One Voice

Peter Dickson’s Voice Over Man

by Paul Strikwerdain Articles, Book, Journalism & Media, One Voice, PersonalLeave a comment

I love my job as a blogger, even though I don’t get a dime for all my work. There’s no subscription fee for you to pay, and I have no sponsors to support me. But please don’t pity me.

My reward is that I get to interview cool colleagues like Barri Tsavaris who was featured last week. I test out new equipment, such as the brilliant SSL2+ audio interface, and I review books like Voice Over Man by Peter Dickson. It’s not even out yet, but I got an advance copy, signed by the man himself!

Now, if you haven’t got the faintest idea who this Peter person is, don’t worry. I’ll let him introduce himself, the way he does best in his book:


Dickson began his career at the BBC where he holds the unique distinction of being the youngest ever TV news presenter at the tender age of 17. In 1982 he moved to BBC Radio 2 in London, as an announcer. And that was just the start. Peter continues:

“I have spent the last forty-three years locked in acoustically isolated, padded rooms shouting about pizzas, cars, gas boilers and three-piece suites, playing zombies and wizards and fighter pilots and working with and alongside some of the planet’s biggest stars. And yes – I’ve had the most unimaginable fun. I have been the voice of over 200 TV series, many of them multi-award-winning, the promo voice for over 60 TV channels, acted on over 30 of the world’s top-selling AAA game titles and I’ve voiced over 30,000 TV and radio commercials. Perhaps surprisingly, very little of what I have done survives, much of it having been broadcast, is now far away in the ether – halfway to Mars – and will eventually clatter around the cosmos forever. God help the inhabitants on Planet Zarg at the outer reaches of our universe when ‘The X Factor’ eventually reaches them in the 25 th Century. Lord only knows what they will make of it!”

NATURAL STORYTELLER (AND NAME DROPPER)

If you’ve ever had the pleasure of being in Peter’s company, you know the man is a born raconteur. If you haven’t had that experience, his book Voice Over Man is the next best thing. Not only will you meet a whole cast of colorful, and mostly British characters. You’ll learn about the changing media landscape in the United Kingdom, and how Peter has skillfully navigated that landscape to build an unparalleled portfolio as one of Britain’s most prominent, beloved, and versatile voice talents.

His career started, like so many of us of a certain generation, playing with a tape deck. Peter writes:

“I was a strange kid. Outwardly normal in every respect but with this weird compulsion to talk out loud in rooms on my own. I am laughing now because you could say I haven’t changed one bit!

On passing my eleven-plus Grammar School entrance exam on the second attempt, which was known as ‘the review’, my parents had bought me a brand spanking new National Panasonic cassette recorder, which was cutting edge technology back then, can you believe it? I would spend hours on that, recording little programmes, performing on the fly drop in edits, and reading aloud in the privacy of my bedroom where no one could see or hear me, or so I thought. My father was probably listening at the door thinking “What in the name of sweet Jesus have I spawned?””

And thus begins a journey that leads us to the studios of the BBC, and many other venerable institutions where Dickson’s voice could be heard in many different incarnations. He takes us behind the scenes of the many shows he has worked on, and delights in painting a picture of the often dimly lit, and most unglamorous spaces that were reserved for announcers:

“The old radio continuity desk at Radio Ulster was built like a Rolls Royce and probably cost as much. It was virtually bombproof, which was just as well because there were loads of them exploding on a nightly basis outside. Completed and installed back in the days when budgets were only for Chancellors and Aunty BBC had never heard of a bottom line. All black shiny Bakelite and Formica, with gleaming silver-plated knobs and dials illuminated from behind by impossibly exotic looking German valves with names like Telefunken EL84, which cast a comforting orange glow through the ventilation grill onto the wall behind. It must have cost fifty thousand licence fees. In the centre of the desk were the huge, doorknob sized orange handled ‘pot’ faders. These were the days before the horizontal sliding faders, which are now commonplace on today’s mixing desks.”

I don’t know about you, but when I read that description, I was right there at Radio Ulster. That’s just one of the many aspects that makes Peter’s book such a delightful read. Peter’s son, who is a graphic designer, was responsible for the look of the book. There are lots of cool graphics relating to the voice over world, including a volume knob as a page footer that appears to rotate when you flick through the pages! It’s these type of ingenuous touches that makes this autobiography stand out in a unique way. 

