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Balancing the Melody Sep 20, 2022

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In order to tell a story, you have to understand it. This week, Anne & Erikka discuss how to harness musicality to make the most out of your reads. Singing can teach you a lot about breath control, pacing, and emotional expression. Taking deep, diaphragmatic breaths will keep your air flow strong. This prevents you from breaking up ideas & phrases with pauses which ultimately interrupt the story you are telling. Knowing your voice and its capabilities can inform your daily workflow & schedule. Tune in to learn how you can harness the power of your voice… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and our balance series. I'm your host Anne Ganguzza, and I am thrilled to have back special guest co-host Erikka J. Erikka J, yay. Erikka: Hey, Hey Anne. How are you? Anne: We're kind of singing that. Erikka: Yes we are. Anne: You know, you are a singer. And I was thinking about this because I used to play an instrument for many years and I also sang for quite some time. I was an avid choir member and swing choir member as well, kind of like the glee club. And so it's interesting because it affects how I teach voiceover. So I teach voiceover with like conversational melody. And it's very interesting, 'cause I'll talk about, okay, start on your middle C. And then when you're going to inflect important words, that's pretty much just a tiny nuance of a step up. It's not like crazy notes. It's C to a C# or C to a D. And I thought, because you're a singer, we could really have a conversation about how there is a melody to our voice as we are speaking. We're not necessarily singing, but when we're talking and we're communicating, there's absolutely a melody. Erikka: Absolutely. But you have to keep it in balance. You don't wanna get sing-songy because then it starts to sound like, you know, old school commercials and nobody pays attention. It's not conversational anymore. Anne: Yeah. Erikka: But yeah, for sure. Anne: So let me ask you, you were a singer before you were a voice artist? Erikka: Yes. Anne: So what skills that you developed as a vocalist, how do they help you as a voice artist? Erikka: Oh man. So definitely for one was breath control. Anne: Ooh. Erikka: Yes. Anne: That's an important one. Erikka: When you get those really long run on sentences or those big words, and it's like, we gotta make it work or you gotta read speed through the disclaimers or whatever. I'm like, boom. You know, like . Anne: Look, and you just did a nose breath. I love that. I teach nose breath. Erikka: Yeah. I don't even do mouth breath. I don't even think it's automatic. Yeah. Anne: That's awesome. Because, so I talk about nose breath because it helps you to really get a deep diaphragmatic breath. Erikka: Yes. Anne: And there's nothing more powerful, right, than to deliver words when you're not afraid of running out of breath. Right? Erikka: Indeed. Yes. Yes. Because your brain is gonna be like, oh my God, I can't breathe, I can't -- Anne: Right. And that's all you can think about. You can't think about the story you're trying to tell when you're exactly gasping for breath. And honestly, I think there's something to be said for understanding the music before you sing it a little bit or kind of understanding the phrasing of the music, because for me, words and stories are broken up into phrases or clauses as my, my English teacher would say. And in those phrases, you don't wanna run outta breath. You don't wanna like stop. Like I am talking to you all staccato, like William Shatner. . You know, you wanna be able to have that -- here, it's a smooth phrase and I'm just talking. And if you guys, the BOSSes out there, you're listening to this right now is we're talking to one another, we're not breathing in the middle of our words. We're breathing either before we say them or at a comma. And if you run outta breath, like that's all you can think about. So you can't have a conversation while you're continually gasping for breath. Erikka: It's still a balance. Anne: Yeah. Talk to me about those diaphragmatic breaths for you. Erikka: So it's definitely, like I said, the support in being able to get through those long phrases, but it's also, like you said, finding the commas and that's not necessarily the commas that are written on the script. And I think that's important to keep in mind. When you're doing a conversational method of speaking, there are gonna be times when maybe, you know, you're in the middle of thinking. Like I just paused right now and I kind of, you know, I might take a natural breath there and that's okay. So it doesn't have to be, I have one breath for the entire sentence. Just now when I'm speaking, you can hear, there are some points where I'm breathing and it's just natural. You wanna keep the natural breath in there, but not the, oh my God, I ran outta breath, and I gotta breathe. Anne: Oh my God, just, I'm at the end of the, I'm at the end of the sentence now. Erikka: Yeah, yeah, yeah. So those are incredibly supportive. Anne: And it's funny because I had to kind of learn how to breathe even better after I had surgery way back in 2012. And it's interesting. That's when I started really doing nose breaths and diaphragmatic breaths, and it's incredible how confident it makes you feel. And so it really allows you to concentrate on the story that you're telling again. And you can deliver those words. Erikka: Yeah, yeah, I can -- Anne: Just when you want to. Erikka: I can feel them in my posture. Like it actually, like, I feel like it makes me sit up because it's like, your lungs are full, and it's like, I've telling this story. You know, this is my message. And you shall listen to me. Like it's . Anne: Yeah. Erikka: Yeah. Anne: And I think it's very similar to swimmers. Like I used to take swimming lessons and be like, okay, how long can you hold your breath underwater? Erikka: Yeah. Anne: It's a muscle that you can develop. So if you are in your booth, and sometimes you just don't anticipate long, unwieldy sentences. Boo on you, because you should understand at least at some point in your analysis of it, right? I always say go through the script like a first grader so that you kinda have an idea of where those long-winded sentences are and you know where you're going to breathe. You kind of have to plan where you're gonna breathe. So it's not at every single comma, but like you said, it can be in implied commas. Erikka: Yeah. Anne: And those are the only times you should have to breathe. And the cool thing about this is if you do that, if you breathe only like before you read a sentence or after, or at the commas or implied commas, then you have much less editing to do. And those of us, which I think Erikka, you are with me, we do long format narration a lot, it lessens the amount of editing you have to do afterwards. Erikka: Yeah, absolutely. Anne: And if you're talking about a piece of copy, that is an hour finished audio, right? And you're just getting rid of the big [air intake] before the sentence, versus trying to place those words in the proper place because you ran outta breath and now you're trying to piece it together so it sounds reasonable, well, that's maybe four or five or six movements, right, or edits in your software, not including the ones that you take in the beginning. So if you take a good breath in the beginning, you just wipe that out. That's one movement or one mouse swipe compared to four or five, when you're trying to rearrange sentences to make 'em sound decent, which they never do because you've pieced them together when you've run outta breath. And when you run outta breath, your inflection is off. Erikka: Yes. Yes. You're breaking up the story. And like you, you mentioned the swimming analogy. Another thing that like music kind of taught me was budgeting my breath because it could be, I've taken this deep breath. I might have to hold this long note or a high note. You can't like take a breath and then keep holding the note. It kind of, it kills the vibe. It's the same thing with speaking. If you breathe in the wrong place, it doesn't, it just doesn't work. Anne: Now, I like how you said, hold the note. Like if you get really technical about it, right? Holding the note doesn't necessarily mean that you have sound on the note. Right? So for example, I said, right. And I lengthened that. That's like, I would say an emphasized word, which I attribute to a whole note, right? Versus the words leading up to that important emphasized word, which would be half notes, quarter notes, 16th notes. The ones that aren't as important as the long note that you're holding. So I'm just saying that holding the note, you don't always have to have sound. And what I mean is when you are pausing, notice how I says when you are pausing. Notice how I didn't go when. you are pausing. So you're holding that note and that kind of meshes your words together. That sounds very natural. There's a lot of times when I'll tell people you're on the precipice. Don't cut in between your commas. Don't cut the words off, because what it does is it cuts off the idea of the phrase. Because you don't want it to be here, I am going to talk to you in a very crisp voice. And even though I sound conversational, I'm sounding very articulate. So that holding on the precipice of like, I'm about to, right? I didn't say I am about to. I said, I'm about two. So I held my breath and I think that's important for the natural sounding melody. Erikka: Absolutely makes you sound more relatable. Anne: Yeah. Erikka: And like, you're actually a person and you're not talking at people. You're talking with someone. That's the difference. Anne: Yeah. Erikka: Yeah. Anne: Absolutely. Do you have any exercises that you do like that you used to do to warm up when you were singing that are similar for voiceover? Erikka: I am your classic horrible singer in terms of warming up. We are bad about it. And I'm the first to admit. Anne: Now why is that? 'cause there's -- Erikka: We're just lazy. Anne: -- so many exercises. Well, there's so many exercises out there, and it's funny because -- Erikka: I know. Anne: -- it's always like, okay, what should I warm up with? What should I warm up with? And honestly, do I do warmups every single day before I voice something for an audition? I might, if I just got up out of bed. I'm not hydrated or my mouth hasn't moved, you know? Erikka: Yeah, yeah, yeah. Anne: So, but other than that, it's funny. Sometimes I do a lot of telephony, and little secret, sometimes I warm up with my telephony jobs 'cause they're short. Erikka: Exactly. Anne: You know what I mean? And so honestly I can say those words and those sentences over and over again. And then that helps me to warm up. But I have a great app on my phone called Appcompanist, which my singing instructor Armie -- I'm gonna actually put a link to her 'cause she's amazing -- she got me turned onto that, but that's like, you can sing your scales, and that's helpful to help you get to a vocal placement that you might want to be in. Erikka: You bring up a good point. That it depends on like what you're about to do, because typically because I know that I'm bad about warming up, and I know some things, like you said, singing scales, like bumblebee to get your, you know, blah, blah, blah, your tongue going too, and then like straw foundation and all those kind of things. Or even just singing a song that you know, is close to your natural range. Like, you don't wanna stretch for really high or really low in your first words of the morning. But if I have something like a quick job, like you said, like telephony or in-store messaging or something, and it's where my voice naturally is when I first wake up, which is kind of lower Viola Davis in the basement, I do start with that work first and work my way up to something that might want more upbeat, more a higher pitch possibly. So I'm very aware of where my natural placement is and maybe what's a stretch for me, and I warm up in that way. Anne: Well, okay. So here's my question, right? So there's little tricks, I think, 'cause I, of course in the morning I, I have a lower voice and I'm like, oh I wanna do the audition in the lower voice or this is a great gig for me in my lower voice. So if I wanna get to my lower voice again, right, I can sing it down there. And when I sing it down there, I'll just, you know, do a scale, and it'll be up to scale. And then ba ba ba, you know, I'll get down to the scale and I can feel where the voice is in my mouth or my throat or in my chest. And interestingly enough, once I feel where it is, I can then use that as a starting point for -- Erikka: Yes, absolutely. Anne: -- my conversational, authentic, believable read. And that's how I get vocal placement to kind of change the start of the read. Now, besides that in terms of song, right, and melody, there's also the emotion. Now back in the day when I was playing piano, me and my best friend played piano together. Now she was amazing. She could sight-read and learn and play these incredibly complex classical pieces of music. And it used to always like, competitive Anne, I used to always get like, mm okay, fine. But my teacher used to always make me feel better because she said you have the feeling. You have the passion. And I think that understanding that along with melody, there's passion and nuance and emotion. So if you wanna get yourself to another place, another read along with vocal placement, you can then decide to understand the story and start from a different place in the scene or have a different reaction to it. And that means a different emotion to it. And that's gonna color the melody of the song differently. Erikka: Yeah. And absolutely like you mentioned kind of knowing where the voice is gonna come from. So as you're doing your script analysis, you can kind of think about where this character, you know, even if it's not character work, it's still a character 'cause you're reading as someone else, other than yourself -- where does that live? If it's very sort of determined and you know, gritty, it might be in your chest. It might even be more down in your gut. Like you said, it might be a little more in the throat if it's kind of mid and if it's, you know, really super upbeat and you're excited and it's like a sales presentation, you might be a little more in the nose or the head. So yeah. Thinking about where that vocal placement is gonna be, that's going to tell the story from that character's point of view, is key. Anne: Yeah. And I think vocal placement, like singing-wise, for me, gets me to the starting point. Then it becomes the story, and it becomes the emotion and the character, which I'm so glad you brought up character, because character's so important. Now when you sing, did you think you were a character? I mean, tha…

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Find Your Genre Sep 13, 2022

