Sounds from the UK – TV Animation Composers

Sounds from the UK – TV Animation Composers

PanRight Note: While US animation boasts the musical talents of Danny Elfman and Carl Stalling, the UK has luminaries you may not be as familiar with. Two of them are interviewed here, courtesy of Alan Kinney of Sound Scalpel.

Serving two generations of children with their unique style of music, Mr Miller and Mr Porter have written some of the most well known themes and incidental music to classic UK television programs such as Sooty, Panic Station, Art Attack, Motormouth, Basil’s Swap Shop, Tricky TV, Big Barn Farm and much more.’s Alan McKinney took a trip down to their Brighton studio to meet the pair and talk about their music and career.
AM: What are your backgrounds in music and how did you start working together composing music for TV?
Mr P: My Dad played saxophone in dance bands so there was always music around in the house and when I was old enough, about 16 I think, I used to go out at weekends and  play in restaurants and clubs: working men’s clubs; bars and  things like that. I came to Brighton to art college to study painting, got in a band down here and tried to be a pop star  for about 15 years and failed miserably, met Pete and I haven’t looked back.
Mr M: And me, I used to write songs when I was a kid and then I was in a couple of bands, went to college to learn how to be a music teacher, which I did for a while and not very well. Then for several years I was in something called the Brighton Bottle Orchestra, which was a kind of comedy musical act. Did several kids programs and was asked by one of the researchers on one of them to write a song for another program which I did with the chap I used to be in the bottle orchestra with. They didn’t use it but asked me to do it again for another program which I did. By this time, Mr P and I had met and I said if there is anything else give us a shout. There was a program coming up called ‘Panic Station’ which was a kid’s science program. They said do you fancy having a go at that and I said yes and Mr P and I got together and that was the start of it really; we got the job and we carried on from there.  We just drifted into it by mistake and we stayed there ever since and that was 23 years ago.
AM: So you obviously work well together, do you ever argue?
Mr P: No not as much as we ought to.
Mr M: [laughs] No we don’t. There’s moments of tension occasionally when one of us thinks something should be done one way and the other one doesn’t but on the whole we get on pretty well.
AM: Do you usually agree on the direction of a track?
Mr P: Yeah
Mr M: Yeah
AM: Working as TV composers 23 years ago must have been a lot different, so what are the main changes you’ve noticed?
Mr P: Well the main thing that’s different for us is in those days everything had a union representative present so we had to travel to the studio to Maidstone or wherever it was; they’d check our electrical equipment for safety and there had to be someone logging what everyone was doing.
Mr M: One of us has to be the musical director, so we took it in turns. The good thing was, anywhere you went you were given travel expenses. There was always someone with an envelope with £50 in it. But once we waited for about 2 hours before recording something while 3 people found an extra socket, but we weren’t allowed to touch the sockets because that was their job so it’s changed quite a bit since then.
AM: Regarding budgets: are you given money in advance for projects or do you charge the commissioning company after the jobs completed?
Mr M: Usually a budget is agreed before hand, I say agreed, we’re told what the budget is. That’s one thing these days, when we first started there was more room for maneuver…
Mr P: Negotiation, there’s no negotiation now.
Mr M: No you’re just told what it is. Well I’m sure David Arnold when he’s writing the latest Bond movie has a little bit more negotiating power than we do. Actually, the budgets for the kind of work we do which is mainly kid’s TV…
Mr P: It’s less than half it was when we started…
Mr M: In real terms yeah.
AM: Does that affect how you make music? Do you use real instruments or do you do everything on computer?
Mr P: We do use real instruments when they’re appropriate. Very often we’ll get either a live saxophone, trumpet or more often these days a vocalist, or a guitarist or something just to give it more of a… what’s the word I’m looking for?..
Mr M: A more human feel I suppose. Any instrument you want you can have on the computer but having a bit of human in there is nice.
Mr P: I mean we’d love to be working on the budgets where we can get a string section in or a big brass band, you know, but we don’t.
Mr M: [laughs] But there is nothing like working with the human voice, I mean it’s great having singers. We did a kids’ TV program called Tricky TV where [we needed] lots of people shouting the word Tricky TV and we got my mother-in-law, the builder who was working on our house at the time, loads of kids, a room full of golfers, somebody said my husband’s playing golf this afternoon with all his mates so I went round there and recorded the group of lads and then the wives later on, it was great. The human voice is a wonderful thing to work with.
AM: Can you run us through a typical project from the commission stage to it actually being approved?
Mr M: Well normally we would get a call from somebody saying we’re thinking of doing this, would you be interested in either doing the music? Sometimes some our clients just ask us straight away, or alternatively pitching for it.
Mr P: The phone rings, we say yes usually [laughs]. I mean we generally go off to our separate corners and come up with ideas; send them 2 or 3 rough sketches which is what we prefer to do rather than finished, polished fancy demos. They respond to those sketches and then we develop the one that they think is the most promising and work with them as closely as possible.
Mr M: Yeah, we do tend to email people things very often, which I don’t know whether all composers do but we certainly work with producers and directors who aren’t use to that so much. Somebody gives us a brief and the first thing that pops out that’s reasonably in line with the brief we’ll send it to them.
