Magic Monday

Posted June 22, 2009 by themicguy
Categories: Auditions, Reflection, Strategy, Voice acting, Voiceover

I went on an audition today.

Already I can hear you asking, “How did it go?” If you mean from the perspective of booking the job, who knows? I’ve never been any good at judging these things.

So I’m learning to evaluate from a different POV: Did I do everything I went there to do?

To answer that question, we first have to know what I plan to do whenever I audition. Lucky for us, I have a list.

1. Did I enjoy myself? Totally. I live for booth time. Anytime I get to play with new copy, it’s a good day.

2. Did I achieve focus, and maintain it throughout the session? Sometimes this is a challenge for me, but it wasn’t today. Which was a good thing, since there were several other names on the call sheet ahead of mine, meaning that I had about 45 minutes for my attention to wander.

3. Did I complete my homework? Right down the line. I studied the copy and the specs carefully, and thought about both before I began rehearsing. I made a specific note that this was television copy, and prepared reads that were appropriate to that medium. I had a firm grasp on the scenario, and made clear choices about both my character and the person to whom I was speaking. (Actually, since I was reading two similar spots targeted to different audiences, I envisioned myself speaking to a different person for each spot. My friends Donna and Randy would be pleased to know how helpful they were, in absentia.) Most importantly — because this is the one that I most easily let slip — I knew precisely why I was saying the words, and what response I hoped to elicit from my audience.

4. Did I remember to breathe deeply and center myself before I started? Check.

5. Did I take my water bottle into the booth with me? Check.

6. Did I relax? For the most part, yes. I felt the initial adrenaline rush, but managed to rein it in.

7. Did I follow directions? This is rarely an issue for me — one of my strengths is listening to instructions and internalizing them quickly — and it wasn’t a negative today.

8. Did I trust my instincts? Yes, and I believe they were solid. Second-guessing myself rarely works to my benefit. Remember the FIST rule: First Impressions Sense Truth.

9. Did I have an attack of esprit l’escalier? Thankfully, no. The worst thing that can happen to an actor is to be thunderstruck on the drive home from the audition with the thought, “Why didn’t I do this?” I do wish that I had developed an approach to either spot that was completely out of the box, but I believe that the different styles I used for the two spots were sufficiently distinct that they demonstrated at least a bit of range.

10. Did I love myself afterward? I did, and do. I acted well today. Good Mic Guy.

Ultimately, the work is the work. Whether I book the job or don’t, I love the work.

I’m thrilled that I got to work — and play — today.

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Who says I’ve got no class?

Posted June 4, 2009 by themicguy
Categories: Characters, Narration, Strategy, Voice acting, Voiceover, Voicetrax, Workshops

The incomparable Shirley, the office manager at Voicetrax, called this morning to review my course schedule for the upcoming term.

I managed to score most of the classes that I wanted to take. I’m on the wait list for one course that was rescheduled, but aside from that, I’ll stay pretty busy through early October.

Among the workshops in which I’ll be participating:

  • A pair of classes on character development. Since character work appears to be my unexpected strength, I might as well maximize my growth there.
  • A prototypes workshop. Fun stuff there — using successful VO professionals as models from whom to learn.
  • A class on exploring the vocal instrument. I can always benefit from more self-discovery.
  • Two classes on script analysis, because I need all the help I can get.
  • Another scuffle with my old nemesis, narration. I’ve been focusing my daily reads in this area, so this should be a much improved experience.
  • A weekend workshop on audition strategy. I’m really looking forward to that one. Can you ever really learn too much about how to book gigs?

Looks like a veritable cornucopia of skill- and knowledge-building opportunities. I can hardly wait for July to get started!

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Carnegie Hall, and step on it

Posted June 2, 2009 by themicguy
Categories: Narration, Reflection, Strategy, Voice acting, Voiceover

Last Saturday, my chorus — Voices in Harmony, northern California’s premier men’s a cappella chorus (thank you, Blatant Plug Department) — presented its annual spring concert. Yours truly had the honor of narrating the chorus segments of the show.

It occurs to me that if I was as comfortable behind the mic in the studio as I am before a live audience, my growth as a voice actor would develop far more dramatically.

