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2021.10.28 – 0301 – More Intonation Confusion In a news item about the Kashmir earthquake, one presenter said that she was going to speak to “someone who was in the country [Pakistan] at the time of the earthquake”. But she highlighted “country”, which made it seem that this person had gone off to a quiet rural retreat. The new and newsworthy information is that that person being spoken to was an eye-witness, experienced what happened, and so the phrase that needed to be highlighted was that they were there at the time. Many people will also lift the word in, saying someone who was in the country. But by highlighting this word they give the impression that the person is usually not there. Again, the significance is that they were there at the time. One more: “Her parents say Adele had made several calls to police about her boyfriend’s violence but nothing ever happened. Police say there’s no record of any such calls being received.” Let’s concentrate on who is making the contradictory claims:·        Her parents say – bearing in mind that this section seems to come from a longer report about the disappearance of Adele. So she has been introduced to the listeners already, but this is the first mention of her parents, so parents. ·        Police say – and parents saying something is balanced with police saying something else.  But consider the inference you are making if you colour the word say in either case, you appear to be disbelieving or perhaps even snide. A more conversational example might be along the lines of “Susan says she didn’t take my phone, but I don’t believe her”.  So you usually highlight says, when you are suggesting disbelief.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehtt

2021.10.27 – 0300 – 8 – Beware of Potential Intonation Confusion We have already seen how colouring different words in a sentence leads to a change in meaning of that sentence. Therefore, if you colour the  wrong word, the meaning of the sentence becomes wrong too. In 2021 there was a lack of lorry drivers in the UK which hit distribution companies and threatened to lead to higher prices for products and stock shortages. It was suggested this was because of the Coronavirus pandemic and the results of Brexit. It led to this report on BBC news. Where have all the lorry drivers gone? A shortage of drivers has been blamed by among others, the German confectionary giant Haribo, for problems delivering its sweets to shops in the UK. [1] In the light of what we have learnt so far, let’s look at the words to lift here:·        Lorry drivers – this is the start of the story and so this phrase is new information·        Shortage – a lack of drivers has already been suggested by the first sentence of the story, so the colour on this word needs to be slight rather than significant·        Blamed – this is new information and as the sentence progresses you see that it is the point of the story·        German confectionary - new information, so these words need to be lifted·        Haribo - new information, so these words need to be lifted·        for problems delivering its sweets ­– this information has already been implied by what has gone before: a shortage of lorry drivers (who deliver things), a confectionary company (sweets) – so none of this needs to be coloured ·        to shops in the UK – we only need to lift UK here to contrast with Germany and highlight that it’s a problem in the UK and not where the company is based. It is illogical to lift the word its - and yet that is what the reporter did: problems delivering its sweets to shops in the UK. But in doing this it gave the impression that Haribo also delivers sweets for other companies, and that the shortage of drivers only affected deliveries of those brands and not Haribo’s, which was incorrect. So, a mis-placed stress can be confusing and misleading.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it i

2021.10.26 – 0299 – 7 – Take Notice Of What Is Implied When no contrast is impliedThere are some phrases in which to colour one part over another, suggests a contrast that does not or cannot exist. On occasion you are able to rewrite the sentence so the anomaly disappears: “Police have found a dead body on wasteland in the city centre”. A ‘body’ in this context is by sheer definition, dead (otherwise the discovery would be referenced as “an injured man” for example). It would be odd to lift dead and supress body, or indeed the other way around. You could lift both words and that would not be wrong, but better still, omit the word dead completely to give an easier sentence to read and to understand.  In a story that starts a bulletin with, say, “A hundred pregnant women have won the right for a home birth”, don’t lift pregnant and dampen women as that suggests that you have previously been talking about women, where you have not. The opposite problem might be if you dampen pregnant and lift women as that would suggest that pregnant men were not involved in the story. And so, as you need both of these words, lift both of them, pregnant and women.  Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic

2021.10.25 – 0298 – Purposeful Mis-IntonationIt’s similar in this e-learning script: “Human beings inhales mainly oxygen and exhales mainly carbon dioxide…” – we might normally say ex-HALE, but because of its contrast with an earlier word we say EX-hale. And on this government website: “… whether it’s national or international trade…” – instead of the more usual pronunciation of inter-NATIONAL, we say INTER-national so it contrasts with the NATIONAL mentioned previously. Or this training ‘pitch’ video: “We have supported personal growth in teams of various sizes, at profit and non-profit organisations…” – if you were asked who you worked for you might reply that it was a NON-PROFIT group. In this context, you keep the colour on the NON and erase it from the PROFIT, so the NON stands out in the context of the sentence.  Or with this eco company: “Our mantra is to use and re-use…” - usually you may say that you re-USE your teabags, but the contrast here distracts that, to sound natural, you lift then prefix RE instead. On a school ‘behaviour’ notice for pupils: “Be helpful rather than unhelpful…” – if the sentence was “all children are unhelpful”, the weight would be “unHELPful”. To signpost the sense in this sentence though, you are contrasting the balance between those who are assisting and those who are not, by colouring it thus: UNhelpful.  Remember:·        You are not reading words on a page.·        You are not reading sentences.·        You are trying to get over a meaning, through meaningful intonation.  Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/50

2021.10.24 – 0297 – 6 – Shades of ColourIn your ‘vocal palette’ you:·        slightly colour new information…·        give slightly more colour to the first part of contrasting information…·        and slightly more again to the second part of contrasting information. That’s because you have to give credit to your audience: they understand that there is a pattern in the ‘emerging explanation’ of what you are saying, that you are going to mention everyone by name and the locations and times. You just need to bring subtleties to the differences. Let’s go back to some previous sentences:·        “I think it’s better to go by plane rather than by train” – you slightly colour plane, but colour train more ·        “Would you like chicken, fish or pasta?” – you colour by increasingly subtle degrees each of the foods on offer. Say these sentences aloud and you’ll hear that this pattern of intonation is indeed what you use naturally, day by day. Let’s look at an example from a voice-over script which introduces another small point. It’s for an advert for a firm of solicitors which specialises in Wills: “So if you want us to write a new Will or rewrite an existing one, then call Williams & Williams Will Writing Solicitors on…”  So what’s going on here? You would, I suggest, naturally want to lift “write”, “new Will” and “rewrite” and “existing” as they are all new pieces of information (not “one” as that is a synonym for Will, and so old information). And you also have some ‘balancing words’: “write” and “rewrite”, “new Will” and “existing”, which contrast with one another.  But read that sentence out loud, and don’t you automatically (and correctly) colour the “re” of “rewrite” almost more than any other word or syllable? That’s despite us usually putting the weight on the “write”. Try it that other way, with the colour on “write” and “write” and you’ll hear that it just sounds plain wrong: “write a new Will or rewrite an existing one”. And that’s because the context of the contrast here is between drafting an original Will and amending an existing one.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP

