Dutch voice over

See Me in 3-D at VO Atlanta!

by Paul Strikwerda in Articles, Career, Personal, Promotion, Social Media 14 Comments

At VO Atlanta in 2017

At age seventeen, I started making youth radio programs in the Netherlands.

Part of the fun was the inevitable trip to the cafeteria, where I could mix and mingle with the famous faces and voices of Dutch broadcasting. It was like seeing all the celebrities at Madame Tussaud’s wax museum come alive. 

The guy who read the prime time news bulletins turned out to have a strange love for raw herring. The girl who presented a popular quiz show was constantly starving herself, and the overpaid head of programming ate home-made liverwurst sandwiches, lovingly prepared by his mother.

Radio hosts were always the most surprising. Very few people knew what they looked like, and that was part of the magic. Radio is the theater of the imagination, and over time I had created mental pictures of my favorite presenters. Now that I was able to go backstage, I had a chance to meet them in person, as they were ordering burgers and fries.


The overexcited and loud sports commentator was an obese man with as much charisma as a cucumber. The announcer with the most muscular, manly pipes in radio, turned out to be a diminutive, unkempt, and rather sad person. If you’d see him in the subway, you’d give him a dollar.

The seductive sounding female host of a late night show I had fallen asleep to on many lonely nights, was a chain-smoking grandmother of seven with two double chins and way too much makeup.

For all these people, the anonymity of radio was a blessing. Seeing them in the flesh was a humbling experience. There and then I realized that I had created an unrealistic image in my mind, based on my idea of what they might look like, and it was something they could never live up to.

I wondered: how many times a day do we judge the people we come into contact with, based on the little information we have? Unless they get an opportunity to reveal more of who they are, they’ll never have a chance to be any better than who we believe them to be. It’s not fair, and it is one of the tragic reasons why so many people on this planet don’t get along. 


Last year was the first time I came to VO Atlanta, the largest gathering of voice talent in the world. Walking in the hotel hallways was sort of a déjà vu experience for me. I felt I was back in the Dutch cafeteria, surrounded by people I thought I knew. 

One of the first people I ran into was Bill Farmer, a.k.a. the voice of Goofy. In my eyes he was voice-over royalty, and yet he couldn’t have been more “normal” if there is such a thing. Moments later I was passed by a very familiar face, but I couldn’t place him. Later I realized it was Jeffrey Umberger, one of my agents. Now, why didn’t I recognize him?

You see, people look differently in 3-D. Quite often, we know the colleagues we’ve never met from their profile pictures on social media or from flattering headshots. Some of these photos were taken many summers ago, and they lack any kind of personality. They are as polished as our demos: they reveal the person we want the world to think we are. 


When I meet people for real for the first time, they go from being two-dimensional to three-dimensional. To put it differently: people get depth. I am often struck by how tall or not tall they are. That’s one thing you cannot see on Facebook. What’s also revealing is the energy people radiate. It’s something we rarely pick up on when we’re connecting in writing.

Some people just light up the room when they walk in. Others quickly fade into the background. Some people have the most contagious laugh in the world, and others are the best huggers.

Here’s something else I ran into: people’s perceptions of me.

Some conference participants had been reading my blog for years, and had formed an opinion of who they thought I was. At the last day of VO Atlanta 2017, a girl came up to me, and she was rather nervous. “I wanted to meet you,” she said, “but I was a little bit apprehensive.”

“Why?” I asked. “Well,” she said, “in your blog you often voice such strong opinions. One of my friends says you must be pretty nasty, and I wasn’t sure you’d be willing to talk to me. But I’ve watched you during the conference, and you seem to be a nice person, so here I am.”

It was the beginning of one of the best conversations of the entire conference.


Things are never what they seem, because we look at reality through glasses colored by our personal history and by our subjective opinions. In fact, when we look at another human being, I believe we’re actually looking at a reflection of what’s inside of us.

So, if you’re going to VO Atlanta, or to any other gathering for that matter, see if you can leave any preconceptions at the door, or at least be aware that you’re biased. You may think that you already know the next person you’re about to meet, but do you really? Your unconscious prejudices could prevent you from reaching out, and could deprive the other person from an opportunity to reveal his or her true self.

If you happen to run into me, don’t be afraid. I don’t bite, unless I’m eating. I’m probably different from the person you thought I would be, and I hope that’s okay. Just be yourself. That’s the person I’m interested in.

Speaking of VO Atlanta: on 3/2 I’ll be on a panel about the future of VO-casting from 11 – 12. The moderator is J. Michael Collins, and he promised to bring some big news.

My X-session, 6 Steps to Turning your VO-Business around is on 3/2 from 6:30 – 9:30 PM.

On 3/3 I’ll be leading a Breakout Session about The Inner Game of Voice-Over from 3:15 – 4:15 PM.

I hope to see you there, or at other times in the conference hotel.


Let’s revisit my experience at Dutch radio for a minute or two. Here’s what I eventually learned.

The overexcited and obese sports commentator knew how to turn it on at the right moment as he was describing the big games in real-time. He also knew how to turn it off to conserve his energy. Because much of his life was spent on the road traveling from game to game, he didn’t have a lot of time to eat, so he stuck to a fast food diet, and it was showing.

