Get A Better Broadcast, Podcast and Voice-Over Voice

2023.08.08 – 0950 – The ‘Gravelly’ Voice Gravelly voiceSymptom: A low, deep voice with little energy, projection or intonation.Prescription: This may be reduced by losing weight which could enhance better posture and increased energy. This will enable easier breath support (listen to episode 833) and projection, with more energy for increased intonation. (A series of episodes from episode 323 was about the volume of your voice.) Hosted on Acast. See acast.com/privacy for more information.

2023.08.07 – 0949 – The ‘Gabbling’ VoiceGabbling voice[1]Symptom:  Different situations require different speeds: a brash ‘pile ‘em high and sell ‘em cheap’ commercial is likely to be faster than one for luxury lingerie, a late-night presenter on a classical music station likely to have a slower pace than a jock on a city-based Countdown show. Having said that, someone who speaks too fast may not be pronouncing their words correctly. Or if they are, they may stumble more than they should. This may be as a result of their eye > brain > larynx > mouth workflow being unable to keep up with the speed demanded of them. While words are jammed together, parts of many of them (full syllables and clear consonants for example) may be lost. Also affected will be correct intonation (there may be very little, or too much), proper phrasing and of course proper pausing. The nuances of the copy is lost and what could be intelligible becomes incoherent. Prescription: The psychological issue here may be of someone trying to emulate an experienced and confident presenter who speaks faster because of those two attributes. Newbies should develop their own style of course. Faster speech if required, is made clearer with understanding your content, clear script markings, good posture and breath control, and enunciation exercises. Slower speech is easier to practice and it should come hand-in-hand with good diction, and an understanding of the script so the reader is clearly communicating… being expressive and not being an express train.·        Our series on the ‘speed of the read’ was covered in episodes 368 onwards A subgroup of this may be referred to as ‘shotgun speech’ when someone speaks suddenly, quickly and in a rapid outburst of words. This type of talking may be a sign of nervousness and lack of self-confidence, and as you don’t take much air in, can weaken your voice and affect the clarity of your diction. (See advice for ‘gabbling’.) [1] https://www.youtube.com/watch?v=NeK5ZjtpO-M&feature=youtu.be and https://www.youtube.com/watch?v=4X4Fy8YqysY   Hosted on Acast. See acast.com/privacy for more information.

2023.08.06 – 0948 – The ‘Forced Pitch’ VoiceForced pitch voice (also see: unnatural pitch)Symptom: Some people force their voice to produce sound at a different pitch than is normal or comfortable for them. Men and women may artificially lower their pitch in the belief that it gives them more gravitas or presence. (Raising the pitch is less usual.)  This results in an inauthentic delivery which the listener can usually detect. At the very least a listener may be concentrating more to the voice than the content, the speaker having created an obstacle to clear communication. Using one’s natural ‘home tone’ voice, a speaker has the ability to more-easily intonate in the range above and below it. Starting from a (usually) lower point gives the speaker less room for manoeuvre: they have increased their ‘ceiling’, but reduced their ‘floor’ which limits their expressive range. Prescription: Re-read the section on finding your ‘home tone’ (listen to episode 290 onwards) to discover your natural expressive range. You can help lower your voice in less damaging ways:·        Feeling confident for example in your surroundings and content will reduce your stress and so change your voice. ·        Your posture will give better breath support and will open up your chest resonator to give your voice a fuller sound.·        Holding your head up and opening your mouth properly when you speak will make full use of the resonators in your throat and oral and nasal cavities.·        I give a case study of a student who did this, in episode 217. Hosted on Acast. See acast.com/privacy for more information.

2023.08.05 – 0947 – Filler WordsFiller words (over-use of) Symptom: Verbal ticks in conversation, links and adlibs include words like “umm”, “so” and “yeah?” (and, indeed, “like”), or phrases such as “you know what I mean?”, “kinda thing”.[1]Prescription: ·        Record and listen back to identify the use and regularity of these words. Some may be OK, but too much may be grating on the listener. ·        Prepare your notes better so you know what you want to say and how you will end your thought. Adding some planned structure to what you say will keep it conversational and make it more listenable. ·        Relaxation, proper breathing and a judicious use of the pause, will create a calmer more decisive mind when you start speaking and so add to fluency.·        More tips in episode 637 onwards. [1] Lots of them, as well as other annoying vocal habits, are demonstrated here: https://www.youtube.com/watch?v=KwfopSOcb-w Hosted on Acast. See acast.com/privacy for more information.

2023.08.04 – 0946 – The ‘Ending Pattern’ Voice ‘Ending Pattern’ voiceSymptom: A variety of the ‘sing song’ pattern discussed below, this presenter may (annoyingly and predictably) end a phrase or sentence with the same or similar intonation. One beloved of news reporters is to speak naturally for most of the sentence and then pause, before giving the same emphasis to each of the three words… At. The. End. As you can tell it’s very… Annoying. To. Hear.Prescription: ·        This style maybe an unknowing verbal rut tha t the presenter has… Got. In. To. Gently highlighting it will help, together with looking at sentence constructions in scripts and… In. Ad. Libs. More examples of this in a short series of episodes from 267.Understand what it is you are reading, what is it about, what’s the context? Look again at the actual words you need to lift or subdue or to help tell the story. Listen back to episode 322 for more. Hosted on Acast. See acast.com/privacy for more information.

2023.08.03 – 0945 – the ‘Choppy’ Delivery ‘Choppy’ deliverySymptom: This is the style of [breath] having to take a breath [breath] after every few words [breath] in a sentence. The scrip is disjointed. Chopped up. Rather than a smooth flow. Short word-groups are said. Rather than a full, phrase. Or a sentence. And so, the script may be hard to understand. (I referenced a famous British newsreader who does this, in episode 412.)Prescription: ·        Ensure you have enough breath. Have you just been talking off air immediacy before opening the mic and so you don’t have a ‘full lungful’? You’ll also be out of breath if you run into the studio at the last minute. Relaxed breathing will help you read more smoothly and increase your words-per-breath ratio. ·        Relax. You may also have emotional stress affect their voice, as tension will restrict the amount of breath you can take and the support you can give it.·        Put aside time to read and understand the script. Some reads are perceived as choppy because the broadcaster is reading ‘blind’ and taking random breaths because they don’t know where the sentence is taking them and when the next opportunity it might be. It’s along the lines to what we looked in in episode 270.·        Be more conversational and don’t stop after every word. Some perceived choppiness is because the reader is being too precise in their diction, sounding every letter when we usually let words merge. For example: when one word ends with the same letter as the next word starts. So, say “that table” as “thattable” and “next time” as “nexttime”. Similarly, when the first word ends with a consonant and the next word begins with a vowel: “about it” becomes “aboudit”, “passed out” is said “passdout”. Individual words can be (depending on the context), be ‘thrown away’: “and” becomes “n”, “but” is said “buh”. We looked at diction from episode 126 and conversational reads from 446, both in some detail.·        Consider re-writing the script. Sometimes the words on a page (especially short sharp sentences of a commercial) are set out almost like a poem, with lines of a similar length. If it’s OK, change the layout and join up the phrases so you have your own rhythm, and provide a take of the original and the more ‘conversational’ read. There’s an example of this in episode 171. ·        Ignore the written punctuation slavishly, and go over them, so you run-on some sentences, and consider ignoring commas. More in episode 502 on this.·        Understand the ideas in the script, and the flow of them, so there’s a developing concept rather than a list.  Hosted on Acast. See acast.com/privacy for more information.