2021.10.23 – 0296 – Guiding The ListenerIt’s a complicated explanation, and your intonation will help the listener through who is doing what with who and when. And that of course is the point of intonation – to signpost the sense of a story. Here’s another example. Read it aloud naturally and then look at the construction and with what you know so far, work out the contrasts and therefore the ‘colour words’ that are there. “The climate action group said humans were felling too many trees, flying too many miles and eating too much meat.” Wouldn’t you lift “felling”, “flying” and “eating” which balance each other, as well as “trees”, “miles” and “meat”? But again, remember subtlety and nuance. You don’t need to batter your listener’s ears with a push of projection, or a volume of voice by the same amount every single time there’s new information and a contrast. Which leads us to …Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLi

2021.10.22 – 0295 – Contrasts Within Contrasts Let’s make it a bit more fun, because sometimes there’s more than one contrast, or contrasts within contrasts! “Some dealerships give you a free vehicle wash with every service, we give an internal valet too … with every service and every winter tyre change.” Note the contrasts between “some dealerships” and “we” … “free vehicle wash” and “internal valet” … and “every service” and “every service and every winter tyre change”. “The union leader says more talks should happen tonight, before Tuesday's strikes. But his deputy says the deal already offered should go to the vote first.” Here the balance is between:·        the union “leader” and the “deputy”·        “tonight” and “Tuesday”·        “more talks” and the “strikes”·        “more talks” and “the deal already offered”·        the “strikes” and a “vote”. You’re on holiday with your friends and you all want to do something different tomorrow and have a long discussion after which you say: “So while Jack and James go to the museum, Harry, Harriet and Horace will go to the supermarket and buy sandwiches and drinks for today and soup and rolls for tomorrow, and Patsy and me will get up late because of the delay getting here yesterday, and then we’ll all meet up at either the Italian or the Sushi restaurant later … but did you say at 7 or 8?”. Wow! Can you spot the contrasts interwoven with the new information? Here are a few of them:·        All the people’s names contrast with one another, and will be coloured: Jack, James, Harry, Harriet, Horace, Patsy and ‘me’ (which is a synonym for ‘Peter’ of course, but it’s new information).·        The locations are contrasting (remember, “while this is happening here, that is happening there”?): museum, supermarket, ‘here’, Italian, Sushi.·        The times contrast: today, tomorrow, yesterday, 7 and 8.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applica

2021.10.21 – 0294 – 5 – Look For The BalanceLook for the fulcrum in the story – what balances one side of it with another. A story is often a story because the arc is based around an axis-point: ‘while this is happening over here, that’s happening over there . . .’, or ‘he says this, but she says that’. In your head you probably just read that sentence, slightly lifting the words “this”, “here”, “that”, and “there”. That’s because those words are giving ‘context through contrast or comparison’. ·        “The government says their proposal would be progress, but the unions say it’s a backward step.”·        The prosecution says he killed the shopkeeper deliberately, the accused says it was self-defence”·        “Some companies only give a five-year guarantee, we promise to repair or replace for a decade” ·        “The race favourite was ‘Going Solo’, but the winner was ‘Acapulco’.” In these sentences the fulcrum is at the comma, with contrasting balancing words either side of it. (Note that these are not synonyms, as the horses and where they came in the race are different.)  Deciding how to get to the holiday location: “I think it’s better to go by plane rather than by train”, you naturally highlight the two modes of transport which could be considered, and which contrast with one another, “plane” and “train” – and in doing so supress the ‘grammatical grouting’ that joins the two together “rather than by”. While on the plane, the cabin crew staff offer you a meal: “Would you like chicken, fish or pasta?”, again the meaning-ful words are those which introduce information, which are also the ones which are balancing (yes, you can have more than two parts to this intonational fulcrum!). So whereas you supress “Would you like”, you highlight “chicken”, “fish” and “pasta” (and also suppress the ‘grammatical grouting’ of “or”.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp:

2021.10.20 – 0293 – 4 – How Long Before An Old Idea Is New AgainYeah, good point. I mean, if you’re reading a longer script, a word, term or idea may keep reappearing. You can’t subdue every subsequent reference to it just because you said it two paragraphs or pages before. Indeed not. It becomes a new idea when other information has been introduced subsequently and taken the listener’s attention away from that ‘new thing’. It may be a ‘recycled’ new idea quite quickly – sometimes within a sentence or two, because of the ‘Key Of Contrast’ (see below).  “Police said they were looking for a woman caught on CCTV. They’d arrested a man, but they were still looking for a woman.” I have underlined the ‘key contrasts’: woman is contrasting with “man” and “man” is then contrasted with “woman” again. So even though “woman” is an ‘old idea’, you colour it so it stands as a contrast to “man”. Here’s another example: “The best present I got was the watch from my girlfriend. I mean, I got a jacket, a phone, theatre tickets and a surprise party, but the watch from Julia meant the most.” Here we have a longer section, but can you hear when you say this sentence how both references of the “watch” and “girlfriend” (or the synonym “Julia”), need to be highlighted? Again, it’s for ‘contrast clarification’.  On occasion you highlight the same word or phrase over and over immediately. Can you think when you might do this? Can you think why it might be useful? Can you think of an example? Yep, repetition for reinforcement. You could drop “can you think” on the second and third instance, but it may be that you want your listener to realise your reiteration and act on it. This ‘triple repetition’ device is very often used in speeches for more effective eloquence.  “Do you want a better future? Do you want a better life? Do you want to see us win?!” Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-licens

2021.10.19 – 0292 – 3 – Synonyms: simple and advancedWe looked at the basic synonyms earlier. This is when “the Prime Minister” is then referred to as “she”, or “The Green Fingered Gardening Group” is called “the business”. And we discussed how, just because it’s a different word, the idea is still old: that person, organisation or idea has already been introduced and so a further reference to them using either the same word or a substitute term, should not be lifted. There are exceptions – like when what at first glance looks like another synonym is actually another noun albeit associated with the same person, organisation, brand etc. giving, and this is important, new information. “The Prime Minister, a mother, is meeting the Women’s Institute…”  - don’t you naturally lift both “Prime Minister” and “mother”? “Mother” is not another term for a “Prime Minister”, it is, in the context of this story, another describer of that person, is new information and gives added context to the story. “The Green Fingered Gardening Group, an eco-friendly start-up run by students…” – we have lots of new information here, and all of it needs to be coloured with your intonation. There are no synonyms. You may have more than one describer of course, each giving new information about, say, the same person and each word needs to be coloured. “We are here today to pay tribute to our dear friend Fred. Businessman, sailor, cricketer, winemaker and gardener, but most of all, husband and father….”Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp

2021.10.18 – 0291 – ‘Reading In’ In broadcast newsrooms, the person who writes the introduction to a story (the cue) may not be the person who goes on and actually records the script of the story itself. That’s because larger newsrooms might have specialist writer and those who are on-air. In smaller newsrooms it’s because the newsreader (who will read the cue on air) is usually the person who finds and writes the whole story and asks a colleague to ‘voice up’ the main report (a ‘voicer’). The problem comes when the ‘voicer-upper’ doesn’t read the cue, before they record their script. And that leads to an ‘unintentional intonational disconnect’ between what the (live) presenter says and what the (recorded) reporter says, when the listener hears the story as a ‘single unit’. So the reporter needs to read the cue to themselves before they record their script, so they can get the ‘carry-on’ sense of the script and present it in the same way that the listener will hear it. Otherwise, in this story, the reporter might highlight “city”, a word that doesn’t need to be drawn attention to, because it’s a substitute for “Brighton” mentioned a few seconds earlier, albeit by someone else. “A 17-year-old boy's been arrested on suspicion of murder after a body of a woman was found in Brighton. The 69-year-old victim and the boy are known to each other. Peter Porter has more:Police were called to an address in Cedars Gardens in the Withdean area of the city just before 7 last night where the body of the 69-year-old woman was found….” OK. How would you read this sentence? “People often take water from the well in the belief that it makes them feel well.” I’m sure that you coloured both uses of the word “well” even though they mean different things. So yes, don’t be thrown by homonyms: it’s the re-introduction of a word with the same meaning that we supress, not the actual same word.  However, if the passage continued: “The well is said to be a thousand years old…” Then that word with that meaning is old, and so you drop your intonation for it.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Lic

2021.10.17 – 0290 – Grades Of Lifting And SubduingYou will remember the musical stave earlier, and realise that it’s not a matter of rising up from and down to your ‘home tone’ of intonation, in many cases you need to go below that tone to ‘un-colour’ or ‘subdue’ a word or phrase, such is its insignificance.  I have used the word ‘subtle’ and ‘nuanced’ before, and that is deliberate, because I want to show the shades of colour you can bring to words within a sentence when you intonate. The degrees of lifting and subduing are all shades.  Have you ever read an email from a manager or in an e-newsletter, where every sentence ends with an exclamation mark? They are scattered so liberally across the page that they begin to lose meaning! And that’s the same with intonation: too heavy a use too often not only clutters the context, but gives you little room to lift the words which really are important. In my one-to-one coaching sessions, I play audio from a national broadcaster who stresses (yes, in this situation I am using that word!) every few words:                              Recent changes to his condition which was previously life-threatening have led to Mr de Zoysa being charged with murder by the Crown Prosecution Service. Scotland Yard said Sergeant Ratana’s partner and son had been updated about what the force described as a significant development. So intonation is a matter of degrees, and like the value of shares, the colour you give to a word should go down as well as up.·        “And there’s a huge price cut of 40% off all our electricals’ stock”·        “A sinkhole opened up in the ground!”·        “Police seized a kilo of illegal cocaine” Read those sentences aloud and you will naturally drop “stock”, “in the ground” and “illegal”, because they are unnecessary words.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Lic

2021.10.16 – 0289 – Subduing Old Information: ExamplesLet’s look at the idea of subduing old information with a few more examples:·        “The England football captain and other members of the team” – you would not highlight “team” as you have suggested that is what you’re referring to (with the use of the words “captain” and “other members”), and so would simply lift the word “other” and subdue “members of the team”·        “Prince Charles, Prince William and many of the Queen’s other relatives” – it is presumed perhaps from the context that the listener knows that Charles and William are some of the Queen’s relatives, and so we simply need to alert them to the fact that they were joined by other relatives too, and so we colour the word “other” and un-colour “relatives”.·        “The sale includes gold rings, bracelets, earrings and other jewellery” – rings, bracelets and earrings are all jewellery, but the sale includes additional items to many and various to be listed here (say, bangles, pendants, cufflinks, tie clips, nose rings…) which may all be considered jewellery too. So we highlight the individual items as they are all new, and then “other” but not the word “jewellery” (which we subdue) as that is inferred from the previously mentioned list.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard

2021.10.15 – 0288 – When Information Is Implied VOICE BOX This subduing of old information also, as I mentioned before, goes for information which – although never explicitly said – is implied: A large fire has broken out at a coffin makers in Strabane, County Tyrone.The Northern Ireland Fire Service is at the blaze at O'Doherty's on Railway Street.Julie Journo reports. Let’s look at that very last line “Julie Journo reports”.  We all understand the ‘grammar of news reporting’, and we know that a person at a desk reads a few lines of a story with a picture over their shoulder of what they’re talking about, and then, a few seconds later when they say someone’s name, that’s their colleague who’s going to tell us more about it – the ‘reporter’. It is therefore presumed information that the reporter will be reporting. After all, what else would Julie Journo be doing (apart from, say, being introduced with ‘substitute terms’ such as “has more”, “has been investigating”, “has the latest” and so on)? The point is, in this case it’s the name of the person that needs to be coloured as that’s the new information, not the presumed information of what they’re going to be doing.  The only time you will colour a phrase that follows the name of the reporter in a situation like this, is if what they have done is new information: “…has been inside the burning building”, “…was with fire crew when the emergency call came in”, “… was inside the factory buying a coffin when the fire broke out”… Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attributi

2021.10.14 – 0287 – The Synonym Intonation Substitution. Here’s a quick way to work out whether you should be ‘colouring a synonym’: simply put into effect The Synonym Intonation Substitution.  This is: take a word or phrase that you think may be a synonym for something you have already said, and replace it with that first mention.  Then read those same sentences again – with the repeated word in both. If you naturally drop the second reference (as you likely will), then:·        You need to drop it again when you revert back to using its synonym·        You need to consider whether you need to use the synonym at all – and drop that word  entirely. So, if we have “A man’s been stabbed on Epsom Common. He was attacked as he walked on wasteland near the Wells estate.” ·        Hmmm do I need to raise or lower “wasteland”?·        Test it out by replacing “wasteland” with the word(s) you think it may be a synonym for·        This gives you “A man’s been stabbed on Epsom Common. He was attacked as he walked on Epsom Common near the Wells estate.”·        Read it out loud and realise that you naturally drop your intonation on the second reference to “Epsom Common”·        Revert back to the original script, vowing to now un-colour the word “wasteland” – as it means the same as “Epsom Common”·        And then you could consider dropping the word “wasteland” as well, so the sentence is a simpler read: “A man’s been stabbed on Epsom Common. He was attacked as he walked near the Wells estate.” Try it yourself with this copy: “Majorca, Menorca and Ibiza are being take off the government’s green travel list - following a surge in coronavirus cases on the Spanish islands. It means holiday makers - who haven't been fully vaccinated will have to quarantine for ten days.” Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping

2021.10.13 – 0286 – What To Do About SynonymsThe same goes when synonyms (other words which have the same meaning) are used:·        “A man’s been stabbed on Epsom Common. He was attacked as he walked on wasteland near the Wells estate.” o  Colour “stabbed” as this is new information, but un-colour “attacked” as it is a synonym. The same principle goes for “Common” which is highlighted, and “wasteland”, which is another word for the same thing.·        “The court heard how Mr Smith had set fire to the school in the early hours. The defendant said the blaze had been an accident.”o  “Mr Smith” is lifted as it is new information, but “defendant” is a synonym. So you only need to colour the first mention of the man, when it was new information, that is “Mr Smith” and subdue the detail when it is old information “the defendant”.o  Similarly, “set fire to” is new, and its synonym “the blaze” is old, so lift the first referenced and subdue the second.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed und