Mr P: And very often it’s useful because they can say no I didn’t realize but that is exactly what we don’t want so you can more easily narrow down what they do want.
AM: How long does the process take from getting commissioned and actually finishing a project and signing it off?
Mr P: Well that varies enormously now. It’s almost always they leave it to last when they’ve spent all the money on everything else and there’s hardly any time left to do it.  It’s usually a matter of 2 to 4 weeks, sometimes a bit longer.
Mr M: Somebody will phone up and say are you interested in pitching for this and we’ll say yes, when do you need it by and they’ll say Friday and this is Wednesday afternoon. Very rarely do you get a long time to think about your pitch but then once you’ve got the job, as Mr P says its 2 weeks to a month.
Mr P: And we always get it there Friday and no one listens to it until Tuesday. [Laughs]
AM: How do you get paid? Do you get paid a commission fee or do you make your income solely from royalties?
MR P: Always a commission fee. Sometimes half of its paid half way through the job and the rest on completion.
Mr M: Usually you get a contract saying we will pay you half on signature and half on completion but by that time we’ve already finished it anyway so usually it’s just in one lump sum.
MR P: It’s very rare that we get the contract before we’ve finished the job but the vast majority of it is royalties. For us it’s performance [royalties] a little bit of mechanicals but it’s mostly performance.
Mr M: Because we’ve been going so long, there’s so much of our stuff out in the world floating around.
Mr P: It’s a bit like doing the lottery isn’t it. When you open that envelope you’ve no idea whether you’ve won a fiver or a million. It’s usually a lot nearer a fiver. [Laughs]
AM: Do you think if you stopped composing music now, you’d still have a relatively good income just off of royalties alone from your previous work?
Mr P: We don’t know. Art Attack has been the most successful I suppose, the longest running and most successful. They stopped making that several years ago now.
Mr M: A lot of our royalties are from abroad as well because nowadays, companies don’t make programmes just for England. Everything has to have potential for worldwide exploitation.
Mr P: That’s why you don’t see Sooty anymore, he’s not considered global.
AM: What equipment do you find yourself using most regularly?
Mr P: Logic and all it entails is the backbone of what we do; we’ve got a load of modules, Emu systems and various other bits and the old Triton gets used quite a bit.
Mr M: But it is largely all in Logic these days; 95% of everything we do is inside Logic.
AM: How important do you consider contacts and networking in terms of getting work?
Mr P: Well we’re the world’s worst networkers [laughs]. If we’re at a networking function, we’ll be the ones in the corner talking to each other. We rely entirely on word of mouth really and reputation.
Mr M: We’re very good at dealing with the clients we use and everyone enjoys working with us. We’ve never gone touting for business. We’re really lucky. Occasionally we have had no work and we think, we’ll, we must get together a new show reel and send it off to people. But I don’t think we’ve ever got a job through sending anyone a show reel so it is just satisfied customers. People work for one company and move on to another company and they phone us up. So networking is important but we’re bad at it.
AM: How knowledgeable of different musical styles do you need to be to work as a composer for TV and film?
Mr M: Neither of us are fantastic musicians at all, Mr P plays bass very well and I am a moderately okay keyboard player and we’re not particularly au fait with different musical styles so we tend to mash things up. A while back, Disney made a Latin version of Art Attack to be broadcast in Latin America and they wanted us to ‘Latin up’ the titles. We panicked a bit because we’re not experts on Latin Music so we bunged in a bit of this and a bit of that and crossed our fingers and then we got an email from the head honcho in Disney South America who loved the way we’d mixed this style with that style.
Mr P: The thing is we do listen to an enormous amount of different kinds of music and what we tend to do is almost parody it. The Latin version of Art Attack wasn’t subtle. We just took the obvious part of Latin and made it our own I suppose. In that respect I think it works well with kids as well.
Mr M: So if someone asked us to write something in the style of John Williams, we’ll have a go and it won’t be John Williams but it would turn out to be our version of John Williams.
Mr P: We don’t spend a lot of time worrying about the kick drum sound or tempo like a lot of dance music people do. If it pulls the right strings and pushes the right buttons that’s good enough for us.
AM: What advice would you give to any aspiring composers out there?
Mr M: Like we said at the beginning, we drifted into it. I mean we both love music and we’re musicians in our own ways but I don’t think either of us thought we’re going to write music for television when we grow up. We’ve been very lucky; we’ve been working for 23 years and we’ve never starved yet.
Mr P: My advice would be, make your music. Take it all in but at the end of the day make your own music. In this business you have to compromise to some degree. We’ve ended up with a style we can call our own but it’s come out of constantly compromising to what other people want and sometimes it makes the music better anyway. Sometimes the music gets better because you have to chop it round to fit the new version of the pictures which might be a second and a half in the middle of a piece of music and there’s no easy way around it but you adapt the music and sometimes make it better for doing it.
About Mr Miller and Mr Porter
Mr Miller and Mr Porter operate from their studios in Brighton, United Kingdom. For more information, visit their website.
Copyright © 2010

