Nethervoice Blog

Surviving Christmas

by Paul Strikwerda in Articles 13 Comments
The author next to the Christmas tree

The author

Because I’m the son of a minister, people have always assumed that Christmas was my favorite time of year.

To tell you the truth: it wasn’t. 

In fact, every year I was glad it was over.

In the weeks leading up to the celebration of the birth of Christ, our home became a very stressful place where kids had to walk on eggshells.

My mom was responsible for Sunday School, and for the inescapable Nativity Play. Every year she had to deal with parents harassing her because their son or daughter was selected to be an ox, an ass, or worse, a tree.  

My dad was crazy busy writing too many sermons on the subject of world peace, hoping to make an impression on those who only came to church at the end of December. His calendar was dominated by one social function after another. He was often asked to bring the whole family to singalongs, nursing homes, hospitals, and countless receptions. 

During those hectic weeks, my sister and I got an idea of what it must feel like to be part of the First Family. We had to be on our best behavior, as we were getting stuffed with sugary treats from sweet old ladies. It gave us tons of energy, and we had nowhere to put it. 

At the end of this grueling marathon, we visited both sets of grandparents in Friesland, all the way in the north of the country. By that time, it became harder and harder for our family to keep up appearances, especially when familial buttons would be pushed. And believe me, around the holidays those buttons only needed to be touched lightly to have maximum effect. It was only a matter of time before one of us would either explode or collapse. 

“Thank God Christmas is over,” my dad used to say, and he meant every word of it.

When he left his congregation to become Head of Pastoral Services at a university hospital, Christmas became a bit more relaxed for all involved. I learned to play the cornet, and joined a local band. It was one of those marching bands that -thank goodness- did very little marching. We did have a special Christmas tradition.

In the early hours of Christmas Day, a select group of musicians would go to different street corners, and play a number of carols. We did that for an hour or so, and then all of us would have breakfast at a nursing home. This had been going on for so long that most of the people in my town felt like it wasn’t really Christmas until the caroling band had woken them up at the crack of dawn. 

SRV Van

SRV-van

Getting to as many street corners as possible with a bunch of brass players was not as easy as it sounds. We used to arrive in separate cars to do our thing, until two brothers offered to help. One played the tuba and the other French horn, and both drove what was known in Holland as “SRV-vans.” These vans looked like huge motor homes or bookmobiles. They were actually supermarkets on wheels, and miracles of technical ingenuity.

Almost anything a local supermarket would stock, was for sale in these vans. They sold only one brand of peanut butter, coffee, or laundry detergent, but for many customers it was very convenient to have these goods arrive at their doorstep. On top of that, these vans were electrical, and thus very environmentally friendly.

So, imagine a group of musicians arriving on a cold and dark winter morning. The streets were usually slippery, and driving conditions were hazardous. Our lips would nearly freeze to our mouthpieces, but we were determined to fulfill our mission. Moments later, the two SRV-vans would arrive, filled to the brim with all kinds of groceries.

When the whole group was ready, we split up into two teams to cover different parts of town. One by one, you’d see trumpets, trombones, euphoniums, and basses get into the vans. Inside, we tried to find a safe space in between heads of lettuce, orange juice, cheeses, bread flour, milk, and the Holiday edition of Playboy. It was a very tight fit.

SRV van inside

Inside the van

From the very beginning, it was clear that these vans were not made for public transportation, especially if the roads were covered in snow and ice. Those inside had to hold on for dear life when these vehicles rounded corners. That wasn’t easy with a brass instrument in one hand. Everything inside would start to shift, and I vividly remember round Edam cheeses falling off the shelves like cannonballs. 

Because there were no side windows, we often had no idea where we’d stop, if we’d stop at all. Thanks to the added weight, the vans would slide a couple of extra meters on a frozen road after the driver had stepped on the brake. With so many passengers on board, his windscreen was all fogged up, and it was a miracle that we never collided with anything dead or alive. 

If my cornet would survive the Christmas ride without bumps and bruises, I’d be a happy man. If I’d survive the ride, my parents would be extremely relieved. 

Looking back, it was a crazy thing we did, and yet I didn’t want to miss it for anything in the world. We knew how many people were counting on us, and we were willing to take the risk.

There still are about three hundred supermarkets on wheels in The Netherlands, serving rural communities and the elderly. They’re long gone from the town I used to live in, but the last time I was there I heard a persistent rumor.

If you happen to wake up early on December 25th, you may hear the faint sound of a brass band playing carols in the cold.

Merry Christmas!

Paul Strikwerda ©nethervoice

photo credit: Sebastiaan ter Burg via photopin cc

Send to Kindle

Why is doing voice-overs so difficult? Part 3

by Paul Strikwerda in Articles, Career, Personal 12 Comments

Leap of FaithClick here for Part 1, and click here for Part 2.

One thing I am sure of.

Human beings have a hard time dealing with uncertainty.

From the moment we’re born till the moment we die, we have a need to know.

That’s why we spend a lifetime answering questions, such as:

  • Why am I here?
  • Is there a God?
  • Can I be happy?
  • Why does evil exist?
  • Is there an afterlife?
  • McDonald’s or Burger King?

Not knowing is often worse than knowing. That’s why TV shows take us from cliffhanger to cliffhanger, and millions tune in to find out who the next American Idol is going to be. We cannot live with the suspense of not knowing.

Where does this innate urge come from? I believe it has to do with control. Subconsciously, people assume that the things they know for sure, they can control. We cannot measure and control the things that are unknown.

Two friends of mine love going on vacations. Let’s call them Jack and John. Both have traveled the world in ways that couldn’t be more different. Jack’s a free spirit. He likes to improvise, and takes life one step at a time. Jack is the person who’d buy a ticket to Rome and a Lonely Planet guide to Italy, and he lets his gut feeling determine where and when he goes to explore the country.

John would absolutely hate that. He prefers to tour Italy with a group, knowing exactly where he ‘s going to be, and where he is going to stay from day to day to day. And if things wouldn’t go according to plan, he’d get very nervous and upset. “If you fail to plan, you plan to fail” is his favorite saying.

Ask yourself: Are you a Jack, or are you a John?

That’s a question anyone should ask before deciding to become an independent contractor. It’s exactly the sort of thing that makes it so hard to be a professional voice-over. I’ll go one step further: the answer to that question is the number one reason why most people who are going freelance, fail.

I’m not making that up to rain on your parade. The Small Business Association (SBA) estimates that 30% of new businesses fail during the first two years of being open, 50% during the first five years, and 66% during the first 10. Those cold numbers camouflage dreams dashed, families in turmoil, and the burden of bankruptcy.

I’ll be very clear: those who eventually become successful at doing voice-overs, are great at handling uncertainty in an economic system that favors predictability.

So, what kind of uncertainty am I talking about?

For starters, you’ll never know where your work will be coming from, and which job you’ll land, and which job will go to a colleague. If you’re not selected, you’ll never know why.

