Get A Better Broadcast, Podcast and Voice-Over Voice

2022.07.04 – 0550 – Mic Muck-Ups Solved!: EchosEchoIt’s not quite the same echo as you get when talking in a tunnel or cave, where your sound comes back a split second later, but it’s the same principle: the sound of a voice is reflected off rather than absorbed by the environment in which you are making the recording. This ‘colours’ the voice and makes it sound thin – great if you want to paint a picture of being in a huge empty warehouse but less good if you are not. In fact, that’s a good point, the larger and emptier a room, the greater the problem may be. A good pre-recording check is to clap your hands once and hear what sound you hear – but remember, the mic will pick up noise in a different way from your ears will, as your brain will help compensate for some of the potential distortion. A smaller room, one with carpets and curtains or lots of different edges to break up the soundwaves as they move around the room, will reduce the echo effect as the waves won’t return to the mic at the same time.  Hosted on Acast. See acast.com/privacy for more information.

2022.07.03 – 0549 – Mic Muck-Ups Solved!: Recording DistortionDistortion (or: ‘clipping’, ‘overmodding’)When the equipment is set at too high a level for the incoming audio, the resulting recording is distorted. It is ‘overflowing’ with the sound it is being asked to process. On a level or meter, the needle will barely move from the far-right hand side or lights will be fully-lit in the red. Set the level lower (give it some more ‘headroom’) so the levels can move more comfortably. Keep an eye on levels during a recording and change them as necessary, or simply move the mic further from the source of the loudness: your mouth. Distortion in a recording is usually not fixable – unlike low-level recordings which can be boosted.  Hosted on Acast. See acast.com/privacy for more information.

2022.07.02 – 0548 – Mic Muck-Ups Solved!: Clicks Clicks Seemingly inexplicable clicks and bumps on a recording can often be traced to handling noise from the microphone.  In a studio put the mic on mount and simply don’t touch it.Hand-held mics should be gripped firmly but not tightly and fingers should be kept still, as any movement can often be picked up as handling noise. So if you have a ring on your microphone hand, remove it, as mics are particularly susceptible to the small scraping sounds that a ring might make. Also remove any bracelets. Take up any excess slack in the mic cable by looping it around your hand.  Some outdoor mic can be fitted with an extra handle (a pistol grip) to reduce handling noise. Clicks or bumps on the recording can also be caused by the lead going into the mic – or the recording unit - being bumped against another object (such as furniture), or if the connections (where the lead goes into the mic or into the recorder) is knocked or pulled. It is difficult to edit these noises out as they are often within the recording. Advanced studio sound problems(From: Broadcast Journalism: Techniques of Radio and Television News (Stewart, Alexander; Routledge 2021) Hosted on Acast. See acast.com/privacy for more information.

2022.07.01 – 0547 – Listen Out For These Common Microphone Muck-UpsAUDIO TROUBLESHOOTING Basic studio sound problemsForgetting to put the mic on or turn it on – even pros very occasionally omit to attach a lapel mic to themselves or start talking before they have faded their mic up.[1]Forgetting to take it off or turn it off – or walking away from a set and forgetting that people can still hear you, or leaving a mic ‘live’ in the studio and your words still being heard by a production team, or broadcast to listeners.[2],[3],[4]The mic picking up sound that it’s not meant to – drumming fingers on a desk, the rustle of a script, the jangling of the presenter’s bangle, a mobile phone ringing in the studio, perhaps because the ‘pickup area’ of that particular microphone has been ignored or misunderstoodThe mic not picking up the sound it should – as a presenter moves away from it (or conversely, picking up a sudden and unplanned burst of sound or increase in volume as they move closer or suddenly cough or laugh), or perhaps because the ‘pickup area’ of that particular microphone has been ignored or misunderstood, or a lapel mic being incorrectly positioned. Do not touch the mic when you are speaking. Although you may be able to get away with moving a mic arm while on air, touching the stand, or mic itself (easily to do when wearing a lapel mic) will invariably result in a loud sound being broadcast or recorded. The sound is usually reduced with the use of a ‘shock mount’ the ‘cat’s cradle’ of strings that hold the mic in suspension and position and absorbs any movement that it feels. But the rule of thumb: set it and forget it. [1] In 2016 this BBC Breakfast presenter forgot to wear his microphone https://www.thesun.co.uk/tvandshowbiz/1780291/blunder-on-bbc-breakfast-as-presenter-forgets-to-wear-his-microphone/  [2] In 2010 the then UK PM Gordon Brown was caught on mic calling Rochdale pensioner Gillian Duffy "bigoted", when he didn’t realise his microphone had been left attached and ‘live’. https://www.youtube.com/watch?v=yEReCN9gO14 [3] As David Cameron announced his resignation date as British Prime Minister in 2016, he walked away from the podium singing a song before walking inside number 10 Downing Street, forgetting his mic was still on. https://www.youtube.com/watch?v=-Gz6mZYxS0A [4] And this TV host in New Zealand left his microphone on while taking a toilet break and it was broadcast live on TV. https://www.dailymail.co.uk/news/article-3759338/Wee-having-technical-problems-moment-breakfast-host-heard-urinating-live-TV-forgot-mic-leaving-air-presenter-looking-awkward.html Hosted on Acast. See acast.com/privacy for more information.

2022.06.30 – 0546 – Noise-Gates and DuckingNoise gating controls the loudness at which a sound will be picked up or recorded. If it’s too low a level, it simply will not be allowed to pass through the ‘gate’, which stops background noise such as traffic sounds from being heard. It’s what’s used in Automatic Level Control systems that we looked at earlier. Ducking controls the volume of one sound compared to another, so say a your mic channel takes  precedence over that of a guest or music. Ducking won’t eliminate the other sound but it allows the dominant source to better cut through.  These settings in a radio studio may be set up for everyone, or there maybe a ‘keycard’ system which allows the system to recognise you and adapt the settings to your particular tone and timbre, that will have been set up in advance with the help of an engineer. It is unlikely that you will be given free reign of the panel to alter the settings yourself.  In a recording booth the sound engineer will adjust levels live as you record and also in post-production as part of the overall mix of the audio – together with say a music bed, effects, or jingle.  (The above adapted from: https://rode.com/en/about/news-info/how-to-get-the-best-audio-quality-out-of-your-podcast. More at: https://promixacademy.com/course/understanding-audio-essentials-eq-compression-delay-and-reverb/ @promixacademy ) Hosted on Acast. See acast.com/privacy for more information.

