Get A Better Broadcast, Podcast and Voice-Over Voice

2023.01.20 – 0750 – The Hydration Situation The Hydration Situation (or How to ‘Get A Wetter Broadcast, Podcast and Voiceover Voice’)Up to 60% of the human adult body is water[1]: the brain and heart are composed of 73% water; the lungs are about 83% water; skin contains 64% water; muscles and kidneys are 79%; bones 31% water.Each day we have to consume a certain amount of water to survive, depending on things like age, size and climate[2]. Generally, an adult male need about 3 litres (5 pints, 3.2 quarts) per day while an adult female needs about 2.2 litres (nearly 4 pints or 2.3 quarts) per day.  All the water you need doesn’t have to come from drinking liquids, as some of this water is contained in the food we eat. [1] https://www.usgs.gov/special-topics/water-science-school/science/water-you-water-and-human-body [2] You will need more water if there’s a dry atmosphere – for example a chilled air conditioner in a studio and after long periods of talking when you have been breathing through your mouth.   Hosted on Acast. See acast.com/privacy for more information.

2023.01.19 – 0749 – Why Cough Sweets Are A ConFirst up, it’s important to realise that nothing you swallow touches your vocal folds. Yep, those soothing cough sweets you take for example, go nowhere near them and any help they might give is either somewhere else in the vocal tract, or simply psychosomatic. (Indeed, as we’ll see later, such lozenges may actually be causing other problems!). I mean it stands to reason doesn’t it?: your voice comes from air from your lungs passing over your vocal cords, so logically (and physio-logically) anything you swallow can’t also pass over the cords, or it’d end up in your lungs! No, breathed air goes down one pipe, and swallowed food goes down another.  Your neck has ‘two tubes’. The trachea moves air to and from the lungs. (It is of course breath that powers your voice and part-way down the trachea are your vocal folds.) The other is the oesophagus down which food and liquids go to your stomach. If food and liquid go down the wrong one, you choke or drown. Fortunately, when you swallow, a flap called the epiglottis moves to block the entrance to trachea. So, any fancy throat teas you drink, lozenges you suck, won’t actually soothe your throat as they won’t go anywhere near where the problem may lie. Having said that, what you eat and drink can still affect your voice. And the most important element is H2O, water. Hosted on Acast. See acast.com/privacy for more information.

2023.01.18 – 0748 – Vocal Health as Asset ProtectionAs we have seen, the vocal cords are super thin muscular folds the length of your thumb nail. Air exhaled from the lungs passes over the taut cords and they vibrate[1], producing sound waves. High-pitched sounds are made when the cords are short and taut[2]. They work best when they are really well hydrated and it’s really hard for them to work, and they are more-easily damaged, when they’re dry or have too much phlegm on them.  Looking after your voice is ‘asset protection’: you’ll get more work done in less time, and earn more! But f ew of us have been taught how to properly operate the machinery of our voice. And when we want to add more volume, projection or emotion it’s like driving a Ferrari with the handbrake on … and we wonder why we’re too vocally exhausted to make it through the broadcast, podcast or voice-over session. Truth is most people don’t know any different, having been ‘driving’ that way for years, having got used to it, working on poor advice they were given years ago (such as “if you have a sore throat, just whisper…”). Even speaking in normal conversation our voice will tire, but that’s more likely more quickly in a professional setting of presenting and acting, with heightened voicing techniques for hours at a time. If your livelihood depends on your voice, it’s crucial you have strategies to strengthen your voice and minimise vocal injury. [1] See this video: https://youtu.be/kfkFTw3sBXQ [2] See this video: https://youtu.be/-XGds2GAvGQ Hosted on Acast. See acast.com/privacy for more information.

2023.01.17 – 0747 – You Are A Vocal AthleteWe are vocal athletes! Those of us who speak for a living are trained and skilled, we have physical strength, agility and stamina. We can get highly stressed and suffer from fatigue that affects our performance. And we use our body in an unusual way. So, be aware of what kind of foods, situations or symptoms are the precursor to poor vocal health. And then avoid them.We all vary how much we speak during a day because of everything from studio work to social life changes.But an NHS report[1] imagined someone who spoke for around 5 hours (18,000 seconds) per day would:For a woman with a middle-range average spoken pitch, have her vocal folds vibrating at a rate of around 220 times each second, or opening and closing at least 4,140,000 times in one day, 1511,100,000 vibrations a year.For a man with a reasonably low average spoken pitch, the vocal folds may be vibrating at a rate of around 100 times each second, that’s 1,800,000 opening and closings a day and 657,000,000 times in a year! Now imagine the amount of work say an audiobook reader gives their voice, reading for 5 or more hours a day. [1] https://www.wsh.nhs.uk/CMS-Documents/Patient-leaflets/SpeechandLanguageTherapyServices/6534-1-Practical-voice-care.pdf Hosted on Acast. See acast.com/privacy for more information.

2023.01.16 – 0746 – Exercise AdvisoriesOver the years in the many training sessions I have led, I have just known that the advice I have given to my clients in this area is going to be ignored: lip trills have been considered childish, to mindfully meditate was seen as ‘hippy’ hokum, stopping smoking as an unnecessary infringement. I am happy to say that in recent years those views have largely changed as people have become more aware of the value of looking after themselves vocally, physically and especially mentally.Self-care is not selfish.  I am not a doctor. Neither is Google. I don’t know your diet, your meds or your medical history.I don’t know your sleeping, smoking or drinking habits.I don’t know your physiological or psychological health,Your exercise or work regime, or your climate.What follows is, although professionally-researched, still generic advice.  Listen carefully to your voice.With any negative change (loss in quality, range, stamina or control) lasting longer than two weeksalways seek the advice of a qualified medical professional.[1] [1] What does your voice reveal about your health? Scientists say the way you talk could help diagnose a range of conditions from heart disease to Parkinson’s. https://www.dailymail.co.uk/health/article-10729393/Scientists-say-way-talk-help-diagnose-range-conditions.html Hosted on Acast. See acast.com/privacy for more information.

2023.01.15 – 0745 – Your Vocal, Physical and Emotional Health: an introduction ‘The first thing to be considered is what sort of voice we have and next, how we use it. The natural power of the voice is judged by its quantity and quality. The good qualities of the voice are improved by attention and deteriorated by neglect.’Quintilian, first century AD, a leading instructor in eloquence at the school of oratory in RomeLet’s take a look at some changes that can affect your voice almost overnight (which include, ironically, a good night’s sleep!). They are almost ‘quick fix techniques’ to help your voice become more resonant, resilient and relaxed and, along with breathing (the ‘key thing’!) at the very core of getting good vocally, and on which we can build those other ‘reading’ skills.This Part is divided into three sections, looking at the broad areas of Vocal, Physical, Emotional & Mental health to help you get a better broadcast, podcast and voice-over voice. However, despite this division, it’s important to realise that these three topics are intrinsically interwoven: emotional stress can lead to physical tension which can affect how you sound; taking medication to treat a physical ailment can dry out your vocal cords; a long studio session may not only tire you vocally, but also mentally. Is someone who speaks in a monotone, subconsciously hiding their emotions? Perhaps a ‘mumbler’ lacks the clarity that comes from opening their mouth wider because they’re embarrassed (or have been embarrassed) about their teeth or braces… If you have a vocal injury, could it affect you psychologically and have you wondering, “will it happen again?”, “will I be able to recover?”, “how will I pay the bills?”, and so make you more nervous. Vocal, physiological and psychological changes all contribute to how we sound. Hosted on Acast. See acast.com/privacy for more information.