When you audition, you won’t know what the client is looking for. Many clients will tell you: “I’ll know it when I hear it.” The job description is purposely vague: “Male/Female voice, Neutral English, Young Adult to Middle Age.”

You’ll never know how much the client has budgeted for the job you just auditioned for. They all plead poverty. These days you won’t even know how much a particular job is worth anymore, and what your bid should be. You’ll be bidding on jobs in many countries and many markets for all sorts of media. There will always be an idiot who will do more for less.

Once you’ve accepted the job, things don’t get any clearer. Nine out of ten times you’ll be recording by yourself without a director, so it’s up to you to read between the lines and interpret the script as best as you can. It’s a hit or miss process.

The whole thing feels like running a restaurant where you are the owner and chef. The client comes in and wants food. “What would you like?” you ask. “I’ll know it when I see it,” says the customer. “Go to the kitchen and work your magic. But make it quick.”

Half an hour later you proudly present your finished dish. The client smells the food, turns green, and waves the plate away saying: “That’s not what I ordered! I’m not paying for that.” Or worse, they’ll eat everything and disappear without leaving a check.”

You see, that’s another thing you’ll be uncertain about. As a voice-over, you run an international business that’s based on trust. The client trusts you to take care of the job. You trust the client to pay you for the job. On time and in full.

Good luck with that!

The Freelancers Union estimates that 7 out of 10 freelance workers face nonpayment, and freelancers are stiffed an average of $6000 annually.

Who is going to protect you? So far, New York is the only city in the United States to adopt the Freelancing Isn’t Free Act which extends unprecedented protections against nonpayment for millions of New York City’s freelance workers.

But what do you do when that client in Mumbai or Shenyang doesn’t respond to your payment requests? They wanted your audio files yesterday, you sent them, and now they’re MIA. You have no leverage. The only thing you can do is publicly shame them, and demand payment up front the next time you work with an unknown client.

Given the fact that you don’t know what you’ll be working on, when you’ll be working, how much you’ll be working, how much you’re getting paid, and when the money will be coming in, how do you know you’ll be able to pay the bills?

Try getting a mortgage on a freelance income, or any other loan for that matter. If you’re just getting started you need the money the most to pay for all that equipment, your demos, website, home studio, marketing materials, and coaching sessions. And you have nothing to show for it but good intentions.

No matter how much or how little is coming in, your insurance company expects you to pay your premium on time, your rent is due the first of the month, and your credit cards need to be paid, as well as your taxes. John would go crazy going from month to month.

You may be able to live with uncertainty, but what about your family?

Now, in the past I used to say that the only factor in this business you can count on and control, is YOU.

That sounds nice, but based on my experience, most people who try their hand at voice-overs lack the knowledge, the drive, and the discipline to run a business. They can handle it as a hobby, but that’s it. Let me give you an example. As a VO-coach I can quickly tell if someone has what it takes by the way they handle my assignments.

Those who need a lot of hand-holding don’t impress me. Those who don’t do their homework and make all sorts of excuses, tend not to do well. Those who say “Just tell me where I can find work,” are likely to fail.

Many are interested. Very few are committed.

Here’s the problem: as someone who is self-employed, no one will tell you what to do. No one will hold you accountable. No one cares if you sleep in, or waste your time surfing the web.

And then there’s this.

Until March of this year, I thought I was in control. I believed that I was the certainty my business was based on.

Then I had a stroke.

I woke up weak, exhausted, and without a voice. During many months of rehab I lost thousands of dollars in work I was unable to do. Some of my clients with whom I’d been working for years, found other talent and never came back.

Instead of building my business, I am rebuilding it, piece by piece. But if it weren’t for my amazing better half, my business probably would have gone bust.

At the end of the day, running a business is about risks and rewards.

Too often, newcomers focus on the rewards, and forget about the risks.

So, if you’re seriously thinking of becoming a voice-over, are you a Jack or a John?

I know you want the rewards, but are you certain you’re ready for the risks?

If so, you are in for a most rewarding career!

Paul Strikwerda ©nethervoice

PS Be sweet. Share, subscribe, and retweet!

Send to Kindle

Why is doing voice-overs so difficult? Part 2

by Paul Strikwerda in Articles, Career, Freelancing, Internet, Pay-to-Play, Promotion, Social Media 10 Comments

Click here for part 1

What do you think voice-overs do all day long?

Sit behind their microphones and record the most amazing scripts?

Make $5,000 for a twenty-second commercial?

Narrate yet another best-selling novel?

If you choose to believe Facebook, that’s what voice-overs do. They book, they record, and they cash in. Rinse and repeat.

Unfortunately, that’s a big fat lie, told to the world because no one wants to look like a loser on social media. We’re one happy family, everything is always great, and business is booming!

The truth is, some voice actors are doing really well, and many are not. Going into 2019, even the big names are asked to work for smaller budgets at full perpetual buyouts, while $249 seems to be the new normal for many non-union jobs. Jobs that would easily go for four or five times as much some years ago, perhaps even more.

If you’re just starting out, and your expectations are as great as your ambition, that’s probably not something you want to hear. But let’s be realistic for a moment.

Once you’ve told the world that you are now a professional voice-over, it stops being a hobby or a daydream. In fact, you’ve just opened up a business. Congratulations.

Are you ready to be a business owner?

Just to be clear: the IRS considers an activity to be a business if:

“that activity is carried on for profit if it makes a profit during at least three of the last five tax years, including the current year (…).”

As someone who has coached many beginning voice talents, I’ll be straight with you. Most of my students have no clue what it means to run a for-profit business in a market saturated with wannabes. That’s a huge part of what makes doing voice-overs so difficult!

Think about it. You may be a crazy talented chef in your state-of-the-art kitchen, but if you don’t know how to run a successful restaurant, you’re doomed to fail. If you don’t believe me, ask Gordon Ramsey!

Here’s where the comparison stops. A smart chef has a staff managing all business aspects of his establishment. That way, he can concentrate on the cooking. As a VO-pro you are on your own, wearing many, many hats. You’ve got to get customers in the door, set the tables, cook the food, clean up at the end of the day, and do the books.

On top of that, too many beginners don’t know what they don’t know. Between you and me, they just want to have fun talking into a microphone, and get paid for it.

I’ll let you in on a dirty little secret: most voice-overs spend way more time trying to get the work than doing the work, myself included (and I’ve been at it for over thirty years).

Like any business, you’ve got to attract customers. How do you do that when no one has ever heard of you (and no one cares to hear about you)? Have you thought about that?

Don’t tell me you’re going to sign up for a voice casting website, and expect them to get you work. That big unethical one in Canada claims to have a global network of over 200,000 voice-overs, and most of them speak English. By the time you open that casting email, you’re at the back of a long line of hopefuls who just received the same message. Chances are that the client won’t ever hear your carefully crafted custom demo. I mean, who’s got time to listen to over a hundred auditions?

And you pay for that “privilege”?