2022.06.29 – 0545 – Equalisation, Compressors and De-EssersEqualization – or EQ – is a form of audio processing which allows you (or rather the studio engineer) adjust the volume level of a frequency (or range of frequencies) within a sound. As everyone’s voice is different, this can to a certain extent, cure a sound of its imperfections. Compressors control the loudness of the signal by dampening the ‘peaks’ such as ‘puh’ and ‘tuh’ sounds in words, laughs, and particular ambient sounds. Compression is a complex process, and there are multiple parameters that you can adjust, but overall it can make a vocal sound fuller, tighter, and more well-defined. De-essers reduce the sibilance (the frequency made by ‘ess’, ‘t’, ‘shh’) in a vocal recording.   Hosted on Acast. See acast.com/privacy for more information.

2022.06.28 – 0544 – Studio Tech That Could Make Your Voice Sound GreatAudio ProcessingThere are technical ways (such as EQ and compression) of adjusting the voice that is being (or has been) recorded to enhance it further to give it greater presence, depth and tonal quality.  This is something you have done only after you have provided the tech the best possible original signal: having good acoustics and levels for example. Using processers will only enhance good audio, they won’t cure crap sound. So on the way over the next few days, we’ll hear about equalisation, compressors and de-Essers, noise gating and ducking. Hosted on Acast. See acast.com/privacy for more information.

2022.06.27 – 0543 – Mike’s Mic Problem: A Case Study Mike was referred for voice help by his studio engineer – a rather unusual route to consultation. The engineer’s problem was that where he placed the microphone, it would always pick up Mike’s breaths, and he determined that it was Mike at fault and not the studio equipment. And he was right!  There could have been several reasons for the audible intake of breaths.  Maybe Mike was breathing through his nose rather than his mouth, and because of the reduced air intake that way, his breath ended up sounding more like a sniff.  Maybe he was ‘vocalising the breath’ alongside a ‘lip smack’ – a duo of problems that often go together when a presenter audibly ‘sucks in’ air through a partly-closed (and often an elevated tongue), rather than letting it ‘drop in’.  Actually, it turned out that Mike was breathing from his chest rather than his diaphragm, causing ‘constriction tension’ in the neck. Better breathing and relaxation techniques were prescribed.  Hosted on Acast. See acast.com/privacy for more information.

2022.06.26 – 0542 – Your Mic Levels Mixed With MusicYour levels with musicWe looked at the use of music beds before, but the important thing to remember here is the balance of levels between the music and your voice. Many beginners tend to have background music too high because they aren’t sure of their voices and their overall confidence, and so use the bed to cover them a bit. It’s a bit of a safety net. This is a mistake and should be avoided.Invariably, your voice must be the dominant sound without you having to shout over the backing track. Again, if you do this, your voice may appear aggressive to the listener and the way your message is received will be altered.The trouble is you can’t really use the VU meters to judge whether the music is too high against the voice, because you often have two sounds going through the audio board only one set of meters – showing the overall mixed level. Therefore, you need to use your ears, experience and careful judgment to create a good balance between two sounds when you’re mixing them.Equally of course, the background can’t be too low or you’ll lose the effect of having it there in the first place! (See more on this below: ‘ducking’.) Hosted on Acast. See acast.com/privacy for more information.

2022.06.25 – 0541 – Your Mic Levels With HeadphonesYour levels with headphonesIf you notice a lower level in your headphones, you might begin to speak more loudly to compensate, and suddenly you’re in a situation of talking at the listener, rather than telling them a story, or chatting with them in a conversational way, and lessening the ability to communicate with them.Incidentally, the best way to tell your sound levels are set correctly is to always use headphones, and to have them turned up high enough to drown out your normal speaking voice. Anything too loud will cross the threshold of pain and soon have you reaching for the volume control. There’s more on the correct use of headphones, in a bit. Hosted on Acast. See acast.com/privacy for more information.

2022.06.24 – 0540 – Mics At Noisy EventsVOICE BOXMics at a Noisy EventIf you are simply shouting over other noises (perhaps to convey the excitement of the event[1]) then:·        you may not be using the right type of microphone·        you probably need to be wearing headphones so you can isolate the sound that the mic is picking up (rather than what you are hearing at that location), and determine the balance between ‘situational sound’ and your voice. Once you know this you may be able to:o  reduce your vocal volume oro  move to a quieter location oro  move the microphone closer or further from your mouth oro  adjust the ‘input level’ of your microphone or o  move the microphone so its pick-up pattern is better reproducing the sound you want oro  a combination of the above.·        you will be putting undue strain on your voice·        you will be tiring to listen to for any length of time because…·        you will lose subtleties of inflection. [1] As we have seen elsewhere, if you raise your volume then your pitch will also rise. Hosted on Acast. See acast.com/privacy for more information.

2022.06.23 – 0539 – The Magic Balance Between Mic Position, Projection and Recording Levels You can increase the basic loudness of your voice by turning up the gain[1] on your mic, but this will make you sound thin and weak, partly because more room noise is also being picked up by the mic, for which you have increased the sensitivity. In other words, your voice will be louder, but it won’t have more energy, projection or robustness. We’re talking sheer naked ‘volume’. Audio processing makes sure that recorded voices are heard by the listener at roughly the same level, so they don’t have to grab the remote to turn up the TV as a whispered boardroom coup takes place, or turn it down as a soap opera showdown kicks off. It’s easier to pull back the energy and add it in later, than have it too loud to start with. Recorded audio that’s been recorded too loud and so ‘overmodding’ or ‘distorted’ is virtually impossible to fix.Therefore, it’s best to get the mic-to-mouth position and the dependent mic levels correct at the get-go, so nothing has to be changed later. [1] When a microphone channel is fully open, it is not actually picking up sound at its full capability. An additional knob, (‘the gain control’) can boost the incoming signal (your voice) so it is broadcast or recorded louder. Hosted on Acast. See acast.com/privacy for more information.

2022.06.22 – 0538 – Maddening Over-Modding On occasion it may be impossible to anticipate external noise and so be unable to use any of the techniques described above, and therefore over-modding may be the (almost) inevitable result. For example: at a sports event when a goal is scored (or at a presidential event when a political point is scored) and “the crowd goes wild”; at a carnival or parade when a marching band passes by; on a street with the unexpected siren of an emergency vehicle and so on. In such situations a deft reporter or studio engineer will simply have to ‘ride the faders’; and adjust the incoming audio levels ‘on the fly’ to avoid distortion in the live feed or recording.  Hosted on Acast. See acast.com/privacy for more information.