2023.08.02 – 0944 – Bunged up voiceBunged up voice (also see ‘nasal voice’)Symptom: This permanent ‘cold-like’ sound is caused by ‘not enough’ sounded air to get to the nasal cavity, where the resonance of sound is changed. The voice sounds ‘thick’ or ‘clotted’ and there’s little resonance where there should be in some sounds (say ‘mmm’ and ‘ng’ – as in “sing” – and pinch your nose, and the sound should stop!)Prescription: ·        However, the first thing to consider is that the speaker may have got into a bad habit (there is a current trend for this kind of sound which people may be emulating), or because of tension in the mouth and throat. The causes: either a raised back-of-tongue blocking airflow to the nose (do a ‘Mr Bean’ voice and you will feel what I mean). The very basic treatment is the same too: a relaxation of the mouth, jaw and throat, and lowering the back of the tongue.·        Consider too why perhaps air is having trouble leaving through your nose. Perhaps you have a cold or allergy that’s causing it to be blocked. Maybe they have become swollen because of cigarette smoke, dairy food, dust or dry air. You can effect change with some of these issues, although antihistamines can also dry up your mucus. Oh, and blowing your nose to clear the passages may inflame the membranes even more. (Listen back to episodes 63 and 870 for more on ‘allergies and the voice’.)·        Also consider always-helpful stress-busting techniques and looking at the potential cause of stress either personal (problems at home that are causing anxiety at work), or professional (upset with a colleague, uncomfortable at being on air, lack of training …). Episodes from 884 dealt with this topic.·        This may because by some kind of physical formation in the nasal area, best investigated by a specialist such as a speech therapist, ENT expert or allergist.·        The problem may be because you have a cold, so look back on the section on that, run previously. Hosted on Acast. See acast.com/privacy for more information.

2023.08.01 – 0943 – Breathy VoiceBreathy voiceSymptom:  A voice with lots of air, which disperses the sound waves, makes the voice weak, and soon runs out (such as that of Marilyn Munroe[1]). The cause may be serious, a physical problem in closing your vocal folds during phonation causing extra, unnecessary air to ‘leak’ as you speak. A breathy voice can be affected, put-on for dramatic effect when the speaker thinks it creates a sultry sound, but like any non-natural speaking styles it can be harming your voice.Prescription: If the cause is serious then it will be identified by a professional ENT specialist. Before booking an appointment with them, try this two-step solution. ·        Breathiness might be a real (or a perceived) issue of running out of breath as you speak. Relaxation exercises will help, along with better posture. Core exercises will strengthen your diaphragm to allow you to better control your exhalation rate by pulling in your abdomen muscles more slowly.·        Then concentrate more on word pronunciation, your phonation. This is something a speech therapist will be able to assist you with.(Episodes 524 and 851 may be of interest if you want to know more about this.) [1] Marilyn Monroe's breathy voice: https://www.youtube.com/watch?v=2DYVRT8LpWw  and https://www.youtube.com/watch?v=4jOMS-xXaqc   Hosted on Acast. See acast.com/privacy for more information.

2023.07.31 – 0942 – Dry Mouth ProblemsDry mouthSymptom: Unable to move your tongue around your mouth properly to form words leading to poor articulation and mistakes.Prescription:·        Learn to breathe in more through your nose, which moistens and filters the air. Although this is usually less possible when actually talking as we tend to take snatches of air through our mouth between thoughts, the mouth may be dry in the first place as ‘mouth breathing’ has become a habit. (More on what we knows about the nose in episode 63.)·        Drink plenty of water for several days before a speaking event to give you systemic hydration for your whole body, and keep topping up on the day to keep your mouth and larynx wet (topical hydration). Some say apple juice works wonders, others suggest running the tip of your tongue deep along the trench between your cheek and teeth, top and bottom. (A series of episodes from number 750 The Hydration Situation – will see you right.)Possible side effects: When you drink too much water, your kidneys can't get rid of the excess and the sodium content of your blood becomes diluted. This is can be life-threatening ‘hyponatremia’. Hosted on Acast. See acast.com/privacy for more information.

2023.07.30 – 0941 – The Boring VoiceBoring voice (aka ‘dull’, ‘flat’, ‘monotonous’, ‘uninterested’)Symptom: If you are having trouble being engaging it may be because your voice lacks variety, and so listeners have trouble working out what is vital and what is trivial. Prescription: ·        Maybe your voice is lifeless because that’s almost what your body is! Consider your posture: are you sitting in a relaxed yet upright position to allow life-giving CO2 easy-access to your lungs to power your sound? (Read the sections on this ___, and listen back to the podcast episodes from episode 15.)·        Work for more ‘melody’, so the words aren’t said at the same pace and tone (as though being fired from a machine gun), but with more ‘vocal variety’. Remember the elements of pitch, tone and speed.·        Speak in colour! Where ‘throwaway comments’ are said in ‘black and white’, quietly and without consideration, more important information (perhaps “free”, “unique”, “now” as well as the names of people and brands) are said in colour. That is with a stronger voice, and a greater variety of tone and slightly increased emphasis to cut-through. (Note, that is not shouting.) Podcast episodes 253 onwards will help.·        Consider whether you understand the key words in your script, especially if it’s been written by someone else. Being genuinely interested in the news or the script will help in knowing the context of what you are saying, and that is key to getting the correct variation into your presentation. Episodes 178 onwards discuss how to mark up your script.·        Use your hands to help your voice. And your face too. Your presentation doesn’t just come from your mouth, so go to episodes 430 onwards to hear about how the rest of your body helps you sound more alive and engaging.   Possible side effects: Be wary of over-punching words, or adding too much variety that you sound vacuously inane. Also see: sing-song delivery (which is when the voice has too much melody). Hosted on Acast. See acast.com/privacy for more information.

2023.07.29 – 0940 – YOUR ‘GET A BETTER VOICE’ SYMPTOMS AND PRESCRIPTIONS Although requirements for broadcast, presentation and voice-over work has changed over the years, less ‘announcer’ to more ‘natural’, you do still need a certain amount of vocal strength and a versatile, pleasing voice if you are going to communicate effectively with your intended audience. Many of the conditions below may cause the listener to shift their attention from the content, to the delivery[1], and then your desired message is lost. Therefore, you need to honestly evaluate your skills professionally. This ‘symptoms and prescriptions’ checklist will help you with self-correction before you decide whether to seek additional professional help maybe from a GP, speech therapist or other ENT[2]. Below is a helpful checklist or symptoms and prescriptions for various situations. Additional advice is covered in more detail elsewhere in the podcast series or book. [1] Comedy Routine given by Will Noonan at Club Comix Boston: https://www.youtube.com/watch?v=To0otqt0cQc&feature=youtu.be [2] Ear, Nose and Throat Hosted on Acast. See acast.com/privacy for more information.

2023.07.28 – 0939 – Emotional Stress After Vocal Injury Emotional Stress After Vocal InjuryThe flip-side of emotion causing changes to the voice, is when vocal damage then affects you psychologically, perhaps because of: ·        Sadness about the injury and how long recovery may take, if at all·        Stress about meeting a deadline, letting people down, loss of income·        Awareness that part of your identity is ‘damaged’·        Self-recrimination that the injury may be caused by something you did or didn’t doConsider then, that the healing process may involve emotional as well as vocal healing. FinallyBeware if you have been given a radio mic to wear that you turn it off when you want to let off steam to a colleague or go to the toilet. Many presenters[1] have been broadcast when in full flow, and in full flow. [1] And even famously, a politician, https://www.youtube.com/watch?v=yEReCN9gO14 Hosted on Acast. See acast.com/privacy for more information.