Don’t expect an agent to send you work either when you still have to prove yourself. The irony is: agents want you when you no longer need them. As soon as you have clearly demonstrated an ability to make them money, you become interesting. By that time you should already have a portfolio of returning clients giving your business a sustainable basis.

So, if you can’t rely on Pay to Plays or agents, what are you to do? Where do all these fantastic money-making voice-over jobs come from? Do you find them on Craigslist? Do they grow on trees?

Ultimately, finding work comes down to one person: YOU!

Here’s secret number two: it’s easier to have clients find you, than you having to find clients.

To get people’s attention, you’ve got to toot your own horn. That puts you not only in the business of providing voice-overs. You’re also in the business of self-promotion and marketing. Be honest: do you have expertise in those areas? Are you even comfortable telling people why they should hire you?

Let’s be more specific. Do you know how to design and maintain a kick-ass website that’s search engine optimized, and ready to withstand hackers? If not, do you know a reputable company that can build that site for you? Let’s assume you just spent thousands of dollars on coaching, professional demos, equipment, and a good recording space, how much money is left to get you an online presence? Include the money you pay to a company like SiteGround, to host your website.

Building a website is not just about finding an attractive template and some stock photographs. You need someone with serious copywriting skills to sell your services. Someone who can capture your essence and turn it into a brand. You also have to develop fresh content to give visitors a reason to come back to your website. How are you going to do that?

Then there’s your social media presence. Your brand new company has to be on LinkedIn, Instagram, Twitter, Facebook, Pinterest, YouTube, and whatever the next big thing is going to be. Each platform has its own rules, algorithms, and format. You’ll have to learn how to shoot and edit decent home videos, how to take striking pictures, and how to write compelling copy that makes you stand out above the crowd.

A word of warning. Once you get started, you’ll soon notice that social media is a monster that constantly needs to be fed with fresh, relevant, and unique content created by YOU. This takes time. Lots of time. If you’re lucky, your content gets picked up. More likely, it gets lost in an ocean of mindless, self-absorbed chatter crying “Look at ME. Look at ME!”

Those who are young and full of energy are used to living life online. Their self-esteem is linked to the number of likes each post receives. To them, creating a social media presence is no big deal. I have coached quite a few people for whom voice-overs is a second or third career. They’re in their fifties or sixties, and to them building a website and being active on social media is intimidating and often frustrating. It’s not what they signed up for when they dreamt of being an audio book narrator.

They want to try it the old-fashioned way: cold calling clients. It’s the most masochistic way to spend your day. With people being sick of unwanted solicitation and robocalls, good luck trying to get past the screener before you can read your script to some teenager who is in charge of promotions. These days, more and more people refuse to answer the phone if they don’t recognize the number. If you love listening to voicemail and pissing people off, go for it!

So, let’s quickly recap. Why is doing voice-overs so difficult?

Last week I told you it is hard to sound natural in an unnatural situation, and to act as if you’re not acting. You need much more than a great voice to make it.

Today we talked about running a business, finding work, and self-promotion.

Next week I’ll add another layer: dealing with constant uncertainty.

Be certain to check it out!

Click here for part 3.

Paul Strikwerda

PS Be sweet. Subscribe, Share, and Retweet!

PPS Bob Souer, one of the nicest people in the voice-over community, has had a tough year. He has asked for our help to turn a corner and move ahead. Through the years, Bob has supported many of us with his wisdom and insight. Now it is time we support him and his family. Please visit his GoFundMe page, and give what you can give. Thank you!

Send to Kindle

Why is doing voice-overs so difficult? Part 1

by Paul Strikwerda in Articles, Career, Studio 9 Comments
Yuja Wang performing with the National Youth Orchestra of China at Carnegie Hall on July 22, 2017

Yuja Wang

“How do I become a voice-over?”

It’s the number one question I get from my readers.

Well, if you’re one of the many people who are thinking of becoming a voice-over, this three-part series is for you. Before you leave your day job, you need to hear from someone on the inside what life is like when you depend on your voice for a living.

I can tell you one thing right now: in spite of what you may have heard, it’s not what you think it is. Far from it. I’ve been doing this for over thirty years, so please trust that I know what I am talking about.

I have to warn you, though. You may hear me say a few things you don’t want to hear. Please keep an open mind. It’s not my job to either encourage or discourage you from following your dream. If there’s a fire burning inside of you, don’t let me put it out. Use this information to prepare yourself for what lies ahead.

So, why is doing voice-overs so hard?

Anything that seems easy, usually isn’t.

It sounds like no big deal, doesn’t it? Talking for a living. We all do it, incessantly. Human beings need to communicate, so, why not get paid for it? Dan Castellaneta, the voice of Homer J. Simpson is said to be worth over $60 million, just like Nancy Cartwright who voices Bart Simpson. All they do is blabber into a microphone.

Seeing them at work in the studio, voice acting looks like so much effortless fun, and that’s where you make your first mistake. What you see is the result of unique talent, and many, many years of training, hard work, and experience.

In a way it’s like watching Yuja Wang perform a Rachmaninov piano concerto. Her playing is so fast and fluent that it’s easy to forget that even at the peak of her career, she has to practice many hours a day to get to a point where it becomes seamless and second nature.

In our society, we tend to fixate on the end result, and ignore the long and arduous journey to success. Please keep in mind that those who do well as voice-overs are in it for the long haul, and they realize that instant gratification is an illusion sold to you by people who want your money.

Back to the musical metaphor.

The relationship of a musician to a score is like the relationship of an actor to a script. You’ve got to make the words your own, finding the right tone, melody, and rhythm.

Here’s a question for you: There’s a difference between playing the notes and making music.

Anyone can read, but can you actually make music?

Let me take that back. Not everyone can read. Most people think they can, but when you give them a few lines, their volume drops, they start stammering and become very self-conscious. I’ve been there. You’ve been there. You put emphasis on the wrong words. You mumble as your tongue dries up. What comes out of your mouth sounds stilted instead of spontaneous. And when I point that out, you tell me:

“Here’s the problem, Paul. This script… those are not my words. I would never say it that way. That’s why I’m having so much trouble.”

Well, there’s your challenge! At one point, Nancy Cartwright had to find her Bart Simpson, and Dan Castellaneta his Homer (as well as the many other characters they play). They were asked to say things they would never say in real life, and convince the rest of the world they meant every word of it.

That’s part of why voice acting is so difficult. You’re paid to sound authentic and sincere, even when you’re faking it and the script sucks. And take it from me that more than half of the scripts you’ll be asked to voice are written to be read, not spoken, with too many words and too little time.

Meanwhile, you and I are still working on that text I just gave you. Now let’s put you in front of a microphone, and we’ll add an audience to the mix. Let’s assume you’re in a recording studio and the client is listening to your session, together with the director and the sound engineer.

Are you ready for that? After all, people have told you that you have “such a great voice.” How would you handle your nerves? How would you deal with last-minute script changes? How would you respond to feedback that isn’t necessarily positive? Are you patient enough to work for two hours on a thirty-second script, laying down take after take? Will your voice hold up, even when asked to scream enthusiastically over and over again?