MEETING MOVIE STARS

But the bulk of Peter’s life story is taken up by numerous, humorous anecdotes. Stories, such as this one:

“One afternoon, I found myself alone, wandering down a corridor trying to find the sound stage where Purple Taxi was being shot, when a slightly built man wearing a beautifully tailored suit, stepped out of a room in front of me. There was no one else around and he proceeded to walk in front of me towards a large set of double doors. He stopped, turned 90°, opened the door, motioned with his hand and said, “After you!” Impressed by the stranger’s good manners I turned to him as I walked through and thanked him for his kindness. It was only when I looked at his face, I realised that I was looking at one of the biggest movie stars of all time, and I mean all time. They don’t come much bigger. I was face to face with none other than Mr Fred Astaire!”

Peter Dickson with Boy George

The first part of the book is mainly devoted to Dickson’s fascinating career in radio and television. But when he decides to break free from the confining corporate culture, and venture off on his own, things become even more relatable for voice overs trying to make a living in the gig economy. Dickson:

“The freelance life is altogether more discomfiting. There’s an edginess about it, it’s a hand to mouth, dog-eat-dog, day to day existence where the only yardstick of success is the amount of cash flowing into your bank account on a monthly or in most cases, an annual basis. The freelance world is so uncertain and irregular, that one has to invariably take this longer-term view. Annual income rather than monthly is the more accurate window of measurement. Scary stuff indeed for the dutiful wage slave I had become.”

CHANGING THE GAME

When Dickson became his own boss, he found himself on the road for most of the week, driving from studio to studio, reading script after script. The money was coming in, but at a hefty price because of all the travel involved. He was one of the first voices who saw the potential of ISDN, and jumped at it. Dickson installed ISDN in his home studio in 1999, and it was a total game changer. He writes:

“For those of us who adopted ISDN, it was revolutionary. I could work around the globe from the comfort of my own home, frequently wearing my pyjamas! What other job affords you that level of delicious informality and comfort.”

Peter Dickson at The Price is RightHowever, he soon discovered that every advantage has a disadvantage:

“What I and others hadn’t bargained for, however, was that this was about as far from a sociable way of working as you could imagine. In practice, it was exactly the opposite. I now found myself spending whole days in the studio – often not seeing or speaking to anyone, with only myself for company. Now, I don’t have an issue with this because I am by nature a fairly private individual and like my own company, but some of my colleagues, however, have found it difficult to adapt – and struggle with the long hours in isolation. It was this very issue that led me, Tony Aitken, Lois Lane, Jacky Davis and John McGuinn to found VOX, the world’s first social network for voice talent and much later, gravyforthebrain.com – a global training and networking organisation.

As the saying goes, it takes at least twenty five years to become an overnight success, let alone build a solid reputation. Peter’s long career is definitely a testament to that, and a powerful lesson to anyone thinking of breaking into the voice over business to make a quick buck. There is no such thing as a quick buck, and the buck is rapidly decreasing to fifty cents. 

In his book, Peter pays loving tribute to the many mentors he has had, without whom he probably would have stayed stuck in some stuffy studio as an anonymous disembodied voice. And let’s not forget the crucial role of his agent who seems to present him with golden opportunity after golden opportunity. 

SHORTCOMINGS

Full disclosure, I know Peter personally, and he asked me to write a short quote which you’ll find at the beginning of his book. I like and admire him immensely, so I’m not going to be too hard on him. But I do want to say the following.

If you’re looking for a book that teaches you the art of voice overs, this isn’t it (watch this instead). I had hoped to read a little bit more about how Peter created and maintains his signature sound; how his technique and approach has developed over the years, and how he has weathered the many trends in announcing and voice acting.

When you listen to broadcasts from forty years ago, you know how much has changed. People just don’t speak the way they did in the forties, fifties, and sixties. How does one stay relevant and marketable? Peter makes it sound so easy, and that usually means it is not.

You also have to realize that this is a quintessentially British book. If you’re an Anglophile like me, who grew up watching British TV and listening to the BBC (heck, I even worked for the BEEB), you’ll recognize many of the people that “guest star” in Dickson’s autobiography. People like Sir Terry Wogan, Bruce Forsyth, Harry Enfield, Steve Wright, and many, many more. Peter is of the generation that witnessed the birth of the comedy group Monty Python. When I mention Python to today’s generation, they’ll give you a blank stare and ask: “Monty who?”

That’s why many of the names that Dickson drops throughout his book, even the names of television shows and radio programs, won’t mean a thing to the average American, and perhaps not even to a younger generation in the UK. He tells fascinating stories, but if you’re not familiar with the eccentric characters, why should you even care?