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There is no perfect voice for a genre. This week, Anne & Erikka let you in on the secret of genre exploration. Every genre has sub-genres and adjacent genres, but you'll never know which ones work for you without trying a few out. Examine what kind of work you are drawn to and where your passions lie. That will inform what jobs creatively challenge you vs. ones that make you feel stagnant. As Anne advises, always follow your passions. With a growth mindset, focus on the message you send with each script + a little help from your Balance hosts, you'll be on the path to success! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am with the lovely and talented Erikka J this morning. Erikka: Hello! Anne: Hey Erikka. Erikka: How are you, Anne? Anne: I'm doing good. How's it going with you? Erikka: Going pretty good, man. Hanging out, you know, just another day in voiceover land. Anne: There you go. Another day in voiceover land. And it's so funny because we're so like, oh yeah, this is our day. This is what we're gonna do. We've got our auditions to knock out. We're gonna go find some new clients. We're gonna be working in the booth. I do have a lot of students that always ask me when they just get involved in the industry, well, first of all, how do I know that I have what it takes? And what genre, what is my niche? Where do I go in this industry? And for me, that's always a wonderful question of self discovery. Erikka: Yeah. Anne: I think there's lots of ways to find your niche in this industry, but I think it would be a good topic to talk about how we found our niches and what our recommendations are for BOSSes out there that are just getting involved. Erikka: Yeah, absolutely. Balancing to let the genre find you. Anne: Yeah. Yeah. I think that it's kind of like letting your brand find you too. I think they're very similar. They're on parallel paths. And I know for me, the genres that I ended up doing, number one, I'm a big believer in following my passion. I've been that way all my life. Now, I don't know if that's just a thing that I just decided to listen to since I was young, but I've always followed things that I've enjoyed doing and found joy in doing, and I followed my passion. When I was young, I played music, I played piano. I had a love affair with horses. I owned a couple of horses, rode horses as a little girl. I would teach my dolls. All these things that I loved, I did and I explored, and I have to say that the same is true in my career. As I went to school, what I studied, what I ended up working in, in the corporate world, and in the educational world. And then ultimately I've found that I've been able to kind of bring it all together in voiceover. Because for example, I love to teach. As a little girl, I taught my dolls. I ended up 20 years being an educator in front of the classroom for kids, adults, college kids. And I find that I love eLearning. So the genre is kind of paralleling where my joys were and where my experiences brought me to. So eLearning, I worked in corporate for a short amount of time and then did a lot of corporate consulting. And so I love the corporate read. All of those things have kind of allowed me to do the things that I love to do. And obviously, because I love to teach, I'm a coach as well. And so for my business that is so wonderfully my own. And I feel so lucky and so joyful that I am able to do what I love and be able to support the household be able to support myself with it. So what are your thoughts, Erikka, on how do you find your genre? How did you find your genre? Erikka: Yeah. Very similar. Anne: Or genres. Erikka: Yeah. Yeah. So for me, like I'm always like somewhat ADD with my interests. Like I like that. Ooh. And I like that, and I like that, and I like that so , but sort of my foundation and where I started, I had worked in corporate for quite some time and still do, in primarily in tech sectors. So I absolutely adore tech explainers or products because a big part of what I did as a project manager, sort of understanding the layout and then also breaking down requirements so that when somebody says, I want a widget that does this, having to break it down and be like, okay, so you want this to come out, kind of breaking that down for the user and putting it in layman's terms, so to speak. I enjoy doing that sort of breakdown, but maybe in shorter forms. So as opposed to like where you're talking about how you love eLearning, I'll do some eLearning, but I really love like the short form 90-second, let me help you understand this thing and what it does. And, you know, taking something complex and making it super simple to understand. I love that stuff. So that's really where I started. Corporate narration, same thing. Because of coming from the musical background, which essentially is storytelling in usually three to six minutes, see for a really long song in six minutes, but that's why I love like the commercial work or the short corporate narrations where, you know, I'm really sort of telling a story, sometimes getting more dramatic or using comedy to be able to tell those stories in a short amount of time, it just aligned with where my experience was and what I enjoyed doing. So those were sort of my foundations along with video games, love games, played games a lot as a kid, not as much now as I'd like, . I'm surrounded by gamers in my house. So constantly watching that. And I lean towards the dramatic and the dark more than the comedy. So I like using that, but yeah, those are kind of like my genres that hit me in the narration. Just loving to tell stories. Those are -- Anne: Yeah. I love that. And I think anybody that's just starting out in this industry, take a look at who you are from young age on up and where you've evolved and if you've followed those joys or those things that you really enjoy doing, and then try to translate into genres for voiceover. Or not even just for voiceover for your business, you know, the other part, it's not just the genres, right? But it's also letting the entrepreneurship follow you. Erikka: Yeah. Anne: There's the whole period of my life where I like to solve problems. I mean, you and I were both in technology, right? It's always solving problems and I also have an engineering background. And so because of that, I love the whole entrepreneur owning a business, kind of a thing, where I'm excited to build things, to build my business, to see where I can grow, where I can expand, how I can achieve success, how I can continue to reinvest in my business and grow in my business. I think that's the most important thing for me is if I am stagnant -- it's like, for me, I'm building a character, but I'm really building a business, right? Erikka: Yeah, yeah. Anne: I keep adding to the story, and I have to keep evolving the character. I have to keep evolving the character of my business. And for me, if I don't, if I become stagnant, then number one, it's boring. And I don't do well with boring. But number two, it always allows me to grow kind of the whole, think of how do I make money the whole, how do I make money challenge? I even do like a class on money blocks where some of us have built in money blocks from long ago where maybe women weren't supposed to be earning as much as men or those types of things or the way you were brought up, the male was the breadwinner. Don't be greedy. That kind of thing. Well, I consider it part of the entrepreneurial game, right, how to make money with my business. And so it's not that money is like my first love, but I think it's the challenge of the game to be able to invest my money and then make a profit. And so I think what we all want to do with our businesses is to make a profit. And so that also evolves. And that was part of my personality. A big part of my personality is loving to solve challenges and solving problems. Yeah, I took that right into my business. Erikka: Yeah. I love that you said self discovery 'cause that's something that I talk about often too, is that you have to figure out sort of who you are as a person. And that kind of leads you to who you are as an artist. And as that evolves and develops, staying in touch with that is gonna tell you when maybe a genre isn't for you or if a genre isn't necessarily your primary. Like for instance, I love reading. I never get enough time to do it as much as I'd like, but I am not really into doing audiobooks. I know that I like the short form stuff. My attention span gets like mmh, so it's just not for me, even though I love books and I fully appreciate them, but it's not for me to do that as narrating. I had learned that about myself and be okay with it. In coming from a performance background, I discovered live announce was something that I really enjoyed. I'm used to being able to, you know, like on the fly, something live might happen and you've gotta be able to react and not be flustered. I did that on stage. So I was like, huh, didn't even know this would really be a thing for me. Anne: That's a special skill. Erikka: Right. Yeah. Yeah. So. Anne: The whole live thing. Erikka: That self discovery is really key to letting that genre. And your business, like you said, it's a persona, but you're building a brand your brand has an identity. It's a story. So you've gotta know who you are that's gonna align with the brand that you're building. Anne: Absolutely, absolutely. And interesting that you said being the voice of God. So back in the day, when I used to have to record onto phone systems, you had to do it live. And so you had to be on. If you screwed up the prompt in the middle of it, you had to start all over again. So there's a special skill in being able to, to be quick on your feet and to execute without mistakes. To me, if I were figuring out my rate sheet for that, that becomes a factor in the special skills like for medical narration. I mean, I worked in the orthopedic industry for six years, you know? And so I love medical narration, and that kind of found me. I mean, I kind of evolved because I started off in the engineering aspect of things. And then it kind of brought me into a narrower focus with biomechanical engineering at my job at the orthopedic company, which then ultimately translated into medical narration here. And the medical narration has expanded so that I'm not just talking orthopedics, and I'm certainly not a doctor, but the challenge therein lies in learning and discovering new topics in medicine that also I find I love to do that discovery, and that translates to my voice. So if somebody were to say what genre, I think really it can be any genre that you find that joy of discovery or that joy in. And sometimes you don't know it until you've tried it. Like you said, for the voice of God, you didn't know, right? Until you tried it and then you realized, oh wow, this is something that my theater training has prepared me for. And so I think every one of us should explore different genres. That's why I think workshops and sessions are a great thing. And one of the reasons why I developed the VO peeps so that I could have special, amazing guest directors come in from all different genres so that my community could have a lot to choose from and a lot to experience, a lot to explore and a lot to learn. And I think that letting the genre find you, finding what you enjoy doing, I think is probably at the very core of it. And you know, for me, like you were saying audiobooks, I did one audiobook and then I said, nope, not for me. I've kind of found the things that I love to do, but again, I don't wanna close my mind to trying new things. So for right now I've done a little bit of character work, but I've not really expanded into animation or even into like promo as much. But I know that I've got an interest in it. And it's something that I wanna look at. Erikka: And that's why I think that workshops are such a valuable tool to use in the beginning or as you start to make a foray into different genres, because it's more cost effective. Right? Anne: Yeah. Erikka: Usually they cost less because it's a group as opposed to like one-on-one coaching. You're able to hear what other people are doing and how they're getting directed, seeing all types of different coffee, experimenting with different directors, different coaches in these group settings. And that way you can kind of see like, is this really my thing? Like for me, promo, I sort of assume that since I have this lower register voice that, you know, has a lot of power behind it, that it might be something I really wanna do. And I always love beating the boys if I can, no offense. But... Anne: Hey, I hear that. Erikka: You know what I mean? And it is still something I wanna get into, but I found that it ended up being lower on my priority list because I wasn't getting as much traction as I was in other areas I was moving faster. So I was like, you know, maybe let me really refine and kind of get to expert level and everything else and consistently look. And then I'll come back around to promo. So it can help you prioritize your genre list as well. Anne: I like that you were talking about kind of letting it find you and you were getting hired in other genres. That's a really good indicator to find out what genre you might pursue in a more targeted, strategic fashion is what do you tend to get hired for? Do you tend to get hired for explainer videos? Do you tend to get hired for those one-off commercials, or do you tend to get hired for audio books? Whatever that might be, might be the genre that you really flourish in. And again, it doesn't have to be just one genre, but again, it shouldn't be every genre. I really don't know many voiceover artists that do every single genre. I think we all tend to just narrow down the focus a little bit and it doesn't have to be just two genres or, you know, it can be like narration. There's a lot of closely related -- corporate explainers are very closely to corporate narration. It's very close to corporate training, which is very close to medical narration. It's all part of the corporate world anyway. So all of that really kind of works for me. So there's multiple genres there that I can excel and flourish in. And then explore the ones that I haven't really had time to do before, because I've been working so much in these other genres, like character or promo or imaging. Like see, I've always wanted to do radio imaging, but I've never even tried it, like never But I'm always like, I wanna sound cool. So for me, I'd be like, oh, that would be a cool sound, but I've never tried it. I've always been a little shy actually. Erikka: Yeah, yeah, yeah. Anne: About it, but I don't wanna not try. Erikka: Exactly. And that's the thing is like, unless you really do it and you're like, this is not my thing -- I feel like audio books are probably off the table for me, other than I did like a couple kids books. And I have like a couple like mid-length books that I've entertained or that I'm like, I might just do this one. It's, y…

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Performance Anxiety Sep 06, 2022

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Do not apologize for little mistakes during a session. You are human! This week, Anne & Erikka teach you how to overcome performance anxiety. Certain elements of voice acting get easier after years in the booth, but sometimes the nerves never go away. Taking steps before a big gig like walking outside, spending time with a furry friend, or breathing can calm you down, but what happens when you feel anxious in the moment? Stay calm in the booth and know that it is a safe space for you to perform and be your best. BOSSES, if you're unsure of how to take control of the situation & your anxiety, listen up! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am excited to bring back to the show the lovely and talented Miss Erikka J. Woohoo! Erikka: Hey, Anne! Anne: Hi, Erikka. Erikka: How are you, darling? Anne: I'm wonderful. How are you? Erikka: Pretty good. Pretty good. Just the trucking along. I was thinking back this week actually about a workshop that I was in, and I really had like some anxiety. It was like crazy when I was on the mic. So I was in a class with the Andrea Toyias of Blizzard. Anne: Oh, love her. Erikka: I mean, I was waiting a year and a half to take this class with her, right? And I had actually just found out I was pregnant the night before, and I was just like freaking out because it was super unexpected. Great surprise. But I was just like, what am I gonna do? And all of a sudden, I start getting symptoms like I'm nauseous, right? Like super like, ugh. So I am now this class I've been waiting for for a year and a half, video game, you know, you have to use your whole body. I had like this beastly character, and I'm a ball of nerves and nauseous on top of that, whether it's from the anxiety or just the baby. But I'm like, how am I gonna get through this? And, you know, I realized that this was an opportunity for me to channel that anxiety into the energy of my character. And it really turned out great. Like she gave me good reviews, and I was just like, oh my God, thank God. Like I cried after, it was like all the emotions came out, but it was a great opportunity to sort of, rather than letting the emotions take over me and impact the authenticity of my performance, to actually channel that energy and be able to use it in an effective way that worked. So I was thinking maybe we could talk about how to overcome performance anxiety. Anne: Absolutely. Well, number one, I love that topic. Number two, I love that you are so open and upfront about it. Because a successful voiceover talent, you know, people seem to think, well, we, we have it all together. We don't ever get nervous when we come in the booth or perform, or we're live directed, but in effect we actually do probably more than people even realize. And I think it's just that maybe we've had a little more experience in dealing with it and trying to maybe turn that into something positive. I do have a lot of newer students that I've seen come into my workouts, my VO Peeps workouts, and get nervous performing in front of other people, let alone the director, but just performing in front of other people. And I know myself when I first started in the voiceover industry, believe it or not, I was almost like afraid myself to let go and explore my voice, because I didn't wanna hear it in my ears, because I thought, oh God, that sounds stupid. And so I think that's a really great mental emotion to talk about and how we can get over our performance anxiety so that we can make it work for us and not against us. So what are your tricks when you start to get nervous? And first of all, when we get nervous, there's so many things that can happen, even if it's a good nervous, right? Erikka: Yeah. Anne: If you're an excited, happy nervous, it's still, it gets you all your adrenaline hyped and your shoulders up, and it just makes your voice also with that same anxiety. Erikka: Yeah. Yeah. I mean, there are a few things. So like for one, coming from performing on stage as well, like that was sort of where I learned how to channel anxiety, because at the end of the day, it's just energy, right? But it's just like a really strong, sort of urgent energy, and what that can do when it works against you, if you don't have it in balance is like, sometimes I catch myself, it'll make me make my voice more higher pitch. And then they're like, well, can you we want you to speak more like kind of how you just were when we were talking. And it's like, oh yeah, Erikka, you're anxious, calm down. So that is kind of a way it can work against you. I tend to talk really fast too, when I get anxious. And I just have anxiety in general, sort of as the disorder. So I have to kind of manage that. Things that I do to get rid of it, if I feel like before a session I'm already kind of high strung about it, maybe it's a job I'm really excited about or, or nervous about, getting outside and really getting some fresh air breathing, the deep breathing thing -- I know it's like cliche. Everybody talks about breathing, but it really literally tells your brain everything is okay. There's plenty of oxygen available. I'm not gonna die, because that's what anxiety feels like. You're dying. It's just like, everything's wrong. And if you get that oxygen flowing into your body, real, really plentiful oxygen, that can help calm you down. Sometimes I'll go sing something really loud or scream. Like obviously safely, getting that scream energy out. 'Cause anxiety is just energy. Again, if you can kinda get that out of you to help you calm down and do that. Things like warm tea, just things that help you feel mentally safe are nice. Hug or going to your pet, you know, and playing with them and touching them and letting love on you a little before a session, all those things help me. Anne: I think that's wonderful. And I really am a big believer in the breathing, you know, and the taking a breath. And so if you're in the moment, right, okay, so this is maybe before the performance, right? These are things you can do. So when you're in the moment, right, and let's say you're being directed or you're in a workshop, a session, first of all, in any workshop or session, I just wanna kind of throw this out there that they are called workshops and classes for a reason. They're meant to be safe spaces for you to get that anxiety out, to experience that, and then experience recovering through that or whatever it is, working out your performance issues in a class. And so I hope that we can all feel safe or whoever's directing that workshop can help you all to feel safe. A lot of times the directors that I work with, they make a point of saying, look, get it out now. Do it now in this workshop, 'cause that's what we're here for. And that's the safe space. Where you probably don't want it to happen so much is when you're in a live directed session. So when you're actually in a session, I'm a big believer in the breathing. Now there's a couple of different things. Are you on Zoom, right? Are they watching you, number one, or are they not? And I am a big fan of you don't need to see me necessarily perform. And if I can actually get that to happen, I feel much more comfortable. It really helps me mentally relax. And it also allows me to do things in the booth, like maybe step away from the mic and, and breathe and instead of right in the booth or so that they can see me doing whatever it is I need to do to relax. And so I would say the breathing is a big thing, and also in the middle of a performance, if you happen to freak out, just know that you're a human being, and the people that are directing you are human beings. And so there's a lot to be said for that. I say that sometimes you don't really wanna admit that you're nervous necessarily in front of the director or whoever might be on the call, but you just do what you need to do. There's no rush, right? There's no like, oh my gosh, I have to get this done in the next five minutes. If there's any session where you feel like you're being pressured to get that read out in a short amount of time, I would second guess that client. That's for sure. If you can be with that client and you are not on camera, do whatever you need to do, you know, shake it out, breathe, mute your mic for a minute and do whatever you scream, sing, whatever you gotta do, breathe because they're never gonna really know . So that's kind of something you can do kind of behind the scenes. But if you are on camera, number one, I would try not to be on camera if you can help it, but you can always turn your camera off for a moment and/or mute whatever you need to do to kind of get there. I mean, unless you're in the middle of a sentence, right? There's no need to necessarily explain. You can just say, I need a moment, and do what you need to do. What about you, Erikka? When you're in the moment, what are some key things that you do? Erikka: Yeah, those are all great points, fully agree and sort of to elaborate on some of them, in the middle of a session -- well, for one, I usually start the session by taking control of the whole visual aspect. I'm like you, Anne, I'm a fan of camera off. So what I'll do is, in the very beginning of the session, I'll flip my camera on, say, hey, you know, I just wanted to introduce myself and kind of have that initial conversation to have the human connection. And then as we're getting ready to record, I'll say, okay, I'm gonna go ahead and flip video off so I can make sure that the audio quality is as high as possible. Anne: Oh, Erikka, golden nugget! Oh my gosh! Erikka: And they love that. Anne: Say that again. Say that again, because we can go home now. That was the best like piece of information, I swear. That, that's a great idea. Erikka: The pandemic educated everybody video takes up more bandwidth. And if you have video off, the audio is less likely to drop out. Nobody wants the audio to drop out because they wanna be able to critique the quality of the voiceover that you're giving and give you feedback so that they get what they want. So that way they're like, oh yeah, sure. Turn video off. I'm gonna turn video off. And then if they don't want video, it makes them feel comfortable. Like, oh thank God. I don't have to have video on Anne: I think a lot of people believe, it or not, are more relieved than not just because, you know, I don't know if we're having a little bit of anxiety from the whole, like during the pandemic, all we did was Zoom. Although I'm a big fan of the video connection that we did have. We just did it a lot. And so, you know, I did it to keep connected with my family and my clients, and I think, yeah, everybody could use a little vacation from the video being on all the time. It really has put on another added layer of potential anxiety for us as voice talent. Because most of us got into the business because we didn't wanna be on camera. We wanted to be behind the mic. And so I love how you said that you turn it on to say hello and make the human connection. And then just say, look, I wanna be able to flip this now so that we make sure we get the best audio. What a fantastic idea. I love that. Erikka: Sometimes I even make a joke just to keep it lighthearted, feeling the client out, if that works. And I'll just say, so you don't see my weird actor faces and they'll laugh, you know? And like that works because that's the truth. I'll flip it on at the end, you know, to kind of close it off and say, bye. I do make sure that particularly on Zoom or whatever platform I can, that I'll have my headshot so that they can see me. Even though they're not seeing me. So that kind of keeps the human connection as well. Anne: That's excellent. Now, Erikka, you know, that's funny because mine always just appears, but I don't ever remember putting it there. Where does that come from? That Zoom headshot, is that in the settings of Zoom when you set it? Erikka: It is, but you have to be logged in. So you have to actually be logged into your Zoom account and then you can set your picture and it'll come up. But if you just like click on their link, and you're not logged in, it'll just show your name that you typed in. Yeah. Anne: Ah-ha. Oh, that's an excellent point. I never realized that 'cause I'm always the one hosting the Zoom sessions for the most part. And interestingly enough, when I say to patch into my studio, if they don't wanna use the ipDTL link, or usually I use ipDTL, or usually I'm not the one providing SourceConnect, they would be the one providing SourceConnect link. But if I'm providing the link, then I'll usually give them an ipDTL link, and there's no video involved in that. And most people are relieved. And the reason why I tell them I do that, I'll give them an ipDTL link as a phone patch rather than Zoom is because it's better quality. And so it delivers better quality audio. They can hear me better, and it's always better to be able to hear better so they can direct me better so that I can do my job better. Erikka: That's what they want. Anne: So there's all sorts of kind of cool ways around being off camera if you so desire. Erikka: And you know, there really have been studies that have said that in the whole pandemic period that there was increased anxiety because if -- Anne: Being on camera? Erikka: Yeah. Because if I'm face to face with you, there's a safe distance, but there's a perceived closeness if like my face -- Anne: Oh, interesting. Erikka: -- here. And it's like, you're in my personal space, and it's more threatening. So it literally can makes you more anxious being on video on a digital platform as opposed to being in person, and you don't get to feel out and kind of mix the other person's energy. It's just this digital face. So it's natural that it makes you more anxious. Just take control of it. And I've never had anybody say, well, no, we want you to keep camera on. the only place I can see that ever happening is maybe video games. But even then, they're more concerned about audio. Anne: Yeah. And I think that, yeah, definitely. Let's just make the point though, that this is for a live directed session where it may not be necessary for you to have video on, even though your clients may like it. The other thing is that it might be the only form of communication that they have, right? Zoom, video, or Skype or whatever that is, or Google Hangouts. A lot of times, that's how they get a community of people together to listen and direct. And even in that case, you can absolutely take control of muting your camera or turning your camera off while you're performing. And so now what if you're in the middle of a sentence and you flub it up, Erikka? Erikka: Oh man. Anne: What is your course of action? Erikka: Yeah. So I talk about this with a few people. So for one, remember that you are human, and we make mistakes. We all stutter, even in regular conversation. Sometimes I'm able to catch it fast enough where it sounds natural…