All of the above assumes that you have passed the first hurdle: the microphone. Most people become very self-conscious when someone points a camera at them. All of a sudden they don’t know where to put their hands or how to hold their head. The same thing happens with a microphone.

Once you’re aware that every sound you make is being recorded, the pressure is on. And when I say every sound, I mean every sound. Even the sounds you’re not aware of. Every breath, every lip smack, every pop, every click, every snap, bone crackle, and stomach rumble.

The microphone is like a merciless magnifying glass exposing all your imperfections.

These are just some of the things you have to confront as a voice-over professional. You have to…

Sound natural in an unnatural situation, and act as if you’re not acting.

To be honest, most people can’t do it, and they don’t need to because they have other talents and ambitions. Not every piano student wants to have a career like Yuja Wang, but those who do, better prepare themselves!

Next week I’ll talk about another aspect of what makes doing voice-overs so difficult:

It’s a freakin’ business!

Click here for part two.

Paul Strikwerda ©nethervoice

PS Be sweet: Subscribe and Retweet!

Send to Kindle

Stop Giving All The Answers

by Paul Strikwerda in Articles, Career, Freelancing, Internet, Social Media 10 Comments

One of the joys of visiting Facebook voice-over groups is this. Every day, you’ll find questions from VO-colleagues that have been asked and answered a gazillion times. In most cases, the person asking the question is new to VO (yet they’re on the Voice-Over Professionals group), and simply too lazy to do a quick search, and they want to be spoon-fed like a cry-baby.

This is not unique to VO, by the way. You’ll find the same phenomenon in almost any group on social media. In this age of information, laziness, willful ignorance, and an attitude of entitlement is alive and well!

Now, I can already hear my critics say: “Stop it already! There’s no need to bash beginners. Be supportive. You were a novice once. I’m sure a lot of people helped you out when you were new to this.”

True, but things were very different when I first stepped up to the microphone. This happened in 1980 (yes, I’m that old). I was seventeen when a national broadcaster picked me to produce and present youth radio shows in the Netherlands. I had lots of ideas, but no clue about how to bring those ideas to the airwaves.

Back then, everybody was using typewriters, rotary phones, and Rolodexes. There was no Internet to do research. No social media. No YouTube tutorials. No place like Quora to share knowledge. I totally depended on the information I was able to dig up myself, and on the help from those who were already working in the business.

SELF-RELIANT

I still have the same attitude I had when I was young. Before I would bother a pro, I would do everything in my power to find the answers myself. I did this out of respect for the experts’ time, and out of respect for myself.

Looking back, my quest for knowledge taught me more than the quick-and-easy answers the pros could have given me. To this day I am convinced that when we’re on a journey to find our own solutions, the knowledge tends to stick much better because we’re invested in the process.

I see this as a coach. My students ask predictable questions all the time. “Should I record sitting down or standing up? How do I protect my voice? What’s the best voice-over travel kit? Where can I find practice scripts? PC or Mac?”

It would be easy for me to answer these questions based on my experience. But what works for me, doesn’t necessarily work for the rest of the world. Voice-overs is not a one-size-fits-all business. My job is to make sure the individual I am coaching finds something that caters to his or her unique needs and budget.

If I were to give them all the answers on a silver platter, I’d make my students lazy and dependent, but if I send them on a quest, they’d have to do the work, and depend on themselves. Don’t get me wrong: I won’t send them on a wild goose chase. Like a tour guide, I point them in a certain direction, but they have to explore the area by themselves and report back to me. Why is this important?

FORCED CHOICES

We live in a time of algorithms. Algorithms determine what pops up in your Facebook feed. Algorithms decide what products Amazon thinks you should buy. Algorithms suggest which people to befriend, and which jobs you should go after. In an ocean of information, cutting-edge technology beyond our control filters what reaches us and what doesn’t. We are being spoon-fed by artificial intelligence.

As fascinating as this new technology may be, I believe people should use their own initiative and intelligence to gather and evaluate information first. I want them to become critical, knowledgeable voters, consumers, and professionals who are able and ready to make their own choices. You don’t need Netflix to tell you what you want to watch.

A word of warning. Our society doesn’t necessarily like these independent thinkers, because they don’t conform to the norm. These people question what’s being presented to them, and refuse to be manipulated. They don’t buy into hypes, they’re not impressed by assumed authority, and tend not to fall for schemes that take advantage of the willfully ignorant.

This pro-active, non-conformist, and critical mindset is exactly what I’d like my students, colleagues, and readers to develop. As more and more people flood the freelance market, it is vitally important to question the easy answers, to not do what everybody does, and to be the instigator of our own success.

WINNING ATTITUDE

This mindset alone will make you stand out, and increase your chances in the unregulated world of voice acting. Why is that? Because so many people are afraid to be different, so many people love the reward but don’t want to do the work, and so many believe BS because they can’t distinguish between fact and fiction.

You don’t want to be like so many people.

So, the next time you feel tempted to answer one of those common questions on social media, ask yourself the following:

“Will a baby ever learn to walk, if we carry her everywhere?”

“Is it better to teach a new colleague how to fish, or do we feed him a fish?”

“Are we really helping this person by spoon-feeding them information, or are we enabling a lazy attitude that is counterproductive to a successful career?”

Don’t expect me to answer that for you!

Paul Strikwerda ©nethervoice

PS Be sweet. Subscribe, share & retweet!

Send to Kindle

Equip Your Voice-Over Studio For Under A Thousand Bucks

by Paul Strikwerda in Articles, Gear, Studio 4 Comments

Rode NT1 microphone

Americans like a lot of things, but what is this nation’s favorite pastime? Is it baseball, football, NASCAR, or binge-watching Netflix? Not exactly. It’s…..

Shopping!

It’s one of those things I learned quickly when I entered this country as an immigrant. When America has something to celebrate, people flock to the stores.

When they wish to honor their veterans, they go shopping.

When they wish to remember those who died on the battlefield, they go shopping.

When they wish to celebrate their independence, they go shopping.

When they wish to observe Thanksgiving, Americans shop until they drop.

So, with Black Friday and the holidays around the corner, I want to talk to those of you who feel the uncontrollable urge to do some gear shopping. In fact, one of my new readers emailed me this week and said:

“I am seriously thinking about becoming a voice-over. I am starting from scratch, and if you were me, what equipment would you buy, knowing you have a limited budget?”

Here’s my response.

We don’t know one another, but I’ll assume that you have talent, training, time, and energy to pursue this career. If you’re just exploring options, I wouldn’t make a considerable investment. But if you’re really committed, I recommend you forget about the equipment for now, and focus on your recording space. A hundred-dollar microphone is going to sound better when used in a dedicated recording space, than a thousand-dollar microphone in an untreated, non-isolated space.

