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Albert Einstein and the Microphone Mystery

by Paul Strikwerdain Articles, Gear, Reviews, Studio8 Comments

My story begins with a microphone. The Austrian Audio OC18 to be exact.

It’s a microphone I called “an instant classic.” This mic is mostly handmade in Vienna by people who used to work at AKG.

Click here for my impressions.

I’m not the only blogger who fell in love with this new microphone. Do a quick online search, and you’ll be hard-pressed to find one bad review. No matter what you throw at it, the OC18 performs extraordinarily well. I think it offers exceptional value for money, especially for vocal applications. 

Inspired by my review, A Dutch colleague decided to take the plunge and order one. A week or so ago, he got in touch with me to say that he was disappointed in the OC18. He said he’d expected “a more beefy sound.”

He sent some sound samples of his new mic to two audio engineers in Amsterdam. One of them really liked what he heard and said that the OC18 made it easier to edit the recording in post. The other disagreed, and said that he had to add more bells and whistles to make it sound good, compared to the old microphone the talent was using, made by SE Electronics.

Same microphone recorded in the same home studio. Two professional opinions. Who is right and who is wrong? Or is there even such a thing as right and wrong?

THE ROOT OF THE PROBLEM

It was time for me to dig deeper. I asked my colleague to send me some raw OC18 audio from his studio. The sample sounded fine, but there was something strange going on. His OC18 had more lows than my OC18, yet he noted that his new mic “lacked the punch” he had been hoping for.

I firmly believe that you can never evaluate a microphone in isolation, or by looking at the spec sheet alone. After all, a cake recipe in a cookbook doesn’t tell you anything about how the cake is going to taste, and whether or not you will like it. It doesn’t even take into account how good you are at baking a cake.

As you no doubt know, a microphone is part of an entire recording chain with many variables. Every element within that chain can color the sound. On top of that, the recording space and the way we reproduce and analyze the sound, makes a huge difference to our perception.

I once attended a recording session at the famous Abbey Road studios, and the vintage Neumann U 87’s sounded majestic. Taken into a cramped voice over booth, that same, venerable microphone just didn’t do it for me. To my ears, the sound was a tad too muddy.

Well, I discovered that my Dutch colleague had his OC18 plugged into an Apogee Duet 2 preamp that’s been described as clean, quiet, and detailed.” I have an Audient iD22 in my studio that I would describe as clean, quiet, and detailed. As it turns out, even notoriously neutral preamps add some character to the mix. Perhaps that’s why my OC18 sounded brighter.

ANOTHER OPINION

Just to be sure he hadn’t bought a lemon, my colleague talked to Austrian Audio and had them listen to a sample. Their senior acoustic engineer Christoph Frank confirmed there was nothing wrong with the microphone. He suggested that my Dutch colleague was probably so used to the sound of his old microphone that the OC18 didn’t meet his expectations.

I have to concur. Our perception is constantly colored by our senses, our memories, and our expectations. 

You see, in order to function as a human being we are continuously comparing and adjusting. It’s an unconscious process. In order to determine whether or not we’re getting closer to our goal, we have to compare where we’ve been and where we are, to where we want to go. It’s a feedback loop.

Sometimes the place we want to arrive at is very concrete and explicit. For instance, if I want to go to the Easton Farmers’ Market, I have to know where it’s located and what to look for so I will recognize it once we get there. Then I get into my car, and as I am driving I am comparing where I am to where I want to be. Every comparison is a measurement. A judgment. The better the instruments are that I’m measuring with, the more precisely I can determine my progress.

But quite often, the goals we’re trying to reach are vague. So many people simply say: “I want to be better at….blank.” The question is “What do you mean by better? Compared to what?” That’s where the trouble begins.

I see so many colleagues on social media saying: “I want to buy a better microphone. Which one do you recommend?” This is immediately followed by a whole string of suggestions. The cure has already been offered without a proper diagnosis, and without knowing what someone’s criteria for a better microphone are, let alone the available budget.

ALBERT EINSTEIN

In this case my Dutch colleague wanted a microphone with “more oomph,” but what the heck is oomph anyway? “More oomph” means different things to different people, and is it even fair to expect more oomph from something that might not even be capable of delivering it?

As Einstein said:

“If you judge a fish by its ability to climb a tree it will live its whole life believing that it is stupid.”

The other question we’d have to ask ourselves is this: Are there other ways to give a microphone more punch, for instance by using some compression? Perhaps the mic is not the problem.

What I’m ultimately trying to get across is that your expectations are telling a lot more about you, than about the object of your anticipation. Expectations are mostly built on your past experience, your subjective taste, and your personal preference.

Part of our expectations also comes from social proof, such as the reviews we read and the videos we watch. I mean, if Mister Booth Junkie (whom I love) says this $250 Synco shotgun sounds exactly like a $1000 MKH 416, it must be true!

CONFIRMATION BIAS

Let’s face it. We can’t help being biased, and the tragedy is that so many people are not consciously aware of it. And here’s the kicker: I can make you biased if I want to!

For instance, if I would tell you that you’re about to listen to a recording that was made using a pricey Neumann microphone, chances are that you would give it higher marks than if I had told you it was done on some cheap Chinese brand you’ve never even heard of.

That, by the way, is the same reason why people are convinced more expensive wine tastes better. It’s an example of the confirmation bias where we favor ideas that confirm our existing beliefs and what we think we know. 

For most people, it’s hard to have an open mind, especially if you haven’t been taught to think critically, and you’re more of a follower than a leader. Just turn on the news, and see for yourself how confirmation bias colors people’s perceptions and actions. Our political affiliations do not matter. We’re all guilty.

Luckily, my colleague was aware of his limitations, and asked for outside help. After our conversation he invited a trusted audio engineer over to his home studio to test the microphone at the location where it would be used. In about two hours, the engineer carefully tweaked the settings of the Apogee Duet, and installed a few updates. He also adjusted the input levels which had been way too low.

In musical terms I guess one could say that he tuned the entire recording chain like a grand piano.

Once he was done, the Austrian Audio mic began to sing with a full dynamic spectrum. The clarity that had been missing was back, and the microphone now produces a rich and bright sound that totally flatters my colleague’s voice. He’s not going to send it back to Austria. That’s for sure!

The moral of the story? 

Be aware of your limitations, your biases, and your expectations.

In the studio, and in life.

In doubt, always ask an expert.

And never expect a fish to climb a tree.

Paul Strikwerda ©nethervoice

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5 Reasons Why You Should Never Become A Voice Over

by Paul Strikwerdain Articles, Career, Freelancing, Pay-to-Play5 Comments

“Want to work from home during COVID-19?”

“Millions of dollars paid out to voice actors globally.”

“Audition for your dream job now.”

“Instant access to amazing opportunities.”

“One million registered users can’t be wrong.”

“New job postings every day.”

It sure sounds tempting, doesn’t it? Especially when you’re young, idealistic, and impressionable. It’s the way online voice casting sites throw out their net. Especially now that many of us are jobless and stuck inside thanks to a killer virus.

Day after day an ever-growing army of hopefuls is eagerly looking at their inbox, waiting for the next “amazing opportunity” to become a voice over star. It comes at a price, though. 

If you’re taking part in these online cattle calls, be ready to be milked!

Of course these casting sites won’t tell you that you have to spend between $349 and $399 per year to take part in a crapshoot. They’ll feed you success stories about people who claim to make a six-figure income by winning audition after audition. Anecdotal evidence always trumps independently verified numbers, right?