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Career Planning & Goal Setting Sep 01, 2022

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Do you have a vision board in your office? Because it may just help you achieve your goals. Anne and special guests Leah Marks & Nic Redman dive into what it takes to make your dreams a reality. The small steps, to-do lists, and simply articulating what your goals are can help you reverse-engineer your way to success. If that sounds overwhelming, do not fear Bosses! Leah & Nic co-authored The Voiceover Career Planner to help. It is part daily planner, part personal VO coach, featuring 52 experts offering weekly encouragement. Want to learn more? Keep on listening. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguza, and I am here with a special episode with the lovely and talented ladies from the UK's most popular podcast for voiceovers, the VO Social. Welcome to the show Leah Marks and Nic Redman. Leah: Hi! Nic: Hello. I love how you say the title of our podcast. . VO Social! Anne: VO Social! Nic: That's amazing. Anne: Yes, it is good to have you back here on the podcast. Leah: Oh, we missed you so much. Oh, it's been awful, Anne, terrible. Anne: Well, I think we should catch up a little bit then since we last spoke. So tell me a little bit about what's new in the world of voiceover for you guys over there in the UK. Leah: Well, Nic, you go first. You go first. Nic: I have nothing hugely exciting to say about voiceover. Leah: Okay. I'll go first. . Nic: Okay, great. Thanks. I mean, I've been doing all the amazing, exciting jobs. They're all under NDA. I can't tell you about anything. Anne: There you go. Leah: Of course. Yeah. You're basically the queen of voiceover right now, but no one can ever know. Nic: Yeah, yeah. Anne: No one can know. No one can know. Yeah. I can't tell you about it or we'd have -- Nic: I'm coaching (?) so busy say, so I've just sort of been focusing on that. Anne: Fantastic. Leah: Yes, yes. I've been throwing myself headlong into acting, and I've been writing a play, which I'm now halfway through one draft of, which is not enough the way through any of the drafts so far, but I'm getting there. I'm getting my way through it. I am. So that's what that's, what's new for me. Definitely. Anne: Things are changing all the time. Right? I remember the last time that we spoke, I had to look this up, 'cause I felt like it was forever ago. It was July of 2021, right? Smack dab in the middle of that pandemic. Well, we were thinking it was the end, right? or the end of the pandemic. We were hoping. Remember when it was supposed to be like a month or two and we'd be okay? Leah: Remember when there wasn't one? Do remember when there was absolutely nothing to worry about? I liked that time. Anne: Exactly. Gosh. Well, you know, we had a big conversation in that episode about having a plan B, because things change and evolve. And I think, gosh, we had a discussion about AI and synthetic voices and how do we evolve and keep afloat during tough times or even just evolving times with the voiceover industry, 'cause it changes so rapidly. So I, I thought we should have a talk about that. Leah: Yeah. About the future and how to cope with it. Nic: Well, actually I'm speaking to you with my AI. This isn't real Nic, this is AI Nic . So that's how my life has evolved. Leah: Oh Nic, do your AI voice. Do it, do it, do it. It's amazing. And get ready. Anne: I'm ready. I'm ready. Nic: I don't know why, but I'm very good at doing an AI voice. Leah: Yay! Oh it's so -- Anne: That's fantastic. Nic: Really bad AI voice, a really bad one. Yeah. I'm working loads in that one; that one's really busy. Leah: Anne: Well, I remember we had talked about one of the things that we were doing having maybe not necessarily plan B, but just yeah. Plan B for when you evolved to expand your genres or expand your acting. Right? Expand your performance, which I think is always important. And I think acting is a great part of that, in terms of always evolving and creating new voices that are something that people want to hire. Leah: Yes, exactly, exactly. And I think you're right about planning and trying to be prepared for whatever may come. We've got a lot of things to say about planning at the moment. We've got like both of our heads absolutely stuffed with planning and goal setting and how to achieve your goals and all steps. Oh God. The lot of it. Yes. Anne: I'll tell you what. I have my personal experience, and I've actually spoken about this as well. First of all, I have to write things down. I have a notepad, old school or not -- actually I love my notepad because I can actually write things down, and when I finish them, I can cross them out. And that is so satisfying. Leah: That is nice. Nic: Satisfying. Anne: So satisfying. So I have that on a daily to do, but I also have spoken about the importance of goal setting. And I will tell you in my experience, when you set goals and you write them down, it really helps to make them happen. What are your experiences? Leah: So my experiences of making things happen, I'm a list person. I work out what I want, and then I work out to all the things I need to do in order to make it happen. And then I work out when I'm going to do those things. And then I break it down into whether I'm going to do them that month or that week or that day or in the morning of that day or the evening. And I break it all down so that I can't fail or does I feel like I can't fail. 'Cause I'm on a path then. I'm never in a situation where I have nothing to do to achieve my goal. So for example, with the acting and the playwriting, I want to be working in more audio drama. So in order for that to happen, I need to get audio drama produces to see that I'm a great actor. In order for that to happen, I need to be in more theater. In order for that to happen, I need an acting agent. In order for that to happen, I need to be on stage in the first place. In order for that to happen I need to write my own show. And so -- Anne: Well, and you also need acting, right? Maybe you want acting classes too, right? So you're working on all aspects of it. Leah: Exactly, exactly. Anne: That's like you just took what you wanted and worked backwards. Leah: That's exactly, exactly it. That's exactly it. Well, what we've done is we've reversed engineered. Anne: Oh that's it, that's it, reverse engineered, that's it. Leah: Yes. Yeah. So we've created this book, a tangible, hold it in your hand, change your life with one item book that allows people to do this exact thing, to work out what they want, work out how to get there, and then actually make it happen. So it's called the Voiceover Career Planner. We actually launched it last year. Anne: Awesome. Leah: We printed 100 copies, and we sold that right away; within less than a month, they were gone. And then what we did was we got all of those people who bought the planner to send us feedback. We squeezed as much information out of them as we possibly, possibly could. And then we poured all of that information into the second generation planner that is out September 2022, which I believe is when this episode is coming out. So we've got a lot of real life user experience. Nic: Yeah. Social proof, I think they call it -- Leah: Social proof. Nic: -- in the business. Leah: Social proof. Exactly. Anne: So let me ask you what makes it different than my list, my to-do list? Nic: What makes it different to a list? I don't wanna comment on the aesthetic of your list, Anne, to start with, but it's incredibly fit. It's dead fit and attractive as a planner, it's really glam. It's got gold on it and stuff, but joking aside. Anne: Well, there's something to be said for that. I mean, aesthetics. Nic: This is it. Hopefully enough. One of the things that came up, I was doing a session in my vocal empowerment program, which is an online voice technique training course that I run. And I bring in this guest expert to talk about habit creation, because the whole point of the program is to give people the vocal skills to want to do their warmup every day and feel like they can do and fit it in their routine. And she talks a lot about like one of the things that you need in order to build a habit, IE, make sure you do things to get towards your goals, is to make it attractive. Like make it seem like a nice thing. Anne: Yes, I agree. Nic: So this is why people love vision boards and they love, you know, putting things on like nice post-its that are pretty and stuff. 'Cause if you -- it's, like you say, the version of attractive for you with your list is, it's attractive for you 'cause you write it down, you get to put a gorging line through it, which is really, really sort of satisfying. And I think with the planner, what's nice about it is a you think, A, look at me, I've bought this. Aren't I dead good? I've got this and I'm committed. I'm gonna use it every day. Look at me with my planner. I'm so professional. Anne: Look at me with my planner. Nic: And it's so pretty. Yeah. And then you open it up, and it's got all this amazing information at the start, which has loads of different insights into even stuff like studio troubleshooting, website and SEO, vocal warmups, habit creation. Anne: So it's a daily planner? Nic: Yeah. And then it's got like a page a day. Anne: Okay. Nic: Oh no, the new one's -- Leah: So we've changed it slightly from the feedback from users. We realized that we could improve the usability even further and create a bit more room to write essentially by making the planner itself a little bit bigger. And so it's now somewhere between A5 and A4 size, if that means anything to you. Anne: Yes, it does, actually. Nic: Planner size. I dunno if you're into planners. I've gone about 49. Anne: Well, I used to scrapbook, so I understand page sizes, and I did a lot of printing. So I understand page sizes for sure. Nic: This is what mine sounds like. I've got it. Here, look. Leah: Oh nice. Anne: Oh! Leah: But this is -- so the way it's structured -- Anne: ASMR. Wait. Planner, ASMR. Leah: Oh yeah. Anne: Go ahead. Do that again. Ready? Leah: Oh. Anne: Oh. Leah: Lovely. Anne: That is satisfying. Well, let me ask you a question though, because first of all, I like places to write, that's for sure. And the cool thing is, is that I think if I'm trying to write down, it's not just a list of to-dos. There's other things. Leah: No, no, no. Anne: We talked about goals. Leah: Let me take you through it. Anne: Yes. Take me through it. Leah: So the first thing that happens is it guides you through setting goals, helping you work out what your goals are, whether they are achievable, and how they can be achievable, and then the different actions that you're going need in order to be able to get you there. So there's loads of like supports and structure in terms of that, several pages of that. Then once you've worked out what your goals are going to be, the majority of the planner is taken up with 52 weeks. So it's not dated. So you can start it at any point in the year. It's a 52 week planner. So at the beginning of every week, there's a plan out your week page with a special section for planning your social media content for the week as well. And then after that you have Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday has half a space each because we're trying to encourage people to also take some time off. And then you set at the top of the page, what you want to achieve during the day. And then you can work out if you want to, what time during the day you want to achieve those things. And once you've got it all written down, then that is such an encouragement to actually go through it like you say, and draw a line through it. But it's not just the sort of overwhelming blank space that you would get if you just had a notebook. It's structured for you. It feels, I think, more comfortable to walk into it, to use a book like that, to use a page like that because it feels supportive. It's saying, okay, here are the things. Here is a space in which you can achieve something. And here is a way that you can do it. Why don't you just pop the details in here? And then it makes it happen. The other thing that we've got then is we've got reviews throughout the year. So like you say, the world changes, things change, you change, your circumstances change. And so every quarter, there's then an opportunity to review how your goals are going so far and whether you want to add in some more, whether you want to adjust the ones that you've got, whether you wanna change deadlines, what you might need to do in order to achieve those things. Again, you can assess that again. So it keeps you going all the way through the year, checking in with you. The other nice thing that happens is at the beginning of every week, we've got 52, and you know about this already, Anne, but 52 experts to give us their top tip. We've asked 52 people at the top of their game, across the audio industry, what is the one thing that you need voiceovers to know that will really benefit them, that you are the perfect person to advise on? And uh, so Anne, as you know, you are one of my 52 experts. Anne: Wow! Leah: Because we've put you -- Anne: So honored. Leah: Do you want to know where we've put you? Anne: So honored. Where? Leah: We've put you on the final week. So we are building up all year. Nic: You're the headliner, Anne. You're the headliner. Anne: Save the best -- no, I can't say that. No. Thank you. I'm so honored actually. Leah: You very, very welcome. Anne: Thank you very much. Wow. Yeah. So it sounds like what you're describing to me -- because I have done research on planners. I'm always looking for the perfect planner. Like there are different planners and they have different things. And I think first of all, one customized for voiceover, our industry, number one, is brilliant because I want quotes that relate, that relate to me. And I think that if there's information and quotes and goal setting that can particularly relate to our industry, first of all, that's super helpful. And I had decided back in the day, and there's people that go back and forth about which planner's best -- well, I settled on a Panda planner. But it sounds to me like you've got all the functionality of all these really great planners that are best sellers in this VO planner. Leah: Well, what we've done is Nic's been using them for years and having the same experience as you. Nic: Let me tell you, I love a plan. I love a list. I love writing stuff in a place, and I have been searching for the right planner. I've tried lots of planners.- Anne: Right. For years, right? Nic: For ages. Yeah. So I've got like, well, I won't name all of, but I've got loads of different ones, loads of different sizes and different vibes. And most of them are quote, unquote business planners, which is fine, but there's something really special about having something that you open that you can completely relate to. And instead of seeing some, to be honest, like generic NAF…