Then again, if I’d been focusing on voice acting for more than 25 years — as I have been on public speaking — the same would hold true.

Yes, Mr. Gladwell, I know…

Ten thousand hours.

I’m working on it.

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Call me Ignatz

Posted May 29, 2009 by themicguy
Categories: Audiobooks, Narration, Strategy, Voice acting, Voiceover

I’ve encountered my first obstacle in choosing a text for my entry in Scott Brick’s audiobook narration contest…

…finding a good book that Scott Brick didn’t narrate.

That’s not as inconsiderable a task as one might think. It is, from my perspective, an important one.

After all, if you were a contestant on American Idol, you’d be foolhardy to select a Journey or Westlife song as your audition piece, or a song that Kara DioGuardi wrote, or a song that Paula Abdul had lip-synched (did I say that?).

Why? Because you’re being judged by people who are intimately familiar with the material, have an emotional connection to it, and most significantly, have a strongly developed idea about the way the song ought to be performed. A way that — good, bad or indifferent — probably will be different from your own.

Therefore, I can’t imagine that a tyro like me would be well served by trying to out-Brick the master.

The challenge is that Scott has previously narrated books by many of the authors whose works I’d love to read — Harlan Coben, Dennis Lehane, Rex Pickett, and Isaac Asimov, to name just four. Even the book I’m currently using for my daily workouts — Erik Larsen’s The Devil in the White City — was recorded by Scott. (I am assiduously avoiding Scott’s version until I’ve finished with the text.)

Never fear, though. I have a handful of solid prospects in mind. I plan to make a final choice in the next week, giving myself ample time to select a suitable passage in time for the contest’s June 10 kickoff.

I’ll just have to hope that, whatever I pick, Scott doesn’t get to it first.

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Positive direction

Posted May 22, 2009 by themicguy
Categories: Audiobooks, Reflection, Strategy, Voice acting, Voiceover, Voicetrax, Workshops

My four-week workshop on self-directing skills has concluded, and what have I learned?

That my self-directing skills need work.

Not that that’s a shocker.

Actually, I’m proud of the work I did during these four weeks. My script analysis, though still light-years from perfection, is improving. I’m getting better at asking the right questions about the copy in front of me, and coming up with answers that align with the copywriter’s intention (as opposed to what I would prefer to do). At the same time, I’m finding more success at not overthinking my way into performance paralysis.

I’m also finding myself more consistent. I’m having fewer truly wretched first takes, and more frequent final takes that would be strongly competitive in the marketplace. And with less adjustment needed in between.

So that’s progress.

I received an encouraging compliment last evening from another student who’s already a working pro: “You make good choices before you go into the booth.” If that’s evident to anyone besides myself, I must be doing at least a few things well.

Two months ago, I wouldn’t have been able to say that.

My audiobook workshop, originally scheduled to start next week, has been rescheduled for late June. That means I’m entirely on my own for workouts over the next month. I have a plan for approaching this time period that I’m looking forward to implementing. (One of the things I’ll be working on is my entry for Scott Brick’s audiobook narration contest.) I now have ample tools, gained in my classes since the first of this year, that I’ll spend focused hours sharpening each day.

Besides which, the extra month will give me time to come up with a plausible excuse for forgetting Lisa Baney’s name in front of Scott Brick.

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What’s your chain?

Posted May 20, 2009 by themicguy
Categories: Audio technology, Strategy, Voice acting, Voiceover, Voicetrax

The other day, I was musing about the fact that, even though I hold a four-year degree in broadcast communications (from San Francisco State University’s acclaimed Broadcast and Electronic Communication Arts department, no less), my technical skills are rudimentary, to be polite.

Okay, I’ll confess… I sleepwalked through my audio production classes. (Ask Professor John Barsotti if you think I’m kidding.)

Since getting into the VO field, I’ve been wishing that I’d paid more attention in those classes. Yes, they were a quarter of a century ago (egad!), and audio technology has changed immeasurably in that time. Still, I’m sure that the basic principles would be standing me in good stead now… if only I could remember them.

