, I love my work and I love writing about it.

As long as I still have music in me, I will continue to sing my songs.

And if people think it’s just a bunch of blah-blah, they’ll find other blogs to read, and Double Dutch will eventually implode.

Perhaps that wouldn’t be too bad.

It’s always better to end with a bang.

Paul Strikwerda ©2011
www.nethervoice.com

Technorati Tags: Bob Souer, Building a vocal booth on a budget, Double Dutch, Double Dutch Blog, Dutch voiceover, international freelancers academy, Internet Voice Coach, Paul Strikwerda, Steven Lowell, voice-over, voiceover, voiceover blog, voiceovers

If you’ve been around the voice-over block a couple of times, you know that Steven Lowell doesn’t always mince his words when defending the company he works for as Community Manager: voice123.com.

At times he can be rather undiplomatic, to put it mildly. Some appreciate his candor. Others not so much.

I know Steven to be extremely helpful, knowledgeable and a downright good sport when I poke fun at him in my blog. The picture he sent me of him in a tiny red bikini still haunts me in my dreams. Thanks a bunch!

This week, Lowell published “The Voice Over Guide,” consisting of ten well-written chapters packed with practical information for newcomers and seasoned pros alike.

After reading this free guide, I have gained a renewed appreciation and respect for Steven. This is a very comprehensive and helpful overview of what it takes to become successful as a voice-over artist and solopreneur.

It’s by no means a “Get Rich Quick” guide. It’s a “Build a Solid Career Slowly” resource that does not dumb down what it takes to make it in this competitive business.

This guide should be required reading for anyone who is contemplating the idea of launching a serious voice-over career. If you’ve already taken the plunge and you are wondering why your business hasn’t taken off yet, you need to start reading this guide now.

Not only that, you must take Lowell’s advice to heart and put it into practice, practice, practice.

Lowell’s Voice Over Guide zooms in on using the unlimited online possibilities of building a lucrative career as a voice talent. He takes a close look at marketing, making demos, making sure you get paid, and he busts a couple of myths along the way.

He makes no secret of the fact that online casting service voice123.com has been his bread, butter and jelly since 2007. Chapter Six of his guide is entirely devoted to his professional home, and that’s where Lowell demonstrates that he still is His Master’s Loyal Voice.

To me, that’s the weakest link in this guide. We all know that there are more Pay-to-Plays on the planet, and conveniently ignoring the competition does the uninformed readers a disservice.

Even after reading his exposé about the perceived advantages of the infamous SmartCast system, I am still as dumbfounded as before, at its “heuristic algorithm” that’s supposed to create a level playing field.

If we are to believe Steve,

“60% of auditioning voice talent book at least one job a month using voice123. Between 10% – 13% book at least five jobs a month.”

This is apparently based on

“Current averages in surveys”.

As a born skeptic I’d like to see independent verification of these numbers. Secondly, I’m not so sure a survey of a limited sample by the company itself can be taken at face value.

If -based on these numbers- voice123 is indeed confident that you and I will have a more than 50% chance of landing one gig a month using their service, I’d like to propose the following no cure, no pay system:

• Keep the tax-deductible membership at $295 per year, but don’t charge talent a penny until they start making money on the site;

• As soon as a talent lands a job and payment comes in, this money is applied toward the membership fee until it is fully paid off. In other words: the site makes money as soon as the talent makes money. Fair is fair.

This Play-to-Pay system creates the perfect win-win situation and acts as an incentive for the voice casting service to keep on providing quality leads at reasonable rates.

Anyone in favor say “Aye”!

Steven, are you with me, or am I barking up the wrong tree?

Paul Strikwerda ©2011
www.nethervoice.com

Technorati Tags: Double Dutch Blog, Nethervoice, online casting, Paul Strikwerda, Pay-to-Play, SmartCast system, Steven Lowell, The Voice Over Guide, voice-over, voice123, voiceover, voiceovers

After much use, even the sharpest knives get dull.

 

Can a voice-over pro ever take time off?

Do you have to be available 24/7?

Is it okay to shut down your business for a few weeks of R & R?

Will your facebook fans unfriend you?

Will your Twitter followers desert you?

Will your voice-overworked agent ever talk to you again?

Let me answer these questions with a question:

What won’t happen if you don’t do it?

BALANCING ACT
I am a big believer in a balanced lifestyle. As a European living in the States (the number 1 “no vacation nation“), I see a lot of people around me who are absolutely addicted to their jobs. Modern technology has made it easier than ever to stay connected and become a burned-out, boss-pleasing slave laborer.

Excuse me. Have we forgotten our history?

On January 31st, 1865, The U.S. House of Representatives passed the 13th Amendment to the Constitution, abolishing slavery in the United States. It read:

“Neither slavery nor involuntary servitude… shall exist within the United States, or any place subject to their jurisdiction.”