The contents of this article are subject to copyright. Reproduction in whole or part is strictly forbidden without written consent from

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Is Audio A Part of Your Branding Toolbox?

(Includes Excerpts From Wikipedia)

Branding encompasses many tactics intended to convey organizational or product identity (who an organization is and what it stands for); enhance consumers’ experience of a product or service; or extend an organization’s relationship with its audience.

Creating a brand experience using sound is within the area of sound branding. Brands now look to engage with their customers on a much deeper level. The opportunities for creating a sound branding experience that conveys a brand essence and soul is possible. Intel’s musical logo is as recognizable as the Intel logo itself. When the Yellow Pages were still commonly used, James Earl Jones’ tone of authority was the “audio logo” for that product; Morgan Freeman is arguably the audio logo for VISA. The automotive industry’s use of both Keifer and Donald Sutherland, among many other celebrities, combines an existing voice brand that matches the customer’s perceived value of and “feel” for the car being sold.

Sound design for mobile phones, ATMs, laptop computers, PDAs, and countless other devices can improve the user experience by making tasks easier and more enjoyable. These sounds can also reveal something about the company that created the experience (and, in the case of personalized ringtones, something about the user him/herself). Manufacturers, software designers, and marketers who create these sonic experiences purposefully and with a view toward expressing something of themselves are practicing sound branding.

When choosing a voice (or sound designer) for your product or service, think about how important sound becomes in representing what you are selling. Find an expertly trained voice or sound designer who not only sounds good to your ear, but will subliminally prove your product or service noteworthy.

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Anatomy of a Successful Cold Call – For Voice Talent

I admit to having cold feet about cold-calling.  This article was written by voice actor Maxine Dunn, and recommended to me by voice coach Nancy Wolfson and it makes some great suggestions that I’ve not seen elsewhere on this topic. Thought it might be good for you v/o folks out there pounding the pavement, as it were.

Anatomy of a Successful Cold Call
by Maxine Dunn

Maxine Dunn

First, let’s just get clear: What is a “cold call?” A cold call is a telephone call that you make to someone you do not know to ask for information, make a request, or offer a product or service.

For some reason the term “cold call” has received a bum rap as of late. While it’s true that your website should be pre-qualifying leads (customers and clients) for you, I firmly believe that reaching out to people by phone should be an integral part of any entrepreneur’s marketing strategy.

Some of my biggest-grossing client relationships – clients for whom I’ve been working steadily for years – started off with a cold call from me.