2022.06.21 – 0537 – How To Fix A Recorded Level That’s Too High… Or LowIf your mic level is too lowYour ‘live’ level can be boosted, not just with the main microphone channel but also the booster ‘gain’ setting’. But this may also increase the background noise from the studio that’s picked up, that is the general ambience of the room, as well as making the mic more sensitive to your own mouth noises. If audio has been recorded at too low a level, it’s pretty easy to raise it higher without a change in quality. If your recorded or live volume is too highVoice volume per se is seldom needed in studio broadcasting. That is, it is rarely necessary for you to raise your voice as you can simply speak at a near-normal level and increase the input on your microphone channel so it boosts the level of the sound that it captures. Additional human-produced volume may be needed outside of a sound-proofed studio where other noises will compete for the microphone’s attention. And that’s when distortion of ‘over modding’ may happen (which we’ll talk about more tomorrow). To stop this in a live situation you can either pull away from the mic, or pull the fader down a touch, or move somewhere quieter. But if the levels have been recorded too high, there’s very little you can do except retake the entire piece again. Compare that with if levels have been recorded too low when, with digital recording, you can boost them significantly without altering the quality of the piece. Hosted on Acast. See acast.com/privacy for more information.

2022.06.20 – 0536 – Automatic Level ControlAutomatic Level Control versus ManualIn a home recording studio, your mixing desk or the recording set-up on a video call may have an ‘automatic level control’ that you can ‘set and forget’. They keep signals below distortion point, and when they fall too low they cut in and boost the signal upwards. But adjusting the recording levels manually gives you more control and creative freedom. You can use your professional judgement to choose settings to perfectly match different circumstances, instead of passing control to the machine, whose systems were designed to cope with ideal conditions.Another drawback to some ALC systems is the problem of ‘pumping’, which can happen when there is a pause in speech and the ALC hunts for sound to boost the levels. If there is a lot of background noise, such as passing traffic or an AC unit in your home studio, the ALC will surge this forward whenever you stop talking for much more than a moment. Then when you start talking again, the first word may be clipped as the system struggles to cope with the sudden surge or sound.None of these problems can occur with a manual recording that is correctly monitored, but having to monitor levels means your attention is divided between the tech and the talking. Using ALC means you can save your concentration for the most critical element – the content. If you must use ALC do so under perfectly quiet conditions. A better solution is to set the levels manually and monitor them by listening on headphones. Hosted on Acast. See acast.com/privacy for more information.

2022.06.19 – 0535 – Why A Studio Engineer Wants To Know About Your BreakfastWhen asked for “a bit for level”, it is surprisingly difficult to think of what to say! It sounds obvious but many people simply say “testing, testing … 1,2,3,4,5” or “Mary had a little lamb” or a producer may use the classic line “tell me what you had for breakfast”. But all of those are too short and don’t encourage you to speak in the same way as you will do when you are ‘live’. Your volume may differ, as too may your tone of voice. It also needs to be a sentence or two so the producer or engineer has time to adjust any settings on their desk or console to better reproduce your special tonal qualities. So read from your actual script with the same presentation style, volume and vitality, position and posture as you will later on. A sound engineer may ask you to talk slightly differently (“a bit softer” or “pull away from the mic a touch”). Comply with their request and carry on talking until you are asked to stop. The tip is: say in rehearsal what you will say in reality, say it in the same way, and position yourself in relation to the mic just as you will ‘for real’.Whatever you do, don’t ‘test the mic’ by tapping it or blowing into it. A microphone is sensitive and doing either of these will damage it. You may also be asked at this point to say your name and the name of the product or script “for the tape”, so that there is an audio record of whose voice follows on the recording. Hosted on Acast. See acast.com/privacy for more information.

2022.06.18 – 0534 – “A Bit For Level, Please”“A bit for level”Part of working out your correct mic position before you start recording or go live, will involve of course, you speaking in to the mic so your voice can be heard by you (wearing headphones) and by any engineer you might have (in a control room), and correct recording levels can be set. This is to check:The microphone, its channel and signal are working – a microphone such as lapel clip-on mic may have an on/off switch on it, or its battery back, or transmitter unit; the battery in the unit may be drained or faulty; there may be signal interference from the transmitter to the receiver; a studio mic may have been unplugged for some reason or the desk fader which controls its volume may be dirty and lead to crackling on air; or it may have been turned around leading a speaker to be ‘off mic’ and not heard properly.The level or loudness of your voice – so correct levels can be set for you so they are regulated with those of other guests or sound sourcesThe proximity of your voice to the microphone – to avoid issues such as plosives distorting the clarity of your voice Any additional interference – for example, if a clip-on mic was too close to and picking up noise from a necklace or chain; hidden under clothing which rustled ‘on mic’; picked up the ‘searching for signal’ noise from a mobile phone which had been left on.As we have seen you may need to get a little closer or more distant from the mic (with all the other considerations that that will bring), and/or turn up the mic input level (or ‘gain’) so that your voice level appears louder on the air or on the recording. Hosted on Acast. See acast.com/privacy for more information.

2022.06.17 – 0533 – Don’t Interfere With the Sound EngineerA quick word to be kind to your sound engineer. This is the person in a voiceover or dubbing studio who is likely to be doing the technical side of things such as setting up your microphone, monitoring levels, doing the actual recording and playing back those recordings to a client. Another role will be turning on your talkback (the intercom system between the director and you in the studio) so you can hear (or not) the conversations about your read between a client and a director. They will also pass on their expertise to a director, for example on the tone of the voice, what ‘take’ is best, whether different versions can be cut together and so on. As well as other studio staff, the engineer is your friend. They can make you sound good! Always treat that mic as ‘live’, so no swearing or complaining or criticising the script, the client, the pay or the coffee, even under your breath. You don’t know who is listening…  As your microphone is always likely to be on, don’t tap it, or cough or burp into it as it will go straight into their ears.  And ensure you eat something (but not a huge meal) before you go into the studio. OK you may be nervous and not feel like it, but it can happen that stomach growling or rumbling[1] can be picked up by a sensitive microphone in a sound-proofed booth, and compromise recordings. [1] Borborigmus is the fantastically onomatopoeic word meaning "a rumbling sound made by the movement of gas in the intestines". Hosted on Acast. See acast.com/privacy for more information.