2021.10.12 – 0285 – 2 - Un-colour Old InformationUnimportant or old information (that is, detail which is already known or presumed to be known), can be ‘thrown away’ in your delivery and does not need to be highlighted. It can stay on your level tone or subdued.  “The crash was between two cars. The blue car hit the red car.” We just saw how you would naturally slightly highlight “crash” and “two cars” in the first sentence but would you colour the word “car” in the second? Go ahead and you will hear how wrong it sounds. That’s because we already know the accident involved cars (rather than trucks, coaches, taxis or motorbikes) – it’s old information. The new detail is the colour of the cars – so that’s what we highlight.  “Mary had a little lamb. The lamb’s name was Larry” - we lifted “Mary”, “lamb” and “Larry” because they are names or new information, but subdue the second reference to the lamb, because that’s old information., but lift its name.  Of course, you might say, that’s not how we would write a sentence – with a repeated word. And you’re right, you’d probably naturally speak by replacing the subsequent use of “car” or “lamb” with a pronoun. “The blue one hit the red one” and “its name was Larry”.  But that doesn’t change the ‘rule’: whether it’s known information through a repeated word, or a substitute for that word, you still don’t highlight its subsequent appearances.[1]  Let’s look at these two sentences again:“The crash was between two cars. The blue one hit the red one”“Mary had a little lamb. It was called Larry.” And actually, you’ll see that even though we replaced the repetitive words with pronouns, we didn’t even need to do that. Much of the content of the second sentences is so throwaway and insignificant, we could have just, as we may have done in a conversation, just not said most of it: “The crash was between two cars. The blue hit the red.”“Mary had a little lamb: Larry.” So old information, such as a repeated noun is not lifted, even if it is a replaced with a pronoun. And many times, the pronouns are so unnecessary anyway, we can remove them from the sentence as well. [1] Although there may be a few exemptions to this as we will see later.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronun

2021.10.11 – 0284 – What Are Meaningful Words? VOICE BOXMeaning-ful wordsThese are the words which help make the story, the story. They are the ‘magic key’ words to help the listener understand what is being said, rather than the (usually) shorter, more common words which are the ‘glue’ that holds the sentences together. When talking conversationally, we instinctively lift these key words, even without the benefit of a script or rehearsal time! It just naturally happens as the words tumble from our lips. It’s clever stuff, and something that if we want to make script-reading sound conversational, we have to deconstruct to see what is going on there … so we can replicate it in the ‘false reality’ of presentation. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/

2021.10.10 – 0283 – 1 - Colour Important New Information  Here are then, some keys to a good read. 1 – Colour Important New Information In ad-libbed speaking we naturally highlight the detail that ‘makes the story, the story’ – the information that is new and important, the facts that we want to draw attention to, and which propel the message… the ‘meaning-ful’ words and phrases. So ask yourself what the script is about and what makes it unusual. What is different, new or unexpected? “The crash was between two cars.” - You would naturally slightly highlight “crash” and “two cars” and speak the other words on a more normal level of intonation. “Mary had a little lamb” – the key words are “Mary” and “lamb” which you draw slight attention to by colouring each of these words as you say them. “Had a” are ‘grouting words’ that hold the phrase together and there is no need to highlight “little” as all lambs are small and so that adjective is of no significance and so does not need to be coloured. New information usually includes people’s names, their position or title, and geographical places. “The President is in France tonight, meeting with leaders of that country ahead of the big G8 meeting in Paris tomorrow.”  Usually as a commercial voiceover and a newsreader (apart from perhaps when you are directly quoting someone else) you are staying ‘in character’ – that is you are speaking as ‘you’. When you are reading an ebook as a voice actor though you may be various characters, or maybe you are the narrator telling the listener about the thoughts of one or other of them. In this situation, the information is new to the person being portrayed (either the speaker or the hearer), not to you as the reader or narrator. Let’s take a look at this: “With one more twist of the skeleton key, the lock clicked and the cabinet door creaked open. Nervously Robert opened the door wider and looked inside. He knew there had to be something of value inside but not exactly what it was. A minute later he was striding into the drawing room with the Chinese-looking vase carefully cradled in both hands. ‘They’ll be furious it’s just a vase’ he thought to himself. And he wasn’t wrong. ‘A vase!’ cried Ranjit in surprise. ‘Is that it?’ Alice said nothing. She had known for some time that the vase was there.” So here we have every reference to the vase coloured. That’s because different people are thinking or speaking about it. In this situation, the information is new to each of them in different contexts.  So as a voice actor, sometimes you are the narrator of the piece, and sometimes you are one or more of the characters, who themselves may be thinking to themselves, or talking aloud to one or more other people, any of whom may know the information that is being said to them – information that may be new, or old. You really have to concentrate then, to have your intonation fit with your characterisation.  Hosted on Acast. See acast.com/privacy for more information.

2021.10.09 – 0282 – Intentional IntonationTHE GUIDE to INTENTIONAL INTONATIONYour intonation education and behaviour modification, starts here!Accurate intonation is the most important of all elements in spoken delivery. It allows yourmessage to be communicated with precision.There is no point in reading if your listeners don’t understand the meaning. If you have any doubt in ‘how to read out loud’ think, “how would I say this?” rather than “how would I read this?” – that’s a trick that often results in an appropriate colour given to the key words. Then mark your script accordingly.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license  Hosted on Acast. See

2021.10.08 – 0281 – Emma’s StoryIf you understand the sense of the story, why it is relevant and interesting, then you stand a better chance of making it compelling when you read it. Put yourself in the place where the story happened, see it as you read it to add to your conviction… – like Emma, the travel reporter…  I was called in by the manager of a radio station to train his travel news presenter, let’s call her Emma Leven. He was at a loss to know what to do. She had a great voice and personality on air, but when it came to reading the travel news script, she just didn’t sound right. I met with her and listened to an off-air recording and immediately I understood what her boss had meant: the news of traffic and travel, congestion and diversions were fluently-read but without any ‘spark’ that she’d previously shown when talking with the main presenters.Within a few seconds I thought I knew what the root cause of the issue was. “You’re new to the area, aren’t you?” I said. “Yes”, Emma replied. “I used to work at another station, so I know radio, but I moved here just a couple of weeks ago”.I was at the station for a couple of days, seeing and coaching several people on their voice and presentation style, so I gave Emma some homework.“Are you free this afternoon? If so I want you to go to places in the area that over the last few days you keep mentioning on the travel news – the hot spots, the pinch points, the road works. First drive through the area, and then park and walk around for a few minutes. See where the hold ups are, work out why they are caused (it may be that three lanes go to two lanes either side of some lights, there’s a school nearby, a bus in a stop blocks a line of sight for example), and then see what else is around. Soak it up. Experience it. Takes some pictures. Then go to another hot spot and do the same thing.”The next day I arrived at the station for day two of the coaching and the manager greeted me. “What did you say to Emma? She’s so much better this morning!” he smiled.The difference was that Emma now understood the situation as well as the script. Previously she was just repeating the words, but now she could picture in her mind exactly where the problem was, and its significance. She was not only able to present the travel news with a more relevant tone, but she was also including more relatable information such as “the traffic’s now backing up to the supermarket there”, or “it’s a nasty junction just by the pub…” and so on.  Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is y

