Lesson #9 -

How to Handle

Studio Sessions

When you work out of your own audio studio you can cut yourself a lot of slack. Work in your underwear if you want. But on those days when you’re not going it alone and in the presence of your client, ad rep, and a producer then life changes. How will you handle working an audience in a new environment? You’re used to calling the shots. Now somebody will be scrutinizing every word you read and making suggestions that just might be unsettling. Following is a Q&A to help you make the most of your voiceover studio sessions:

• How do you handle negative criticism during a session? - When it’s negative or corrective then you must learn to not take it personally. That’s easier said than done since most of us take great pride in our work. Make negative criticism work for you. Immediately take the posture of working with and not against the person directing the session. The harder you work at giving them what they want the more you will earn their respect. Be courteous, smile a lot, relax, don’t get rattled, be cooperative, and don’t lose control. Don’t be a prima donna. Be professional.
  

• How do you mark copy for reading? - If it helps you to make notes, highlight, draw circles, underline, or whatever, do it. There is no established system for marking copy. Develop your own if it helps to strengthen your performance. Personally I seldom, if ever, mark copy unless the copy has typos, is poorly written, or requires difficult pronunciations.
  

• How much preparation time should I use before reading copy? -As much as you need. I almost never pre-read and generally my first read is my best and most natural. This comes from my days as a musician when I learned the art of site-reading. The exception is in a studio environment when the copywriter, ad creative type, or client is in the room. In this case I just think that it’s good etiquette to study the copy and ask questions about the read they’re looking for. More important than pre-reading is getting a feel for the client’s expectations. If the client offers to email the copy to you prior to the session then gladly accept the offer. Find something good about the copy and share that with the copywriter or ad rep during the session. I can’t emphasize this enough. You must always represent yourself well. Good PR will do much to make sessions go better and lead to future projects with your clients.
  

• How can I find proper pronunciations for technical or unfamiliar words? - Generally a simple Google search will get you what you need. Contact the copywriter or author. In fictional writings authors frequently create words. In this case go directly to the source. Occasionally I call on my friends. For example, I was recently narrating a theology book with numerous Greek, Hebrew, and Aramaic terms. I called my pastor, a former seminary professor, for help. Usually there is somebody you know who can help. You can also use your social network to dig out a pronunciation. There will be some words to which nobody can give you a concrete answer. In that case, wing it.
  

• How do you handle “know-it-all” sound engineers and producers? - I’m not sure what you mean by this question. Some producers/sound engineers seem oblivious to what’s going on. They pre-set a level and go about doing other things while you’re laying down your track. Then there are those who don’t capture the voice quality that you want. The answer in both of these scenarios is the same. “Suck up.” We have a tendency to focus our attention on the client. However when you’re working with a new producer then take time to build a working relationship. I have a soft voice that requires more level and a touch of processing. Yes, processing. Not heavy compression, just a touch. I make that point known before we get started. Get him or her working with you from the beginning. Always do research on the people you work with and for. Sound studios almost always have a website where you can find audio samples of their work. Take time to listen, make mental notes, and use what you’ve learned to compliment. “Hey, man. I heard that spot you did for Adamson Ford. I really liked it.” Don’t just turn on the charm for your clients. Give a little extra love to the guy running the controls.
  

These lessons have been written by Richard Weirich. 

For help with your voice talent career contact Richard at rw7475@gmail.com or (205) 260-9362. 

Voice Talent coaching services are available.  Initial critiques are free.