FLAWED FIXES

Now, there are plenty of manufacturers that are offering “easy solutions” to turn any room into a vocal booth. Remember this. You can buy all the eyeballs and acoustic shields you want, but they will never adequately isolate your microphone from annoying leaf blowers, barking pitbulls, and heavy traffic.

There are at least three proven ways to stop or reduce the transmission of sound:

• Adding mass: the heavier and thicker a wall, the better the isolation.

• Adding dampening material: absorptive material within a wall slows down the transfer of sound.

• Adding space: the further away from the sound you are, the weaker it will be.

Adding air space within a wall also helps decrease those ambient decibels.

So, take a good look at your designated recording space and at your finances, and spend at least sixty to seventy percent of your budget on your recording space. Without a quiet home studio, you won’t have the freedom to record whenever your client needs you to record, and you cannot deliver professional quality audio. Ergo: you won’t be able to compete.

THE GEAR YOU NEED

Here’s the good news: while soundproofing and acoustic treatment of a space is never cheap, getting decent gear to record with does not have to break the bank. I take it you already own a decent computer and a good monitor, so all you need is:

– a microphone, shock mount, and pop filter
– a microphone cable
– a boom arm
– an audio interface
– headphones
– monitors (speakers)
– recording/editing software

Before I give you my recommendations, please realize that the options are endless and the sky is the limit. When talking about gear, some people get on their slippery soap box telling you about must-haves and industry standards. Don’t let them intimidate or belittle you! You don’t need to spend a fortune to produce quality audio.

I’ve only picked equipment that:

– is mostly budget-friendly
– is good for voice-over applications
– has been tested by people I trust
– has had very good reviews

THE MICROPHONE

My choice of a starter microphone is the Rode NT1 Condenser. For well under three hundred dollars, Rode even includes a first-rate Rycote shock mount and a pop filter. This microphone works well for most voices, and during shootouts, it holds its own against models that cost three times as much.

I’m a big fan of the Rycote shock mounts because they work with lyres instead of elastic bands. Click here for my full review.

Rode NTG4 Shotgun Microphone

The Rode NT1 has a cardioid pickup pattern, but if you’d rather go with a tighter supercardioid pattern, I suggest you look into the Rode NTG4 shotgun microphone.  For a little over three hundred dollars, you get a mic with a 75 Hz high pass filter which is useful for reducing low-frequency rumble from HVAC systems indoors or street traffic.

For a shootout featuring the Rode NT1 and the NTG4, listen to the Pro Audio Suite podcast by clicking here.

CABLES & BOOM

Quite a few audiophiles have heated debates about cables. Some believe it doesn’t matter which cables you use because most people won’t hear the difference between a ten-dollar cable and one that sets you back several hundred dollars. I’ve worked in radio for twenty-five years of my life, and sound engineers have assured me that a quality cable does make a difference. A six-foot Mogami GOLD STUDIO-06 XLR Microphone Cable should do the trick.

Blue Compass Premium Boom Arm

As long as you’re not in the habit of pounding on your desk, I recommend getting the Blue Compass Premium Tube-Style Broadcast Boom Arm.  What I like about this arm is the minimalistic design with internal springs and hidden channel cable management. It’s compatible with all standard shock mounts, and costs about one hundred dollars.

AUDIO INTERFACE

So why would you need an audio interface? Well, an audio interface is the hardware that connects your microphone and other audio gear to your computer. A typical audio interface converts analog signals into digital audio information that your computer can process. If I were starting out as a voice-over, I’d choose the Audient iD4.

Audient iD4

I’ve reviewed its bigger brother the iD22 and it’s the interface I still use in my studio. The portable but sturdy iD4 has the same stellar and super clean preamp that will give you a low noise floor. It works with both Macs and PC’s, and for two hundred bucks it’s a no-brainer.

Update: my iD22 is out for a check-up, and I bought the iD4 to tie me over. The only thing I miss is having a high-pass filter, but otherwise I’m very impressed with this very portable preamp. It’s a keeper!

CANS

Next on the list are studio headphones. Not all heads are shaped the same, and what might be a good fit for my impressive noggin, may not work for you. Over the years I’ve tried Sony cans, Audio Technica, and Sennheiser. I finally found a pair I can wear for hours. It’s the Beyerdynamic DT 880 Premium Edition 250 Ohm Over-Ear-Stereo Headphones.

Beyerdynamic DT 880 Premium Edition 250 Ohm Over-Ear-Stereo Headphones

Beyerdynamic DT 880

Even though they look huge and bulky, they’re extremely light and comfortable, and come with a straight cord instead of a coiled cable. I hate coiled cables because they add weight and always seem to wrap around things. You will be able to find cheaper headphones than these semi-open Beyerdynamics, but not ones that hug your ears like teddy bears.

STUDIO SPEAKERS & SOFTWARE

Last on my hardware list is a set of studio monitors. At less than one hundred dollars per speaker, the Presonus Eris E5 ticks all the right boxes. Click here for my story on monitor selection. My Nethervoice studio monitors rest at ear height on speaker stands like these. You’ll also need two XLR Female to 1/4-Inch TRS Male Cables like these from Monoprice.

And what about recording software?

By far the cheapest audio editor costs… nothing. It works across all platforms, it’s got a fully featured spectrogram, and it even allows punch and roll. The name? Ocenaudio.

Well, there you have it. For less than a thousand bucks you’re all set!

Now, do your duty as a patriotic American, and go shopping!

Paul Strikwerda ©nethervoice

Be sweet: subscribe and retweet!

Send to Kindle

What Is Holding You Back?

by Paul Strikwerda in Articles, Career 2 Comments

Doll on Halloween pumpkinIf I were to ask you:

“What is one of the greatest motivators of behavior on the planet?”

What would you say?

Before you answer, let me add this:

All animals respond to it, including us, humans.

Every year, companies make billions of dollars because of it. People lose sleep over it. Others are driven to insanity because they can’t handle it. Some people use it for entertainment purposes.

The remarkable thing is this: Most of the time we don’t even know if it is based in reality. It doesn’t matter. Alfred Hitchcock knew that our imagination is way more powerful than anything he could ever put on celluloid. He famously said:

“There is no terror in the bang. Only in the anticipation of it.”

WHAT DRIVES US?

One of our greatest motivators is FEAR.

Around this time of year we are all reminded of our love-hate relationship with fear. We love scary movies. Terrifying videos games are worldwide bestsellers. The most dangerous amusement park rides have the longest lines.

Fear is fun!

Why else would people jump out of airplanes, swim with sharks, or scare each other on Halloween, dressed up like zombies?

Fear also explains why so many Americans love their guns, why we buy insurance, and why some people believe in G-d.

At the heart of fear is our deep concern for getting hurt. People are willing to do a lot to avoid a little pain, but they’re willing to give up even more to play it safe.

How many friends have given up a dream because they were afraid it would become a disaster? How many sweet souls have never declared their love for fear of rejection? How many people never dared to step on stage and show their talent, because they didn’t want to embarrass themselves?