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Balancing Careers Aug 30, 2022

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Prioritization is the most important skill for entrepreneurs. In this episode, Anne & Erikka go through the essential skills you need to balance multiple careers. Whether you are working from home or juggling a corporate and creative career, you can't forget to take time for yourself. Breathe, and know that once you step in the booth, the time you spent recharging on a small break between meetings will pay off. Career balance includes finances, family, personal needs, passion and most importantly a long term vision of your career… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and the balance series. I'm your host Anne Ganguzza, and I am excited to bring back to the show as always the lovely and talented Erikka J. Hey Erikka. Erikka: Hey Anne, how are you? Anne: I'm doing good. It's been a busy week. How about yourself? Erikka: Oh yeah, definitely been busy and prepping for another busy one. So, you know, as you know, I've got my corporate job, I've got my kids, my family, I'm pregnant and you know, I've got voiceover, which is like, you know -- Anne: Voiceover. Erikka: -- all in its own, a big old thing. And we've got a holiday coming up soon here. So holidays, everybody likes to get their work in before everybody goes out. So, I got tons of meetings and stuff and projects at the job. I've got tons of sessions next week for voiceover, and I am just really finding ways to balance it all, 'cause it's a lot. Anne: Look, I know that when I had a corporate job and I was doing voiceover part-time it was the hardest thing. As a matter of fact, whenever I talk to a student that comes to me, I'll just say it is very, very difficult to dedicate time to voiceover when you've got a full-time job and your career that you're already engaged in. And I look at you, and I'm like, my gosh, because you've got the family on top of that, and you're in It just the way I was. So I know how crazy it was for me. I'd love to talk about how you balance your careers and be so successful at all of them and your family. Erikka: Yeah. Yeah. I actually just a couple weeks ago or so talked to eVOcation about this, different strategies and things. One of the biggest ones, and something is kind of like a lesson for my corporate career, is prioritization because sort of accepting and knowing that you can't do it all -- and that's whether you have a job or not even just being in VO, probably not gonna be able to get to every single audition, especially if you wanna make sure you get the jobs done and all of your marketing work and all of that. So being able to prioritize appropriately and know like what's first to do. Anne: All right. So when I know that and I know you've got a number of agents, and they're all vying for you, right? Especially when you're doing well. And I know you're on a really great success track, and I'm so happy. I know what it's like when I can't do an audition for my agent. Like, it's almost like, oh my God. Yeah. Oh no. You know, and I feel bad, I feel guilty. And sometimes they'll write me and say, where is it? Erikka: Yeah, yeah. Yeah. Anne: And so how do you deal with that? That's gotta be something. Erikka: Yeah. Anne: Like how do you prioritize? Erikka: That's a great point for me. Definitely the ones for my agent are number one. I very rarely, these days audition on Voice 123, where I am present. But I rarely am going on there to find jobs to audition for. It's more like if somebody DM's me either for a job or for an audition, or I get like one of those client invitations where they've specifically said, Erikka, we'd like for you to audition for this. And even those, they're last on my list. Agents, managers, theirs get number one. When I do have to kind of look at those and say, okay, I might need to prioritize, I got a ton of them today, I do wanna make sure that it's the right audition for me. And I'm trusting 9 times outta 10, the ones are sending me are great. But you know, if I'm really not sure, or if I'm not really filling the script, or they kind of like want it read three times and it's rather long, I might email and say, hey, I'm gonna pass on this one. And they usually understand because I don't do it often. So yeah. That's how I prioritize that. Anne: Right. Well, I think you probably prioritize agents too. I mean, in my certain cases, I have agents that are more local to me in LA, and I have to prioritize those agents that are local and the ones that I'm booking with. There are some other agents that, how do I say it? They're not not important. It's just that I have agents that I kind of, I have to prioritize them, if they're more local to me and they expect that as well. Erikka: Yeah. Absolutely. Your mother agency, they call it, you know, like that's -- Anne: Yeah, yes, exactly. Your mother agency. Yep. They do. They get dibs and they get priority. And so if there are five auditions that come out, and one of them is from the mothership, if I can only do one, that's the one that gets it. Erikka: That's the one. Yep. And you can look at things like the job you want too like for the rate or like, you know, if it's like a category or a brand you've really been wanting to work for, like that can help you with those prioritizations decisions as well. But yeah, definitely take care of your mother agency. Anne: Now you also go into work, right? You have to go into work or are you working from home? Erikka: No. The only way I'm able to do this is because I'm full remote right now. And I have been for three years. Yeah. Anne: Okay. That's great. That's great, 'cause I know some IT, you have to be there because you physically have to be present to take care of equipment or something like that, but you can do everything from home. That I think is one advantage of the pandemic for people that have been working full time, if you have been kind of re-homed to a home office, I think that that actually is a benefit for people who are looking to get into voiceover because you can sneak away to your studio to do a 5 or 10-minute audition. That was something I did not have the luxury of doing when I worked in IT, because I had to be on site on premise, even though a lot of my time I was doing remote work, but I also had to be there to physically turn machines on and off or, you know, install machines and that sort of thing. So I do think that that is one of the biggest advantages from the pandemic, if you are now able to work from home, having a voiceover career as well is a lot more accessible. Erikka: Absolutely. And that was something that I brought up in my talk is that yes, I fully recognize that not everybody has my position, and I feel very blessed that I'm able to work 100% from home. And even now like my position, it's more like product management. So I'm in software. So thank goodness I don't have any hardware that I have to be physically present to manage. But now after the pandemic, there are an increasing amount of remote jobs. So it's not just necessarily me. It's like jobs that were not remote before, these companies are recognizing that they're able to retain their talent better if they're able to offer that sort of perk. And actually a lot of people are more productive when they do their corporate jobs from home in the corporate work. So yeah, it definitely allows me the flexibility to come in and outta the booth. Like my desk is over there, my booth is here, and I just back and forth between meetings and sessions and auditions. And it's crazy, but yeah. Anne: But here's an important session though. How do you turn it off? Right? You're at your home. So where's the family part of that and that family balance come in? How do you work with that? Because that's gotta be tough. Erikka: Yeah. Yeah. I think it's a couple things. For one, in the beginning, I was very, very -- I'm already a workaholic, so... Anne: Hah. My name is Anne Ganguzza, and I am a workaholic. Erikka: Hi Anne. Welcome. Anne: Yes. I'm right there with you. Erikka: So I mean, they already knew that I was like that, but I was kind of in overdrive and my family was like, hey, you need to chill, Erikka. You know? So like I did have to find the places to set boundaries. Like I mentioned that I had a recurring great client that had booked me for a Sunday once, and I did it that one time, but I said for the future, I really don't do sessions on Sundays. And they were like, oh, okay. And it was great. So now I know that that day is like set aside for myself -- Anne: That's my day too. Erikka: -- my family. Sundays, I generally don't do anything unless it's like huge. And I tell them, and I'm like, this is huge. And they're like, okay. They have to be on board too I think is the big thing. Like they understand this industry. They've seen how hard I work. They know it gives me flexibility with other things. I was able to pay off my debt because of voiceover, so that helps us all. So having them on board and setting boundaries so that you do have some special time with them is really important. Anne: I agree. You know, the Sunday is my boundary. The workaholic in me is like six days a week. But, and you're right. Sometimes I work on Sunday, but only if I have to. And what's interesting is sometimes when my husband, if he has to travel for business, and he is gone over the weekend, on Sundays, I may work and not feel guilty. 'Cause if I end up having to work on a Sunday, I feel really bad, 'cause I'm like, I need to spend time with Jerry and the family and whatever else we're planning on doing, 'cause we need to make plans as well. And I'm one of those people that I'm so planned ahead in my planner or in my calendar, if I don't block off on my calendar up to a year ahead, I will be scheduled with something. So again, busy is good, but sometimes busy isn't good. And so was there a time that you realized "I don't have the proper balance right now" and you need to reevaluate, and what was it that happened and how did you readjust? Erikka: Oh yeah, this was probably about maybe -- even though we're still technically in the pandemic, but like midway, you know, when it was like, all right, we know that this is the way of life for now -- I had been just like throwing myself into so many workshops and a lot of 'em were LA based. So, you know, I'd be working all day, doing auditions, maybe cook dinner, and then, you know, in a workshop 'til one in the morning I was exhausted. I was drained. I was burnt out. I could tell, like I was less motivated to do auditions. You know, like I said, my boyfriend, my partner, he's just kind of like, you are doing too much you know? So other people kind of calling me out, and that's when I was just like, all right, you know, these workshops are great, I'm enjoying learning, but you know, maybe I don't have to take every single one I see. Maybe I can just do a couple a month, you know? And so that was kind of the turning point for me. And also I had developed to a point that I didn't need to keep doing them as much. I almost got like addicted to workshops at one point, 'cause I just loved learning and, and developing, but I'm like also from an ROI perspective, am I spending too much money now on workshops and training where I'm already at this point? So that was another turning point to be able to say, all right, I need to spend more time on working and making the money and maybe -- Anne: To reinvest. Erikka: -- go back some on the training. Yeah, yeah, yeah, yeah. Yeah. Anne: I think that's a good point to talk about that point where you are evaluating the numbers. And I think it's important that when we get to the point in our career, you need to evaluate your numbers. I know a lot of people don't look at the numbers sometimes, and they're just like doing jobs, spending money, buying microphones, upping their home studio, but yet they haven't really looked at their numbers. And I think it's important that you look at your numbers. Where is your outgoing expenses and what's incoming and where do you need to make adjustments? But I think having money to reinvest, I think you're probably at the point where you're being successful enough that you've forgotten to kind of figure out, oh, I need to pay the bills, or you've got that cushion, but you've also forgotten to look at your numbers to find out really what are you spending? And I think that's an important stop point in any career. You need to regularly evaluate the numbers, incoming and outgoing, so that you know when you can reinvest and when not to be. And in terms of like myself, I know myself, when I don't have the right balance -- and this is not balancing corporate career, but balancing my own career -- when I'm too busy, working too many hours, and I start to get like panicky, where I'm like, oh my God, I just don't have enough time to finish this and I've gotta finish this and I can't stop. And I will start to have like panic attacks. And that's when I know that the balance has got to come back because it's not healthy for me to be in that high. My blood pressure probably spikes. Erikka: Yeah. Your body will tell you, for sure. Anne: Yeah. And so do you have certain days that you set -- do you have time limits? Do you say I'm on the job from nine to five or I have an hour for lunch? I've got an hour to do auditions. How do you split your time? Erikka: Yeah, so I think it does vary for me from day to day because sometimes it might make sense for me to do a session at 12, when I know that I'm not gonna have any meetings. There might be days where I have no meetings. So it's kind of more like, you know, I have a project to work on on my own time, and it's not necessarily that I have to be right sitting in front of my computer for eight hours. And I might be able to have some sessions during that day, that do build in some breaks. Like I make sure that like, if I have, you know, meetings from one to four, and you know, sessions at some point, like I will set a boundary and be like, I'm not available at this time because I know I just need to breathe. I need to get outside, get some air, eat, you know. Anne: Yeah. I think mentally for me the performance, right? There's the business aspect, right, where I'm doing accounting, I'm sending emails, I'm responding to clients, and then there's in the booth. And I think so much of what's in the booth is mental. And that takes time. Like you forget to give yourself grace and time to prepare for that or build that into your calendar. That's where I find that I am lax sometimes, because I'll be so exhausted after I'm doing all the other stuff that I get in the booth here, and I'm like, oh God. Erikka: Now I have to act. Anne: And then what happens is I wanna get through the audition quick and I have to stop myself 'cause that does me no favors in my performance. How do you deal with that in the booth? How do you get back that peace? That, you know, restoration. Erikka: Yeah. Just kind o…

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Morals and Money Aug 23, 2022