The shabby announcer with the most muscular, manly pipes in radio, had lost his wife some years ago, and when that happened, he stopped taking care of himself. He eventually hooked up with the anorexic quiz show host. While they were dating she put on some weight, and transformed him into a well-groomed radio personality which landed him a job on TV. 

The chain-smoking grandmother of seven with two double chins took me under her wing, and came to see me as the son she had lost when he was my age. The lessons I learned from her I still apply today.

Whether you’re going to a conference or not, I encourage you to always keep an open mind, and please remember:

We all have stories to tell, and most of the time our books are very different and much more interesting than their covers!

Paul Strikwerda ©nethervoice

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The One Thing That Will Improve Your Voice Acting Immediately

by Paul Strikwerda in Articles, Career, Studio 32 Comments

Bradley Cooper


What’s the one thing that, if you’d start doing it today, would make you sound so much better?


Tongue twisters?

Sufficient hydration?

Well, in order to answer this question, we first have to agree on what “better” sounds like. “Better” is one of those vague words we all use, but rarely clarify. We always tell each other to do better, be better, and get better, but how? I’d better explain.

Before I do, let’s take one more step back, and find out what it is that actually needs to be improved. After all, we can’t come up with a solution if we don’t know what the problem is. 

Today I want to focus on something that many of my voice-over students struggle with. They have trouble sounding “natural.”

People who pose for pictures suffer from the same phenomenon. As soon as they see a camera, they become self-conscious, and start acting differently. Unnaturally. 

The same thing happens when you put people (even professionals) in front of a microphone, and it’s time to record. During the sound check they were chatting away carelessly, but as soon as the engineer utters the words “… and we’re rolling,” something weird happens. 

Immediately, the voice changes. With men it often becomes deeper, and forcefully resonant. Words start coming out in a more deliberate, over articulated way, as if the voice talent is impersonating what they believe a voice-over should sound like. It’s that intolerable tone that’s so cliché and contrived. It tells you a text is read aloud, instead of spontaneously spoken. 

This vocal switch-flipping phenomenon is not limited to voice-overs, by the way. I see it in grown-ups trying to interact with infants. Give them two seconds, and out comes the baby voice! Teachers have their teacher’s voice, priests have their preacher’s voice, and some nurses have this annoying way of saying: “And how are we feeling today?” 

Back to the recording booth. Apart from a clear change in diction and tonality, I’ve noticed two other things both men and women are equally guilty of, as soon as they realize they’re being recorded.

One: they start talking louder.

Two: they start talking faster

If you’ve ever sung in a choir, you know what I’m talking about. A conductor asking his choristers to sing softer, will tell you that they’ll automatically start singing slower. When asked to speed up a bit, people start singing louder. It’s almost a knee-jerk reaction. 

Because this not a deliberate process, most of my students aren’t even aware that they’re suddenly talking faster and louder. I’ll often interrupt them and say:

“Who are you trying to reach? Your deaf grandmother in the back row of some imaginary theater? Right now you’re talking straight into a microphone. Think of it as my ear. There’s no need to raise your voice. The script doesn’t ask you to. This is a simple educational narration. Adjust your gain if you feel your signal is too weak, or come closer to the mic, but whatever you do, please use your normal, inside voice.”

At this point I wanted to write “It’s easier said than done,” but that’s not true. Saying it, is the problem. Consider this.

The relationship between a narrator and a listener is delicate, and intimate. Rarely will you be closer to a human being than when you’re whispering into his or her ear, even though both of you are invisible to the other.

At that moment of connection, you breathe life into the lines, creating a world with your words. It is your job to make that experience as truthful and natural as possible. When you manage to do that, a few things will happen: 

1. The listener will be able to focus on the content, without being distracted by an over-the-top delivery. 

2. The listener will become more receptive to your message, because you sound more real. 

3. By treating your voice gently, you’ll be able to go on longer, because you’re not putting so much stress on your vocal folds. 

Everybody wins.

Now for some bad news, and some good news. The bad news is that old habits tend to die a slow death. Think of all those ex-radio people who just couldn’t shake their announcer voice. It takes awareness, coaching, and practice to unlearn what has become automatic, and do more with less. 

The good news is that even the greatest actors of our time struggle with sounding natural. When the movie Silver Linings Playbook came out, leading man Bradley Cooper was interviewed by Terry Gross, host of NPR’s Fresh Air. This is what he told her:

“As I’ve been acting the last 12 years, I’ve thought, ‘Well, the one thing I do have is this ability to make things seem … that I’m not acting.’ I’ve always felt like I can make lines that have been written come out of my mouth in a realistic way. … Then I met Robert De Niro and did the movie Limitless with him and realized that that wasn’t the case.

“I … still remember the table read for Limitless. … He comes in on about page 25. … The beginning of the movie is basically my character talking — there’s a lot of voice-over — and then all of a sudden he says something to me, and I stopped the reading, and I turned to him and I said, ‘I’m sorry. What’s that?’ And I realized he was actually saying his first line, but it was so grounded — as if he wasn’t acting — and I realized, ‘Oh, I’ve just been acting my tail off for the past 20 minutes. And here’s an example of somebody, you know, saying what they mean and meaning what they say.”