I guess the keyword is involuntary servitude.

We are free people, living in a free country who earned the right to free themselves of any free time. Instead, we have chosen “voluntary servitude”.

Now, that’s what I call progress in a society built upon the principles of “Life, liberty, and the pursuit of happiness!”

But let’s put the cynicism and sarcasm aside for a moment. If you’re pursuing happiness as a full-time freelancer, you are in charge of your own destiny. You set your own hours. You determine your own rates. You’re the only one who can call it a day and shout from the roof tops:

Give me a break!

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.

TRAPPED & TIRED
A few weeks ago, I was asked to do a presentation in front of hundreds of people. Prior to that, there was a reception and -of course- you can’t have a reception without background music. It’s a known fact that most musicians aren’t capable of staying in the background. No matter the crowd, they have to be LOUD.

I knew that if I were to schmooze prior to my presentation, I would have no voice left, even though my vocal cords are well trained.

As they say: “If you schmooze, you lose.”

Besides, the next day I was going to New York for a recording session and my voice had to be in top-shape in order to sell well.

So, I was left with a choice. Either slip something into the drinks of the band that would have them running to the restroom in a matter of minutes… or hide myself from the crowd until it was time to go on stage.

The first option was obviously more entertaining, but I ended up hiding in the basement. Unfortunately, an overzealous janitor came down, turned off the lights and kicked the door shut, leaving me trapped.

This is where cell phones can save the day. I called the organizer of the event:

“Hi, it’s Paul.”

“Paul, where are you? We’ve been looking all over for you!”

“I am trapped in the basement. It is dark in here. Rats are nibbling on my feet. Please rescue me!”

That day, instead of being a voice-over, I became a voice-under.

I think you get my point.

In order to give your all, you sometimes have to get away from it all. But avoid being locked up.

GO AWAY
Now, in an ideal world you would just pack your bags and go where no one can reach you. But what to do when you’re waiting for that all-important callback or that once-in-a-lifetime chance to audition for something you can’t afford to refuse?

In that case, you need to take some gear on the road and improvise. Rather than spending a few hours going over all the options, I suggest you read Harlan Hogan and Jeffrey Fischer’s classic Voice Actor’s Guide to Recording at Home and on the Road. It’s jampacked with practical information and I highly recommend it to anyone remotely interested in a voice-over career.

Here’s what I take along on my travels:

• a laptop
• a microphone
• a CEntrance MicPort Pro
• earplug-sized headphones

A MicPort Pro is a nifty mini audio interface/preamplifier that plugs directly into your microphone. On the other side there’s a USB cable that plugs into your computer. In other words: this device can turn any microphone into a USB mic. It has phantom power, a headphone jack and two knobs for setting the record level and the headphone volume.

So… after all that subtle product placement, let’s get back to the original question: Can you take off for a period of time without ruining your career?

Here’s an experiment you should do at home:

Fill up your watering can to the brim and start watering your plants. Keep on watering and watering and watering… until there’s no more water left.

I don’t have to tell you that -in order for those plants to grow- you need to water them regularly. An empty watering can is useless. The moral of the story:

You can’t give what you don’t have.

Now, why is that so easy to understand when it comes to our plants, and why are we surprised that “We the People,” are so stressed, so drained and left without an ounce of creativity?

Take my advice and get lost! Recharge your batteries. Discover that you have significant others in your life who’d love to get to know you. It can’t be all work and no play… Your job is just a means to an end.

TAKING TIME OFF
Be sure to let your voice casting sites and agents know that you’ll be gone for a particular period of time. If you must, bring your gear, but promise yourself that you will only do what is absolutely essential. Otherwise, you’ll get sucked into obsessive email checking, incessant instant messaging and frantic Facebooking.

Only use your cell phone when you’re stuck in a basement and someone’s thrown away the key.

When you come back from your well-deserved vacation, notice how refreshed, alert and full of energy you are.

People can see it in your face. They hear it in your voice.

Now you’re ready to wow the world again!

Paul Strikwerda ©2011

PS This article first appeared in the international section of Internet Voice Coach, a voice-coaching community dedicated to people finding and refining their voice.

Technorati Tags: Centrance, Harlan Hogan, Internet Voice Coach, Jeffrey P. Fischer, MicPort Pro, Nethervoice, no vacation nation, Paul Strikwerda, taking time off, Voice Actor's Guide to Recording at Home and on the Road, voice-over, voiceover, voiceovers, voluntary servitude

Do you remember the first time you heard a recording of your own voice? Going back to that moment now, what went through your mind?

Were you shocked or pleasantly surprised? Did you expect you’d sound like that?

Most people respond the same way. When they hear themselves on tape, they get a bit uncomfortable and will tell you:

“That doesn’t sound like me at all. Who is that person? Did I just say that?”