2023.01.14 – 0744 – Telephony VoiceoversTelephony voice over – (‘voicemail’, ‘Message On-Hold’, ‘MOH’, ‘Integrated Voice Response’ or ‘IVR’ “for sales press 1, for help press 3…”)These voices have to represent the brand and what they stand for and might sound like and who they’re speaking to. The voice is the representative of the company and so a more mature, experienced voice might be most appropriate. Doctors’ and dentists’ callers probably don’t want to hear a teenager, they want someone who perhaps sounds more like ‘mum’ or the dentist themselves. Very often it’s just the staffer who’s available who gets to record these messages, especially a few months after the original professional recording has been done and there’s a change to some of the details that need to be included.With these recordings, it is usual to keep the tone polite and conversational, natural, friendly, welcoming, real and connected. Confident but not too earnest. And you might need to speak slightly slower because of the information and instructions. There might be opening hours, a website address or instructions on what buttons to press.(Integrated Voice Response refers to the automated phone system which routes calls or gives information depending on the caller’s interaction by voice or keypad selection, such as those used by cinemas for screenings and bookings and large companies.)The read has to be appropriate for the business, so you wouldn’t read a commercial (or therefore an on-hold message) the same way for a cancer hospital as for a car dealership or a cattery. Remember the end user, the person calling in.If you become the voice of the brand, it could mean lots of repeat work as well as updates when parts of the company change – such as a restructuring or renaming of departments - which will mean the ‘telephone tree’ layout will change. Hosted on Acast. See acast.com/privacy for more information.

2023.01.13 – 0743 – Voiceover Cut-ThroughsA voice-over might hope that with a commercial read they may be asked to record another ad for the same brand, but it’s not a given. That job may be a one-off. But with trails and promo voices, once chosen you are likely to be on contract for months, seasons or years. You may be on a retainer, and have to voice any number of items with a quick turnaround every single week. (Oh, and you may be paid a premium for ‘market exclusivity’ to stop your voice from being heard on any other station, or on commercials on that station, and so on.)For a lot of voice-over work such as promos and commercials (less so for audiobooks, e-learning of narration work – where people have already chosen to listen to you and your content, and so an engaging voice is important), your voice has really got to cut through. People are doing other things while they listen, concentrating while driving, being distracted while cooking a meal in a busy family kitchen and so on. They have their attention divided and you need to reach out and grab it. Just because what you say is coming out of a speaker, they won’t automatically hang on every syllable.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.12 – 0742 – Station Imaging Voiceovers Station imagingThese are the branded voices that are used on promotional trailers for radio and TV stations. So not on the commercials advertising other brands (such as a car showroom or a breakfast cereal), but introduce or promote an individual show (or shows) on that station (“The News At Ten – with Kylie Johnson … Joe Smithson on sports and meteorologist, Troy Masters”, “Tuesday night is DIY night … on K-DIY Channel 9”), or on radio stations announcing specific features (“The Sunday Roast, with Chicken Man and Devlin”, “BBC England … weather”) and so on.Your voice will be chosen to fit with the style, format and demographic of the station, perhaps its attitude and the music that’s played. For example, a classic rock radio station may be targeted to an older, mainly male audience so a young female voice on its trails may sound incongruous (having said that, it may be the ‘alternative’ juxtaposition the station is after). Other stations’ target demographics (the kind of people they are targeting with their programmes, so they have a well-defined audience that they can sell to advertisers) will change with their output niche: country, news, ‘family’ or ‘listen at work’ stations and so on. It’s the same for TV channels: a food, sport or DIY network for example. Hosted on Acast. See acast.com/privacy for more information.

2023.01.11 – 0741 – Voicing Public Service AnnouncementsPSAsIn times of disaster, be it natural or human, a Public Service (or Safety) Message may be the best way to get information out fast and elicit help.An appropriate tone might be:·        Calm and reassuring, clear and uncompromising, with a touch of urgency – for an informational read to those caught up in events·        Inspiring, caring and authentically empathetic and optimistic - to engage hearts and minds and encourage help, money or donations  During the Covid 19 pandemic, adverts ran on broadcast and digital media explaining, educating and updating, introducing new policies and procedures such as handwashing, mask-wearing and isolation. The delivery was direct but friendly and calm rather than aggressive.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.10 – 0740 – The Tonal Scale on Political VoiceoversWith negative ads, you are unlikely to be shouting and screaming in fury, instead, your style will be more measured and composed although still somewhere on the scale of:·        Bewilderment·        Disappointment ·        Concern·        Incredulity·        Sarcasm and snark ·        Dark sincerity·        Righteous contempt ·        Quiet aggression·        Disgust·        AngerNegativity is not necessarily ‘shouting’. You don’t need projection and volume, you need to have mood and feeling. An attitude. And although unlikely on every line, if mentioning the candidate from ‘the other side’ you may want a tone of disgust or disbelief, when you mention ‘your guy’ you say their name with a lightness, a sense of hope and aspiration.So instead of projection, you can use elongation to highlight words and phrases: stretch out key words to mark your ‘disgust’, making them longer rather than louder. It’s what Maria Pendolino (of https://www.bluewavevoiceover.com/ ) calls “like pulling mozzarella”:·        “…spent millions on failed personal projects…”·        “… his entire career” And you’ll find it easier to get the appropriate attitude or ‘strength of snark’ if you use body language along with the scripted language: a shake of the head, a squint of the eye, pupil-rolling, eyebrow-lifting, and lip-snarling: “really?!”.Positive ads are a little softer, to heighten sympathy and bring reassurance to engage the voter. Again, there will be a range within this tone: from positive, to more positive, to hopeful and heartbreaking.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.09 – 0739 – Political Ad Voiceover Styles Like most advertising where the style of such campaigns was once very ‘announcery’, both of these content styles are now much more conversational, contemporary and authentic, inspiring and upbeat or authoritative and direct. And your accent is likely to be from the community (say Maine or rural Mississippi) and the demographic (Floridian Spanish, 18–24-year-olds, stay-home mums, over 75s), to whom the ad is targeted. In some ads, such as introducing the candidate to the electorate, the voice should usually reflect the tone and attitude of that candidate: smooth and experienced for an older and more knowledgeable nominee, a more youthful sound to reflect the youth of someone else standing. Hosted on Acast. See acast.com/privacy for more information.