Wherever voice actors congregate, whether in meatspace or cyberspace, they love to talk tools. Microphones, preamps, digital audio interfaces, recording software — all are grist for the VO chat mill. Taken together, the various elements used to capture, preserve, and manipulate a vocal performance are called a recording chain. Thus, at the voice actors’ watering hole, the traditional pickup line, “What’s your sign?” gets transmogrified into, “What’s your chain?”

In case anyone’s interested, here’s my chain.

I own two microphones, mostly because they cost about the same, and at the time I was putting my setup together, I couldn’t decide which I preferred.

The mic I use most frequently is a Rode NT1-A, a steady, solid performer that’s quite flattering to my individual vocal characteristics. The NT1A adds a pleasant richness to the lower end of my range, and is my go-to mic for most copy when I’m using my natural voice or a close permutation thereof.

My second mic is a Studio Projects C1, another fine piece of equipment that emphasizes the brighter notes in my tessitura. I’ll often plug in the C1 when I’m working on character scripts, or copy where I’d like to have more youthful sparkle in my sound. The C1 is also the mic I use on the rare occasion when I record myself singing.

Since my home office doubles as my studio, and the space lacks acoustical treatment of any kind, I surround my mic with a RealTraps Portable Vocal Booth. It’s not exactly like being in a fully treated environment, but for my money, it’s the next best thing.

My preamp and digital audio interface are the same simple device: a cEntrance MicPort Pro. This phenomenal little gizmo shoulders triple duty in my chain. It (1) provides 48 volt phantom power to my mic of choice; (2) converts the microphone output into binary code so that my computer can understand and manage it, via a USB port; and (3) provides a headphone output for either monitoring (which I don’t use; I don’t like to wear my cans when I voice) or playback (which I do use). Most amazingly, the MicPort Pro handles all of these tasks in a sleek, compact unit the size of a cigar. It adds no discernable color to the recording — just serves up clean, accurate sound. And, it’s small and lightweight enough that I can toss it into my briefcase to record when I’m traveling. Everyone who records into a computer should own one of these.

I use the simplest and most basic recording software available: Audacity, available as a free download all over the ‘Net. So far, I haven’t needed anything more elaborate. One of these days, though, I’d like to upgrade to Adobe Audition, if only because that’s what the engineers at Voicetrax use, and I’d like to be able to understand what they’re doing when I’m in the booth.

As noted above, I don’t often wear headphones when I record. Doing so feels awkward and unnatural to me, and introduces an unnecessary stumbling block to my performing. Since I don’t own a set of studio monitors, however, I do use my cans (that’s tech talk for “headphones,” a vestige of my long-ago radio days) for playback and editing. Mine are Sennheiser HD 280 Professionals — comfortable, clear, and efficiently noise-dampening.

My notebook computer is a Dell Inspiron 9400, running the much-detested (at least, by me) Windows Vista. My aging eyes love its ginormous 19″ display.

That’s my chain. It’s inexpensive and simple, but it works for me — and that’s the bottom line.

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Horatio

Posted May 15, 2009 by themicguy
Categories: Reflection, Voice acting, Voiceover, Voicetrax, Workshops

At last evening’s workshop, one of my fellow actors shared an epiphany she’d experienced in a private coaching session earlier in the day.

“How would you describe yourself?” the coach had asked her.

“Strong,” my colleague replied. “Authoritative. Forceful.”

“But you’re not that way at all,” said the coach. “You’re funny. Friendly. Lively. Engaging. And warm.”

“Then I realized,” continued my actor friend, “that I was describing the persona I put on when I’m at work. That’s how I think of myself. But that’s not the person I really am. Or, at least, it’s not the entire person I am.”

I’ve come to that same realization along my voice acting journey. There are aspects of my existence where I put on, not a false front, but a persona designed to craft a certain perception. Certainly, that persona is a facet of me, but it’s not the complete me — nor even the greater portion of me.

The me that comes out at the microphone is often quite different from the me that I once expected to find there. Like my friend, I anticipated a voice that would project the aura that I often project in my non-acting life. But the microphone reveals facets of my personality that I often conceal — some, in fact, that I didn’t even know were in there.

More often than not, it is those hidden facets that seem the easiest, the most transparent, in the voiceover booth. It’s those voices and colors that shine in my performances, whereas those that I am more accustomed to exposing in daily life require far more nuance to ring true.