Of course there’s a difference between playing a role in a motion picture, and narrating a documentary, or an eLearning project. However, being a narrator is one of the roles voice-overs play, if you will. Good narrators give the impression that they’re not playing that role. They say what they mean, and they mean what they say with the least amount of performance. They create the illusion of spontaneity, giving the audience the impression that they’re not acting at all. 

Great (voice) actors are masters at pretending not to pretend. 

So, what’s the one thing that, if you’d start doing it today, would make you sound so much better? To put it bluntly:

Quit trying so hard!



If you want to sound more natural, use your normal speaking voice and volume. 

Stop yelling, and start telling. 

Imagine you’re talking to someone across the table from you. 

It sounds so easy, doesn’t it? 

Well, there’s the rub.

Only a true and talented professional knows how to make something unnatural seem natural, even if it’s as normal as making conversation. 

The great acting teacher Sanford Meisner explained it best when he was asked for his definition of acting.

This was his answer:

“Acting is behaving truthfully in imaginary circumstances”.

Paul Strikwerda ©nethervoice

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Paul’s Pervasive Pet Peeves

by Paul Strikwerda in Articles, Career, Freelancing, Social Media 25 Comments

young girl with mustacheI guess I only have myself to blame.

The new year has barely begun, and I already have a list of things I get worked up about.

Sorry to disappoint you, but I’m not going to slam clients or berate online cattle call centers. This time I’m going to point my arrows at you, dear colleagues!

Well… at least some of you will have to suffer my undying intolerance for BS. As for the rest, I’m sure you’ll recognize my shortlist of major and minor annoyances.

Here’s pet peeve number one:

Automated requests to connect.

Let me get one thing straight. Although I can sound like one if you push me, I am not a robot. I am a human being with thoughts, feelings, and certain expectations. I am honored that you wish to add me to your network, but chances are that I don’t know you.

You don’t walk up to a stranger in the street and ask to be part of his circle of friends and colleagues, do you? So, why would it be okay to target me online with an impersonal message, without even introducing yourself? Are you that rude, or is it that you just don’t care?

Please tell me who you are, and give me at least one good reason why we should connect, and I’ll consider it.

Manners matter!

People wanting to pick my brain.

It often starts with an innocent question:

“Can I call you some time to talk about the business?” A few years ago, I would have said yes immediately, only to discover that I was about to do someone’s homework. A more honest question would have been:

“Paul, can I get a free coaching session? I have no money, no equipment, no training, and no brain.”

Mind you, I’m not opposed to helping those who are truly committed, but I’m not going to waste my time on lazy airheads who are simply “considering options.” How do I separate the two? It’s easy! The committed person has respect for my time, and is willing to pay for my expertise. End of story. I’m doing my very best to run a business. Not a charity.

And just so you know: I’m not going to evaluate your demo either. Unless you pay me, and only if you promise not to blame the messenger for destroying your dreams. 

Here’s the next pet peeve:

People asking for the number of my agent.

Seriously? Beginners I barely know want me to open my virtual Rolodex, and give them a chance to pester my professional contacts. That is wrong on so many levels! First of all, a quick Google search using the term “voiceover agent” will bring up 450 thousand results in 0.55 seconds. If you really need a number, don’t ask me to spoon feed it to you. Unless you’re a toddler. 

More importantly, the real question behind the question “Can you give me the number of your agent,” is: “Could you introduce me to your agent and say a few nice things about me?” Here’s my take on that.

I’m not going to recommend people I hardly know because it could end up biting me in the behind. Secondly, being part of an agent’s roster is something that has to be earned. It cannot be phoned in. Here’s my advice: make a name for yourself first. If you’re any good, chances are that an agent will contact you.

The next request goes even further:

Peeps asking for work.

The other day it happened again. A mysterious self-proclaimed voice-over colleague who is active on a different continent approached me and asked: “I would appreciate if you can send me some jobs and we can work over the internet.” 

Here’s what I could have said:

“Well, if you give me a moment I’ll open the Nethervoice vault and grab you a few voice-over projects. Is five enough? I’m sure you’re up to the task, and my clients are gonna love you. By the way, these gigs come with a nice paycheck! Are you okay with that?”

Without the sarcasm, here’s what I really wanted to say:

“For starters, I’m a colleague. Not a contractor. People hire me. I don’t hire people. Secondly, this industry is based on talent, trust, and connections. If you’re hoping to work with someone, make sure you get to know that person first, and allow them to get to know you. In other words: make a real connection. Don’t lead with what’s in it for you.

This is a service industry, so, focus on how you can help the person you’re approaching. Demonstrate your talent, and earn their trust. If you follow those steps with me, and you’re good at what you do, I might recommend you to some of my clients. Eventually.”

Now, before I go, there’s one last thing I’d like to point out.

All these requests have one thing common. They are based on a sense of entitlement; on the expectation that valuable information, experience, and assistance can be had for free.

If that’s your philosophy, you shouldn’t even be thinking of starting your own business. Think of it this way:

If you don’t respect and value other people’s time, skills, and insights, why should they value yours?