2021.10.07 – 0280 – - How to Sound Like You Know What You’re Talking About.- How to sound like you know what you’re talking about.You can do this by actually knowing what you’re talking about. (You can’t fake sincerity.)If you don’t know the meaning of what you’re reading, then how will you will be able to convey the meaning to your audience? Good comprehension leads to good intonation.If you are not interested, your viewer and listener won’t be. You don’t want one (or more) of them to think: “They don’t know what they’re talking about…!” as they may well do if they have ‘intonation frustration’ with how you are talking.It’s why over the decades TV newsreaders have tended to be journalists rather than actors. They know what they’re talking about and can bring a sense of understanding and significance to the script. Giving context to the content means their gravitas is genuine. (Actors can also ‘act’ at being a presenter, rather than actually being one…)Don’t sound a ‘fake and false phoney’.·        Realise the significance of the information you are passing on – if you are interested you will sound interesting·        Know who the intended listener is·        And their ‘desired response’ – and remember, it’s not how you feel about the story or the script, it’s about how you want someone else to feel, think or act differently after hearing it.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/

2021.10.06 – 0279 – The Bus Driver AnalogyIf you have ‘randomisation of intonation’ then it’s like travelling on a bus with a driver who keeps clipping the curb. You get so caught up with hanging on to the seat that you’re not ‘hanging onto their every word’.Your listeners have to be reassured where you are going with a script, so they can ‘enjoy the view’ of the message. That way they forget about the driver, and just enjoy the journey.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license  Hosted on Acast. See acast.com/privacy for more information.

2021.10.05 – 0278 – Intonation Is Easier If…‘Read intonation’ becomes easier if you:·        Understand the message of the script or story·        Realise its significance – if you are interested you will sound interesting·        Know who the intended listener is·        And their ‘desired response’ Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license  Hosted on Acast. See acast.com/privacy for more information.

2021.10.04 – 0277 – Nervous NewbiesThis person is a beginner in reading, perhaps live on air. Their problem is that they start their read not on their ‘home pitch’ but one or two octaves higher, which means that when they need to intonate a word using a slightly higher pitch there’s little head room to move in to. It can sound painful for humans to hear – although dogs may be able to!  As well as internal and external stress contributing to a higher register, the style and content of some presenters leads to them speaking this way:·        Excitement – this will cause a voice to rise in register, it may be genuine excitement (during the commentary of a sports match), or non-genuine (the sub-consciously fake higher pitch of a game show host when giving away a prize, which signals to the audience that the event is exciting).·        Volume – a rise in loudness will naturally lead to a rise in register: it is impossible to shout in a low voice. So a ‘frantic DJ’ is likely to have a higher register than a ‘chill out DJ’.·        Projection – subtlety linked to ‘volume’, projection is more to do with how someone ‘throws’ their voice than its sheer loudness. For example, you will throw your voice further according to the number of people you are trying to engage (as well as their distance from you), and in doing so your register will rise. For example, imagine you talking to a single colleague in an office at work and the projection you would use. It’s probably quite low-key, yes? Now imagine that there are four people in that same location, all listening to you. The voice you will use has changed hasn’t it? Not really in loudness, but certainly in projection, and with it your pitch has changed too.When Intonation Goes WrongThink how the voice over felt when they mis-intoned in these situations.·        4-Skins wine – so-called as it’s “made with four of Nova Scotia's choicest grape varieties - Castel, Marechal Foch, Leon Millot and Lucie Kuhlmann”Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping De

2021.10.03 – 0276 – The ‘Grand Old Duke Of York’ ReadersThese are the presenters who rise in pitch as the sentence goes on, then pause three words from the end of it before completing it on… [1] a [2] downward [3] inflection.  They are in effect, marching their words to the top of the hill… and then down again. (Say those two previous sentences with a rising intonation on each word up to the ellipses, and then drop it … word by word.) You may have heard people like this: they’re often on the microphone at supermarkets or on airlines. “Ladies and gentlemen, welcome onboard Flight B74 from London… to Hong Kong. Please fasten your seatbelts and secure all baggage underneath your seat or …in the overhead compartments. We also ask that your seats and table trays are in the upright position … for take-off. Please turn off all personal electronic devices, including laptops… and cell phones.” Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicen

2021.10.02 – 0275 – ‘Intonation Stew’ ReadersSometimes I hear a script that sounds like an ‘intonation stew’, with intonations rising and falling for no apparent reason, and emphasis either in all the wrong places.It’s always hard to listen to that kind of read, because it’s completely un-natural. That is, it doesn’t mimic the way we speak in conversation, which is one of the skills you need for successful voice acting. It sounds like a really poor ‘robotic’ voice you hear on kids’ games form the 80s or still on some public transport systems where each word has been recorded separately and the computer then takes each individual word and tries to create a sentence with it.In a human being, this kind of read comes from not understanding that you need to analyse the words, to find the meaning of, or the intention for, the message… and then tell the story of that message.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/st

2021.10.01 – 0274 – Action IntonatorsI have also read advice to “stress every verb, because they’re action-words”. That is simply wrong! There may be some sense in colouring (not ‘stress’ please!) some action words (as long as they are keys to the sense of the script (see below) such as run, fight, punch, jump and so on. They are certainly ‘action verbs’. But what about other verbs? Sleep, cry, collapse…? Verbs simply do not always express action. So such advice is ‘intonational nonsense’.  Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license  Hosted on Acast. See acast.com/privacy for more information.

2021.09.30 – 0273 – Plonking“Just a little tip, you don’t underline every third word for emphasis because it sounds really unnatural” that’s what Ira Glass the host and producer of the radio and television series ‘This American Life’ is quoted as saying.[1] Similarly, NPR says: “You should give certain words a little punch, but in a way that doesn’t just mean you scream every fourth word and whisper all the others.”[2] Plonking in intonation on every ‘however-many-words’, shows you have a completely incongruous understanding of the content you are supposed to be explaining, and a contempt for the listener who you are supposed to be explaining it to: they are not worth the effort to get it right. Plonkers are actually plonkers[3]. [1] https://ocw.mit.edu/courses/biological-engineering/20-219-becoming-the-next-bill-nye-writing-and-hosting-the-educational-show-january-iap-2015/day-3-storytellers-toolkit-pt.-1/day-3-part-1/AjK2zF9yN0k.pdf [2] https://training.npr.org/2015/02/25/how-sam-sanders-is-finding-his-voice/ More from Ira Glass on ‘Storytelling’ here: https://www.youtube.com/watch?v=5pFI9UuC_fc&list=PLE108783228F1E008&index=1 [3] In British English a plonker is a silly or stupid person.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.