As Hamlet once said, “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”

It appears that there are more things within each of us than we’ve dreamt of, as well.

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The Voiceover Entrance Exam

Posted May 6, 2009 by themicguy
Categories: Cool links, Reflection, Strategy, Voice acting, Voiceover

Every now and again, I read something that makes me say to myself, “I wish I’d written that.”

Today’s entry into this continually expanding category is The Voiceover Entrance Exam, a brilliantly succinct, pull-no-punches e-book that every — and yes, I do mean every — new or aspiring voiceover talent should devour like a hunk of medium rare prime rib. (Or tofu, if that’s how you roll.)

The author of this brisk slap in the face is Peter O’Connell, a veteran VO talent and producer who really knows his stuff. I’ve been a fan of Peter’s blog for some time now, and have learned a tremendous amount from his posts there and at the various VO forums around the ‘Net.

My “I wish I’d written that” is entirely wishful thinking, of course. Because I lack Peter’s depth of experience and insider’s perspective on this crazy business, there’s no way I could have written anything close to his eye-opening treatise.

But I’m grateful that Peter did.

Did I mention that The Voiceover Entrance Exam is a free download? You know my motto: If it’s free, it’s for me. This one’s for you, too, because we’re just all generous like that.

While you’re at Peter’s site, take a browse through the other blog posts, articles, and other resources available there. You can tell him The Mic Guy sent you.

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Tell the story!

Posted May 5, 2009 by themicguy
Categories: Reflection, Voice acting, Voiceover

Here’s irony for you: I’m a voice actor who was just assigned to help coach visual presentation.

In my case, that’s not really so peculiar. I’ve been a public speaker and stage performer for decades longer than I’ve been a voice actor. By conservative estimate, I’ve delivered in the neighborhood of 5,000 presentations before audiences ranging in size from a half-dozen to several thousand. As a facet of my communications consulting practice, I also coach businesspeople on individual speaking and presentation skills.

So, when the musical leadership of my Internationally ranked a cappella chorus, Voices in Harmony, asked me to join a newly formed visual coaching team, it made at least a little bit of sense.

In truth, performance is performance, whether executed in front of a live audience, a camera, or a microphone. It’s all about unlocking the freedom to openly express one’s inward thoughts and emotions. That freedom comes more naturally to some people than to others — I’m fortunate to be one of those to whom it “just happens.” But I’m convinced that anyone who wants to be an effective performer can become one, with training and practice.

The venue, however, makes a difference as well.

I was surprised, given the depth and diversity of my performing and speaking experience, how intimidated I was the first few times I stepped into a voiceover booth and found myself staring a studio microphone in the diaphragm. I’m completely fearless on stage, but I discovered that the combination of mic, script, pop filter, and dead acoustical space unnerved me just a little.

That is, until I reminded myself that performing is performing… because performing is communicating… and communicating is communicating.

In the booth, my mission is the same as it is when I’m standing behind a lectern, or wandering a dais, or acting on a stage, or even singing on chorus risers: Tell the story. The techniques may differ from one setting to another, but the goal does not: Tell the story. As long as I remember to tell the story, my voice — like my face and body — knows exactly what to do. I don’t need to analyze it. I don’t need to micromanage it.

I just need to tell the story.

That’s what I hope to share with my chorus mates as we prepare for this year’s competition cycle. Performance is not about mechanics. It’s not about rote memory, or choreographic precision.

Just tell the story.

If you do that one thing, everything else will fall into place.

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Actor, direct thyself

Posted April 30, 2009 by themicguy
Categories: Reflection, Voice acting, Voiceover, Voicetrax, Workshops

A thought-provoking insight in tonight’s first session of a four-week course in self-directing skills…

Approach every script as though you were going to direct another actor’s performance of it.

That makes so darned much sense I can’t believe I didn’t think of it myself.

After all, how many times have I, as a presenter, reiterated the well-observed point that the best way to master a subject is to prepare to teach that subject to someone else? More times than I can count, much less remember.

It simply follows, then, that one way to gain complete ownership of a piece of copy would be to prepare to direct it.

That single sentence is going to provide a launching pad for my next quantum leap.

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