Dutch voice talent

Why I Didn’t Like VO Atlanta

by Paul Strikwerda in Articles, Career, Freelancing, International, Personal, Promotion, Social Media 16 Comments

Yes, it’s totally true. I didn’t like VO Atlanta.

I LOVED it!

Sorry for the clickbait headline, but I couldn’t resist. My clogs sometimes take me places I have no business going.

Before I get into anything else, imagine this…

You just came back from a spectacular four-course dinner at an amazing restaurant.

The atmosphere was incredible. The waitstaff treated you like family. The cuisine was exquisite. You even took pictures to show the rest of the world what they’d missed.

Days after your experience you can still taste the food, and you can’t stop telling family, friends, and colleagues about it.

And guess what?

No matter how enthusiastic you are, and how great the meal looks in all the pics, people just don’t get it! They never will, because they didn’t share the experience. It’s frustrating, but you can’t blame them because that’s how things are.

Words are just words, and photos of food are two-dimensional. They have no taste, texture, or smell. In spite of many technological advancements, we still can’t bottle the positive energy that’s palpable in a room, and sell it on eBay. No drug will ever replicate or replace a hug. And that’s the way it should be.

Here’s the truth. Some, if not all of life’s best moments are literally beyond words. And this is what makes them so inexplicably precious, personal, and powerful.

So, I’m not even going to try and explain to you what it’s like to have been at the world’s largest gathering of voice-over professionals, a.k.a. VO Atlanta. It’s just as futile as telling you about that amazing dinner. But I will tell you this:

This year, VO Atlanta was not merely a Conference. It became a Movement!

For a movement to gain momentum, people have to be moved, and be willing to move. There was plenty of both from the early hours of the morning until… the early hours of the morning (those who took part in the Team Challenge often didn’t go to bed until 2:00 AM).

A movement has to have a common cause. Well, no matter where the attendees were from, all of them came to help strengthen and raise the professional bar for voice actors and voice acting. In my mind, this involves a number of things:

– an open mind, and a joyful commitment to lifelong learning
– a celebration of diversity, equality, and kindness
– a readiness to set higher standards and rates for our profession
– a continuous and selfless contribution to our community

Take any panel, any presentation, or any X-session… these four elements were markedly present in every room, and they made this conference a transformational experience for so many.

Now, you know me, don’t you?

I’m often critical and sometimes cynical of certain developments and players in our industry. I can smell a scam from miles away, and when I feel an emperor is wearing very few clothes, I will tell you.

I also know that one cannot orchestrate authenticity. It is impossible to fake friendship and sincerity. No matter how well any conference is organized (and believe me, VO Atlanta ran like a well-oiled machine), it ultimately depends on the people who attend, to pour their hearts and souls into it.

And that’s exactly what they did from the get-go. Together they made this conference a safe place to share, be vulnerable, try new things, feel empowered, as well as a space to learn, grow, laugh, cry, sing, act, admire, and dance.

In many ways, this is extraordinary. Why? Because the so-called real world doesn’t seem to work that way. To many, that world is a dark and fearful place, filled with people who are out to get us, instead of support us. It’s a dog-eat-dog, survival of the fittest society, where a ME-ME-ME mentality often prevails over a WE-frame of mind.

Being at VO Atlanta gave me hope that there is a different reality, and a different future for the voice-over work we love so much. By all accounts the segments of the market we contribute to are growing: eLearning, audio books, explainer videos, cartoons, documentaries, gaming, virtual reality, and so on.

Somewhere, someone is looking for your voice, and it is part of your job to make sure that this someone finds you, or you find him (or her). If you don’t know how, perhaps you should go to a voice-over conference and find out. In the afterglow of VO Atlanta, colleagues have already reported that using what they’ve learned only a few days ago, has paid off big time.

There was something else I noticed.

Faced with bold moves from self-absorbed, predatory companies that seek to devalue our talent and our training, a new awareness is growing that we have a choice to whom we lend our voice. Yes, we want to work, but not at any rate, and not for companies that demand more and more for less and less as they triple dip into a client’s budget, while denying us our fair share.

I felt a strong resolve in Atlanta to fight the commoditization of our work, and a deep desire to come together and show what we are worth. At this moment we have ethical agents, brilliant software developers, and SEO-specialists on our side, who are coming up with new, intelligent platforms to showcase and sell our services.

Online voice matchmakers such as Voice123 and Bodalgo are listening to us, and are coming up with smart, exciting features that benefit clients and voice talent alike. The World Voices Organization is growing every day, providing invaluable support and leadership to its members and our community at large.

Paul Strikwerda, presenting at VO Atlanta

Paul Strikwerda presents

Colleagues with years of experience share what they have learned with humor, wit, and wisdom. People whose voices you’ve grown up with suddenly sit next to you in the bar, and strike up a conversation. And guess what? They’re just as interested in you, as you are interested in them.

At first, VO Atlanta can be a bit overwhelming, but boy does it feel good when we eat, drink, and dance together, and colleagues from all over the world become fast friends. And speaking of friends, you may remember that I do my best to keep my personal and professional Facebook contacts separate (click here to find out why). That’s why I have a Nethervoice Page and a personal Profile.

However, if you’ve been to VO Atlanta this year, and you feel that we’ve connected in a meaningful way, I now warmly welcome you to my virtual living room, because I consider you my friend!

I hope we will meet sooner, but if not, I can’t wait to see you again in 2019!

Paul Strikwerda ©nethervoice

PS Be sweet. Subscribe and retweet

PPS If you are a current, or prior, attendee of VO Atlanta, you’re eligible to register as part of a super-early bird registration which saves you $150 on the conference registration for 2019. This offer expires March 18th. Click here to register.