2022.06.16 – 0532 – Why You Need To Love Your LUFSSound levels are gauged with decibels and ‘LKFS’ and LUFS’[1] and on studio displays which light up vertically, or with needles that wiggle, but essentially your ‘moment-by-moment’ level should pretty much always be in a yellow-to-green area, with very occasional short peaks into a red. Or if you have a level marked up, around -10dB, or ‘peaking to PPM 6’[2], When recording for a podcast your host will most likely want Apple’s required level of -16 LUFS, that is the average loudness over the entirety of the pieceBroadcasters mostly want -24 LUFS (U.S) of -23 LUFS (the rest of the world), so as James Cridland from www.podnews.net points out “if you were to take an audio file made for broadcast radio and upload it as a podcast, it would be too quiet”. [3]An engineer can use a ‘compression’ device to give the impression that a sound is louder than it actually is, by making it sound ‘fuller’. (There’s more on this a bit later.) [1] They are both the same and sometimes referred to as ‘integrated loudness’. LKFS (‘Loudness, K-weighted, relative to Full Scale’ and LUFS (‘Loudness Unit Full Scale’) are both the unit of measurement used to quantify a piece of audio's perceived loudness by analyzing the average level over time. LUFS is written in negative numbers, so -30 LUFS is quieter than -10 LUFS. They are a standard loudness measurement unit used for audio normalization in broadcast television systems and other video and music streaming services.[2] BBC recommendations for its studio staff, here: https://downloads.bbc.co.uk/radio/commissioning/TechnicalSpecificationRadio.pdf[3] https://podnews.net/article/lufs-lkfs-for-podcasters Hosted on Acast. See acast.com/privacy for more information.

2022.06.15 – 0531 – Loudness StandardsIn a network or voice-over studio, a sound engineer will adjust your volume settings so the volume of voice is balanced with a similar level of those of other sources, be they of other guests or music. (In smaller studios or for podcasting and so on, you will of course have to do this yourself.)A consistent level is necessary so the listener isn’t forced to keep increasing the volume themselves. It’s called ‘normalisation’. Imagine how annoying it would be if a radio station had the presenter at one sound level and then a piece of music at another, or if one podcast was at a different level to the next in playlist and so on. That’s why there is a recommended standard volume setting not only for each programme but also for the whole broadcast industry (and by default podcasts, video channels and other services such as Spotify and so on). Hosted on Acast. See acast.com/privacy for more information.

2022.06.14 – 0530 – How Recording Levels Affect Your VoiceSo, you have optimised your recording space as far as you are able, and learnt about mic technique – knowledge of each will help you ‘get a better broadcast, podcast or voice-over voice’. So let’s move on to the actual recording of your sound, with a look at ‘loudness’.But we’re not so much looking at your own ‘projection’ or volume – which we looked at in some depth previously – but at what level that is recorded at.In this next section we’ll discuss why there’s a standard setting of levels, so even though you may shout a line when you need to, it’s unlikely to be recorded at that same volume. That is, the perception of projection comes more in the style of the read rather than in the actual level at which it was recorded.We’ll take a look what the industry-standard voice recording levels are, how to mix your voice with effects and music, and if there’s anything you can do if your voice is recorded too high or too low. I’ll also explain audio processing: automatic level control, equalisation, compressors, de-essers, noise gates and ducking … all of which help you get a better recorded voice. Hosted on Acast. See acast.com/privacy for more information.

2022.06.13 – 0529 – What To Wear ‘On-Mic’What you wear ‘on mic’The microphone is a sensitive piece of equipment which will ‘hear’ everything it can. That means your voice, your breathing, the squeak of a chair, the rustle of clothing or scripts. So when a microphone is open, move and act with care. This also includes not clicking your pen or tapping your feet.‘Jangling jewellery’ will be heard on a mic, so might a stiff cotton shirt, leather trousers as you cross your legs or shift in your seat. Do what you can to reduce rattles and rustles. Hosted on Acast. See acast.com/privacy for more information.

2022.06.12 – 0528 – On-Mic BreathingTake a breath before opening the mic, so the first thing a listener hears is a word not a gasp. Also beware of lip-smacks when you take subsequent breaths when you are on air at the start of a new story or paragraph. This is the sound that occurs when you take a breath and utter a habitual ‘wet kiss’ sound (or ‘tsk’) as you open your mouth. It can be an unconscious habit and once spotted, very annoying to listeners. It can also be interpreted as a single ‘tutting sound’, as though you are judging what you or someone else has just said.  Gasped-in breaths during a read can be caused by nerves: people perhaps worried that they’ll run out of air and want to take a big lungful - what you’d do in a ‘freeze situation, or if you were about to run away.As we have seen before, a big breath will:·        Cause tension in the neck and throat and shoulders·        Causes big pressure in your throat, all that air ready to rush out.So, relax! Remember you don’t need to suck air in, it’s done naturally to even out the pressure lost once you have let it out. You don’t need to think about it at all – after all you do it naturally most of the day, and certainly all of the night when you are asleep. Hosted on Acast. See acast.com/privacy for more information.

2022.06.11 – 0527 – The Off-Chance of Being Off-MicIt may sound obvious but make sure that you know which part of the microphone to talk into! With some you talk into the top, with others you talk into the side. Added to that, different mics pick up noise from different areas (their ‘pick-up pattern’), so that could be more from the front and back and not much from the sides, or only from the front and so on. So, if you are talking into the wrong part of it, then you will be ‘off mic’ and your voice will sound thin, weedy and distant – which hardly aids effective communication. Hosted on Acast. See acast.com/privacy for more information.

2022.06.10 – 0526 – Speaking On MicSpeaking on micSo you are in the booth and you have your script stand, then you need to work out how you can talk into the microphone, but also be able to read from the script. You have to try and read it ‘through’ the pop-screen or stand, or off to one side slightly, or even up higher than the mic. One thing you shouldn’t do is have the script too far below the mic so you have to look down to read it. Doing this will cause a crease in your neck and constrict your airway.  So, try and have the script printed off in large type, or expand the size on your screen, so you can see it more clearly. And arrive at the studio in good time so you can, with a director’s permission, adjust the placement of script and mic (and the stand) to the best and most comfortable position for you, and the best sound quality.  Hosted on Acast. See acast.com/privacy for more information.

2022.06.09 – 0525 – Finding The ‘Sweet Spot’Having said that, a greater mic-to-mouth distance will give your voice a lighter pitch, with more treble, a thinness to the sound and more of the room acoustics, especially if you turn up the recording level. Conversely, standing away from the mic and raising the voice can make it sound as though you are speaking live on location – useful for giving a lift to studio commentary over outdoor scenes or sound effects. But somewhere in between will be a ‘sweet spot of sound’ where the mic will enhance the deeper bass tones in your voice. With the help of a studio sound engineer if you have one, try various mics and positions according to you and your surroundings to find that the ‘Goldilocks’ position of the mic (not too close, not too distant, but just right). Another consideration is not to speak directly into the mic, but across it or from one side. Again, this will depend on your personal preference of mic location (within the parameters of it still working well!), and the kind of mic it is (different designs of mic pick up sounds from different areas around the head: its ‘pick-up pattern’). Hosted on Acast. See acast.com/privacy for more information.