2023.01.08 – 0738 – Finding The Key Points in Political Voiceover ScriptsAs a voice-over you have to immediately identify:·        Is this ad actively promoting the candidate, or doing so by knocking their opposition?·        Who is it targeting? Undecideds, grass root supporters, soccer moms, small business owners…·        What is the key message?·        What and where is the story arc? (Often, it’s along the lines of ‘this person is bad because of a, b and c … and our candidate is good because of x, y and z’)·        The music and visuals alongside the script. Understanding these, as well as having an ongoing knowledge of the main issues, will help you get the right tone, intonation and overall cadence of reads such as these.I said “immediately identify”, that’s because although at the start of a campaign some scripts and visuals may be ‘in the can’, as it progresses there is a fast production turnaround on them as campaign managers react to the news, events, focus groups and reacting to what ‘the other side’ is saying and claiming. TV ad slots may be booked weeks or months in advance, and if you are ‘the voice’ of the campaign, usually for both positive and negative ads for a candidate, you need to be available asap.[1]   [1] Of course, although you could in theory voice ads for say the Republicans and the Democrats, it will be reassuring for both parties and agencies (and arguably ethical for you) that your voice is only heard supporting one side or the other, especially in each geographical area.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.07 – 0737 – Political Voiceovers: Lead Ins and Pay OffsAds of either style often start with a question, another rhetorical device that gets the listener to ‘fill the vacuum’ with an answer:·        “Would you trust Tracey Garcia with your money?” ·        “We gave this man the keys to the Governor’s House … do you know what he gave us in return?”·        “Just why should you trust Camila Haufman…?”As we saw before, using a lead-in sentence may help you get into the right ‘tone zone’. That’s a short phrase that you say to yourself or aloud, before you start recording the script, that the first line can ‘react to’:·        You think: “You want to know how truthful I think they are? Well, let me ask you…”o  Then you record: “Would you trust Tracey Garcia wi th your money?” ·        You think: “Some people are going to give him a second term…”o  Then you record: ““We gave this man the keys to the Governor’s House … do you know what he gave us in return?”·        You think: “People say all politicians are the same, and that’s a very good point…”o  Then you record: ““Just why should you trust Camila Haufman…?”And the style of these ads often dictates that they end with a pay-off tag-line:·        “Vote for Zippy Verlezza”·        “The man you can trust”·        “The strong voice for our state”You really need to land these strong statements to give the ad a sense of finality, with a downward intonation to give certainty, rather than doubtful questioning.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.06 – 0736 – Key Words to Highlight in Political Ads All styles usually have a script that is clean, clear and sharp, one which has a point of view to catch the attention and emotion of its target audience.  Common rhetorical devices will be used such as comparative balances (“the wealthy profited, and we paid”, “while they only care about their family, we care about yours”, “keep your tax dollars in Delaware, not in DC”), alliteration or rhyme (“problem solver, job creator”, “honesty and integrity”) and groups of three: “it’s the backbone of our community, our state and our economy”,  “irresponsible, reckless, corrupt”, “our future depends on jobs, jobs and more jobs”). So, look out for these and highlight them as directed. Key words crop up regularly too, such as “business”, “jobs”, “truth”, and other references to money and accountability, which you will also need to draw attention to.  Hosted on Acast. See acast.com/privacy for more information.

2023.01.05 – 0735 – Voiceovers For Political Ads Political adsThese are most common in the US and can be divided into these categories: [1], [2]·        Positive – promoting the attributes of the candidate with an uplifting, aspirational and honest message and tone·        Negative (or ‘comparative’ or ‘attack’ ads) – promoting a candidate by highlighting the perceived mistakes of their opponent, in a voice that can cut through in a critical or concerned, fed-up or bewildered tone. At their most tough and plain speaking, they are called ‘attack ads’. ·        The ‘Introduction to the Candidate’ Ad – explains the basic background and ‘qualifications’ of the candidate (businesswoman, ex-cop, headteacher family man, youthful renegade and so on). ·        PAC and ‘single issue’ ads - Political ads don’t just represent candidates of political parties. Political Action Committee ads are from special interest groups, lobbyists and concerned residents who highlight concerns – say, pollution, education, gun or birth rights - to support or defeat certain candidates. [1] An archive of US political commercials: http://politicaladarchive.org/ [2] Adapted from https://www.bluewavevoiceover.com/types-of-political-ads/ Hosted on Acast. See acast.com/privacy for more information.

2023.01.04 – 0734 – Movie Trailers VoiceoversMovie trailersThe ‘god’ of these was the iconic voice of Don LaFontaine who recorded more than 5,000 film trailers and hundreds of thousands of television advertisements, network promotions, and video game trailers. At the height of his career, he was voicing 60 trailers a week. He became identified with the phrase "In a world...", used in so many movie trailers that it became a cliché.  https://www.youtube.com/watch?v=AGNqI6RYBrQBut since his death, styles in this area as in many others have changed to one which is more informal.Podcasts and RadioThe key skills for an announcer are: “…the ability to communicate with one person and the ability to grasp the technical side so you can forget it all and concentrate on the primary focus which is the listener. When I started announcing I was told to imagine I was talking to a little old lady in Fulham, south London. The reason was to bear in mind that I was talking to a person that may not necessarily be an avid listener to Radio 4 so I have to tempt them in to get them to listen more carefully. I’ve got to be clear in my delivery as she may be a little hard of hearing and I’ve got to grab her attention.Two of the prerequisites of an announcer’s equipment are your two ears. It’s easy to get beguiled by the equipment around you, but this is what your listeners are using and what you should be using: your perception of how the sound is, properly balanced, to check monitoring …”Chris Aldridge, presenter BBC Radio 4, “Radio: Getting Your Voice on Air” podcast Hosted on Acast. See acast.com/privacy for more information.

2023.01.03 – 0733 – Medical Narration SkillsMedical VOsThese can be quite content-rich and may be for professional medical education or maybe for drug or equipment reps, and will likely have pharmaceutical and physiological terminology.Some of the information may be ‘patient facing’, for example explaining a situation for someone undergoing treatment. That will be made clear in your direction.Your voice needs to have clear, intelligent warmth to transform what could be dense and dry scripts into inviting and reassuring explanations.  Your presentation needs to be clear and precise with the correct pronunciation of complex and multi-syllabic words and terms. Invest in a respected pharmaceutical dictionary or an online service and tell your client which one you are using. If two pronunciations are given, use the first (most common) one, and have the client agree to this or suggest any other preference. This will give you fewer pickups or retakes. For drug names contact the company directly or see if they have a pronunciation on their website or on a trusted YouTube video.What you say will be of high interest and value to the highly educated and time-poor target audience which will be very familiar with what you’re talking about. You have to get the content, pitch and tone right too, with a sense of trust and understanding. You don’t need to be slow in your speaking speed (which could be considered patronising), but you have to be highly accurate: poor diction can give the impression that you lack confidence or knowledge about what you are reading. Hosted on Acast. See acast.com/privacy for more information.

