Nethervoice Blog

What We Must Talk About In 2021

by Paul Strikwerdain Articles, Career, Journalism & Media, Personal5 Comments

A few years ago, I decided to join yet another social media platform.

Instagram.

It filled me with reservation and trepidation. Here’s what was going through my mind:

1. Do I really want to spend more of my valuable time posting and responding to wisecrack quotes and grumpy cat pictures?

2. Would what I have to say be interesting enough to make a positive difference? I already have a Facebook presence and a blog. Enough already!

3. Social media has become a set of self-indulgent platforms for fakers, where blatant lies appear to be just as important as undeniable truths. Experts get as much exposure as idiots, and no one has time to separate the wheat from the chaff.

Fast forward a few years, and look at me now. Almost a thousand Insta-posts, over three thousand followers (@nethervoice), and the numbers are growing by the day.

I don’t know why, but companies I’ve never even heard of are now reaching out to me, to see if I’m interested in becoming their “influencer” or “brand ambassador.”

They will pay me if I mention them, link to them, or hold up a product in a picture.

I could be making money in my PJ’s!

Yeah, forget that. I don’t want to be in anyone’s pocket.

MY THREE CRITICAL KEYS

When it comes to my social media presence, three things are vitally important to me:

Credibility, sincerity, and integrity.

My entire reputation is based on those three pillars.

Credibility comes from the latin word “credo,” which means “I believe.” One of the reasons people seem to appreciate what I have to say, is because they trust me.

Trust is not something that can be bought. It is hard earned over a long period of time.

Even though I am known for being opinionated, my opinions are never based on rumors or on things that can’t be fact-checked. I always do my homework. Now, based on the same facts, different people may come to different conclusions, but that’s what makes life so darn interesting.

OUTSPOKEN AND EARNEST

In my eyes, a sincere person is an honest person who walks his or her talk. I’m not one of those people telling others to wear a mask, while taking mine off when I think no one is watching.

When I tell my readers to value their worth and bill the client accordingly, it would be hypocritical for me to charge a low fee to win a bid on a Pay to Play.

When I review a new product on my blog, and the maker decides to give it to me for free, I will still give my honest assessment. I’ll say it again:

My voice is for hire, but my opinion is not for sale.

You know me: I speak my mind, even if it is unpopular, and even if it could hurt my career. Isn’t that one of the reasons why you’re still reading my ramblings?

Being sincere also means opening up to you as a person, and not only as a professional. That’s why this blog isn’t only about voice overs. It’s about people and the imperfections that make them beautiful and vulnerable.

Between you and me, I merely use the prism of voice overs to talk about things that are much more important than being locked up in a vocal booth to make a few bucks.

MORALS AND ETHICS

Integrity is often explained as “uncompromising adherence to strong moral and ethical principles and values.” Both credibility and sincerity are part of being a person of integrity.

Yes, in some areas I am relentlessly uncompromising. However, many of my critics mistakenly believe that I’m writing this blog to convince my fans and followers of my truth. Nothing could be further from… the truth.

The truth is: it’s not my intention to change anyone’s mind. I do not possess that superpower. I do want to give my followers reasons to change their own minds, or to strengthen beliefs they already have.

By the way, I don’t like the word followers in the context of social media. People aren’t sheep, although they sometimes display sheepish behavior.

Of course I hope you’ll subscribe to my blog and follow me on Facebook and Instagram, but I don’t expect you to agree with everything I do or say. That would be scary and rather redundant.

Back to integrity.

FRESH PERSPECTIVE

Ethical principles and values are deeply personal. They go back to our unique upbringing and life experience. Our morals and convictions are often shaped by significant emotional events. Those events can be empowering and positive, or terribly traumatic.

What I’m hoping to do on social media and in this blog, is to offer people a fresh and different perspective based on my European upbringing and life experience. Here’s a quick example.

As someone who spent part of his life as a broadcast journalist trying to separate propaganda from facts, I realized early on that the truth is constantly under attack. We all know what happens if you keep on repeating a lie over and over again.

You end up with people who believe there’s no pandemic, vaccines are dangerous, the election was rigged, and Trump has a heart.

I publicly use this blog to expose some of the untruths in our line of work, one of them being that anyone can become a voice over.

Now, I know that because you’re reading this blog you don’t believe that, but as we speak, impressionable newbies affected by COVID are being targeted by certain unethical companies, trying to sell them a dead end dream. We need to warn these hopefuls.

LOOKING AHEAD

I wholeheartedly hope that in 2021 we can not only discuss which microphone works best for VO, what to do with mouth noise, how to land an agent, or which computer is better in the studio, Mac or PC.

I hope we will find time to talk about how we can bring credibility, sincerity, and integrity to our profession.

If you’re up for that, you know where to find me!

One last thing before I go.

You may have noticed that this website is losing some of its functionality. The WordPress theme I’ve been using is no longer supported, comments are sometimes disabled, and your messages don’t always reach me.

The good news is that the brilliant folks at voiceactorwebsites are busy building a new blog-centered site as we speak, to be launched next year.

Thank you for all your support and kind comments in 2020. You’ve made a dark year a lot lighter!

Merry Christmas, and a healthy 2021!

Paul Strikwerda ©nethervoice

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How to Deal with Distraction

by Paul Strikwerdain Articles, Career, PersonalLeave a comment

I’m sure you’ve had moments where, when talking to someone, you could totally tell they’re just not interested.

Their eyes start searching the room, they shift position, and they don’t acknowledge anything of what you’re saying. You might as well be talking to a wall.

“Are you even listening to me?” you finally ask.

“Yeah, yeah…” they answer insincerely, as they bring up their mobile phone and whisper:

“Just give me a sec so I can check my messages. John was supposed to contact me but he never did.”

Defeated, you nod, and they add:

“Thanks man, it’s r e a l l y important.”

The thing is, even if you’re the best paid actor in the world, it’s almost impossible to feign genuine interest. To be interested, you need to at least care about the person you’re talking to, or about the topic of your conversation (preferably both).

You need to care, and you need to show it by giving someone your undivided attention.

Now, to many, that seems to be a novel concept. We’re way too busy to pay attention to anything for longer than ten seconds. I’m actually surprised you’re still reading this blog! Shouldn’t you check your email?

THE POWER OF FOCUS

It has been said that powerful leaders have an extraordinary ability to make the person they’re interacting with feel like they are the most important person in the room. They are masters of being in the moment, totally focused, and aware.

When’s the last time you have experienced that? When did your work partner, or even your life partner, look you in the eye, being fully present, and say:

“Tell me, what’s going on?” followed by silence.

In a world purposely filled with a million distractions, it isn’t easy to shut out all the noise and remain focused. Our mind is always wondering: “What’s next?” “What could I be missing?”

It’s like being in a restaurant. When we’re eating our appetizer, we’re already thinking about the main course, and when we’re eating the main course we’re wondering about dessert. That way we never fully taste what’s in our mouth when we’re eating it.

We deprive ourselves of an amazing experience.

To what end, I wonder?

What does this bring us that’s so important, other than a mild endorphin rush?

DUMP THE DISTRACTIONS

Let’s move from the personal to the professional.

In a way, clients are just like people. They want to be heard. They need to be acknowledged. They want to feel that you care about them and care about the project you’re working on.

So, when you interact with them, make sure you’re done with all distractions. Listen first, before you open your mouth. Make sure you understand what they’re saying. If you don’t, ask for clarification. Then respond.

Tell them what you like about the project, and why it resonates with you. Show them that you’re more than a hired help. Be involved, be engaged, and be excited. Answer questions about your process so they feel comfortable about what’s going to happen next.

This has nothing to do with going “above and beyond.” You do this because that’s how you treat the people you’re in a relationship with.

Those enviable colleagues who consistently secure return business, they have a secret. They know that they have to invest in the relationship first, before they seal the deal and make the sale.

They know that, even though you may think they’re negotiating a $1,500 project, this project may very well lead to another and another. And when you add it all up, this supposedly one-time client, is worth $30,000 by the end of the year.

But let’s go even deeper, shall we?

After all, this is the nether voice blog.

BE HERE NOW

There’s one more reason you should be serious about showing you care, and why you should make an effort to be more in the moment. It has nothing to do with making boatloads of money, or pretending to be interested when you’re not.

Here’s the reason:

You should be in the moment because it’s the only thing that is real.

Think of it this way.

The past is over and will never come back.

Yes, you can have memories, but a memory is nothing but your subjective interpretation of what you believe happened, sometimes years and years ago.

If you are one of those people who is hanging on to memories that are less than positive, please realize that they only live in your mind because you clothe them, feed them, and give them attention.

When will you have the courage to ignore them, and let the past be the past?