People believe what they want to believe when they’re desperate and uninformed.

So, today I’m not going to give you the golden formula to online voice over success. Sorry to break the news, but it does not exist. Instead, I will give you a few reasons why you probably should stay clear of this business. I’ll start with the most important one. 

1. The world doesn’t need you.

Yes, you’ve heard me.

We have enough people talking into microphones, thank you very much. What this world needs is less talk and more action.

We need teachers, doctors, nurses, and scientists. We need experts in conflict resolution; people who know how to fight global warming and racism. We need first responders to pandemics, contact tracers and census takers. 

If you really want to make a difference on this planet, don’t hide behind soundproof walls selling stuff no one needs. Get out there and start helping the poor, the sick, the homeless, the marginalized, and the ones without a voice. They need you more than Disney does.

2. There’s no money in voice-overs.

The cost of living goes up every year while voice over rates are in steady decline. That makes sense, doesn’t it? Even the union can’t stop it. Thanks to online casting services and ignorant amateurs, your voice has become a commodity, sold by the lowest bidder to the cheapest client.

VO has become a game of averages, and here’s how it works.

The bottom feeders choose lowball sites like Upwork, Fiverr, and freelancer.com to sell their services for beer money. The top end of the market consists of A-list actors making millions voicing cartoons and commercials. If you’re average, you’re forever stuck in the middle. You have enough integrity to leave the crumbs to the idiots, but you won’t get the big gigs for the big money.

Don’t be fooled by voice-over veterans posting on Facebook how well they are doing. Some of them confided in me that they’re just keeping up appearances. No one wants to hire a loser, so they’ve got to tell the world they’re still an important player. Yay for social media! Everything people post is 100% true, right?

3. You are a social being.

Unless you enjoy going to expensive events to hear VoiceVIP’s talk about themselves and plug their books, you’re pretty much on your own in this business. I mean, who likes being locked up between the four carpeted walls of a 3.5’ by 3.5’ recording booth all day long?

You have no one to talk to but yourself, and you’ll never see a response from the people you’re supposedly entertaining. If acknowledgment is what you’re secretly longing for, wait for the Corona crisis to be over and go to a nursing home and read to the residents. Tell stories to kids in the cancer ward. It will make their day, and yours!

The sedentary lifestyle of a typical voice-over is unhealthy for the mind, body, and soul. It’s bad enough that you have to stay at home to stay safe these days. Let’s assume you’re an extrovert and you thrive in the company of others.

I can tell you right now that you will curse the day you decided to lock yourself up in a walk-in closet, just so you could narrate some third-rate novel for a royalty share that doesn’t even pay this month’s water bill. 

4. You’ll spend at least 80% of your time trying to get work, and 20% doing the work.

Voice-overs spend a lot of time being busy without being productive. How rewarding is that? Regardless of what voice casting sites want you to believe, most jobs you audition for will go to someone else, and you’ll never know why. Don’t you love it?

But what about agents, you may ask. Once you have an agent or two, things will get better, right?

No they won’t.

The pickings are slim, and these days, all the agents in North America will send the same bathroom tissue script to every talent with a potty mouth. That really makes you feel part of an exclusive club, doesn’t it?

5. It may take many years before you see a return on your investment, if you’re lucky.

A voice-over career cannot be bought. It has to be conquered. Slowly.

You may think you’re going to be successful because of your unique sound. Dream on! The only way you’ll stand a chance is if you stop treating your pipe dream as a hobby. This means you’ve got to invest in professional gear and in a quiet place to record ($$$). Then you have to get yourself a few top-notch demos, plus a website to tell the world what you’re doing ($$$).

And this is just the beginning.

Having all of that in place is no guarantee that you’ll make any money with your voice. Thousands of people all over the world are doing exactly what you do, and they are giving up within a year. The only money they’ll ever see is when they’re selling their stuff on eBay. At a loss. 

When you really think about it, you have to be an idiot to become a voice over.

I was foolish enough to choose that as my career, and guess what?

I’ve never been happier!

Paul Strikwerda ©nethervoice

PS If you believe I’m being negative for no reason, you should read 5 awful things nobody tells you about being an actor. Then we’ll talk, okay?

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What Top Japanese School Bands Taught Me About Voice Overs

by Paul Strikwerdain Articles, Career, Personal2 Comments

the author is on the right

This may come as a surprise, but I never wanted to be a voice over.

I still think it’s strange that I make a living talking to imaginary people reading scripts from folks I’ve never met, for clients I’ve never even spoken to.

But it beats digging ditches, flagging traffic in 100 degree weather, working in an Amazon warehouse, or doing the night shift at a meat processing plant.

In my teens I knew exactly what I wanted to do with my life. I wanted to have a career in music.

THE MUSIC MAN

From the age of eight I played the cornet in what Americans would call a marching band, even though we didn’t march much. It was more of a concert band. Later on I added organ lessons, and I played the piano. I was also an avid collector of native flutes from all over the world, most of which I could play.

When I was sixteen years old I started taking conducting lessons, I began composing and arranging, and at eighteen I became the interim conductor of my band. After high school I went to Utrecht University to study musicology, even though I was admitted to a conservatory in the north of Holland.

As a university student, I joined a brass band, an orchestra playing broadway musicals, a jazz band, and a choir specializing in plainchant. I simply couldn’t sit still and be quiet. My life was music, and music was my life.

If you’d ask me today to choose between music or voice overs, I would choose music in a heartbeat. No doubt about it.

So, it won’t come as surprise that I’ve kept a keen interest in the world of brass bands, concert bands, classical music in general, and organ music in particular.

WATCH WITH ME

What I’m going to do next is a bit of a risk. I’m going to ask you to watch a spectacular seven-minute music video. What you’re about to see is a selection of the best Japanese high school symphonic bands taking part in a 2019 national competition.

Perhaps the music you’re about to hear is not your cup of tea. On the other hand, you might have played in a high school band yourself, or you may have friends who did. Perhaps you still play an instrument, and you’ll recognize and appreciate the level of musicianship you’re about to see.

Anyway, I hope you will watch a bit of it, or the whole thing, just to get a better feel for what I’m going to talk about next.

I don’t know about you, but when I watched this video for the first time, I was floored. Having played in this type of ensemble myself, I was blown away by the technical abilities of the teenagers on stage, but there was more.

If you’ve ever been a member of any school orchestra, you know there are always a few people who practice really hard, and a whole lot who are simply winging it. You can say the same about sports teams, by the way. It’s rare to have an entire youth orchestra with kids who seem to be so committed and so completely competent.

QUALITY AND DEDICATION

Another thing I noticed was that they’re not playing on crappy instruments. To me, this is proof that the schools are taking their music program seriously. It’s not an afterthought without a proper budget.

Some kids on stage are multi-instrumentalists. At 3:20 you’ll see a girl on the left playing a mallet percussion instrument walking over to the harp. Without missing a beat, she starts plucking the strings. 

What also struck me was the collective level of focus and dedication. No one was phoning it in. Of course this footage was shot at a competition, so that’s what one would expect, but here’s the thing. When you watch individual performances of these orchestras outside of a competitive setting (and there are tons of videos on YouTube), you’ll see the same level of energy, musicianship, and enthusiasm starting at the elementary school level.

Unlike my old orchestra, most of these school bands are also marching bands that frequently travel the world to show off their amazingly intricate routines. Click here to watch one of these shows. 