That brings me to the main thing that bothers me a bit about this book. There is so much captivating anecdotal material about other people, that I feel I didn’t really get to know the real Peter Dickson.

Like many of the Brits I know and love, he remains charmingly reserved, not talking about who he is, but about what he does so well.

The Voice Over Man.

Why be so elusive, I wonder? Don’t you want us to know you, or am I so used to my American surroundings where unbridled self-disclosure is a national sport?

And then I was reminded of Peter’s own words:

The audiobook version is available from spokenwordaudio and the hardback, paperback, and Kindle versions are available on Amazon now. The audio version will also be available on Audible. Click here for a long interview with Peter on the Media Focus Podcast.

Paul Strikwerda ©nethervoice

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The Voice Over Event You Can’t Afford To Miss

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

JMC & the author at VO Atlanta

If you’ve missed the big news, let me spell it out for you:

The ONE VOICE CONFERENCE is coming to North America in August!

This virtual gathering is the Gravy For the Brainchild of UK-based Hugh Edwards and Peter Dickson. They are the dynamic duo behind Gravy For The Brain.

In May they pulled something off that many of us thought would never work. An online voice over conference that was as fun as it was informative. Those of us who took part were left with one overwhelming feeling:

WE WANT MORE!

For the North American edition Hugh and Peter teamed up with J. Michael Collins, the man who runs Gravy for the Brain USA (and so much more). If you’re unfamiliar with Gravy for the Brain (GFTB), let me give you the bullet point version.

In spite of its playful name, I think of GFTB as the number one platform for those who are serious about becoming a voice over and having a successful and sustainable career. And no, I’m not getting paid to say this!

Since 2008 GFTB has assisted and inspired over forty thousand voice overs with a plethora of certificated voice over courses allowing students to learn at their own pace, hosted by industry experts. Coming back from VO Atlanta, Peter and Hugh wanted to create a UK conference which gave new talent and ideas a place to flourish and change the voice over industry. That became the One Voice Conference (OVC). Now in its third year, this conference is coming to America!

I’ve interviewed Hugh in the past, and I have an interview with Peter in the pipeline, so I turned to J. Michael Collins to give me the lowdown on the OVC USA (as always, everything in BLUE is a hyperlink). Before I asked my questions, there’s something I wanted him to clear up. I wrote the following email:

Dear JMC:

Let me start with an admission: I don’t know how to properly address you. 

Do I say: “Dear JMC?” 

Do I say: “Dear Michael,” “Dear J. Michael,” or “Dear Mike?”

I need a little guidance, please.

He wrote back:

Hi Paul,

Thanks for your message.

J. Michael, JMC, or That Guy Who Smells Like Lobster are all acceptable. 🙂

So, I said to That Guy Who Smells Like Lobster:

– We’ve had the UK edition of the One Voice Conference in May with attendees from all over the world, including the USA. For those who have attended the One Voice UK conference, is it still worthwhile to go to the US edition?

The US edition is still going to provide tremendous value. We have a vastly different lineup than the UK edition. I don’t think there is much cross-over at all. We’ve also brought out people who don’t generally come out to speak at conferences like Christian Lanz, Portia Scott, Christina Milizia, Joe Zieja, and Pat Brady. These people are just not “on the circuit” as much as the speakers that we usually see, including myself. It’s good to have a more diverse group.

Diversity is something we have a commitment to at this particular conference. We feel it’s important that the community of speakers and presenters is reflective of what the community of voice talent is like these days. As we all know, in the past ten or twenty years there has been a sea change of more diverse voices. Voices that look more like America now are being hired much more regularly than they were when the industry was much less inclusive.

If you go back twenty or thirty years it was ninety five percent white and very heavily male. Today it’s just incredibly diverse and if anything, the minority voices and diverse voices are having access to opportunities that they’ve never had in the past. So, we think our lineup reflects that. We continue to add new presenters, so keep your eye on the website and on the presenter roster to see who we add in the coming weeks.

– Is it for American/Canadian talent only?

No. I am personally going to be presenting on the international VO market for talent who live elsewhere. That session in and of itself will be helpful. We have a handful of speakers from all over the world. We have speakers from Germany, from France, from the UK. However, the content that we have designed for this conference is certainly North American-centric.

– As you know, there are quite a few VO gatherings aimed at newcomers who simply wish to explore the business. Is One Voice USA one of those conferences, or is there a barrier to entry for OVC USA?