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You deserve to take up space & feel valued for the work you are doing. In this episode, Anne & Erikka discuss how saying no to jobs builds your career as much as saying yes! There is morality involved with lending your voice to a person or company. In making these difficult choices, it is essential to keep your brand & personal integrity aligned with the jobs you take. Bosses, have the confidence to say no, and if you need a little boost, your favorite hosts are here to help. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and our balance series. I'm your host Anne Ganguzza, and I'm excited to start my day again with the lovely Erikka J. Hey Erikka. Erikka: Hey, Anne. Anne: How are you? Erikka: How are you? I'm pretty good. Anne: I'm doing good. I'm doing good. Erikka: Hangin' in there. Anne: It's been a crazy year or a couple of years. Hasn't it? Erikka: It has. Yeah, for sure. Anne: And I have to say that I got a job offer the other day to do something for a political candidate. And it made me think, because my thoughts about voicing things for, let's say, political and/or let's say anything else that maybe I may, may not believe in have changed and have evolved over my career here. And I thought it might be an interesting conversation to have with you. Maybe our moral compass, so to speak. Erikka: Yeah. Yeah. Balancing that and balancing your yeses maybe, you know what I mean? Like what you say yes to and your no, 'cause your nos can shape your career just as much as what you do decide to voice. Anne: Oh, right there. That's a golden nugget. We can go home now because that says it all. Honestly, I think sometimes no is even more powerful than a yes and can really help define in so many ways. Well, just a little more on that job that I was talking about, you know, it was for a political spot, and I literally went so far as to look up the candidate because it wasn't evident by the content right away what was happening there. I ultimately, I ultimately said no to it because it did not align with my beliefs and not just the copy, but because I said it was hard to tell with the copy because it was a candidate that wasn't as well known. And so I just said no, and I'm thinking about myself, maybe, I don't know, five years ago, or even later than that. I might have said, you know what? It's, it's a gig. It's a political gig. Let's do it. Let's get on board. What about you? I know you do a lot of political work, and it may not just be political work, but -- Erikka: Yeah. Yeah. I do a lot of political, and in the very beginning of my career, like literally, like I had been probably doing voiceover for like a month, and I did have a quasi-political sort of thing come to me. But now kind of looking back on it and it was weird because when I did it, I was like, well, you know, I'm just starting and oh my gosh, they booked me and they want me and I can do it, you know? And it's like, yeah, it's kind of borderline, but I'll just do it. And I've regretted it ever since. And it probably lived for like two weeks. It was something that was very short term, but it was supporting a candidate that I was not in support of somewhat. Like I said, a roundabout, like, I didn't say their, their name. But it was just that I learned that not all work is good work if it's going to misalign with your gut and how you feel and your own beliefs. And if from a more business standpoint, misalign with your brand. You don't want to jeopardize the trust that you've built with your clients that do align with your values and your brand. And then they're like, well, why is she voicing this? So I stopped doing that. Anne: Yeah. And I find that now, especially now, 'cause it's such a divisive climate these days politically that I think it's just shaping my business in a way that I didn't anticipate, number one. Not that I do a ton of political. I mean I do enough political to know now I'm absolutely like checking on the candidates, finding, going to their webpage and finding out if their beliefs align with mine, because I'm just not willing to have my voice recognized, and then another client, like you were mentioning, a longstanding client, maybe, I don't know, not align with that and then maybe have issues with me voicing for them in the future. But it's not even so much about that. It's become now about my performance too. I wanna make sure -- it's hard to create a believable performance when you don't align with the client that you are voicing for. And it doesn't have to be political. I think it could be anything. You know, now we've got, one of our next episodes probably gonna be all about AI, but with AI jobs, right? Are they gonna recognize my voice and then will there be, I don't know, judgment in one way or another, because that's also something that people have very strong feelings about. Erikka: Yeah. Yeah. Like you said, definitely not just political. Yeah. Just kind of, it definitely comes out in your performance. Like, yes, we can take on feelings and emotions and words that are not our own. I truly believe that when you're not enjoying the performance, when you really are not totally invested in it, it's gonna come through somehow, some way. And you know, the client may say there's something about it or it might just be a difficult session when they're really trying to pry it out of you. It's gonna come out in the wash and when it's not real. So yeah. I just prefer to say no. And I find that when I say no, the right things come along to replace it. So it's kind of having that, that kind of mindset, not having the scarcity mindset of, oh, I have to take the job 'cause it came. You know, having a more abundant mindset of I'll release this thing that isn't for me. So I can go to the right person and the right thing will come to me. So. Anne: Exactly. And you know, that applies in so many things if I can, the power of no. And especially when you're negotiating also, I think that, that makes a huge difference in terms of, I don't have to take this. If you have that thought process of, you know what, I don't have to take this job. And I have the confidence that if I say no to this job, that it will give me room for the next job to come along and fulfill my need for, I don't know, money to support my, whatever to support me in this career. So the power to say no is huge. And when you are negotiating that confidence that you have the power to say no, and that you are okay knowing that if you say no, everything's gonna be okay, and that something else will come along and fill its place. That is huge. And I think that a lot of people, when they first start out in the industry, it's a scary thing to negotiate a job. Because they're afraid that they're gonna lose the job if they quote too high. And so therefore they settle. I think you only have to have a few negative experiences when you settle, and then you get that client that doesn't align with what you want your business to be. And then they kind of nickel and dime you on every little thing that they want from you. And those are clients that when I get really, I only had a couple that really came back and nickel and dime me. And I was like, you know what? I did not quit my full-time cushy job to come to a job where I could be beat up by my client. Erikka: Yeah. Yeah. Anne: This is why I got out of it. And so I wanna just tell any voice actor out there that is beginning, you do not need to suffer through a client that is abusing you, so to speak. Erikka: Oh my goodness. Anne: Right? Erikka: Yeah. Definitely talking about balancing yes and nos, that is such a great point on rates, because like you said, the ones that don't necessarily want to pay your price are the ones that are gonna have the most demands, want the most pickups or little changes or, well, could you, you know, say this one with a, like going up like they really like line reads you type things. And you know, things like that, but yeah. Not being afraid to fire clients. I think that that's so important. Anne: When they don't value you. Erikka: Exactly. Anne: It's all about the value. Right? You've gotta understand that what you do is of value. And we say this over and over and over again, but it's so interesting how it always comes back into play in these, the power of no, the moral, ethical compass that you have in working. It's not just, oh, do you take a political side? It's a moral compass when working with a client who may not treat you as if your services are valued. And that I think is huge. And like I said, I did not give up my cushy job you know, and thankfully I had a cushy job. I say thankfully and gratefully, but I did not give it up to go into business for myself to be handled by my clients in a way that is not aligning with what I want my business to be and someone that doesn't value me. And that is a huge, huge thing. And it's a huge thing when you talk about AI, right? And we think that the AI industry is out to get the voice talent and to take away their jobs and to devalue them. I personally, just through the VO BOSS podcast and all of my interviews, have been fighting to have AI companies value the artist and value the voice and value the asset of voice because they value other assets. Right? If you think about some of these big advertising companies, they value the product. Well, if the voice is representing the product, how can you not value that voice? How can you not treat that voice with the respect that you treat the product? Because it's a part of it. Erikka: Yeah. You're bringing a branding element that nobody else can bring. You have something, this voice, this tone, this way of delivery that they have chosen to represent their brand. That's the value and, and should be given the proper respect for that. And even to your prior point, I do still have my nice job But I think the thing is like, even at work, not to take it too far off topic, but just valuing yourself and whatever value you are bringing to the table in any business transaction, really in any transaction at all, any relationship. And if you command that respect for yourself and knowing that when you set those boundaries and say, you know, Nope, that's not for me or I'm not gonna allow you to treat me that way, you make space for the right things to come. So that comes with rates. That comes with the way clients treat you, that comes with the way your boss treat you. If you have a job and they're not treating you right, find something else. Anne: Absolutely. I love that you brought that up, especially in the corporate environment, because I know a lot of reason why people may be getting into the voiceover industry, right, is to escape the job where they don't feel valued. You know, I worked in the corporate world. Corporate is one of my specialty genres in coaching and in what I do in voiceover. And I always felt that corporate became the way that I was winning 'cause I would do corporate voiceover. And I thought, here's the way that I don't have to go in and be mistreated in a board meeting, right, by members of the company or, you know, not valued. Here, I can do the job, don't have to go to any meetings -- well, maybe a meeting with a person that's paying me, but basically I'm in, I'm out, and I got paid. Erikka: Exactly. Anne: And so therefore I win. I win at corporate. But I do happen to love corporate and I understand the corporate way. And in reality, as voice artists, we are hired pretty much by companies, whether they are companies that have a product or broadcasting companies, they're still companies. And again, you want to be valued by that company that you work for. And it's just something that resonates, whether you are in a company wanting to get out to form your own company, right, that you need to be valued. You need to be valued and you have the space to morally and ethically say no to create a good balance in your life for not just getting paid, what you're worth, but just having joy in what you're doing. Erikka: And you have to remember that like these businesses, they're not saying yes to every single partnership or every contract, and you as a voice talent -- I know that it's easy for creators and artists to kind of see us, ourselves as beneath or as you know, well, we're so grateful to get a job, but we are B to B businesses. So when we are working or deciding to choose to work with another company, that is a partnership. And you have to decide if that partnership is right for you, just like the big corporations do. You're no different. Anne: Yeah, absolutely. Absolutely. That's such a great point. Wow. So do you have any examples of jobs that you've said no to yourself? Erikka: Oh boy. I know. I do. Let's see. I've definitely said no for rates. And the couple times where I might have bent, I regretted it. Anne: Because then they would come back and want every little pickup. Erikka: Either they wanted more or it was just like, when I did it, it wasn't as fulfilling. And I was just kind of like dreading it. And then I send the invoice and I'm like, I can't believe I put myself through that for this. You know what I mean? So I kinda stopped bending. The times that I do kind of bend more on rates are like, if it's something I really wanna do. And I really believe in like PSAs or for non-profits and stuff like that. But yeah, I have, more times than I can count, you know, just said, hey, this is my rate. This is what it is. And if they say, you know, it's not gonna work for us. Great. Definitely say no a lot for usage, and that's something, you know, I'm open about the fact that I do participate on P2Ps. Just really Voice123 right now. But I'm very careful to make sure that anything that says in perpetuity, these contracts or these blatant boiler plate, things that they send out, I gotta make sure that I'm protected, that they're not gonna use it for broadcast use or try to use it in perpetuity without it being totally kind of safe from creating conflicts in the future. And I'll say no very quickly for those. Anne: Yeah. Yeah. I wanna point out that a lot of times there's a panic, right, if I say, no, I won't get hired again. And I just wanna say like in life right, think about the products that you buy. You can choose to buy a product that's maybe cheaply made and that doesn't last as long, or it's not as good value, or you can buy the stuff that has served you well in the past, right? A trusted brand that lasts a long time or you can depend on it over and over again. And when it comes to that, you don't care what you pay for it for the most part. Right? And I think that even though we think voiceover might be going down the tubes because online casting came and, and now AI is coming and, and people think, well, it's just be devalued, and so what's gonna happen? Well, I think it it's human nature that there's always gonna be the division of, okay, so there's good value. Or maybe there's not so good value. And I don't think that's going to change whether pay to plays are in th…

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The National Association of Voice Actors Aug 18, 2022