Back to the 2019 competition video. What impressed me most was that the performances weren’t only technically top-notch, but these teens were making real music with heart and with soul. Here’s the big question: How do they do it?

WHAT’S THE SECRET

As an academic discipline, music in Japan is just as important as mathematics. All of the musicians you see on stage started their music education in elementary school. If you don’t believe me, watch this video of an all-girl elementary school brass band playing “Jupiter” from the “The Planets” by Gustav Holst. And they’re doing it from memory!

So, what can we learn from music education in Japan?

Lesson number one: Start as early as you can, and whatever it is you do, have fun but take it seriously.

Lesson number two: Practice, practice, practice.

Most band members in Japan can’t rehearse at home, so they stay after school for a couple of hours on every weekday for individual and band practice, and sometimes during weekends and vacations as well. A band is only as good as its weakest link. No one wants to let the team down. 

Lesson number three: Keep at it. Don’t give up too quickly.

So many kids are ready to give up when things become challenging, and parents let them. How can you know that playing the piano is not for you after only a couple of  lessons? Successful people aren’t quitters.

Practicing does not come naturally. It requires discipline and needs to be learned. It takes time for habits to form. 

Lesson number four: Stay focused.

We live in a time of many distractions and short attention spans. Cell phones are always within reach, and in many homes the TV is always on. It’s easy for your mind to wonder off, if you don’t make whatever it is you want to become good at, a priority.

Lesson number five: Become an expert.

The best way to master something, is to teach it. In Japan, elder students are expected to educate the young, and younger students have to respect senior students. 

Lesson number six: Have an open, curious mind, and an eagerness to learn. 

Western band directors have marveled at the openness of the Japanese students to new ideas and noticed the apparent absence of “attitude.” Japanese students want to learn, they accept the information and instructions given to them, and most importantly, they do the work necessary to realize the desired results.

Lesson number seven: If you want to be at the top of your game, you have to have reliable equipment.

This means you need to have the means and the willingness to make a serious investment. A cheap instrument will only take you so far, and it will limit what you can achieve. 

Lesson number eight: Setting the bar high is a matter of tremendous pride.

Do these Japanese school orchestras consist of a bunch of overachievers? To the naive outsider that may seem the case, but in Japan these orchestras are of vital importance since they represent each school and its identity. 

Every year, prestigious national competitions are organized to elect the best orchestra. Imagine 14,000 bands with 800,000 competing musicians! This allows pupils to be highly motivated in terms of instrument practice because they want to defend the honor of their school.

Lesson number nine: Study the best performers in your field and keep on learning.

Japanese students are encouraged to watch live performances and learn from them. Observing top orchestras and individual performers can inspire students to up their game. The band director will often bring in professionals for clinics and joint performances to bring out the best in the students.

Lesson number ten: Cultures are different and unique. Not everything that works in Japan will work as well in the rest of the world.

For one, Japanese culture focuses more on the collective than on the individual. To an outsider, there seems to be greater (and an unhealthy) pressure to be perfect. Voice over Sean Daeley who has lived and worked in Japan told me:

“While I admit there is an element of cultural difference in perfectionism, the importance of not letting the band or your family down, and maybe even tiger mom/parentage, I’ve also talked to a number of adult students who reflected back on those experiences, saying while they may have hated it at the time, they were truly grateful they were encouraged to put in the time to enjoy the level of skill they still have as adults.”

BUT WHAT ABOUT VOICE OVERS

Here’s the connection.

Performing music is an art, and so is doing voice overs. A musician interprets the notes in a score, just as voice overs interpret the words on a page.

Before you can start a career as a voice over artist, you have to learn how to play your instrument. This takes time, practice, and concentration. You need careful guidance and a willingness to accept direction from people with more experience.

You have to leave your attitude of entitlement and “I know everything already” at the door. You don’t know what you don’t know. 

When you get advice from a VO veteran, don’t complain about the older generation pretending to be better than you are. Say “Thank you,” and repay him or her by putting it into practice and by paying it forward.

You need to focus, listen, and learn until you become so good at what you do, that you can teach the material to a new generation. It requires relentless dedication, time, and energy.

As someone who will be self-employed, no one will set the bar, but you. No one will get you out of bed, but you. No one will tell you what to do, but you. 

If you’re not disciplined enough to handle that (and most people aren’t), a voice over career isn’t your thing.

And finally…

Your studio will be your stage, and you’ll be performing for an audience you’ll never see.

So, don’t do it for the applause.

Do it for the music!

Paul Strikwerda ©nethervoice

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Life and Death in times of COVID

by Paul Strikwerdain Articles, Dutch, PersonalLeave a comment

A few weeks ago, I told you about my Dutch colleague Jolanda Bayens. She is the founder and director of the Voice Over College, and one of Holland’s most in-demand voices. Jolanda is also a registered nurse, but she hasn’t practiced in twenty-six years.

When the Corona virus hit her region hard, she felt she had to do something to help, and she offered to go back to nursing. After Jolanda’s first story was published, people kept checking in with me to find out how she’s doing.

This is her update:

It’s a gorgeous sunny day in May. The highway is a bit busier than last week. As I’m driving, I start thinking about the things I have to do, tomorrow. One of those jobs is a voice over recording, a medical animation to be exact. I’m grateful that most of my customers still know where to find me, even in these testing times. 

There’s also lots of planning to do for my training institute, the voice over college. Thank goodness my guest teachers are incredibly flexible. Meanwhile, the lockdown seems to get more relaxed in the Netherlands. We’re allowed to get out a bit more, emphasis on “a bit.” When I pass an electronic message board, I’m being warned not to unwind in a nearby nature reserve as they’re expecting record crowds this weekend.

Half an hour has passed when I park my car in the parking lot of the nursing home. Because I’m working in a COVID-19 ward, I’m not allowed to use the regular staff entrance. My colleagues and I have to enter through the mortuary. Different doors that only open when I enter the correct code, take me to the stairwell. I walk up the stairs, and I consciously take a deep breath in and out, pushing the door open.

I have arrived. 

PROTECTING OURSELVES

Jolanda Bayens

As a temp nurse I work on different COVID-19 wards. Today I go to a floor that has been hit very hard. My colleague and I (it’s just the two of us because they couldn’t find an additional nurse for this shift), get into our protective suits. We put on gloves, face masks, and safety goggles. During our shift we cannot leave this ward and we’re responsible for nine demented people. Only one of them is not infected with the Corona virus.

That one person happens to be stretching his legs as I walk in. He has no idea where he is or what he’s doing There’s no one to stop him and his family is not allowed to come in. He is terrified and keeps asking what he is supposed to do. I feel guilty because I can’t really help him.

During the day shift three people on this floor have passed. Apart from the one “healthy” resident, all others are in bed feeling terribly sick. I can tell one of them hasn’t got long to live. The doctor has been called to administer morphine, which he does. Because we expect that death is near, we call the next of kin. They show up wearing layers of protective clothing.

THE LIVING AND THE DYING

The family members come inside, and we show them to their dad who is fighting for his life. His kids are shocked by what they see and tell their father that it’s okay to let go. But the old man is clinging on. I get goosebumps as I’m fighting back the tears.

We stay a while to explain what the family can and cannot do under these circumstances, and then we continue with our work. One lady in our care is gravely ill, and the rest of the residents are so sick that they don’t want to eat or drink.

