The Lost Art of Sessioncraft

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Y'all ready? Be history. Get started.

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Welcome. Hi. Hi. Hi.

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Hello, everyone.

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The pro audio suite.

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These guys are professional and motivated.

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Please take the video. Stars.

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George is a founder of Source Element
Robert Marshall, international audio

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engineering Robbie Roberts
and global voice and repeaters.

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Thanks to tribal Austrian audio
making, passionate elements.

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George the tech wisdom and Rob
and APIs international demos.

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Find out more about us.

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Check the Proteas suite.com.

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Learn up later.

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Here we go.

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And welcome to another Pro Audience Week
thanks to Triber.

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Don't forget the code.

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Try 200 to get $200

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off your tribal and Austrian audio playing
passion.

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Heard a few things you won't hear

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anymore is like get a couple of jabs
and they've got a give you some choke,

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but there's lots of things
you want to hear anymore.

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But, give it a shove down the hill
and pop the clutch in

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and we'll get
that thing running. So I have

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a couple of years ago.

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Yeah. What about tuning it?

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What about.

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This is another one
I saw on the post we were talking about

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before
we started recording about tuning a radio.

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The old with the old dial.

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Do you know 95% now,
these days of gear has analog controls.

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The rest is digital.

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Well,
who is actually dial the phone recently

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like, I mean, well, there's another one.

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Yeah, yeah. Yeah, exactly.
Yeah. Phone numbers.

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71% of people can't even remember
their child's school's phone number.

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Isn't that crazy? I wouldn't have a clue.

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My school's phone number.

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Once I read my first phone number.

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Yeah, it was 207 five. Yeah.

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Or if you want to talk analog.

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What about reading an analog clock?

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1 in 3 kids can't read an analog clock.

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Well, that's pretty sad, actually.

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I thought it'd be worse
that that's mostly in America, right?

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I'd say it's in America.

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Yeah,
because that we're talking about 20 US

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states don't teach cursive writing anymore
and yeah, like that.

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So yeah, probably in the US,
but still I'm here

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because I know the kids at school
that it d cursive writing.

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Oh I know well we yeah we don't.
Yeah right.

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We don't do cursive writing here which
I mean and well that was another one.

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I can't remember the statistics,
but apparently handwriting,

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the handwriting in general
is going downhill, like everybody's typing

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and something that that strikes me
from that. Too bad.

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I know from an old podcast that I used to
do, is that your brain actually remembers

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things about ten times better
when you write them by hand

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than when you compared to when you type
them. Yeah, that makes sense.

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That's the whole trick
with notetaking in school.

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Yeah, some of the stuff actually has big
consequences for the human race too.

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You know,
it's like it's quite interesting.

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But, the reason we're talking about this,
by the way, daily is because

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I sort of stumbled across
this social media post over the weekend,

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and it started me
thinking about stuff in the studio

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that you'll no longer do,
like lacing up a quarter inch

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or a tape machine in general,
by biasing a tape deck, for sure.

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How do you do that? Plays a tape deck.

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Playing the heads.
Cleaning the heads? Yeah. There you go.

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Yeah, yeah, yeah.

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There's no institutional knowledge
on this stuff.

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I mean, if you have an older studio

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and you need to do some of these things,
you're going to be hard pressed to find

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a young intern, let alone somebody
your own age that can do that stuff.

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It's two problems that, number one,
people aren't even using the tech

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for these things
that are now gone, like a tape deck,

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but also the whole remote
nature of things.

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People don't have assistants
in the same way, and there is not the same

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transfer of knowledge.

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And also more and more jobs are going
sort of in-house.

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For example, ad agencies have an in-house,
you know, audio

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mixer room or something,
but there's no assistant for that person.

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So where does the knowledge get,

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you know, transferred down
generation to generation?

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It's interesting to like,
I mean, even I wonder myself, you know,

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like, I was I can't remember where
it was on this podcast, so apologies.

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I if I've mentioned this before, but,

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you know, like the old drop at it,
you know, like the muscle memory to,

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to sort of be able to sort of
drop it into record,

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you know,
and if you had to have your finger on play

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at the same time
and all that sort of stuff,

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the like, I you often wonder now whether
I'd have the muscle memory to do it

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live if I had to,
because used to literally do it live.

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I still do them in ProTools
and still do them in ProTools.

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You're you're talking about a punch
in, right? Drop it. It's, Awesome.

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Yeah. Drop it
in. Yeah. And okay. In ProTools.

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That's that's not so bad because, you
know, you can you can automate that now.

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But I'm talking about on analog tape,
you know, back in the days of cold ice

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where you'd be going
like I'm going to drop you.

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Well, well the thing is, even on ProTools,
if you do it manually in ProTools,

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you're like, oh, I messed up.
You just really read it back.

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Back in the day, you had to be on.

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And and here's even crazier.

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Back in the day,
a punch in was not done by the engineer.

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So in New York,
this is such a crazy thing.

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My my friend used to work tapes.

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Yes, a tape up would have,
would be the guy

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and the engineer would have to say, okay,
beat three.

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I measure 55, we're going to punch.

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And then the guy running the tape
deck out, the guy running the mixer,

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because it was all unionized
and everyone had their own thing,

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that guy would do the punch.

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Well,
I wish I had a tape up in the production

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suite at the radio station,
but unfortunately I wasn't that lucky.

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So I was just that guy.

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And, you know, it was sort of like,
go too late and that's okay,

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but go too early
and you're completely fucked.

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Yeah,
it's funny because, you know, the guy

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I keep mentioning, Richard Lasch, who was
the Beatles guy, became an engineer.

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He was a type of early days.

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You worked in filing tapes,
and then the next thing

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when you got introduced into the studio
became a tape up.

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And I said to him, one day, when you
when you're recording the Beatles,

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do you think he's kicked off with Rubber
Soul?

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I think was the first thing he worked on.

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And, he said,

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I said, did you at the
when you had to punch in,

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did you ever make a mistake?

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He said, yeah.

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I said,
how did the, the guys, the Beatles react?

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You know, they were cool.

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They just like,
all right, we'll do it again.

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Because they could do it again.

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Yeah. We all make mistakes.

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They didn't get stressed out about it.

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I was listening to David
Gilmore being interviewed by, Rick Beato.

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If you haven't seen that one yet.

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I have seen that.

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Yeah.

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And, he was showing, you know,
they had all this great, you know,

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they were flying in great pictures
and things from Abbey road because I,

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Pink Floyd recorded a lot at Abbey road
and he's like, yeah,

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I mean, in the early days
they were all wearing lab coats.

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They all the, a bunch of scientists.

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And it was a very rigid process.

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And it was and, you know, Rick would say,
hey, you know what?

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What did you do with Mike's back then?

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You know, and David's like,
I don't know, I didn't need to care.

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Right.

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It was a very compartmentalize process.

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Everybody had a job and role.

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And to get to Fairchild was like a whole
check it out process.

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And that was only for certain sessions.

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The Fairchild was like a

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major piece of gear that, you know,
wasn't a physicist floating around.

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It wasn't in the control rooms.

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What do you mean by floating around that?

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Like a float?

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A piece of gear in the studio

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is a piece of gear that's in a rack,
and it doesn't live in a particular room

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where you can move it from
from the right,

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because it's so expensive,
you can't have it for sure.

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There's also things like, I have Geoff
Emerick, who was another engineer.

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They used to have measurements
between microphone and like, kick drums.

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Lean.

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Does he measure measure really close.

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Yeah yeah yeah. And he,
he moved his to close net.

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They you know
it's like don't ever do that again right.

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Because because they were scared
about blowing the microphone or something.

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Yeah. Yeah. There's another one to him
in miking up a drum kit.

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You know there's a skill.

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And what about the other one I thought of?

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Two is like dialing in a
a reverb or a delay.

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You know, like these days
you can just set the tempo,

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you can set the session tempo,
and you plug in and bang, it's done.

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How about rehearsing?

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Let let's go backwards
for a quick second though.

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So so just jump back to to punch ins okay.

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With punch ins.

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And I noticed this with a lot of the, the,

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the artists these days,
especially the like semi-pro or

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amateur artists that I record here
and they're punching in.

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You all know that the way you get away

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with the late punches by having the singer
do the line beforehand.

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So as they're going along with it,
if you're late it's still there.

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They sing along with them.

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So they have these kids.
They have no idea.

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And when you try to explain this to them
they're it's like what.

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Like I'm going to start there.

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It's like no do everything beforehand.

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And half of them don't even like
especially with this

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whole freestyle rap thing.