If anything, let your past be a resource and not a restraint.

UNPREDICTABLE PREDICTIONS

Let’s move from the past to the future.

The future does not exist because it has yet to happen.

Your idea of the future is a creative construction of what you believe might be. It’s a biased prediction, heavily colored by personal experience. Your idea of the future is just one very narrow possibility among billions of possibilities.

And yet we poison the moment with our worries, as if we know for sure what’s going to happen, making ourselves and those around us miserable.

The NOW is the only thing that exists.

The rest is an illusion.

Here’s the good news:

You can’t change the past, but you can influence the future by what you are doing at this moment.

Oddly enough, NOT doing something, can have just as much of an impact as doing something.

But don’t even think about what’s not going to happen because of all those things you’re not going to do.

Don’t even go there!

Be interested. Be present. Give the now your undivided attention.

It is the most momentous thing you can do.

Paul Strikwerda ©nethervoice

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Reviewing the Melomania 1 Wireless Earbuds

by Paul Strikwerdain Articles, Gear, Reviews, StudioLeave a comment

photo credit: Cambridge Audio

After Apple killed the 3.5 mm headphone jack in 2016, it started aggressively promoting the wireless AirPods. Even though I’m a huge Apple fan, I never liked these hard plastic pods, not even the original wired version.

It has to do with the shape of the buds, and with the rigid material these pods are made of. For some reason, they never stayed put, and I found these buds uncomfortable because they had no soft silicone tips.

Lastly, I was never blown away by the sound. If sound could be described by a color, these AirPods were definitely a boring dark grey I call “Meh.”

What I did like, was the freedom these wireless earbuds gave me. I could walk around without a long wire hanging out of my ears that was plugged into a device. Exercising in my gym became a lot easier since I didn’t have to worry about wires getting stuck in the equipment.

The biggest bonus of going wireless, however, is the intense feeling of being immersed in sound. That happens when you forget you’re wearing earbuds. With headphones, no matter how comfortable they are, you always know there’s something clamped onto your noggin.

Many types of wireless earbuds are pressed into the ear canal, giving you the feeling the sound is in your head. This makes for great recreational listening, but would these tiny buds also be suitable for audio editing? Can the small driver (the component that converts electrical signals into sound) inside the buds give enough depth and detail? I’ll answer that question at the end of this review.

ENGLISH EARBUDS

Now, why did I choose the Melomania 1’s by Cambridge Audio*? Melomania, by the way, means “great enthusiasm for music.” My main reason for picking these buds was the alleged sound quality.

Whenever I make a new investment, I always read and watch as many reviews as I can find. Almost every review of the Melomania 1 mentioned that they sound much better than one would expect based on the price (I wanted to spend less than $100).

Many of these earbuds have a hyped bass which might be great in the gym, but I hate it. Not the Melomania. Cambridge Audio calls them “audio monitors” because the idea was to make them quite neutral sounding.

I have tried Apple’s second generation AirPods, TaoTronics SoundLiberty 79 earbuds, and most recently the Jabra 75t elite active earbuds. Compared to the Melomania 1, Apple’s AirPods sound tinny and flat. The SoundLiberty sounds muffled and dull. The Jabra’s were okay but unexciting, especially at their price point. FYI, I had to return two renewed sets of Jabra’s because of persistent crackling sounds and frequent loss of bluetooth connection.

RECYCLED MATERIALS

click to enlarge

Before I talk about the Melomania earbuds themselves, I have to mention the packaging they came in.

As one of very few manufacturers, Cambridge Audio has done an outstanding job to make the attractive packaging biodegradable. It’s mostly corrugated cardboard. Even the plastic that was used was made out of corn starch which can be 100% recycled. Kudos for caring about the environment, and for making the box easy to open! I wish more companies would do that.

Let’s now talk about the earbuds. Cambridge audio is including eight different tips. Most of them are silicone, but two pairs are made of memory foam (my favorite).

While fit depends on the size and shape of your ear canal, I found it very easy to get a good seal thanks to the unique bullet shape of these buds. This allows you to twist and turn the buds into place, something that’s not possible with more conventional looking earbuds that rest inside the outer ear. A good seal is critical in getting this rich, immersive sound I was talking about earlier.

Please note: Third party ear tips may not allow these buds to charge when put into the charging case. Cambridge Audio sells a Pack of 10 Replacement Memory Foam tips on Amazon.

These earbuds don’t have a HearThrough or Transparency mode which lets you hear ambient sounds as you are wearing the buds. Be careful when you take them out for a run. You may not be able to hear surrounding traffic very well.

Comfort is highly subjective, and to me, these earbuds are so lightweight and unobtrusive that I quickly forgot I was wearing them. At no point did they slip out of my ears, even when I was running up and down the stairs. Because of the bullet shape, they do stick out of your ears a bit (see top photo), but it didn’t bother me.

I never use earbuds for making phone calls, so I’m not going to critique the microphones in these buds. I can reveal that most reviewers aren’t crazy about them.

WHAT ABOUT THE SOUND QUALITY?

As a professional voice over who wears high-quality headphones all day long, and as someone with a background in classical music, I am a very critical listener. I don’t need bass heavy headphones, but I do want a balanced and detailed soundscape.

I always test new equipment using music I am very familiar with. If I start hearing things I didn’t hear before, my interest is peaked. In that respect, the Melomania 1 wireless headphones did not disappoint. Once you have a good seal, the outside world is pretty much closed off, and you enter an acoustic bubble filled with a rich, balanced and almost audiophile sound. No active noise canceling needed.

I first listened to the last movement of Saint-Saëns Organ Symphony (the 3rd), where the composer literally pulls out all the stops. Wearing these earbuds took me inside the concert hall, surrounded by the majestic sound of a pipe organ. It felt as if the music was inside of my head, instead of trapped in headphones.

Moving on to a different piece, I especially enjoyed the punchy brass section in Bruckner’s Eighth Symphony (last movement). In typical Bruckner style, it was a wall of sound. Powerful, but never overpowering to the point of overmodulation. These tiny earbuds really surprised me!

I also wanted to find out how the Melomania’s sounded with a smaller ensemble. Here’s Lea Desandre, one of my favorite mezzos, singing a feisty Handel aria.

I loved the fact that I could distinguish each individual instrument, from the low bassoon to the theorbo (a kind of lute). The recording sounded very transparent and spacial, with the mezzo in the middle of the action. It’s as close as one can get to a live performance!

Speaking about the spoken word, these earbuds are just terrific because they are so neutral. The podcasts and radio programs I listened to, sounded crystal clear. I had a feeling the presenters were speaking to me, personally. This intimate experience continued while I listened to an audio book.

WE HAVE A WINNER

In my subjective experience, the Melomania 1’s blow all the other ear buds I have used out of the water in terms of sound quality, especially at this price point (they’re on sale as I write this review). It’s pretty incredible that these small “bullets” can produce such an amazingly rich sound stage. Again, during the day I wear $350 cans, and I actually prefer listening to these lightweight buds, if only for sheer comfort.

In terms of battery life, my praise goes on. I have used these tiny earbuds for over a week for at least an hour a day (usually more), and there’s still juice in them. By the way, the compact case (one of the smallest in the market) has a very handy battery level indicator.

According to Cambridge Audio, the Melomania 1 can last up to nine hours on one charge, with a further 36 hours within the charging case. This depends on the volume level, of course, but for such small buds this is impressive and convenient.

There are three things I like less. One is the lack of an app, such as the one Jabra is offering. This Jabra app allows the user to refine the sound with presets and an equalizer. Firmware can’t be updated either. Lastly, to charge these buds one needs a micro-USB cable instead of a USB-C cable. That seems a bit outdated.

Other than that, I’ve become a huge fan of these tiny buds. If you’re a lover of acoustic music, audio books, and podcasts, these musical true wireless earbuds offer unparalleled freedom, and tremendous value for money. And no, Cambridge Audio did not pay me to say that.

EDITING AUDIO

And finally, here’s the question I promised to answer: would I use these or other wireless earbuds for audio editing purposes? No, I wouldn’t, and the reason why can be summarized in one word: Latency.

Latency is a fancy word for delay. Wireless earbuds connect to any device via bluetooth (a Dutch invention, by the way). In a regular wired connection, the typical audio latency is 5-10 ms. In a wireless connection, Bluetooth latency can go anywhere from 34 ms up to 100-300 ms for true wireless earbuds and headphones. If you’re just listening to music, or to a podcast, you won’t notice it.

If you’ve ever tried to watch a video using wireless headphones, you probably experienced that the sound was slightly out of sync with the picture. As I was attempting to edit a voice over track using my earbuds, the same thing happened.