2021.09.29 – 0272 – Intonation ConstipationThis is when there is barely any intonation at all – your presentation style is as flat as Ian McDonald on diazepam.[1] With such a delivery, all the ‘story signposts’ are at the same level. Low. And even though the delivery may be unemotional – good on occasion – it may also be considered uninvolving or uncaring, or rude and does little to help lead a listener through the lanes of learning. Rather than get a full understanding, they’re more likely to fall asleep. You need to stop sounding boring and stop them from snoring. [1] Ian McDonald was the Ministry of Defence spokesman during the Falklands War of 1982, when he provided televised updates as British forces recaptured the islands from Argentina. During the three-month conflict, he became known for his restrained, and at times emotionless, style of delivery. Mr McDonald later admitted his emotionless style of delivery was deliberate, as he felt it could lessen the impact of any bad news. "I knew right from the start there would be bad news as well as good news, which is why the delivery I chose was drained of all emotion with no adjectives, short and truthful”. https://www.heraldscotland.com/news/17562230.ian-mcdonald-dull-voice-falklands-war-dies-82/ Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0

2021.09.28 – 0271 – The Stale Story ReadAnother close relation, The Stale Story read is also the style of the 24-hour news channel presenter, who is reading the same script for the umpteenth hour and forgets to inject an element of understanding into it. It’s the style of the autocue automaton who forgets that someone is hearing this information for the very first time and to them it should be presented as ‘fresh facts’ and ‘new news’ and an intonation that will help signpost its significance.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license  Hosted on Acast. See acast.com/privacy for more information.

2021.09.27 – 0270 – The News Channel ReadThis is the style of intonation in which every story is read in a similar style. It takes its name from the ’24-hour news’ style, where presenters don’t have time to read new stories off air before they do so on air. They get into a ‘reading rut’, a muscle-memory delivery that has the same pattern and intonation, rise and fall. Such a delivery is usually not very wrong, but not completely right either. It’s a basic non-committal, neutral safe style that ‘alright’ rather than ‘all right’, and ‘passable’ rather than ‘polished’. With this style, you can usually hear tension in the tone of the reader, who sounds uncomfortable with the information they are reading and are unaware of the direction the script is taking them.  Hosted on Acast. See acast.com/privacy for more information.

2021.09.26 – 0269 – Sing-Song ReadsHere then is my ‘Reading Rogue’s Gallery’ – ‘criminal intonations’ committed by newbies who haven’t been trained properly, and old hands who’re stuck in a rut. Sing-song readsThese are scripts read with a repetitive rhythm, with a similar rise and fall in one sentence as another. This kind of delivery shows that rather than intoning the correct words, you’re merely intoning the ones that appear in the same place in each sentence. Each sentence should come across as a new idea, but reading with the same rhythm - sentence to sentence - gives the impression to the listener that what you’re saying is something they’ve already heard. Sing-song is wrong-wrong as the rhythm detracts from the delivery of the message, and shows that that as well as not connecting with your script, you’re not connecting with your listener either.Formulaic colouring compromises communication.“I’m always very disappointed when I hear someone reading the news and it’s probably because they’ve never been told, and they’ve developed a pattern of how ‘this is how the news should be delivered’ and it’s a sort of sing-song pattern. And what it says to me is that they’re not really making sense of what it is that they’re saying, they’re delivering it because they think it sounds authoritative to do it in that way because that’s how they’ve heard someone else do it.And you just have to unlearn all of that stuff and think about telling the story.A good way of practicing is to read something that isn’t news and just practice reading actual stories, fiction, and telling that story in a non-newsy way and then picking up a piece of news and trying to apply the same thing. Obviously, it’s very different but it’s a good way of untraining those bad habits.”Zeb Soanes, BBC radio 4 Newsreader and Continuity Announcer[1] A way to overcome much of a sing-song read, is to vary the length and structure of each sentence (we looked at this earlier), to upset a rhythm before it can take hold. However, there is a close relation to the Sing-song read and that’s… [1] “The Voiceover Social” podcast. 14th November 2020Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleep

2021.09.25 – 0268 – When Wrong Words Are Intoned If the wrong words are ‘intoned’, you are not achieving the main part of your job: effective communication.·        the listener may not be able to follow·        you may lose their attention entirely·        they may become annoyed as they struggle to understand the sense of the story·        you may give the impression that you are biased for or against the story you are reading·        or imply that you have little confidence in the importance of the story or the interest others may have in it.·        you may sound ignorant – as though you don’t understand the story·        you may sound like a robot! - like a newsreading colleague of mine who was told by the editor “if you don’t know what words to stress, simply stress every fourth one”. If your performance is negatively memorable, then you’re easily expendable.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: h

2021.09.24 – 0267 – When Intonation Goes Wrong When Intonation Goes Wrong Later we will look at intonation, the lift or suppression of individual words and phrases to indicate significance.  Mis-emphasis destroys the authority and believability of your delivery. Intonation is greatly misunderstood and badly taught – if at all. While researching content for this book to add to my extensive notes and experiences, I came across a company offering training in ‘how to speak like a broadcaster’.For $500 per day per person they offered group training in their technique which includes the advice:“Begin your statement in your ‘natural’ tone. Then move up one step higher on the speech stairs early in your statement, which is typically on the second or third word. Then move your pitch down the imaginary speech stairs on each syllable for the rest of your statement.” Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-l

2021.09.23 – 0266 – Un-Colouring Words And the counterbalance to colouring or lifting a word or phrase, is ‘un-colouring’ or dropping a word or phrase. It’s part of ‘throwing away’ unimportant information, and is just as important as highlighting the ‘best bits’. Without one, there would not be the other.  People do not process every word you utter in their heads - they listen only for key words that unlock the meaning of the sentence, and they interpret words that you leave alone (or un-stress or un-colour) as ‘filler-words’. We will look at more examples of this a little later, but in those phrases above, the key words which are coloured, are: “tell”, “ready” “is” and “watch out”. These words give meaning to the utterance. The un-coloured words are “now”, “him”, “is”, “he”, “where”, “he”, which are filler words, helping keep the grammatical structure of the sentence. The mortar rather than the bricks.  The key words are like coloured bricks, all subtly different. The mortar holding the bricks together, is the same colour. The bricks build the ‘wall of the meaning’, the mortar gives it structure. Inaccurate intonation is one of the most common symptoms of a fake read: mis-colouring creates confusion. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org

2021.09.22 – 0265 – The Intonation Colour Chart Intonational ‘colour chart’;There are four basic levels: Level 4 - Special Stress – more energy emphasis  Level 3 - Primary Lift - slightly raised in range Level 2 - Home Base – your natural resting ‘mono-tone’Level 1 - Finality - low pitch  This is how that framework can be used: [1]·        Statements of fact/command: “Now tell him” 2-3-1·        Interrogative sentence: “Is he ready?” 2-2-3·        Questions with interrogative words: “Where is it?” 2-3-1·        Fright or excitement: “Watch out!” 4-4 [1] This format has been adapted from another source which I believe to be “NSW DET 2002 Certificate IV in Broadcasting Radio Learning Guide” D.P.Guilfoyle 1997. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https:

2021.09.21 – 0264 – Graduations of Intonations Intonation GradationsIntonation requires you to give the correct degree of colour to ‘key’ words or phrases in asentence, to show which of several possible meanings is intended. ‘Colour’ is a nuanced combination of:·        Pitch – when we change the inflection or tone of the word by lifting it (this happens most frequently in intonation) ·        Projection – pushing the word more forcibly·        Volume – making the word louder·        Speed – saying a word slower than those around it to concentrate the listener ·        Pause – a slight break before or after a phrase or word (or both before and after) to highlight that it is new and/or important. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-ti