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They can't even do the same thing twice.

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Like they can't even go back
and go along with themselves.

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Yeah, yeah, yeah,
yeah. It's not written down.

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It's not notated on sheet music.

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Doing commercials.

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When you had to do a drop
in, you'd read along on previous read

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and until it dropped to the point

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where you could be that good at it,
you actually face your own voice.

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Yeah,
I know a couple of, couple of voiceovers.

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You were very good at that.

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Absolutely.
I could do it. Yeah, yeah, there you go.

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And that's
how you would get the same pitch

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and you would launch from the same place
and it blend perfectly, because if not,

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if you drop in cold,
you're in a different, different pitch.

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And. Exactly.

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And you had that start up
sound energy too.

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You sort of like jumped in lots posted
just naturally flowed into it.

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Exactly.

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This is a lost art on both sides of it,
not just the engineer learning

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how to hit a punch,
but not record, but at the right time.

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But even more so the artist,
knowing how the session flow goes.

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You know, like

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I'm going to roll back doors
and we talk about punching for a second.

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Sure.

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You know, we teach voice actors
how to edit and do edits

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and record and do pickups
and punch and roll, which I picked up.

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I somehow became that the term.

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But is there really, truly a big advantage
to the quality of the performance

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to do a punch and roll versus
recording like 5 or 6 takes

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and then copying it back together?
Absolutely.

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It's first of all, someone who's good at
punches will speed the session up

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because you are basically doing your edit
and your punch at the same time.

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They're doing your editing for you.

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That's right.

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Yeah, absolutely.

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But does it improve the performance?

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I know it's faster,
but is it improve the performance?

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I kind of feel like, yes, I think so.

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It improves the consistency
because you get a take

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and the producers are like,
oh that's a great take.

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And then when you go to cut it in
it doesn't blend.

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Yeah it doesn't work.
And then you're doing it again.

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It drives me crazy because really in
voiceover no one does a punch in anymore.

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Toys. Do another take 230. Exactly.

235
00:09:55,011 --> 00:09:56,804
No I didn't like that. And you.

236
00:09:56,804 --> 00:09:59,640
And then you're like,
but but if you just did it on the fly,

237
00:09:59,640 --> 00:10:02,351
you would know
you had it or not right away.

238
00:10:02,351 --> 00:10:04,854
I kind of feel that's
because of the digital age too, though,

239
00:10:04,854 --> 00:10:08,316
you know, it's sort of like we don't like,
you know, back in the day,

240
00:10:08,316 --> 00:10:11,444
you know, like on analog
especially like if I had a voice talent

241
00:10:11,444 --> 00:10:13,654
coming in in my radio days, right
where I'd be making

242
00:10:13,654 --> 00:10:17,533
maybe 20 or 30 commercials a day,
I would have I would know.

243
00:10:17,533 --> 00:10:21,662
Andrew's coming in for a session today
at 12:00, so I'd have all my,

244
00:10:21,787 --> 00:10:22,872
oh, my music beds.

245
00:10:22,872 --> 00:10:23,748
If they were just straight

246
00:10:23,748 --> 00:10:27,251
32nd ripping rate, I'd have all my music
beds lined up on the multitrack.

247
00:10:27,585 --> 00:10:30,546
And Andrew, would I just get Andrew and
and get him to read to them?

248
00:10:30,713 --> 00:10:34,508
And I don't know about you, Andrew,
but I kind of I always felt

249
00:10:34,508 --> 00:10:36,427
that the voiceover artists
would be appreciative

250
00:10:36,427 --> 00:10:39,805
to hear the music in the headphones,
because then they got a vibe for how,

251
00:10:39,889 --> 00:10:41,682
how are they supposed to read it
and that sort of stuff.

252
00:10:41,682 --> 00:10:44,769
And that's something that else
that's lost these days to recording

253
00:10:45,353 --> 00:10:48,356
the music is also like half the time
people don't want to do that.

254
00:10:48,356 --> 00:10:51,025
Getting direction, getting direction.

255
00:10:51,025 --> 00:10:53,319
Yeah, that's that's going to be a lost
art too soon.

256
00:10:53,319 --> 00:10:56,739
You know, it's like and that's feedback
I get from my, from doing

257
00:10:56,739 --> 00:10:59,367
my voiceovers is people go, oh,
I love being directed.

258
00:10:59,367 --> 00:11:01,786
And I kind of feel like, fuck aren't you

259
00:11:01,786 --> 00:11:04,914
aren't you regularly it's sort of like,
no, obviously not.

260
00:11:05,665 --> 00:11:08,584
No. Because everyone's is saying record it
and fund it into me.

261
00:11:08,584 --> 00:11:09,585
Send me files. Yeah.

262
00:11:09,585 --> 00:11:12,463
So Robert, when you do the live session

263
00:11:12,463 --> 00:11:14,965
with someone due
to what we used to call it dropping,

264
00:11:14,965 --> 00:11:17,343
I think I can't read my notes
and I go, I'll do that.

265
00:11:17,343 --> 00:11:18,219
Yeah, I'll punch it in.

266
00:11:18,219 --> 00:11:21,847
Yeah, I'll just play it back to them
and then I'll can I read, let's say this,

267
00:11:22,056 --> 00:11:25,059
they can for us, it's lame,
but you can just that later.

268
00:11:25,059 --> 00:11:27,019
We do have a version of source
can I coming out

269
00:11:27,019 --> 00:11:29,980
that will let you read along with it
and everybody will hear it in sync.

270
00:11:29,980 --> 00:11:30,523
Okay.

271
00:11:30,523 --> 00:11:33,609
And you can bring back the true
music, punch in.

272
00:11:33,943 --> 00:11:38,531
But I will very often tell a talent
to read along with it and go.

273
00:11:38,864 --> 00:11:43,119
And three out of five times
they mess it up.

274
00:11:43,119 --> 00:11:46,080
They don't know how to do this
and they just don't read along.

275
00:11:46,080 --> 00:11:47,373
Or they do read along as they go.

276
00:11:48,666 --> 00:11:51,001
And then
and it's like, that's not the point.

277
00:11:51,001 --> 00:11:53,129
Like, like read along with it for real.

278
00:11:53,129 --> 00:11:55,715
Not like the, you know, shadow bit.

279
00:11:55,715 --> 00:11:58,050
Do you think hearing themselves back
while they're reading?

280
00:11:58,050 --> 00:12:00,261
So they're getting that doubling thing
throws them?

281
00:12:00,261 --> 00:12:02,263
Because I kind of feel like that's
what it gets them.

282
00:12:02,263 --> 00:12:03,431
The pitch.

283
00:12:03,431 --> 00:12:04,432
That's the pitch.

284
00:12:04,432 --> 00:12:07,184
They're is using that though. Yes.

285
00:12:07,184 --> 00:12:08,436
They don't know how to do it.

286
00:12:08,436 --> 00:12:10,354
They don't know.
And why don't they know how to do it?

287
00:12:10,354 --> 00:12:13,357
Because they're coaching the coaches.

288
00:12:13,357 --> 00:12:16,777
Don't coach them on how to do it
because no one's made them do it before.

289
00:12:16,777 --> 00:12:17,778
I think it's just practice.

290
00:12:17,778 --> 00:12:19,196
I think it's just practice

291
00:12:19,196 --> 00:12:22,950
because the coaches teaching this stuff
are not engineers half the time.

292
00:12:23,075 --> 00:12:24,410
I guess I'm getting that is like,
you know,

293
00:12:24,410 --> 00:12:29,165
I teach a lot of people how to record, and
I feel like I need to take it on myself

294
00:12:29,165 --> 00:12:34,795
now to really kind of maybe prioritize
that method more than I used to.

295
00:12:34,795 --> 00:12:37,631
I would always say, well,
you could do the dog clicker method,

296
00:12:37,631 --> 00:12:40,134
you know,
and just record all your pick ups later.

297
00:12:40,134 --> 00:12:45,055
Or you could comp it together later,
but maybe it should be a little bit

298
00:12:45,055 --> 00:12:50,186
more insistent on you should really learn
how to do a punch in the audio books.

299
00:12:50,186 --> 00:12:52,188
Yeah, for audio books they should know it.

300
00:12:52,188 --> 00:12:53,731
They should know how to do this.

301
00:12:53,731 --> 00:12:56,734
But even on a commercial
like a 32nd commercial,

302
00:12:56,776 --> 00:13:00,196
is it better
that they try to get a top to bottom read?