Even if you’re not interested in creating a branch of your marketing strategy that includes calling prospective clients on the phone, there will still be times in your life where you have to pick up the phone and call someone you don’t know to ask for information or help. Knowing how to handle yourself in that situation will be an asset to your business and subsequently to your bottom line.

First, I want you to let go of the idea that the purpose of a cold call is to get an appointment. Forget the “sales objective” training modules that lead you through a step-by-step trajectory to “get the sale.” People do business with people they know, like, and trust, and your cold call is opening the door and initiating that relationship. My techniques will make your cold-calling experience easy and fun. You’ll be amazed at how much better your prospective clients respond as a result of following these guidelines.

1. Adjust your expectations

Make your cold-calling expectations easy-to-meet. If your expectations are to “make a sale” or actually even reach the person you’re calling, you may well be disappointed.

Decide that your #1 goal for the call is simply to have a pleasant conversation with whoever you get on the phone. That’s it! Even if you just speak to the receptionist for thirty seconds, your sole objective is to make the conversation pleasant and enjoyable. See how much easier the call is already?

2. Be prepared – part A

Know a lot about who you’re calling. Research their website. Watch every demo reel. Read every bio. Read reviews. Know their company’s history. What products they make. If they use your type of products or services. Their business hours. Their location. Everything.

Being knowledgeable about the person and company you’re calling is not only respectful and professional, you’ll be able to ask intelligent, spontaneous questions and give informed responses in your conversation.

3. Be prepared – part B

Write out an outline or a brief “script” of what information you’d like to share and what information you’re calling to discover. This is not a “pitch” that you read. Having an outline of the important points you’d like to convey will help keep you succinct, on track, and prevent too many of those fumbling-for-words moments you might experience if nerves take over.

4. Be respectful

If you hear phones ringing in the background or get put on hold immediately by a hurried-sounding receptionist, pay attention! If you can tell it’s not a good time to call then get off the phone. You can simply say, “I was calling for Bill Russell but it sounds like you’re super busy right now. Would it be better if I call back later?”

You will amazed at how showing empathy for the person on the other end of the phone will immediately soften their tone of voice, allow them to relax momentarily, and will very probably get you transferred right away.

5. Be sincere

I want you to talk into the phone as if your best friend is sitting in front of you. I want you to be totally engaged and present. Do not multi-task when you are on the phone. Listen. Care. People can sense when you’re just politely listening and waiting for them to finish so you can speak. They can tell when you’re reading from a script and not being sincere. Really, really, listen and respond as if you’re responding to a friend you care deeply about.

6. Ask for what you want

After following the previous steps, simply ask for what you want. Simple. Clear. No hidden agenda. Direct, short sentences are best. “Would you prefer to receive my CD in the mail or would you like me to email you the link to my site?” “What do you suggest is the best way to submit my article to your office?” People (even big, C-level corporate types) like short, honest, direct questions with no “salesy” agenda.

7. Get off the phone first

This is self-explanatory. Do not be rambling on so long that your prospective client finally has to say, “…well, I really have to get back to work here…” Make certain you end the call first. That way they’ll be more likely to take your calls in the future when they know you won’t be taking up too much of their time.

8. Stay organized

During or after your conversation, take detailed notes: The name of the person who answered the phone. The date and time of your call. Details that were mentioned in the call. Did they just get back from vacation? Is the office being remodeled? Did they mention they had a project coming up in six weeks that could use your services? Keep extremely detailed records of your call so you can refer back to talking points if you need to. When you get your prospective client on the phone the second time and you remember to ask how his son’s soccer game went, they’ll practically faint. Rarely do people remember important information. Stand out. Be organized. And pay attention to the smallest details.

9. Follow up

The fortune is in the follow-up. Remember, you are developing a relationship. And be very patient. Sometimes it can take a couple of weeks or five or more phone calls to reach the person you want to talk to. Make sure you factor in marketing time in your business day for your follow-ups. Keep in touch with your prospective clients by mail, e-mail, fax or phone. If you say you’re going to call back next Tuesday at 10:00 am, then call back next Tuesday at 10:00 am. Touch base to see if they have received what you sent, have any questions, or would like any additional information. Send a thank-you note with a Starbuck’s gift-card to the receptionist who was so helpful on those five different occasions. Keep in touch!