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In this Bonus Episode, Anne is joined by The National Association of Voice Actors co-founders, Tim Friedlander & Carin Gilfry. NAVA is a new association that aims to advocate and promote the advancement of the voice acting industry through action, education, inclusion, and benefits. The three discuss why & how NAVA came to be, what their specific goals are, and how voice actors can join. If all goes to plan, NAVA will be the first organization to offer health benefits to voice actors. Bosses, you definitely don't want to miss this! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza. And today I am very excited to bring the founders of the National Association of Voice Actors or NAVA to the show, Mr. Tim Friedlander and Carin Gilfry. Welcome, guys, to the show. Thanks so much for joining me. Tim: Hello. Hello. Thanks for having us. Carin: Thanks for having us. We're excited. Anne: Well, I'm very excited to talk to you about this brand new initiative, which I think is only, what, a month or two old? Carin: Couple months. Yeah, a few months. Anne: So tell me, what is the National Association of Voice Actors? Tim: National Association of Voice Actors is a national association of voice actors. We made the title nice and simple to keep . It grew out of some groups that car and I have put together over the last, I started mine in 2014. I believe Carin, you were around the same time, 2016 or so? Carin: I think 2015. Yeah, something like that. Tim: Yeah. And these groups we have, uh, you have the voice actors of NYC. I have Gardner Street Voiceover Collective, various other groups I'm involved in. And over the years, we talk about business. We talk about how to get into the, into SAG AFTRA. We talk about what it means to go Fi-Core. We talk about various other different parts of the voiceover industry. Currently that conversation is around synthetic voices. So we're having that conversation in our groups as well. And we decided we wanna take that to a broader audience. And so we kind of took this off of Facebook and put this into a national group that we could offer education and support and financial support to on a much larger, much larger scale. Anne: I love that. Carin: In addition to that too, over the past few years, Tim and I have also, through our groups, been kind of creating emergency funds and donation funds for people in the voiceover industry, particularly during the pandemic. My group and Tim's various groups, we had emergency funds set up for people who lost their jobs during the pandemic, or who just needed extra money to pay bills or get a new microphone, 'cause theirs broke and they didn't have any money to do it. And so we were giving out payments to people, no questions asked without having a nonprofit. And so we thought that by forming a 501(c)(3), we would be able to do that in a much better way than just having a PayPal account and paying it out to people when they asked. Anne: Absolutely. Now it's membership driven. Is there a fee to join or can we join free? How is that working right now? Tim: Currently it's brand new and we have a membership committee that is going to be setting those standards for us on what that will be. Currently it's free to anybody who wants to join. And so there will always be a free membership tier that people can access the information. Definitely we wanna be a resource for people who are getting into the industry to find a trusted area for information. So we'll have a free tier that our membership committee will set for us. And then beyond that, there will be dues at some point, but we don't have that currently in place. Anne: Talk to me a little bit more about the resource-driven initiatives that you have. You mentioned before resources for the union or for Fi-Core for non-union people. What's that look like? Tim: Sure. We're currently calling it Pathways, different VO pathways that you have. And a lot of people think it's very black and white. It's either union or non-union. And in voiceover, for many of us who work in this industry know that it's very gray. There are non-jurisdictional jobs, which means it's not covered by a union contract. So what does non-jurisdictional even mean? What jobs are non-jurisdictional ,what can we work on? How do we join the union? If a voice actor wants to be in the union, what they need to do to get in that union? I was eligible for two years before I even know I could join the union. 'Cause I didn't know I worked under a contract that was a union contract. I didn't even know I worked under a contract. So that's just -- you know, I worked under an AFTRA contract for an audiobook that made me eligible. And two years later I was trying to get my eligibility and I was already set. I didn't know these things. And then also this concept that you can convert jobs. You can take a job that is currently non-union and convert that into a union job. So a lot of voice actors look at this concept of joining the union as having to give up all this work that I do in the non-union realm. And for a lot of people, that's not a tenable situation to be in, where you're gonna be giving up a massive amount of money, your entire living that you support your family with, to move into someplace where you may not even have access to auditions and jobs. So we are gonna show, we wanna provide that information on how can you navigate this industry. If I wanna go union, this is what I do. If I wanna go Fi-Core, this is what that means. If I wanna stay non-union, this is what it means. And the union is great when you can reach them. And their information is very solid when you can reach somebody over there, but they don't deal with voiceover specifically, and voiceover for everybody who knows is such a very unique niche aspect of what SAG AFTRA and the arts industry and community in general is, that we want something that's very specific to just voice actors. Anne: Very important. Carin: We also, we have an incredible advisory board of just people from literally every genre of work that there is in voiceover. We made a point of asking people from audiobooks and video games and commercials and TV narration, and all just across the spectrum of voiceover so that we have people advising NAVA on all of those different aspects. And we have people as part of our advisory board who are very important people in SAG AFTRA who are very pro-union and want everyone to join the union if possible. We also have people on our board who are Fi-Core and we have people on our board who are non-union. Our goal is to be voice actor first and to be as unbiased as we can be as a group and just provide accurate information out there for people to have, because I think SAG AFTRA is absolutely wonderful. But when I called and was trying to figure out whether I should join or go Fi-Core, I called them and I didn't feel like the information that I got about joining the union and converting work specifically -- they basically didn't tell me that I could convert work. And so I really thought that I was gonna have to give up every non-union job that I would book in the future. And it's mostly just because I think people are unaware that it's possible to do that. This group we hope is a resource for people with unbiased, accurate information. That's very voice actor forward. Anne: I think that's so important because I know there are so many questions when people get into the industry, like, what is the union and how do I become eligible for the union? Should I join the union? And it's always those questions that, you're right, the information has not been really readily available anywhere to find out that information, and it's complex. And so the different avenues are, I think each one of them has a special set of circumstances, and there are advantages and disadvantages to whichever way you decide. And I think having a resource to provide that information to voice talent is so very important for that. So that's a wonderful initiative, and especially things like -- I know that you've started something for healthcare or you're attempting to try to lobby for voice talent that, if they don't have healthcare, they can get it. Talk a little bit about that. Carin: Yes. Tim: Yeah. I mean, it's, it's something, you know, for anybody who is, those who are SAG AFTRA and have health insurance in SAG AFTRA, they know the benefits of having that access to phenomenal healthcare. And one of the things that we learned after forming this group that we did was that there is a possibility of providing healthcare for members of our association. And that is about the extent of the information though. It's about as far as we are in this, in this process. I started working on it before we actually had a group in this capacity. And I started in November of last year. I had been in discussions about possibly offering this for a year before that. And it was actually kind of put into motion of November of last year and is just for anybody who's dealt in healthcare, i's just a convoluted process of misinformation and different information and, and what information is accurate and what information is inaccurate and -- Carin: And changing what changing laws. Tim: Changing laws, yeah, exactly. Anne :Yeah. And it's such an important component for us as entrepreneurs, right, to have health insurance. I know we don't like to think about it, like we could ever need it, but I'll tell you, when you least expect it, you could really use that healthcare. And I know that first hand. And I was thankful that I was able to have healthcare, but it was through my spouse. So, and for those people that, that may not be an option, this is a wonderful initiative, and the best of luck with that. I think that's phenomenal. That's something that's very important. Tim: We look at it as, you know, I've, I've always thought of it as one of the things that can help advance people in their career. and it can help get you into that level where you are able to get union healthcare. It can get to that point. You know, the more work people can focus on -- I've always been somebody who in all my spare time, I personally don't wanna wait tables to support my career of being an artist. I wanna be an artist. Anne: Yeah. Sure. Absolutely. Tim: And I'm a musician all the time, and I want more people to have access to doing the art that they want to do, and love to do and make a living at it, and not have to stay in a job they don't wanna -- this is one of Carin's talking points that she brings up quite frequently is, you know, this, this concept of staying in a job you don't want to be in be just purely because you need the healthcare. Anne: Yeah, absolutely. And being able to have the income, right, coming in so that you can be confident in pursuing more work. And so I've always been, you know, a big proponent of have that little bundle of cash. And if you're spending that cash on something, when it goes wrong on healthcare, the whole thing kind of crumbles. And so I think it's important to have something like that put in place so that you can pursue your creative career and grow in it. Tim: We're just in the process of building that. So we just don't have, we don't have answers yet that are fully formed for us to give rates and to give who's gonna be covered and how it's gonna be covered, which is why we're here today talking about this. You need help from people to, you know, because -- Carin: We do have a plan of action. Anne: Yes. Let's hear the plan of action. I love it. Carin: Great. You can see, we have an infographic up on our website, which is navavoices.org. And you can see it's called, I think, the road to health insurance you'll see a little map on there. But basically the idea is we, as an association, have to come up with a pool of applicants who would apply for this health insurance. The health insurance companies wanna see who are these people, you know, what is their average age, where do they live, those kinds of questions. So we have a health insurance census, and we are hoping to get 800 to 1000 people to add their information to the census. Once we have that pool of applicants, that's when we can go to all the different health insurance companies and say, here we are, this is what we are. This is what we do. Our job is very low risk. We're not like construction workers, or even on camera actors have a more dangerous job than we do. We're literally sitting in a booth talking into a microphone. It's not very dangerous work. So this is who we are. They look at the full group and they say, okay, these are the rates. These are the plans that we can offer you. Then we choose which plans we think would best suit the needs of our members. And then during the open enrollment period this year, November and December, hopefully fingers crossed, if all goes, according to plan, we will have options for people to be able to purchase that health insurance, which will then start January of 2023. So the main thing right now is that we need as many voice actors who are interested in having this health insurance option to fill out the census. And also I should add that if you are on the census, you have the ability to purchase health insurance in November and December. If you're not on the census, you will not be able to purchase health insurance until the following year. Anne: So the next enrollment. Carin: Yeah, until the next enrollment. So, so if you have even like a little bit of interest in, maybe this is something that I might wanna consider, depending on what the rates are, fill out the census so that when we do get those plans and those rates, you will have the option to buy it if you want. Tim: Yep. And you can look at the compare rates when offers come around, and if it's not right for you, then there's no obligation to sign up on our plan. Carin: No obligation. Tim: But again to reiterate, if you aren't on the original census, and the rates come out and it looks like something viable you would want to get into, you wouldn't be able to join until the next open enrollment. So we definitely encourage everybody who is even just slightly and should want to compare rates. We have a question on there about "how interested are you, I'm just comparing rates," you can just check that section so we know that you're somebody who is just kicking the tires and just trying to compare rates. Anne: Fantastic. Carin: Just to clarify, you must be a voice actor in some capacity in order to be a member of NAVA and or qualify for this health insurance. So. Anne: Fulltime or part-time or in some capacity, paid jobs? Carin: Full-time, part-time doesn't matter, just in some capacity. Yeah. Paid jobs. We're working on what the vetting process is gonna be because we don't want it to be like an earning threshold. It's not gonna be like SAG AFTRA where you have to make 25,600 or whatever it is, almost $26,000 in union earnings to qualify for health insurance. It won't be like that. It will be like a vetting process where we'll see, oh, this person has a website. Oh, this person has a demo. Oh, this person has done a little bit of VO work. They qualify. Or, oh, this person…

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Are You A Spammer? Aug 16, 2022

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We all get a lot of spam messages, but how many of us are sending cold emails that could be perceived as spam? This week, Anne & Erikka are here to help you clean the spam from your inbox. Using discernment is key, but checking for legitimate business websites, email domains, and avoiding sketchy links is a great start. As for sending spam, any #VOBOSS knows that their website, email signature, and patiently awaiting a response will help, but keep listening for the whole conversation! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and today I am excited to bring back my very special favorite co-host Erikka J. Woohoo! Erikka: I'm sure you say that to all the co-hosts, Anne. Anne: Hey. Hey. Erikka: Well, we are matching today with our headphones though. Anne: So, oh my gosh. That's pretty awesome. Erikka: Yes. Yeah. Anne: Wow. Wow. We're doing a little experiment, BOSSes, that not only are we recording audio, but we are recording video this week, and that was quite an event because I had to put some lipstick on. Erikka: Just gloss for me was the best I could do. Anne: And try to look good for the camera, but you know, we'll give it a shot. So Erikka, it's been a crazy week. It's been, goodness, what's been going on with you? Erikka: Man. Yesterday. Actually I posted that I got this really crazy spam email and um... Anne: Uh-\oh. Erikka: Well, well, okay. I'll take it back even further. It went -- on a good note -- Anne: Crazy spam. Erikka: Oh goodness. All spam is crazy, right? But this one was, was probably the worst I've gotten. I had just gotten featured in this magazine called Voyage ATL and posted the article. Anne: Oh yes. Erikka: It's like really cool. And with that comes SEO juice, and there's good juice and bad juice. And it looks like this juice kind of fed some bad. I got a form submission actually from my, my site, which is based on Squarespace. And so I'm saying, okay, when, if somebody's wanna hire me, I click it. And it says it's from the Spit in Her Butt Show. Anne: oh my gosh. The Spit in Your Butt. All right. Erikka: Her. So particularly women. Anne: Oh, Spit in Her Butt. Oh! Erikka: The Spit in Her Butt Show. And they said that they found me on Voyage. Like they actually told me that that was how they found me. Anne: Wow. Erikka: And I was like, oh, ok. Anne: So that was not a job proposal. Erikka: I don't know, but I, I would decline whatever it is. Anne: Yeah, I think I'd decline. Erikka: And then they left a link, and it was like -- Anne: Oh my. Erikka: -- it's a valid show though. That's what's nuts. I didn't click the link because you know. Anne: Yeah, yeah, yeah, yeah. That looks suspicious. Erikka: But Googled a little and apparently this guy does and I was like, ew, you know, but spam. Yeah. Anne: Spam is, spam is ugh. Spam is annoying. That is for sure. And I think, you know what? That kind of is a great segue into what I think would be a great topic to talk about. 'Cause I get questions all the time about emails and email marketing. So we should talk about email marketing today. And spam is a concern. I think, let me just open up by saying there's a lot of people which will go and kind of mine the internet for production companies and email addresses to where maybe they should send their demos to and try to get on their rosters. And while that's absolutely a method to do that, the risk that you take with that is that you are probably going to be cold emailing someone. And I think that there's some considerations that you need to think about before you do that. Spam is most certainly one of them, and spam is in the broadest sense is receiving an email that you did not give permission or request. And so as business owners and trying to sell a service, we have to be very careful when we email people that we have their permission. I mean, that is the ultimate way that you need to be doing your marketing is to having permission to send to these people. But what do you do when you don't know these people? Right? Erikka: Yeah, yeah. Anne: How do you make an introduction? How do you do it without being considered spam? Because I know when I get spam, as you just mentioned, like the last thing I wanna do is contact these people ever again. 'Cause I'm annoyed, number one, how did you get my email address? How did you find me? At least the person told you how found you. Erikka: True. True. Anne: But a lot of times, yeah, a lot of times I'll just get an email in my inbox and it'll be like, hey, I can help your SEO or I can do your website or whatever that might be. And the interesting thing is that they never seem to be from a valid company. It's just like kind of an indescript email address and no signature file. And I don't know, what are some things that you look out for when you're getting emails to see if they're spam or not? Erikka: Oh man. It's the common stuff. Anne: Warning signs. Erikka: Yeah. The misspellings. Honestly, sometimes the all caps. Anne: Yeah. Erikka: Because humans just don't really write that way. Particularly like if it's coming to me in another language that I only speak English, I only have English everywhere on any presence on the web, maybe a little Spanish every once in a while, but yeah, nothing -- Anne: Yeah, yeah, yeah. Erikka: Yeah, definitely stuff like that. I don't know. Just the context. I'll I'll look at it. I definitely don't click any links, but I'll read it. But yeah, the misspellings and all that kind of stuff, usually it's in the text, you can tell. Anne: I think for me, the first thing I see is, is there a signature file, and is it coming from a proper domain? Erikka: Yeah. Yeah. Anne: Right? Erikka: There you go. Anne: If it comes from like a Yahoo address or a, even a Gmail address these days, and I know there have been talks with people about, well, it's okay to just have a Gmail address for your business. And I'm like, I, I kind of have a disagreement with that because I feel like if you want to exude professionalism that at least have a domain name that is your business. And that domain name can be your name. But I feel like if it comes from Gmail, you didn't take the time to like really set up your business in a professional way. That's me. But I've had so many people say otherwise that, oh no, it's perfectly fine now to get an email address from Gmail or Yahoo. But if you're gonna do that, and then have a signature file that links back to a webpage maybe of yours, of your own domain. Right? I still feel like, again, if you wanna be, show professionalism, you should have a domain name. AnneGanguzza.com. That's me. Erikka J, right? Or even Anne Ganguzza Voice or whatever that is, it goes back to a domain that hosts a website that tells people about you. Erikka: Yeah. You've gotta establish that trust. Right? And I mean, it's so inexpensive. Like I said, I personally use Google domains. It's $12 a year, a dollar a month. I mean, why wouldn't you, you know, just to have that domain? And then setting up an email, I think it's like an additional six or something. Yeah. The Gmail or the Yahoo is definitely one. Another one to look for, particularly with spam is that they'll try to use like a known brand name, but it'll have like an extra dot or something in there. And you have to watch that 'cause you might see like Bank of America, but it's got like Bank of - America. And like that's not Bank of America, like watch that type of spam too. Anne: Right? Erikka: Yeah. Get your own domain name. It's, it's so easy. Anne: Yeah. And I think that will really do a lot. It'll do wonders for having people respond to that email, which is what we want. We don't want people to take a look at our email and get angry at us and then say, oh my gosh, I'm so annoyed that they just emailed me that and trying to sell me something that I don't ever wanna contact them again. Because that's what I do silently. I'll be like, oh I'm so. And if, especially if they send it more than once, right? If it comes like a day or two or again and again, and I can tell in Gmail 'cause it threads. Erikka: Yep. Anne: And I'll be like, all right, that's it. That's like the fifth time you sent me email and I, then I might write back. But as a business, if we're sending out emails to people who have not given us permission and guys, I say it over and over again, when you are mining the internet or you are finding production houses, and you are sending emails to the contact there, they have not typically said it's okay to send them emails. So you have to be very, very careful about what you say in that email that you're not gonna get them upset or annoyed that you are just reaching out to contact them because 200 other voice talent have found their name as well. And all they do is field off these, "hey, I'm a voice talent. Here's my demo." So I think it's important. Erikka: Yeah. The trick that I hate that people will do, and I see this probably more with like spam, legit, spam and bots. But like they try the re and the subject line to make it look like they were replying when you know, you never sent anything to them. It's like, stop trying to trick me. I know I didn't email you . Anne: Yeah. Yeah. And you know, it's interesting. What made me think you were talking about using a known brand or trying to kind of spin off of a brand -- I actually got like an invoice in PayPal, which was an invoice that I certainly did not -- I didn't buy anything from this person, but it came so legit with the PayPal logo 'cause it came through PayPal, but it was spam coming through PayPal in the form of an invoice where once they had the invoice, if you open the invoice, right, then they had links to probably, I don't even know 'cause I didn't click them. So people try anything to to, to contact or maybe it was phishing. Whatever it is, I think that again, as voice talent, we have to be very, very careful. There are laws. There's the Spam Can Act of 2013. There is the GDPR. There is the California Privacy Act. There are so many laws and, and regulations set in place that theoretically, if you do not put your address on the bottom of your email, and you do not offer an unsubscribe, that is considered spam. So even if you're sending an individual email out through Gmail, if it's unsolicited, if you don't have your address or a way to unsubscribe, that is considered spam and somebody could potentially legally take that up with you. Erikka: Yeah. Yeah. Things to watch out for. Anne: So, then what do we do? Right? What do we do? How do we market with email? That's the question of the day. VO BOSS has a direct marketing program. And the one thing that makes it different is that we have a list, but it was not a list that was something that we mined off of the internet. This is a list that was purchased. And with lists that you purchase, of course you have to be careful with that too, because you don't know how many times that list has been sold. Let's say, oh, it's a list of e-learning companies. And we sold it to 2000 voice talent already. And so you don't wanna have a list that you don't know how many times it's been used. You don't know how old it is. We don't know if there's current addresses on it. The list that I have purchased is a large list that has been in business for many, many years. They continually update addresses, and it's 90,000 plus creatives and companies that have in-house media production divisions, copywriters, creative directors, owners of companies. So this list that we have purchased, they have agreed to allow VO BOSS to market to them. And that is, I think, the number one advantage, if you want to do a direct marketing this way. You can also buy a list that has permissions built into it. This list costs a few thousand dollars, but it's one of the reasons why I started the VO BOSS blast because I was like, wow, I'm gonna buy this list. It's pretty expensive. So I can offer, uh, this 90,000 people, I can offer marketing to this list, and it's already what I call vetted. It's a vetted list. And so these people are okay with anybody from VO BOSS, sending them a marketing email. So essentially the product basically gives you a VO BOSS address. So Erikka, you would be like ErikkaJ@VOBOSS.com. So therefore it gets sent out to these companies who have already given permission. They're already expecting to hear from us, but the reply to is set to your individual email business address. So therefore when somebody wants to hire you or ask you for an audition, they basically will just reply or send an email to you. And it also has links in the email that go to your website, that go to your demos. We usually feature a project or something new that you've done. And that's essentially the concept around a direct marketing method that uses a list where people have already given permission. And that's like half the battle. Really. Erikka: Yeah. For sure. And I mean, if you're not gonna spend, you know, the thousands of dollars, obviously there's the grassroots, the organic route, right, is where you are talking to people or you have it on your website where they can actually subscribe. So they're making the choice to subscribe to your list and giving permission that way. And if you have those sort of tools built in, they obviously would have an unsubscribe option. So yeah, permission is, is the key for sure. Anne: I'm so glad that you brought that up 'cause people will say, how do I get permission? And that is, I think one of the leading ways to get permission is to have one of those pop-up windows. I have 'em on every one of my websites. And any platform has a way to do that. If you have a WordPress website, there are plugins. I used to use the plugin called Bloom. And that was the one that allowed a popup to appear once somebody was on your website and says, "hey, subscribe to my email list to get special offers or whatnot. If you wanna keep up with what's going on, sign up here." And I wanna say that that is a very valid way to get a permission based list of people that you can market to. And it's very valid. I mean, I've been doing it for years on all of my domains, on Anne Ganguzza, on VO Peeps, on VO BOSS. So anytime you see that pop-up and you say, yeah, let me sign up and keep up with what's happening with your business, that person has given you permission to email them. Erikka: Yeah, absolutely. Anne: And so there are ways to create your list. It takes a long time, I'm gonna say because not everybody that comes to your website's gonna really wanna keep up with you. I mean, a lot of us have email. I have, we've discussed my email before. Erikka: Yeah. You beat me, but mine's pretty bad too. Anne: Uh, yeah. I got a lot of unread messages and a lot of, yeah, I get a lot of email, so. But it's one of the ways, interestingly enough, Erikka people may laugh at how much email I get. But a lot of the ways that I learned how to market through email was by signing up for companies' lists. Erikka: Yes. Copy.…