303
00:13:00,237 --> 00:13:04,366
So the problem with 32nd commercials
is this for audio books, it's imperative

304
00:13:04,366 --> 00:13:07,745
because then you get your edit on the fly
and there's so much support

305
00:13:07,745 --> 00:13:10,122
in doing an audiobook,
it really speeds it up.

306
00:13:10,122 --> 00:13:14,043
So like punch on the fly,
but for TV commercials,

307
00:13:14,043 --> 00:13:17,797
the main problem
is that the producers have

308
00:13:18,756 --> 00:13:20,007
lost the ability

309
00:13:20,007 --> 00:13:23,010
to hear it in place,
and they all want three in a row,

310
00:13:23,928 --> 00:13:26,555
and they also all want to break it down
too much.

311
00:13:26,555 --> 00:13:31,477
The style of recording is like, record
the script in full three times,

312
00:13:31,811 --> 00:13:34,814
then they don't even give a shit like,
why did we even do that?

313
00:13:35,022 --> 00:13:37,942
I guess just to get the talent familiar
with the script,

314
00:13:37,942 --> 00:13:40,194
and then they immediately
go back to the rehearsal.

315
00:13:40,194 --> 00:13:41,487
That's the rehearsal or something.

316
00:13:41,487 --> 00:13:42,780
This would be familiar with the script,

317
00:13:42,780 --> 00:13:45,950
and then they immediately
go into a billion line by lines.

318
00:13:45,950 --> 00:13:49,453
Let's do the first one because they're
searching for how they want it read.

319
00:13:49,453 --> 00:13:50,830
You know, nine times out of ten,

320
00:13:50,830 --> 00:13:54,041
I feel like they don't really know
in their head how they want this to sound.

321
00:13:54,041 --> 00:13:56,085
They're basically waiting to hear it

322
00:13:56,085 --> 00:13:59,588
to go, yes, that's the line I want
or that's the way I want it delivered.

323
00:13:59,588 --> 00:14:02,967
I believe that
I think it's an ad thing too.

324
00:14:03,008 --> 00:14:05,052
They can't focus on the whole script.

325
00:14:05,052 --> 00:14:07,888
Yeah,
they can only see like one line at a time

326
00:14:07,888 --> 00:14:11,976
and they can't like an overall feel like
if they have an idea for the first line

327
00:14:11,976 --> 00:14:14,311
and then, and the actor
makes it to the last line of the script,

328
00:14:14,311 --> 00:14:16,105
they can't even remember what they thought
about the first line.

329
00:14:16,105 --> 00:14:16,522
That's right.

330
00:14:16,522 --> 00:14:17,773
What was the first line?

331
00:14:17,773 --> 00:14:19,525
Yeah, yeah. That's true, it's true.

332
00:14:19,525 --> 00:14:21,193
Yeah. I resemble that remark. Yeah.

333
00:14:24,071 --> 00:14:25,114
But it's so true.

334
00:14:25,114 --> 00:14:28,951
I mean, I like even sessions
I've done recently the same thing.

335
00:14:28,951 --> 00:14:33,205
They, they don't seem to remember what
the hell was read like two lines back.

336
00:14:33,581 --> 00:14:34,874
Yeah. Like like literally.

337
00:14:34,874 --> 00:14:37,293
Then it's like, how can we, you know,
they want to change everything.

338
00:14:37,293 --> 00:14:37,918
And it's like,

339
00:14:37,918 --> 00:14:41,046
but if I do that, it's not going to match
with what we've already done.

340
00:14:41,046 --> 00:14:44,425
Which she said she liked, you know, so
and also what's up with this one.

341
00:14:44,425 --> 00:14:46,677
You recorded three in a row
and then immediately it's like,

342
00:14:46,677 --> 00:14:48,053
can I hear that back.

343
00:14:48,053 --> 00:14:50,556
You just heard it, but you just heard it.

344
00:14:50,556 --> 00:14:52,391
Like, not even 20s ago.

345
00:14:52,391 --> 00:14:54,476
What about you
grab a piece of paper and you're right.

346
00:14:54,476 --> 00:14:57,271
Some notes, you know, like I do,
you know, like I have.

347
00:14:57,271 --> 00:15:01,483
I have a paper script or the iPad with
the pen and all scribble notes as we go.

348
00:15:01,901 --> 00:15:02,860
Be prepared.

349
00:15:02,860 --> 00:15:06,822
Has this this the this was a session
I've mentioned before in a previous show,

350
00:15:06,822 --> 00:15:08,324
but it was at the point

351
00:15:08,324 --> 00:15:11,327
where the engineer,
because I knew that the client had no idea

352
00:15:11,952 --> 00:15:16,332
either no idea or just couldn't articulate
what what they wanted.

353
00:15:17,082 --> 00:15:20,044
And he said, look, don't
you just get a pen and paper

354
00:15:20,044 --> 00:15:21,128
and just write down some notes

355
00:15:21,128 --> 00:15:25,257
so we can come back and have a look
at what you know, what you think?

356
00:15:25,674 --> 00:15:26,258
Yeah.

357
00:15:26,258 --> 00:15:29,845
I mean, going back to that guy,
I mean, this kind of goes with

358
00:15:29,845 --> 00:15:32,973
that is like the amount
of casting sessions that I sitting,

359
00:15:33,307 --> 00:15:36,685
you can sort of see they're not actually
listening for the voice.

360
00:15:36,685 --> 00:15:39,104
They're actually listening for a delivery.

361
00:15:39,104 --> 00:15:43,359
They're listening for the read that
they go, oh, that's the read that I want.

362
00:15:43,359 --> 00:15:45,527
The actual voice now is second.

363
00:15:45,527 --> 00:15:46,820
Yeah, it always has been.

364
00:15:46,820 --> 00:15:48,489
Not oh, I liked that voice.

365
00:15:48,489 --> 00:15:50,658
It's like,
oh, that read, I liked that read.

366
00:15:50,658 --> 00:15:52,409
I think it's always been that way.

367
00:15:52,409 --> 00:15:56,580
I've always told people that
the thing to get in the audition is read

368
00:15:56,580 --> 00:16:00,000
the copy and really understand
the copy and deliver.

369
00:16:00,584 --> 00:16:02,169
They're not looking
for a particular voice,

370
00:16:02,169 --> 00:16:04,088
they're looking for an interpretation.

371
00:16:04,088 --> 00:16:06,924
And,
and I feel I think that's changed a bit.

372
00:16:06,924 --> 00:16:09,218
Robert, I kind of, I don't feel like.

373
00:16:09,218 --> 00:16:12,388
And I don't want to be one of these
the new school versus old school,

374
00:16:12,388 --> 00:16:14,139
because this is not the reason
for this comment.

375
00:16:14,139 --> 00:16:18,102
I make this comment is purely based
on, you know, just experience.

376
00:16:18,102 --> 00:16:21,855
But I feel like 20 years ago
when I used to sit at take two or

377
00:16:21,855 --> 00:16:23,774
something like that,
it would be more about the voice,

378
00:16:23,774 --> 00:16:25,901
it would be more about,
I think it needs to be a bit older.

379
00:16:25,901 --> 00:16:29,196
I think it needs to be a bit,
or she needs to be blah, blah, blah.

380
00:16:29,405 --> 00:16:33,993
Whereas these days it's more or based on
the read, I kind of that's my vibe.

381
00:16:33,993 --> 00:16:35,786
I'll give you my interpret that.

382
00:16:35,786 --> 00:16:39,331
I think that the age
has everything to do with the read.

383
00:16:39,999 --> 00:16:44,336
The way sage talks is completely different
than the way I talk.

384
00:16:45,004 --> 00:16:47,673
Oh yeah, of course. Yeah, totally. Yeah.

385
00:16:47,673 --> 00:16:51,135
Honestly, even in her use of up
inflections in the way,

386
00:16:51,760 --> 00:16:56,015
it's just like, oh, and you say it
and it suddenly is talking it

387
00:16:56,015 --> 00:16:59,518
that it's so interesting
how everything is changed, because

388
00:17:00,561 --> 00:17:02,771
I think for the first time, I

389
00:17:02,771 --> 00:17:06,275
went across to America
and sat down in the studio in New York

390
00:17:07,276 --> 00:17:10,320
like being an Australian was like, ooh,
I know what it's like, you know,

391
00:17:10,571 --> 00:17:11,822
a performing monkey.

392
00:17:11,822 --> 00:17:14,074
Just check this, check it out.

393
00:17:14,074 --> 00:17:17,077
This is this alien
you just dropped in on an airplane.