Forty-five minutes later the family of the dying man decides to go home. They were only allowed to stay for half an hour, but we gave them some extra time. Every ten minutes my colleague and I stick our heads around the corner to see how the dying man is doing.

When I enter his room around eight, I see that he has passed. He looks totally exhausted. I ask a doctor to call the time of death, while family members contact the undertaker who will take care of the body. Normally, that’s our job, but because of Corona regulations we aren’t allowed to do that. 

FEELING GUILTY

The only thing we can do is carry on. We help people eat and drink, we give them medications, and we clean the residents up. We take their temperature and blood pressure, and we measure their oxygen level. We continue to do so until the end of our shift.

In the car, on my way back, I feel guilty because I wasn’t able to give my patients the care they so desperately deserve and need. When I try to brush that uncomfortable feeling away, I suddenly notice how thirsty I am. Walking around in those protective suits feels like being in a sauna, and with only two nurses on duty, there wasn’t enough time to even take a sip of water.

I turn on the radio to listen to the news. The number of people with COVID-19 being admitted to hospitals has gone down again, and the numbers at the ICU’s are decreasing as well. But once again, no one is mentioning anything about nursing homes. It is as if we do not exist.

The news reader continues: at the main railway station in Amsterdam, police officers and railway officials had to be deployed to manage the enormous flow of travelers heading for the beach resort of Zandvoort. Forget social distancing. Getting an early tan and emptying a six pack of Heineken is much more important. 

I’m finally home. I get out of my car and take a deep breath.

It’s time to go inside.

My voice over studio awaits.

Jolanda Bayens

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The Great Desperation

by Paul Strikwerdain Articles, Career, Freelancing, International, Internet, Pay-to-Play12 Comments

Dear friends,

In the midst of the devastating Corona crisis, it is time to have a party!

Let’s all go to Casa Ciccarelli in Canada, hang up some garlands, bring out our silly hats, and throw some confetti because…

Voices dot com has reached One Billion Registered Users!

Apologies…. make that One Million users*.

The news sounds just as pathetic as the McDonald’s sign saying “billions and billions served.” It still means they’re selling indigestion and obesity on a plastic plate. Just on a grander scale.

According to VDC, the top 5 countries with the most users are… (drumroll please):

The USA, Canada, India, the United Kingdom, and the Philippines.

Call me cynical, but could this meteoric rise in numbers have anything to do with the effects of the current pandemic? You know, the sheer number of people out of a job. The poor impressionables who are suddenly forced to work from home and have no idea what to do with themselves?

“Oh wait, when all else fails, I could always become… a voice over! Let’s find that Snowball microphone that is gathering dust.”

Is VDC cashing in on a global crisis?

Or is that a dark thought coming from a notorious VDC critic? Let’s ask David Ciccarelli, CEO and co-founder of Voices.com. He said the following in a press release:

These times are challenging and Voices.com is a solution for many of our customers in their time of need,”  (…) Aspiring voice talent have been registering in record numbers, and, not surprisingly, professional voice talent who have invested in remote recording studio technologies are benefiting from the increase in demand.”

Do you want to know what I think?

VDC is one of the least transparent voice over service providers on the planet, and is one of the best at putting itself at the top of search engines. I take whatever they tout with a huge grain of Himalayan salt. This includes any numbers they provide because they cannot be independently verified.

Secondly, have you noticed a sudden “increase in demand” for voice overs?

THE COLLAPSING MARKET

Has your local car dealership called for a commercial lately? Or Holiday Hair?

How about the tourism and hospitality industry?

Did you get a call to do any airline adverts, or promote any theme parks or live events recently?

I didn’t think so.

Businesses and service providers can’t advertise themselves out of a pandemic-induced recession. What we need at this time is tests and vaccines and people staying away from people. Not more ads for things we can’t afford because that Trump-signed $1200 check doesn’t really cut it.

The media and entertainment industry is being hit hard, and with it, the (voice) actors. The production of motion pictures and TV shows has come to a standstill. Theaters and cinemas are closed. Meanwhile companies like Netflix are signing up subscribers by the millions, stealing viewers from network television that runs on advertising.

Huge sports events like the Olympics have been postponed or cancelled. Did you know that NBC had already booked more than $1 billion in national advertising commitments for the Games in Tokyo?

You may say that analysts have not detected a drop in ad spending during the first quarter of 2020, and you would be right. That’s because most advertisers made reservations for that ad time last summer during the so-called upfront market, when the bulk of TV commercial time is sold.

This means that the real sh*t hasn’t even hit the fan yet.

CANADA TO THE RESCUE?

But thank goodness we have voices dot com. They’re always there for us, fighting hard to keep the dream of aspiring voice actors alive with wonderful projects thousands will audition for (and never get), a dollar- a-holler.

I mean, it makes complete sense that if you want to start a new career, you don’t invest in any training, you get crap recording equipment you use in an untreated space, and you expect to stand out among hundreds of thousands of other users doing the same thing on the same platform! Aren’t you a smart cookie!

And, should you be one of those lucky companies that hasn’t slashed the marketing and advertising budget yet, wouldn’t you just love to have to weed through hundreds and hundreds of substandard online auditions, hoping to find one low-bidding amateur needle in an amateur haystack?

SPOKEN BOOKS

But Paul, what about audio books? Audio books are in the midsts of a boom. Deloitte predicted that the global market will grow by 25 per cent in 2020 to $3.5 billion (USD). That’s where the amazing opportunities are!

Well, you may have a point, but let’s look at who narrates the spoken books that actually make money. Publishers aren’t born yesterday. They know who to hire.

According to the BBC, Penguin released  thirty of their classics in audiobook format, narrated by well-known names including Andrew Scott reading The Dubliners and Natalie Dormer voicing A Room of One’s Own.

Meanwhile, Audible has had Rosamund Pike reading Pride and Prejudice and Thandie Newton narrating Jane Eyre. A huge seller for them has been Stephen Fry’s 72-hour-long reading of Arthur Conan Doyle’s Sherlock Holmes: The Definitive Collection.

So, if you happen to be an audio book publisher, who would you rather hire? Benedict Cumberbatch, or some unknown voice over person with a free profile on VDC? Since most stage and on-screen actors are twiddling their thumbs at the moment, you might be able to get an A-lister for cheap.

By the way, if you’re new to voice overs, please realize that narrating audio books is one of the most challenging things you could ever do in this business. Your beginner voice won’t have the stamina to read for hours on end,  and you won’t have the acting chops to portray the many different characters in the novel you want to audition for. You have no clue how to self-direct, and your cheap microphone records every loud breath, sharp S, mouth click, and popping plosive, as well as a generous amount of self-noise. And did I tell you about the endless editing?

DISTANCE LEARNING

Then there’s eLearning. For some reason medical narration seems to be very much in-demand at the moment. Yippie! Let me  give you a taste of what that entails. Here’s a snippet from a script I got to voice for a pharmaceutical giant, recently:

“Physicians look for complications of cirrhosis including presence of peripheral edema, splenomegaly, ascites, and encephalopathy. Physicians also look for rare complications such as cyanosis (due to hepatopulmonary syndrome) or evidence of pulmonary hypertension (portopulmonary hypertension).”

And this is by no means the most challenging medical script I ever had to narrate. As one of the new VDC recruits, do you think you’re totally ready for this type of project? I know that’s what VDC wants you to believe. If you have a voice, a pulse, and a credit card, they’re happy to welcome you to the club!

I agree that times are tough, and when people are desperate, they become an easy target for those offering them what seems to be an easy way out. You may call those who pray on desperate people opportunists, givers of false hope, con artists even.