Making phone calls to prospective clients can be fun, exciting, and rewarding – it’s all in how you approach it. So remember to:

· change your expectations – make it about having great conversations, not making a sale
· be prepared, Part A – know a lot about who you’re calling
· be prepared, Part B – write out an outline or brief script so you can stay on track and not ramble
· soften your approach – be sincere and respectful
· be patient and gently persistent – know that relationship building takes time and be okay with that
· keep highly detailed records – your conversations are gold-mines of information
· follow up, follow up, and then follow up again

I guarantee that if you follow my guidelines you’ll discover that not only can cold calls be a wonderful way to introduce yourself to new clients and customers, they are a great way to get you out of your comfort zone while developing a very important entrepreneurial skill-set.

* * * * *
© 2010 Maxine Dunn

While Maxine is best known for her voice-over and on-camera spokesperson expertise, she’s also an avid writer who enjoys bringing stimulating and motivating material to her readers. Sign up for her free 7-step audio mini-course on success strategies at her website,

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Sound Designer Interviews, Courtesy of SoundScalpel

I’m always fascinated by the sound design process since I come from a music, production and voice over background. It’s a skill that is gaining more attention due to the boom in video game sales; but it’s also an art that creates an emotional bed for film and TV to subtly convey emotional intent without you being aware of it (when it’s done well).

Here are a couple of interviews if you’d like to learn more about the process.
Interview: Sound Designer Ric Viers

Interview: Sound Designer JR Fountain

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Game Voices

Very much looking forward to playing hard with Timothy Cubbison, DB Cooper and Todd Resnick at Pat Fraley’s GameVoices event this weekend…curious to know how much work there is for women vs. men??

Timothy Cubbison:
Production Supervisor for Blindlight

Todd Resnick:
Casting Executive of Resnick Interactive Development

Pat Fraley
Voice Talent/Pat Fraley Teaches

DB Cooper:
Voice Talent

Timothy Cubbison:
Production Supervisor for Blindlight

Timothy directs and produces premiere projects like Fallout: New Vegas, Halo: Reach, CSI: NY, inFAMOUS, Avatar,
Killzone 3,
and Guild Wars 2.
Pat Fraley:
Voice Over Talent
and Teacher

Pat brings 37 years experience as a voice over performer and teacher to this event. Pat’s recent work includes voices for Arcania, Yoga Wii, The A.B.C. Murders, and Dragon Age.
Todd Resnick:
Casting Executive of Resnick Interactive Development

Todd is the most active independent game producer in the country. Todd has cast over 100 video game titles, and directed over 1000 voice artists for interactive game projects.
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Recording the Spoken Word

Best Practices for Recording the Spoken Word:

(Written by Perry Norton for Electronic Musician Magazine)

Opportunities for voice-over (v/o) production have increased dramatically for project studios, mimicking the DIY paradigm shift that continues to rock the music industry. Increasingly, clients needing v/o talent and related audio services are bypassing bigger studios to hire more cost-efficient producers for everything from commercials to interactive voice response (IVR) systems.

There are basic but critical differences between music production and voice-over production. If you learn and implement elements that are unique to v/o clients and talent, however, v/o production can be a good way to augment your existing studio offerings and bring home a bigger piece of the audio-production pie.


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Voice Detective at Work

Whether you use audio to sell cheese, catheters, or to warn the world about epidemics, there’s an effective process for creating the right sound for your audience. I start with some detective work.

I’m a high-tech “messenger”: I do voiceovers for a wide range of clients who want their message delivered with impact. Let’s say my client needs a voice for an animated presentation showing how a new-fangled system does lickety-split medical transcriptions. Not the sexiest assignment — but that’s why it’s a good example. Since I’ve been chosen to be the client’s “audio messenger” I discuss goals of the copy, the target audience, how and where the piece will be used, tech considerations, etc. In this case the client knows that he wants a lot of “enthusiasm” but beyond that doesn’t give much information about his expectations.

Digging deeper, I glean that the piece is for a kiosk at a trade show booth. I’ll be given a storyboard. Good. Now I know some key things: It’s a sales piece, and the people seeing it are likely unfamiliar with the product, but probably know something about medical devices and systems if they’re attending the trade show. With the storyboard I can also “see” what I’m selling.