I noticed a slight discrepancy between the visual sound wave in my DAW, and the actual sound in my ears. The sound was always running a fraction behind. Practically speaking this means that you first see the edit you want to make, let’s say a lip smack, and then you hear it. This may seem no big deal on paper, but in reality this is very annoying.

So, I’m back to doing sonic surgery using my all-revealing (and wired) Austrian Audio Hi-X55 headphones.

Airpods Max case (photo credit: Apple)

In January 2021, Cambridge Audio will be releasing the new Melomania Touch True Wireless Headphones with an advertised FIFTY hours of battery life, an app, and a transparency mode, letting outside sounds in. These buds look more like conventional earbuds that resemble hearing aids, so if you don’t like the fit or look of the Melomania 1’s, these might be the ones for you ($149).

Alternatively, you can buy Apple’s new AirPods Max(to be released in the USA on December 15) for the low price of $549. They’re headphones, not buds, but they are wireless. You’ll love the cool, soft Smart Case! Or not.

HEADPHONES AND HEARING LOSS

One final word of warning: noise-induced hearing loss is real! The World Health Organization estimates that “1.1 billion young people worldwide are at risk of hearing loss due to unsafe listening practices,” in part from listening to music via headphones or earbuds. Cheap, low-quality earbuds fail when it comes to blocking outside noise, leading listeners to turn up the volume even more.

Get this: The maximum output of many devices can get up to 115 dB, which can cause permanent hearing damage in as little as 8 to 15 minutes!

If you wish to protect your ears you have two options: buy active noise-canceling headphones/earbuds, or noise-isolating earbuds like the Melomania 1’s.

To prevent permanent hearing loss, listen to your music or voice over tracks for no more than 60 minutes at a time at no more than 60 percent of your device’s maximum volume.

Do you hear me?

Paul Strikwerda ©nethervoice

*as always, bold, blue letters indicate a hyperlink.

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Work, work, work

by Paul Strikwerdain Articles, Career, Freelancing, Personal, Social MediaLeave a comment

In the USA (where I’ve been living since 1999), people are obsessed with one thing:

WORK.

It’s the only nation in the world where vacation is not a right but a privilege. If and when Americans dare to take a break, it’s usually only for a few days allowing them to… do some more work at home.

When they finally take a vacation, they travel to Europe where they see ten countries in five days and come back exhausted (telling me how much they liked Amsterdam which they think is the capital of Denmark).

Of course I’m exaggerating a bit, but you get the point. Your worth in the USA, is determined by your work. People publicly boast about how much they work, how long they stay in the office, and how much overtime they have clocked up, just to please the Big Kahuna.

These days, people can’t leave their job without checking the email inbox at least a few times a day. It’s an addiction! What if the boss needs you to do something, or a colleague has a question? Heaven forbid you’re not available!

In a way it’s even worse when you work from home, because your job never leaves you. Freelancers are constantly posting on social media about all the amazing projects they are working on, and the ones that are in the pipeline.

“Look at me. I’m still relevant because I’m working my behind off!”

Do you want to know something?

Americans spend more hours working, yet they are less productive than most of the rest of world. People in vacation nations do more in less time while feeling less stressed. To them, work is not their life but a way to make a living. And vacation is not only for fun, it’s also a form of education and preventative healthcare.

What a concept!

Now, because of the pandemic, most of us can’t just jump on a plane and fly away to some tropical destination. But there are plenty of other ways to unwind. Read or listen to a book. Discover new music. Do yoga. Meditate. Cook a meal together. Sleep in. Play a board game. Take up a new hobby.

By the way, I’m not saying you shouldn’t work. Work can be fun and fulfilling, but it is about finding the right balance between rushing and relaxing.

I always welcome December, because I know my work as a voice over slows down. I don’t panic. I don’t complain. I just build it into the rest of the year, and I relax. December is a month to recharge and reconnect. As much as I love my job, recording voice overs is just a means to an end. Things tend to get crazy when I lose sight of that end.

It hasn’t always been this way. A few years ago I thought I had to “prove myself” by doing as much work as I could fit into a day, a month, a year. Until one day, a rescue team found me on the floor of my basement recording studio, paralyzed, and barely breathing.

I had had a massive stroke.

Not taking a break, not slowing down, not stopping to smell the roses can have deadly consequences.

Now that I have pretty much fully recovered (brain cells don’t grow back, unfortunately), I live much more in the moment, and I have left the rat race that was keeping me up at night. And you know what?

I L O V E it!

Slowing down keeps me sane and keeps me safe.

It has been said that those who are close to death often look back, and express their regrets.

Literally no dying person ever said: “I wish I had spent more time at work.”

They do say: “I wish I had been there for the moments that mattered. For the times my spouse and my children needed me. I wish I hadn’t worked so hard, and had taken more time to enjoy life.”

Please believe me me: your worth is not in your work. You don’t have to prove anything to anyone. Take a break. For your sake, and for the sake of those who care about you.

Try living without a schedule for a few days. Forget social media. Be spontaneous. Stop feeling guilty because you’re not busy making money. Give yourself permission to pause.

Enjoy unplanned time with your immediate family, and with yourself.

I think we can all agree that 2020 has been a crazy year.

So, do something that feeds your soul.

And if that’s hard for you to do, you really need to work on that!

Promise?

Paul Strikwerda ©nethervoice

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You Are Privileged

by Paul Strikwerdain Articles, PersonalLeave a comment

Sometimes I feel we can measure the degree of our privilege by how many things we take for granted.

Is the air we breathe clean? Can we put food on the table? Are we healthy? Do we feel safe? Do we have friends we can count on? Do we love the work we do?

For many of us, the answer to these questions is self-evident. That’s why we live our lives without realizing how privileged we are… until.

Until something happens that shakes up our life.

We end up suffering from terrible allergies. We experience food insecurity. We’re diagnosed with COVID. Our house burns down. Friends fail us. We hate our job…

Isn’t it sad that, for us to really appreciate the good, we often have to experience the opposite?

In a way it’s pretty pathetic that we have to dedicate a special day to being thankful.

Twenty-four hours of madness and indigestion.

And when it’s over, we move on. Pepto-Bismol in hand.

The next day, we shop our inner emptiness away, and retail resurges. Hopefully.

It doesn’t have to be that way. Of course not.

All we need to do is press pause…. and be mindful of the many ordinary blessings that make our life livable and meaningful.

It’s the little, big things we take for granted.

It’s the things that we don’t have to worry about, that are the small stones in the mosaic of our happiness.

Now, this may sound simple, and you might be right.

But everything that looks and sounds simple, never is. All of us can buy the ingredients to a five-star dish, but very few can make a Michelin-star worthy meal. This is a tough lesson to learn in a time of instant gratification.

We want things at the speed of a mouse click. A new computer. A new eye liner. A new career. Just get the right equipment plus a P2P membership, and you’re in business!

Yeah. Right.

It’s easy to buy a blank canvas, some paint, and a few brushes. But that’s just the start of a long, winding road. There’s so much to absorb. So much to learn. And learning never stops.

Let’s be honest.

Very few people were born to be a soccer star like Maradona, or a top tennis player. Very few home cooks get to be a top chef. But you can still enjoy playing the violin, even if you never perform at Carnegie Hall. Many string players have a fulfilling career in an ensemble and not as a soloist.

So, on a day like today, be thankful for the talents you were born with. Be thankful for the people who love you for who you are. They don’t care if you’ll never be front page news. I bet they actually prefer it that way.

Share your talents with the world, and make it a better place because of you.

YOU are a gift, and I am grateful to know you!

Every day of the year.

Paul Strikwerda ©nethervoice

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Elaine Clark Cracked the Podcasting Code

by Paul Strikwerdain Articles, Journalism & Media, ReviewsLeave a comment

Elaine A. Clark

I usually don’t get hate mail, but there was one story I wrote back in 2015 that rubbed a lot of readers the wrong way.

It wasn’t one of my stories about voices dot com. It wasn’t even an article about the Voice Arts Awards.

It was a blog post called The Problem with Podcasting(as always, bolded words in blue are hyperlinks).

Here’s part of the introduction:

“I spend very little time listening to podcasts. I’d rather read an article, than listen to forty minutes of blah-blah-blah. An article or blog post I can scan in a short amount of time. I search for keywords, and skip the fluff.

Done.

On to the next one.

Am I going to listen to a forty-minute podcast to possibly pick up a few useful ideas?

No thank you.

But there’s another reason why most podcasts are not my cup of tea.

I have no patience for mediocrity, half-ass efforts, or for untalented amateurs playing radio.”