2022.06.08 – 0524 – How To Get The ‘Barry White’ Effect VOICE BOXMoving the mic slightly towards or away from you raises other issues to do with what’s called The Proximity effect. This is a phenomenon that leads to an increase in low frequency response, the shorter the distance is between mic and mouth. This can create problems, but at the same time it opens up ways to shape the sound. Close mic work – the pros·        Your voice (especially those which are naturally lower to start with) can sound bigger, fatter and ‘sexier’. Late night radio presenters use the close-mike technique to make their voices sound as sexy and intimate as someone whispering sweet nothings into your ear. Where a voice is naturally lacking in richness, close mic work can sometimes help compensate.·        Close mic work may encourage you to talk more softly Close mic work – the cons·        Your voice can sound thick, muddy and muffled if you get too close or misuse the ‘Effect’·        It has little change on voices of a naturally higher pitch ·        Close mic technique may make it more likely that your breaths and mouth clicks are picked up·        It’s more likely that ‘plosives’ – the short burst of air heard ion words that start with ‘b’ and ‘p’ sounds – are exaggerated·        There’s a greater chance of distorted recordings (‘overmodding’), so make sure you turn down the recording level when you get closer to the mic. Hosted on Acast. See acast.com/privacy for more information.

2022.06.07 – 0523 – Why Six Inches Is A Great LengthSo, what is “the right mic-to-mouth position”? It’s usually about 6-8 inches’ distance. Indeed, a good rule of thumb is the literal rule of thumb, the distance between the ‘noise creator’ of your mouth and the ‘noise receiver’, the mic, should be around about the same as the span between splayed tip-of-thumb to tip-of-small-finger, or a bit longer than a pen. Wearing headphones (we’ll come to more about headphones later), you will get to realise the exact best distance depending on:The type of micYour volumeYour closeness-comfort to the mic – some people simply do not like the mic too close to their mouth or face. Hosted on Acast. See acast.com/privacy for more information.

2022.06.06 – 0522 – Microphone HeadsetsSome radio presenters as well as podcasters and YouTubers use microphone headsets in which the mic is incorporated into the headphones, similar to the ones you might imagine an air traffic controller wearing. The mics on these are obviously smaller than a desk mic, but shop around and you can find good quality ones. The advantage is that you are never off-mic and you don’t bend your head to speak into mic on a desk stand. Also, it means that you can gesture without the worry of knocking a microphone. The disadvantages are that popping is more likely as the mic is so near your mouth, and you can look a little ‘unusual’… (What is ‘popping’? We’ll come to that in a bit…) Hosted on Acast. See acast.com/privacy for more information.

2022.06.05 – 0521 – Reading Scripts From A ScreenIn 2020, I started to read radio news bulletins from a screen. Before that, scripts were always printed out and reading them on air often meant that your head was nodded down to look at sheet on the desk in front of you. That of course cause a ‘kink’ in the throat and a subsequent reduction in the quality of presentation. Now, off-screen reading means that my head is naturally held up, allowing a better flow of air, and (hopefully!) better presentation. That’s not the case in every studio of course: some have screens sunk into the desk to allow for a better view of the presenter on in-studio cameras set up for social media livestreams. If you can’t read off screen for some reason (perhaps you are recording a podcast with a colleague and the video link is on your screen instead), then either:·        firmly hold each sheet up, to cause you to lift your head up·        prop your script against the screen of your laptop, so you can still see your video and your own camera is not obscured. This will also mean that when you glance to one side to read, or adlib from your script, your eyes are not far from the lens so you will still appear ‘connected’ with your audiencehave your script on a second electronic device perhaps on an adjustable arm or goose-neck, or printed out and on script rest or even (if you are standing) a music stand. Having it at head height will save you bending your neck and so restrict your airflow and vocal quality.  Hosted on Acast. See acast.com/privacy for more information.

2022.06.04 – 0520 – The Mic-To-Mouth PositionMic positionLook back at earlier in the book when we discovered how to sit and breath better. Hopefully you are still using that ‘home balanced-breathing position’ (from which you can vary slightly), to enable a good flow of air to and from your lungs.  In a TV studio it is sometimes ‘natural’ urge to lean in to the camera, but doing so squashes the abdomen. In the audio studio, try not to lean into the microphone to read as this will alter your ‘home position’ and disrupt the good work that you have achieved. Instead move the microphone towards you.  If you are podcasting or radio broadcasting, ensure that the microphone is at the right position for you. That’s easy if it’s on an adjustable ‘Anglepoise’ or ‘scissor arm’ holder, as you can sit up and hold your head up for airflow, and have the mic at mouth-height. If you can, move the mic to you: leaning towards it will create skeletal and therefore, vocal, tension.But what if the mic is on a desk stand? It may be that you have to crick your neck down to talk into it, or even hunch over. Both of these actions will reduce your ability to practice affective breathing and breath control. In fact, if, when presenting for radio or a podcast, you act as though you are on camera and being beamed into living rooms, you may naturally sit up and be more alert than you would be, alone in a radio booth. Hosted on Acast. See acast.com/privacy for more information.

2022.06.03 – 0519 – Mic Stands, Arms and MountsMic stands, arms and mountsIt makes sense that desk mics are those on a stand, on a desk. And touch of the base of the stand, or a knock of the desk itself, may likely be heard through the microphone. That’s why many studios have the main mic held in an Anglepoise-type arm, which can often be adjustable inasmuch as you can alter the height or distance from you, to get that Goldilocks position that you are comfortable with. However, it’s a sad fact that some professionally-designed studios have the arm clamped to the desk in such a way that either the arm or the mic itself partly obscures the screen that you are reading from.  Other studios have mics suspended from the ceiling in a carefully balanced combination of wires, which are less easy to alter for height or distance. Whether on an arm or from the ceiling, the mics are unlikely to be simply clipped into a clamp, but held in place in a ‘cats cradle’ of taught elastic. These are often called ‘shock mounts’[1].  Studio microphones are deliberately designed to pick up low frequencies but that means they are also very sensitive to rumble and vibrations (properly called “structure borne noise” or “impact noise”). But you can only make use of the ability to record bass frequencies if they aren’t drowned in rumble noises. Hence, the elastic suspension. Such a mount also helps protect the recording from accidental bumps on the mic stand, because they dampen the impact noise before it even reaches the mic. Such mounts are delicate and intricate, so don’t go moving them without knowing just what you are doing! In fact, don’t go touching the mic at all unless you know that it is OK to do so. Certainly, don’t tap or blow in to it to “check it works”, or even touch or tap the base or stand. [1] Hear sound samples with and without shock mounts: https://www.neumann.com/homestudio/en/do-i-really-need-a-shock-mount Hosted on Acast. See acast.com/privacy for more information.