2023.07.27 – 0938 – How Emotions And Trauma Affect How You Sound Tears and cryingThey may be tears of joy, sadness, relief or something else, but tears can create vocal problems:·        Crying affects your vocal folds·        Snotty sinuses swell·        Long sobs (from a particular incident or over a period of time – such as in grief or depression) can lead to vocal damage such as nodes on the folds Rest is imperative: vocal, physical and psychological. How emotions and trauma affect your voice One woman was concerned about her decreased vocal range and tired-sounding, painful voice. After some time, it emerged that she had recently left an abusive relationship, but hadn’t realised that such emotional stress could affect her voice. After counselling and vocal rest, she gradually regained her previous sound. This shows that vocal issues may not be directly attributable to the folds themselves, but can be affected by other outside, stressful or psychological situations from starting a new job to death or illness in the family. Hosted on Acast. See acast.com/privacy for more information.

2023.07.26 – 0937 – Studio ‘Corpsing’CorpsingThis is when you collapse in uncontrollable fits of laughter, perhaps from a perfectly innocuous remark by a colleague, and you can’t get over your ‘fit of the giggles’. The BBC Radio Four newsreader Charlotte Green tells a great story on the website of the Guardian newspaper:-“The most memorable occasion was during an eight o'clock news bulletin on the Today programme with Sue MacGregor and Jim Naughtie, both of whom have a very good sense of humour. The mood was relaxed, the bulletin was about to end and I was preparing to read my final story. The voice piece playing had 10 seconds to run and the green light in the studio had gone on to warn me that it was coming to an end. Suddenly the name of the head of Papua New Guinea's armed forces, Major General Jack Tuat (pronounced Twat) resonated round the room. It is an open secret that I have a ribald sense of humour. I knew immediately that I was going to have trouble getting through the next story, which to compound the problem was about a sperm whale. In the few seconds before the voice piece ended, Sue repeated sotto voce, almost with a sense of wonderment, "Jack Tuat". I caught her eye and from that moment knew I was lost. My voice rose and dropped like Dame Clara Butt on speed, the laughter broke free and the item about the stranded sperm whale came to a premature end. I was transported back to my 10-year-old self, ambushed by mirth because my best friend had farted, unexpectedly and explosively, during school prayers. Poor Jim managed to splutter the words, "Good luck to the whale", before heroically embarking on an interview with a man named Pratt, who in the general chaos of the moment he then inadvertently called Spratt. It was a moot point as to which one of us slid under the table first!” [1] How should you get over that kind of situation? Look away from others in the room, get into another ‘zone’ mentally, read the words on the page while thinking of Great Aunt Agatha’s funeral, self-inflicted pain like digging your nails into your arm? These all work to some extent - but when the waves of laughter threaten to break the banks of broadcasting professionalism, there is very little you can do. [1] https://www.youtube.com/watch?v=vPtTqCNVdIE and another one, when normally straight-laced sounding Radio 4 presenter Charlotte Green can't keep a straight face after someone in the studio apparently whispers in her ear that the world's oldest sound recording sounds like 'a bee in a jar'. https://www.youtube.com/watch?v=zDojYyIWZ7A Hosted on Acast. See acast.com/privacy for more information.

2023.07.25 – 0936 – Breaking NewsBreaking News StoriesNews readers need to be cool under pressure. There are occasions when a story breaks just before, or while you are on air and it has to be covered immediately.  In such circumstances, a news presenter has to tread a difficult line between making the story sound urgent and important - without making it sound overly dramatic and possibly upsetting. A steady slower, more precise pace and more authority and a hint of urgency in the voice is necessary. A pause after the previous item and this piece of breaking news will help draw the listener in.[1] [1] BBC announces the death of Queen Elizabeth II https://www.theguardian.com/uk-news/video/2022/sep/08/bbc-huw-edwards-announces-death-queen-elizabeth-ii-video Hosted on Acast. See acast.com/privacy for more information.

2023.07.24 – 0935 – Stopping Silly Script-reading Slip-upsOther mistakesDon’t let yourself get in your own way! Knowing some of these will help you avoid them in the first place.·        Slow down if you can, and you’re likely to make fewer mistakes·        Consider that you may be going fast because you are thinking of something else. So, leave your troubles at the studio door·        Don’t allow distractions to compromise your concentration. If you can control it, control it. If you can’t (a crackling headphone lead, stale air in the studio) speak to someone whose job it is to sort it, and get it sorted. ·        If you keep tripping up over a certain phrase or can’t get the intonation right, it’s probably because it’s wrong, unnatural or ungrammatical. So, if you are allowed to, rewrite it·        See a pattern of what you trip up over, maybe the sounds or groups, and practice those The only thing you accomplish by rushing through a take, is getting through that take that much sooner. They ‘invented’ takes 2 and 3 for the pro’s, those who prepare and rehearse. If you don’t, then make good friends with takes 7 and 8 because you’re going to be seeing a lot of them. Hosted on Acast. See acast.com/privacy for more information.

2023.07.23 – 0934 – If It *Does* Go WrongIF IT DOES GO WRONG The Number One Rule Never swear anywhere near a studio. By keeping to this, the chances of you swearing on air are greatly minimised. It is not just main studios that have microphones and the ability to ‘go live’ - many production booths where producers answer phones can also be put to air, so do not let down your guard. Live-read fluffs Sometimes, you simply get something wrong. It might be your fault because you mis-read the copy, or someone else’s because their mistake was not seen in time. If you know as you say it that something is wrong, an immediate correction is best: “...that should be forty-two thousand ...”; or “...I’m sorry, that should be Watford football club ...” If you trip up over a word, just carry on as though nothing has happened. Only in the most serious of stories, where a mispronunciation would render the story incomprehensible, should you apologise. On most occasions dismiss the fault immediately and move on with the same tone of voice as before. If you sound worried or thrown off your stride, the listener is likely to take it more seriously too. Many trip-ups come from speaking too fast, so if you’re not live the first step might just be to take a breath, reset and slow down. Breath, smile and concentrate.  Recorded read fluffsNo need to keep apologising profusely if you slip up over a word in a recording session. There’s no need to point it out or give a running commentary of what happened, everyone knows you’ve done it, just stop and take a breath and start over again at the beginning of the sentence or phrase in which you made it. Make sure when you do so that you keep the melody, pitch, pace and tone the same through, so there’s a flow in the edit. “I’m sorry, let’s go again on that” is fine. (Hear episode #618) Sometimes people will do a perfect record and then near the end of the session say “I’m sorry that was rubbish, can I do that again?” There’s a balancing act between wanting to give your very best performance (and giving a few versions for the client to listen to and choose from or edit together), and coming across as lacking confidence. Try not to convince other people that you are not as good as deep-down you know you are. Do: smile. Don’t: whine “is that OK?”, or snivel “this doesn’t usually happen…”. Show you’re a pro, with no drama. (Well, yes, drama if you’re doing animation or gaming acting, but… you get it!)We all have good days and bad days, but the trick is not to let the studio staff know which is which! Try and identify why you’re having an off day and try and fix it. It may be that there’s underlying stress that you have to dig deep to identify, say having to do the home decorating this weekend that you’re not looking forward to. Or it may be really obvious – that the cat was sick on the carpet just now. Hosted on Acast. See acast.com/privacy for more information.