I hate to break it to you, but you don’t become a best-selling author overnight, you don’t make a fortune selling stock photos shot with your iPhone, or become a millionaire doing make-up tutorials on YouTube. I’ve tried two out of three, and I still don’t have that red Maserati in my driveway. Frankly, I don’t know any voice actor who has. 

BURSTING A BUBBLE

I’m not telling you this because you don’t deserve to dream. I’m telling you this because I don’t want you to get your hopes up and be taken advantage of. I’m also telling you this because I want you to be well-prepared when you do decide to go for it. Who am I to stop you?

As in any profession, you can’t buy yourself a career in voice overs. You’ve got to earn it first, before reaping the rewards. Those rewards, by the way, are going down as professional voices are becoming more of a commodity due to the increased number of people signing up for services like VDC. It’s a buyers market.

Jobs that used to pay $2500 are now going for $250 or less, because people who don’t know any better believe it’s good money. A bird in the hand is worth two in the bush, right? At the end of the day, talking into a microphone is better and safer than slaving in some Amazon warehouse just so Jeff Bezos can buy another mansion.

But before you fork over $399 for a premium membership, or $2,999 for a platinum membership (so you can get priority ranking in the Voices.com directory search results), think about what one of my colleagues just said after I posted the following picture on Instagram:

He told me:

“I am sinking as is. Why turn over $400 a year, PAYING to get rejected?”

Perhaps you think the owners of VDC deserve to be congratulated on their success. They were once the toast of the town. Now they’re no longer welcome at voice over conferences because of their well-documented unethical business practices.

You can choose to be a part of those practices and enable their growth if you like. After all, you can do great work for a bad business.

Or you can save yourself some money, and invest it in building your own freelance business with integrity.

It doesn’t even have to be a voice over business.

It’s your life.

It’s your party.

Paul Strikwerda ©nethervoice

* According to VDC it has 1 million business and voice actor registered users.

 

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This May Be The Best Investment In Your VO Career Right Now

by Paul Strikwerdain Articles, Career, International, Internet, One Voice, Promotion4 Comments

Some say he’s got a big blob of gravy for a brain.

Some say he is the secret love child of Telly Savalas and his Austrian mistress Inga.

Some say he combs his armpits with an electric toothbrush, and they are sure he shines the top of his head with extra fine sandpaper, giving him a ten-minute braingasm.

All we know is that he’s called….

Huge Edwards (photo).

Apologies. It’s Hugh Edwards. Actually. 

If you’re a Top Gear fan, you recognize the reference. If not, you probably think I’m stark raving mad. You might be right. This self-quarantining situation does crazy things to a sane mind. 

Anyway, today I had a chance to talk to the Stig of the voice over world. The man who can pull off stunts no one has ever attempted before. The guy who is working 24/7 to put together the world’s first LIVE virtual voice over gathering. The co-creator of the One Voice Conference which opens its online doors on Thursday, May 7th.

And by the way, the bold words in blue are (as always) hyperlinks.

A PLANET GONE VIRAL

Listen, I don’t have to remind you how much the world has changed thanks to this nasty virus. I know you’re probably not working as much as you would like. That does mean you have more time on your hands, and I know just the way to spend that time. You need to get ready for when the world reopens and you’re back in business. Stronger and better than ever. As I said before:

“This is the time to sharpen your axe, and use it wisely.

Refresh your demos, revamp your website, step up your marketing, increase your social media exposure, work with a coach on your weaknesses, build a proper studio, upgrade your gear.

Invest. Invest. Invest.

If you don’t do it, others will, and they’ll come out of this crisis ready and running.”

That’s why I’d be thrilled if you could join me at the One Voice Conference. All the other VO conferences are not going to happen this year, and -as you will hear shortly- if you decide to join me, you will have access to not one but THREE conferences at a price which has been slashed in half by Stig Edwards himself.

SELLING MYSELF

If this sounds like a self-serving sales pitch to you, I am guilty as charged because I’m one of the contributors to the conference. Do I want this thing to be a huge success for everyone involved? Of course I do!

But even if I wasn’t contributing, I would still suggest you sign up because I know and trust the people who are putting it together, and I’ve seen the line up of speakers (53 and counting). Check them out, and imagine for a moment that you’d have to pay each presenter $150 to $200 for a private consultation.

Get this: A weekend virtual conference pass is $226.80, and Gravy For The Brain members are paying even less.

One of the frustrations of a “normal” conference is that by going to one presentation, you miss out on many others because they’re happening at the same time. With this virtual conference that’s no longer a problem. You get access to all of them (and more), and you can watch them whenever it is most convenient for you. 

But wait… there’s more!

THE ONE VOICE INTERVIEW

Earlier today I had a Zoom meeting with Hugh Edwards, and we talked about how participants of the conference would interact with one another, and with the presenters. Did the content of the conference have to be changed due to the virtual format? Will the sponsors of One Voice still offer surprise bonuses and special deals? (A little bird told me that Sennheiser is giving away a $700 Neumann BCM 705 broadcast microphone, and a pair of $100 Sennheiser HD 280 closed back studio headphones)

I began by asking about the challenges Hugh and his team had to overcome, to put this LIVE conference together.


Many thanks to Hugh for talking to me in the midst of his busy schedule.

Here’s a behind-the-scenes look at the situation during one of the One Voice dress rehearsals (and believe it or not, this is only one quarter of the kit). 

MY ROLE AT ONE VOICE

“But Paul, what about your contributions to the One Voice Conference?” you may ask.

Good question!

On Friday May 7th, I’ll be doing a 40-minute presentation about how blogging put me on the international map as a voice over artist (and why you should start blogging too!). I have a surprise gift for everyone who’s attending.

On Saturday May 8th I will conduct a 3-hour paid workshop, entitled: “Blogging Yourself To Voice Over Success” (click here to book a seat).

Both take place at 4 PM UK time (11 AM EST, 8 AM PT).

The Friday presentation is in part my personal story and also an introduction to the value of blogging for voice overs. The Saturday workshop is a practical, in-depth look at the process of blogging, and I’ll teach you how to reach an audience, and how to monetize your blog.

I know one thing for sure: without this blog very few colleagues and clients would know my name, my voice, and this website. It was, and still is crucial to my career, and having a blog can do the same thing for you!

So, I’m counting on seeing you at the conference in May. If only for one reason and one reason only:

To make Hugh/You Happy!

Paul Strikwerda ©nethervoice

PS Hugh is the first to acknowledge that world’s very first online voice over conference was Voice Over Virtual, back in 2013, produced by John Florian of VoiceOverXtra. What makes ONE VOICE stand out, is that it’s the first LIVE virtual conference.

 

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When COVID-19 leaves patients speechless, a voice actor steps up

by Paul Strikwerdain Articles, Dutch, International, Journalism & Media, Personal2 Comments

Do you remember your dreams? 

I rarely do, but the one I had last night has been on my mind since I woke up at 4:00 AM. It was an almost mystical and comforting experience. Here’s why. 

In my sleep, a deep, soothing voice instructed me to go to my computer and write a new story for my blog.

“Make sure you give it some thought,” the voice said, “because it’s going to be your very last blog post. If there’s anything you’d like to say to your readers, this is the time to say it.”

Once I started typing, the emotional floodgates opened, and line after line started weaving a story filled with love, gratitude, and endless appreciation.