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A Shock Mount for the 21st Century

by Paul Strikwerda in Articles, Gear, Studio 12 Comments

Lyre, lyre, your mic’s on fire!

Is it just me, or are microphones getting more and more exotic?

We have Snowballs, Yetis, Voodoos, Fat Heads, microphones with holes, pear-shaped mics, flat ones, round ones…

To accommodate all these weird shapes, sizes and different weights, each microphone now seems to come with its own, custom-designed shock mount.

What amazes me is this.

The most inexpensive mics often ship with a cat’s cradle suspension system, whereas some of the big boys demand top-dollar for shock mounts that are sold separately.

It’s as if you’re buying a high-end mountain bike that does not come with a proper seat.

I ran into that problem when I got my Microtech Gefell M 930 Ts microphone. If you’ve read my review you know that I adore this nifty little thing. Because it’s a pretty sensitive microphone, a proper shock mount is no luxury item. It is a necessity.

Here’s the thing: the M 930Ts is an exceptionally small large condenser, and it does not fit into a regular shock mount. Of course Gefell will happily sell you the one they make for a little over $300, but that’s just outrageous for a wire frame and some elastic bands.

But there’s more to this story than my mini microphone.

Traditional shock mounts

In my quest for a more universal, durable, and modern suspension, I stumbled upon Rycote, a family run business in Gloucestershire, UK. Founded in 1969 by film and television sound recordist John Gozzard, the company became first known for its furry microphone windshields.

Forty years later, Rycote products can be found in television studios and on film sets all over the world. In 2000, the Academy of Motion Picture Arts & Sciences recognized Rycote by a Technical Achievement Award, but the company certainly did not rest on its laurels.

INTO THE 21st CENTURY

A few years ago, Rycote came up with the ingenious InVision™ shock mount system for side-address studio microphones. It is based on the patented vibration-resistant Lyre™ suspension.

Rycote’s shock mount is made of lightweight plastic, and has an inner and an outer ring, just like the more traditional mounts. Here’s what’s new: the inner ring that holds the microphone is not suspended by elastic bands, but by four W-shaped Lyre™ clips attached to the outer ring.

click to enlarge

The red Lyre™ clips (see picture) are not the only part of what makes this shock mount both unique and universal. What holds the microphone in place is a miniature version of a Christmas tree stand: four screw clamps with rubber tips.

Attached to the inner ring, they can secure microphones of different sizes and shapes with very little effort.

There are several versions of the InVision™ Studio line. The regular USM (Universal Shock Mount) is for microphones between 1 and 55 mm, weighing 400–750 grams (about 14 – 26 ounces).

The USM-VB is for mics between 55–68 mm weighing up to 900 grams (about 31 ounces). My test model is the USM-L for mics between 18–55 mm, weighing up to 400 grams.

Rycote’s online compatibility charts will tell you which mount you’ll need for which microphone.

My demo mount came just in time, as I was about to test several microphones, one of which was my own studio mic, the Gefell M 930 Ts. With the help of a 5/8 inch brass thread adapter (included) it was a breeze to attach the mount to the mic stand. In less than ninety seconds, my Gefell was safely suspended in mid-air.

I won’t say that you can’t screw this up, because you have to.

SURPRISING DETAIL

click to enlarge

The InVison™ mount revealed one surprising but very welcome detail: a clever cable clamp close to the thread, separating the microphone cable from the boom arm. This prevents vibration traveling through the cable from reaching the microphone.

In the next few days I tried the InVision™ model on several microphones such as the more angular Lewitt LCT 640 and the more traditionally shaped Avantone CK6. Fitting these mics to the mount was simple, and at no point was I worried that the fasteners would lose their grip, or crush the mic.

Because my Gefell only weighs 273 grams (9.6 ounces), I used the USM-L (“L” for Lite) that comes with the red, more flexible Lyres.

I tried the same microphones with the shock mounts that were provided by their respective manufacturers. In a series of unscientific but rigorous wiggling and thumping tests, the Rycote suspension system lived up to its promise and audibly outperformed the more traditional mounts.

BUT WAIT, THERE’S MORE!

click to enlarge

Rycote also sells this shock mount as a Studio Kit which consists of a suspension system and a pop filter. The filter’s slightly curved frame can be attached to the outer support ring of the mount, and it will also lock tightly to most “spider” type elastic shock mounts. Thanks to a rotatable fitting, it’s easy to get the filter out of the way when swapping microphones.

The oval-shaped filter is made from super light mesh (an ABS nylon blend plastic), which is really a 10 mm thick open cell foam pad, held in place by a support ring. This foam can be easily removed for cleaning or replacement.

I’ve never been a fan of pop filters held in place by a heavy metal clamp and a gooseneck. The less stuff I have in my field of vision, the better. Somehow, the clamp always seems to loosen its grip after a while, and I’ve had the whole thing come down in the middle of a live recording session. That won’t happen with the Rycote filter because it only weighs 45 g (about 1.5 ounces).

Being used to the old metal mesh and nylon filters, I was surprised by how effective the Rycote foam filter really is. The company says it can reduce the effect of plosives by 20 dB (as compared to no pop screen at all). It sits at a good distance from the microphone, but it cannot be moved closer or further away. It wasn’t a problem for me, but some might consider that to be less than ideal.

CONCLUSION

click to enlarge

Rycote’s InVison™ Studio Kit works extremely well and is reasonably priced, especially compared to the more than $300 I would have had to fork over for a genuine Gefell shock mount.

That I am not returning my demo kit to the dealer, shouldn’t come as a shock to you!