Five years later, I still stand behind what I wrote in 2015, although I must admit that I’ve added a few podcasts to my listening diet. Here are some shows I’m a fan of:

The VO Meter with Paul Stefano and Sean Daeley

Making an Impression & You’re Popping with Simon Lipson

Talking Creative with Samantha Boffin

The VO Socialwith Nic Redman and Leah Marks

Voiceover Sermons with Terrry Daniel

The Voice Castwith Albert-Jan Sluis (in Dutch)

On occasion I will listen to shows like This American Life, Fresh Air, or RadioLab. All these programs are professionally produced, and they make doing the dishes or yard work much more pleasant. But I really can’t stand podcasts that take way too long to get to the point, hosted by nitwits that love to hear themselves talk.

It turns out, I’m not the only one!

A NEW BOOK

Voice Over coach Elaine Clark, author of There’s Money Where Your Mouth Is, just published -as she wrote:

“the book I would want if starting a new podcast or needing to improve an existing one.”

It’s called “Voice-Overs for Podcasting. How to Develop a Career and Make a Profit.”

I just read it, so, let me get straight to the point. Should you buy this book if you’re thinking of podcasting, or if you already have a podcast?

A B S O L U T E L Y!

One hundred percent.

But before you make plans to produce the next Serial (the record breaking podcast by Sarah Koenig), I have some great news for you, and some not so great news.

According to Edison Research, American podcast listenership has grown one hundred percent in the last four years. 67 million Americans listen to at least one podcast a month.

Here’s the daunting news: there are more than 850 thousand active podcasts and more than 30 million podcast episodes. If you’re serious about starting a podcast, you better know what you’re getting yourself into. It’s just like the world of voice overs:

Many are called. Few are chosen.

One of the things that crossed my mind when reading Elaine’s book was this: is podcasting something I could do on the side, to provide some passive income through lucrative sponsorship deals?

A MONEY MAKER

Well, get this. Elaine interviewed six successful podcasters for her book. One of them is Melissa Thom, founder, producer, and host of Spellbound. It takes Melissa two to five days to edit one episode which usually runs for thirty minutes.

Jordan Harbinger, host of the one-hour Jordan Harbinger Show, takes 10 – 20 hours of research, 90 minutes to record, and 9 hours to edit (which he outsources). Podcaster Jason Allan Scottspends one hour of research per minute his guest is on the air.

Most voice overs (Elaine’s target market) don’t have so much time to spare. They’re too busy making money where their mouth is. And as you read Elaine’s book, you’ll discover that monetization is one of the biggest challenges for podcasters.

For most of them, it is and always will be a labor of love.

The key to making money from podcasting is to have a large listener base. Only then are sponsors and advertisers interested in you. Jordan Harbinger says:

“It’s easy to get sponsorships once you get the big numbers. Getting the big numbers is the hard part. You need about 5 to 15 thousand downloads per episode (at the very least) before most sponsors will be interested in your show.”

For Jason Allan Scott, the magic minimum number is 20 thousand downloads per show. So, as in voice overs, being successful at making podcasts is not only about making interesting podcasts, but about being good at selling your podcast to the world! That alone, could easily be a second job, if you have plenty of time on your hand.

But you can’t really sell something until you have a product people actually want to buy, and that’s where Elaine’s book delivers big time. She writes:

“After hundreds of hours of listening, dissecting, and talking to others about podcasts, the universal theme is GET TO THE POINT! Don’t make your story too precious, your intro too long, or your focus too broad. Listeners feel their time is valuable.”

THE BOTTOM LINE

Voice-Overs for Podcasting is an invaluable step-by-step guide to baking a mouthwatering podcasting cake, covering the most basic ingredients, to dealing with pitfalls and roadblocks. If you are serious about becoming a podcaster, this book will save you hundreds of hours of research, and will prevent you from trying to reinvent the wheel.

But remember: baking a great cake is about more than following a recipe. It’s about being creative, playful, daring, unusual, boundary-pushing, and about being an original. Those are things you cannot learn from letters printed on a page.

It’s only 134 pages, but Elaine Clark’s book is filled with lists, practical tips and ideas, even scripts that will set you on the right track. In my opinion, there are only two things that will keep her book from reaching a wider audience.

One: The confusing title. Why isn’t it called Podcasting for Voice Overs? No matter how you spin it, the title suggests the book is geared toward voice overs. I believe it should be required reading for anyone who’s thinking of starting a podcast, and for podcasters who want to up their game.

Secondly, I think the cover looks generic and rather uninspiring.

But you know what…

If the cover is one of the only things to critique, you know the content must be pretty stellar!

Paul Strikwerda ©nethervoice

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Stop Being a People Pleaser!

by Paul Strikwerdain Articles, Career, Personal6 Comments

the author

For most of us, pleasing people is the name of the game.

As a freelance service provider, that is why we exist: to please the people that pay us.

It’s how I grew up as a little boy in the Netherlands.

As the son of a minister, I always had to be on my best behavior and do what was expected of me. Children should be seen, not heard, and only speak when spoken to. Pleasing my parents and making them proud became my way of life.

That meant not questioning their authority, eat what they put in front of me, wear what they wanted me to wear, and be quiet when the grown ups were talking. And there was a lot of talking in the parsonage.

As an inquisitive and talkative child, this regime was not easy on me, to say the least. I wanted to engage and be social. I wanted to participate instead of observe.

Most importantly: I wanted to be heard.

Don’t we all?

My young parents were still learning how to run a church, and I think they were in over their heads, especially after the birth of my little sister. So, having a noisy son who always wanted to know everything about everything, must have been challenging. But I was a child. I couldn’t help myself.

After testing the rules over and over again, and being at the receiving end of numerous spankings, I finally learned my lesson.

Sit still. Shut up, and do as you are told.

In a way, this strict upbringing worked well for me. My life was like a coloring book. As long as I colored within the lines, I received praise. I was the good child, but I had to make sure to color the trees green and the sun yellow. That’s the way it’s supposed to be.

Deviation and disobedience lead inevitably to punishment (always administered by my mother, while my father made himself invisible).

Now, at a certain age, kids are supposed to grow up and rebel against parental authority. I left that job to my sister. She was the wild child, and very good at it, I might add! While I buried myself in books and music, she acted out in every way possible. Coming home late. Fooling around with bad boys. Drugs and drinking.

Meanwhile, I remained the pubescent, immature people pleaser. Mister goody two shoes who had no spine. Perfectly socially acceptable, well-adjusted, and never daring.

How did I stay that way, you may ask? By avoiding confrontation while fostering resentment, deep inside. It’s a coping mechanism many of us know too well. It works until someone really starts pushing our buttons and boundaries, and we can’t take it anymore.

Just wait for that pressure cooker to explode!

And when it does, we not only respond to what triggered us in the first place, but to years of keeping things inside; of sucking things up to keep the peace.

I truly feel for the person at the receiving end of this emotional outburst!

Now, why on earth would I be bringing up the past, in a blog about freelancing and voice overs? Who do I think I am? Sigmund Freud, or Dr. Phil McGraw?

I’m taking you back to my childhood because in my work as a coach I have found that many of us have evolved very little from the time we were a child. It usually manifests itself in our relationship with perceived authority figures. Authority figures such as the clients we serve.

After years and years of growing up, many of my students discover that they’re still the same obedient people pleasers they were as little kids.

Sit still. Shut up, and do as you are told.

One way this manifests itself is in a subservient relationship with clients. If a client wants things done the next day, they deliver the next day, no matter what. If a client wants to pay them in 90 days instead of in 30, they accept 90 days. If a client changes the script after they’ve already delivered the previously approved VO, they record the new text for free. And so on and so forth.

People bend over backwards just to avoid confrontation and rejection.

I see the same pattern when it comes to rates.

The client said he had a limited budget, so why should I ask for more?”

As a coach I always challenge my students. The other day, I said to one of them:

“How do you know how much a client can or cannot afford? Are you psychic? Do you have someone inside the organization? Did you even ask for more money? If not, why not?”

“Well, I’m afraid they’ll give the job to another talent. I want to maintain a good relationship.”

I told him:

“How can you predict with absolute certainty how the client will respond? I mean, out of the hundred plus people that auditioned for this job, they picked you for a reason. That should give you a bit of leverage, don’t you think?

What you are offering is not some kind of cookie anyone can bake; something simple that disappears as soon as you eat it. What you’re about to record will last. It has the power to move minds, and inspire people to take action. Only you can say it the way you say it. That’s why they picked you, for Pete’s sake!”

One of my students was in a pickle because she didn’t allow enough time to finish the eLearning module she was recording.

“Why don’t you call the client and ask for an extension?” I suggested.

“Oh, they’re not going to like that,” she replied. “This is my first time working for them. I need to show that I can handle the job they gave me. Otherwise they’ll never hire me again.”