394
00:17:18,037 --> 00:17:21,040
Now, I was watching, NASCAR,

395
00:17:21,248 --> 00:17:24,251
and one of the commentators on NASCAR
was Australian.

396
00:17:25,294 --> 00:17:26,086
It worked.

397
00:17:26,086 --> 00:17:28,172
It was fun, but it was kind of like,
oh, that's interesting.

398
00:17:28,172 --> 00:17:29,381
What about the story Matt

399
00:17:29,381 --> 00:17:32,634
Matt Carrick tells about, you know,
when he first went to the to the US

400
00:17:32,634 --> 00:17:35,804
and he used to walk into the studio
or be on the line

401
00:17:35,804 --> 00:17:37,347
and he'd talk in his Australian voice.

402
00:17:37,347 --> 00:17:41,435
And then when they got into the raid,
he'd be into he's an American character,

403
00:17:41,685 --> 00:17:45,397
and they'd be going, oh, you know, hang
on, that line there sounds too Aussie.

404
00:17:45,397 --> 00:17:48,067
And yeah, you know, I that's not right.
That's not right.

405
00:17:48,067 --> 00:17:48,692
That was Nick.

406
00:17:48,692 --> 00:17:49,485
It was Nick tight.

407
00:17:49,485 --> 00:17:52,738
Well Nick's probably had the same issues
because Matt tells the same story.

408
00:17:52,738 --> 00:17:55,616
But then when he walked in
and he spoke to the producers

409
00:17:55,616 --> 00:17:59,620
in an American voice
and never showed his Australian character

410
00:17:59,828 --> 00:18:03,540
went into the booth, it was never had
that never, never had any issues.

411
00:18:03,540 --> 00:18:06,293
Matt, that's fantastic man.
Thank you so much.

412
00:18:06,293 --> 00:18:08,295
You know, 2 or 3 takes and it's done.

413
00:18:08,295 --> 00:18:10,047
And they should walk out
going. Yeah. Cheers, mate.

414
00:18:11,006 --> 00:18:11,507
Exactly.

415
00:18:11,507 --> 00:18:12,091
Good on you go.

416
00:18:12,091 --> 00:18:15,469
But I do the entire thing
with a full American.

417
00:18:15,469 --> 00:18:18,764
And then last thing, as you walk out
the door, drop your Aussie.

418
00:18:18,764 --> 00:18:21,725
Yeah. Yeah that's right. Yeah.
Good on you. Good on you mate.

419
00:18:21,725 --> 00:18:24,311
I got a guy for being there.
I've got a schooner.

420
00:18:24,311 --> 00:18:26,980
Yeah, yeah. So funny. Yeah.

421
00:18:26,980 --> 00:18:30,234
So what I find in the sessions
though, is that you get the producers

422
00:18:30,234 --> 00:18:34,029
that break it down into practically like,
you know, half sentences sometimes.

423
00:18:34,029 --> 00:18:34,696
Usually at least.

424
00:18:34,696 --> 00:18:35,114
Yeah.

425
00:18:35,114 --> 00:18:39,159
A section at a time, spoon feeding
and the whole edit that they want

426
00:18:39,785 --> 00:18:43,497
and it sounds cut together
and yeah, it's kind of the style.

427
00:18:43,497 --> 00:18:44,706
But you know, it sounds good together.

428
00:18:44,706 --> 00:18:46,708
And then,
you know, at the end of the session

429
00:18:46,708 --> 00:18:49,711
everyone does like
now that we've done that, like

430
00:18:49,753 --> 00:18:52,422
do you have an internship
that you want to do.

431
00:18:52,422 --> 00:18:53,382
Yeah.

432
00:18:53,382 --> 00:18:56,426
Like we didn't care about that
at the beginning.

433
00:18:56,426 --> 00:18:57,970
But now now we're going to ask you

434
00:18:57,970 --> 00:19:00,013
if you have an opinion on this whole thing
and the talent.

435
00:19:00,013 --> 00:19:03,308
And then I'll usually jump in there
and I'll say like, let me play you

436
00:19:03,976 --> 00:19:08,188
the edit that we have here
and just give us that edit.

437
00:19:08,689 --> 00:19:10,482
But naturally, instead of

438
00:19:11,441 --> 00:19:12,568
and usually the

439
00:19:12,568 --> 00:19:15,946
the video, a good bio
talent has a much better audio memory,

440
00:19:16,363 --> 00:19:19,867
even though they can't
punch in necessarily, or they're not used

441
00:19:19,867 --> 00:19:23,036
to punching in a lot of them,
they can hear a take

442
00:19:23,203 --> 00:19:25,289
and they know where they went
up, where they went down,

443
00:19:25,289 --> 00:19:28,292
and they can do that again,
and then they can,

444
00:19:28,375 --> 00:19:32,713
you know, like blend in or give that tweak
or hear that chord in a way when I'm

445
00:19:32,754 --> 00:19:34,131
sure down there it is

446
00:19:34,131 --> 00:19:38,719
usually a good memory for pitch
and rhythm, and then you can just go back

447
00:19:38,719 --> 00:19:42,389
to right where that was and match it
and write your best case over.

448
00:19:42,389 --> 00:19:44,016
Is your best voice over sometimes.

449
00:19:44,016 --> 00:19:48,103
Are singers actually Andrew Heights
working with me when we do demos together

450
00:19:48,103 --> 00:19:50,480
because I'm one of those directors
that go, I'll give it to them,

451
00:19:50,480 --> 00:19:53,025
I'll give them the line, can you give it
to me? Something like this?

452
00:19:53,025 --> 00:19:53,317
Yeah.

453
00:19:53,317 --> 00:19:55,152
The edges align with his face.

454
00:19:55,152 --> 00:19:57,404
He's got a height of that lets you push.

455
00:19:57,404 --> 00:19:59,198
What's your what did you say to me once?

456
00:19:59,198 --> 00:20:01,992
I'm not a performing monkey
or something like that. Probably.

457
00:20:01,992 --> 00:20:06,663
This chapter is now famous for his,
rant about the who,

458
00:20:07,247 --> 00:20:11,793
which, by the way, who's your client down
in, like, Huntington Beach area?

459
00:20:13,086 --> 00:20:13,962
Mine.

460
00:20:13,962 --> 00:20:16,256
Yeah. Oh, shit. Who is it?

461
00:20:16,256 --> 00:20:16,548
He's.

462
00:20:16,548 --> 00:20:19,760
He's been in it for a long time,
and I don't know if I should say his name.

463
00:20:20,260 --> 00:20:21,887
Okay. Yes, his name.

464
00:20:21,887 --> 00:20:24,890
But he was telling me that he was

465
00:20:25,307 --> 00:20:29,019
the next session
after that famous William Shatner.

466
00:20:29,019 --> 00:20:32,022
Oh, a dish as initials r s r, right.

467
00:20:32,689 --> 00:20:34,483
You spoke to him recently? Yeah. Yes.

468
00:20:34,483 --> 00:20:36,109
And he was like I was there, man.

469
00:20:36,109 --> 00:20:38,278
That was talking about that. He's like,
I got one better.

470
00:20:38,278 --> 00:20:42,074
Like, I'm pretty sure I walk that producer
watch and walk out of the room.

471
00:20:42,074 --> 00:20:46,662
And he was demoralized like,
congratulations, you jumped on him.

472
00:20:47,037 --> 00:20:49,122
Oh my God.

473
00:20:49,122 --> 00:20:53,377
It literally Shatner on the show
because he went in the room

474
00:20:53,377 --> 00:20:56,713
and the engineer was like,
oh my God, I've got this one on tape.

475
00:20:56,713 --> 00:20:57,631
You wouldn't believe it.

476
00:21:00,259 --> 00:21:01,593
Well, looks like

477
00:21:01,593 --> 00:21:05,472
yeah, it's for those I mean, drop
something for the for the actor then.

478
00:21:05,472 --> 00:21:10,310
So, you know, I had been like,
teaching ABC's of recording yourself.

479
00:21:10,310 --> 00:21:11,478
Doing voiceover. Right.

480
00:21:11,478 --> 00:21:15,399
And so I've been telling people
I usually teach in context of commercial

481
00:21:15,399 --> 00:21:18,026
because that's what most people
are gunning for out of the gate.

482
00:21:18,026 --> 00:21:20,112
That's what their first demo is.

483
00:21:20,112 --> 00:21:24,241
And so I tell them to record
three solid takes top to bottom.

484
00:21:24,366 --> 00:21:25,409
You should be able to get through

485
00:21:25,409 --> 00:21:29,162
the script three times in a row
without fumbling and stuff.