Paul Strikwerda ©nethervoice

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photo credit: FE2014 (156) via photopin (license)

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The Most Obnoxious Man in Voice-Overs

by Paul Strikwerda in Articles, Career 18 Comments


The voice-over world is filled with them.

On-screen and off-screen.

Most of these characters are very likable, but every now and then you’ll encounter a rotten apple, an arrogant bully or a troll.

A week ago, I ran into one of them at a New York audition. I’d seen him before at some other place. He was an older guy, dressed in a classic three-piece suit. His tan was as fake as the color of his hair. When he spotted me filling out the sign-up sheet, he bellowed:

“Hey, Danish guy, I’m surprised to see you here. Did you finally decide to join the big leagues?”

I tried to ignore him, but he went on:

“Tell me, are you union yet?”

“No, I’m still happily non-union,” I answered. “Now, if you’ll excuse me. I’d like to…

Read the rest of this story in my new book. Click on the cover to access the website and get a sneak peek. Use the buttons to buy the book.

Making Money In Your PJs cover

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Looking Back

by Paul Strikwerda in Articles, Career, Freelancing, Gear, International, Internet, Journalism & Media, Money Matters, Pay-to-Play, Promotion, Social Media, Studio 3 Comments
Nethervoice blog author Paul Strikwerda

blog author Paul Strikwerda

In my last post of the year, I always go back in time to highlight some of the articles you may have missed or would like to revisit.

December turned out to be Gear Month at Nethervoice, and in a way we’ve come full circle. My first contribution of 2013 was entitled “Confessions of a Hopeless Gearhead.”

If you’ve ever wondered why evaluating and selecting new gear is so subjective and challenging, you have to read this  article.


No matter in what stage of your career you are, you and I have at least one thing in common: we’re always communicating with customers. How to effectively deal with clients has been a recurring theme on this blog.

If you believe the customer is always right, you’re wrong and I’ll tell you why in a story about lengthy translations, short videos and managing expectations. “Bring in the Natives” looks at the many reasons why ignorant clients and careless online casting sites don’t bother with quality control any more.

In “Rotten Carrots and Cool Clients” I will introduce you to Type A and Type B clients, and I’ll show you how you can tell the difference. Here’s the bottom line: stay away from one of them!


January was the month I finally decided to open up about something I feel strongly about: violence in video games and the role voice actors play in the production of these games. In “It’s just a Game” I weigh some of the evidence on the links between violent games and violent behavior. 

Makers of violent video games may proclaim that all they do is provide innocent entertainment. I’m not buying it. You may not agree with my conclusions, but I hope you’ll take a few minutes to consider what I have to say.

Another recurring theme is the position of newbies in the voice-over industry and ways in which beginners can increase their level of professionalism. In “Learning on the job” I expose one of the persistent myths that it’s totally okay to advertise yourself as a pro and treat your clients to trial-and-error sessions.

I even went as far as to share my entire voice-over working agreement with you, so you wouldn’t have to reinvent the wheel.

Success does not come easy in this profession, and certainly not overnight. My article “Failure is Always an Option” tells the story of a number of colleagues with great intentions who made bad decisions that killed their career. There are lessons to be learned from failure!


Every now and then I also give you an inside look into my personal life. I don’t do that because I’m a closet-narcissist (you can read about that in “Call me a Narcissist”).

It’s because I want to draw attention to a charity I feel passionate about: the National Multiple Sclerosis Society. In “Overcoming Obstacles and Giving Back” I tell the story of how my wife discovered she has MS and how she is dealing with this confusing and unpredictable disease.

Together, readers of this blog raised over $5000 for the MS Society, making us the number #5 fundraising team out of 58 in my area. I can’t thank you enough for your incredible generosity!

Speaking of my wife, in “The Wind beneath my Wings” I blogged about the importance of having a supportive partner in this field of work. A partner can be a dear friend but also a life partner. I know for a fact that I wouldn’t be able to do what I do, if it weren’t for my better half.

As a reluctant introvert, I tend to keep things inside. “The Emotional Dilemma” is a story about how my feelings are influencing my work for better or for worse, and how I am channeling these emotions as I’m interpreting scripts.

Many people have asked my about my background as a voice actor. “How it all began” will tell you more about the early days of my voice-over career.


Of course no year goes by without me delving into some of the more technical issues that come with our job. In “Get the boom out of the room” I reveal some of my personal secrets to creating a dry recording space.

Factory Demos and Fatal First Impressions” deals with sure ways to kill any chance of winning an audition and what you can do about it.

2013 was in many ways a testing year.

Last week I reviewed Audient’s iD22, a top-notch  audio interface that is my number one pick for best new VO-gear of the year. I also tried out Microphone X from Aphex. It’s a unique USB mic with built-in analog processing.

My new Presonus Eris 5 studio monitors inspired me to write an article about gear selection, and I tried out several gadgets designed to turn a smart phone into a voice-over recording device.

I also reviewed CAD’s Acousti-Shield 32 and their Sessions MH510 studio headphones.


Getting paid is always a hot topic in voice-over land. A few months ago, I wrote a series of stories on that topic, beginning with “When a client owes you” followed by “Give me my money!” If you’re still waiting for that check that was promised ages ago, and you’re wondering what you can do about it, I’m sure my tips will help you.