When it was finished, the voice returned and said:

“It’s time to go. Follow me.”

At that moment, my soul left my exhausted body in the hospital bed beneath me. As I floated upward, feeling like a fluffy feather in the wind, I could see the nurses take me off the ventilator, and cover my mortal remains with a white sheet.

It felt perfectly natural. I wasn’t scared. I remember being blissfully overwhelmed by a tingling sensation of lightness that I’d never experienced before. Instinctively I knew that everything was going to be alright.

The drop was coming back to the ocean.

It was time to go home!

COPING WITH A DEADLY VIRUS

We all deal with COVID-19 in different ways. I’m not interested in political spin, or in networks trying to pump up their ratings with unscientific sensationalism. Give me the facts and I’ll be fine. I’d like to know what I am dealing with.

I’m not scared of this virus because I know how to keep myself and those around me safe. What I am afraid of are the gun slinging nitwits who believe it’s okay to endanger my life just so they can get a six pack at the beer emporium, buy some ammo at Walmart, and get their bushy beards trimmed. All in the name of freedom.

Pro Life my ass!

Then there are people I have tremendous admiration for. The essential workers, the ones who do the dirty, risky jobs for minimum wage with minimum protection. You know, the tax-paying immigrants targeted for incarceration and eventually deportation.

I also admire colleagues such as Jolanda Bayens (I wrote about her last week), who went back to nursing to help vulnerable seniors. Every single day she’s dealing with new cases of Corona, as coffins leave the premises of the care facility she works at. 

COVID-19 preys on the weak, the willfully unprotected, and even on pastors who are dead certain that God will keep them and their misguided out of the Pearly Gates.

VOICE TALENT AND SPEECH THERAPIST

Hellen Moes

This week I learned that another member of our voice acting tribe is doing her share to help those suffering from COVID. Her name is Hellen Moes, and she doubles as a certified speech therapist in the Netherlands. She works in a teaching hospital, and normally she assists patients who have trouble swallowing and speaking after they’ve been treated for a malignant tumor in the oral cavity, or pharynx.

These days, Hellen helps Corona patients that just came off the ventilator who are having problems with their oral intake. Hellen says that most people don’t realize that the same organs that allow us to speak and sing, are used for the safe intake of food. They help us to chew and taste, and swallow solids and liquids. “Safe” means making sure that everything ends up in the esophagus, and not in the trachea.

All of us were born with a very ingenious system that protects us from choking. Hellen explains:

“In less than a second, our swallowing reflex separates food from air, closing the vocal folds, making the larynx move up as the epiglottis is closing the opening to the respiratory system while the tongue and the back throat wall are pushing the food to the gullet inlet. 

COVID-19 patients on respirators are intubated. During intubation a special instrument (laryngoscope) is used to carefully push the epiglottis away, so the intubation tube can be inserted in the trachea through the opened vocal folds. A small balloon at the end of the tube holds it in place inside the trachea. 

This means that patients can’t swallow as long as they’re on a respirator. They’re fed artificially through a nasal probe that enters the throat, going to the gullet inlet to the stomach. That’s precisely the reason why these patients are sedated while they’re on a respirator. 

When the throat muscles aren’t used for complicated things like coughing, vocalizing, and speaking, they weaken. During intubation it sometimes happens that a vocal fold gets scratched, a vocal cord nerve gets entrapped, and vocal folds become paralyzed. This has a negative impact on the swallowing function, and on someone’s ability to speak.”

SPEECH PROBLEMS

Once the intubation tube has been removed, and the patients wake up, they find that it’s almost impossible to speak. They’ve either completely lost their voice, or the voice is very weak. On top of that it’s almost impossible to cough because the vocal folds cannot close properly to build up the necessary pressure.

When the patients try to drink something, they choke and can’t cough. When that happens, a speech therapist like Hellen is called in. She picks up the story:

“The Corona virus has definitely changed the nature of my work. Part of me is afraid, a little ill at ease, and unsure of myself.

Hellen at the hospital

The support and involvement of the nurses is crucial for me, as is the protective clothing. It gives me some peace of mind. Because I am wearing a face mask, the patients have a hard time hearing my instructions. Normally, I show my patients how they can swallow more forcefully, but now they can’t see that. After I give them instructions, I have to listen carefully to make sure no food has gotten into their vulnerable lungs. 

Most of my patients have a long way to go before they can eat their steak and fries, but they are usually very grateful that they’re able to taste real food after having gone through a very, very difficult period.”

Please remember that COVID-19 is a merciless killer. To quote a recent article

“Clinicians are realizing that although the lungs are ground zero, its reach can extend to many organs including the heart and blood vessels, kidneys, gut, and brain. The disease can attack almost anything in the body with devastating consequences. Its ferocity is breathtaking and humbling.” 

Hellen Moes is taking a short break from speech therapy to voice a project for the medical faculty of the University of Maastricht. Like her colleague Jolanda, she’s very down to earth, and doesn’t think she’s doing something heroic. She’s doing what she’s been trained to do: helping people recover from something that could have easily killed them. Something that could potentially kill her too.

Hellen is one of my heroes.

GIVING THANKS

As I wake up from my dream, I feel elated to be alive. It seems my number isn’t up yet. All I can do to help, is stay inside as much as I can. Anne Frank and her family could do it for two years, and they didn’t have Netflix, Instagram, or Facebook. So, you don’t hear me complaining about physical distancing, or the need for a haircut. It’s a small price to pay to save lives.

Once again I feel overcome by gratitude for the people in the front lines who battle COVID-19 every single day. The people who keep the country running and the supermarkets stocked. The workers in warehouses, the people who deliver, and the scientists searching for a vaccine. If only I had a way to say “Thank you!”

Then my colleague Bev Standing came up with an idea. J. Michael Collins wrote the script, and Humberto Franco did the editing. Lots of voice over friends donated their voice to a video that says it all.

Have a look:

Paul Strikwerda ©nethervoice

PS Hellen is available to voice your projects with a Euro-English accent. Have a listen.

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How One of Our Own is Dealing with COVID-19

by Paul Strikwerdain Articles, Dutch, International, Journalism & Media, Personal10 Comments

In Europe, very few people have heard of Fred Rogers, or Mr. Rogers, as he was known to millions of Americans.

The Mister Rogers’ Neighborhood TV show for preschoolers aired from 1968 to 2001, and it continues to run in syndication and on streaming services today. Last year saw the premiere of the movie A Beautiful Day in the Neighborhood, starring Tom Hanks as Mr. Rogers. 

Fred Rogers was an expert at translating the complex adult world in terms kids could understand. His shows are still a resource for parents on talking to children about tragic events such as school shootings and killer viruses. 

Rogers is often quoted as saying: 

“When I was a boy and I would see scary things in the news, my mother would say to me, ‘Look for the helpers. You will always find people who are helping.’”

As the world is dealing with the Corona virus, one of those helpers is a colleague of ours whom I interviewed for this blog not so long ago. She was supposed to come to VO Atlanta, but COVID-19 disrupted her plans. Her name: Jolanda Bayens.

Jolanda is one of Holland’s most prominent voice overs, and the founder and CEO of the Voice Over College, a training institute for voice actors. 

Twenty-six years ago, Jolanda was a nurse, specializing in terminal care. After her studies she worked at a hospice, and later in home nursing. She fell and broke her pelvis in three locations. A few years later they discovered she had a condition that caused her bones to break very easily and significantly. She was declared unfit to work because the fractures didn’t heal properly.