2023.07.22 – 0933 – Confidence Vs. Cockiness Confidence is being pleased that you have been hired for the gig, proud that someone wants you to be the voice of their product, and certain that you can perform well. It’s the difference between someone who sees the red light go on and thinks “I know, if I concentrate, and with good direction, I’m prepared and communicate this message”, and the VO who says “yeah, baby! Wait til they hear what I can do! I’m going to prove that they were right to hire me! I am the best at this, doncha believe it!”  Cockiness is being over-confidence in studio work. When you feel you are so experienced you don’t need to read a script through first as you’re “brilliant at sight-reading”; you don’t need to get to the studio in good time as “I know what I’m doing”. It’s a little beyond the scope of this book about voice to talk too much about this kind of personality, just to say a trip in a script too many times could leave you out of luck and out of work. If you’re too bombastic, you may bomb. Beware of hubris: pride before a fall.  We have seen already how the position in which you hold your body affects the sound you produce. A lot of that is because of the amount of air that can be inhaled and exhaled as well as the use of the body’s resonators. It’s also because of how tension in the body, when it is being held in an awkward or strained position also affects the processes of air and sound.But how you hold your body can also affect you psychologically. And belief is important: a lot of affective vocal communication is about having the knowledge to support your task, and the confidence that comes from completing it successfully. And that that confidence will feed your vocal performance which in turn will further boost your confidence. Hosted on Acast. See acast.com/privacy for more information.

2023.07.21 – 0932 – Beta Blockers To Help Studio Nerves Beta-blockersPerhaps one of the last resorts to cope with mic fright is the use of drugs.[1]That could be drink, tobacco, (il)legal drugs such as cannabis, or some doctors prescribe beta blockers, which are usually for conditions like high blood pressure, arrhythmia and angina, but these, and tranquillizers, may help reduce your anxiety. You can see your GP to discuss if they are appropriate for you, how they work, the pros and cons including possible side-effects.These work mainly by blocking the action of hormones like adrenaline to slow down the heart. They are safe for most people and can be helpful in the treatment of the physical symptoms of anxiety such as shaking, trembling, blushing, sweaty armpits, dry mouth for several hours. In short, it stops the body from going into fight-or-flight mode when there really isn't anything to fight or run away from.In one survey[2] nearly three-quarters of musicians said they tried beta blockers, but so too do pop stars, and comedians, some athletes (those in archery, billiards, and sport shooting who need to have a steady hand), actors and public speakers. The trouble is, whether it be pills or Pils[3], you’re not only likely dulling your inspiration and creativity (unlike drugs in sport, beta blockers relieve a problem rather than enhance a performance), but treating the symptoms rather than the cause. And beta blockers don’t help you with any of the worry leading up to, or following, a performance (self-doubt, anxiety about audience reaction and so on). [1] Some ‘self-medications’ like excessive alcohol or street drugs may be addictive or have bad side-effects. In fact, anything in excess: exercise, comfort eating or restrictive eating. Listen to the short series of episodes from 874 onwards for more on this.[2] https://composeddocumentary.com/2015-musicians-health-survey/ and http://www.oup.com.au/titles/academic/psychology/9780199586141 [3] Or ‘pilsner’ a pale alcoholic lager beer  Hosted on Acast. See acast.com/privacy for more information.

2023.07.20 – 0931 – Look After Each Other  VOICE BOXLook after each otherIf you see a colleague going through an anxious moment, support them by being positive. Helpful phrases are ones such as:“I want to help you...”“How can I support you?” Less helpful phrases are:“Don’t worry…”“You’ll be fine…” Worse are:“Are you nervous?” Pointless feedback includes:Empty suggestions: “you don’t sound quite right”Negativity: “that wasn’t very good”  Nerves may stop you from getting on with getting behind the mic: perhaps putting off starting a podcast or asking your broadcasting boss if you can present. There’s fear of marketing yourself, fear of rejection. A good tip: don’t mistake ‘procrastination’ for ‘planning’. Nerves m ay be caused by your concerns about potential damage to your professional or personal reputation, what your colleagues, your peers or audience will feel about you. It’s all quite natural: even a break-up conversation can cause similar feelings, and that’s to an audience of one.  Hosted on Acast. See acast.com/privacy for more information.

2023.07.19 – 0930 – Earn Your ‘On Air’ MilesEarn your ‘on-air’ miles Of course, overcoming a fear of failure comes from experience: your miles at the mic. When I was still at university, I’d spend hours on hospital radio and then my local station, sometimes just sitting in a studio, seeing the layout, playing songs and jingles, seeing what happened and why. I became comfortable at the controls. Later I had tricks to help me sight-read such as reading the credits to a tv show out loud, talking over the start of songs to hit the ‘vocal post’, listening to the news and repeating the scripts parrot fashion a second after they were uttered by the professional. All these, as well as other exercises in this book are what I have practiced myself.  I also made ‘radio programmes’ for family and friends, scripted and recorded a radio soap opera in which I played all the parts, and when I got my first professional job I presented Saturday afternoons 14:00-18:00 on the speech station, Sunday morning 01:00 – 06:00 on the chart music station, Sunday afternoons 14:00-18:00 on the oldies station, as well as being the networked news reader on two of those stations on weekday afternoons. I learnt my trade and built up both my experience and confidence in a variety of ways, on air and off, to help me achieve my role. All skills improve with practice. There is no mystery to mastery! ‘Experience’ is the body realising  that if a situation produces nothing dangerous, then adrenaline has been wasted. So, the next time a similar situation happens, it’ll produce slightly less of it, because it has learnt that it is working for nothing. It’s a process of ‘involuntary learnt response’, similar to the way that you probably don’t feel nervous about driving any more. Hosted on Acast. See acast.com/privacy for more information.

2023.07.18 – 0929 – Gobble Up The FeedbackFeedback A constructive debrief is part of the ‘Plan and Prepare, Execute and Reflect and Evaluate’ feedback loop. (More on this in episode #629.)Such a ‘post performance review’ (never use the term ‘post-mortem’ as it has so many negative connotations) is most practically held just after the show or session, but be aware that it could therefore be emotionally-laden in which case postpone it til the next day.Discuss:·        What went well and whyo  How you can recreate it another time·        What could have gone bettero  How that can be avoided in the futureIt may be that such feedback is very informal, not so much a meeting but a passing comment by a colleague in the corridor. Step away from those who you know aren’t constructive but find instead someone who knows how to give honest but polite ideas on how to improve.Improve your strengths, reduce your weaknesses – and increase your confidence. Hosted on Acast. See acast.com/privacy for more information.

2023.07.17 – 0928 – Warming Down After The Studio SessionWarm Down ExercisesHear episodes from #804 for specific exercises but doing these are part of the process to build confidence for next time. After all, if you don’t warm down and then end up hurt, it won’t inspire you to speak on mic at the next opportunity. They’re really easy to do surreptitiously in the studio when the mic’s gone down, in the toilet, leaving the building after the session or in the car: deep breathing, skeletal relaxation, positive affirmations.Doing these will also help you bring the show or session to a close, to mark what was on-mic and what’s real-life, and help you transition from an adrenaline-powered performance mode to normal mode. Hosted on Acast. See acast.com/privacy for more information.

2023.07.16 – 0927 – What To Do In The Moment When The Nerves Feel Real VOICE BOXWhat to do in-the-moment when the nerves feel very real? STOPP: S – Slow downPause and look and take it in. T – Take a breathAnd then in the event, calming breaths, relax your mouth with lip trills and blows, be grounded on your feet. Connect with the ground and wiggle your toes O – Observe how you feel now P – Pull back. Think what a reassuring friend would say to you right now P – Practice some mindfulness and visualization((make these more studio based))A quick and easy mindfulness exercise to help reign in racing thoughts is to sit quietly and think of:·        5 things you can see: your hands, the sky, a woman in a red dress·        4 things you can physically feel: your feet firmly on the floor, one hand holding another·        3 things you can hear: friendly chatter, the wind, your breath·        2 things you can smell: fresh coffee·        1 thing you can taste: a mint, the fresh airThis exercise helps move your mind to the moment and interrupt unhealthy thought loops Hosted on Acast. See acast.com/privacy for more information.