These clues tell me:

  • The tone should be more upbeat with a bigger “smile” and lots of energy to compensate for somewhat dry material that has to be interesting (hence, “enthusiastic”);
  • Clear enunciation is critically important for brand name and technical terms;
  • Pacing needs to keep the piece moving for people who will be overloaded with info but need to remain engaged for the length of the piece (about 5 minutes);
  • Pauses between sections are critical so that the animator can more easily time the animation to the voice (in this case).

With this in mind, here’s the audition sample I submit:


Oops. I pronounced the company name incorrectly. (Writers:Make sure you provide phonetic information.) With the understanding the name will be corrected, the sample is approved, with the caveat that it be “much more enthusiastic.” Uh-oh. To me this means 1) he’s not really hearing what he wants though he’s approving the sample; and 2) he wants a “hard sell” though my gut tells me this is not the best approach to serve the piece. But, the customer is always right. However, to save a lot of second-guessing what he actually wants to hear, I offer to have the client direct while I record so that he can give immediate feedback. This provides a “what you hear is what you get” approach rather than doing retake after retake in a vaccuum. While the vast majority of my clients approve my samples and let me run with copy to final output, there will always be those who don’t quite know what they want until they hear it.

The client likes the “directing” option and before the session sends me final copy with words in bold that he wants emphasized. Fair enough – the client is clearer about what he hears in his head.

We do the session in no time – I record while he listens via muted speakerphone (a great alternative to fancier phone patch if your client is willing) and we make only minor copy changes (for “ear-friendliness”). I edit out the takes he doesn’t want, and presto. I send a finished, clean audio file to the animator. Easy, right? Umm…

When the client hears the approved v/o in the context of the animation, he doesn’t like the added emphasis he’d provided in bold. It’s too over-the-top; so my initial instinct was right – but now he can clearly hear it. So I re-record a few offending sections ‘to time’ (now that the animation is complete) and all is right with the world. Here is the “before” take with emphasis and the final one that was approved, Notice the emphasis in the first clip on the words unique, fast, accurate, etc.


In the second clip, these words have been “smoothed out” into the overall read, and the read is also softer, with less of a “smile.” This is the approach that was approved – fairly different from the original “approved” take.


One challenge in doing retakes is to maintain consistent audio levels, room sound and vocal tone quality. Sometimes re-writes or new copy comes weeks after a job is “complete.” If Barnes and adds some new voice prompts they’d better match the ones I initially created!

I accomplish this by using the same mic as I did for the original job, keeping a reference file for matching, making sure my CPU is quiet so that no noise is added to new takes, and by giving a good listen before sending off a new file. I also make sure I do retakes after being warmed up vocally so there’s no difference in pitch.

It’s all very subjective, this business of hearing – so save yourself unnecessary work and client frustration by trusting your instincts, getting as much info up front as possible and then “acting” accordingly.

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Experiments in Sound Design

Creating an audio-only version of Maurice Sendak’s classic children’s book “Where the Wild Things Are” as an exercise, gave me a huge lesson in sound design. The process is so much more analogous to songwriting or written composition than I ever realized. As when working with words or chords (or both) each element or character must be able to stand on its own, be imbued with a purpose, be well-considered in terms of structure, and all those singular elements must then come together to form a cohesive whole, with a beginning, middle and end. Rhythm, mood, pacing, and environment are all carefully developed, edited, tweaked and revamped again and again until each element is perfectly placed, pitched and balanced for the intended audience.

“Wild Things” is a particularly good challenge because the book consists almost entirely of images – probably what it is best remembered for – but when you study the very few words in the story again and again, you realize that the tale of Max and The Wild Things is a brilliant psychological peek into a child’s mind and the way that children use their limitless imaginations to entertain themselves, and to process anger, sadness, loss and a host of other human emotions.

So — how to translate that into sound only, and do the book a modicum of justice?