2022.06.02 – 0518 – Types Of MicsTypes of micsMost microphones in audio studios are on table stands or arms fixed to the desk which are height and/or distance-adjustable. TV presenters use either fixed, direction mics out of shot on the studio ceiling or, more likely small lapel mics powered by a battery/transmitter pack attached to their belt or (under a skirt or trousers) to their leg, or in a pocket. Handheld mics, or those on a pole (a ‘boom’) are used outside and are usually with an inbuilt battery and transmitter, or are cabled. Different microphones have different pick-up patterns[1], meaning they ‘hear’ sound from different directions around their head. Therefore, if you know you are going to be in a noisy situation, you can use a mic which will pick up more of your voice and less of, say, the sound of a crowd. That’s why sports commentators use close-use lip-mics in noisy stadiums, and sound recording engineers filming outdoors on the set of a TV drama will use unseen but highly-directional shotgun mics which will pick up the actor’s voices, but not the sound of other people or traffic. These, like the AT-875R, may also be useful in a home recording booth as they help pick up the voice, but not extraneous sounds from your family, the neighbours or the street. How to pick the right mic: https://www.voices.com/blog/how_to_pick_the_right_microphone/ Remember: A great mic and poor studio will just give a great recording of an awful sound. Everything has to work together to get an optimum, quality recording of your newly-discovered great voice. [1] Hear sound samples of different kinds of microphones and their pick-up patterns, here: https://www.neumann.com/homestudio/en/what-is-a-dynamic-microphone and https://www.neumann.com/homestudio/en/what-is-a-condenser-microphone and https://www.neumann.com/homestudio/en/cardioid-omni-figure-8-why-do-microphones-have-different-pickup-patterns and https://www.neumann.com/homestudio/en/difference-between-large-and-small-diaphragm-microphones Hosted on Acast. See acast.com/privacy for more information.

2022.06.01 – 0517 – What You Need To Know About How Mics Affect Your VoiceOK now we are in the studio, the next important piece of kit to make the most of your voice is of course, the mic. Speaking with a microphone is different from speaking with another human being. And there are various ‘mic environments’ each of which will make your presentation and voice projection a little different:Using a microphone to amplify your voice – for example in an auditorium where there are hundreds of real live peopleUsing a microphone to transmit your voice – for example in a radio studio where there are thousands of people listening, but they are not with you and cannot see youUsing a microphone to transmit your voice – for example in a radio studio where there are thousands of people listening, but they are not with you and cannot see you, but where there are also people in the studio with you and you are talking to them as you might do as though you were not on air.Using a microphone to transmit your voice – for example in a TV studio where there are thousands of people watching who can see you and your body language.Using a microphone to record your voice – for example for a podcast which is a much more intimate experience as people tend to listen alone and with headphones or buds directly in their ears, rather than radio which is consumed in a more communal setting such as a kitchen or car.Using a microphone to record your voice – for example for a video, where people can also see you and your body language. As far as we are concerned with this book/podcast, we need to be aware of how ‘everything to do with mics’ can affect your voice, from their pick up patterns, the stands they sit on, how near or far they are from you, how you speak in to them, what you wear when you are near them… …as well of course as the type of mic, which we’ll look at tomorrow… Hosted on Acast. See acast.com/privacy for more information.

2022.05.31 – 0516 – The Clap Test For A Better VoiceThe Clap TestAs you are treating your room, check the acoustic changes you have made by carrying out the ‘clap test’: stand in the middle of your space and make a single sharp clap. How does the sound, well, sound? It should sound crisp and clear, with no other echoes, thinness or muffles. The technical term is that is should sound ‘dead’ (with few reflections of sound), rather than ‘live’. Hosted on Acast. See acast.com/privacy for more information.

2022.05.30 – 0515 – Treating Your Studio: At The Very Least Do ThisIf sound-treatment is challenging for you to try to at least do three things:·        Have a sound-wave absorber on your table – as you will be sitting here in front of the mic and the recording device, your voice is likely to bounce off the hard surface and back into the mic, changing its effect. A towel or a large gaming mouse pad will help deaden the acoustic.·        Isolate the back of the microphone – you will be facing and speaking into the mic, but much of your sound will go past it, perhaps to a wall or window the other side and then bounce back towards the mic. A portable sound booth or an isolation shield may help to a certain extent. You may be able to create a home-made version using a clothes airer and a heavy towel or duvet, or propping up a soft cat-bed behind the mic. ·        Isolate the wall behind your back – yeah, don’t forget this area: sound that goes past the mic, hits a wall and returns may very well then hit the wall behind you and come back for a third try at the mic-head. Not having this space covered may create an echoey effect in the room, so treat it too. I have a portable clothes rail on wheels, over which I can drape a heavy duvet. I pull it behind me just before I record. Hosted on Acast. See acast.com/privacy for more information.

2022.05.29 – 0514 – The Difference Between Sound ‘Proofing’ and Sound ‘Treating’There is a difference between ‘sound-proofing’ and ‘sound-treating’. The former is stopping the unwanted sound getting in and can be a big an expensive job, whereas sound treating is quicker, cheaper and easier and involves working with the sounds inside the room. Ideally, they will both be done, but if you can’t then certainly do the latter: ‘treating’ the inside of the space, reducing sounds within it from bouncing around, so they are absorbed rather than creating a thin ‘echo’ effect with sound waves bouncing off hard surfaces and re-entering the mic. Hosted on Acast. See acast.com/privacy for more information.

2022.05.28 – 0513 – All About AcousticsWhat is in your studio space is important for your voice because if your sound bounces around too much, it will appear to be ‘thin’ and ‘hollow’ rather than warm and natural. Then consider how the room itself sounds: the acoustics.·        The size of the room – usually a smaller room is going to be easier to be less echo-ey and easier to ‘sound-treat’ than a larger one, a lower ceiling preferable to a higher one. But too small a room and it will get hot, claustrophobic for any length of time – all affecting your stress levels and so, your voice – and the shorter distance from your mouth to a hard surface (off which your voice can bounce) is smaller, and so will affect the recording.·        The layout of the room – flat and straight-angled walls, floors and ceilings will make it easy for sound to bounce off them in a uniform way (‘sound reflection’), which is not what you want.·        What is on the walls and floors – hard surfaces lead to more ‘wave bouncing’, so avoid plain plastered walls (although hard walls from a brick of concrete are better than popular drywall for stopping external noises getting in), wooden floors and windows. Add mass to the walls to reduce noise and vibrations getting in. Seal gaps around windows. Cover surfaces with soft (and ideally heavy) fabrics carpets and curtains (sofas and furniture covered with fabric work as absorbers). Break up naked wall surfaces with anything from pictures and shelves, furniture, curtains or sound-absorbing panels. Pay particular attention to corners where two walls or two walls and a ceiling connects. Cork, rubber, and foam insulation are common methods of soundproofing that can be found at your local hardware store. You can use foam rollers (typically used for stretching and rolling out sore muscles) or yoga blocks to fill the corners. The more irregular angles, shapes, and rugged surfaces in your room, the greater the chance it will better diffuse your voice into the mic. And the more sound-absorbent material is in the room (within reason), the greater the chance of reduce the echo effect in the space. There’s a good reason why many people record in their walk-in wardrobe: a small space with lots of clothes…[1] [1] There’s more techy stuff on sound waves and acoustics here: https://improvepodcast.com/podcasting-room-acoustics-how-your-room-impacts-your-audio-quality/ Hosted on Acast. See acast.com/privacy for more information.