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BOSS Websites Aug 09, 2022

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Websites are your digital storefront. That's why Anne & Erikka are here to make yours shine. It all starts with the basics: a great domain name + hosting platform. Then, you fill it up with demos, a killer bio, and design that resonates with your brand. An amazing website can connect you with clients & book you jobs, so tune in to upgrade your site like a BOSS! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and our balance series. I'm your host Anne Ganguzza. And today I am excited to bring back special guest co-host Erikka J. Hey Erikka. Erikka: Hey! Hey Anne, how are you? Anne: I'm doing good. Erikka: Ooh you seem happy. Anne: You know why? Erikka: Why are you so happy? Anne: I am happy because I got an email today. Someone who had found me on my website and said -- Erikka: Those are the best. Anne: -- I have a job, how much? And I said, awesome. How much is your budget? And they said a big number, Erikka. And I got that job. Woo-hoo. Erikka: So for you, good for you. Anne: I'm excited. I'm grateful. Okay. I don't wanna appear like I'm bragging too much, but I am gonna say that my website played a huge part in getting me that job. And I think it's an excellent topic to talk about today. Erikka: Websites. So essential. Anne: Websites, so important, right? Erikka: Yeah, yeah. In the digital landscape, it's your digital storefront as they call it. Anne: Yeah, absolutely. I mean, and I think if you are a business today and you do not have a website -- Erikka: You're not a business Anne: You need to -- you need to rethink that. Erikka: Yeah. Yeah. I'll take that back. It's not that you're not a business, but it's really hard to be successful without that digital presence today. Anne: And it's gotten to the point where even myself, like whenever I go to look up information about something or what brand should I buy or what's the price? I mean, the first thing I do is I go to Google or I go to the website. And we make these decisions based upon, I do anyways, the overall feel and look of the website. If that website doesn't look trustworthy, I am not gonna give them my credit card number, that's for sure. Erikka: Yeah. Or even I've had somewhere, I did a search and they didn't have a website. And for me it kind of takes away some credibility automatically. I don't even think about it. I'm just like, Ooh, you don't have a website. Anne: How could you not have a website? Erikka: Yeah. Yeah. Anne: I want to pay. That's sometimes when I'm like maybe a restaurant even I'll be like, I want to see if I can order and pick up or go see them, visit them for a meal. Erikka: I wanna know what the menu is so I can think ahead of what I might want or even if I wanna go there. Anne: Take my money, take my money. But yet, if there is no website, then I'm just like you, I get very discouraged. And I'm like, what kind of business is this that doesn't have a website? Erikka: I agree. Anne: So I think it's important to kind of -- maybe we'll do like a website 101. Let's start with all the things that are important for our website. And I think the first thing, and one of the questions I ask quite frequently is, what should my domain name be? I'm a big fan of yourname.com. Erikka: Agreed. Anne: AnneGanguzza.com. 'Cause I feel like we are our brand, right? What we do is so connected to who we are. We are our own personal brand. So I feel like AnneGanguzza.com. I don't care how hard that name is to spell. Erikka: Yep, figure it out, teach them. Anne: Exactly. I'm always telling people, I wanna be the Kleenex of voiceover there. I need Anne Ganguzza kind of thing. Just like when people say they need a Kleenex, I need an Anne Ganguzza for that. Erikka: That's right. That's right. Anne: I need an Erikka J. Erikka: That's right. Yeah. 'Cause you know, I got two K's in my name, so it's like really easy. I'd get the CK or the two RS or is it regular C but yeah, I had to do ErikkaJ.com, 'cause I just, I wanted to brand myself. I wanted them to know who I was and I got my SEO up so that when you search it should bring up my site. Even maybe if you do the double R's, but. Anne: Do you have multiple domain names? That's the question. Erikka: You just took the words outta my mouth. That's what I did. That was my trick. My hack is that I did redirects. I did multiple domains. So I grabbed the one. The most common misspelling I see in emails is the two R's. So I grabbed the domain E-R-R-I-K-A-J.com, and I redirect it to ErikkaJ.com. So that literally teaches them how to spell my name correctly, 'cause it tells you you're being redirected, but yeah. So that way they'll still get to me, even if they misspell it. Anne: Do you have your full name as well or no? Erika: I don't because I really don't use the Veeny, my last name, professionally, other than on LinkedIn And Facebook, but yeah, I'll leave it off, but yeah. So I just do the Erikka J, but I have a ton of other ones with like little weird things like VO that I might use for branding later. I got my kids, their names as their domain, 'cause they might wanna use it one day. Anne: Right? I think that's so important. Like secure that name. I mean Anne Ganguzza, isn't a very common name. And I would say for those BOSSes out there that have common names, do the search to see if your first name, last name.com comes up with someone or if the domain is available, I say snap it up. But if maybe somebody else has the same name, then I always say, well, then we start adding things. So it would be AnneGanguzzavoice.com or Anne Ganguzza voice talent or Anne Ganguzza -- VO is like, I think less desirable for me. I think not as many people know VO, but if people are searching for voiceover or voices, I feel like that might be it. I always tell the story of when I first started off in this industry, I created a name that was AnneSpeaks.com. And I thought I was so clever . And as clever and as cute as that name was, the fact is I am an Anne with an E, number one. And speaks, Anne speaks, it's not something that people necessarily search for. And I realized that after I had the domain name for quite some time, I even registered a business under Anne Speaks and it didn't buy me any good SEO. Let's put it that way. And then I definitely turned to AnneGanguzza.com and then Anne Ganguzza Voice Productions is my registered company name, Anne Ganguzza Voice. So it's got my name in it, and I have multiple domain names too that get redirected to AnneGanguzza.com. And I have multiple domain names for the different brands that I represent as well. Erikka: Right. Right. Well, now there's also a ton of extensions. So obviously.com is the one that's the most common. So that's the one that you wanna try to get. But if you're gonna do multiples, you know, they have like .studio, obviously there's like the dot nets and stuff like that. So you can be a little more creative too, if you have like a specific kind of subbrand that you wanna market, and if it kind of goes into it, I think they might even have like .media or something like that. But yeah, they're more expensive, but yeah. Anne: I almost don't wanna say this, but the AI companies now, they are almost exclusively with a.ai name or IO is another popular one, the digital -- Erikka: Mm-hmm, yep. Yep. Anne: So they're becoming more accepted. It used to be, if you couldn't get the .com, the other ones were cheap. You could buy them cheaply, but almost nobody did. It's taken them a long time to kind of come around I think and be accepted. Erikka: Agreed. Yeah. Anne: But now there's just so much internet out there. it's just so much internet. Erikka: Yeah. And like I said, if you're using it as a redirect anyway, then kind of what's the harm, you know? So. Anne: So I would say pick your name first, if you can, and then go for all the versions of voiceover, voice talent, VO, whatever that works for the end of your name. And then you can go for the other ones. Like I have the e-learningvoice.com medical-narration.com, phone-voice.com. I've got a bunch of other ones. Think about Automotive Annie, there's the cute one, AutomotiveAnnie.com. YourPoliticalVoice.com. So I've got a bunch. They're so reasonably priced these days. Erikka: Yeah. Anne: Where do you get your domain names from? That would be a question that people would ask me. Where do you buy your domain name? Erikka: Right now, my website is still with Squarespace. So I did originally use theirs 'cause they offered it to me, but I ended up going to, um, Google Domains. It just, I just find it really easy to manage and it's a little bit cheaper. It's like the generic ones that are pretty easy are not high demand, usually like $12 a year or something like that. Anne: Right, right, right. Erikka: So yeah. That's where I usually do mine are Google Domains. Anne: I used GoDaddy because I started with GoDaddy long ago, and as a matter of fact, when I worked in education, everything was registered through the Nick. Do you remember the Nick? Erikka: I don't. Anne: Oh my God. Erikka: I'm sorry. Anne: You registered everything under one authority. It turned into GoDaddy. Let's put it that way. So I've been doing this for so long that because the company evolved into a branch called GoDaddy, that's where I ended up purchasing all of my domain names a long time ago. And I still keep the purchases of them to GoDaddy, 'cause it's one central place I can go. And I can manage all of my domain names and that's important, to be able to manage them. 'Cause you do have to pay for them yearly or sometimes they have a five-year agreement or -- Erikka: Yep, yep. Anne: -- multiple years. Erikka: And making sure that they're on autorenew. Anne: Yeah. Erikka: Most of them, I think, automatically put that on there for you, but just make sure because if it lapses, and somebody else grabs it... Anne: Yeah. Absolutely. No, you don't want your domain name to lapse, and you don't want somebody to buy your domain name. Erikka: Oh goodness. Anne: During that time. Erikka: No, 'cause they will try to sell it to you for an exorbitant price. Anne: That's right. Yeah. They'll sell it back to you at an exorbitant price. And I think it's still kind of a side hustle for some people where they -- Erikka: It is. Anne: -- pretty much grab the good domain names. And then they try to sell it back to you. I can't tell you how many versions of BOSS that I went through when I was doing this podcast and domain names that I tried to get. Erikka: Yeah. There were a few I tried to get to and it was like $5,000, and I was like, no way, like get out. Anne: It's another good reason by the way to trademark your name if you need to as well. So I had VO BOSS trademarked. I also had VO Peeps trademarked. 'Cause I've had other people try to advertise with that name. Erikka: Yeah. So I actually trademarked my performance name from before when I was in music. So Erikka, Erikka J is trademarked. So even though I do have a separate company name, just so that like in contracts, like it's not directly me, I'm doing business as Erikka J, and I can use that and it's actually trademarked. So nobody else for performances or for apparel can use Erikka J. Anne: Well, there you go. There you go. And I've actually had to use the cease and desist on a couple of people trying to use VO BOSS and VO Peeps as well. Erikka: I had a close one too. Anne: But I think it's a great way to protect your name. So. Erikka: Yes. Anne: Picking a good domain name and pick multiple. I think it's absolutely a thing these days where yeah, if people misspell your name or domain name, you can also buy the other domain names and redirect to one specific. That's pretty simple to do. It's a smart thing to do. So once you've picked your domain name, and I mentioned that I did all of my hosting at GoDaddy in the beginning, so I kind of just stayed with GoDaddy from my domain names, but for hosting there's, God, there's a lot of options out there. So when I was on GoDaddy, I was able to install WordPress on GoDaddy to be able to create my own sites. And so that's who I started off in the beginning. I've also had experience with hosting at Blue Host, which I really liked. Blue Host was a really relatively cheap hosting provider that I could put my WordPress website on. And it basically ran itself. I didn't find that many issues with let's say my website going down or having issues managing it. I also worked with Cloud Nine. Not sure I would recommend that one. I had a lot of issues with that. Cloud Nine was the previous owner of the -- Voiceovers.com actually was not happy with their tech support there at Cloud Nine, especially really myself having worked in technology for 20 years and doing tech support. I have a lot of expectations for tech support. At least GoDaddy answered the phone. I will say that. Erikka: Yeah. Yeah. I know that. And as somebody else who uses GoDaddy, and they were very supportive, they, they talk to you on the phone. Anne: They do. And that's a big thing. Believe it or not. They may not be able to solve your problem right away. But the fact that they talk to you and will pick up the phone, that is super important for hosting. Erikka: Yes. Agreed. Anne: I also did a managed WordPress website, which I was so happy with until they kind of disassembled and became a different company. And then right now all of my websites have been finally transported over to Wix, which I am super happy with. Wix takes care of a lot of things for me. What about you Erikka? Erikka: Yeah. So for me, honestly, like I said, right now, my website is still the one that I built that's on Squarespace. So what I loved about it is that it was an all in one solution, and I didn't really have to worry about all of that. So if you're on the opposite side of that, talking about balance and you really just like, hey, I just need a one and done, you know, something quick so that I have a website and kind of just throw my demos and a few pictures and go, and build as you go, Squarespace is a great solution for that, 'cause they have all of that embedded for you. Anne: That's your current one, right? Erikka: It is. Yeah. Yeah. Anne: Your website's beautiful. Remember I'm all about your website. Erikka: It's crazy. 'cause I'm like, you know, I need to update my website. It's been there so long, and I'm like having somebody work on a WordPress-based site for me, but I'm like, I still get so many compliments on the SquareSpace one. I'm like, did I -- should I even change it? Anne: It's beautiful! It's beautiful, really. Erikka: Thank you. Thank you. Anne: And you know, WordPress is really wonderful. I like WordPress 'cause it gives you a lot of options. It's not that difficult to learn once you understand your own plugins and things that are working and WordPress. It gives you back a lot of control. For me, my managed WordPress was wonderful, but what happened is my websites are kind of, let's say my VO Peeps, my VO BOSS, I do a lot of things…