For those of you in Europe or with clients in that part of the world, I reported on the efforts of the EU to crack down on late payments. A new EU directive protects people like you and me against clients who demand you deliver your work yesterday and who pay whenever they feel like it.

Of course my blogging year wouldn’t be complete without mentioning two stories that turned out to be immensely popular because they dealt with one popular Pay to Play site in particular.

In “Leaving Voices.com” I told you about my falling out with this Canadian company (be sure to listen to the audio sample!). This article was widely discussed and quoted, and I added a follow-up with “As the Dust Settles.”

One of my New Year’s resolutions is to leave every online casting site that is not working in my best interest and in the best interest of our profession. I’d say that covers about ninety percent of them. 


All in all it’s been a pretty productive year.

Many people have asked me how I manage to write a blog each week (plus guest posts), and to have a full-time voice-over career. Just read “Are You Talking To Me” for some answers, as well as tips for those thinking of starting a blog in 2014.

Of course there are many articles from 2013 that I did not mention in this overview, but I’ll leave it to you to explore more and pick your personal favorites.

If you’ve enjoyed my writing in the past twelve months, I’d like to ask you one small favor.

Please keep on sharing my stories with your friends and colleagues and stay in touch.

Your comments, friendship and collegiality continue to inspire me!

Paul Strikwerda ©nethervoice

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Voice-Over Dandy

by Paul Strikwerda in Articles, Studio 13 Comments

Actors are a weird bunch, voice actors included.

We all have our silly little routines and rituals on stage and in the studio.

A Dutch actor I once interviewed had to sweep the entire stage before the show. He said he wanted to get to know every square inch. His colleague always wore the same pair of striped socks for a premiere; socks his mother had given him some twenty years ago.

A famous actress wouldn’t start a performance without a waft of her favorite Eau de Toilette: “Je Reviens.” One night she lost the bottle and her assistant had to go on a wild-goose chase to find a new one. The Diva kept the whole theater waiting for over an hour until the fragrance was found.


These silly, idiosyncratic rituals don’t make any sense to you and me. To those who are displaying these behaviors they make all the difference. What they have in common is this. It’s outward behavior that’s meant to change someone’s inner state.

For some it’s a way to get centered and calm the nerves. For others it comes close to superstition.

I’m pretty sure that, as you’re reading this, you might ask yourself: “What is it that I do before I step up to the mic?” I bet you anything that you’re not even aware of what you’re doing because it’s become second nature.

My personal rituals are very practical and they start before I’ve even set a step into my studio. Pretty much all of them have to do with self-care. I suppose I could leave a couple of them out, but somehow I wouldn’t feel the same. To me it would feel like leaving the house half-dressed.

So here’s what needs to happen in my world.


I won’t start recording until I have brushed my teeth. Guaranteed. I want this fresh feeling in my mouth before I taste the words I’m about to speak. This is not optional. It must happen. Of course this doesn’t qualify as eccentric behavior. We all brush our teeth after breakfast, right? But hang in there. Here’s where it gets odd.

When I have finished one project and I’m about to move to another, I go back and brush my teeth again. It is as if I need to rinse my mouth of the previous experience before I can move on. On any given day, I can repeat this a number of times. This makes my dentist very happy (as long as I brush gently with a soft brush). It also gives me a very clean sound.

I will often use a tongue scraper too. It’s a cleaner meant to clear the surface of the tongue of bacterial build-up, food debris and dead cells. I’ve discovered that after using this device, my mouth noises are drastically reduced. You should give it a try.

Warning: if you’re using the scraper for the first time, you’ll be surprised how much gunk has been living on your tongue for all these years. It’s kind of gross. This thing does have nice side-effects. Using a tongue scraper gives you better breath and you’ll taste flavors more intensely.


Another thing I must do before I go down to my studio, is moisturize my face. Not only is it soothing, it loosens up the skin, helping my facial muscles relax and bend into different shapes as I enunciate the words I’m recording. For that reason I also have to apply and reapply generous quantities of lip balm.

Dry lips and a dry mouth are a major source of those annoying mouth noises. If my mouth feels particularly dry, I’ll use some moisturizing mouth spray which contains the same protein-enzymes found in saliva. I also make sure to breathe through my nose. Mouth breathing may even cause something called laryngitis sicca, where the tissues of the larynx become very dry.

Frequent hydration is also part of my studio ritual. I like to add a slice of lime to my filtered water, which I always drink at room temperature. Cold water can shock the vocal cords. Not a good idea.


I live in Pennsylvania’s Lehigh Valley, one of the worst areas of the United States when it comes to allergies. Reluctantly, taking care of sniffles, sneezes and congested nasal passages has become part of my routine too.

I’ll often take an over-the-counter medication such as fexofenadine in the morning. Throughout the day I’ll use a gentle saline spray or a Neti Pot to relieve sinus problems. Lately, I’ve added a homeopathic inhaler with a hint of menthol.

Allergies can also affect the vocal folds. There’s even such a thing as allergic laryngitis. Symptoms include hoarseness, itchy throat, excess phlegm or mucous in the throat, a feeling of dry throat, coughing and sneezing.

Again, hydration is essential in the treatment of allergic laryngitis. The water lubricates the vocal folds and it thins the mucous.