There is no barrier to entry for OV USA. What we would say is that it’s our mission to make our conference focused primarily on professional level content. That doesn’t mean it’s inaccessible to newer talent. It just means that when newer talent attend a conference like One Voice, they can expect to hear content that is geared towards people who want to have full-time careers in voice over, and content that’s a little bit more detailed and a little more in-depth in terms of taking your business from a fledgling state into a state where it is what you do for a living.

While we believe that all the content we have is going to be relevant and helpful for people who are new to the business, our focus is on attracting pros to the conference because we believe that the content we’re trying to offer will help people who are already full-time professional voice actors, advance their careers to a level beyond where it is currently.

– Tell me about the keynote speakers. Who are they, on what basis did you select them, and what will they be talking about?

Portia Scott

We have two keynotes, and we wanted to approach it from both the agency side, from the other side of the glass, the side that’s hiring, and also from the performance side.

Our agency side keynote is Portia Scott who is the head of voice over for Coast to Coast Talent Group in LA and New York. She’s one of the real power agents in the business and has quite an interesting story to tell about her career and her life in the voice over industry.

She has helped to take that agency to where it is now, to make it one of the big players in the highest level of voice over. Of course she’ll be talking about what you need to do to attract that level of representation, and to get on the radar of the very highest end LA-New York Union agencies.

Tara Strong

Our performance keynote is Tara Strong. She really needs no introduction if you are at all into animation, cartoons, and video games. Just go and look at her IMDB page. It’s about two and a half miles long. She has one of the most impressive resumes of any character voice actor in history. You can make a fair argument that she’s maybe the leading female character voice actor in the industry today, and in many ways of all time.

Tara’s going to talk about her journey and what you can do if that’s the path you set yourself on. While she’s heavily focused on the character side of the business, I think the nuggets that she will be offering to our attendees will also be germane to any other genre. There is a core means of establishing yourself, of getting noticed, of making yourself a presence, and honing your craft to a level that is going to be compelling to buyers, that translates from genre to genre.

– According to the website, some speakers are “to be announced.” Does that mean there will be a few surprises, or are you actively looking for additional speakers?

We’re not actively looking for additional speakers and we’re not open for submissions. However, if you think you have a particularly unique idea or a slant on something and you’d like to approach us, we wouldn’t close that off completely. As far as the roster of speakers is concerned, we might have a few surprises up our sleeve. There’s one in particular that we’re working on that I can’t talk about yet, but if we would be able to get him or her, that would be fantastic!

– Part of the fun of going to these conferences is the social aspect. The meals. The parties. The adult beverages. How are you going to make up for that in an online setting?

Obviously, we’d rather be there in person with everybody. I’m a big believer that hugs are going to make a comeback as soon as we have a vaccine. In the short term we have to do the best we can with what we’ve got.

One of the things that was just really impressive to me about the One Voice UK conference were the socials, and the outside of content-content where people got together and shared adult beverages over Zoom. You don’t think it would work, but I’ll tell you, when we’ve been isolated from each other as much as we have, this is a wonderful loving connected community. Even over a Zoom call! Those hangouts, those socials that we do, they were full, they were fun, and they were lively.

We’re doing our best to make this a social event, and not just a content event. Hopefully, we’re paving some new territory in giving people some added value; giving them a chance to vent and connect, and to be human again in the current situation.

– The One Voice UK conference was a huge success, and yet it was criticized for a lack of diversity because most speakers were male and Caucasian. How have you addressed that for the USA edition?

There has been a lack of diversity in the voice over industry, but that has been changing dramatically over the past few years. It’s certainly a legacy of the industry. We are committed to being a part of the solution. We’re committed to recognizing the privilege that a lot of us who have been in this business, have. We’re committed to addressing that, and to being as inclusive as we can be.

We feel that the lineup that we’ve put together is balanced. It’s at least fifty-fifty or possibly even slightly more female than male. We have substantial representation from the black community, from the latinx community, from the LBGTQ plus community. We believe that as North America becomes more diverse, that our industry will by necessity become more diverse. We’re already seeing that in practice.

On a personal note, many of my dearest friends in the business are diverse, minority talent, and LGBTQ plus talent. My lead audio engineer on my JMC demos production team is from that community. I hope some day we get to a place where we don’t need modifiers anymore, where we’re just people. I know that’s Utopian, and I know that can be interpreted as a very privileged thing for an older successful white male to say. But I believe we’re capable of getting there. And if there’s anything you think we can do better, we’re all ears. Always!