Paul Strikwerda ©nethervoice

PS My voice is for hire, but my opinion is not for sale. I was not compensated by Rycote for this review.

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Those Silly Americans

by Paul Strikwerda in Articles, Career, International, Personal, Promotion 12 Comments

Here’s a question I get asked a lot:

“What’s it like to be a Dutch voice-over, living and working in the United States?”

Who wants to know?

Mostly European colleagues, who either think I’m totally nuts, or who secretly want to do what I did and move to this land of milk, honey, and doughnuts. Some of them have strange ideas about what my life on this side of the pond is like.

I sometimes have to explain to them that “No, I don’t live in a McMansion; there’s no giant gas guzzler parked in my garage, and I can’t call a Hollywood studio and put in a good word for you.” In fact, this American life I am leading is pretty ordinary and rather unspectacular.

I don’t know what my existence would have been like had I stayed in Holland, but in my experience, setting up shop in the States has as many advantages as disadvantages. My colleague Jamie Muffet just wrote a great piece on that very topic for Backstage, and he had me thinking.

In this day and age where all of us are part of a huge global network, does it really matter where we do our job? It’s just as easy for me to plug into a studio in Amsterdam, as it is to reach a recording facility in New York or Johannesburg. Even agents who used to insist I make a personal appearance, don’t mind if I send them an mp3 audition. Times have changed.

Although technology has made it easy to have an international presence, there’s something I must admit. It took me a good number of years to find my way here in Pennsylvania, and at times I still struggle to make sense of my surroundings and the culture I live in. Personally, and professionally. For instance, I had a hard time trying to figure out how to position myself as a voice for hire.

CONFUSION

From a marketing perspective, it is important that clients have a clear concept of who I am, and what I bring to the table as a talent. When I first came here, people were mainly confused, and I don’t blame them. I spoke with a distinct British accent (the one I was taught in school), and most Americans thought I was from the UK. It was both a good and a bad thing.

It was good because casting directors who didn’t know any better, often hired me to play the part of a stuffy English professor. I even did a voice-over promoting a Beatles jukebox musical on Broadway. I tell you: it was fun being a fake!

There was a downside to having this posh accent. I felt that people were judging me all the time. They either thought I was highly intelligent, or a pompous ass. Of course neither is true. I can’t say it helped me define my professional identity as a native Dutch speaker. Then there was something else I stumbled upon.

IGNORANCE

Even though the United States is supposed to be this big melting pot, I’ve learned that Americans struggle with languages and accents. Many of them have never left the country, and they are rarely exposed to different tongues and twangs, the way Europeans are. Thanks to a brilliant educational system, their sense of geography tends to be off too.

A few weeks ago an agent asked me to audition for a documentary, and she was convinced my accent would be perfect. “You’re Dutch. You should nail this one,” she said. The minute I got the script I saw it was about an old ship… from Denmark. “Well, Dutch and Danish are pretty much the same, aren’t they?” the agent stated.

Not really. And Copenhagen is not the capital of the Netherlands.

Another thing I’ve had to explain over and over again, is the difference between Dutch and Flemish. Flemish is a kind of Dutch, spoken in a specific part of Belgium. It’s as different from Dutch as British English is from American English. That means you shouldn’t hire a Dutchman to voice a commercial meant for viewers in Belgium. But most people in the States don’t know that.

I used to get very annoyed with these ignorant Americans, but having lived here for over ten years, I’ve come to realize that many of them don’t know what they don’t know. Instead of holding it against them, I do my best to educate casting directors and agents, without sounding like a European know-it-all. And quite often they are very grateful for my advice.

Here’s another thing I learned the hard way.

SELF-PROMOTION

Coming from a Calvinistic country where any form of self-aggrandizement is frowned upon, I found out that in America modesty isn’t always an asset. In fact, people like talking about themselves. A lot. If you don’t toot your own horn, who will?

I had to learn to be comfortable with my accomplishments, and speak and write about them openly. In Holland I would have been accused of bragging. Here people say: “Don’t be shy. It’s okay. You have every reason to be proud.”

When talking to a potential client or an interested agent in the U.S., I make sure to sell myself as best as I can. When I’m dealing with someone in Europe, I like to tone it down considerably.

Another thing I realized was that Americans tend to be quite informal. Before you know it, you’re on a first-name basis talking about your family with someone you barely know. It doesn’t necessarily mean that people who come across as friendly, want to be your friend. Give it a few weeks, and they might not even remember your name. Don’t take it personally.

Things are gradually shifting in Europe, but unless a new client signs his or her emails with a first name, I err on the side of caution, and I’m much more formal.

FEELING LIKE A KING

So, what’s it like to be a Dutch voice-over in the United States?

In the Netherlands we have a saying: “In the land of the blind, the guy with one eye is king.” As one of the very few native Dutch voice-overs in North-America, that’s often how I feel. I’m a small orange fish in a huge pond. In all the years I have lived here, my English accent has changed considerably. It’s no longer British, and it’s not entirely American either. As I explained to Jamie Muffet:

“Demand for a Dutch narrator isn’t exactly overwhelming, and thanks to the Internet, my competition in Holland is only one click away. My real niche is in ‘neutral English’ voiceovers, meaning my accent is neither British nor American. It’s more of a European twang, and businesses wanting to increase their global appeal hire me because of my international sound.”

If that’s not shameless self-promotion, I don’t know what is…

On occasion I go back to the Netherlands to see friends and family. I walk around in this tiny country, and I comment on how everything is so close, and how small things are. It’s guaranteed to make my Dutch friends laugh out loud.

“Oh, Paul,” they say…

“stop being such a silly American!”