2023.01.02 – 0732 – The 4 P’s of Speaking Outdoors VOICE BOXSpeaking outdoors ‘Public speaking’ at out-door events, garden parties, open-air weddings, theatres and so on can put an added strain on your voice, but some tips are the same as indoor work: warming up (even though the weather may be warm, you need to prepare your voice for what is to come), and hydration (again, the warmer weather may cause you to need more fluid both before and during your open-air speaking engagement[1]).The Four PsPosture – As you will be outside, you will likely be standing and giving your presentation. Relax, don’t lock your knees but have a bit of ‘give’ in them, stand on the balls of your feet rather than the heels and have them shoulder-width apart. Relax and drop your shoulders. You may be tempted to help your voice ‘reach’ the audience by jutting your chin forward, but this not only looks odd but it can cause a strain on your neck. Power – As we saw before when we spoke about resonance, you don’t always need to shout to make yourself heard. Power can be the combination of breath control and the use of your resonance chambers (the chest, throat, mouth and so on) to give the illusion of a greater sound, but without causing the strain that comes from sheer volume. Put simply, resonance provides the most output for the least vocal effort. Plosives – Your enunciation will also help you cut through outside sounds: the buzz of the audience, the breeze in the trees, traffic, and birds…. So, speak clearly and put energy into plosives and the hard consonants. PAs – using a public address system needs careful use too: don’t be too close to the mic; don’t drop your voice too much at the end of sentences; don’t speak too fast as there may be a delay in the relay of your voice from outlying speakers and some of what you say may be repeated in an echo-effect or taken by the wind. [1] Indeed, as we will see in our section on vocal health, some medication such as for hay fever can dry out your vocal folds. Hosted on Acast. See acast.com/privacy for more information.

2023.01.01 – 0731 – Sport Stadium Announcing In this category could also come ‘announcers’ such as those as sports events. Bob Sheppard was the long-time public address announcer for more than 4,500 Yankees baseball games over 56 years. He was also the in-house voice for New York Giants football games for more than a half-century. Wikipedia says “Sheppard's smooth, distinctive baritone and precise, consistent elocution became iconic aural symbols of both the old Yankee Stadium and Giants Stadium”.Player Carl Yastrzemski once said, "You're not in the big leagues until Bob Sheppard announces your name". https://www.youtube.com/watch?v=2n2zN9H4mb0 Hosted on Acast. See acast.com/privacy for more information.

2022.12.31 – 0730 – Skilling Up To Be GodlikeAdditional skills·        You need to be able to ask questions, use initiative and take direction when presenting in this situation. You need to be diplomatic: who are you taking direction from? The sound engineer, the stage manager, the MD of the company, the hotel manager…? ·        You need to work well under pressure, being script-accurate, possibly while hearing in-ear directions from a stage director.·        You must be able to recover after a stumble and able to adlib, perhaps when a ‘golden envelope’ goes missing or when you are asked to make an announcement and there’s no time to write it down and you have to compose it in your head and say it fluently. Maybe someone has pulled out from attending. You can rehearse a few ‘skeleton scripts’ (the kind of thing you would say, obviously not every single scenario) in your mind for emergencies such as an evacuation, a sudden death of a guest and so on.·        Concentration is a key skill: being ‘in the moment’ and ‘on page’, not just watching what is happening on stage and off, but taking it in and being ready in case you are ‘thrown to’.·        You need to have the patience to read a script for several hours and maintain energy.You may be live at the event or you may be asked to pre-record the announcements. With ‘live’ you can be more involved, play to the energy of the audience and react to anything that happens. With recorded there’s the reassurance of correct pronunciations, fewer nerves and an edited and so faultless presentation, and the sound engineer at the event can press ‘play’ exactly when the next announcement is required.  Hosted on Acast. See acast.com/privacy for more information.

2022.12.30 – 0729 – Your Godlike PresentationYour presentation·        Don’t talk too fast or information may be missed. There may be a busy room with hubbub and people mid-way through a conversation. In a large warehouse-like conference centre your voice may echo slightly and so a slower read-rate may be best. Think about how the audience is receiving the message.·        Be aware that you may need a gear change in your presentation: there may be a tribute to a colleague who’s died or a family member who can’t be there and so a change of tone is required after which you may need to be able to thoughtfully move on and raise the room again.·        You may be able to see the large audience, hear them, or at least know how many people are there[1]. Learn how to control your adrenaline and use it to your advantage, not for your nerves to throw off your performance. It comes down to some big steady deep breaths to control your voice, so it stays measured and supported. You need to appear calm and in control.·        Sips of water or apple juice will keep your mouth lubricated. But remember ‘what goes in must come out’ and you won’t be able to leave the podium to dash to the toilet. Don’t even think of having alcohol. [1] For many big televised events such as The Oscars, the voice-over, although live, is not actually in the venue at all, least of all just off the stage. They are more likely watching a feed in a room far-off backstage, in a broadcast truck or back at a studio. Hosted on Acast. See acast.com/privacy for more information.

2022.12.29 – 0728 – Your Bow Tie And Ball Gown Prep·        Seeing a script in advance will let you prep any unusual terminology. Perhaps it’s a sports event and you may need to give a score or a result. You may be expected to lead some kind of audience participation and explain a voting procedure or how to use a piece of tech. Even explaining where the buffet or toilets are will sound more authoritative if you know the route to the room yourself. If it’s a regular gig, be across the industry, so you are already aware and familiar with the names.·        At an awards event you will need to rehearse to get a flow of when you announce the winner for example, which can be different at every event (when the video stops, when the music starts, when an envelope is opened…). You need to have good timing and judge the length of a script to hit a beat in the walk-up music at a ceremony. You may want to ‘dress the part’ to feel part of the performance: even if you are not seen, wearing a ‘posh frock or dicky bow’ may put you in the zone for the event. Hosted on Acast. See acast.com/privacy for more information.

2022.12.28 – 0727 – Prepping For ‘Voice of God’ Announcements Preparation·        Ensure you get the script well in advance so you can read and rehearse. There may be words, places, people’s names and technical terms (a trade show for medical equipment, a conference for engineers…) that you are not familiar with. At awards ceremonies, some of the categories-and-sponsor-credit names can be quite a mouthful. They may also have been written by someone who doesn’t ‘write for the ear’, with long sentences, awkward phraseology, repetitions “and the next award is for…”, “and the next award is for…”, “and the next award is for…”Take the pronunciation of names very seriously. At an awards ceremony, it is a winner’s special moment, being celebrated and honoured. They may be in front of friends, family and business associates, and their walk to the stage may be videoed for posterity, so really care to get their name correct. Don’t assume how a name might be pronounced. Speak to the organiser or the winner’s department head (or, if the winner knows they have won, to them themselves) well in advance to check out tricky names, which you can then write out phonetically and practice. Consider recording that other person giving you the pronunciation so there’s no doubt about how to say it. Hosted on Acast. See acast.com/privacy for more information.

2022.12.27 – 0726 – Your ‘Voice of God’ VoiceYour voice·        In this position you are often the face, or rather the voice of the event: the conductor. Assess the brand of the events and the type of content you are reading. Is it a corporate gig or a relaxed and younger audience? Your voice needs to be representative of the client, and fit with the brand and vibe of the event. For example, if you are announcing winners at the “Scaffolder of the Year” award on a weekday lunchtime, it may be a different tone, age and style than that of the “Young Hairdresser of the Year” Award on a Friday night. If it’s a black-tie business event for lawyers, the tone may be different again. If it’s a trade show event for women’s fashion, then a female voice may be the best fit for the announcements. ·        Your voice needs to be friendly but authoritative, a style that will make people listen and act. Your voice needs to be likeable, and perhaps ‘vanilla’: it’s good to cut through but not jar. You need the attendees to understand and act on what you are saying but not notice its qualities.Don’t worry about sounding towards the ‘announcer’ side of the scale. You usually need clean enunciation, clarity of voice, and a measured voice that cuts through, but is still warm and inviting – usually said with a smile and not with a shout. Hosted on Acast. See acast.com/privacy for more information.