First, I approached the book as if it were a storyboard – and “spotted” where I’d need or want audio, and of what type (music, sound effects, narration, e.g.). I recorded the narration first (my audio “A Roll”). The theme music idea (Thomas Newman’s wonderful “American Beauty” score) came from a friend of mine – and as soon as she suggested it I instantly “heard” in my head exactly how it could work. One particular cut gave the mischievous tone I wanted to set. Here’s a clip of the opening, with rain added as an environmental indicator:
Wild Things – EXERCISE – Clip 1.mp3

As the story progresses, the character of Max gets in hot water for making mischief, and is sent to bed without supper, where his imagination begins to run “wild”. Another section of Thomas Newman’s haunting score worked perfectly here for me as well and underscores (pardon the pun) how important music is in helping establish or change mood, environment and situation:
Wild Things – EXERCISE – Clip 2.mp3

Once Max has become “King of all wild things” – he gets bored and lonely, and wishes for more familiar surroundings:
Wild Things – EXERCISE – Clip 3.mp3

Finally, as Max sails back home, the closing music bookends the piece and re-establishes the listener where they began:
Wild Things – EXERCISE – Clip 4.mp3

The next time you rent a film, try just listening to all that goes on, without the aid of the picture – you’ll be amazed at how much the audio creates and moves the overall story – sometimes more than the pictures themselves.

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Podcast Preparation

The bottom line is this: People have little time and less attention span. Keep your first podcasts SHORT — no more than 5 minutes, and 2-3 is even better. Don’t cover an entire subject in one go; think of the material as “serialized”; or, think of your podcast as a marketing tool as much if not more than an educational one. Leave listeners wanting more so they’ll follow-up with you offline or listen to your next broadcast. Audio podcasts make the presenter ‘visually anonymous’ to the audience so your presentation and professionalism really count, as does audio quality.

Here’s some guidance to help you shine in the dark:

Practice makes…

  • If you’re not used to speaking extemporaneously – even if you know your topic or guest well – get a coach, practice, and know your topic or interviewee strengths inside and out.
  • Nervous? Learn proper breathing and vocal warm-up exercises. Stress can make your voice shrill or shaky, lessening credibility. A voice coach can provide guidance. Do warm-ups before you record or go live. Some universities have classes in being a DJ – might be worth checking into!
  • Make sure all technical issues are worked out in advance, including audio quality. Are you using satisfactory equipment, and do you understand how to get the best out of it? This is especially important if your topic is technology!
  • Think about questions in advance of your interview by doing research. Find a fresh take on old topics – any one can re-hash the obvious. Provide links and resources you can send your listeners to after the “show.”
  • If you’re going “solo” pick out a friendly “face” ahead of time to which you can deliver your material. Use a photo if you need to as an anchor. This adds sincerity, focus and genuinely connect s you with your listeners.
  • Eliminate verbal mannerisms (such as um, uh, yeah, I mean, ya know). Record yourself in practice and try simply pausing for a split second when you need to gather your thoughts. People use mannerisms because they’re uncomfortable with silence, but verbal mannerisms lessen the sound of confidence.
  • Don’t talk down to your audience; prepare with their level of “savvy” in mind.
  • Practice your material but don’t recite by rote. Use bullet points as a verbal guide to keep you focused and on track, but be spontaneous in your delivery.
  • Drink enough water two hours before your presentation to hydrate your vocal cords. A few drops of lemon juice in your water can eliminate “mouth noise” and lip-smacking.
  • Try to avoid dairy, salty foods and caffeine before speaking – these create phlegm and/or dry out your mouth.

Leave ‘em wanting more…

  • Briefly introduce yourself and your guest(s), as well as the topic.
  • Quickly get to the subject at hand — people are investing time in your information potential.
  • Outline up front what listeners can expect to learn and then deliver.
  • Stay engaged with your material and guest If you’re not truly interested in or don’t believe in your material, your listeners won’t either.
  • Ask the most compelling, relevant questions or those which re-state key points.
  • Succinctly recap the main points and thank your listeners for their time. Let people know how to reach you for more information.
  • Consider following up with a satisfaction survey (Survey Monkey, e.g.). Ask how you could have made it a better experience. Then act on it!
  • Learn where to post you’re audio for best exposure, and how to promote yourself to generate greater listenership; you may even find a sponsor to cover your costs once you get rolling.
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Using SKYPE for Interviews: Doug Kaye Tutorial

This is a great video tutorial on how to use SKYPE to conduct audio interviews. It’s from Doug Kaye of the Conversations Network:

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