“Here’s my assignment,” I said: “Call them up. Tell them where you are with the project and how much time you need to complete it, and see what they say.”

A day later she called me back and said:

“I’m so relieved! They gave me until next week to finish it. It turned out they weren’t going to listen to it for the next couple of days anyway, because they’re so swamped. The project manager told me they’d rather have me do a good job and take more time, than to rush things and make mistakes. She even thanked me for keeping her in the loop.”

Those two students had one thing in common. Because they assumed to know how the client would respond, they avoided a confrontation by not asking for what they wanted. Here’s the thing.

If you don’t ask, the answer will always be NO.

I wasted years of my life being overly concerned about what other people might think. It was the little boy in me that still was intent on pleasing his parents. The boy who always found an easy way out, to avoid conflict and confrontation.

The trouble was, playing it safe usually didn’t get me what I really, really wanted and deserved. I had to learn that it’s okay to gently and respectfully put my foot down, and ask for what I wanted.

When I finally started to speak up for myself, I discovered that the confrontations I dreaded in my mind, hardly ever happened. It was just my very vivid imagination of a worst case scenario that held me back.

These days, the people pleaser in me still plays pictures in his mind. But this time around I make sure to imagine the BEST things that can happen, instead of the most terrible outcome.

Remember this: whether you imagine the worst thing, or the very best thing, you never know how it’s going to turn out. But if you visualize a positive outcome, you’re more likely to be in a positive mindset, and take positive action, leading to a positive result.

All I ask of you, is to try this approach for the next week or so, and experience the difference it makes.

But don’t do it to please me.

Do it for YOU.

Please!

Paul Strikwerda ©nethervoice

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Let’s Shoot the Messenger!

by Paul Strikwerdain Articles2 Comments

The war of words we call the U.S. general election, is finally over.

America has voted. The people have spoken.

Some of us are elated.

Some of us are scared.

Some of us are asking ourselves: “How the heck did this happen?”

Now, before you think this is yet another analysis of the election, let me stop you. This is primarily a blog about people’s voices and their meaning, and that’s why you and I need to talk.

How so?

Because some of us were foot soldiers in this war of words. Soldiers of fortune.

I’m referring to the voice actors who used their talent to spread the message of a particular party. The masterful manipulators, hand-picked and hired to move hearts and minds.

That’s not some dark, political point of view. It’s the ultimate purpose of our profession. Clients hire voice actors when they have something to sell, someone to entertain, something to teach, or something to preach.

If we do our jobs well, we lift dead words off the page, and bring them to life in the most impactful way possible. Sometimes, that way is a seductive whisper. Sometimes, it is a battle cry about keeping America great again, or restoring the soul of the nation. As long as that cry is believable, people are buying it in droves. Just look at the tremendous turnout!

It’s all about influence.

MAKING AN IMPACT

A masterful audio book narrator can create wonderful worlds and characters that become an intimate part of the listener’s experience. Well-delivered catch phrases from commercials become engrained in our culture.

As the French say: “It’s the tone that makes the music,” and in my mind, it’s the voice-over who sets the tone, whether it’s someone like Sir David Attenborough, Gilbert Godfrey, or Morgan Freeman.

Who can forget the way Ed McMahon delivered his Here’s Johnny,” for almost thirty years? Who doesn’t remember Don LaFontaine’s booming “In a world…” or Don Pardo announcing Saturday Night Live?

As you’re reading these words, you probably heard their voices inside your head, and hearing these voices put you in a certain state of mind, if only for a moment.

Don’t worry. That’s perfectly normal.

Voice-overs infuse scripts with meaning and emotion. A talented voice actor can “play” the words, the way a musician turns notes into music, and music into art.

Now, at this point I can hear some of you say:

“Slow down a little. What’s the big deal? Words are just words! You can’t get wet from the word water. Sticks and stones may break my bones, but names will never hurt me.”

Well, you’re wrong.

LOADED LANGUAGE

Words are powerful weapons. Depending on who delivers them, and how they are delivered, words can act as a potent placebo, or as a poison. If you don’t believe me, ask a hypnotherapist, or someone who has been bullied.

The word Kristallnacht isn’t “just” a word. Kristallnacht opens up a burning world of meaning; a world of anti-Semitism and intolerance that led to the killing of six million innocent people.

Words are loaded. They can be used to divide, to incite, to help, and to heal. Words drive teenagers to suicide, and words inspire religious fanatics to murder and maim.

Words are never “just” words.

Now, subscribing to the idea that words have power has implications for all of us. Especially for professional communicators like you and me.

Whether you’re a copywriter, a speech writer, a politician, or a voice-over, as a paid manipulator of language, you have the responsibility to ask yourself:

“To what aim am I doing my job?”

“What are the potential consequences?”

“Would this project I’m involved in make me proud, or would I be embarrassed to be associated with it?”

Under what circumstances would I refuse to work on a job?”

“Is this project an opportunity to make money, to make a difference, or both?”

THE MESSENGER

Some of my fellow voice-overs answer those questions in a very pragmatic way. They tell me:

“Don’t shoot the messenger. I’m only an actor. I’ll say whatever they pay me to say. At the end of the day, it’s money in the bank.”

To be perfectly honest with you: I struggle with that attitude. Especially when it’s about causes I strongly believe in, I find it hard to separate personal from professional ethics. For instance, as a lifelong vegetarian, I would never butcher my beliefs to promote the consumption of meat, no matter how much they’d pay me.

At the same time, I’m not going to make the mistake of confusing an actor with his or her character. If someone portrays a member of the KKK in a movie, I know it doesn’t mean this person supports the KKK in real life. Perhaps that actor wanted to play this role to warn the world about the dangers of the Klan.

So, to help myself deal with some professional, moral dilemmas, I find it useful to make a distinction between fiction, and reality. As a voice actor I give myself permission to play a despicable fictional character. However, I would never record a promo video for the KKK.

Do you know what I mean?

GETTING INTO POLITICS

But what about political ads? Would I be willing to help a political party sway voters?

It depends.

Although many political ads sound too good to be true, I put them in the category of non-fiction. They’re a tool in a battle to influence the masses. They’re instruments of propaganda. Based on my personal morals, and knowing what I know about the power of words, I would never lend my voice to a message I don’t believe in, regardless of the paycheck.

My voice is for hire, but my integrity is not for sale.

I understand that you may draw the line differently, because your values and beliefs are different from mine. That doesn’t mean we shouldn’t discuss ethics in our profession. Our voice is a powerful instrument of influence that can be used for many purposes, good or bad.

One last thing.

Let’s not confuse doing a great job with doing what is right.

It is very much possible to do great work for a terrible cause. Leni Riefenstahl’s Triumph des Willens, is a cinematic masterpiece of propaganda about the 1934 Nazi Party Congress in Nuremberg. Her documentary Olympia about the 1936 Olympics in Berlin, was groundbreaking.

These cinematic masterpieces were paid for by the Nazis, and used to glorify the Third Reich!

Yes, you can do amazing work as a voice actor for a horrible company. Can you live with that?

It’s not always the work that’s being criticized. It’s the purpose it serves, that matters. You can lend your perfect pipes to promote a notorious weed killer like Roundup, but is that something you want to have on your conscience, just because you feel you have to make a quick buck?

Are your morals for sale to the highest bidder? Are you a vocal prostitute?

WAITING FOR A WINNER

I’ll let those questions resonate with you, while we adjust to a new reality, here in the United States.

The votes have been cast, and we have a president-elect.

This was an election about emotions like hope and fear; about who was best at selling a message to the masses.

The painful and embarrassing war of words is still going on.

Here’s what I want to know.

Let’s say all votes are counted, and we don’t like the outcome, should we start shooting the messengers?

I mean, we’ve got to find some people to blame, don’t we?

Paul Strikwerda ©nethervoice

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Kelly Glyptis: The Unstoppable Soprano.

by Paul Strikwerdain Articles, CareerLeave a comment

Kelly Glyptis

QUESTION:

How do you future-proof your voice over career?

That’s one of the most important things you should ask yourself, in a time where rapidly evolving Artificial Intelligence is driving the latest text to speech software. The makers of this software have started advertising that their clients will never have to hire an expensive voice over again.

WHAT?

You may think this sounds rather preposterous, but consumers are already used to these artificial voices. For them it’s not a matter of “Are these fake voices any good?” It’s a matter of: “Are they good enough?”

THE COVID EFFECT

I’m sure you’ve also noticed that during the pandemic the interest in voice acting has increased exponentially. When you audition for a job on a casting site like Bodalgo, you’re greeted with the message “Due to the effects of Covid-19 (Coronavirus), we are seeing a higher number of auditions per job than usual.