Paul Strikwerda ©nethervoice

PS Be sweet, Please retweet!

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Paul’s Pervasive Pet Peeves

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

I 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

PS Be sweet. Please retweet!

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

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My Best Year Ever

by Paul Strikwerda in Articles, Book, Career, Freelancing, International, Internet, Journalism & Media, Money Matters, Pay-to-Play, Promotion, Social Media 11 Comments

At the beginning of 2014, I took a big risk with this blog.

I no longer wanted to write about things such as:

– What is the best acoustic foam money can buy?
– Should we record standing up or sitting down?
– ISDN. Disappearing when?
– Pay to Play, Yea or Nay?

… and all the other questions that come back ad infinitum on Facebook, LinkedIn and in other social media. In Spoon-feeding Blabbermouths I vented my frustration with being asked to answer the same basic questions over and over again. I wrote:

It’s not my job to do someone else’s homework. Those who wish to make it in this field have to be proactive, independent, and resourceful. If they can’t be bothered to do a simple Google search, why should I take time out of my busy day to do it for them?

I still wanted to write about voice-over related topics, but only if the subject matter would allow me to dig deeper. As an avid snorkeler, I know that things get much more interesting under the surface of the sea.

GROWING MY READERSHIP

There’s another reason for moving away from the road much traveled. Over the years, I discovered that only a part of my readers consisted of voice-over colleagues. Many frequent visitors were fellow freelancers, artists, directors, bloggers, and entrepreneurs. If I wanted to increase my readership, I had to make sure to keep it relevant for them.

The big question is: Did I make a huge mistake or did my efforts pay off?

Well, I’ll let the numbers do the talking. At the beginning of 2014 I had about 3,000 subscribers. At the last day of that year, I counted over 32,100!

PUBLISHING SUCCESS

One of the things that really helped me increase my readership was the publication of my book Making Money In Your PJs, freelancing for voice-overs and other solopreneurs which came out in May. With over 400 pages of practical information for about $10 (eBook) or about $17 for a paperback, it really is a steal. I say this in all honesty and humility.

Another element in my “success formula” is the way I started using social proof. You can read about it in The Power of One. In this post I go over some of the main reasons why people buy.

A third reason for the growth of this blog (and my business) has to do with what I am willing to let go of, and how I handle problems. In Giving Up, I wrote about the things most people who want to be successful don’t wish to see or hear, and I concluded:

There is no success without setbacks, and when times are tough, you need to reconnect with what ultimately drives you.

YOUR LIFE. YOUR BUSINESS.

That is easier said than done. That’s why I wrote a series about four aspects that play a vital part in the way we live our lives, and the way we run our business. These aspects are Physical, Mental, Material and Spiritual.

The first article in this series entitled Mind Your Own Business, dealt with the physical aspect of our jobs. It inspired numerous colleagues to look at their unhealthy lifestyles, and even to go on a diet! Hundreds of pounds have been lost since then, and a number of Faffcon 7 participants received a copy of my book to celebrate those losses.

In part two, The Stuff Between Your Ears, I share 10 attributes I believe to be the trademark of any successful solopreneur. In part three –Call Me Materialistic– I explore the important relationship between having the right tools for the job, and a little thing called confidence.

On June 18th I published my most personal post to date. It’s a down to earth story about spirituality, and how it relates to the work we do. Here’s a quote:

To me, leading a spiritual life acknowledges the fact that we don’t live on an island. Whether we realize it or not, we’re all part of a larger whole. We’re all connected. Our individual choices and actions have the potential to influence other individuals.

DEALING WITH DISASTER

In July I wrote another very personal story after the shooting down of Malaysia Airlines Flight 17. 298 men, women, and children of various nationalities lost their lives. About two-thirds of them were from the Netherlands. It’s called Tears, Tragedy and an End to Conflict.

We often wonder why bad things happen to good people. This prompted me to write Life’s Unfair. Get used to it! In it, I try to come to terms with senseless tragedies. Of course there are no easy answers, but that doesn’t mean we shouldn’t ask the questions.

One of the reasons I publish an overview of past posts each year, is because even the most loyal Nethervoice-followers tend to miss stories, which they often regret. Speaking of regret, the following quote is taken from an article I published in September called Forget Regret:

It’s unfair and irrational to explain or judge the past using today’s standards. Present knowledge is unhelpful because it’s limited, and colored by personal ideas of how we think this world works or should work. Present knowledge doesn’t change the past one bit. It just changes our perspective.

CONTROVERSY

One thing I did not regret was publishing a series of articles on a new awards show for voice talent. The first story was called The Voice Arts™ Awards, The New Pay to Play? The follow-up, Paying For Your Prize broke all records. It was read over 3,000 times, and it prompted many heated discussions on this blog, and outside of it. People loved me for writing it, and they hated me for the same reason.

I responded with Partypooper Unleashes Sh*tstorm, and When the Manure hits the Fan. In my last response I quoted a reaction from one of the organizers of the Voice Arts™ Awards to my story. Here’s part of what he had to say:

The intention of the article (…) was to hurt, not inform. Brush it off. With success and recognition comes the unfortunate trail of parasites who, lacking the erudition to create anything truly inspired, seek their sustenance from sucking the life blood of others.

Well, this “parasite” went on to write a seven-part series on script delivery and performance. See for yourself if it lacked erudition and inspiration. You can read the introduction in The Funniest Joke of the Year. In it, I ask the question:

What makes a good delivery? What’s involved; can it be learned or does it come naturally?

