2023.07.24 – 0935 – Stopping Silly Script-reading Slip-ups
Other 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 Feedback
Feedback 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 future
It 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.