486
00:21:29,162 --> 00:21:31,123
You know, all that stuff.

487
00:21:31,123 --> 00:21:34,126
So what should they do with those three
takes?

488
00:21:34,293 --> 00:21:35,752
Now they've got those three takes.

489
00:21:35,752 --> 00:21:38,714
Which of the actor do with those?
Should they listen to all three?

490
00:21:38,714 --> 00:21:39,923
Pick the favorite.

491
00:21:39,923 --> 00:21:41,174
Maybe just deep breath it.

492
00:21:41,174 --> 00:21:42,050
Or do I do

493
00:21:42,050 --> 00:21:45,095
I think as an actor it's different
when you say, can I hear that again?

494
00:21:45,304 --> 00:21:48,140
Because as an actor, when you perform it
and then you play it back,

495
00:21:48,140 --> 00:21:49,808
it is a different experience.

496
00:21:49,808 --> 00:21:52,686
So you don't know,
you got a little oh, top to bottom.

497
00:21:52,686 --> 00:21:52,811
Yeah.

498
00:21:52,811 --> 00:21:55,605
You have to listen to it
and you have to as an actor,

499
00:21:55,605 --> 00:21:58,650
if you're at home doing this,
you have to be able

500
00:21:58,650 --> 00:22:02,946
to step back and hear yourself
for the first time after you performed it.

501
00:22:02,946 --> 00:22:05,198
And that's a real trick to do.

502
00:22:05,198 --> 00:22:09,786
Can I, I think I think if you want to go
a bit deeper, though, is the thing I find

503
00:22:10,287 --> 00:22:15,042
is when people are recording alone
is that they lose the feel.

504
00:22:15,083 --> 00:22:17,878
I'm really big on seal
because it was something

505
00:22:17,878 --> 00:22:21,798
that was rammed into me by a guy called
Jeff Thomas, who was sort of my.

506
00:22:21,798 --> 00:22:24,217
What's it just happens to you?

507
00:22:24,217 --> 00:22:25,469
Yeah, he ran ranting.

508
00:22:25,469 --> 00:22:28,472
A lot of stuff that I still use,
I still use today.

509
00:22:28,555 --> 00:22:33,518
And everything, everything needs to have
a feel, needs to make you feel something.

510
00:22:33,518 --> 00:22:34,561
And there are times,

511
00:22:34,561 --> 00:22:38,857
I reckon that when I get sent voice
overs, there's no ceiling to it.

512
00:22:38,857 --> 00:22:40,192
It's just this cold

513
00:22:41,318 --> 00:22:43,362
space swing of the words, you know?

514
00:22:43,362 --> 00:22:45,655
Yes, there's some timing to it
and yes, there's,

515
00:22:45,655 --> 00:22:49,034
you know, all that sort of stuff,
but there's no feeling to it.

516
00:22:49,034 --> 00:22:51,119
Like if you're reading a commercial,

517
00:22:51,119 --> 00:22:52,996
the first question
you need to ask yourself is, what?

518
00:22:52,996 --> 00:22:54,247
What's the feeling of this?

519
00:22:54,247 --> 00:22:57,250
What does it need
to feel like to the listener?

520
00:22:57,459 --> 00:22:57,751
Right.

521
00:22:57,751 --> 00:23:01,088
So so when you listen back to
those three takes is the question.

522
00:23:01,088 --> 00:23:04,257
First question should be
is does it feel right?

523
00:23:04,383 --> 00:23:07,260
Is does it feel right for the product,
or does it feel right

524
00:23:07,260 --> 00:23:08,678
for what it's supposed to be?

525
00:23:08,678 --> 00:23:12,182
Then worry about does it work?

526
00:23:12,182 --> 00:23:14,893
Does it do this? Does
it need inflection, blah blah blah?

527
00:23:14,893 --> 00:23:17,896
Because you talk to me about like,
what you're saying,

528
00:23:18,105 --> 00:23:19,523
interpretation of the script.

529
00:23:19,523 --> 00:23:20,607
It's a script well written.

530
00:23:20,607 --> 00:23:23,318
It'll flow really quickly
as soon as you start reading.

531
00:23:23,318 --> 00:23:26,029
It's like immediate,
you know, you know where you are.

532
00:23:26,029 --> 00:23:27,614
And the other thing
about a really well-written

533
00:23:27,614 --> 00:23:29,408
script is you can pick the keywords.

534
00:23:30,450 --> 00:23:31,326
It'll all make sense.

535
00:23:31,326 --> 00:23:33,954
It's got a rhythm to it. You know,
where the key words are going to be.

536
00:23:33,954 --> 00:23:36,581
Yeah, but yeah, that's a skill in itself,
though, too.

537
00:23:36,581 --> 00:23:38,708
I've discovered that that really is a

538
00:23:38,708 --> 00:23:40,961
a skill in itself,
not being a voiceover artist,

539
00:23:40,961 --> 00:23:44,673
having directed a million sessions,
it's always been second nature to me

540
00:23:44,673 --> 00:23:47,676
that there are words that need emphasis
and others that you don't yet,

541
00:23:48,260 --> 00:23:51,263
some people get them
completely asked about and you think,

542
00:23:51,430 --> 00:23:54,015
why are you leaning on that word?

543
00:23:54,015 --> 00:23:56,518
You know, no, it's the wrong word. Yeah.

544
00:23:56,518 --> 00:24:00,605
The thing about the tone, it's like,
and that's part of reading the whole

545
00:24:00,605 --> 00:24:04,651
script upfront and just setting the tone
or getting into the zone.

546
00:24:04,776 --> 00:24:06,945
But once they get that, the

547
00:24:07,904 --> 00:24:12,075
then start
focusing on individual lines and,

548
00:24:12,909 --> 00:24:17,622
someone who sees in the directing a voice,
they will at least go into that first

549
00:24:17,747 --> 00:24:22,294
and get a whole bird's eye view,
set the tone and then focus on things.

550
00:24:23,128 --> 00:24:26,173
Some of the problem is that it deviates

551
00:24:26,173 --> 00:24:29,342
from that point, or you start losing
that overall direction.

552
00:24:29,759 --> 00:24:31,887
And I think that

553
00:24:31,887 --> 00:24:33,930
a good voiceover talent

554
00:24:33,930 --> 00:24:38,435
will be able to make it
through the entire script many times over

555
00:24:38,894 --> 00:24:41,646
and give good stuff,
and then you have lots of options

556
00:24:41,646 --> 00:24:45,066
and you hear it cohesively
and you know you're there quicker.

557
00:24:45,942 --> 00:24:49,529
Or if not, I think what's happened
is that so many

558
00:24:50,322 --> 00:24:53,158
a junior writers and directors

559
00:24:53,158 --> 00:24:57,537
have seen this done so many times
where it's just broken down like take two.

560
00:24:57,537 --> 00:25:00,499
Great. Now let's start
breaking it down into individual pieces.

561
00:25:00,499 --> 00:25:04,461
And the other problem, quite
frankly, is really green voice talent

562
00:25:04,461 --> 00:25:07,589
that can't frickin
make it through a full read.

563
00:25:07,839 --> 00:25:11,259
It depends how long the script is
a 32nd spot even.

564
00:25:11,510 --> 00:25:13,845
Oh, okay. I think you took that
like longer long for.

565
00:25:13,845 --> 00:25:14,471
No, I mean,

566
00:25:14,471 --> 00:25:15,639
I mean doing doing the long, slow

567
00:25:15,639 --> 00:25:18,225
one can be a nightmare
without a seasoned voiceover.

568
00:25:18,225 --> 00:25:21,728
Like the reason why you want to hire
a seasoned voiceover for your like,

569
00:25:21,978 --> 00:25:24,147
you know, big, long 20 minute.

570
00:25:24,147 --> 00:25:26,691
Because if not, you'll never make it
through the script with the person

571
00:25:26,691 --> 00:25:28,151
who can't read like you.

572
00:25:28,151 --> 00:25:30,987
You need whole paragraphs at once
with that stuff.

573
00:25:30,987 --> 00:25:34,324
It's not as bad as an audiobook,
but I know I hijack

574
00:25:34,324 --> 00:25:36,409
the content of the subject.

575
00:25:36,409 --> 00:25:39,412
But I mean, I feel like that's
a really strong takeaway.

576
00:25:39,621 --> 00:25:43,500
What's a really strong takeaway
for the actor in this situation is

577
00:25:44,125 --> 00:25:47,462
when they're learning
that process is just, should they commit

578
00:25:47,462 --> 00:25:49,673
to one of those three takes
and just clean it up?