MASTERFUL SCRIPT DELIVERY

In The Worst Acting Advice Ever (part two), I discuss something I must have heard a million times: “Just be you, and you’ll do just fine.” Here’s a quote:

Whether on stage, in front of a camera or in the recording studio, you’re not hired to “just be you.” You’re hired to be your best, most professional self, and to make it sound (and look) perfectly spontaneous.

In How to be Believable, I tackle the next aspect of masterful delivery. Once again I try to break seemingly simple concepts down into bitesize pieces. In this case, I discuss the concept of congruence.

The next article in this series (What Clients Hate the Most) proposes that delivery is about much more than the way we read our lines. As a solopreneur, we’re judged by the way we deliver a total package. The bottom line: If you advertise yourself as a pro, you have to present yourself as a pro on ALL levels.

In The Secret to Audio Book Success, I examine how great narrators such as Jim Dale, have the ability to stay in character, and then switch character and get back to the first character, while introducing a third. They do this for hours at a time in a space smaller than a prison cell. I also introduce you to Gary Catona, the voice builder.

This series continues with The Devil is in the Delivery, which focuses on mistakes narrators make every day that cause them to lose auditions. I conclude with a story about something that’s not for sale, and yet it is one of the most sought after things in the world: Charisma. Once again, it’s one of those things everyone is talking about, but very few people have taken the trouble to demystify it. That’s exactly what I attempt to do in Defining the IT-Factor.

ON STAGE

2014 was also the year I made my stage debut. Granted, it wasn’t Broadway, but a local historic production in which I played activist-philosopher Thomas Paine, author of Common Sense. You can read about it in my blog post Acting Out In Public, which inspired several colleagues to audition for plays in their neck of the woods. You’ll see that there’s a huge difference between the studio and the stage!

If you’ve been following this blog for a while, you know about my interest in sales and marketing. It’s something many freelancers know very little about. They always wonder: “Is there some secret way to make sure clients buy from me?” If that question interests you, I hope you will read How To Sell Without Selling.

One of the greatest obstacles to professional growth can be very close to home. Some people have a tendency to make their own life rather difficult. If that’s something you recognize, I invite you to read Getting In Our Own Way.

LOOKING AHEAD

At the start of a new year it’s not only good to look back, but also to plan for the future. Are you going to play it safe, or will it be a year in which you dare to take some risks? Perhaps it is time to ask yourself what your job really does for you. If you’re wondering about that, I encourage you to read A Means to an End which examines the question “Why am I doing what I am doing?”

And finally, if you’re looking at your motivation, you might wonder what has held you back all this time. What reasons, excuses and rationalizations do you need to let go of, before you allow yourself and your business to grow rapidly and organically. You may find some clues in What Is Holding You Back.

If you’ve enjoyed spending a small part of your Thursday with me (that’s the day I usually publish my blog), there’s no need to thank me. I just hope you’ll share your enthusiasm with someone else who -in turn- will become a regular reader.

As long as you do your part, I promise to treat you to more thought-provoking, controversial, and insightful articles in 2015.

Happy New Year!

May it be your best year ever!

Paul Strikwerda ©nethervoice

PS Be Sweet. Please retweet!

photo credit: Kevin Horn, http://www.blinkpix.net

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Overdoing and Underachieving

by Paul Strikwerda in Articles, Career, Gear, Promotion, Social Media, Studio 13 Comments

Ah, the American Dream.

If you work hard enough….

If you always put your best foot forward….

Then there’s a path from rags to riches for everybody.

Isn’t that the core of the message?

When I moved from Europe to the States, I noticed what pursuing this illusive dream can lead to.

An obsession with work!

Look around you. Fewer people are doing more and more work. Productivity is up in this “work hard – play hard” society. That’s what makes economists optimistic. Unfortunately, in the U.S. it seems to be all work and hardly any play.

In this no-vacation nation that claims to be big on family values, many kids are now raised by their grandparents because Mom and Dad need full-time jobs to stay afloat. And what if you don’t have any grandparents who live around the corner, or they need to be taken care of themselves?

A friend of mine has one child in day care and the other goes to early and late stay because his wife works as well. He did the math and discovered that most of his wife’s salary goes to childcare.

“Does that make any sense?“ he asked. “We want to spend more time with our children. Instead, we work more and see them less. And for what? Just to pay the babysitter, the daycare center and the elementary school? Is having the extra income really worth it?”

He just ran into the Law of Diminishing Returns which asserts that after a certain point, further investment or effort does not increase the expected return. In fact, it can even lower it.

Does this seem counterintuitive to you?

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

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Give Me My Money!

by Paul Strikwerda in Articles, Freelancing, Money Matters 16 Comments

Last week I clearly disappointed some readers.

They thought I was going to give them a few quick tips on how to handle non-paying clients. Instead, I asked them to take a good look at their relationship with money.

“I’m not the one to blame,” said one colleague. “Why should I feel guilty when a client refuses to pay me when the invoice is due? I delivered my work on time. Don’t make me the bad guy!”

I wasn’t trying to guilt-trip anyone, but there’s a reason why I wanted you to take a look in the mirror when it comes to finances. As a freelancer, you are responsible for how you run your business. If you’ve done everything right and your client still isn’t paying, remember this:

It’s not your fault, but it is your problem.

“Doing everything right” means…

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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Good enough is never good enough

by Paul Strikwerda in Articles, Career, Internet, Money Matters, Pay-to-Play 22 Comments

Dear voice casting agencies,

You are being deceived!

People pretending to be professionals have infiltrated your talent pool. People who can barely swim. It’s happening on your watch and you probably have no idea what the heck is going on.

Why?

Because you don’t know or you don’t care.

You’re too busy trying to make a buck in this competitive market, and you have no time or money for decent quality control. Or you are aware that you’re accepting and advertising third-rate “talent,” but this is simply a reflection of your standards.