2022.12.26 – 0725 – Live Event Announcement SkillsLive Events Announcements (‘Voice of God’ aka VOG)These are the announcements made at an event (maybe a conference, ball or theatre), signposting what the delegates, guests or audience need to know or need to do. The voice-over is often not on the main stage, but disembodied, that is, never seen and ‘behind the scenes’ and from a loudspeaker in the ceiling, hence the name ‘Voice of God’.  Announcements may be along the lines of: “Welcome to this year’s International Award Ceremony. Please take your seats for the event starting in five minutes”, then “here are the nominees for Voice Of The Year…” and “And here is tonight’s entertainment, star of everybody’s favourite comedy show Dewayne Devatto”. You may also give out information such as safety announcements, when the next workshop or conference session is starting, where the fire escapes are… you get the idea. Hosted on Acast. See acast.com/privacy for more information.

2022.12.25 – 0724 – Reading Cast Lists This is the part of the cast list for an episode of the world’s longest-running continuing drama, BBC Radio 4’s “The Archers”:Pat Archer ….. Patricia Gallimore Susan Carter ….. Charlotte Martin Justin Elliott ….. Simon Williams Toby Fairbrother ….. Rhys Bevan Brad Horrobin ….. Taylor Uttley Stella Pryor ….. Lucy Speed Writer, Nick Warburton Director, Julie Beckett Editor, Jeremy Howe In this situation, with agreement from a studio director, you may be able to adlib slightly with the list to make it an easier and more understandable listen:Pat Archer was played by Patricia Gallimore Susan Carter, Charlotte Martin and Justin Elliott by Simon Williams.Rhys Bevan played Toby FairbrotherTaylor Uttley was Brad Horrobin and the part of Stella Pryor was Lucy Speed The writer was Nick Warburton, it was directed by Julie Beckett and the editor was Jeremy Howe. That, of course, also with the change in tone for each character and actor name, and with a final downward inflection at the end of the list to show completeness. Hosted on Acast. See acast.com/privacy for more information.

2022.12.24 – 0723 – Reading Lists Lists (or ‘strings’) and creditsLists are boring so it is your job to make them sound less so.  We’re talking about maybe a news story on the selling points of a showbiz star’s home that’s up for sale or a roll-call of credits at the end of an audio drama. You have to read the uninspiring script in an interesting way, rather than simply rattling it off. “It has eight bedrooms, six bathrooms, a heated garage and stables, a gym and home cinema, and an underground walkway to another separate home on the property.” In this situation you need to add variety and interest by using some of the various elements that we have looked at already:·        alter the pitch slightly on each item. That’s not simply going up and then down a range but finding an almost random variety. “Almost random”? Yes, it would be daft to go from a high pitch to a low one for example. ·        vary the rate and even a pause or two to help highlight some of the more unusual features. So, it could go “eight bedrooms” and the inflection upward on “six” and stay up in pitch on “bathrooms”. You’d want to lift “heated” as that is the unusual part about the garage and so too “and stables” expressing some surprise, then perhaps speed up through “a gym and home cinema” as these are perhaps to be expected in such a property, and then draw out the next “and”, followed by a slow and low reading of the final phrase because it is unusual.  This subtle ‘mix-up of movement’ will help engage the listener’s interest, changing the copy enough to make it more dynamic and easier for the listener to understand.  Many lists are short, often three items because of the accompanying satisfying rhythm (“Life, liberty, and the pursuit of happiness”, “Friends, Romans, Countrymen”, “Faith, Hope, and Charity”… itself a ‘list of three’!), so when you have such a string, the first item could be read in a ‘standard’ way, the second with an upward inflection (offering difference and a suggestion that there is more to come), followed by a slight pause and the third item with a downward inflection to show that the list has ended. Hosted on Acast. See acast.com/privacy for more information.

2022.12.23 – 0722 – Possible Hazards in e-Learning Narration Possible trip-upsWatch out for:·        Jargon and unfamiliar terms and phrases – check each pronunciation as well as acronyms, dates and so on as well as any equations that you may need to read and then say it simply and confidently. Bear in mind that if the copy is heavy on technical terminology or with complex sentence structure (such as a read for a legal, technical or pharmaceutical company) then it will take you longer to reach fluency with those tricky, unusual and multi-syllable words.·        Long sentences and poor punctuation – look for the phrasing and moving from one idea to another to help you with your intonation and breathing·        Repetition of words – look again at the section on intonation and when you lift or subdue words  Hosted on Acast. See acast.com/privacy for more information.

2022.12.22 – 0721 – Explainer and Training Video Narration Explainer videos by their definition are structured in the classic problem > solution style, often featuring the owner of the business or a member of staff (or an actor appearing to be a member of staff!) and 30-120 seconds. Like all of these e-learning formats, you have to sound as though you understand and care about the problem and the product, but you don’t need to ‘sell’ anything as you might have to in a commercial as the audience is already interested in what you’re telling them – they have usually sought out the information. Your voice style will be one of a trusted guide, friendly and knowledgeable and talking one-to-one, as most of these videos will be watched alone.Training videos are more content rich with information and instructions for colleagues or clients, who may be paying to watch a tutorial. You will need to sound knowledgeable (who’s going to take advice from someone who sounds unsure?), so that means making sure that intonation and pronunciation are spot on. Projection is minimal, again people will likely be watching this by themselves with headphones on so won’t want to be shouted at. And take your time: by sheer definition, this is new information so tread a careful line between giving people time to take it all in, and not being patronising. That will be affected of course by the content and the context. Brand new information on school exam courses may have to be at a slower pace than new drug protocols for senior anaesthetists. Having said that, as we saw earlier, you can afford to slow down on the new and important phrases and speed up on the old and ‘already known’ content. Hosted on Acast. See acast.com/privacy for more information.

2022.12.21 – 0720 – Sight-Reading Skills For Your e-Learning Narration Sight reading - As the scripts are likely to be quite long, you need to be able to scan once (to check for potential stumble-ridden words and acronyms), and then read pretty much by sight. Why so little rehearsal? Because the scripts can be so long, and dry it simply may not be viable to either rehearse it all or to make too many stumbles in the actual recording as editing time could make the whole project unviable. That also means you need to be fluent, proficient, and able to self-direct and spot any slips and trips (potential and actual). If you have more than five or so ‘pick-ups’ on a page then it’s probably not a good fit for you. Intellect - you need to understand what it is that you are reading so you can say it with a sense of authority and significance and so help engage your listening audience. If you don’t know university-level words and how they are pronounced then you really may struggle. After all, you need to know when you don’t know how a word is said, not just present with presumption. And you need to know the intention of the lines and the sense of the sentence in an industry or trade that you are not hugely familiar with. You don’t need to know the exact workings of the machine or the process that you are describing, but you need to understand the intention of the writer. So, a general education (reading and consuming media so you know a bit about a lot and so are perhaps more comfortable talking about a topic) is also an advantage. Some internal training might not just have long words, but long sentences which means being able to navigate them with the correct intonation, pace, pauses and pitch to make them understandable. Hosted on Acast. See acast.com/privacy for more information.