Every week I get at least a few emails from people asking me how to get started in the business. Add to that the number of out of work on-screen and stage actors, desperately looking for opportunities.

So, more and more people are coming for your jobs, and so is technology. I want to know: what are you going to do about it?

If you wish to future-proof your voice over career, you need at least three elements to be in place, summarized in two simple words:

BECOME BETTER

  1. You have to be able to consistently produce professional quality audio from a home studio that can be connected to other studios in the world. This means your recording session cannot be interrupted by a leaf blower or the neighbor’s pitbull. This requires an acoustically-treated, soundproofed space, quality gear, as well as a reliable internet connection.
  2. You must have a solid online presence allowing clients to easily find you, hire you, and pay you.
  3. You need to have the talent and skillset to truly connect with the copy and inhabit a whole cast of characters other than yourself. In other words: simply reading a text into a microphone without making mistakes isn’t going to cut it. Any machine can do that. You need to have acting chops. To use a musical metaphor: you can teach a computer to reproduce the correct notes, but you can’t teach it to make music.

There are plenty of good paying jobs in the voice over world, but not for any amateur with a USB mic and a voices dot com account. Clients with big budgets are constantly looking for voice over ACTORS. Not voice over robots. Audio book publishers are always searching for that one unique talent who can bring a cast of characters to life.

VOCAL and ACTING TRAINING

I have good news and bad news for you.

The bad news is: most voice overs are not voice ACTORS. Voice overs read scripts. Voice actors perform roles.

The good news?

There are people who are trained to bring out the actor in you. People like soprano Kelly Glyptis, for example. Her background uniquely qualifies her to work with voice talent. You see, voice overs don’t necessarily need an acting coach who prepares students for the big screen or the stage. They need someone who knows all about flexing the vocal folds.

Kelly Glyptis was eleven or twelve when her voice teacher handed her the song “Caro mio ben.” She was doing musical theater at the time, and wasn’t at all interested in singing some stuffy old song in italian. “Do it anyway,” the teacher said, and for Kelly, it was love at first sound.

When she was fourteen, she saw a production of “Suor Angelica” a one-act opera by Puccini. Kelly told me: “I immediately decided that one day I would be up on stage singing the title role.”

Fast forward to 2020.

Kelly Glyptis as Morticia

Glyptis just won the Audience Choice Award at the TCO Next Competition, a virtual vocal competition organized by Tri-Cities Opera. She’s also a finalist in the 2020 John Alexander National Vocal Competition, and she’s made it to the final round of the Music International Grand Prix.

But Glyptis sings more than opera.

At the beginning of the year, Kelly was still on the North American National Tour of Fiddler on the Roof as Fruma Sarah. Her other musical theater credits include The Mother Abbess Cover (The Sound of Music) with the North American National Tour, and Mary Poppins (Mary Poppins), The Witch (Into the Woods), Morticia (The Addams Family), and Anita (West Side Story) with The Prizery Theatre.

Before I talked to Kelly about the work she does with voice over colleagues, I wanted to know more about her background. Our conversation started with this question:

When someone seems to be as talented as you are, some people say it’s just a matter of luck. You were lucky to be born with a voice like yours. What is it that these people are not getting?

Kelly:Roman philosopher Seneca is credited with the phrase “Luck is what happens when preparation meets opportunity,” and I think that perfectly sums up a lot of any artistic career. There’s no denying that “natural talent” is a thing, but it will only get you so far. I think what people don’t see is the amount of time, training, resources, and sacrifice; not to mention the fact that we go through more rejection on a weekly basis than most people do in a year… or five.

I have two degrees where I studied and trained in music theory, history, languages (Italian, German, French), diction (Italian, German, French, English, Russian), dance, combat, fencing, lighting design, directing, conducting, and so much more. I practice and/or study every single day; there’s no such thing as a day off in my world.

Kelly and her mom

My mother was a professional dancer and choreographer, so I was basically born performing. She’s been the artistic director of Pied Piper Theatre in Manassas Virginia since I was born, and I grew up going to rehearsals and helping in the office; it really gave me perspective of the theatrical life as a whole.

My mother has always believed that training never stops and you can’t ever know enough about your craft– not just singing, but technical theater, clowning, stage combat, management, marketing…you name it, I’ve done it. I decided quite young that this was what I wanted to do, and my mom was never shy to tell me the tough side of it.

One of the most beneficial things she ever did was recuse herself from every audition I ever did for the company. I didn’t make it into shows, I did tons of chorus roles, and I understudied. It wasn’t great at the time, but looking back I am so glad she let me be rejected and experience that because being told no is a huge part of this career.

What kept you going when things were tough? Was there something you kept telling yourself to prevent you from giving up?

This question is always the big one. Like I said, I don’t think people really realize how much time and resources go into trying to make a career on top of life in general. I have been chipping away at a $56,000 student loan, even though I worked two and three jobs all through my undergrad and grad degrees and had scholarships and assistantships.

Plus, during the decade of my 20’s I had four major surgeries (two nearly fatal) that racked up huge medical bills. My mother helped me as much as she could with everything, but she is a single parent with three children working at least two jobs (she is currently 70 working three jobs, seven days a week), so it was a huge burden on her that I recognize every day.

A big and tangible thing I have personally given up is having a home; I am always ready to get up and go wherever I need to be for an audition, gig, etc. It is wonderful to travel, but I think people see me all over the world thinking I am on vacation and out enjoying the city or something.

I have actually never been on a real vacation in my teen or adult life and every time I travel, I am working. I have so many incredible people all over the world who open their homes to me and make me feel like part of the family, but it’s not the same as actually going “home”. Fun fact: I haven’t paid rent since 2014. What makes it all worth it and why?

I could give you some standard answers but, honestly, I don’t know. It just is. It’s what makes me human; it’s what makes us all human. Whenever humans are in pain we play or create. When we are happy, we play and create. Think of this pandemic. What do you do when you can’t handle the Facebook doom scrolling anymore? Do you sit in a bath or go for a run and listen to music? Put on a movie? Play video games? Read a book? Write a song? Journal? Draw? It’s just human, and the way I’m human is singing.

I don’t think anything could stop me from singing and, believe me, I’ve had people try. My mother said (and still reminds me), “it’s not about being the most talented every day; it’s about being the one who stays and refuses to give up. Don’t let anyone take away your dreams and goals.” Never leave, and never let anyone tell you to go.

Back to the awards I mentioned in my introduction. You won the Audience Choice Award in a virtual competition. Ironically, you performed in front of a webcam without an audience. What did you do to connect with the viewers and judges?

I am not a big fan of singing in front of a camera with no audience or scene partner to be honest, but in the end it’s all about relationships. Connecting with an audience, for me, is done only by truthfully living in the circumstances rather than “pretending.” In a performance, if my husband is about to kill me and I’m appealing to him to let my son see me one last time (as in the scene in the aria “Morro, ma prima in grazia”), I’m not going to stare at a camera with my arms to my side or collapse to the floor yelling as loudly as I can. It’s just not real.

Most emotions are visceral and subtle, and today’s audiences are acutely aware if someone is faking it. We only had 30 seconds to show the audience what we had to offer, and I spent a long time sending out messages and sharing the posts asking people to take a listen. Obviously, I asked them to consider voting for me, but in the end people made their own decisions on whom to vote for.

I hope what made people vote for me was my voice connecting with the music’s intentionthrough the text. Not everyone speaks Italian, but music is universal. Hopefully, people forgot about Kelly, and spent 30 seconds hearing and connecting to a story about pain and empathy.

Everyone is learning to live with COVID-19. For voice actors, it’s still business as usual because we can do our job from the comfort and safety of our home studios. For you and those in your musical community, it’s very different. Tell me about that experience.

I think I could write a novel with this question, but I’ll try to keep it short. My life was ripped away from me March 12th when I was laid off of the tour I had been on (Fiddler on the Roof). Economically it has been extremely difficult, but I was VERY lucky that I already had an unemployment claim from my previous tour that I could just reopen and was able to collect almost right away.

Unemployment, however, is not the same as a paycheck; I was suddenly making less than a third of my paycheck. Because I lived with my mom who is high risk, I couldn’t look for work without compromising her health. Again, I was VERY lucky that I had a place to live for free. All of that has stopped for me now, so I am desperately trying to maintain an online studio while finding small gigs and singing for a church live stream. I was also supposed to go to Australia and then Europe for auditions, and had multiple gigs already lined up. All of that was canceled.

click to enlarge

On a personal note, I had also scheduled myself my first real vacation to see my friends and (now ex) boyfriend in Australia- that was also canceled. I’m starting to try out tv/film auditions and have thought about voice over, but I don’t have access to a consistent space where I could set up a recording area yet, so it makes it a little bit harder.