Today, Jolanda is back in her nurse’s uniform, being one of the helpers. I asked her to tell her story:

DEALING WITH COVID-19

Jolanda Bayens

“When the Corona crisis hit the Netherlands, I felt an urge. The urge to help. After all, I am a trained nurse, and taking care of people is not something one easily forgets.

I don’t work in a hospital, but in a place that takes care of the weakest people in our society: a nursing home. In the Netherlands, just like anywhere else, entire wards have been isolated from the outside world because patients have COVID-19. In those wards, a silent disaster is taking place, right under our noses. 

I take care of 34 people who suffer from all types of dementia. Most of them aren’t ambulatory anymore. They don’t know who they are, let alone who I am. They’re confused, lonely, and unable to carry on a conversation. They look at you with hollow eyes, and listen with ears that do not understand what’s going on.

These people are bedridden, and one is sicker than the other. The virus is unpredictable. In the morning someone can seem wide awake and alert, and in the afternoon that same person is down with a high fever. Their oxygen level is low, so they’re short of breath. About a third of infected patients won’t make it. Physically, they were already weak, and this virus causes severe pneumonia which is usually the cause of death.

LACK OF PROTECTION AND EQUIPMENT

We have only one oxygen saturation monitor that measures the oxygen level of all 140 patients. There are safety goggles available, but we don’t have enough of them. We really have no idea if we have enough face masks and protective clothing for everyone in the near future. We’re using one face mask and one apron per shift, which is against regulations, but we have no choice. We’re constantly begging for more. 

My heart breaks for my patients. Every hour of my shift their condition deteriorates. Because there aren’t enough nurses and the family isn’t allowed to help, I feel like I’m constantly running behind. 

As soon as someone is close to death, we call the family. Only one person is allowed in the room with the patient. Most of the time that’s a partner or a child. The rest of the next of kin has to say their goodbyes outside, waiting in front of a window. Fortunately, my section is on the ground floor. Otherwise this wouldn’t even be possible. The person who has been with the patient then has to be self-quarantined.

About half of the permanent staff has chosen not to work on my floor as long as there’s COVID-19. A small group of caregivers is forced to make that choice because their husband, wife, or child is part of a risk group. They fear infection. I do understand that, but I also notice that this causes resentment among the caregivers who are continuing to work on the COVID ward.

All in all I feel frustrated. There aren’t enough caregivers, and those who are working are exhausted. There’s a lack of qualified nurses and we cannot protect our patients or ourselves. The family of the people we care for isn’t always understanding. They get angry and blame us for the infection. That really hurts. 

So, why are we continuing to care for our patients, possibly risking our own lives? Because we’re afraid that no one else will help these fragile people who are totally dependent on others. They deserve as much care as anyone else.

NO HEROES

I’ve seen signs outside of hospitals saying that the people who work there are heroes. Every now and then people start applauding the doctors and nurses. That doesn’t happen where I work.

I’m afraid that the people I take care of are part of a forgotten group. Small local businesses, however, have not forgotten us. Almost every day they send us flowers and yummy treats which are very much appreciated. 

Today, I’m off. That means: I work from home. I do the laundry, I run the house, I cook, and I record voice overs, of course. The show must go on. Thank goodness the projects keep coming in, even though there aren’t as many as in normal times. Tomorrow, after my morning shift in the nursing home, I’m going to rest up a bit. That way I’m ready to teach my beginner voice acting class in the evening.

I want to stress that my fellow nurses and I don’t see ourselves as heroes. We just want to do what we can, because if we don’t, no one else will do it.

It’s all about loving our fellow human beings.

Regardless of who they are, or what state they’e in.”

Jolanda Bayens, voice over/nurse

 

PS If you’d like to show Jolanda some love, please leave a few words of encouragement in the comments. 

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Is Visibility Coaching For You?

by Paul Strikwerdain Articles, Career, Freelancing, International, Internet, Promotion, Social MediaLeave a comment

You know me.

I’m pretty open and honest about my business.

In this blog I share some aspects of how I make money as a voice talent. But there’s one part of my profession I don’t advertise.

It’s my work as a coach

Over the years I’ve helped lots of colleagues become more successful, and I feel they should take the credit. Not me.

Plus, I’m quite busy voicing projects and I don’t have a lot of time to coach. Frankly, I can make more money recording a three-minute script, than spending an hour giving someone advice.

But two years ago, things changed. I had my stroke, and it affected my vocal folds. My voice doesn’t last as long as it used to, and I can’t take on every project that’s offered to me.

Over time, my coaching hours increased, and I discovered that helping others can be much more satisfying than recording a pancake commercial.

Now, some coaches specialize in accent reduction. Others know all about audio books. I call myself a Visibility Coach because my strength lies in helping people stand out in a world filled with noise.

GETTING VOICE OVER JOBS

There are basically two approaches to finding more work:

– You can target and approach clients all day long by cold calling, by begging agents to send you gigs, and by auditioning online until you’re blue in the voice, or you can…

– Make those clients come to you by having a strong online presence through your website and social media

The second approach cuts out the middle man, and gives you the freedom to negotiate with clients on your turf and on your terms. Most people have tried the first method and they end up being frustrated, broke, and exhausted. Oddly enough, they’ve never spent much time trying the second method.

If you are one of those people and you’re wondering if coaching is for you, I have a question for you:

Can you pull yourself up by your bootstraps and make things better?

If you could, then why haven’t you? And if you haven’t, what’s holding you back?

You can always ask friends and family for advice, but what do they really know about the business you’re in? Do they know what it takes to put yourself out there, even if you don’t feel like selling yourself? Do they have the practical experience to figure out what’s keeping you from booking more jobs? 

Do they have the right connections to improve your visibility in the field, without plastering your face all over the internet? Do they know anything about branding and marketing? You see, friends and family will always have an opinion, but they lack the objectivity, the skills, and the know-how to guide you.

That’s where I come in.

THE BEGINNING

Twenty years ago, I came to the United States with two suitcases and a plastic bag. No one knew who I was, and I had no idea where to begin. But I did it anyway. Now I have a thriving business, happy clients, and over forty thousand people that subscribe to this blog. I speak at conferences, I give interviews, and I have written one of the more successful books on voice overs and freelancing.

One could say that I’ve figured a few things out about what it takes to do well in this ever-changing business. And I’m happy to share them with you. The Dutch are known for being very direct, and I am no sugar-coater. In fact, I am probably the person who will tell you what you don’t want to hear. If you can’t handle that, find a coach who will gladly massage your ego.

As your coach, I will be your greatest fan and cheerleader. I will hold you accountable for the actions you choose to take. If you want to talk the talk, you will have to walk the walk. I will help you plan a path, make connections, and teach you what I know. Not from boring books, but from international experience.

For instance, many European colleagues are wondering what it takes to break into the American market. It’s not easy, but it’s not impossible. I’ve done it. It’s all about talent, strategy, and connections. You bring the talent, and together we’ll focus on the rest.

MY GOAL 

My ultimate goal as a visibility coach is to make myself redundant. Your job is to do everything it takes to get to a point where you stand strong, and take full credit for your accomplishments.

We live in testing times. As the economy is crumbling and you’re not working as much as you’d like to, this is a good moment to dig in and make some changes. If you don’t, others will take this opportunity to develop a competitive advantage. 

I believe you deserve to do well in the world. I believe you deserve to use the gifts that you’re developing to the best of your ability.