If my throat simply hurts after a recording session, I’ll often turn to one of my favorite home remedies: Dutch licorice or licorice syrup. Dutch black licorice comes in many shapes, flavors and sizes and it’s definitely an acquired taste. If you’re up for it, get the real thing (not the licorice-flavored candy) and make sure you eat it in moderation.

If licorice is not your thing, try a cup of organic tea, such as the Throat Coat blend. It contains licorice as well as slippery elm .  

Less eccentric than eating black and often salty licorice, is a habit that’s more preventative. It’s part of my preparation for voice-over work, and that’s why I want to mention it.

Over the years I have learned to avoid places with loud music and loud crowds; places that would force me to shout if I wanted to have a “normal” conversation. That type of vocal abuse can -if repeated frequently- result in scar tissue formation within the vocal folds, thickening of the vocal folds and vocal fold lesions.


So, if you were to walk into my studio today, you would notice a whole lineup of self-care products, sprays and black candy, fit for a Dandy. Taking good care of my face, throat and voice has become quite the routine. Some may think I’m overly protective, but to me there is no such thing. My voice is my bread and butter and I’ll do everything to treat it with love and respect.

I’m still not sure how this whole brushing my teeth-thing started, because there’s obviously more to it than dental hygiene. Having to go up to do it gives me a welcome break. Instead of sitting down staring at a screen all day long, I’m forced to climb the stairs and clear my mind. It may be weird, but it works for me. And that’s what all these eccentric behaviors have in common.

They’re weird and at the same time wonderful.

Now, if you’ll excuse me… it’s time for my facial, followed by a nice manicure.

I wonder which one of my silk bow ties I will wear today.

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

photo credit: zilverbat. via photopin cc

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Leaving Voices.com

by Paul Strikwerda in Articles, Pay-to-Play 39 Comments

Breaking up is never easy. That’s what the song says.

In my case, it was a long time in the making and I didn’t shed a single tear.

Yes, she tried to win me back, but I was determined. Our relationship had run its course. It was time for me to move on.

Let me explain.


2009 was the year I joined voices.com. I was naive. I was excited. I was determined to make it as a voice-over. “Voices” seemed to be the perfect place to hang out my shingle and conquer the world.

Today, I have a five-star rating, 5445 listens (more than any other Dutch talent), and I have landed a total of… (are you ready?) TEN jobs, earning me a whopping $2,740.89. God only knows how many auditions I have had to submit before being selected.

This can only mean one of two things. Either,

Read the rest of this story in my new book. Click on the cover to access the website and get a sneak peek. Use the buttons to buy the book.

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Rotten Carrots and Cool Clients

by Paul Strikwerda in Articles, Career, Freelancing 24 Comments

In a black-and-white world, there are two types of clients:

Type A: Pain in the neck

Type B: Pleasure to work with

After many years of freelancing, I have developed a sixth sense, warning me ahead of time which type of client I’m dealing with. Usually, this gut feeling is spot-on, but recently, I was unpleasantly surprised.

It all started when I was asked to narrate a Dutch script. From the first paragraph I could tell…

Read the rest of this story in my new book. Click on the cover to access the website and get a sneak peek. Use the buttons to buy the book.

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Spending a year with me

by Paul Strikwerda in Articles, Career, Freelancing, Gear, Internet, Journalism & Media, Money Matters, Promotion, Social Media, Studio 15 Comments

2012 is a year I will remember for many reasons, but the main reason is this: 

Your generosity.

Did you know that readers of this blog donated $2,500 to the National MS Society this year? Thanks to your contributions, our Walk MS team raised a total of $6,504!

When I told you that my friend Patrice Devincentis had lost her Sonic Surgery recording studio in Hurricane Sandy, you stepped up to the plate big time.

Donations to Sonic Surgery

Donations to Sonic Surgery

Right now, part of my basement is taken over by audio equipment that was donated to Patrice, mostly by friends in the voice-over community.

Just when she thought her career was over, your help gave her hope and a chance to start rebuilding a studio and a career. 

As soon as her recording space is ready, I will deliver all the gear on your behalf, but that’s not all.

When you go to the Sonic Surgery GoFundMe page, you’ll see that together we’ve raised over $2,600 for Patrice. We still have a long way to go before we’ll reach our $10,000 goal, but it’s a great start.


As readers, you’ve also been generous with your blog comments (all 2,658 of them), retweets, Facebook “likes” and all the other ways in which you helped my stories reach a wider audience. Thank you so much for that! It works and here’s the proof.

A story like the introduction of Studiobricks (a new type of vocal booth), has reached almost two thousand readers. Mike Bratton’s interview and review of the Studiobricks ONE cabin, has been seen over fifteen hundred times. But there were more reviews this year. 

In collaboration with recordinghacks.com, I put the Microtech Gefell M 930 Ts microphone to the test; the amazingly affordable and brilliant CAD E100S mic, as well as a shock mount for the 21st century, the Rycote InVision™ system.

I presented seven reasons to hate home studios, and most recently, I had a chance to review Jonathan Tilley’s new eBook “Voice Over Garden.” 