Emotionally, this has been an absolute nightmare for me. I didn’t sing a note for about four months and I was trying to keep busy by volunteering to create programming for my mother’s theater company. My dear friend, David Johnson, was my right-hand man and I wouldn’t have kept what little hope or sanity together I had without him.

There was finally a day where I just broke. That was when I claimed a small amount from a one-time job I did and was kicked off unemployment because they considered me “gainfully employed and no longer eligible for benefits.” I lost two weeks’ worth of unemployment because I took a one hour job. My friends and family came to my aid and helped me cover the lost expenses, but I decided I couldn’t handle it anymore and I needed to get away.

My aunt actually messaged me and said “what can I do to help?” and I jokingly said, “I dunno, buy me a plane ticket to England so I can run away for a bit?”; She said “ok” and flew me to England. My mental health has been so much better since leaving the US, but I’m still hustling every day and look forward to my visa finally coming through so I can start applying for jobs in the UK and Europe.

Apart from being a performer you’re also a vocal and acting coach. Don’t you need a much more hands-on approach because of the physicality involved, or is this something you can actually do online? How do you make it work?

This will be my third year of teaching remotely. I was on tour for two years, but still taught a few students online. Normally when I teach in person there is a lot of physicality, but I have found over my 16 years of teaching that it’s not really necessary to touch people a lot in lessons; I don’t like people touching me, so I don’t really touch others. I have my students do seemingly crazy things sometimes, like be a monkey while they sing or lay on the floor, but unless it’s related to breath I rarely touch anyone.

Kelly as Mary Poppins

Singing is very personal, so I ask my students what they are feeling and describing it in their own words. Online we can’t see every little thing that is happening and we have to deal with internet connections, but that is why I’m so big on having my students communicate what they are feeling and doing.

Obviously, you lose some of the nuance of the voice and overtones/undertones as well because of the compression that happens in the technology, but the only really limiting issue we have online is that I can’t play the piano at the same time they sing; although, that is also a great way to help people train their ear and learn how to maintain their center of pitch.

As a coach you also work with voice actors and audio book narrators. What are some of the challenges you help your students overcome?

Most people come to me for help with character coaching and acting, and I try to offer vocal advice where I can. I try very hard to separate teaching from coaching because I don’t want to overstep my boundaries. I think what is usually missing is the basic knowledge of how the voice and body actually work when creating sound. This is not just for voice actors, but honestly for everyone.

The biggest challenge every student has is to stop listening to themselves and trust the correct feeling. I can mimic the correct sounds, but that doesn’t mean I’m actually producing that sound in a healthy way. Another huge challenge for students is literally learning how the body works. 90% of the people who have come to me know the key words (diaphragm, soft palate, etc.) but they have absolutely no idea how these things actually work.

For example, why do you raise your soft palate? What does it do? And not just for singing, but I mean literally- what does it do as a human function? Do you know it has to do with the nasopharynx? Have you ever heard of that? I’m not a gambling woman, but I would put money on at least half of the people reading this not knowing the answers.

I know a lot about the voice and I try to keep up on new studies and findings (for example, scientists just discovered a new organ in the throat!!). Most voice over actors I know are actually musicians and actors of some kind as well, so they have at least a working knowledge of their instrument. It’s so vitally important to know how your voice works and how to take care of it so that you can have a lasting career and not hurt yourself.

Especially for voice acting, it is critical to have a base and solid technique so that when you choose to manipulate your voice into a different character or genre you are doing it in a healthy way.

I am a firm believer that if you study classical voice you can then do anything. It’s like a cake: technique is the basic cake, and then you decorate your cake with different frostings, glazes, and fondants. The cake doesn’t change, the style does. Everyone’s cake is a little different of course, just like the voice, but in the end, healthy singing is healthy singing.

What are some of the practical vocal tips you share with your voice over students?

My main tip is find your base “noise”; the neutral, healthy sound you can make all of the time. Once you know how your voice works and feels, you can basically do anything you want. Scream like a witch? There’s an easy way to do that. Make choking noises during your death scene, but still be able to do the other characters in a video game? There’s a simple technique for that too.

My main goal as a teacher/coach is to help you find a healthy and simple way to create sound; then we add the fun stuff like timbre, color, and style. Teachers and coaches are necessary because we hear what you can’t inside of your head or on a recording. We can see if you are holding tension in your right knee and clenching your fist while you sing without knowing. The extra set of ears and eyes that will tell you the truth is vital to the progression of any skill or frankly career. That’s why major publications still have editors and top athletes all have coaches.

Most voice actors sit in their studios all day, in front of a computer monitor and a microphone. In what way do you incorporate the use of the body into your lessons?

The voice is literally connected to the body, so what you do with your body directly affects how it works. Something as subtle as raising your eyebrows can cause tension and change how your voice sounds. Usually, I try to get my students back to a neutral. Once you find a neutral, relaxed body you can start choosing to manipulate it based on the character.

The challenge is to make sure we are making choices, not developing habits. What I do depends on the person. Sometimes I have people lay on the floor and take them through a muscle relation exercise, sometimes I have them do 50 jumping jacks and high knees; everyone’s different, so I really go case by case.

In what way can voice actors benefit from singing lessons? Even if you don’t have a real singing voice, is singing something anyone can learn? Do you need to learn to read music before taking lessons with you?

As my teacher used to say to me, “Singing isn’t hard; the discipline to do it correctly is what’s hard”. I am a firm believer that if you can speak you can sing. I have taught adults and children who couldn’t match pitch to be able to sing a cappella and hold their pitch. It takes time and dedication, but anyone can learn to sing. I really prefer the term “voice lessons” to singing lessons because it really is about how to use your voice and entire instrument; not just how to sing.

The great thing about the voice and acting is that they use many of the same concepts and sometimes terminology; we just interpret them slightly different. Just one example: when an actor prepares a monologue they might consider tone, pitch, timbre, speed, and tempo in the delivery of the text; they may find their beats within the monologue and plot out their breaths. We do all of that in music as well. You don’t have to read music, but, I can teach you to do that too, along with sight singing and dictation!

At the time we’re doing this interview, you’re in London. Did you feel you needed a break from the United States, and if so, why?

You kind of hit the nail on the head. I needed a break from the US. I love America, but I can’t handle how our government is going about this pandemic and how some of my countrymen/women have responded.

My mother is high risk, and watching people carelessly and flagrantly belittle this virus made (and still makes) me livid. I have had multiple people in my life die and I’ve lost count of how many friends and family have had it (both critical and mild cases). I am hustling now more than ever to find any safe work. I am also to make my residency overseas one day so that if I ever do end up in a hospital, or maybe start a family, I won’t go bankrupt.

Just a small example, I bought 3 months worth of travel medical insurance in case I had an emergency while here in the UK and it was $120 TOTAL. I was shocked. It covers any kind of accident and even some standard medical things. When I lost my job I was being quoted at over $400/month for my premiums and that didn’t even begin to cover deductibles and out of pocket expenses. I just can’t afford to live in America right now.

One of the things that moved me most was your rendition of the song “Hope.” What in this song particularly resonates with you?

I found this song by Jason Robert Brown, one day back in June. I had just lost my voice from stress and an acid reflux flare up. I hadn’t sung a note since March 12th , when I was sent home from my Fiddler on the Roof Tour, and I was extremely depressed and basically despondent. I was suffering from insomnia and I fell down a YouTube rabbit hole and heard this song.

I remember just sitting there practically unable to breathe and then the lyric “I didn’t break until right now. I sing of hope, and don’t know how” broke me into a million pieces. I didn’t know how to cope with the world and there was finally someone telling me they didn’t know how either. It was the first time I’d heard an inspirational song that acknowledged hope is abstract and strength is hard to find sometimes.

I decided, voice or no voice, I was singing this song because I thought it was vitally important that message be shared. I did it in one take with no makeup, microphone, or equipment because I was just too exhausted. Darin Stringer recorded the piano track and I just played it over a speaker and sang.

I’ve had multiple people reach out to me and say they were on the brink of giving up (some even alluding to suicide) until someone shared it with them. I genuinely want people to know that whatever you are feeling or experiencing, you are not alone. It’s not easy, there is no end date on any of this, and everyone’s experiences are unique; but you never have to go through it alone and there is always a way to hope…even if you don’t know how to find it yet.

Where can people who are interested in what you have to offer find you?

Feel free to check out my website, kellyglyptis.com, or follow me on Instagram, @kellyglyptis (#theglyptodon) and Facebook, KellyGlyptis,Soprano. If you are interested in taking a lesson with me, please message me on Instagram or Facebook.

I am the only Kelly Glyptis in the world, so I’m pretty easy to find!