2022.05.27 – 0512 – How The Studio Space Affects Your Voice THE STUDIORecording locationThe studio space will affect your voice because too much other noise may be a distraction, you may be lost in the mix, or the acoustics of the room will simply alter how your voice sounds.  Outside of a professional recording studio, the podcaster will ideally choose a recording location that has the least amount of background noise or the one which will be easiest to soundproof. So, review any potential location from the perspective of the least amount of noise:·        Outside noises getting in – such as neighbours, traffic, animals (birds), weather (wind & rain), plumbing. ·        Internal sound sources – computer fans, air conditioning, pipework, or any other noisy equipment. Consider turning them off while you record, or having your mic as far from them as possible. Stopping outside noises interfering with your recording is a matter of sound-proofing the room that you are using as your studio. The aim is to stop virtually all external noises being heard inside. It can be a big and expensive job with the possibility of suspended ceilings or floating floors and padded with sound-deadening foam and air-space. There are plenty of companies that will sell you acoustically treated isolation booths that you can construct in your existing room – a ‘room within a room’ if you like - (https://www.acousticabins.com/ https://www.kubevocalbooth.com/ https://whisperroom.com/ ) or of course you can build one yourself.  But for a basic alternative:·        Have a home studio in the quietest part of your home, probably upstairs and at the back of the house to reduce road noise, ·        Consider recording at the quietest part of the day - perhaps on Sunday morning at 7 when the neighbours are quietest, rather than in the morning rush hour when the road outside may get busier. Hosted on Acast. See acast.com/privacy for more information.

2022.05.26 – 0511 – What’s Stuff About The Studio Got To Do With My Voice?What’s all this got to do with my voice?Knowing more about studios, mics and the electronic processing of your voice will simply help you sound better. For example, knowing the best mic for your voice, how far to sit from it, how to hold it and what side to speak into. Knowing this, as well as the rest of the studio paraphernalia will help you become more relaxed in the booth and as we have already seen, that will help you produce a more relaxed and resonant tone, and turn in a better performance. Hosted on Acast. See acast.com/privacy for more information.

2022.05.25 – 0510 – Your Voice In The StudioThis Part of the book is divided into three chapters. First, we will look at the different equipment in the studio. Don’t worry we won’t be getting too technical and talk about the transmission chain, but there are a few bits of kit in a home or pro studio that you need to know about and about how to use it right to make the best of your voice. For example, there’s no point doing breathing exercises and great resonance if you don’t know which side of a mic to speak into (yep, it happens), or have ‘headphone howl-round’.  The second chapter looks at your performance in the studio, with techniques such as ‘reading ahead’; and ‘cold reading’ – when you have to sight-read a script just handed to you. We’ll take another look at confidence and what kind of preparation can help in that, and also about feedback given to you by other people… and feedback you give to yourself. Chapter three in this Part then moves on to the production of a spot or a show: the process of being directed and how those ‘behind the glass’ will help you give your very best vocal performance. After all, if you know in advance what they want then you are more likely to be able to provide it – fast and to a high standard.  This chapter also looks at different kinds of reads: for example, how a book narration differs from a ‘voice of god’ announcement’ at an event and what some of the different skills are.  Hosted on Acast. See acast.com/privacy for more information.

2022.05.24 – 0509 – Vocal VarietyVarietyIf your inflection patterns are too consistent, then you're sounding bored rather than interesting. Depending on the material, sometimes your delivery should be fast, sometimes slower. Sometimes you should be excited, sometimes calm. Sometimes your voice should carry a smile, sometimes you should sound dead serious. By constantly varying your pattern (without sounding like a pastiche) you increase the possibility of being perceived as human rather than automaton… and therefore someone that the listener can connect with.Variety in your voice will help people listen for longer. In real conversation, inflections vary widely from sentence to sentence. In announcing, people will tend to say everything the same way. It is far more captivating to hear someone who presents with:·     Various sentence lengths – so you don’t get into a repetitive rhythm·     A voice which alters in pace and pitch – faster and higher for exciting passages or when relaying content that people know but that helps you get from point A to point C·     A style which intonates correctly rather than is robotic in modulation – so it is natural and understandable, and people aren’t trying to work out what you said and while doing so miss your next great point.·     The occasional presentational … pause. To make people engage, to tease and intrigue. Some trainers say “be unpredictable”. No. That’s just annoying. Look back at those tips above, variety shouldn’t be unpredictable, the variety comes from being natural. All of those points are what we do naturally in conversation, or telling a story to a group of friends, maybe a pause before a punchline.  Whatever the style or the content, you need to deliver the message to the audience in an engaging, memorable way that will make them act: either emotionally or physically.  Hosted on Acast. See acast.com/privacy for more information.

2022.05.23 – 0508 – Your Injection Into The OutputRapport begins with realising that each ‘consumer’, viewer or listener is an individual who in most cases, has invited you into their home, their world, their ears. Consider yourself a guest, an acquaintance or even a friend, who’s been welcomed in because you have a story to tell.  You can easily forget about the audience. Cocooned within the four walls of the studio, you can begin to sound as though you are talking to yourself or to the studio director or producer. Do this and you begin to go through the motions, your concentration is elsewhere and your vocal presentation begins to sound stilted, singsong and insincere. “We’re people, we’re human beings. The days when news was read in a black tie and you’re not supposed to have a personality – those days are gone. You’re putting on the television to see other human beings and see their reactions. If I just stood or sat there po-faced, I think that’d be a very big turn-off for people.I think we need to inject a bit of ourselves in our output, and that’s what people will watch you rather than someone else for.”Simon McCoy, TV news presenter/journalist, “You’re On The Air” podcast November 2020 We spoke about energy before, but it’s not shouting or projection per se. Even a relaxed conversation on a podcast takes concentration, focus and energy. It’s you with a bit more. You alone could sound a bit flat when it came out of the other end of the speaker or headphones, you have to add some showbiz sprinkle on top, so it’s “YouPLUS!”, with the ‘plus’ burning off between your mouth and the listener’s ears.  Hosted on Acast. See acast.com/privacy for more information.