2021.09.20 – 0263 – The Intonation CodeSo you will see by now that your intonation can greatly influence the meaning of the message and you have to select the weight of your intonation carefully to ensure that the correct information is communicated to your audience.Intonation is the code we have to unlock the meaning of what people ‘really’ mean – without them having to explain it all for us.And that is all great when we are adlibbing, discoursing and generally being gabby conversationalists. But then we come to read out loud … and we have to decipher squiggly hieroglyphics on a screen of glass or a piece of paper. We are supposed to sound as though these ideas are just occurring to us and we are saying them naturally and fluently. But if no-one has explained the ‘rules’ of natural intonation, then we don’t know how to apply them in this false situation.So, the ‘rules’ in a moment but first, the foundations.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-

2021.09.19 – 0262 – An Intonation Exercise You want another example? Try this: “He lost the point”. But depending how it is ‘intoned’ it could mean: ·        “He lost the point” – everyone else tried really hard, but that point loss? It was down to him.·        “He lost the point” – we had all hoped that the point was going to be won, it was down to the wire, on a knife edge, and against the clock, but in the end, yep, he lost it.·        “He lost the point” – Yep he lost the point, but k’know what, we won the game!Now here’s one for you: “Jack bought a new car” – what possible meanings can we give to this five-word sentence depending on the weight we give each individual word?Let’s double-up with a ten-word sentence: “You mean I have to be there at ten tomorrow?” can you see all the different potential meanings here, depending on what words you colour with your intonation? Even a two word sentence can have all sorts of intonation implications: “He left”… Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (i

2021.09.18 – 0261 – The Red Hat MysteryThose examples were with a single word, so now let’s try a similar exercise with the basic sentence “I didn’t say Roger took the red hat”. How we say each of those words, in relation to the others, helps explain more of meaning behind the statement than the actual words themselves.  I didn’t say Roger took the red hatI didn’t say that – but Maddy did. I didn’t say Roger took the red hatI said nothing of the sort. Everything you say is false. I didn’t say anything to anyone about anything. I didn’t say Roger took the red hatAll I did was suggest that Roger was probably the last person to see it. I didn’t say he actually took it.I didn’t say Roger took the red hatI said that Robin took it.  I didn’t say Roger took the red hatI just said that he borrowed it.  I didn’t say Roger took the red hatI meant that Roger was wearing a red hat when I saw him, but I don’t think it was the same red hat you’re referring to.I didn’t say Roger took the red hat… but he told me that he’d taken the green one.I didn’t say Roger took the red hat… but I know he took the red shirt. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin M

2021.09.17 – 0260 – “Hello…”Intonation is what we all use naturally every day in our conversational speech. As native speakers of whatever language, we have the rhythms and flows, the up and downlifts, the speed, projections and pauses, all in-built. That’s because we have heard the lilt of the language from inside the womb and every day since. And it’s the same when we hear people too: if your partner calls you on the phone you can tell immediately what kind of day they’re having – not so much what they say but how they say it: “You had a good day hun?” / “Yeah, it’s been great…” Without extra explanation, the written word has to be taken at face value, but the verbal word will be laden with additional meaning. “Hello.” A simple straightforward word that we say a dozen times a day to different people in different situations. And many of the times we say it, we intonate it differently. Let’s look at a single word, (perhaps therefore more of a look at its tone rather than its intonation in relationship with other words around it).·        “Hello” – when meeting a friend for a planned weekly lunch date ·        “Hello” – when meeting them for the first time since lockdown·        “Hello” – when bumping into them hundreds of miles from home while on holiday·        “Hello” – when bumping into someone you don’t much care for, while on holiday·        “Hello” – when bumping into an attractive stranger, you wanted to flirt with·        “Hello” - when bumping into a colleague in the corridor How we say a word – as we saw in the chapter on tone - gives meaning to it beyond its basic definition.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)L

 2021.09.16 – 0259 – Intonation Illustrations Intonation illustrationsIntonation is the ‘punctuation of the spoken word’ used to signpost meaning when we’re talking.Of course, in the written word there are various devices that can be used instead:“When did you get here?” Susan snapped, sarcastically.“SHUT UP!” he replied.To help the reader, the author and printer have worked together to tell the reader what’s going on:·        Italicisation – draws attention to the key word in a sentence. By putting “you” in italics, we know that that is the most important word in the sentence and that Susan is not so much interested in the time of arrival (despite the actual words used), but is implying that her displeasure at the other person’s presence at all.·        “Snapped” – tells us the speed at which the sentence was said.·        “Sarcastically” – tells us the tone in which it was said.·        Capitalisation (“SHUT UP!”) – tells us the volume at which it was said. Of course, speech came before the written word so these are just various devices that authors and printers have back-engineered to give readers additional information.But for actors in a play or those voicing up an audio-book, some of this extra information can be left un-said. By using intonation, they simply incorporate the ‘stage directions’ (“snapped sarcastically”) in their read.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.

2021.09.15 – 0258 – The Goldilocks Rules Of IntonationNuanced and naturalThe first thing to stress (!) is that intonation is usually a subtle blend of various vocal elements, nuanced and natural. It is usually not ‘stressing’, ‘emphasising’, ‘barking’ or ‘shouting’, all of which are the vocal equivalent of a thump on the table. And although we use CAPITALISATIONS to or underlining to mark our scripts and where to lift, we do so for practicalities’ sake. But in your mind, instead of emboldened words on a single line, think of the lifts and suppressions of words and phrases as something more like a melody line in sheet music. VOICE BOXThe Goldilocks Rules of Intonation ·        Too little intonation and you will sound monotonous, dull and boring.·        Too much intonation and you will sound crazy, or patronising.·        Too much repetitious intonation and you will sound ‘sing-songy’.·        The right intonation in the wrong place, or the wrong intonation in the right place will make you sound ill-informed.·        Good speaking is getting the intonation ‘just right’ – like the temperature of a bowl of porridge – to give the meaning without being misleading.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin Mac

2021.09.14 – 0257 – My Guide To Reading Out Loud, NaturallyHere is my guide on ‘how to read out loud naturally’[1] which I developed as a BBC news presenter and then went on to use while train colleagues in national and local stations across the UK.It’s a framework on how to vocalise various constructions of grammar, punctuation and logic which make up most news stories and scripts. Note I did not say ‘rules’, because although some sentences can only be read in one way, most can be read in a couple of ways to allow for personal interpretation, understanding and expression. But I did say ‘naturally’. That’s because the idea behind this framework is to give the impression of natural speaking, of ‘conversationality’, so your reading is both intelligent and intelligible. Don’t only read this section. It has to be read as part of the rest of the book. That’s because one’s tone, and volume and particularly pauses are as much a part of this technique as lifting and subduing individual words and phrases.And during the days that you read it, absorb it and practice the techniques suggested within it, make sure that you listen – not to broadcasters but to real people and how they talk naturally. What words they lift and drop, and importantly, why. Because the vocalisation of words and phrases can sometimes carry more weight than the actual words themselves.OK let’s go through this framework so you don’t fall victim to mechanical and meaningless recitations or oratorical affectations. [1] With reference to “How To Speak The Written Word” by Nedra Newkirk Lamar, Revel, 1967Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons

2021.09.13 – 0256 - Weight And Pitch in IntonationAn Introduction to IntonationIntonation is, then, the weight and pitch one puts on individual words or phrases that draw attention to their significance and thereby communicate the overall message. Correct intonation leads a listener through a story, with the reader an interpreter or trusted guide of the facts about what ‘makes the story, a story’. The reader of a newspaper is led around the printed page by its layout. Television approaches this with its graphics and strong visual element, but in radio the layout is invisible and sometimes inaudible. Stories are separated by pauses and there is only the reader’s voice and the writer’s ability to help the listener tell where one story ends and the next begins.Peter Stewart - “Broadcast Journalism” Routledgehttps://www.amazon.co.uk/Broadcast-Journalism-Peter-Stewart/dp/1138886033 Intonation is what we naturally do when we ad-lib a conversation. The trick is to work out what we do then, so we can do it when we read the written word out-loud, so we sound conversational in that situation too. We ‘lift the script’ so we appear to be ‘saying’ it, rather than ‘reading’ it. If you’re reading something on air and you want the listener to think that you’re ad-libbing, you have to sound as if you’re processing what you’re talking about and sound conversational. Most books on voice and public speaking omit training in intonation. I have been on one-to-one and group courses on presentation skills and again, and barely a word on this key skill. And you can hear the result of such lack of understanding on radio and TV stations, up and down the dial.This is not one of those books.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-

2021.09.12-0255 – Intonation Definitions Intonation – is the subtle combination of tone, pitch and volume that you give to individual words or phrases as part of your overall musicality of inflection – and that’s the point of this chapter.Therefore, I will refer to intonation rather than inflection as the way to read conversationally and with meaning.I shall be careful not to use ‘stress’ as the word can also be used to mean ‘physical or mental stress’ (causing tension in the body and leading to a change of voice). I dislike using ‘emphasis’ too much as I feel that this often gives the impression that a word needs to be ‘punched’ with increased energy and associated volume, where invariably to add significance to a word or phrase it simply needs to be slightly ‘lifted’ or ‘lowered’ in pitch, perhaps depending on whether it’s a question or a statement. Additionally, we have seen already that ‘pitch’ and ‘tone’ are different things. ‘Pitch’ is the register of the voice (simply put, ‘high’ or ‘low’). I use ‘tone’ for the overall sound that a story or script may be read in (‘concerned’, ‘serious’, ‘light-hearted’).Similarly, there is a subtle difference between ‘volume’ and ‘projection’, where the former is a basic increase in loudness or noise along the path to shouting (or ‘raising one’s voice’) and the latter is a more nuanced way of ‘throwing one’s voice’ when speaking on mic in a studio to ‘reach out’ to those who you cannot see. Projection is a close-cousin of lifting and emphasising a word.Of course, all of these elements are interrelated: intonation itself may involve a subtle nuanced combination of tone (as its name might suggest: in-tone-ation), volume, pitch and ‘punch’.Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-

0254 – Inflection Definitions INFLECTION AND INTONATION DEFINITIONSDefinitions for words surrounding different parts of speaking are many, varied and often interchangeable. For clarity I shall use:Inflection – the overall sound of a language. Listen to someone speaking in a language that you do not understand and the overall rise and fall of their sound, its musicality, is the inflection. ‘Cadence’ or ‘prosody’ could be considered other words for ‘inflection’. Inflection is the ‘sum of all the parts’ of all the elements in the various chapters here: the intonation of words and phrases + the projection + the tone + the pitch + the speed – all of which are nuanced in their own variety.We all have slightly different inflections because of our upbringings and personalities but in general, yours will sound one way when talking to a toddler, and another when talking to your boss. It will sound one way when explaining something complicated and another when you are recounting a funny story. For instance, a rising inflection would be heard in a sentence with a question: “Did you really just say that to him?!” when the pitch gets increasingly lighter.A falling inflection as you might suspect, shows finality: “I did – and I’m not worried and I’m not worried one jot”.Some sentences include a rise and fall: “But when she finds out about it – you could get fired” – in which you start with a rise in tone through to “about it” (which suggests that neither the story nor the sentence is finished), and then a falling inflection through to the serious finality word “fired”. A circumflex inflection is when there is a rise and a fall (or a fall and a rise) within a single word or even a vowel within a word. Think that sounds complicated? Well, actually we do it all the time. “There’s absolutely no wa-ay you’re gonna get away with it!” Yes, you could naturally just colour those two words either higher or lower, but in a tone of incredulity you’re more likely to bend each of them. (There’s more on this later in the chapter.)Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses

0253 – An Introduction To IntonationIn this Intonation Section·        How to recognize the principles of intonation used naturally in everyday speech·        How to apply these principles in ‘unnatural’ scripted words, written by someone else·        How to communicate the meaning of the reading – even with complicated content·        How to speak naturally ·        How to make the written word sound unforced and natural In short, how to give meaning to your reading Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https:

0252 – Non-Word SoundsIt’s not just words that are requested in voice overs and voice acting. As we just saw, there are sighs gasps and screams too. Here are a few more sounds which are often requested at sessions, and which might be worth you practicing:·        burping·        cheering·        crying·        drinking·        gasping·        laughing·        sneezing / blowing noseAlso common ones in games:·        climbing and lifting oneself up ·        jumping up, landing down and falling impacts·        punching and being punched·        kicking and being kicked ·        lifting an object (light, medium, heavy)·        throwing (a rock, spear)·        dying (from being stabbed, choked, shot and so on)Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build yourconfidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mictechniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start apodcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are notrandom topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life andhas trained hundreds of broadcasters in all styles of radio from pop musicstations such as Capital FM and BBC Radio 1 to Heart FM, the classical musicstation BBC Radio 3 and regional BBC stations. He’s trained news presenters onregional TV, the BBC News Channel and on flagship programmes such as the BBC’sPanorama. Other trainees have been music presenters, breakfast show hosts,travel news presenters and voice-over artists. He has written a number of books on audio and video presentationand production (“Essential Radio Journalism”, “JournoLists”, two editions of“Essential Radio Skills” and three editions of “Broadcast Journalism”) and haswritten on voice and presentation skills in the BBC’s in-house newspaper“Ariel”. Peter has presented hundreds of radio shows (you may have heardhim on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regionalradio) with formats as diverse as music-presentation, interview shows,‘special’ programmes for elections and budgets, live outside broadcasts andcommentaries and even the occasional sports, gardening and dedicationprogrammes. He has read several thousand news bulletins, and hosted nearly2,000 podcast episodes, and is a vocal image consultant advising in all aspectsof voice and speech training for presenters on radio and TV, podcasts andYouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change theirspeaking voice in some way. It is not a suggestion that anyone should, or bepressured into needing to. We love accents and dialects, and are well awarethat how we speak changes over time. The key is: is your voice successfullycommunicating your message, so it is being understood (and potentially beingacted upon) by your target audience? This podcast is London-based and examples are spoken in the RP(Received Pronunciation) / standard-English / BBC English pronunciation,although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/lice