Fear can paralyze and suffocate. It prevents people from even trying. Fear is the spirit behind the inner voice that whispers:

“I’m not good enough”

“I don’t deserve this”

“I’m sure I will fail”

“People will laugh at me”

DIFFERENT FEARS

Of course I should stop for a moment to make the distinction between rational and irrational fear. Fear of heights, ferocious animals, and fear of evil men with loaded guns is usually a good thing. When the danger is real, fear is meant to protect us from harm.  

However, we often suffer needlessly because we’re afraid of things that may happen, but probably never will. In holding on to irrational beliefs, we deny ourselves a chance to find out what will really happen when we dare to take a risk.

Many, many years ago I decided I didn’t want the security of a corporate job with corporate hours, and corporate benefits. I defied the expectations of family and friends by becoming a freelancer. Why? Because something inside me knew that the opposite of fear was freedom. I needed to be free to do my own thing in my own way, and in my own time.

Looking back, I can’t say that my road was without bumps, and that my game was free of curveballs. There were times I wished I had a regular schedule, and a regular paycheck. And yet, I am so glad I didn’t listen to those who warned me it would never work. Those people are now jealous that I can set my own hours, my own rates, and that I work out of my own home.

LIBERATE YOURSELF

If you wish to claim the rewards, you have to embrace the risk, defy your critics, and defeat your fears.

There will always be a million reasons that hold you back, but you only need one good reason to go for it.

What is yours?

Believe me, if you’re a self-starter and you run your own business, you will be asked to dig deep. People will test you, they will ridicule you, and they will desert you when you need them most. That’s scary, but not in a Halloween sort of way. In these times you will ask yourself:

“Why am I doing this? What is my motivation?”

Even though you and I may not know each other, I do know this:

There is something you are really good at. Maybe it has to be developed and refined. Perhaps it needs a few more years to mature. But you know the fire is burning, and you feel the yearning.

That talent and that fire is one of your many strengths. It is one of the reasons why you’re here. You owe it to yourself and to the rest of us to stand in your strength. That strength will help you turn your fear into faith. By faith I mean self-confidence. 

TRANSFORMATION

Faith will help you believe you can make it, even in the absence of proof. After all, how can you prove something that hasn’t happened yet? You have to believe it, before you can see it. 

I don’t know who Paul Sweeney is, but he said something powerful that has always stuck with me:

“True success is overcoming the fear of being unsuccessful.”

Perhaps you know the story of British singer Alice Fredenham. People first heard of her when she appeared on The Voice, a talent show created by John de Mol, and based on the concept The Voice of Holland. When she came on, this “beauty therapist” was all bubbly, upbeat, and full of confidence. Even though her performance of The Lady Is a Tramp was solid, she didn’t impress any of the judges, and she was sent home. Her greatest fear had become a reality. 

But Alice didn’t give up. Two months later, she appeared on Britain’s Got Talent, but with a very different attitude. Take a look:

Of course I realize that these shows thrive on carefully crafted sentimentality. Alice was accused of faking her insecurity and her tears, but I wonder how confident I would have felt on that stage.

After being rejected in front of millions, she overcame her fear and insecurity, because the song inside of her was stronger. She eventually made it to the semi-finals of Britain’s Got Talent, and signed a record deal with Sony. Sony decided to release her from her demo contract, but Alice didn’t give up. A Kickstarter campaign allowed her to record her first album in 2015.

BACK TO YOU

If you allow yourself to be motivated by fear, your focus is on what you don’t want. Take it from me, that’s not where your energy should be. Your energy should be on your strengths and your goals. Not on your weaknesses.

This week, do yourself a favor. Be like Alice Fredenham and do something uncomfortable. Do something you’re a bit afraid of; something that scares you. Don’t pick your greatest fear. Pick something small for starters. Big success is built on a series of small achievements.

Discover that what you were initially afraid of, wasn’t really a big deal after all. Perhaps what you expected to happen, didn’t. 

Next week, pick something else; something a bit bigger, and build on that experience. 

Use this trick, and turn it into a treat.

Make it worthwhile. Make it memorable. Make it meaningful.

That way, you get yourself ready for a moment when you can’t choose the challenge. The challenge chooses you. 

That’s when you’ll discover this simple fact:

Life doesn’t have to be a thriller, but it certainly can be thrilling.

Happy Halloween!

Paul Strikwerda ©nethervoice

PS Be Sweet. Please Retweet

photo credit: alain l’étranger via photopin cc

Send to Kindle

The Voice-Over World Needs More Rejection. Here’s Why.

by Paul Strikwerda in Articles, Career, Money Matters, Pay-to-Play 14 Comments

Words are powerful things.

They can inspire us, they make us laugh, they melt our hearts, and they entice our souls to jump for joy.

Words can also scare us and scar us. They can intimidate, discriminate, and humiliate.

The sound of certain words alone, can petrify people. Try this, will you?

Say the following words out loud, and let them sink in for a moment:

Terror
Horror
Pain
Death
Disaster

Did you feel the effect?

Although they are nothing but letters arranged in a specific order, they sound dark and ominous because of all the things we’ve learned to associate with them. The terror of 9/11, the horror of the Holocaust, the pain of suffering, the death of a loved one, and the disaster of losing a home in a fire.

We all carry these uniquely personal connotations within us, and -invisible to the outside world- they resonate whenever we hear these words. Here’s where things get interesting.

Although you may think that we share some of life’s ups and downs because they are part of being human, all of us experience these highs and lows in our own way. These experiences color what we associate with certain words. This explains why people can use the same words, and yet mean and feel very different things.

For instance, the word “Dutch” means something different to me than what it means to you. I was born in the Netherlands and grew up there. Dutch is part of my DNA. If you’re an American, the first thing you may think of is Pennsylvania Dutch, or a fun game of Double Dutch.

Take the word “relationship.” There’s the definition from the dictionary, and then there’ s our experiential definition, infused with memories, and expectations. We emotionally respond to the latter, not the former.

There are many scary words in our language, the scariest being the word “NO.”

A close second is the word “rejection,” which basically means the same thing. Today, I’m going to zoom in on that word, because I believe the voice-over community needs more of it.

What?

Yes, you’ve heard me.

We need more rejection. And before you reject that idea, please hear me out.

For newcomers trying to make a name for themselves in this competitive business, rejection is the worst that can happen. They’ve (hopefully) invested a lot of time and money in training and equipment, and feel ready to start playing the game. Subconsciously, many are convinced the world owes them. Why?

Well, when you make a serious investment, you should expect a decent return, right? That’s only fair.

Unfortunately, there is no fair in voice-over casting. There’s talent, training, experience, luck, who you know in the business, and subjective selection. None of them will guarantee any work.

So, when a novice starts auditioning for everything under the sun, and lands exactly zero jobs in three months, it feels like a slap in the face. Over time, they may start suffering from a gloomy condition I call rejection dejection, a feeling of failure caused by perceived incompetence.