2022.05.22 – 0507 – Personality and RapportPERSONALITY AND RAPPORTGood presenters are ones who establish rapport with their audience. “A lot of people have complimented me for sounding warm and I think that’s important… warm but authoritative at the same time. You can read really bad news without emoting about it but on the other hand not being cold and too factual either and I think I’m very happy when people say that because that’s what I’m aiming for.(I’m) calm, even though you’re not feeling calm but you sound it because you have to be. Not emotive. You have to be good at giving bad news without dramatising it. You have to deliver something impartially but also with warmth. You want it delivered by somebody who’s not going to react to what you’re reading in any kind of emotive way. You don’t want to sound angry about something, even if in your head you are. You don’t want to sound very, very sad when something very sad has happened: because it is a sad thing it doesn’t need the newsreader to load it up with their sadness either. So, you have to be very concerned and warm but also slightly set apart. You’re talking to a friend. (It’s like) some news has happened and you’re driving along and you see someone you haven’t seen for a little bit and you say ‘oh my goodness, you’ll never guess what’s happened’ and it’s that kind of thing… but you don’t dramatize it. Don’t sound as though you’re about to burst into tears if it’s a really sad story, the story speaks for itself.You are a conduit. You have to deliver it calmly but without sounding like an automaton.”Susan Rae, BBC radio 4 newsreader/announcer,“You’re On The Air” podcast December 2020 Such rapport defies satisfactory definition. It is a kind of chemistry that exists between presenters and their audience. A ‘focused energy’. Hosted on Acast. See acast.com/privacy for more information.

2022.05.21 – 0506 – Stop Thinking What You’re DoingFinally - stop thinking about what you’re doingWhen you read a story or a script for the first time, be mindful as to its immediate meaning. What jumps out of the page at you? What’s surprising or shocking? What’s confusing or concerning? Capture the sense of discovery and realisation so you can bring it to your performance later, to make it more naturalistic. Just don’t think about creating that feeling … don’t act it or read it. Just open the tap and let the feelings flow into you and immerse you as you convince and compel in your conversation with your listener, reflecting its meaning. Hosted on Acast. See acast.com/privacy for more information.

2022.05.20 – 0505 – Rehearsing ConversationalityRehearsing reading out loud makes you a better communicator; it’s a skill that must be learnt and practiced so it sounds as though you are speaking off the top of your head.Another killer of the conversational read is being in the ‘performance zone’. If you feel as though you are ‘acting the part’ of a voiceover artist or newsreader, that should be a sign to rethink your ‘attitude’. Clues might be:·        Speaking louder than normal, now of course you want to have energy behind what you’re reading, but lots of times, just a bit of smile and moving your body a little bit can add to that energy without projecting too much. ·        Over pausing can ruin a conversational read·        Too much drama, annunciation or inflection. A conversational read should not be too ‘in your face’. You don’t want too many peaks and valleys as that’s when you lose that believability and vulnerabilityBeing over stiff and stuffy. It’s okay to move your body. It really, really helps as long as your microphone doesn’t pick those sounds up Hosted on Acast. See acast.com/privacy for more information.

2022.05.19 – 0504 – A Giveaway That You’re Reading A Giveaway That You’re ReadingSometimes it’s obvious you’re reading something because it contains too much information that you couldn’t possibly know or remember. As an example, here is something that if read as written will definitely sound as if it is being read:“On Thursday July 7th 2005, three bomb explosions hit London Underground trains…”The reason it sounds as if it’s being read is because few people would remember what day of the week it was, so clearly the information is in front of you. If you want to come across powerfully, you have to engage in a little play-acting and say something like this:“July the 7th 2005 … I remember it was a Thursday …” There’s only one occasion when you should sound as if you’re clearly reading something; and that’s when you are quoting someone, in which case you should say exactly that: ‘…and I quote…’ Ironically, reading something flawlessly doesn’t sound impressive when you’re trying to make out you’re adlibbing. It sounds cold and matter-of-fact. If you throw in the occasional hesitation, gentle emphasis and change the pace of your presentation, it’ll sound like you’re thinking about it, as if it’s something honestly important to you. This will have more intellectual and emotional impact, which is what you want, if you want your listener to think you’re smart. Hosted on Acast. See acast.com/privacy for more information.

2022.05.18 – 0503 – 20/21 - Suspensions and Stumbles  20 - Suspensions and Stumbles Consider leaving in any genuine slips and trips - so OK, your recording may not be not perfect but it will be more naturalistic.Again, you can’t do this in a news script or voice-over session, but you may be able to in a podcast.21- Focus on The Message – Not Your Voice Or Breath All this will give the impression that these words, in this order are being thought and said for the very first time, right now. Hosted on Acast. See acast.com/privacy for more information.

2022.05.17 – 0502 – 19 - Unlock the Full Stops 19 - Unlock the Full StopsFree the periods and commas to recreate a natural verbal fluidity. Don't pause where the full stop/period is. Instead, ignore them – and break the flow of the words where it feels more natural to. And that’s not necessarily at the end of a grammatical chunk.And we saw before, sentences are an artificial way to marshal the written word. Conversationally we don’t use them. So you need to break away from the normal structure of sentences when wanting to read ‘naturally’, to give the impression that the words are just occurring to you, that you are delivering spontaneous thoughts. That you are thinking in the moment, not ‘reading’ a pre-prepared script. To help in this artifice, think of how you sound when talking with friends and replicate that style. Either re-mark your script, or adlib it live, so that punctuation is moved or even removed. ·        Don’t stop at the full stop – OK you can’t always do this but sometimes you can. After all you don’t want to pause at every single one as that’s not how we speak naturally. You need to find a rhythm and a flow in the story or the script, where a desire for understanding trumps punctuation. ·        Merge sentences together.Ask yourself: will the punctuation help you or the listener understand the information – or is it or getting in the way of a connected delivery? Hosted on Acast. See acast.com/privacy for more information.

2022.05.16 – 0501 – 18 - Play With Your Voice 18 - Play With Your VoiceWhen you are able to, surprise yourself with what you can do with your voice. For example, you don’t just say “no” as a single note and syllable, it could be “Noooo”. Imagine for example that your other half is teasing you for taking a newly baked bun from the cooling tray. They know you have taken it, and you know they know, and they’re not bothered, and they’re joking as they caught you out: “Have you taken a bun?!” they ask with a smile on their face. “Nooooo” you reply, with a smile on your face and with a cake in your hand halfway to your mouth!The turn on a word that is more than intonation, that helps make it natural and says more than the letters can by themselves.“Y’know it’s Donald Trump’s last day as president? Weeeelllll, his wife Melania has recorded a video message saying…. (pause for effect) the country should pull together.” Hosted on Acast. See acast.com/privacy for more information.