AVERAGE HAS BECOME ACCEPTABLE

Let’s talk about those standards for a moment.

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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Paul Picks the Best of his Blog

by Paul Strikwerda in Articles 8 Comments

In order to know where you’re going, it’s essential to know where you are and where you came from.

As predicted, 2011 is history.

Because we’re always so focused on the future, we rarely take the time to look back and appreciate what we’ve accomplished. Yet, in this first week of the new year, people like to take stock of their lives as they welcome a new beginning.

Had I not done that, I would have missed the fact that this is my hundred and first contribution since I started writing this blog. My stats reveal that -on average- every article was read 965 times.

Numbers, however, are cold and cannot express how deeply grateful I am that week after week you have taken a few moments out of your day to walk through this Double Dutch door.

Yes, it’s flattering to have made this year’s list of Most Influential VO-Bloggers, but I didn’t make it happen all by myself.

You did.

You are the soundboard that resonates when I strike a chord.

Without you, my words would dissipate as swiftly as a New Year’s resolution on January 2nd. Without your comments (almost 1,700 so far), emails and other conversations, I would be talking to myself (and believe me, I do too much of that already).

Since this is the official blog of Nethervoice, I’d like to indulge myself and use this last post of 2011 to revisit some of this year’s milestone moments in the history of… me.

Here are a few things I am proud of and thankful for:

1. In 2011 I landed four new agents on three continents

2. I designed and built a soundproof voice-over studio in my basement

3. Moving to a Mac, I upgraded practically all my hard- and software

4. At Faffcon 3 I had the opportunity to share my blogging secrets

5. I published two eBooks: “Building a Vocal Booth on a Budget” and “Boosting your Business with a Blog“

6. My eighth audio book just went on sale. It’s called “Brains on Fire” and (appropriately) it’s about word of mouth marketing

MY YEAR IN QUOTES

If you don’t mind, I’d love to end this year by looking back at 2011 as we flip through the pages of past posts. What’s worth remembering and what shall we put into the recycle bin? To refresh your memory, here are some of my favorite quotes:

“It’s so easy to speak in generalizations and pretend we understand one another. When we do, we usually don’t.”

from: “Taken for a Ride“

“I strive to inform, I attempt to entertain and yes… I also like to rock the boat every once in a while. As a voiceover professional, it is my job to be outspoken.”

from: “Hanging Up My Hat“

“Most people find it easier to sum up what they don’t want. Take it from me: You’ll never get anywhere by focusing on the things you wish to avoid. In fact, you’re more likely to attract the very things you’re running away from.”

from: “Are You a Winner or a Whiner“

“If you never stick your neck out, you won’t get hurt, but you won’t rise above the rest either.”

from: “Finding your Value as a Voice-Over“

“The voice-over future is filled with gloom and doom. When people tell you less is more, they’re usually referring to your rate and not to your interpretation of the script. ”

“If you want to make lots of money, you have two options: you either apply for a job at the U.S. Mint, or you start an online voice casting business.”

from: “Pimping Your Pipes”

“How long does it take to find a quality needle in a huge haystack made of scrap metal?”

from: “Why Pay to Plays will Implode“

“Is Ted Williams honing his Kraft or is he still recovering from rehab?”

from: “Pimping Your Pipes”

“Every year, tens of thousands of self-employed people file for bankruptcy because they made one big mistake: they followed a dream and forgot to run the numbers. They are what I like to call ‘under-estimators’.”

“Your fee structure will help you attract the kind of customers you want to be working for, and the type of jobs you are shooting for. At the same time it will weed out the folks that cannot or will not afford you; the ones that are most likely to give you a hard time anyway.”

from: “The Power of Pricing“

“Just because a client needs you, doesn’t mean they can afford you, or that you can afford to work for them.”

from: “The Lowdown on Lowballing“

“Stop making excuses for those who don’t respect you enough to pay you a decent fee. Unless you’ve seen their balance sheet, you don’t know what they can or cannot afford. Know your bottom line. Add value. Don’t compromise so easily. Negotiate. Dare to say NO to a bad deal. Study the art of making the sale. It’s part of being a pro.”

“The key is adding value. If you don’t offer exceptional value, then your product or service becomes just another commodity. People buy commodities on price. If you’re just another web designer, voice-over artist or a car dealership, you’re in trouble. Value means offering more for a higher price.”

“Those who can’t build value, have nothing left but to compete on price.”

“Being extraordinary talented in what you do, doesn’t guarantee instant success. Life might have dealt you a pretty good hand, but if you don’t know how to play the game, even the best cards are useless. “

from: “Those Bloody Bottom Feeders“

“You can set the stage, learn your lines and lessons and strive to be the best you can be. But you can’t force feed your target markets, especially if you don’t know what they’re hungry for.”

“Stop pushing and start listening. Don’t offer a solution before you know what the problem is.”

“If self-control were that easy, very few people would smoke; all of us would maintain the perfect weight and prisons would be empty.”

from: “Can You Control Your Career“

“We are free people, living in a free country who earned the right to free themselves of any free time.”