Now, if that’s the result of rejection, why do I believe we need more of it? I’ll tell you.

1. People set themselves up for failure, and they deserve to be rejected

If you were ever in a position to cast a project, you know what I mean. You can throw at least half of the submissions out because the audio quality is appalling. Snowball microphones, egg crates, and leaf blowing neighbors can’t compete with pristine professional audio from someone who knows what s/he’s doing.

A quarter of auditionees don’t read the specs, and can’t be bothered to follow instructions. A quarter sounds fake and inauthentic, and many don’t know how to price their services. They’re either too cheap to be taken seriously, or too expensive to be competitive.

How do I know this? Because I’ve made all these mistakes! I simply didn’t know what I didn’t know without knowing it. The other day I was listening to some of my old auditions, and I was embarrassed. No wonder I didn’t book anything. But did I go on Facebook to moan and groan? No way! The only thing I could do was up my game, and rejection was the kick in the pants I desperately needed.

In short, rejection separates the wheat from the chaff, and can give people a strong incentive to learn and grow up.

2. We need to reframe rejection

The discussion about rejection almost always focuses on the poor, powerless voice-over, being a victim of the whims of a demanding, mysterious client. I’m not falling into that trap of misery and self-pity. Over the years I have turned the tables, and have come to see myself as the one doing the rejecting. It’s quite simple:

On any given day, I receive invitations to audition, and projects to record. Most of them I reject. I believe that quality, not quantity, is the secret to winning auditions. The client does not pay me to learn on the job, so I will only accept projects I know I can handle in terms of my skills and the time I have available.

I also reject projects that advocate unethical practices or promote products I cannot stand behind. For instance, I don’t want to be associated with the weapons trade, climate destruction, human rights abuses, the meat processing industry, and political parties whose ideas I cannot support. I know this has cost me work, but having principles comes at a price.

Lastly, I reject working with clients, corporations, or businesses that have been shown to act unethically. A particular Canadian Pay to Play comes to mind.

What’s the result of all this rejection? It’s the fact that I do work I can be proud of; work that makes me happy. If that’s something you want, I advise you to warmly embrace rejection!

3. We need to reject low rates, cheap clients, greedy Pay to Plays, and lowballing “colleagues”

Audio books are booming, video games are making billions, streaming services are producing more and more original content, eLearning is in high demand… I’d say the opportunities for voice-overs have never been better. That’s why so many want to give it a try.

In spite of these opportunities, many colleagues I talk to are finding it harder to get decent work for decent pay. Some of them end up doing more for less because the cost of living is going up and bills need to be paid. Agents dealing with clients tell me that it’s harder to negotiate a good rate, and that almost every client wants an unlimited buyout without paying for it.

Meanwhile, new voice casting services are opening their virtual doors, hoping to do good business with low rates and high commissions. It seems the gradual commoditization of our industry is in full swing.

The big questions is: how should we respond to that?

I think the answer lies in …. you’ve guessed it: rejection.

Be proud of your pricing, and reject rates that are insultingly low. Reject companies that triple dip, and leave you with less. Reject undercutting “colleagues.” Educate them, just as you educate your clients about fair fees.

Reject the lowballers that say: “One bird in the hand is better than two in the bush.” That’s based on shortsighted, egotistical thinking. It’s not a way to carve out a sustainable career that can feed a family.

Reject the notion that your decisions do not make a difference. Every time you quote a project or you accept a fee, you send a signal to the market: “This is what I believe my work is worth.” The only reason clients are getting away with paying pennies, is because people agree to work for pennies. No one is forcing them at gunpoint.

Now, you may have all kinds of reasons why you feel you have the right to work for a low rate, but I’m not interested in reasons. I’m interested in results. And the result is that for many it’s become harder and harder to make a living as a full-time voice-over.

Do all of us a favor and stop competing on price. It’s a game you will lose, because there’s always an idiot willing to do more for less, and go bankrupt in the process.

Show some self-respect, and show some respect for your craft and your community. Start competing on added value. Prove to the client that you’re worth what you’re asking.

Because if you do things right, your added value will always be higher than your rate!

Now, if that’s an idea you reject, I’m afraid can’t help you.

Paul Strikwerda ©nethervoice

PS Be sweet: share & retweet!

Send to Kindle

Serenading Uncle Roy

by Paul Strikwerda in Articles 5 Comments

Uncle Roy Yokelson

 

On Saturday, October 13th, a good group of voice-overs came together in Bloomfield NJ, for Uncle Roy’s 13th annual VO BBQ. For those of you who don’t know him, Uncle Roy is Roy Yokelson, Emmy Award winning sound designer, recording engineer, bagel lover and demo/audio book producer extraordinaire. You can find him at Antland Productions

Anyone who has ever had the pleasure of working with Roy, can tell you about his love for our business, his vast experience, his astounding professionalism, and above all, his big heart. Roy is what Jews would call a true “Mensch.” That’s one way to describe an all-round good, honest, positive person who is a pillar of the community. Roy is everything, and more.

So, after twelve VO BBQ’s, I decided it was time to serenade him with a song, using the melody of the classic “Oh Danny Boy.” At four o’clock we gathered around the deck, and with my pal Paul Payton at the piano, we surprised Roy with the following words:

 

Oh Uncle Roy, our pipes, our pipes are calling
From coast to coast, and down the Jersey shore
The summer’s gone, and all the leaves are falling
It’s you, it’s you, that we so much adore

Your smile, your hair, your laugh, your bagel Thursday
your cats, your car, your kids, your warm hello
We’re here for you, in sunshine or in shadow
Oh Uncle Roy, Oh Uncle Roy we love you so

Now we have come to Bloomfield for a reason
to be together at this barbecue
as family that celebrates this season
to celebrate the person that is you

And we say Thank you for the many memories
And for the kindness that you always show
We’re here for you, in sunshine or in shadow
Oh Uncle Roy, Oh Uncle Roy we love you so

 

Hugh Edwards, who flew in from the UK with Peter Dickson just to be at the BBQ, captured the moment on Facebook video. Click here to watch. If that link doesn’t work, click here for George Whittams video. Please pardon my voice. It’s not been the same since my stroke, and I’m still recovering.

Uncle Roy, thanking the crowd

 

Paul ©nethervoice

Send to Kindle

Losing My Voice

by Paul Strikwerda in Articles, Personal 29 Comments

At speech therapy wearing a TENS device

The facts are sobering.

Every forty seconds, someone is struck with a stroke. It is the fifth leading cause of death in the U.S. Most people will never make a full recovery, and more than two-thirds of survivors have some kind of disability associated with the attack.

Those are the statistics.

It’s a good thing I don’t believe in numbers. I believe in proving them wrong. The history of the world is filled with people who were told “It can’t be done,” and yet they persisted and succeeded. Against all odds.

I believe that people don’t equal statistics.

Going by the stats, it seems reasonable to believe that I would never fully recover from the stroke that struck me six months ago. But I chose to be unreasonable.