579
00:25:49,673 --> 00:25:53,301
Or should they comp together
those three tips?

580
00:25:53,385 --> 00:25:55,262
Don't send out anything
you're not happy with.

581
00:25:55,262 --> 00:25:56,972
If you're not happy with it,
don't send it.

582
00:25:56,972 --> 00:26:01,393
Because I certainly nothing leaves
my studio unless I'm 100% happy with it.

583
00:26:01,643 --> 00:26:05,438
Which is difficult given the imposter
syndrome that goes on in my head.

584
00:26:05,438 --> 00:26:06,106
But, you know.

585
00:26:06,106 --> 00:26:08,775
Yeah, if you're recording yourself,

586
00:26:08,775 --> 00:26:11,236
I wouldn't
get into individual three in a row takes.

587
00:26:11,236 --> 00:26:14,197
Unless there's something specifically
you're trying to fix.

588
00:26:14,364 --> 00:26:18,702
As doing auditions goes,
you should be doing so many auditions

589
00:26:18,702 --> 00:26:21,788
a day,
and you're just going to get bogged down

590
00:26:21,788 --> 00:26:26,001
and trying to do every audition,
you know, every sentence, one at a time.

591
00:26:26,501 --> 00:26:28,670
And the other reality
is that when they listen to this,

592
00:26:28,670 --> 00:26:32,048
they're not going to be listening to it
in that much detail yet.

593
00:26:32,591 --> 00:26:36,261
So it's broad strokes
and you need to show them that you have

594
00:26:36,595 --> 00:26:40,181
an understanding of the script
and a unique interpretation.

595
00:26:40,682 --> 00:26:45,186
And beyond that, it doesn't matter
that you nailed every single word

596
00:26:45,186 --> 00:26:46,271
and all that other stuff.

597
00:26:46,271 --> 00:26:50,108
It's it's
the broad stroke of I've got a superior

598
00:26:50,108 --> 00:26:53,111
understanding of this script
than the next guy or the guy before.

599
00:26:53,236 --> 00:26:56,323
Also, if they listen to the first 10s,
then you're probably

600
00:26:56,323 --> 00:26:58,158
going to be shortlisted.

601
00:26:58,158 --> 00:27:00,577
Yes. Oh yeah. So for five.

602
00:27:00,577 --> 00:27:01,161
Yeah.

603
00:27:01,161 --> 00:27:03,872
They listening to the first 10s
you're in like Flynn.

604
00:27:03,872 --> 00:27:07,626
I mean make sure if you have a lead in
like one of my clients, I let her studio

605
00:27:07,626 --> 00:27:08,835
in her leads.

606
00:27:08,835 --> 00:27:09,836
Hey, fucker.

607
00:27:09,836 --> 00:27:11,046
And then she'd start the script.

608
00:27:11,046 --> 00:27:14,716
You know, as I always make sure
you edit that out before you send it in.

609
00:27:16,843 --> 00:27:18,637
Like, can I give it a quick example?

610
00:27:18,637 --> 00:27:20,555
Because this is something
I've mentioned a couple of times.

611
00:27:20,555 --> 00:27:21,514
Talking to people about their

612
00:27:21,514 --> 00:27:25,268
demos is in a casting session
at a major agency, right?

613
00:27:25,393 --> 00:27:26,770
A couple of them that I work for.

614
00:27:26,770 --> 00:27:29,564
Or if you do a casting session,
it goes a bit like this, right?

615
00:27:29,564 --> 00:27:30,732
Because I'm the I'm the monkey

616
00:27:30,732 --> 00:27:34,694
that sort of plays that all the
yeah Andrew's have to in the audience.

617
00:27:34,694 --> 00:27:35,445
Yeah.

618
00:27:35,445 --> 00:27:38,657
So it's sort of like so okay so so
I'm sitting there at the front of the room

619
00:27:38,657 --> 00:27:41,284
and I'm sitting behind ProTools
and I've got them all lined up.

620
00:27:41,284 --> 00:27:44,537
And then there's, you know, the client
and the creatives and the producer

621
00:27:44,537 --> 00:27:46,081
and everybody else
sitting at the back of the room.

622
00:27:46,081 --> 00:27:48,708
It's like,
okay, Robbo, let's go. You hit play?

623
00:27:48,708 --> 00:27:50,126
Nah. Next.

624
00:27:50,126 --> 00:27:51,503
Nah, next.

625
00:27:51,503 --> 00:27:53,588
Yeah. Maybe not next.

626
00:27:53,588 --> 00:27:56,132
No no no no. Oh hang on.

627
00:27:56,132 --> 00:27:57,425
Yeah. No.

628
00:27:58,718 --> 00:27:59,427
Yeah. Yep.

629
00:27:59,427 --> 00:28:00,762
Good good. Yep.

630
00:28:00,762 --> 00:28:03,765
Not next next. It's it's that quick.

631
00:28:03,765 --> 00:28:04,599
It is that quick.

632
00:28:04,599 --> 00:28:06,601
I've never had to play them
back from people.

633
00:28:06,601 --> 00:28:09,729
But I've been in plenty of sessions
where I'm doing sound design and mics

634
00:28:10,105 --> 00:28:12,941
and the producers like we've got all

635
00:28:12,941 --> 00:28:16,111
78, 80, 100, 1000 auditions.

636
00:28:16,111 --> 00:28:18,279
It's been three days.
We have to make a decision now.

637
00:28:18,279 --> 00:28:21,157
Can you please? Like I was like,
oh man, I don't want to do this.

638
00:28:21,157 --> 00:28:22,575
And then they log into the website

639
00:28:22,575 --> 00:28:24,160
and they just start doing like click
and you all you hear

640
00:28:24,160 --> 00:28:28,873
is like today on today, today
on to to today, today on today.

641
00:28:28,915 --> 00:28:31,418
And the censor
ripping through them so fast.

642
00:28:31,418 --> 00:28:33,294
Wow. No one has a chance.

643
00:28:33,294 --> 00:28:34,337
It's I'm telling you, it's

644
00:28:34,337 --> 00:28:37,924
the first 3 to 5 words
and they are playing the next one.

645
00:28:38,550 --> 00:28:39,217
Yeah.

646
00:28:39,217 --> 00:28:42,220
Because they the first thing they
because they don't like doing this.

647
00:28:42,220 --> 00:28:42,679
They hate it.

648
00:28:42,679 --> 00:28:45,181
And the first thing they're
listening for is like a tone.

649
00:28:46,307 --> 00:28:47,684
They just go going for a tone.

650
00:28:47,684 --> 00:28:49,269
Okay. Yeah, I like that tone.

651
00:28:49,269 --> 00:28:51,521
Can you play some more or shortlist
that one.

652
00:28:51,521 --> 00:28:55,191
Sounds like you're picking the patches
on the synthesizer teeing off okay.

653
00:28:55,442 --> 00:28:57,235
It's like it's very much like that.

654
00:28:57,235 --> 00:29:00,029
I like that one now.
And that's the one I like.

655
00:29:00,029 --> 00:29:02,615
We talked about a minute ago
dialing in a reverb or something.

656
00:29:02,615 --> 00:29:03,825
It's like, no, that's not right. Yeah.

657
00:29:03,825 --> 00:29:05,910
And all the delays not sitting properly,
you know, or

658
00:29:05,910 --> 00:29:09,122
whatever, it's just bang, bang bang
bang bang decision decision decision.

659
00:29:09,122 --> 00:29:10,540
Yeah. It's like a keyboard.

660
00:29:10,540 --> 00:29:13,293
You just work your way up a keyboard
until you hit a note, right?

661
00:29:13,293 --> 00:29:15,628
Like I like. Yeah, that's the note
I like. Yes.

662
00:29:15,628 --> 00:29:16,921
Yeah yeah yeah yeah.

663
00:29:16,921 --> 00:29:18,840
George it is completely like that.

664
00:29:18,840 --> 00:29:21,593
And and it, it's so sad.

665
00:29:21,593 --> 00:29:23,636
And the reason why I say that
is because I know that

666
00:29:23,636 --> 00:29:27,265
probably each one of those auditions,
someone spent somewhere between

667
00:29:27,432 --> 00:29:30,727
at least five minutes
and an hour on five to an hour here.

668
00:29:31,060 --> 00:29:33,688
Which is a reason, Angie,
that I always said to you,

669
00:29:33,688 --> 00:29:36,691
I don't understand
why people slight their demos.