2022.12.20 – 0719 – Stamina and Timing For Your e-Learning NarrationOther skillsStamina - Such reads may be quite demanding: explaining a new procedure to an oncologist or orthodontist may involve complex language; leading people through new regulatory procedures may need careful intonation as your voice will help explain the changes; a series of modules may need lots of preparation, patience and studio time with a read that is consistent and seamless. So you will need to sound not just good but consistently good. The scripts can be long and dense, with detailed, sub-claused sentences and multi-syllable words. So, you need to have the mental focus and vocal health to keep your concentration, ensure that you don’t start to sound ‘flat’, and the last hour sounds much like the first in terms of interest and intonation. Oh, and also to be able not to get frustrated and flustered when you make a fluff. You can correct it, re-focus and move on. The nature of these reads is that there are likely to be different sections, chapters or sub-topics within the script, so you can get a natural pause in proceedings, but they all have to sound similar as they may be heard together rather than unit-by-unit.On this: No annoying lilt or mouth clicks – people will be listening to you for several minutes or maybe even hours, so even though they may not have to love your voice, it certainly shouldn’t grate.  Timing – you may well have to speak to visuals, matching your delivery to changing on-screen graphics. Indeed, you won’t always see a video, and just be working from still images and a time-code. Hosted on Acast. See acast.com/privacy for more information.

2022.12.19 – 0718 – Intonation and Projection For Your e-Learning NarrationIntonation - people need to trust that you know what you are explaining to them, so correct intonation is paramount. A mis-stress can give the impression you are a ‘hired voice’ rather than a knowledgeable mentor. The script is very likely to be a training or explanation. By sheer definition, the point of the script may be to tell the staff about what has changed in a process, and so you will need to be able to identify within the copy what was the situation, and what it is now, to be able to place the correct lift or drop on the significant words or terms.  Projection - consider that you’re just talking to one person, right in front of you, possibly wearing headphones in an office environment, or at home on a tablet or phone. So be careful of projecting too much and instead make the read personal. Hosted on Acast. See acast.com/privacy for more information.

2022.12.18 – 0717 – Pace and Tone For Your e-Learning Narration Your e-learning voiceYou will be the ‘brand voice’ of the product or service, so you will reflect those values as well as those of the target demographic.  Pace - Almost by definition, the information being presented is new and may also be complex. Viewers may also have English as their second language. Having said that, be guided by the content and the visuals. Explaining new procedures over a fast-paced soundtrack over quick cuts of F1 drivers may well need a pacier delivery than that featuring new techniques to protect sea turtles.  The most important technique to apply is that you allow each different piece of information appropriate time to be absorbed or understood by your audience. Tone – although the information is new, you must be careful not to sound patronising. Channel the emotion of a trusted guide who understands the content and wants to pass on knowledge and useful information, rather than that of a teacher who is ‘telling’ facts to an audience: you are less standing over someone’s shoulder wagging a finger as they learn, and more sitting beside them and holding their hand.The relationship you have with the listener is hugely important and as people often watch these modules by themselves your tone needs to be more personal than that of a commercial read. Consider for example the tone of a read about ‘history’ or ‘the future’, and whether the content is training or inspiring – all will have different tones. A good style is one that is conversational and energetic, engaging but with an element of authority. You need to be able to present what could be dry material, for people who need to know and others who (perhaps in a ‘captive’ workplace) are disinterested but compelled to watch, so avoid the robotic ‘mono-tone drone zone’. It’s not just about having a nice voice but being able to explain content well, with a sense of context and understanding. With some more formal, corporate reads, you may have to present every single word as it is written: that words such as “to” are pronounced “to” rather than “ter” (“you have got to ensure that…” rather than “gotta”) and similarly with “for”, and not “fer” (“for more information…”) Hosted on Acast. See acast.com/privacy for more information.

2022.12.17 – 0716 – e-Learning Narratione-Learning NarrationFor every industry there is something to learn and the aim is to make it engaging and interesting, understandable and memorable. E-learning and explainer videos may be used in a formal education setting, ‘internal use’ to staff or ‘external’ and online, on YouTube or websites as a video, animation or podcast. They’re things like various courses; online webinars; in-house employee updates on health and safety, medical, diversity and inclusion; new product ranges; explaining to customers how to use a new item and so on. Hosted on Acast. See acast.com/privacy for more information.

2022.12.16 – 0715 – Voiceover Dubbing Multi-SkillsYou don’t need to be able to understand the original language, in fact knowing it may be a distraction as you’ll be able to understand what you’re replacing. The work is invariably done in a studio as you will have to speak to time, not just for the specific lip-syncs but also for the ‘looser’ dubs, getting a duration correct for the scene is still important.So, it can be quite complex: reading the script, watching the screen for the lip-sync, listening for the rhythm of the piece (the breaths and sighs, spot effects such as the door slamming or a gunshot), playing off other voice-dub actors (who also have to hit their ‘mark’ and start on time), keeping an eye on the timings, and acting the part (with appropriate emotions, panting after a running scene, shouting in an on-screen row…).  Hosted on Acast. See acast.com/privacy for more information.

2022.12.15 – 0714 – Lip-Sync, Phrase-Sync, Non-Sync, Bilingual and Narration DubbingDubbing can also be used to describe the voice given to animated characters or computer-generated characters in video games.Lip-sync dubbing – is when the new voice closely matches the lip movements of the original actor/presenter on the video so the difference is barely noticed which of course increases the audience’s emotional engagement. This is obviously difficult as not only are words different, but some languages are more complicated and require more or fewer words to convey the same meaning. Such work is usually recorded by specialist lip-sync professionals. [1]Phrase-sync dubbing – this is similar to the above, but there is less exactness in the lip-syncs, with dialogue matched phrase-by-phrase rather than word-for-word. This is faster and cheaper to produce. Non-synced dubbing – this is less accurate again, and so easier and cheaper to create and used when there is less need for the viewer to believe that the on-screen presenter/actor is actually speaking the lines. Bilingual delay dubbing – is often seen on news and documentaries, when the original language is heard for a second or two before that dialogue volume is reduced and the translation heard over the top. Voice-over narration dubbing – when a new speaker replaces original dialogue which was not delivered by an on-screen speaker, so in corporate videos, adverts and so on.  For some of these roles as you can tell, you have to be able to act, not just be ‘a voice’, and have to convey the emotions that are required for the scene and text. [1] Here’s a scene from the Robert de Niro movie “Analyse This” https://www.youtube.com/watch?v=lcEB5RUHlNw and more about foreign language dubs of English-speaking movies here: https://www.alphacrc.com/insight/how-do-you-dub-a-hollywood-star/ Hosted on Acast. See acast.com/privacy for more information.