Last week I wrote about my road to recovery, and I promised you to open up about the one thing that terrified me most. It was something I didn’t want my colleagues or clients to know, because it could ruin my career.

HOW IT STARTED

Let me take you back to March 26th, 2018, the day I woke up on the floor of my voice-over studio wondering what the heck was going on. In hindsight I had the classic signs of a stroke: a sudden and pounding headache, loss of coordination, and blurry vision. One side of my body was paralyzed, my face was drooping, and I had trouble speaking.

That last symptom manifested itself in two ways: I had difficulty speaking sentences that made sense, and my speech was slurred. This usually means that the part of the brain that controls language is not getting the blood supply it needs. It was in fact dying.

As I was being transported to the hospital in a helicopter, my wife got a phone call from the surgeon who was on standby to operate on me. “When Paul comes in, I probably won’t have time to introduce myself,” he said, “so I want to take a moment to speak with you now. I’ll be totally honest. Everything we do will depend on the results of Paul’s CT scan, which will show us what parts of his brain are still intact when he arrives. Timing is crucial.”

He continued: “Be prepared that he might not make it, or that he’ll end up being severely handicapped and dependent on others for the rest of his life. If the scan looks good, we can do a thrombectomy to remove the blood clot from his brain, and take it from there.”

Since you’re reading these words, you already know the outcome. I guess it wasn’t my time to go, and I beat the statistics. Annually, out of the 1600 stroke patients that arrive in the hospital I was admitted to, only 80 are eligible for a thrombectomy.

THE RECOVERY BEGINS

So, my surgery was a success, but this did not mean that all was well between my ears. The scans showed a black area on the right side of my brain where cells had died. Those cells do not grow back. In order to compensate for the loss, the brain has to rewire itself and have other parts take over the function of the cells that are lost. To make that happen I needed at least five things: a positive attitude, a solid support system, plenty of rest, healthy nutrition, and therapy.

Even though I no longer sounded like a drunkard, clear articulation wasn’t my forte in the first few months after my stroke. I suffered from dysarthria. That’s a fancy word for unclear speech caused by brain damage. It’s a weakness or lack of coordination of the muscles of the tongue, lips, palate, jaw, and larynx. On top of that I had word-finding issues, indicative of memory loss.

By far the weirdest symptom of my post-stroke condition was the fact that I didn’t sound like me. My speech had become rather robotic and monotonal. It came in little bursts of language, just like the thoughts in my head. In the weeks to come, I discovered that I had the hardest time infusing my words with emotion.

No matter the subject, I sounded as passionate as a concrete wall. After I came home, I tried my hand at a few voice-over scripts for existing clients. It took countless retakes before I was somewhat satisfied with the result, but clients were noticing that something was off. The feedback I consistently received boiled down to this: “Once more, with feeling, please.”

The problem was that I had no idea how to access those right brain feelings. No matter how hard I tried, I seemed incapable of translating instructions like “confident,” “warm,” or “excited” into sound, whether in my studio, or in ordinary conversations. This was infuriatingly frustrating. I felt like a soccer player unable to handle the ball, or a painter who can’t hold a brush to add color to his canvas.

Would I ever be able to reach these emotions again, or were they part of the right brain that was destroyed by the stroke? What would this mean for my voice-over career?

Twice a week I went to speech therapy to learn how to improve my articulation. With my therapist, I also worked on regaining memory, and on sharpening my information processing skills. Very soon I realized that all of this wasn’t going to be as easy as flipping some internal switch. It needed time, energy, and lots of practice at home.

Speaking of home, on top of her busy schedule my wife became my designated driver, my patient advocate, my caregiver, my personal chef, and my hero. She made sure I got to all my appointments, that I took all my medications, and that my recovery would be pretty much stress-free. Her delicious meals were almost always based on fresh, locally sourced and unprocessed ingredients. You can’t have a healthy mind without a healthy body.

MORE TROUBLE

In the weeks after my hospitalization there was something else about my voice that concerned me. For some reason I was hoarse all the time, and I had no vocal stamina for long conversations and even longer scripts. I was tired, and I sounded like it. Something told me that if I didn’t take care of this, my career as a professional speaker would be over.

In May I went to see an otorhinolaryngologist who specializes in working with actors, singers, and public speakers. She performed a flexible fiberoptic laryngoscopy whereby a small endoscope is inserted through one nostril and guided through the nose to the back of the throat. It’s a funny feeling.

This revealed a slight laryngeal tremor. That’s an involuntary tremor of the vocal folds that causes changes in the voice. My ENT also concluded I had laryngopharyngeal reflux (LPR), a.k.a. “silent reflux.” Why silent? Because it doesn’t necessarily trigger the usual symptoms of acid reflux, such as heartburn. It does lead to hoarseness, coughing, and throat clearing because stomach fluid travels back through the food pipe to reach the back of the throat.

It is likely that the laryngeal tremor was caused by the stroke. Perhaps it will go away over time. Perhaps it won’t. I’m treating my LPR in several ways. I avoid spicy and acidic foods. I limit my intake of chocolate, coffee, alcohol, citrus fruits, mints and tomato-based products. I’ve stopped snacking before bedtime, and I’ve lost about twenty pounds. I’m also taking omeprazole which decreases the amount of acid the stomach makes. A new wedge pillow raises my head in bed, and keeps the acid down where it belongs.

Experts estimate that forty percent of the population may have undiagnosed LPR. If you’re experiencing hoarseness, a need to clear your throat, a sore throat, difficulty swallowing, or a red, swollen, or irritated voice box, please see an ENT to get to the root of the problem.

POSITIVE RESULTS

The good news is that after months of speech therapy my articulation and ability to focus has greatly improved, and the robot voice is gone. Only when I get really tired, it becomes more monotonal. I’m relieved that my speech has become more expressive, allowing me to continue to work as a voice talent. I’m also back to doing four-hour shifts as one of the announcers at the Easton Farmers’ Market.

Twice a week I work on strengthening my vocal folds and building my endurance with my speech therapists. I’m not yet where I want to be, but I’ve started recording longer scripts again.

RECOVERY CONTINUES

It takes a positive attitude, plenty of rest, healthy nutrition, and therapy to recover from a stroke. Add to that a support system; a network of caring people who provide you with practical and emotional support. Reading and responding to your comments on last week’s blog post, I realize how lucky I am to have such a supportive group of friends and colleagues!

Thank you for your kind words, good thoughts, and prayers. Your positive vibes revitalize me, and give me energy to keep on beating the odds. The process of healing goes on, which means that I have to be careful not to do too much, too quickly. So, if you don’t hear from me within 24 hours, and you don’t see me on social media, rest assured that I’m doing everything I can to take care of myself.

I hope you will do the same.

Paul ©nethervoice

Important: the information presented here does not substitute for medical consultation or examination, nor is it intended to provide advice on the medical treatment appropriate to any specific circumstances.

Send to Kindle

Do NOT follow this link or you will be banned from the site!