Let’s remember that 2012 was also the year my website got a major facelift. It gave me a chance to write about why your website stinks, how analyzing web traffic can help you craft content, and how you can use social media to spread your message (as long as you don’t step into the filter bubble). 

If you’ve been following this blog for a while, you know that I love writing about the business of being in business. Having a great voice doesn’t mean that you’ll automatically have a great voice-over career. You have to be a savvy entrepreneur as well. 

When you open up shop, you’re all of a sudden the head of the advertising, marketing, sales and the customer service department. Are you sure you can handle that? Some customers can be a royal pain in the tuches, but you have to attract them first.

Over time you’ll notice that there are at least 10 things clients don’t care about, and that there are many things your clients won’t tell you that you absolutely need to know before you hit the record button. This year, I finally revealed my personal marketing strategy and the four keys to winning clients over.

Now, all these ideas didn’t appear to me in a dream. It has taken me quite a few years of running a freelance business to come up with certain vital concepts. Trial and error are the slowest teachers, and I had to learn many of my lessons the hard way. I still remember the day I almost made a $10,000 mistake.

Nethervoice studio

Nethervoice studio


On an average day I spend at least eight hours in my vocal booth/office, and of course I blogged about life behind the mic. I gave you the grand tour of my studio in two installments. 

First you got to see how I have outfitted my voice-over booth, followed by a review of the equipment I use to make my clients happy.

I also wrote about certain aspects of (voice) acting. In “Are You a Cliché” I dealt with the downside of doing impersonations. “Why you suck and what to do about it” is all about breathing and how to get rid of those nasty clicks and other mouth noises that can ruin a recording. “Are you playing by the rules” tells you what it takes to maintain a good relationship with your agent. 


In 2011, 44% of independent workers had trouble getting paid for their work. 3 out of 4 freelancers are paid late or not at all at least once in their careers. That’s why the New York-based Freelancers Union ran a campaign called “Get Paid, not played.”

I tend to write a lot about value and remuneration. Just click on the “Money Matters” category over on the right hand side of this blog and you’ll see what I mean. When my website got a make-over, I decided to publicly post my voice-over rates. Not everyone believed this was a wise move, so I wrote a story exploring the pros and cons of being open about fees. 

One relatively new way to fund your business, is to use crowdsourcing. I asked audio book publisher Karen Wolfer to share her experience with Kickstarter. Another money-related topic that came up this year was this: Should you work for free for charity? On paper “giving back” sounds like the right thing to do, but is it always the case? As with any of the stories mentioned above, click on the blue link to read the full article. 


Let’s move from wealth to health. I shall remember 2012 for one other reason. Never before have I written so much about fitness and well-being. In “Be kind. Unwind” I wrote about the importance of taking a break, being in the moment and leading a balanced life.  

After meeting the globetrotting host of The Amazing Race Phil Keoghan, I discovered four principles to live in the spirit of NOW (No Opportunity Wasted). In August it was time for me personally to cut the crap and rid myself of excuses that had me trapped in an unhealthy, sedentary lifestyle.


All in all, 2012 has been a great year. We’ve had to weather some powerful storms, but the year was also packed with positive change. 

It always amazes me how relatively small changes can have a huge impact. Imagine someone throwing a pebble into a pond. See how the ripple effect moves through the water in ever-widening circles. That’s the effect one individual act of generosity can have.

It happens when people who care, share what they have to give without expecting anything in return. It can be time, it can be money or -as in Patrice’s case- even audio equipment. 

I am grateful and appreciative that you have chosen to take a few minutes out of your day, to see what I have to say. Many of you came back, week after week. Hopefully, you’ve found my stories and ideas helpful and worth sharing. If that’s been the case, I have news for you: 

I’m not done yet!

In fact, I’m ready to push more envelopes, stir more pots and be more outspoken in 2013. 

Do you think you can handle that? 

Paul Strikwerda ©nethervoice

PS Be sweet. Please retweet.

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The ideal voice-over mic you’ve never heard of

by Paul Strikwerda in Articles, Gear, Studio 54 Comments

Talking about microphones is like writing about food.

No matter how elegant and eloquent your prose may be, the proof and the pleasure is always in the eating (or in our case, the listening).

Not so long ago, a group of Dutch voice-over pros got together for a shootout. They had been writing about mics for months. Now it was time to let the technology to do the talking. The goal was not so much to pick a winner, but to get a chance to contrast and compare.

For that purpose they threw about thirty mics into the mix, from shotguns to tube condensers. Among the mics they tried were the Brauner Phanthera, an Audio Technica AT4033, the Neumann M147, TLM103 and U87, the Sennheiser MKH-416, a Røde NTG3, a Telefunken U47 and an Electro-Voice RE27.

Then there was this very odd-looking mic from the United States, an E100S designed by Conneaut Audio Devices or CAD. Very few people in the room had even heard of the brand, let alone seen such a microphone. But when the day was over, several voice actors ended up ordering one. By the end of this review you’ll know why.

Its reputation had preceded itself. Prior to the shootout, this rectangular shaped CAD had beaten out the venerable Neumann U87 – regarded by many to be the ultimate voice-over microphone – in a blind test. Not bad for a mic you can often buy for around $400!