2022.12.14 – 0713 – Full-Dubbing SkillsFull dubbing (or ‘revoicing’) is when a whole new audio version of the dialogue is created, for example re-recording all of the characters in a Canadian English-speaking film, for the Spanish market. Again, the new words have to sync with the mouth movements of the on-screen actor. It may also be, not just actors, but presenters or interviewees or guests.In both cases, you are not so much a voice-over as a voice actor – acting out the part with your voice. This isn’t a podcast/book about acting, but in short, you will need to master the script, understand your role, the character’s motivation in each scene and the overall story arc. “(Netflix) research has shown that dubbed versions of hit shows are more popular than their subtitled equivalents. Netflix’s investment in dubbing has been growing, on average, between 25 per cent and 35per cent per year for the past few years, and the consumption of dubbed content on the platform is scaling even faster, up on average more than 120per cent annually, say company sources.”Hollywood Reporter [1]Over the next few pages/episodes, we will look at some of the different attributes necessary for some of those different voice-over situations. (Although remember that much of the background information on these styles will have been covered under different headings previously.) [1] https://www.hollywoodreporter.com/tv/tv-news/netflix-s-global-reach-sparks-dubbing-revolution-public-demands-it-1229761/ Hosted on Acast. See acast.com/privacy for more information.

2022.12.13 – 0712 – Dialogue Replacement SkillsDubbingAutomated Dialogue Replacement (ADR)This is when a line or more of a movie or TV dialogue that was recorded on location, is re-recorded in a studio. It may be because of sound problems on the original (a plane, a misplaced microphone), or a change in the script (perhaps because of a plot inconsistency, a mistake that hadn’t been spotted, for a different overseas market with different regulations (for example on swearing) or to have a different vocal sound (for example, the character is required to sing, which the actor cannot do to a suitable proficiency).The original actor may not be available or cost too much to go to the studio to record just a small part of a script and so a replacement actor who sounds like the celebrity is used instead, their words being lip-synced to the video. Hosted on Acast. See acast.com/privacy for more information.

2022.12.12 – 0711 – Brand VoicesBrand voicesGo back and read ep 258You need to be:·        Adaptable and be able to voice different kinds of content – ads, phone system, podcasts, saving the client time and money·        On a retainer so you can do quick-turnaround records. Negotiate extra costs ·        Longevity – you will only get better at understanding what’s wanted with your vocal attitude and the ethos of the business, and may even start developing your style or suggesting to·        Have their own studio to assist in this – reactive·        Easy to work with – you will become part of your team, attention to detail Hosted on Acast. See acast.com/privacy for more information.

2022.12.11 – 0710 – Audio Guide Narration SkillsSome of these parts may be played by actors, but often it may just be a narrator – the ‘glue’ that links all of the information together. They will do the ‘housekeeping’: the welcomes, how to operate the audio player, what’s in the exhibition, where the toilets and emergency exits are and so on: “now go through the door on your left…”, “you’ll be able to buy a copy of this painting in the gift shop later”, “the toilets are just here if you need them”, “please follow the arrows on the wall to the next gallery…” and “please return this guide to the desk at the exit” and so on. Then they will take dry facts and bring them to life, tell stories, and give something a sense of context in an engaging way.  Yours will be the ‘brand voice’ of the event, in synergy with the content, the demographic of the audience and perhaps too the sponsor in their tone, pace, and pitch. You may need to have a measured pace to reflect the slow movement around a gallery and that some people may have another first language. And your pronunciation needs to be spot on: imagine an exhibition of Italian paintings with an audio guide which mispronounces the artists’ names.[1] [1] See more about this sub-genre of voice-over work, here: http://www.imagineear.com/ . Listen to the audio guide (various languages) to the 2021> Titanic exhibition that toured several countries: https://tourbuilderplus.imagineear.com/webapp/GndejL74ZiSzveQwCoqf/0 Hosted on Acast. See acast.com/privacy for more information.

2022.12.10 – 0709 – Voicing and Producing Audio GuidesAudio GuidesThese are pre-recorded guides for places such as museums, galleries and historic houses or street walks and are often on players you pick up at the entrance, on a loop system, downloadable apps or mp3s. They may also be on playout systems at fixed points either playing continuously or on push-to-play buttons, on pick-up headphones, on video walls and so on.  They have some of the following attributes:·        They give audio directions for where to go and what to do·        Help make the information more engaging, connecting better with the audience and bringing the information to life·        They are less stuffy and more interactive than text-based information panels and signs·        They allow easy dissemination of information in different languages or for various age groups, think faster and more family-friendly perhaps in the style of the ‘Horrible Histories’ series ·        Guides may include dramatisations and sound effects to make the information more character-led and immersive, to bring information to life with a more friendly, accessible, conversational tone. So rather than a lecturer, a character (say a queen, or a relatable person such as a pauper, solider or artist), may read from a diary or newspaper, or give a first-person account (either real or imagined) to bring ‘history to life’·        Some may give the user a choice of what to hear (more or less information), some auto-play depending on their exact location, and others have to be manually selected to play, either from a number guide on the exhibit or simply un-pausing the continuous audio stream. Hosted on Acast. See acast.com/privacy for more information.

2022.12.09 – 0708 – Voicing Audio Descriptions  Audio description – ADThis is a voice-over describing what is happening in the scene of a movie to benefit those who are visually impaired, who can hear the dialogue but otherwise may find the plot difficult to follow.The script will be provided for you, in which elements such as the action, setting and costumes will be described, but also along with other visual elements that help tell the story: a facial expression of an actor, a character who overhears a conversation, and what is going on when there is no dialogue to follow. You do not act per se, but narrate what is going on – not so immersed that you become part of the show, but not remote and robot-like either.But AD is not just used for films and TV. It’s also required for educational videos, art and museum exhibitions, conferences, plays and so on too.[1] For more on AD, listen to this BBC documentary: https://www.bbc.co.uk/sounds/play/b05ssqpl : “the practice of using evocative and poetic language to bring moving pictures to life has a much longer tradition. In early 20th-century Japan, Benshi narrators would interpret – and often elaborate on - Western and home-grown films for Tokyo audiences. The art form continues today. In Edwardian Britain, film explainers would bring an aural addition, often with musical accompaniment, to silent films.” [1] More information: “A Comprehensive Training Manual and Guide to the History and Applications of Audio Description”  https://www.amazon.com/exec/obidos/ASIN/B08KH2PWXN/audiodescriin-20 and “An Introduction to Audio Description” https://www.routledge.com/An-Introduction-to-Audio-Description-A-practical-guide-1st-Edition/Fryer/p/book/9781138848177 Hosted on Acast. See acast.com/privacy for more information.

2022.12.08 – 0707 – Growls and Grunts, Snorts and SqueaksAnimal noises This is not giving a human voice to an animal, but literally making growls and grunts, snorts and squeaks. (Yep, we’re talking voices and noises here!) Very often these noises are incorporated into an anthropomorphic script that we looked at just now to better introduce the character, so a ‘dog’ may bark before a line (read in English). Specific ‘actor-made’ barks and clucks, meows and moos may also be used in animation, where the sound has to fit the mouth movement in the picture (and the duration) so you can’t just use a generic sound effect of that animal.  Hosted on Acast. See acast.com/privacy for more information.