People tend to become very self-conscious and self-critical. Why? Because most of us don’t have a clue how other people perceive the sound of our voice. How could we?

We hear ourselves from the inside 24/7. We’re locked into our own little world thinking that -because we perceive ourselves a certain way- others hear what we hear and will respond accordingly.

Let me break the news to you: they do not.

CONFRONTATIONAL CAMERAS
As a media trainer, I spent many years coaching influential people on how to prepare for interviews on radio and TV. My favorite part was taking a CEO to a studio and putting him or her in front of a few cameras and blinding lights, while I would ask innocent questions.

When the interview was over, I’d say to them: “Well, how do you think you did?”

Nine out of ten times, they’d tell me: “Pretty good. I run a multi-million dollar business, you know. I’m used to speaking in public. I don’t really think I need any media coaching. What’s for lunch?”

Then I’d play the tape back to them, without sound.

I would watch them closely as they were watching themselves. I could see the color fade from their faces. Some people would turn away. Some were utterly embarrassed. Others would tell me: “That’s so mean of you! This is unfair.”

Staring at that person on television, it was as if they were watching themselves naked. The unforgiving camera exposed every micro muscle movement; every time they unknowingly scratched their nose or rolled their eyes balls; every drop of sweat; every clenched fist and every nervous tick.

After these two minutes of terror, I’d ask them again: “So, how do you think you did?”

At that moment, I could see the penny drop, as these high-level executives became aware of the huge disconnect between how they thought they came across, and they way the world perceived them to be.

Things they’d never noticed before became a big deal: a button missing from a shirt, a small stain on a tie, dandruff, nose hair, noisy jewelry, clogged mascara… rendering what they were saying totally irrelevant. Body language always overpowers the words we speak.

It’s interesting what happens when we hold up a mirror. Seeing oneself through the eyes of someone else can feel like a cold morning shower. It’s refreshing. It wakes you up but it’s not necessarily enjoyable.

THE PASSIONATE PURSUIT
As voice-over pros, we think that we have a big advantage over the rest of the world. We listen to ourselves day in day out. It’s a very self-indulgent profession and some of us have become our own worst enemies.

Take the perfectionists, for instance. They’re never happy with what they hear. They keep on twisting and tweaking their audition until they’re last in line when sending out the demo. But even then, they’re not satisfied. They keep on listening back to the tape, spotting yet another breath or mouth noise that should have been edited out.

For the flagellating perfectionist, nothing’s ever good enough and every audition becomes an almost impossible mountain to climb. The stress and anxiety of this process alone, usually sucks the life blood out of any performance. It’s a self-defeating strategy of those who believe they never, ever measure up…. until they realize that it’s only human to be perfectly imperfect.

Perfectionists are over-aware of their own flaws, but most of us are wired differently. In a way, we’re much more like that CEO, coming to my media training. Most of the time, we think we’re doing alright, and we don’t get why we didn’t get that job after we delivered yet another stunning demo. Why is that?

THE BREAKFAST OF CHAMPIONS
Writers have editors. Translators have proofreaders. Advertising agencies use focus groups for feedback. Comedians test their material during try-outs. And what do we do?

We stare at ourselves in the big talent pool, falling more and more in love with our own reflection, cheered on by fans, family and friends who can only see and hear a fully-clothed emperor.

As masters and commanders of the home studio, we’ve become a one-person multi-tasking band. We annotate the script; we read the lines as we self-direct and take on the role of recording engineer… before we edit everything unwanted out and sweeten the sound.

By that time, we’re thoroughly emotionally invested in the fruits of our labor. We’ve played back the tape a thousand times, making us immune to what probably could be so much better.

There must be a reason why the Greek “Narkissos” is seemingly derived from the word “narke,” meaning sleep or numbness. We’re numb like a lover, incapable of seeing the flaws in the object of our adoration.

GNOTHI SEAUTON
In 1750, Benjamin Franklin wrote in his Poor Richard’s Almanack:

“There are three Things extremely hard, Steel, a Diamond, and to know one’s self.”

What do you think: Can a psychoanalyst effectively analyze himself? Can we really know how we come across? Is it humanly possible to separate ourselves from ourselves and listen to our own voice the way others do? Or are we our own, biggest blind spot?

It gets worse.

Some people don’t even realize that they’re blind and lost. Take the radio jock who’s utterly unaware of his announcer voice, or the priest who has no clue he’s preaching even when he thinks he’s not.

Others do know that they are lost, but they have a hard time admitting it publicly. Out of those who do admit it, some will wander off, wondering where to find their destination. They usually end up getting farther away from where they want to be.

Some start blaming others for getting lost in the first place, and if it’s someone else’s fault, it’s really someone else’s problem. You don’t have to change a thing.