2023.07.15 – 0926 – ‘Park’ PerfectionThink about:·        Your single listener across the room: it will help you focus your attention on reassuring realities rather than lurking fears·        The fact that the audience can’t harm you. They have turned on to hear what you have to say, to get your opinion and expertise. It’s your job to help them with that·        How you are probably more aware of your nerves than they are. What seemed like a dreadful mistake to you probably went completely unnoticed by them. If you calmly correct yourself (if even that is necessary) they will hardly remember it at all in a few minutes. Pauses too are perceived differently: what may be an eternity to you is imperceptible to them. ·        And they won’t have heard your grumbling stomach or seen your sweaty palms.·        Perfection in the performing arts is difficult if not impossible to define. So ‘park’ perfection and aim for sincerity and the best performance you can manage. Hosted on Acast. See acast.com/privacy for more information.

2023.07.14 – 0925 – Pause and Breathe, Focus and RelaxPause and BreatheHigh levels of adrenalin affect the body’s chemistry for violent action which it doesn’t get. Burning off energy by filling your blood with oxygen will help you replace this missing activity. A bout of steady breathing does this. Breathing is the key-thing, as I always say! Take a few minutes to centre yourself. Breathe in through your nose and out through your mouth. It’s not big gulps of breath, it’s ‘mindful breathing’: calm and reassuring breaths, noticing your body and its surroundings. Calm with five deep breaths from stomach and other relaxation exercises we have looked at in-depth before Focus and relax!Take the focus off yourself, make it about the audience, to share and serve them. Don’t over analyse or overthink what you’re doing and saying.·        Give it some time – once you are in the studio you will get over the initial nervousness after the first few links, takes or pages. Confidence will come!·        It’s not just you – other people will be nervous as well: the producer, the client and others may also feel the same way. You’re in this together to make it work for all of you! VOICE BOXInspiring confidence as a director: ·        Be welcoming and do introductions ·        Avoid being negative (timing, etc)·        Talk through what you want to achieve and how it fits in, the context of the project·        Check, water, pencil, a script·        Ask for a first read·        Tell them you love what they are doing and help them get what they haven’t got ‘yet’·        Best to have actor have their own understanding so they sound believable, clear feedback“yes and…”·        Try not to interrupt mid flow, avoid stop/starts·        Create an environment where people feel confident and comfortable to create creativityThere’s more advice on this, in episodes #615, 627, 629 ·        Keep things light – stay professional, but don’t be overly serious. Keep the room at ease, crack an (appropriate) light comment if possible and get into the spirit of having a good time. Perhaps be a little self-deprecating if you have to do multiple takes.·        Concentrate – sometimes you don’t have time or ‘headspace’ to be nervous because you’re concentrating on the task in hand. Slow down, take a breath and take your time. Don’t let what you can’t do, interfere with what you can do. In other words, don’t worry about what you can’t change. Hosted on Acast. See acast.com/privacy for more information.

2023.07.13 – 0924 – Pre-Performance Routines  Pre-performance routinesHaving a routine reminds the mind of what’s coming next: a live show or a session recording. We’ve spoken about all of these before: A mental warm-up, perhaps on the bus or train on the way to the studio or sitting in the car outside.Release tension and let go. Imagine you are somewhere warm, maybe on a beach or park. Imagine the sun warming your toes. Focus on the image of loosening and softening and the sun shining and melting any tension away. Repeat while considering your feet, ankles, shins and calves, knees, thighs, pelvis, lower belly and back, ribs, chest and upper back, shoulders, uppers arms, lower arms, hands, neck, face, scalp.  A physical warm up: walking to the studio or on a mid-way break through a recording, getting outside for some fresh air and sun.Try a wall lunge: stand a few feet away from a wall with one leg slightly forward, and push against the wall and then relax. This can also lower the amount of tension-inducing hormones in the body, such as cortisol.Shoulder rolls, shaking the hands, and arms and head turns Try clenching each group of muscles from your toes upwards. Tense each group in turn, holding for a count of five and then relax them. Soften the body: are you gripping a mouse or pen, which will give tension in the hand, arms and shoulder. A vocal warm up: Hums in your speaking range, ‘ng’ sweepsYawn, stretching the tongue, lip trills. Hosted on Acast. See acast.com/privacy for more information.

2023.07.12 – 0923 – Positive Self-TalkDuring The Studio Session – or pre-performance routines immediately beforePositive self-talkRemember that you were chosen for your talents ahead of everyone else. So really, the hardest bit is over! You have to have as much confidence in yourself as the client or producer does. Of course, you’ll be nervous but perhaps try and break any tension with some light conversation, get to know the studio staff, ask them questions and so on. The producers know they’ll get a better job from you if you are at ease. The more comfortable you are, the fewer mistakes you’ll make. Sometimes you’ll have to take a step away from the mic, have a drink, visit the toilet (and refocus). Hosted on Acast. See acast.com/privacy for more information.

2023.07.11 – 0922 – Step By Step Positive Songs Listen to a Positive SongMusic is a great emotion-bringer, so when you get up on your ‘big day’ pick one that gives you positive energy and brings a smile to your face. This could be something from your childhood or a recent song that you can’t stop listening to. [Snooker player] Ali Carter suggested that Whitney Houston inspired him to a first ranking title in seven years as he won the German Masters… He revealed that listening to the late American singing great had played a part in ending his title wait. "The journey of getting through the day, all you can see is getting to 10 [frames] seeming like an absolute mile away… But… I heard Step by Step by Whitney Houston and it was quite a memorable song, and I just thought 'yeah, step by step, day by day' and I've got there."[1]Sing along and then smile. Smiling releases ‘feel good’ hormones: dopamine and serotonin, calming you down. Leave your troubles at the studio doorHow are you feeling right now? It may be that you have got out of bed the wrong side, or had a row with the kids, or just had an unexpected bill. You can’t take these emotions to your audience. [1] https://www.bbc.co.uk/sport/snooker/64533013 Hosted on Acast. See acast.com/privacy for more information.

2023.07.10 – 0921 – Nutrition and Hydration Nutrition and HydrationEating gives you the fuel to stay focused and keep going under pressure. Healthy food of a single ingredient (so fruit, vegetables and so on), is preferable to processed additive-ridden ready-meals which can affect your gut and your brain. There’s a huge link between one and the other, and if you eat like a slob, you’re likely to get brain fog … as well as enjoy the knock-on effects of being overweight (and the issues that leads on from that, including problems breathing), and more directly for the voice a poorly-performing or poorly-coated vocal fold system.More long-term ways to cut anxiety:·        Exercise, which leads to sleep·        Social media detox·        Your diet – less alcohol or sugar fluctuationsCreate some ‘performance routines’ of positive self-talk, mindfulness[1] and breathing exercises, a physical and vocal warm-up and a visualization of success. [1] http://mindfulnessforsingers.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

2023.07.09 – 0920 – Rest and RelaxPreparation – Your Voice We have covered plenty of exercises to help you have a strong, healthy and agile voice, both in how it sounds and also how it sounds with particular words, scripts, the intonations and emotions.Remember two of my philosophies on this topic:·        Breathing is the key thing – belly-breathing will help calm you·        Hydrate, mateo  And linked with this, steaming, which we looked at before (ep 767). Rest and Relax Part of the reason we get tense and stressed is because we are on the go all the time. Make sure that you get time to rest and relax and when you do, fully commit. That may be a good night's sleep:·        Rest will help your voice, at least 7 hours a night is good·        Not only will it rest your folds, relax your frame, it also increases your ability to concentrate, and give your body chance to rest and repair itself – leading to long-term wellness·        And of course, when you are sleeping you have your skeleton in a restful state (obviously) and not slumped in front of the TV, hunched over the laptop, or shouting in a bar…A few minutes of meditation:·        Mindfulness meditation·        Breathing techniques·        Pilates·        T’ai Chi·        Yoga·        Massage.Or, don’t calm down! Instead of keeping your energy pent-up and suppressed, turn it into something useful. Even walking alone or with a dog, you breath fresh air, stretch legs, and see the colour green; organised sports mean you are socialising with others, conversing and laughing – all of which are mood-boosters. Hosted on Acast. See acast.com/privacy for more information.