“You’re self-employed. You embody your service. Literally. If you don’t take care of yourself, no one else will. If you don’t guard your boundaries carefully, good people with the best of intentions will step on them and leave you depleted.”

from: “Give Me a Break“

“Bad habits are very effective strategies for consistently getting undesired results.”

from: “Your Biggest Blind Spot“

“If you happen to hire voices, I have a message for you: We can read your script but we can’t read your mind.”

from: “What the heck is Neutral English?“

“I go online for information and communication; not for salvation. For me, conversion rate is about turning visitors into customers. Let’s not trivialize the sacred scriptures and turn the internet into a stairway to heaven.”

from: “8 Things I Hate About You“

“I’ve come to the conclusion that VO-Pros and cows have one thing in common: they are ruminants. Most ruminants have four stomachs. The first stomach chamber (the “rumen”) is the chamber in which large amounts of food are stored and softened. Once it is processed, it is regurgitated and chewed and digested again in different chambers. At the end there’s only one thing left: bullsh*t.”

from: “Why you a boring me to death“

“Shit happens. You just have to make sure it doesn’t hit your fans.”

from: “Mad as Hell“

“I firmly believe that the quality of our life is greatly determined by the quality of our relationships. Taking the time to strengthen those relationships is vital and invigorating.”

from: “How I Became An Egotistical Bastard“

“People in our profession have a strange relationship with the truth. We get paid to pretend. The most convincing liars get the nicest paychecks, an Oscar and a star on Hollywood’s Walk of Fame. However, true talent, trust and integrity are the cornerstones of a successful career. Trust must be earned. True talent and integrity can never be faked.”

from: “Ten Lies Voice Overs Tell“

“Your mindset is the filter through which you look at reality and interpret what it means to you and which actions to take.”

“There are no silver platters, silver bullets or golden shortcuts to the top.”

from: “Why some will never make it“

“Money is a means to a beginning. That beginning is called “autonomy”. As long as you low ball whatever it is you’re offering, you’re telling the world that you don’t believe that you’re worth a penny more. That’s not the road to independence. It’s a road to nowhere.”

“Passionate people have a tendency to be stuck in the now, absorbed in the moment. But even those who have reached the top will tell you that you need to think ahead if you want to stay ahead. If you want to manage your career, you have to learn how to manage your money.”

from: “Right on the Money“

“You will never do your best work for the love of money. You do your best work when you hold yourself up to standards no one else can or will match. Your best work is always a labor of love and never the result of greed.”

from: “Are you taking kickbacks?“

“Quality calls for experience, dedication, patience and passion. It’s so much easier to be average. Mediocrity can be phoned in. It doesn’t require effort, enthusiasm or attention to detail. It doesn’t ask for sacrifice, continued education or for high-end equipment.”

from: “Finding your Value as a Voice-Over“

“The greatest goals are never about personal fame and fortune, and they will never come true the way you imagined them to come true.

At the end of the day, every goal is a picture of what you believe you’re capable of, with all the resources you have available right now.

That means that every goal is limited by your imagination and your perception of what is possible.

The most ambitious goals will seem unrealistic and unreasonable, and yet, even those are confined by what you think you can or cannot accomplish.”

from: “Are You a Winner or a Whiner“

Have a peaceful, productive and prosperous new year!

PS Be sweet. Please retweet!

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Picking Bodalgo’s Brain

by Paul Strikwerda in Articles, International, Internet, Journalism & Media, Money Matters, Pay-to-Play, Studio 13 Comments

“I’m being offered $200 to narrate a 120-thousand word audio book. Do you think that’s a fair rate?”

“A client wants me to record a movie trailer for $150. Should I do it?”

Not a day goes by without someone asking these types of questions on Facebook, LinkedIn and Google+.

Sometimes I stick my neck out and I respond to these questions, especially when I get sentimental and remember the early days of my career.

I was young and unafraid and incredibly ignorant. Back then there was no Internet. Picking brains became my specialty.

On other days I’m not so sappy, as I remember the kind words of my business coach:

“If you’re a Pro, you know what you’re worth. If you’re not, go do your own homework! You won’t learn a thing if I hand you everything on a silver platter.”

He was right.

These days, getting info has never been easier. Search Google for voiceover rates. You’ll get about 5,600,000 results in 0.52 seconds. How’s that for starters?

MONEY TALKS

Bringing up rates usually spells trouble. Talent likes them to go up. Clients love paying less. Where to begin?

The Freemarketeers will tell you to leave everything up to the unregulated forces of supply and demand. After all, it worked well for subprime mortgages, didn’t it? The Interventionists fear a free fall for all. They want rates to be regulated.

Unfortunately, it’s not that black-and-white. Voice-Over rates reflect many variables, and unless you belong to a union or you have an agent, it can be tough to put a price on your pipes.

Enter a parade of Pay-to-Plays. You pay for the privilege of being offered the opportunity to audition and bid for projects, together with thousands of other privileged colleagues. Here’s the catch.

As a member, you often have to subject yourself to an agreed price range per project deemed reasonable by that site. Whether or not you choose to accept that range depends on your personal Price Floor.

A Price Floor is a point below which a product or service should not be sold, or else you’d incur a loss. I bet you anything that most people reading these words right now, have no clue what their price floor actually is.

Be honest. Do you?

A EUROPEAN PERSPECTIVE

If you’ve read my work before, you know that I have written about U.S.-based voice casting sites and their perceived influence on dwindling voice-over rates.

On January 8th, 2008, a new player entered the market: Bodalgo. Based in Germany, Bodalgo is the brain child of a man who once had a very boring job as the deputy editor of Penthouse: Armin Hierstetter.

Armin’s no dummy.

He studied the existing P2P’s carefully, as he set out to take the good and improve the bad to create something beautiful. Unlike similar sites, Bodalgo is available in German, Spanish, Italian and English (American and British).

Now, if you think that you can buy your way into Bodalgo, you are wrong. No matter the credit limit on your Visa Card, if you sound like crap, you can’t join the club.

Bodalgo caters to clients from all over the world, but because it’s based in Bavaria, it’s a gateway to the European voice-over market. This brings me back to rates. How does Bodalgo compare to its American counterparts?