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BOSS Equipment Aug 02, 2022

Show notes

How many places are your files backed up to? This week, Anne & Erikka meticulously discuss their redundancy rituals in the booth. Everything must be backed up. Files, microphones, power, internet connectivity, cables, interfaces, XLR cables, and more. In a perfect world, every BOSS has a plan for when tech inevitably fails, and if you don't, we've got you covered! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and our balance series. I'm your host Anne Ganguzza, and I'm excited to start my day with my extra special guest co-host Erikka J. Erikka! Hey. Erikka: Hey Anne, how are you? Anne: Erikka, I had a bad dream last night. Erikka: Uh-oh. What was it? Anne: My bad dream was I was in the middle of a client session, and my computer just went, blah. It just died. And I was freaking out because I couldn't figure out what to do. I couldn't get it back up. And my client was just waiting, and there was like crickets. And I kept thinking to myself, man, if I don't do something to get this up and running quickly, I am not gonna have this client anymore. So. Erikka: Yeah. Anne: I think we should talk about being prepared in the event of this sort of a thing happening and talk about equipment. Erikka: Yeah. Anne: And what's important for us as business owners to protect ourselves and our businesses by maybe talking about equipment, having backup equipment, what's involved, what should we be thinking about, all of those good stuff. Erikka: Certainly a balanced approach to have is to understand that hardware, it's not about if it will fail, it's when. Anne: They're built to fail, actually. Erikka: Right? Anne: My prime example is the Toyota Corolla because I had a friend who literally drove a Toyota Corolla back in the day. I think it was a 1970 some odd year of Toyota Corolla. And it went for, I'm gonna say 500,000 miles or something crazy like that. They took really good care of it, obviously, but I'm like, they don't build cars like that today. They build them to break at a certain point. And yeah, our equipment is no different really. I mean at some point it will fail. Erikka: Yeah. And it's everything it's like, you know, thinking about the entire chain, like mics, usually they take quite a while, but your interfaces, your cables, your computer screens, your keyboards, your mouse, like all of it. Anne: And I think the most scary of them all is your computer. Erikka: Oh God. Anne: Outside of your internet not working, right? Erikka: Yes. Anne: I have things that my heart rate goes up, and the first is that if I lose my internet connection. The second is if my computer dies, and I cannot get it back up and running. And then I think to myself, when was the last time I did a backup? Erikka: Yeah. Anne: Oh my goodness. Erikka: Yeah. Anne: All of that just gives me like heart palpitations. Erikka: Yeah, buddy. It's a scary thing. Anxiety inducing experience. . Anne: So this is what we can say probably together in chorus, redundancy -- Both: Redundancy, redundancy, redundancy, redundancy. . Erikka: Let's make a song. Anne: Yes. We have to have the redundancy song and it'll just have the word redundancy. Erikka: That's it. Anne: That'll be it. And it'll just sing it over and over and over again because yeah. Erikka: And see how that goes together, the redundancy of the song? Anne: Exactly. Erikka: Haha! Anne: Exactly. So redundancy in, in pretty much everything. This is something you should build into your business. And I think it's important to talk about. Yeah, you're right. Mics last a long time. I've actually yet to have a mic fail on me. Erikka: Same. Anne: And I've been in this for quite a few years now. So over 15 years, of course, what happens is I buy new mics just because I want a new mic. . I want the new technology, but I have had the unfortunate incident of my interface just dying in the middle of a recording. And I did not have a backup interface. Now -- Erikka: Same. Anne: -- thankfully I was not on the line with a client at the time, but I got so scared because I thought, oh my God, what if I was on a live directed session and something just happened? Erikka: Yeah. Anne: So I would say a redundant interface, and they're not that expensive these days. You can get a really decent one as a backup for -- I love my Steinberg interface. I'm a big fan of the Steinberg interfaces. They're relatively inexpensive, $175 maybe. And I have the, UR22 or is it the 2i2, I believe, I can't remember, but it has two interfaces, support for two interfaces. And I just love that. It was a workhorse for me for good six years and literally it didn't die. I just decided I wanted to have a different interface. So that became a backup interface for myself. Erikka: Well, that's another thing you bring up, Anne, yeah. So I'll address that first is that not just redundancy of different interfaces, but having the dual inputs because you can have just one input die. Anne: That's true. Erikka: So having a dual input's a great idea. So that even the built in redundancy in the interface is great. Anne: Yeah. Erikka: But yeah, when I started, I had the Scarlet 2i2; it served me well for years before I was really kind of doing more broadcast quality stuff. It's a great starter interface for sure. But I had to just start to make these weird spikes in the audio and clicks and I was like, what's going on? And I'm like seeing if it's the cable and it was the day gone interface and I didn't have a backup. Thank God did not have a live session, quickly ordered an Audient ID 22 . Anne: Yep. Erikka: And it got here in time, but that was scary. Anne: Well, I am gonna tell you that I also had that problem with weird noises happening. And that happened to two of my Scarlet interfaces. So I no longer recommend those interfaces. And I know there's a lot of people that do. But I think you have to be very, very careful. I have not had good luck. I've had a lot of students who've not had good luck with them. And I just think if you have one, buy something for redundancy, but buy a different brand. Erikka: For sure. Yeah, For sure. Always get something different because mine was the first gen, which it lasted for a fair amount of years, but I heard the second gens were pretty bad. Anne: Yes. Erikka: And I've heard people have had great experiences with the third. Anne: With the third, me too. Erikka: I did not go back to it. But like you said, there are tons of options. Like I have the Audient Evo, which is like super tiny, like for travel. I've got the Motu. Those are both under $200. Like you said, the Steinberg is under $300. Audient has a number of them that are great. And even if you do get a big boy, like I got the Apollo because I just wanted to -- Anne: Me too. Erikka: -- see it, and I like the colors and I just love it. But I do have Audients as backup. Yes. Anne: I like when you bring up all the colors and the little dials. Yeah. It's very pretty. Erikka: It's like you're booting up a spaceship. Like -- Anne: It's very sparkly yes. I bought the Apollo because it's so sparkly. It's wonderful. Erikka: I know. Anne: Right? But yeah, I also have an Apollo interface, and by the way, just FYI, the Steinberg is actually under $200, so -- Erikka: Is it? Okay, perfect. Anne: -- it's a really reasonable price for the Steinberg. Erikka: Thought it was like $229, but yeah. Perfect. Anne: Yeah. For $179, I've seen it, but yeah. So I absolutely love the Steinberg. I have it as a backup, and actually I have another backup just because I was all buying interfaces to try them out. So I have another interface. I have a Mackey interface that is another backup as well. So I'm set for that. And because I'm gonna tell you guys, it took me 10 years to buy a 416. So I had a TLM 103, I still have it. And I said, I'm gonna try a 416. And so now I have, you know, a couple of choices when I come into the studio here, but one is redundant, right? If I, this one doesn't work, the other one will. Also for traveling. So my justification was, let me get a 416 for my travel microphone. And then I said, well, well, I'm not traveling during the pandemic, right, it went right into my studio. Now it's just becoming something I use every single day, which I absolutely love. And -- Erikka: I love my 416, but I do love my 103. 'Cause when I do things where bigger noises, it's not as forgiving. I know there are people that do animation on the 416, but I just like being able to have the space to kind of yell a little more freely and for singing, like I wouldn't really use the 416. So I love my 103 for that. Anne: Agreed. Agreed. Yeah. I love them both. I have the option. So I'm really excited about that. Now computer computers. Erikka: Goodness gracious. Anne: I have, myself, I have an iMac, a 27-inch iMac, which is my main computer and also my audio computer. But I also have a MacBook pro, which is what I got for travel. But that serves as my redundant computer in case something were to happen to my main Mac. Erikka: Yeah. I'm a Windows girl. So offering the balance here. Anne: That's it. That's right. Erikka: I did a custom build. So like went out and like my brother helped me pick all my different parts and all my RAM and everything's custom to make sure it fits. And I actually have a case that is isolating. So it's super quiet. Anne: Nice. Erikka: So that's my main computer and yes, I primarily use it for recording, but I do other things like everybody else, but not a lot of other software on that one. And I have a HP something or other, I forget what the model number is, but that's my travel. But then I also have a backup to that. I've got like a Surface Go or something like that. Anne: Mm-hmm, yep, yep. Erikka: So obviously if the, if the main one went down, which it better not, 'cause I only built it like a year and a half ago, but I could use the laptop and record from that. Anne: Yeah. So having those around in the event of something happening when you are online with a client or a studio, recording with a studio, it's always wonderful to have those. And I think I mentioned this once before in one of our episodes, it's important that you kind of understand like how they go together. And so if you don't necessarily, labels are really helpful for cables, what goes where, taking pictures of your setup. I used to take pictures of my, my mix, mix minus setup, like take all the dials before I really figured out how my equipment worked and, and I would have an engineer help me set it up and then I would take pictures. Erikka: Yep. Yeah. I write on mine with the little marker, like, so I know the marker where's my optimal gain setting is. Anne: Yep. Absolutely. Erikka: Yeah. Yeah. Anne: Very important. So yeah, I think that labels, photos, making sure you know, how things go together, and also redundancy in, let's say, your internet connection as well, 'cause yeah. Erikka: Oh buddy, yeah. Anne: Don't wanna forget if you lose your internet connection. Do you have another way to connect to the internet? And I know that I have a hotspot on my phone -- Erikka: Same. Anne: -- as another way to connect. And I've actually used that while I was online with people in a session. So make sure that, you know, that that hotspot works, and I was using ipDTL at the time. And you wanna make sure that that hotspot is powerful enough so that it can support you in a SourceConnect or ipDTL session. Erikka: Yeah, thank goodness I haven't had that scenario where I lost internet and couldn't, you know, was able, had to use the hotspot, but I was close. I do have the one on my phone as well. And it's just great to have an option because yes, hardwired should be your primary by all means. But even having a wifi card, you know, in your main computer or, you know, like you said, your laptop or something else. Anne: Good point. Not just hardwired ethernet, but also wifi capacity as well. Even though I think hardwired is always best. We had our new house built and moved in right before the pandemic. I had this office outfitted with three ethernet jacks. So I had redundant I had redundancy in my hard wire in addition to our wifi and getting different satellite options to make sure the wifi worked in every room. Erikka: Yep. Anne: So that if we could have that redundancy. You just can't afford, if you are a business owner and you work from home, you can't afford to not have I think a decent internet connection. And with that being said, I mean a decent internet connection. I'm not talking about like a couple hundred megabits per second upload. I'm talking gig. If you can get fiber or gigabit internet, it's absolutely worth the money. Like what do you think, Erikka? Erikka: It's so necessary. Yeah, absolutely. I've been like emailing my HOA, like when are we getting fiber? Because this is an older established neighborhood. So I'm like waiting for, please dig up and give us fiber because it's worth it. But until then I do have gig internet. It's just so necessary. And I go test my speed every once in a while on like speedtest.net or whatever website is just to make sure I'm getting what I'm paying for. Anne: Yes, speedtest.net is a great resource. I wanna just back that up. Erikka: Yeah. Anne: And saying that's how you can find out if you're getting what you're paying for. I've had to do that test multiple times with students who are like, oh no, I just upgraded my internet. And I'll be like, okay, go to speedtest.net. Let's see what your download and your upload is. And your upload is actually pretty important when you're doing a SourceConnect or an ipDTL. So upload speed is important. And Erikka, you mentioned something about, you know, you're waiting for gig, and a lot of times gig is underground when they do the fiber, they put the fiber underground. Erikka: For the fiber, yeah. Anne: So one thing that you also mentioned to me prior to this was depending on where you live, right, what type of internet connection, but also the power, right? Erikka: Yes. Yeah. Anne: Like I think that you wanna make sure that everything you have, if your power goes out, do you have redundant power somehow? Or do you have protection on your equipment? Like you mentioned a UPS. Erikka: I did. And that was one thing where -- thank goodness I don't get a ton of power outages. I've had a couple like brownouts, but an uninterruptable power supply, UPS or Ups. What that does is for when it is a surge protector, well, if you get the one that they usually have a surge protector built in, so it gives you back. But what it also does is it will save your computer from, it'll give it some power. It's like a battery that will temporarily it's big enough. It's pretty heavy to be able to keep running your equipment that's plugged into it. And the idea is to be able to have it still have power so that you can safely shut down -- Anne: Yeah. Erikka: -- and save whatever you're doing. So say you're in the middle of a session. If you lose power, obviously your Internet's probably gone. So maybe your clients were on the phone and they're gone now, but you can save that sessi…

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