Thank you, Kelly.

Kelly knows that she’s not going to be hired by people who’ve never heard of her. So, she’s making some noise! As we speak, she has applications in to three other competitions, and she’s applying for two more in December and another one in January. She’s also doing live auditions in London. What a way to future-proof her career!
Now it’s up to you to do the same.

Paul Strikwerda ©nethervoice

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Seven Signs You’re Not Meant To Be A Voice Over

by Paul Strikwerdain Articles, Career, Freelancing23 Comments

1. You think you’re good at imitating celebs.

You may be getting some pity laughs at parties, but your impersonations are quite pathetic, really. If someone would give me a dollar for every aspiring VO telling me he can do “a mean Sean Connery,” or a silly Schwarzenegger, I’d retire early.

And no, I won’t be back!

Pretending to be someone you’re not, is NOT your ticket to voice over fame, UNLESS you’re truly extraordinary.

If you wish to stand a chance to make it in the overcrowded world of voice talent, take this to heart:

Be An Original.

Agents aren’t looking for folks that sound like the people that are already on their roster. They want new, natural, refreshing, raw, daring, dazzling, and authentic. They want someone who doesn’t try to sound like someone else.

2. You need job security.

Does your family depend on a stable income? Do you have monthly bills that always need to be paid on time? Do you have enough of a cash cushion to survive for a year on very little money, while you invest in your voice over career?

By invest I mean: hiring a VO coach, building a home studio, buying reliable audio equipment, installing Source Connect (sorry, not the free version), getting a website, having demos produced, creating your brand, and launching a marketing campaign.

If you’re not in a financial position to make these investments, is your partner able to pick up the tab and the slack, even in these economically uncertain times? Oh, and did I tell you that freelancers don’t get a benefits package, vacation time, sick leave, or paid training? It will all come out of your pocket. Good luck with that when you start peddling your services on Fiverr!

Are you psychologically ready to embrace the unpredictability and stress of freelance life? What are you willing to sacrifice to pursue your dream, knowing that it may take years before you finally break even?

3. You’re not disciplined, and self-motivated.

If you’re used to the nine to five routine, you’re in for a rude awakening. Once you are your own boss, no one will tell you to get out of bed in the morning, or get down to your office (which now consists of a small, dark, padded room with a microphone). You don’t have a list of old clients to call, or a sales department to sell your services.

When you’re self-employed, everything is always on you.

Your first question is going to be: How on earth am I going to find work? Where are all the auditions everyone is talking about? And when you finally find a few opportunities, you see that hundreds of hopefuls have already sent in their custom demos while you’re still trying to work out how to use this Pro Tools nightmare.

Let’s assume you’ve finally learned how to record a decent audition, what are you going to do when you realize that your recording is being dumped into a gigantic black hole, never to be heard of again? At that point you’ll finally recognize that…

4. You know nothing about running a voice over business.

That’s right. It seemed such a great idea at the time: you get paid to talk. A dream come true!

Being a successful voice over has everything to do with your ability to run a profitable international freelance business all by yourself, 24/7.

Let that sink in for a moment or two. Then read this line again.

Being a successful voice over has everything to do with your ability to run a profitable international freelance business all by yourself, 24/7.

Don’t think for one moment that you’ll spend most of your time speaking into a microphone. You’ll spend a lot of time doing the boring, unglamorous stuff, like keeping the books, trying to connect with clients, figuring out how to market yourself.

During those moments you discover that…

5. You don’t like tooting your own horn.

You’ve always been taught not to be boastful, and that modesty is still a virtue. You get uncomfortable when people are paying you compliments. You brush it away saying: “Oh, it was nothing, really. No big deal.”

The thing is, clients aren’t going to hire you if they can’t find you, and they won’t be able to find you when you’re playing hard to get. Like it or not, you need to create a presence in the marketplace, and because you happen to personify your product (or service, rather), selling your services means selling yourself!

If that makes you uncomfortable, too bad.

I’m a reluctant extravert who had to learn how to reach out and promote my one-man business. It was a bit weird at first, but it helped me uncover parts of myself I didn’t even know existed. If you’re not comfortable being uncomfortable, perhaps this business is not for you. This world needs plenty of people who are happy to play it safe.

6. You hate technology. You just want to read.

Technology is not just for geeks. I started my career at a radio station with sound engineers taking care of every aspect of the recording. All I had to do was open my mouth and make intelligible noises.

Now I am my own sound engineer. I am in charge of the equipment and technology needed to send my voice across continents. If it works, it’s amazing. If it doesn’t, God help me!

Over the years I have learned to ask for advice, but not to rely too much on outside help. I’m an independent contractor, after all. Besides, the people who tell you “Call me when you need me,” never answer the phone when you’re in a pickle. They’re usually too busy helping other people.

There’s also this: other people’s opinion (emphasis on “opinion”) is no substitute for my own hands-on experience. There are too many gear snobs in this community with a big mouth and limited knowledge (see my final point).

Take my advice.

If you wish to have a career as a VO Pro (especially in times of Corona) you MUST have a decent home studio and quality equipment that you know how to use. You expect a plumber to have the tools of the trade, before he or she enters your house, don’t you? Your clients expect the same of you. Remember that the number one reason auditions end up in the bin is bad audio quality.

7. You always take things personally.

Is it easy to step on your toes? Does your mood depend on how others treat you? Do you secretly seek affirmation? Do you crave to be included?

If that’s the case, how will you deal with the horrific R-word?

R E J E C T I O N

When an audition doesn’t go well for, let’s say, a trumpet player, he or she can always blame the instrument. But when the instrument is your voice, it’s personal! You can’t go to a store and buy a more expensive voice box. Of course you can train your vocal folds to become more resonant, but what if the client just doesn’t like the way you sound?

Listen, if I book five percent of all the jobs I audition for, I can keep my boat afloat. That does mean that nintey-five percent of the time the client chooses someone else. What’s even worse, I’ve wasted my time and energy creating the custom audition I thought would win me the job (and would pay the bills for the next few weeks).

If you’re a sensitive soul, this is not good for your self-esteem.

The way you deal with rejection (or selection, as some like to call it) will determine how happy you will be as a performing artist. Some people become stronger. Others eventually give up.

Now, if you’re still reading, I have to reward you with a bonus sign! Here’s one more thing telling you you’re probably not meant to be a voice over…

8. You think you know best.

There are two things I can’t stand: willfully ignorant people, and people who believe that they are smarter and more capable than they really are (see my story “Incompetent and Overly Confident“).

The first group is hard to help because they stay ignorant on purpose. With all the information in the world only a few mouse clicks away, they are usually too lazy or too recalcitrant to educate themselves.

The second group is unable to recognize their own incompetence, and because of that, they overestimate their own capabilities. In psychology this is known as the Dunning-Kruger effect.

David Dunning wrote in an article for Pacific Standard:

“In many cases, incompetence does not leave people disoriented, perplexed, or cautious. Instead, the incompetent are often blessed with an inappropriate confidence, buoyed by something that feels to them like knowledge.”

Bear with me here.

If doing voice overs seems like something fun you’d like to try, I’m happy for you.

And you know what?

It is so much fun, and it’s hands down the best job I’ve ever had.

But it’s also so much more than that, and if you’re seriously considering making this your career, you need to know about the more. A lot more!

So, please don’t think you know what’s best for you as you’re starting out. I don’t mind a good dose of natural confidence, but it has to be backed up by competence. Competence is not just something you can buy on the virtual shelves of Amazon. Competence requires patience because it is gained over time.

The trouble is: patience isn’t very popular in these “I want it, and I want it now” times.

By the way, experience itself doesn’t necessarily lead to competence. Some of my coaching students have been in the business for years, and they have acquired bad habits they need to unlearn before they can make any progress.

Experience in one area does not necessarily translate to another area, either. Having had a career in radio for instance, does not automatically lead to a successful career in voice overs.

It’s the quality of your experience that qualifies you.

If you think you know best in this business without having anything to back it up, good luck to you. You’ll need it.

The newcomers who do well in our community recognize their limitations, they respect more seasoned talent, and they are willing to learn from them, instead of giving them an attitude.

Please don’t be that person David Dunning calls a “Confident Idiot.”

One last thing, if I may.

In the past, some of my readers have accused me of writing wild rants telling people what not to do, without advising them on what they actually should do.

To them I say: explore this blog. You’ll find over 350 articles on all aspects of the voice over business. These stories are packed with practical tips that won’t cost you a penny but can make you a ton of money. Don’t take my word for it. Ask around.

And if that’s not enough, get my book Making Money In Your PJs.

You see, that’s extraverted me, tooting my own horn.

I always practice what I preach!

Paul Strikwerda ©nethervoice

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