I (PS) decided to check in with the boss: Armin Hierstetter (AH). Here’s a transcript of the interview.

PS I just saw a project posted on your site in the 100-250 USD range. It made me think: Is Bodalgo going in the direction of its American counterparts, or did I miss something? Has $100 always been the minimum?

AH In USD the minimum range starts at 100 dollars (the Euro has a 50 to 150 minimum range as – for example – a local radio spot in Germany is usually 50 to 55 Euro).

If jobs are posted that are budgeted too low (intentionally or not), Bodalgo contacts the voice-seeker suggesting what we believe is a fair rate. Sometimes the voice-seeker sees our point and is willing to raise the budget, sometimes not. If the voice-seeker does not agree on increasing the budget, the job simply does not get posted. Period.

Of course, we hear many times:

“What? You want me to pay 250 USD for a job that is done in five minutes? You must be insane, you [censored]”

Well, depending on my mood, I sometimes try to explain why voiceovers cost what they cost (knowing that with these types of folks it really does not help at all in most cases), or I simply press the delete button and go on with whatever I am doing.

PS Bodalgo’s been in business for a few years now. What’s your overall take on how voice-over rates are established and where they are going?

AH There are many factors when it comes to rates. Here are few of them (this is by no means meant to be a complete list):

Your voice:

Experience
Skills
Uniqueness (most important if you ask me)

Your studio:

Equipment
Recording skills

Other factors:

Currencies
Inflation

I see a link between equipment becoming more powerful yet more affordable, and declining voice-over rates. Let me share three trends with you:

1. The costs for your own studio are coming down, so you can make this beneficial for your clients as well;

2. Because many talents build their own studios, there is much more competition which also leads to lower prices. That’s how the market works.

PS Sorry to interrupt, but clients are saving money due to the increase in home studios. They no longer need to pay for studio time, an audio engineer/editor and a director.

It is my impression that these savings are simply pocketed and not passed on to the voice talent. In the end, we end up doing more for less. Shouldn’t this give us some leverage to raise our rates?

Armin Hierstetter

AH I fully understand that voice-seekers already save a lot of money because they’re used to getting the finished audio from the talent without paying for a studio.

I want to be honest with you. I really think that’s one of the biggest mistakes talents have made for a very long time: They did not charge properly for the studio work, only for the rate as a talent. It will be VERY difficult to change this to an approach where talent charges their normal rate plus editing costs;

3. More and more people of the type “My friends all tell me I should host a radio show,” buy a Shure SM58 microphone and think that their laptop recording is God’s gift to the audio world. Untrained amateurs seem to flood the market.

What’s worse, there are many voice-seekers out there that listen to crap demos thinking they are actually good, because they don’t have a proper recording at hand to compare.

But one thing is for sure: Bodalgo will never start to accept amateurs. Yes, there are a few talents with Bodalgo that have just slipped through the net that might not have passed if I had been pickier the day I activated their accounts. Still, the level of Bodalgo’s talent is much, much, much higher than with any other Pay2Play site that we’ve come across.

PS What’s your advice on how to best play the game? Everybody loves to win an audition, but not at any rate. Do you expect voice-over rates to go up any time soon?

AH If you ask me, the reasons why rates should go up are purely to be seen in costs of living. If those prices would be stable, I’d say it’s fair to assume that our rates would stay stable as well.

With financial markets facing the issues they face at the moment, including all the effects like higher inflation, increased costs for energy, food, rent etcetera, I think that we’ll see rates rising over the next years to cover the rising living expenses.

PS Inflation correction keeps rates at the same level. Talent won’t be making more just because the number on a check is higher. If we wish to increase the amount of money coming in, we need to compensate for the rise in the cost of living, and add e.g. 10% to whatever we’re charging.

AH Well, U.S.-based talent benefits from the weak dollar when paid in Euros by Euro-Zone clients. The opposite is true for Euro-Zone-Talent paid in USD. U.S. clients will not accept higher USD prices just because of exchange rates. It’s really just bad luck for us Euro-Talents.

So, to cut a long story short: Yes, I see higher rates over the next years. But this is only because everything else will go up in price as well.

PS So, how can we best prepare for the tough years that are ahead of us?

AH 1. If you have not done so already, invest in your own studio.

2. Buy the good stuff (like Neumann or Brauner for mics, for example) as it will serve you well many, many years. Personally, I would no longer waste money on analog equipment. I would solely buy digital stuff (like the TLM 103 D from Neumann).

PS Quality equipment is essential, but owning a state of the art camera does not make one a top-notch photographer.

AH I do appreciate that a cool mic does not make a great voice talent, but this is not where I am coming from at all. I am just a firm believer that successful talent simply needs both: A well-trained voice and great equipment to deliver high-quality audio. There are too many Samsung USB mics out there in my opinion.

I know, of course, that those top shelf brands are pricey. But when you look at what you (and your client) get for the money – it turns out to be an excellent investment.

3. LEARN HOW TO RECORD PROPERLY!!! It’s really, really, really (I mean it) horrible to hear how bad, bad, bad many of the auditions are recorded (hiss, bad miking, bad levelling, bad everything). Use proper headphones to proof-listen your recordings and be super critical about the work you deliver. [Armin insisted this should be printed in bold]

PS Can Bodalgo keep both voice-seekers and voice talent equally happy, or is that impossible?

AH That’s easy: Our main goal is to attract more and more voice-seekers that post sanely budgeted jobs. We want to provide them with the easiest solution available to find high-quality talent without paying any commission. That way, both sides will win.

PS Herzlichen Dank, Armin.

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