Peter Dickson

– The UK conference is usually followed by the One Voice Awards. Are you planning on having a USA competition as well?

We’re not planning to have a One Voice Awards USA at this time.

– Did you have to find new sponsors for this event? Will there be giveaways? Will JMC Demos be involved?

We have a lot of the same sponsors coming back from the UK conference: Bodalgo, Source Elements, and JMC Demos is a sponsor as well. And yes, we will be doing some giveaways and add as much value as possible. I imagine someone will be winning a demo from me, and probably some coaching as well. Other sponsors will be offering some things up as well.

– Some colleagues believe we have enough voice overs in the world today. Too many, perhaps. Why should a conference like this enable more people to join a profession in times of so much competition? In ten years, half of our work is going to be replaced by text to speech software anyway.

I couldn’t disagree more with the premise that we have enough voice overs in the world today. There are certainly more than enough people calling themselves “professional voice actors.” I always throw the number out there that in North America there probably are two hundred thousand talent calling themselves “professional voice actors,” but the fact of the matter is that it’s five or ten thousand of them who are consistently booking. If you really drill deep I would imagine that you would find that it’s about a thousand voices that book most of the work. So, I’m a big believer that the myth of competition or saturation is just a myth.

I have coached and watched enough new talent come into the business who have the chops and who have built incredible careers for themselves in the past ten, fifteen years. There is plenty of work out there, and while there are certain areas of voice over, especially those that are more glamorous like animation, TV narration, documentary, promo, movie trailer…. those genres are areas where there is a finite amount of work.

You can say that there probably is more quality talent than there is work to be had in those genres. So, you do have to work three times as hard. You have to stand out ten times as much. You really have to play the game well, and make sure that you take every step correctly. And even then there is no guarantee that you’re going to crack the door in those genres because there is a lot of competition and there’s only so much work to go around. Video games is maybe getting to the point now where it’s exploding to where there’s more of a balance, but in genres that are more glamorous and sought after, there does tend to be a bit more of an imbalance in favor of the client. But that’s not true everywhere.

Commercial work is glamorous and many people want to do commercials. We’ve seen commercial rates come down over the years largely because of the fact that technology has made talent more accessible. What we’ve now seen is -and the current crisis has proven this point – that those rates have hit a floor. I don’t know that there is going to be a substantial bounce back, but I certainly think they’re not going to go any lower.

The reason is that eventually, talent just won’t do the jobs if the pressure on rates continues to be strong. There is certainly a glut of talent wanting to do commercial work, but with new media, social media advertising, with web ads and so on and so forth, there is more content than there has ever been. There is a tremendous amount of work out there. There are many talent who are chasing it, and in my mind it is more accessible than perhaps some of those other genres that I talked about earlier.

The other side of the coin is non-broadcast narration. When you start getting into corporate narration, explainers, eLearning, medical narration, and to some degree audio books, you have a higher barrier to entry. In my opinion you have to have a graduate or post-graduate level of facility with language to be competitive in corporate narration. Not every talent has that. And so we found over the years that rates for corporate, eLearning, for medical haven’t been going down. They’re going up because there is a supply-demand imbalance in favor of the talent. There is still more work out there than there is quality talent to do it. In some fields in the current crisis, eLearning and medical have just exploded. The amount of work out there is staggering. Even talent that is brand new is finding demand for their services.

So, no, I don’t think we have enough voice overs in the world today. If anything, we need more. I think we need them to understand where they’re going to have the best chance of success. Not everybody is going to do Dreamworks or Disney animation. Not everybody is going to be booking national commercial work every day. However, the amount of content out there is only going to grow. The need for VO’s is going to grow as well. What’s important is that talent who is going to get into the business do it the right way. That entails building a strong sustainable business that does not involve working on platforms where the rates are burnout rates, where you can only make substantial money when you work ninety hours a week.

You have to focus on core training, making sure you’re prepared before you do a demo. As you know, I’m a demo producer and I will be the first person to tell somebody: “Please, do not get a demo until you’re ready.” An ethical demo producer is not going to take your demo unless you are ready to go out and be competitive.

Hugh Edwards

Do the coaching. Do the training. Sometimes that starts with small things. At the One Voice Conference and Gravy for the Brain we think we have great content and that’s a fantastic resource for people to start with. Do that before you get a coach. Then a year down the line, get a demo. Don’t do it all in one go right off the bat. Just do it the right way and you’ll be much happier and successful in the long run.