But by far the biggest group is made up of those who keep on running around in circles because they refuse to ask for directions… and this group is not only made up of men!

BREAKING THE PATTERN
Bad habits are very effective strategies for consistently getting undesired results. But as Dr. Phil tells us: “You can’t change what you don’t acknowledge.” Here’s what you do about it.

STEP ONE:
If you insist on pulling yourself out of the swamp, you first need to admit you’re in deep sh*t, and get a clue of how deep it really is. What are some of the signs?

• Your booking rate has gone way down.
• Your agent is ignoring you.
• Return business isn’t returning.
• Your income has dropped dramatically.
• You feel tired, uninspired and don’t care if you’re hired.

STEP 2:
Be brave enough and revisit some of last year’s auditions, preferably the ones that you can’t even remember you did. Take those skeletons out of the closet and listen to them with fresh ears. You’ll be amazed at what you’ll hear. The passing of time helps us disassociate and notice things we’d otherwise never notice.

The next phase is critical.

STEP THREE:
Write down your observations and not your interpretations.

A sensory observation is something you can smell, touch, hear or see, such as:

- I can clearly hear the hum of my computer in the background
- The name Nat King Cole was mispronounced. It sounded like Napkin Cole.
- There was an obvious edit, 29 seconds into the demo

An interpretation is a label we attach to those observations:

- This audition totally sucked.
- I am such a loser. I might as well give up.

An observation refers to facts. An interpretation is an opinion based on those facts. In order to learn and move forward, I suggest you focus on facts (unless you’re a masochist. In that case, you deserve a good spanking).

STEP FOUR:
For every audition, write something you specifically liked and wish to keep.

For instance: saying “I sounded pretty good,” is neither specific nor helpful. Get the details! What exactly was it that you liked? What did you specifically do to get to that result? What can you do to easily replicate and reinforce it… and possibly teach to others?

Why is this step necessary? Because I believe that we can learn just as much from the things we do well, as from the things that we’re not so good at.

STEP FIVE:
Once you’ve listened to a number of old auditions and have compared notes, I predict that you will discover patterns. If you keep on repeating your mistakes, you have become better at what you’re not good at.

Look at those patterns and pick the one that -if you were to change it- would have the greatest positive impact on your performance.

Ask yourself: What do I need to improve upon? What can I specifically do to make those improvements? Am I capable of doing that on my own, or do I need outside help? To whom should I turn? What’s one step I can take right now, to get the ball rolling?

STEP SIX:
Take immediate ACTION!

Postpone your procrastination. Talk is cheap. You’re a voice-over. You know that.

Now, if you want to go off on your own and try to fix things by yourself, be my guest. But realize that the hardest way to learn is through trial and error. Experience is a slow teacher, especially if your experience is not good. Best case scenario, it will lead to more of the same, or you’ll spend years reinventing the wheel.

Reading a book or a blog isn’t going to cut it either. Information has never changed a single soul. It’s what you do with it that makes the difference.

Why not take a shortcut?

Let me ask you a question: How much can you realistically learn from someone who knows just as much as you do?

Even your greatest successes are limited and limiting examples

of how much more you’re actually capable of.

That’s where a coach comes in.

WHEN THE STUDENT IS READY
A coach not only sees your blind spots; senses your insecurities and takes apart your rusty routines. A good coach does more than teach an old dog new tricks. Rather than create a clone, a good coach taps into your unique potential and draws things out of you, you never even knew were there.

Bad coaches turn students into shadows of their teachers. Great coaches help you rekindle the fire that’s burning inside of you, and inspire you to step into the light and shine like never before.

They want the best for you, because they see the best in you. They’re not threatened by your talent. They’re proud of your accomplishments.

If you want a great coach, don’t look at his or her credits. Great performers can be lousy, self-absorbed, power-hungry teachers in need of adulation.

If you want a great coach, look at their students instead.

Their students are their best credentials.

THE TEACHER WILL APPEAR
A coach can lead  the way and give you tools to further your development and speed up your growth. But a coach can’t run the race for you. You have to do the work.

Ultimately, it doesn’t matter what potential a coach sees in you. You have to see it yourself. It doesn’t matter if a coach believes in you. You have to believe in yourself.

Last but not least, if you wish to grow, you have to relax and cut yourself some slack.

Be passionate, be persistent and be patient.

Take a clue from nature. It takes a while for a tree to mature and grow deep roots that can weather a storm, before it bears fruit. That’s not a popular message in a culture of instant gratification.

Back in my days as a reporter, I once asked a brilliant sitar player how long it had taken him to master his instrument.

As the camera was rolling, he looked at me meaningfully and said:

“Several lifetimes…

… and I’m still learning!”

Paul Strikwerda © 2011
www.nethervoice.com
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PS My 46-page booklet “Building a Vocal Booth on a Budget” is now available for download!

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