2023.07.08 – 0919 – Does Practice Make Perfect? Preparation - The content - Be familiar with the script, the format, the role, the studio tech … If you’re not prepared, you will know it, even deep down. Prepare, and prepare for the unexpected: what to do if there’s breaking news, you have to ‘fill for time’ for a minute, the guest is not who you were expecting, you’ve lost your notes. That script, have you read it through at least once (without over prepping)? Do you know how the link works to their studio from yours?  More long-term prep is through investing in yourself: courses, training, one-to-ones, seminars and webinars, books and podcasts (we know a really good one!), chats with colleagues, studying others… and expose yourself to as many opportunities as possible. Only by doing that will you risk surprising and challenging your comfort zone. Hosted on Acast. See acast.com/privacy for more information.

2023.07.07 – 0918 – Counselling For Mic Fright Psychological help and counsellingIf your jitters are more serious and long term, therapy or cognitive behavioural therapy[1] may help discover the reasons, put things into perspective and suggest long-term coping strategies.If your fears relate back to long-standing difficult psychological events, it will help to identify and work through these with a suitable psychotherapist. If your performance fears include panic attacks, social anxiety or phobias, or you have a wide-ranging tendency to perfectionism, work through these issues with a suitable psychotherapist.  If your fears are based on shaky or inadequate technique, book yourself some time with a trusted teacher or expert in your field.[2] ·        Expect and accept it – understand what may happen and tell yourself that you are in control of you. Own it. Don’t challenge, ignore, try and hide, just face it. [1] In the UK, Cognitive Behavioural Therapy (CBT) may be available on the NHS through your GP or by contacting the “Improving Access to Psychological Therapies” (IAPT) scheme. Private therapists can be found via the British Association for Behavioural and Cognitive Psychotherapy (BABCP) or through the British Association of Counselling and Psychotherapy (BACP). [2] Source: https://www.bapam.org.uk/wp-content/uploads/2020/05/BAPAM-Factsheet-Managing-Performance-Anxiety.pdf Hosted on Acast. See acast.com/privacy for more information.

2023.07.06 – 0917 – Have a No-Stress Rehearsal Have a Mental RehearsalVisualise success – Research shows that our brain reacts the same in a real situation as in an imagined one, so do what athletes do and start training your brain into thinking positively and practice seeing yourself performing well. Develop and practice pre- and during- ‘performance’ routines so you feel more familiarity with what’s going to happen, so you settle in more quickly when it starts for real. And as you do this, imagine it all going incredibly well. We have seen before how visualisation helps the voice-over artist when we are trying to persuade people to buy a product. Starting with small steps practice mimicking the studio day in as much detail as possible:·        What will you wear and what time will you arrive?·        Research the VO studio on Google so you can see what it looks like inside and out. If you are speaking at an actual event, try and see the room beforehand so you feel comfortable there and eliminate ‘situational stress’. ·        Can you find pictures of the producer or director, or the guest you’re going to interview remotely?·        Ad-lib what you’ll say to them, how you’ll sit in the studio, your fluency and confidenceHow will you be feeling during all of this? (The answer is “cool and quietly confident”!)  Hosted on Acast. See acast.com/privacy for more information.

2023.07.05 – 0916 – Remind Yourself Why You Care Remind yourself why you careWhy is this broadcast, podcast or voice-over opportunity important to you? Tell yourself, out loud, how excited you are about this what it is that you, the product, or your guest are about to share with listeners. From your perspective, you really know that this is what you want to do, and you’ve put yourself in this situation:·        You’ve dreamt of having your own radio show·        You’ve trained hard to be a VO·        You’ve chosen to start a podcast·        You’ve been flattered when asked to be a guest on a YouTube discussion. It’s precisely because we want to stretch ourselves (perhaps for self-satisfaction, public admiration or financial gain – and there’s nothing wrong with any of that), that we put ourselves into situations that we’ve not encountered before. And doing something new will inevitably show up our weaknesses.  Write down the skills and strengths that’ve helped you get to where you are now. The courses and conferences, exercises and exams. Doing this will help give you comfort and confidence and a sense of positivity. If someone else thinks you’re good enough to do the job, why don’t you? The word ‘confidence’ comes from the Latin ‘confidere’ meaning to ‘have full trust’. Now you need to have full trust in yourself, that you can do this.  Hosted on Acast. See acast.com/privacy for more information.

2023.07.04 – 0915 – Renaming and Reframing Mic Fright Re-naming and re-framing: Positive self-talk Our physical reactions to different emotions are often similar.Think how you feel when you’re excited and when you’re frightened; both emotions may result in increased muscle tension, tremor and palpitations but we interpret them differently. Excitement is perceived as a positive ‘stress’ while genuine fear or anger is perceived as unpleasant ‘distress’. Here's another example: the situation may not be ‘wrong’ or ‘scary’, just ‘new’ and ‘unfamiliar’. It’s a bit like the old song: “A stranger's just a friend you do not know”.[1] One more: instead of thinking that the audience is the ‘enemy’, waiting to pounce on your every stutter and stumble, retrain your brain to accept that there will inevitably be a few mistakes, and the audience is on your side.Finally: Interpret the effects of adrenalin, as your body’s way of telling you you’re ready! So, get into the habit of reframing the situation in your ‘caveman’ mind: you’re not nervous at the situation, you’re excited for the opportunity. [1] https://www.azlyrics.com/lyrics/jimreeves/astrangersjustafriend.html Hosted on Acast. See acast.com/privacy for more information.

2023.07.03 – 0914 – Be “Channelin’ The Adrenaline”!“Channelin’ the adrenaline”!Remember, if you are nervous, it shows you care. You want to perform well, you want to be careful and professional, not slipshod and slapdash. Of course, the presence of some of these chemicals can give you the edge. Some arousal leads to better performance: you may feel sharper and wittier, have rapier-like questions, Seiko-like timing, a voice of a god and more presence than Santa. Too much adrenaline and you’re doing an impression of a jelly on a plate. Not so much a celebrated showstopper, as an actual showstopper.  So we need to use this adrenaline to our advantage, not to have it take advantage. We need to be “Channelin’ the adrenaline”! How do we do that? By calling ‘nervousness’ something else… Hosted on Acast. See acast.com/privacy for more information.