Look, there are people making money on low-budget platforms, and that’s where they should live. That’s where their talent slates them. But if you want to make this a serious career, the best advice is to follow the tried and true path. To get the training that’s appropriate. To make sure that you get a legitimate evaluation from somebody who will tell you that it’s not right for you because it’s not right for everybody.

I have worked with talent who have glorious voices, but this business just isn’t for them because the acting isn’t there. They’re not able to connect with copy. They’re unable to inhabit a character and form something other than them, within themselves.

In any case, there is plenty of room in this business for new talent. I don’t think that in ten years our work is going to be replaced by text to speech software, but I will tell you that if I were one of the low-budget talent on Fiverr, or if I were doing the three-cent eLearning for people on other continents, or the twenty dollar explainer videos, I would be scared because the AI (Artificial Intelligence) technology is going to get good enough that clients who are focused on price and not on quality, will use it.

It will be super cheap and it will ultimately kill off the low end of the industry. At the end of the day, we’re going to look back and say that AI was a good thing for professional voice over because I think what it’s going to do is it’s going to solve our lowball problem. It’s going to get rid of the side of the industry that undercuts the competition and works for rates they shouldn’t, and it’s going to replace it with robots.

Clients who are after quality and who are after high-end professional content will always be looking for human actors because for them it’s not about price. It’s about messaging. It’s about getting it right. Remember: the best AI can ever be is as good as we are. It can never be better. The human voice will always be at least its equal, and in most cases it will be better. AI doesn’t scare me. In fact, I welcome our new robot overlords and I think that they will ultimately do a service to the industry by cleaning out the lowest end of the business.

the author presenting at the OVC UK 2020

– A ticket to the UK conference gave the attendees access to the archive of previous conferences. Will the attendees of One Voice USA get that same deal, access to the UK archive?

Absolutely! What you’re really getting is access to content from four conferences for the price of one!

-What do you hope a conference like this will ultimately achieve for the voice over community, and why is that important to you?

It’s what I hope any conference will achieve for the voice over community: providing quality educational content that will allow the talent who attend to advance their careers. I believe that we’re bringing in fresh faces, people who are up and comers, the next generation of stars in our industry, in addition to some of the established legends that we always want to see at these things. This is the freshest lineup that has ever been put forth in a conference. I believe that the perspective the attendees are going to receive will be different and new. That’s the key selling point to me.

Prior to the One Voice UK conference I made a comment to somebody that I was supporting it to fly the flag for Gravy for the Brain, and One Voice, and because I love Hugh and Peter. They do right by the community, but I didn’t believe that virtual conference could work very well.

Well, they proved me wrong! It was virtually seamless. It was a remarkable coming together of technology and humanity to create an experience that was so far above and beyond of what I thought could be done. I was just left with mouth agape at the quality that it offered. So, I’m just so excited to bring that to US community now with the Reattendance platform in combination with Zoom. Just to give the American community a taste of how good this can be, virtually.

Yes, we’d always rather be there hugging each other, toasting to each other’s success. But what they were able to accomplish at the UK conference was remarkable and I think that we’re going to be able to do the same thing for the USA. We are going to offer an experience that -if nothing else- will at least scratch the itch and prove cathartic for those of us who so desperately miss our voice over friends and don’t get to play in the same sandbox the way that we usually do because of the current crisis.

I hope it’s the last virtual one, but certainly an experience to remember. And get this. It’s more affordable than an in-person conference because a large portion of those ticket prices are going to the overhead. The bottom line is that hotels and conference centers charge astronomical fees for every little thing. Here you’re getting in the door for under two hundred dollars, and you’re getting content that, at a live conference would be a six, seven hundred dollar ticket.

To me it’s a no-brainer, and I couldn’t be more proud to be a part of it!

J. Michael Collins with lobster mask

Many thanks to J. Michael, JMC, or That Guy Who Smells Like Lobster. If you’re looking for an award-winning demo producer and overall standup guy to guide you in your VO career, click here.

The One Voice Conference USA 2020 is held from August 13 @ 6:00 pm – August 16 @ 1:00 pm. Click here to buy your ticket. A little over $187 US dollars will get you in the door, and you don’t even have to leave your house.

And finally, I’m happy to say that I will also be contributing to this conference. On Saturday, August 15th at 1:00 PM I’ll be leading a 3-hour workshop called “Blogging your way to voice over success.” Hope you will join me!

Paul Strikwerda ©nethervoice

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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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