670
00:29:36,816 --> 00:29:40,487
You know, people go, oh, hi, I'm
such and such is like, not you going by

671
00:29:40,487 --> 00:29:42,155
now, buddy? You're long gone.

672
00:29:42,155 --> 00:29:43,531
They haven't even got that far.

673
00:29:43,531 --> 00:29:45,575
You told to like it
depends on the audition.

674
00:29:45,575 --> 00:29:49,829
Some say slate at the top of the read
and some say don't.

675
00:29:49,829 --> 00:29:52,582
Yeah,
well I'm talking I'm talking demos here.

676
00:29:52,582 --> 00:29:55,835
Not not auditions. They're demo demos.

677
00:29:55,835 --> 00:29:59,380
Because sometimes that's all that gets
thrown into the mix in these agencies.

678
00:29:59,380 --> 00:30:02,383
And so, you know, 99, 90% of them

679
00:30:02,383 --> 00:30:05,470
start with a spot where the others
go, hi, I'm such and such.

680
00:30:05,470 --> 00:30:07,180
And it's like they get through high.

681
00:30:07,180 --> 00:30:09,849
I mean, it's like next, next.
I hate that guy.

682
00:30:09,849 --> 00:30:11,976
What a dork. Exactly.

683
00:30:11,976 --> 00:30:15,605
Which which brings it down to
another thing, which is a lot of the time,

684
00:30:16,356 --> 00:30:17,565
all these auditions.

685
00:30:17,565 --> 00:30:21,653
But when the audition goes badly or they
hired somebody and they didn't like them,

686
00:30:21,653 --> 00:30:25,657
it is right back to the guy that I know
that's done it a million times.

687
00:30:25,657 --> 00:30:27,283
It's always never failed.

688
00:30:27,283 --> 00:30:31,204
The Andrew, the the whoever
it is on the phone straight away.

689
00:30:31,204 --> 00:30:31,746
Yeah, yeah.

690
00:30:31,746 --> 00:30:34,415
Are you available right now? Holy shit.

691
00:30:36,125 --> 00:30:39,087
We just found out that this guy can't read
or that we.

692
00:30:39,087 --> 00:30:41,714
Yeah. You know,
whatever it is that he over doctored.

693
00:30:41,714 --> 00:30:43,967
I had one of those years ago with.
It was a Jaguar

694
00:30:43,967 --> 00:30:47,053
commercial, and I got a call saying
how quickly can you get here?

695
00:30:47,846 --> 00:30:48,012
Right.

696
00:30:48,012 --> 00:30:50,348
There's a guy
that had a tantrum in the booth

697
00:30:50,348 --> 00:30:50,723
and he couldn't

698
00:30:50,723 --> 00:30:53,852
get the read right, and he had a tantrum
and they were like, I think that was good.

699
00:30:54,644 --> 00:30:55,645
See you later.

700
00:30:55,645 --> 00:31:00,024
Well, I had one not long ago,
and and I won't even say the sex.

701
00:31:00,024 --> 00:31:04,320
This person's name is now a running joke
at the agency, so.

702
00:31:04,362 --> 00:31:06,823
And you'll understand
why that matters in a minute.

703
00:31:06,823 --> 00:31:10,660
When I tell this story, it's like we got
the men based on their demo to do a read.

704
00:31:10,660 --> 00:31:13,830
That was on their demo,
that it was the exactly the demo,

705
00:31:13,872 --> 00:31:16,165
literally the brief was,
you know, that raid on your demo.

706
00:31:16,165 --> 00:31:17,083
We want that.

707
00:31:17,083 --> 00:31:19,961
They couldn't do it right for an hour.

708
00:31:19,961 --> 00:31:20,837
They paid for an hour.

709
00:31:20,837 --> 00:31:23,339
So we kept them there for an hour.
Couldn't get it.

710
00:31:23,339 --> 00:31:25,091
They walked out the door.

711
00:31:25,091 --> 00:31:27,010
This is a major international agent.

712
00:31:27,010 --> 00:31:30,430
That person will never work
at that agency again.

713
00:31:30,430 --> 00:31:32,265
And they name is now actually a joke.

714
00:31:32,265 --> 00:31:33,725
It was, how was your session?

715
00:31:33,725 --> 00:31:37,562
It was kind of a it was kind of a
Jonathan and Jonathan's not the person

716
00:31:37,562 --> 00:31:38,354
name. Don't get.

717
00:31:38,354 --> 00:31:39,856
But it was it was a bit of a Jonathan.

718
00:31:39,856 --> 00:31:41,524
It's now a joke at the agency.

719
00:31:41,524 --> 00:31:44,903
They've burned themselves forever,
you know, at this agency.

720
00:31:44,903 --> 00:31:45,486
And it's like.

721
00:31:45,486 --> 00:31:48,656
And those people will not just stay
at that agency that will move on.

722
00:31:48,656 --> 00:31:51,200
Of course
they'll move to other agencies. It's I do.

723
00:31:51,200 --> 00:31:53,828
Yeah. And it's like, yeah, don't do it.

724
00:31:53,828 --> 00:31:57,290
You know, a lot of agents
use a slate of another sex.

725
00:31:58,166 --> 00:32:01,628
So it would be a female slating Andrews
demo.

726
00:32:01,836 --> 00:32:03,630
Isn't it something that's done to,

727
00:32:04,756 --> 00:32:06,341
tell me what I did two years ago?

728
00:32:06,341 --> 00:32:09,552
I got Jim Ifrit, from, Lotus.

729
00:32:11,054 --> 00:32:13,264
I got him to do my the slate.

730
00:32:13,264 --> 00:32:14,849
Okay. Yeah, yeah, yeah.

731
00:32:14,849 --> 00:32:19,062
Which is really funny
because it'd be like, hi, this is Andrew

732
00:32:19,062 --> 00:32:22,148
Peters demo, And then I start reading,
so they're going, what?

733
00:32:22,231 --> 00:32:23,274
Well, you could do one. You could.

734
00:32:23,274 --> 00:32:25,985
I could give you one. I could go,
this is Andrew Peters voice demo.

735
00:32:25,985 --> 00:32:27,070
Take one.

736
00:32:27,070 --> 00:32:30,114
It's I you should just use AI to slate it.

737
00:32:30,865 --> 00:32:32,492
Yeah, yeah, yeah, yeah. There you go.

738
00:32:32,492 --> 00:32:36,162
That's from Dave from robotic voice.

739
00:32:36,162 --> 00:32:38,081
But George going back to like,
what should a voice

740
00:32:38,081 --> 00:32:39,832
talent know to do and learn how to do?

741
00:32:39,832 --> 00:32:41,834
They should definitely learn
how to do a punch and roll

742
00:32:41,834 --> 00:32:45,129
and read along with themselves
and catch on to that previous read

743
00:32:45,254 --> 00:32:48,216
and follow it and shadow it tightly,
and then keep on going.

744
00:32:48,216 --> 00:32:51,219
From some point onward,
they should learn how to do that.

745
00:32:51,260 --> 00:32:55,098
They should learn how to listen to a read
and give it back

746
00:32:55,098 --> 00:32:58,267
exactly the same on 1 or 2 listens.

747
00:32:58,393 --> 00:33:01,062
That's a huge, huge skill.

748
00:33:01,062 --> 00:33:02,271
A voice talent needs rhythm.

749
00:33:02,271 --> 00:33:04,399
Number three energy. Yep.

750
00:33:04,399 --> 00:33:07,360
And then the last thing that voice talent
needs to know how to do is when

751
00:33:07,360 --> 00:33:10,780
they're asked for something different,
give me something different.

752
00:33:11,155 --> 00:33:12,657
Yes, exactly.

753
00:33:12,657 --> 00:33:14,325
Do you know the funniest thing?

754
00:33:14,325 --> 00:33:18,037
And I won't obviously mention
who this was, but someone came here

755
00:33:18,871 --> 00:33:21,499
during Covid to, do a session with John.

756
00:33:21,499 --> 00:33:23,209
And it was one of those was John.

757
00:33:23,209 --> 00:33:25,211
Yeah, yeah. John.

758
00:33:25,211 --> 00:33:27,046
That's just fucking Jonathan bloke.

759
00:33:27,046 --> 00:33:29,590
Jesus Christ,
how does he get all this work?

760
00:33:29,590 --> 00:33:30,466
Johnson's love.

761
00:33:30,466 --> 00:33:33,011
Jonathan's a lovely lady. It's,

762
00:33:34,095 --> 00:33:36,305
And it
was like, can you give me three in a row?