2023.07.02 – 0913 – Know Your Nervous Triggers  OVERCOMING MIC FRIGHT BEFORE, DURING AND AFTER YOUR STUDIO SESSION BEFORE Pre-performance routines the weeks and days beforehandThose ‘butterflies’ in your stomach? They’re normal. But you have to teach them to fly in formation, like a squadron of drones, and harness their combined energies to give you wings and allow you to fly! Here’s how to do just that. Know Your Nervous TriggersFirst realise what it is that you are feeling. Go back to the previous episodes from 888 because it may not be nerves at all, but something quite different – something you need to approach from another more clinical or psychological direction. And of course, I can’t help you with that as I’m not your doctor (indeed, I’m not anyone’s doctor!). All I have here are some general tips and advice. It may be useful to have a think about what triggers your anxiety (there were lots of possible causes we listed previously from episode 898).  What is the practical basis for your belief of potential failure? It may be the technical issues of a livestream or studio setting, it may be awkward words in a script or running out of things to say. Once you have an idea of what’s bringing you down, then you can unpack it, deal with it, set it aside and build yourself back up. Don’t ignore it, but deal with the underlying cause of the situation, not just your reaction to it. So, create a list, work your way through it and you’ll find that most of them are quite easily overcome. Then do what you need to, to complete each task to reduce the self-sabotaging behaviour. Become a task-master to become a past master. Hosted on Acast. See acast.com/privacy for more information.

2023.07.01 – 0912 – Your Mindset At The MicINTRODUCTIONPerformance anxiety is rarely researched and so we understand very little about the specifics of this complex condition. We know some hacks… but we also know that long term mental health is very serious. Again, consult a medical professional for more long-term treatment for what may be underlying issues. Millenia ago our caveman ancestors would have sat around a camp fire, telling stories of spirits and sabre-toothed tigers. Their fellow cave-dwellers’ faces would be seen in the flickering flame of the fire, encouraging our ancestor on with his tale of mystery and heroism with a combination of grunts, gestures and wide-eyed wonderment. Skip forward and today’s story tellers sit in a windowless box, alone yet talking to millions. We are told to “be natural” when on the radio or in a TV studio, but there’s nothing natural about it – and we have to trick our Neanderthal instincts into pretending there is. In this chapter we’ll look at some of the more respected ways of dealing with ‘mic fright’. Some are straightforward (such as preparation and relaxation), others a little more in-depth (therapy) and others potentially dangerous (self-medication). However, I won’t be looking at some of the most obscure so-called cures (from drinking vast quantities of chamomile tea, asking your colleagues to spank you, or even pre-show masturbation).[1] Although everyone is different and those may work for you… But of course, the Catch 22 with learning how to deal with studio pressure is that such training can really only take place, in a studio. With a red light. And the knowledge that thousands or millions of people are listening… and the realisation that the only real cure for excessive nervousness, is experience. [1] https://www.theguardian.com/stage/2012/sep/21/stephen-fry-stage-fright Hosted on Acast. See acast.com/privacy for more information.

2023.06.30 – 0911 – Your Guests’ NervesDon’t forget the guestsThey get nervous too. The presence of a microphone can cause some people to panic. Perhaps that’s not surprising in some situations: pouncing on an unsuspecting member of the public in the street, shoving a microphone in their face and asking them intricate questions about the international monetary fund is sure to make someone clam up and run off! Studio or podcast guests may suffer similar anxiety, either a member of the public or an expert in their field. Those more used to a board room or lecture room are sometimes terrified of facing a microphone or a camera for the first time. It might be to do with their words being recorded electronically and for posterity, it might be that they don’t know where to focus their attention. Where is the lens on the camera, or if they should ignore it, and how to connect with someone (or lots of ‘someones’) who they can’t actually see.  It is perhaps understandable that they may be a bit overwhelmed by a studio situation, the lights and the mics … and then ‘chew them up and spit them out’ way that some producers ‘process’ their guests on a live show. Add if they react like that, they won’t be giving their best answers in their best voice.·        A relaxed environment will get the best out of them·        Clearly and calmly explain what’s going to happen and what you’d like from them·        Give a basic explanation of the recording process ·        Let them know the right sitting posture, and distance from the mic, not to touch the mic or the stand, turn away from it to cough and so onOffer them a glass of water so that they can take sips if they feel dryness in their mouth Hosted on Acast. See acast.com/privacy for more information.

2023.06.29 – 0910 – How The Audience Reacts To Your NervesHow does the audience react to your nerves? Nerves not only affect you; they also affect your listeners. They want to feel taken care of, that they are in safe hands. They’ll feel comfortable, if they think you are.  If you sound nervous, they may:·        Question your competence – “why is she nervous if she’s supposed to know what she’s talking about?” ·        Feel sympathy – “that poor woman, this must be so awful for them…” And you don’t want people to wonder about your credibility or to worry about you (yours should be the trusted voice of information or entertainment). Nervousness in a speaker will affect the benefit they will get from listening to you.  I often use the analogy of the coach passenger who’s anxious if the driver uses the wrong gear, clips the curb and doesn’t know the route. They’ll want to get off! In the same way, listening to a radio or podcast presenter who can’t operate the studio gear, clips the start of songs or doesn’t know the way through an anecdote will want them to turn off! Hosted on Acast. See acast.com/privacy for more information.

2023.06.28 – 0909 – How Video Meetings Can Cause StressVOICE BOXHow video meetings can cause stress:More focus is needed to process non-verbal communication such as facial expressions, tonal variation, body languageThe self-awareness of being watched may make you feel that you are performing and lead to performance anxietyDelays or latency: even a 1.2 second delay can make you perceive the responder as unfriendly or unfocussed. In a real-life conversation silence is normal, but on a video call it can cause irritationWe can place huge expectations on ourselves to maintain our optimum work performance due to concerns about job security and the economy.  Hosted on Acast. See acast.com/privacy for more information.

2023.06.27 – 0908 – When You Simply Can’t Speak At AllThe clinical name for hoarseness is ‘dysphonia’ and complete (or almost complete) voice loss is ‘aphonia’.Often the symptoms are caused by infection, physical abnormality or disease, but emotional distress can also be at the root, when it is referred to as a ‘psychogenic’ voice disorder.Extreme performance anxiety may include paralysis: freezing, fainting or losing the ability to talk at all.[1]In the singing world (where of course, artists perform in front of a living, breathing audience, unlike the solo studio presentations of most broadcasters and podcasters) some of the biggest names from Maria Callas to Vladimir Horowitz – have struggled to deal with performing under intense expectation. Then there’s Ella Fitzgerald, Paul McCartney, George Harrison, Barbra Streisand[2], Adele[3], Luciano Pavarotti, Arthur Rubinstein, actors Stephen Fry[4] and John Sim[5], Sergei Rachmaninoff, Pyotr Tchaikovsky and Frederic Chopin who wrote: “I am not fitted to give concerts. The audience intimidates me. I feel choked by its breath, paralysed by its curious glances”. Note that a live performance is usually better than a pre-recorded one as performers are often at their best when there's a bit of tension. There’s a buzz an excitement, a scary thrill. Nerves can keep you alert and sharp at the mic, you need to harness that energy and heightened state of awareness to bring in your best personal performance. [1] More on this topic in Dianna Kenny’s book “The Psychology of Music Performance Anxiety” https://www.amazon.co.uk/Psychology-Music-Performance-Anxiety/dp/0199586144 and Sarah Solovitch “Playing Scared: A History and Memory of Stage Fright”https://www.amazon.co.uk/Playing-Scared-History-Memoir-Fright/dp/162040091X [2] Barbra Streisand, the most successful solo female singer of all time, gave up live performance for 27 years after she forgot the words to a song in a concert in Central Park in 1967. She later claimed to have spent 2,700 hours in psychotherapy, at a cost of $360,000. Hosted on Acast. See acast.com/privacy for more information.