The CAD Equitek E100S as it’s officially called, is a side-address, large-diaphragm FET condenser with a nickel-plated 1 inch capsule, an 80 Hz hi-pass filter and a 10 dB pad. It has a fixed supercardioid polar pattern and the lowest self-noise rating of pretty much any mic: 3.7 dBA (measured with the capsule swapped for a fixed capacitor, known as the “capacitor substitution” method).

Coming in at 0.61kg (22 oz) it’s not exactly light. Made in the USA, this microphone is built like a tank and it feels solid but smooth thanks to a rubbery coating. It arrives in a nice cherry wood box, already resting in a specially designed ’stealth’ integral shock mount. You’ll find the XLR output at the back of the microphone.

Strong rubber bands tie the microphone to its snug-fitting shock mount. This mount works well, but it’s a pain in the neck to remove in order to place the mic in my Rycote InVision™ shock mount. Most people would only take the mic from its mount to replace the rubber bands, so it’s no big deal.

In my recent review of the Gefell M930 Ts, I came up with eight criteria for an ideal voice-over microphone:

  • minimal voice coloration
  • tight pick-up pattern (cardioid or supercardioid)
  • excellent rear rejection
  • controlled proximity effect (bass boost)
  • low susceptibility to sibilance (shrill “S”-sounds) and popping
  • low self-noise
  • high-pass filter to cut out lower frequencies
  • rugged design, ready for the road

Now look at the specs for this CAD. Based on my preferences, it comes very close to being perfect – on paper, that is. It is often advertised and reviewed as a versatile, all-purpose mic, so I wondered how well it would work for voice alone.

To find out, I hooked it up to my new Grace Design m101 preamplifier and started talking. After all, that’s what I do for a living.

The following samples were recorded in 24-bit, 41,00 kHz WAV format and converted to MP3.





Following is a longer sample, a poem called Memory of Holland by Hendrik Marsman, translation by Paul Vincent.



click to enlarge

Because of its tight pickup pattern, this is not a microphone for those who like to wobble and wiggle. If close miking is your thing, this CAD is king. Once you have found the sweet spot and you stay there, the mic will hear you loud and clear.

It zooms in on your voice like a laser beam, with the accuracy and clarity of a shotgun. Although sonically different, this makes the E100S a serious alternative to the popular Sennheiser MKH-416, which costs more than twice as much.

Let’s talk about your recording space for a moment. Soundproofing a studio or improvised booth can set you back thousands of dollars. If that’s out of your range, the next best thing is to find a mic that’s not so sensitive to ambient noise. That’s another reason why this CAD makes an excellent voice-over investment.

Off-axis sound spills are kept to a minimum, and yet this mic never sounds one-dimensional. Like a fine Bordeaux, it has a nice open and full body to it.

By engaging the high-pass filter, you can also minimize low-frequency rumble from boilers, pumps, planes, trains and trucks. In other words, under less than ideal recording situations, the E100S can save the day.

Sometimes, outside noise is not the problem. Every microphone produces electrical noise, known as equivalent or intrinsic noise. It can be utterly annoying. As a narrator, I don’t want my softer reads to drown in microphone hiss. Of course noise reduction software can come to the rescue, but with this CAD you’re not going to need it.

This is hands-down the quietest mic I have ever laid ears on.

Most supercardioids suffer from a more pronounced proximity effect, and with a wide open grille, this mic is no exception. You will also need a pop filter to take care of plosives and mouth moisture.


Like most reviewers, I do my very best to find fault with the products I’m evaluating. In that respect, this CAD gave me a hard time. There is one thing I struggle to understand, though.

In my opinion, the E100S has all the characteristics to become a voice-over’s secret weapon. Why then, is this microphone a virtual unknown in my line of work? Why do colleagues drool over Sennheisers and Neumanns, calling them “the industry standard,” while ignoring the silent quality of CAD craftsmanship from Ohio?

After reading every review ever written about this CAD and testing it for months, it finally dawned upon me. The E100S has one thing that’s both a strength and a weakness:

This microphone is an everyman’s friend.

It can handle sounds as loud as the engine of an airplane and as soft as a woman’s whisper. It loves strings just as much as percussion. Whether it’s used to record the subtleties of Baroque music or the unrelenting power of Punk Rock, this uncompromising CAD can capture it all.

In terms of marketing, the more universal the product, the harder it is to come up with a unique selling proposition. Not everyone looking for a voice-over mic will find the label “all-purpose microphone” very appealing.

Secondly, because this E100S is relatively affordable, it’s easy to equate low price with low quality. Perhaps my colleagues would take this mic more seriously if CAD would double the price.

Before that happens, I recommend you seriously consider this amazing American microphone.

photo: Willem van den Top

After testing many makes and models, one of Holland’s most respected and experienced voice artists summarized it perfectly:

“The E100S is incredibly versatile. If I could only keep one mic in my locker, this one would be at the top of my list. I would gladly part with microphones costing more than eight thousand Euros in order to keep the CAD.”

Paul Strikwerda ©nethervoice

This article was previously published in recordinghacks.com, the ultimate online microphone database. Click here for a review of the Studiobricks ONE, an innovative, portable isolation booth especially designed for voice talent. Mike Bratton has the first one in the US.

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