2022.12.07 – 0706 – Staccato Chickens and Hissing SnakesThen read your lines with these attributes, threading the ‘animal sounds’ into human speech: words are perhaps growled (as a ferocious dog might) or in a bright and happy ‘puppy-dog’ style. Similarly, you can probably imagine how a cat may say ‘hello’ (with a ‘miaow’ in the voice), or how a chicken may talk (perhaps thinking of their head-bobbing, pecking style, so their voice may be quite staccato). A snake character may talk slowly with accentuated and sibilant s-sounds. A bear may sound deep and loud.You may have a problem making sounds for animals that make no sounds, or whose sounds are not really known: how would you imitate a badger, a terrapin, or a specific bird such as a magpie, say?Don’t forget that your character, say the monkey, may also go through other emotions during a story or script, so think how your usually excitable monkey may also sound, say, sad or thoughtful. Your personal characteristics will include being able to work well with other members of the cast, who will be voicing other animals. You may also be asked to provide voices for more than one of the characters, say Enid the Elephant and Maurice the Mouse, to save time and money. Remember the crew of the Simpsons voice more than one of the characters in that show. [1] [1] https://en.wikipedia.org/wiki/Dan_Castellaneta Hosted on Acast. See acast.com/privacy for more information.

2022.12.06 – 0705 – Animal Characterisations Animal characterisationsAnthropomorphism is giving animals human-like characteristics and emotions – it’s the basis of many children’s books such as the famous Mickey Mouse or Winnie The Pooh as well as widely used in commercials (think of Martin the Geico Gecko the mascot of the insurance brand).[1]Of course, giving a voice to an animal is really voice acting, so many of the skills are similar to creating a voice for another human character, but there are specific skills involved. The same research needs to be done to help with your tone and vocal range.·        Character attributes·        How they are drawn (literally) – are they hunched over and eyes half shut or standing tall with eyes wide open? You can see how each of these looks would suggest another kind of voice·        The ‘generic’ character of that particular creature: snakes are seen as slow-moving and sly, monkeys as excitable, so how can you bring those attributes into the way your character talks? ·        When considering how an animal sounds, think where their voice comes from: for a growly bear you will need a lot of chest resonance and maybe a throaty sound, a hound dog may be more jowly and with a sound from the mouth cavity. Smaller animals (including say a terrier) are naturally higher-pitched in tone, a cat’s miaow is quite a nasal sound. A bird sound may be more of a whistle… ·        Think of how the animal moves – and move in a similar way: to help with your ‘monkey-voice’ perhaps be wide-eyed and expressive in your face, maybe talk in short and fast bursts of speech as though jumping from one idea to another as you might jump from one branch to another. Owls are often considered wise, so a slower, more-thoughtful delivery, with a relaxed and confident stance, maybe glasses on the end of your nose and stroking your chin…·        The situation they are in·        The context - who are they interacting with and why, as well as their back story (what led them to behave this way?) [1] https://www.geico.com/living/commercials/gecko-journey-across-america/ and https://www.voices.com/blog/who-is-the-voice-of-the-geico-gecko/ Hosted on Acast. See acast.com/privacy for more information.

2022.12.05 – 0704 – Advertisements / Commercials Advertisements / CommercialsPerhaps one of the main attributes of a radio, tv or movie commercial read is a voice with charismatic qualities. That is one that is trustworthy, interesting and ‘listenable’. Even though the person behind the voice is rarely if ever seen, with a radio advert you have a lot of heavy lifting to do, whereas with the other, more visual mediums, your voice is in addition and often takes more of a back seat to what is being seen on the screen. And that also often affects the style of the script too: whereas radio has to use the voice to communicate almost all of the information (there may be music and sound effects too) and is therefore quite natural, a script for a TV or movie theatre spot fits around the other elements and so the vocal presentation is more staccato – words and phrases rather than full sentences.Understand the old rhetorical devices to help you work out how to read advertising copy. After all, a commercial is trying to persuade you to do something – buy a product, click on a website, visit a location – in a way that politicians going back to the ancient Romans were also trying to persuade you to act or think a certain way. Devices such as:·        The rule of three – when three items are listed as attributes of the product or service.·        Opposites – Such as “So, what would you rather? Keep paying for your car month after month, or buy it outright?” Also, up and down, left and right, this or that ·        Repetition – “We’re number one!” sung three times in the Lays potato chip commercial[1] or “So does Kraft” [2]·        Climax – “He was a boy, then a man, then a father….”·        The basic story arc – The introduction, action, climax, conclusion, and call to action. So, understand the structure of the copy. It’s all on the page, so be a self-direction detective. And think about this, a lot of these devices are used in children’s books and fairy tales so they are almost hard-wired into our brains. [1] The first commercial in this montage: https://www.youtube.com/watch?v=U1qDZ6aGQOg [2] In the same montage from 6m 29s Hosted on Acast. See acast.com/privacy for more information.

2022.12.04 – 0703 – Animal Noises, Political Ads, IVRs and VOGs: Other voiceover roles  Advertisements / CommercialsAnimal characterisation and animal noisesAudio descriptionsAudio guidesBrand voicesDubbingeLearninghow to read lists and castsLive Events Announcements (‘Voice of God’ aka VOG)Speaking outdoorsMedicalMovies trailersPolitical adsPSAStation imagingTelephony voice over Hosted on Acast. See acast.com/privacy for more information.

2022.12.03 – 0702 – At The End Of An Audiobook Recording  When recording Finish each session at an appropriate point in the plot – that’s usually at the end of a section, chapter or scene. It’s here that you can resolve the piece with an appropriate tone. At the start of the next session, listen to some of the previous audio before you start recording to get into a likely same style, pace and rhythm and keep consistency, albeit with a new ‘narrational tone’ to reset the storyline at the start of the new chapter or Part. A new chapter is always likely to be where the author has started a new part of the story arc, a new day, a new viewpoint and so on, so always note what shift has taken place and create a fresh tone to reflect this.Be aware that your performance will naturally be likely to change each day and during the day (morning, afternoon, after lunch and so on) depending on your vocal health, vocal stamina, diet, hydration and so on. Try and keep a high consistency for fluency and easy editing and listening.  Hosted on Acast. See acast.com/privacy for more information.

2022.12.02 – 0701 – Character Relationships In Audiobook Narration A further step may be to note the relationships between characters. As we have seen before we adapt our vocal style depending on who we are talking to: 30-year-old Sam will speak to their mother in a different way to their spouse, friends or child, so consider who is in each scene and who each person interacts with. Also, relationships change over time: part of the arc of the book may be that two friends fall out and make up, and in doing so how they speak to one another will reflect this.Notate anywhere where a reading ‘style shift’ is required: “Samah hung her legs into the cool water, leant back and raised her face to the sun…” suggests a slower pace for example. More intense scenes might require a faster narration. Hosted on Acast. See acast.com/privacy for more information.