2023.06.26 – 0907 – The Vocal Effect Of Mic Fright Vocally: ·        When stressed, the muscles that control the larynx can become tense.[1] (Periods of prolonged muscle tension in the larynx can lead to a lack of coordination of the vocal control system that can cause vocal fatigue and even vocal damage.) ·        Tension is likely to harden surfaces and make them smaller. So, holding your shoulders and throat in this state, and having a jaw that’s barely opening, will make any vocalisation higher and thinner and with less resonance·        A lack of breath support will likely make the voice higher in tone; flatter in prosody, quieter in volume, shakier in authority ·        You run out of what little breath you have, so, you read faster to get to the end of a sentence before you need to take another breath, resulting in gabbling·        Gabbling can lead to speed-induced speaking errors: you trip up over your words·        A drier mouth may mean less-precise articulation of words, it’ll simply be more difficult to move your tongue to form the words ·        The mental ‘brain fog’ may cause slower speech, mispronounced words, script hesitations or slow adlib reaction times You will hear the results of stress in your voice, in your headphones … causing more stress both in the moment and longer term:·        Anxiety causes more anxiety, which may lead too  A lack of sleep (either not being able to drop off, or waking up early or intermittently§ Leading to reduced energy levels·        The possible use of alcohol or drugs to get to sleep or stay awakeo  Difficulty exercising or eating properlyo  A dull, tired sounding voice [1] A tense throat is almost your body’s way of saying “I don’t want you to say anything in case you embarrass yourself”. Hosted on Acast. See acast.com/privacy for more information.

2023.06.25 – 0906 – The Respiratory Effect Of Mic Fright Respiritorally:·        Held tension will restrict your ability to drop your diaphragm and open up your lungs·        ‘Fight-or-flight breathing’ into your upper thoracic chest cavity and the clavicular area of your throat, meaning your breaths will naturally be shorter and shallower·        You won’t be able to take in a proper amount of oxygen, a natural calming chemical·        You’ll be forced into mid-sentence snatched breaths, and end-sentence croaks as you eek out the last of the CO2 Hosted on Acast. See acast.com/privacy for more information.

2023.06.24 – 0905 – The Physical Effect Of Mic Fright Physically:·        Sweating under the arms, down the back and clammy hands·        A stomach somewhere between a butterfly house or churning like a cement mixer and in extreme cases, vomiting (or a feeling of it) and diarrhoea or a feeling to rush to the toilet·        A racing heart, or sometimes a rapidly-dropping heart rate ·        Blurred vision·        Trembling or in-chair fidgeting, shuffling from foot to foot as though wanting to run away Skeletally: ·        Your physique becomes defensive, small and tight·        Tension is created across your body from your face to your frame  Hosted on Acast. See acast.com/privacy for more information.

2023.06.23 – 0904 – The Mental Effect Of Mic Fright The effect of nerves and stress on the body  psychosomatic/ˌsʌɪkə(ʊ)səˈmatɪk/adjective1.   A physical illness or condition caused or aggravated by a mental factor such as internal conflict or stress2.   relating to the interaction of mind and body.  Extra adrenaline upsets your natural hormonal equilibrium causing ‘microphone-itis’. It’s not a nice list of symptoms and side-effects to have one or more of these. Mentally:·        Concentration evaporation - a ‘foggy’ brain, or feeling light-headed and losing an understanding of time (it either dragging or speeding[1])·        Feelings of apprehension, fear, dread or panic·        Feelings of failure, inadequacy or lack of skill·       Negative and self-critical thoughts “it’ll go badly”, “I won’t cope”, “I’m going to be found out” … [1] Some presenters experience losing a ‘sense of self’ during a performance (not quite in the moment and viewing themselves from a third-party point of view), and a strange ‘sense of self’ afterwards (having lost a sense of time, the event either super-slow, tortoise-like and tortuous or a racing rollercoaster and over all too soon). It’s thought this is because our perception of time depends on rhythms which are regulated by adrenalin, which at moments of stress, we have too much of. Actor Arthur Darvill: "I've been so nervous during shows that I've walked off-stage at the end and immediately forgotten everything that I've just done.” (https://www.theguardian.com/stage/2012/sep/21/stephen-fry-stage-fright)  Hosted on Acast. See acast.com/privacy for more information.

2023.06.22 – 0903 – The Studio ‘Caveman’This survival mechanism developed so humans could react quickly to life-threatening situations. But even though we don’t experience many saber-toothed tigers down the high street, our mind can still perceive some unusual situations as stressful, triggering the original reactions. Of course, very often we can neither fight or flee: our ‘caveman brain’ tells us to attack the interviewer or rip the mic off the stand – but our ‘modern brain’ tells us we can’t. Our ‘caveman brain’ tells us, OK, if we can’t fight, we have to run, but our ‘modern brain’ reminds us that if we want to keep our job we can’t! So, as well as fight and flight we have another ‘f’… we may freeze. And that possibility of ‘behavioural avoidance’, together with the adrenaline (and noradrenaline and acetyl-choline) now coursing through our veins, is what causes the problem. Whether it’s squaring up to start a fight, or preparing to ‘flight’, our body is getting us ready for quick response. ·        And that means holding everything. ·        And a holding pattern creates unnecessary tension·        And unnecessary tension leads to inefficient vocal function·        And that over a long period can cause vocal problems Hosted on Acast. See acast.com/privacy for more information.

2023.06.21 – 0902 – Mic ‘Flight and Fight’Mic fight and flight[1]The ‘fight or flight’ response is well known: an automatic physiological reaction that’s perceived by the ‘caveman’ in us as stressful or frightening. The sympathetic nervous system is activated, triggering an acute stress response that prepares the body to confront it, or get away from it. A cascade of adrenaline, noradrenaline and acetylcholine make the heart pound, pupils dilate and breathing quicken. Muscles tense with the increased blood flow and beads of sweat appear. The stomach can feel nauseous or full of ‘butterflies’. “Adrenaline plays an important role in the fight-or-flight response by increasing blood flow to muscles, output of the heart, pupil dilation response and blood sugar level.” (Source: Wikipedia)  “Noradrenaline production reaches its higher levels during situations of stress or danger, in the so-called fight-or-flight response. In the brain it increases arousal and alertness, promotes vigilance, enhances formation and retrieval of memory, and focuses attention; it also increases restlessness and anxiety. In the rest of the body, norepinephrine increases heart rate and blood pressure, triggers the release of glucose from energy stores, increases blood flow to skeletal muscle, reduces blood flow to the gastrointestinal system, and inhibits voiding of the bladder and gastrointestinal motility.” (Source: Wikipedia) “Acetylcholine is the chemical that motor neurons of the nervous system release in order to activate muscles.” (Source: Wikipedia) [1] A good write-up of the fight-or-flight response is here: https://www.health.harvard.edu/staying-healthy/understanding-the-stress-response Hosted on Acast. See acast.com/privacy for more information.

2023.06.20 – 0901 – Lack of Prep Time·        Lack of time or effort to prepare mentally – perhaps you are tired, ‘under the weather’, in pain or returning after a break. There may be distracting ‘life events’ in your head: deaths and illnesses, relationship breakdowns or financial pressures. Even if you can’t step away from these physically, try and do so mentally, from the editorial process in the newsroom or studio: the talk and the technicals. Prepare for your performance: the message and the mood, the pace and pronunciation… and all of the other keys to communication Research[1] suggests that how much we experience mic-fright, can be down to factors such as: ·        Anxiety partly inherited through the mother’s hormone levels·        Parental obsession with one’s practice, exams and career success·        Parental criticism or demands to be quiet [1] https://www.theguardian.com/music/2015/sep/08/how-classical-musicians-cope-with-performance-stress Hosted on Acast. See acast.com/privacy for more information.