If any of this resonates with you, I hope you’ll get in touch. I have to warn you, though.

I don’t take on every student that seeks coaching. My time is just as valuable as yours, and I only work with those who are highly motivated and ready to do whatever it takes. You must be prepared to spend some serious time on whatever it is that needs to improve.

IT’S UP TO YOU

Please realize that I don’t have a magic wand to lead you to instant success. Coaching is not the same as making a prefab microwave meal. Coaching is more of a crockpot process. Each student has different strengths and weaknesses, and needs a different recipe.

One last thing. This is important. 

As your coach, I cannot force you to do anything. I cannot make clients hire you on the spot, but I can teach you how to drive and navigate the road, so to speak. You, however, are in the driver’s seat, and you determine the destination.

Once you’re ready to get behind the wheel, please drop me a line. I’ll send you a copy of my Coaching Agreement to give you a better sense of my approach, and the required investment on your part.

Let’s speak soon!

Paul Strikwerda ©nethervoice

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Business as Unusual

by Paul Strikwerdain Articles, Dutch, International, Personal5 Comments

I’ve been living and working in the United States for twenty years, but I’ll never forget my first tornado warning.

All of a sudden the dark sky became a strange shade of green, and the violent winds died down abruptly. It became quiet in the street. Eerily quiet. The birds stopped singing, and the hounds stopped howling.

Without warning we could hear a deep and loud roar, as if a freight train rumbled into our neighborhood. This was our signal to seek shelter in the basement. Something deadly was coming our way that would demolish anything in its path.

This is what it feels like, living under the threat of the Corona virus. It’s the chilly silence before the storm that will come our way, no matter what.

I live about an hour and half from New York, the place that has been hit the hardest. Until yesterday, the Transbridge bus from Manhattan took groups of commuters to my town, several times a day.

Because hardly anyone gets tested for COVID-19, we have no way of knowing who’s infected and who isn’t. Only yesterday, a man my age was sent back home from the hospital because his symptoms were too mild. He died a few hours later.

Tragedies like that make one ponder matters of life and death.

In the meantime, we think we’re safe at home, as long as we obsessive-compulsively wash our hands and don’t mingle with the masses. But you know what? A man’s got to eat, so we rush to the supermarket to stock up. There we wait in line for the checkout, only separated by the length of our shopping carts, and absolutely no one keeps a six foot distance. There’s simply no space to do that.

In Pennsylvania (where I live), the situation is very similar to the one in the Netherlands (where I was born): closed stores and schools, people working from home, and senior citizens who cannot be visited. The social-cultural-religious life has come to a standstill, and Netflix is more popular than ever.

In a weird way, not much has changed for me. As a voice over with a fully equipped home studio, I’ve been separating myself from the outside world for years. Clients find me online, they email me their scripts, and they receive the audio in digital format.

For my wife the situation was different. She teaches flute and piano, and students always come to her studio. Now she has successfully transitioned to online-only teaching with the help of Zoom, Skype, and FaceTime. All of the concerts she had scheduled for the next few months, were cancelled.

At the end of our workday, we migrate to our couch to watch some sappy Dutch TV shows. I’ve got to tell you, in spite of all the news reports, things still feel quite normal, and this has me worried. An invisible danger is rapidly approaching, and I am aware that we are in a risk group.

My wife and I are both over fifty. She’s got MS, and I have a serious heart condition. We know that the hospitals cannot handle the virus, as they’re already begging for protective clothing and ventilators.

And yet, I choose not to live in permanent fear. I stick to my daily routine by being there for my significant other, my customers, and my coaching students. It’s something to hold on to in uncertain times.

I know I cannot stop the storm, but I can adjust my sails.

This too, shall eventually pass.

For now, it’s business as unusual.

 

Ik woon en werk nu al twintig jaar in Amerika, maar ik zal mijn eerste tornado waarschuwing nooit vergeten.

De donkere lucht kleurde opeens een wonderlijk groen, en de harde wind ging plotseling liggen. Het werd stil op straat. Onheilspellend stil. Geen vogel zong meer, en ook de honden hielden op met huilen.

Plotsklaps klonk er een diep en luid gebrul, alsof er een vrachttrein grommend op de buurt afdenderde. Dat was voor ons het signaal om de kelder in te duiken. Er was iets dodelijks op komst dat alles in zijn pad zou vernietigen.

Zo voelt het een beetje nu we leven onder de dreiging van het Corona virus. Het is de ijzige stilte voor de storm die hoe dan ook zal komen.

Ik woon op anderhalf uur afstand van New York dat het hardst getroffen is. Tot gister hadden we nog een busverbinding naar Manhattan die een paar keer per dag groepen reizigers afleverde. Omdat er nauwelijks op COVID-19 getest wordt weten we niet wie al geïnfecteerd is en wie niet.

Gister stuurde een ziekenhuis nog een man van mijn leeftijd naar huis omdat zijn klachten niet ernstig genoeg waren. Hij overleed een paar uur later.

Dan ga je toch wel even nadenken over leven en dood.

We wanen ons intussen veilig in ons huis zolang we de handen maar obsessief-compulsief blijven wassen en ons niet tussen de massa’s begeven. Maar goed, een mens  moet toch eten, dus even snel naar de supermarkt voor proviand. Daar staan we wagentje aan wagentje te wachten voor de kassa, en geen kip houdt zich aan de anderhalve meter afstand. Daar is geen ruimte voor.

Bij ons in Pennsylvania hetzelfde beeld als bij jullie: gesloten winkels en scholen, mensen die vanuit huis werken, en bejaarden die geen bezoek meer mogen ontvangen. Het sociaal-cultureel-religieuze leven staat stil, en Netflix beleeft gouden tijden.

Gek genoeg is er voor mij niet eens zo heel veel veranderd. Als voice over met een thuisstudio ben ik al jaren van de buitenwereld afgesloten. Mijn klanten vinden mij online, ze emailen me scripts toe, en ze krijgen de audio digitaal toegestuurd.

Voor mijn vrouw was het anders. Zij geeft piano- en dwarsfluitles, en de studenten komen altijd naar haar toe. Nu geeft ze met succes online les via Zoom, Skype, en FaceTime. Wel zijn al haar concerten voor de komende maanden afgelast.

Als onze werkdag ten einde is, dan gaan we lekker op de bank “Boer zoekt Vrouw” zitten kijken. Ik zal je vertellen, ondanks de nieuwsberichten voelt het allemaal nog zo normaal aan, en dat beangstigt mij een beetje. Er is een onzichtbaar gevaar op komst, en ik besef dat we alle twee in een risicogroep zitten.

Mijn vrouw en ik zijn beide boven de vijftig. Zij heeft MS, en ik heb vrij serieuze hartklachten. We weten dat de ziekenhuizen niet op dit virus berekend zijn en nu al om beschermingsmiddelen en beademingsapparatuur moeten bedelen. Intussen kopen Amerikanen wapens, in plaats van naaimachines om mondkapjes mee te maken. 

Toch kies ik er voor om niet in permanente angst te leven. Ik blijf mijn normale routine volgen door er te zijn voor mijn geliefde, mijn klanten, en m’n voice over studenten. Het is iets om me aan vast te houden in onzekere tijden.

Ik weet dat ik de storm niet kan keren, maar ik kan wel m’n zeilen bijzetten.

Ook dit gaat uiteindelijk weer voorbij.

Voor nu is het “business as unusual.”

Paul Strikwerda ©nethervoice

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