763
00:33:36,305 --> 00:33:38,474
And it was three exactly the same time?

764
00:33:38,474 --> 00:33:39,892
Yeah, well, that's not unusual.

765
00:33:39,892 --> 00:33:41,310
I don't think you actually understand
what they mean.

766
00:33:41,310 --> 00:33:41,894
Like three in a row.

767
00:33:41,894 --> 00:33:44,313
Like three different ones? Yes.

768
00:33:44,313 --> 00:33:45,314
Not three. Exactly.

769
00:33:45,314 --> 00:33:47,525
And that's excusable.
Maybe the first time.

770
00:33:47,525 --> 00:33:49,152
And they're like,
no, no, give me a variety.

771
00:33:49,152 --> 00:33:51,696
Give me this or that. Learn from that.
Yeah.

772
00:33:51,696 --> 00:33:53,072
This is this is the same.

773
00:33:53,072 --> 00:33:54,907
Do we call this an ABC read?

774
00:33:54,907 --> 00:33:57,410
Robert, we call it ABC.

775
00:33:57,410 --> 00:34:01,372
Give me give me a three in a row,
usually three row or ABC, ABC.

776
00:34:01,372 --> 00:34:06,127
And there's another subtlety to this
because we want three different ones,

777
00:34:06,919 --> 00:34:09,464
but we don't want one like this
and one like this and one like that.

778
00:34:09,464 --> 00:34:12,467
But yeah, it's
got to be three in the zone.

779
00:34:12,467 --> 00:34:16,679
But like you and I can tell
that some actors this is the other

780
00:34:16,679 --> 00:34:19,682
funny one, some, some actors,
when they're asked to do three in a row,

781
00:34:19,849 --> 00:34:23,144
they do all three exactly
the same in the different way.

782
00:34:24,145 --> 00:34:25,438
One up, one flat, one

783
00:34:25,438 --> 00:34:29,233
down, a different tone,
one flat, one down.

784
00:34:29,525 --> 00:34:31,152
Every time
they're asked for three in a row,

785
00:34:31,152 --> 00:34:33,154
it's like that's
what they were taught a formula.

786
00:34:33,154 --> 00:34:35,948
Yeah. It's just a formulaic thing. Yeah.

787
00:34:35,948 --> 00:34:37,784
Which
when you get towards the end of a session,

788
00:34:37,784 --> 00:34:40,286
when that line normally comes out,
you know, it's sort of like,

789
00:34:40,286 --> 00:34:43,289
okay, well we think we're about right,
but can you just give us three,

790
00:34:43,456 --> 00:34:44,123
three in a row?

791
00:34:44,123 --> 00:34:47,085
That's just another version of please
give it to me differently.

792
00:34:47,085 --> 00:34:49,170
Like now I've asked you for three takes.

793
00:34:49,170 --> 00:34:50,838
Now I've just gotten three of the same.

794
00:34:50,838 --> 00:34:52,590
We've established a tone.

795
00:34:52,590 --> 00:34:54,092
We've established a cadence.

796
00:34:54,092 --> 00:34:58,513
Now, can you give us, you know, some some,
some variation in there

797
00:34:58,513 --> 00:35:01,057
that we can play with. That's right.
Absolutely.

798
00:35:01,057 --> 00:35:01,641
It's, it's,

799
00:35:01,641 --> 00:35:03,309
it's a little thing
because it's like you want to

800
00:35:03,309 --> 00:35:05,311
be in the pocket,
but you got to be different.

801
00:35:05,311 --> 00:35:06,938
And it is.

802
00:35:06,938 --> 00:35:08,231
We're not crazy.

803
00:35:08,231 --> 00:35:11,734
Like, I know when I hear the same thing
twice again, I know when I hear something

804
00:35:11,984 --> 00:35:16,030
that I could use that take or the other
take and the and the clients like,

805
00:35:16,030 --> 00:35:20,576
give me C from this one and D from
that one and and B from the other one.

806
00:35:20,910 --> 00:35:22,662
And then you hear it and whatever.

807
00:35:22,662 --> 00:35:26,415
And, and you know that
like B and D are interchangeable.

808
00:35:26,415 --> 00:35:31,087
I can edit B or D in there and the clients
want to actually know which one it was.

809
00:35:31,087 --> 00:35:32,839
I think he said
a really great thing earlier,

810
00:35:32,839 --> 00:35:36,634
which was even if you can't together
and you now you have a performance,

811
00:35:36,759 --> 00:35:40,179
now you have the the Guide to track. Yeah.

812
00:35:40,179 --> 00:35:41,722
So you make your own guide track.

813
00:35:41,722 --> 00:35:46,477
You can come together you takes that three
I track now read that now

814
00:35:46,519 --> 00:35:47,311
make it natural.

815
00:35:47,311 --> 00:35:49,897
That's not too bad
because you as a performer,

816
00:35:49,897 --> 00:35:52,859
we'll do a far, far
better edit if you don't have it.

817
00:35:54,277 --> 00:35:56,070
Yes. This is the way to do it.

818
00:35:56,070 --> 00:35:59,949
Like when we have time at the end
of the session, I always ask for that.

819
00:35:59,949 --> 00:36:03,035
And a lot of the times like,
oh that's really good

820
00:36:03,286 --> 00:36:05,746
because it's got all the little nuances
of the technique.

821
00:36:05,746 --> 00:36:09,500
If you're a demo
it's like if you tell you something.

822
00:36:09,876 --> 00:36:10,209
Yeah.

823
00:36:10,209 --> 00:36:14,255
And then you use the demo as a guide track
to then guide you on the performance.

824
00:36:14,589 --> 00:36:17,842
It takes that skill of being able
to listen to something

825
00:36:17,842 --> 00:36:20,094
and give it right back to you,
like you got to be

826
00:36:20,094 --> 00:36:22,972
really good at parodying something
and then you can then.

827
00:36:22,972 --> 00:36:24,682
So it's about memory as well.

828
00:36:24,682 --> 00:36:28,352
Like you remember during the session
that they liked that line, read X,

829
00:36:28,936 --> 00:36:30,438
that line read this way.

830
00:36:30,438 --> 00:36:31,898
And then if you can remember

831
00:36:31,898 --> 00:36:34,901
some of that stuff
when you get them, one take at the end,

832
00:36:35,610 --> 00:36:39,530
then all the good bits they want
should pretty well be there for that.

833
00:36:39,947 --> 00:36:42,617
So Andrew, do you have your own shorthand?

834
00:36:42,617 --> 00:36:43,242
Yeah.

835
00:36:43,242 --> 00:36:44,202
Do you have your own shorthand?

836
00:36:44,202 --> 00:36:46,954
Like like up on a phrase,
down on a phrase flat.

837
00:36:46,954 --> 00:36:50,416
Do you have like your your own way
of noting how to read the script?

838
00:36:50,583 --> 00:36:52,084
Look at them.
There's the pencil. Look. Yeah.

839
00:36:52,084 --> 00:36:54,337
Are you asking me
because I don't have a clue?

840
00:36:54,337 --> 00:36:55,546
No. I'm sorry. Andrew.

841
00:36:55,546 --> 00:36:57,256
Andrew. Andrew,
do you have your own shorthand?

842
00:36:57,256 --> 00:37:01,344
Like like like if you make an arrow up,
that means up inflection at the under down

843
00:37:01,344 --> 00:37:02,553
inflection, or this means more.

844
00:37:02,553 --> 00:37:05,556
And, if it's going to be a long session,
then I'll print out the script.

845
00:37:05,556 --> 00:37:09,602
It is not, just use an iPad, but,
and I have things like if I

846
00:37:09,644 --> 00:37:11,812
say things like,
and this was stuff on Nixon,

847
00:37:11,812 --> 00:37:14,815
and in fact, I was doing a session
with this guy last week

848
00:37:15,066 --> 00:37:18,486
and he gave me another quirky
little bit of direction.

849
00:37:18,486 --> 00:37:22,240
And I said, yeah, I said, Paul,
you always give me the quickest direction,

850
00:37:22,240 --> 00:37:24,325
but I always hang on to them
because I work.

851
00:37:24,325 --> 00:37:27,578
I remember
doing the session years ago with him

852
00:37:27,578 --> 00:37:30,665
and I kept it in the same word,
and he goes, no, no.

853
00:37:30,706 --> 00:37:32,500
He said, look, I tell you what to do.

854
00:37:32,500 --> 00:37:34,752
Can you cross and out?

855
00:37:36,170 --> 00:37:39,173
And can you write it upside down?

856
00:37:40,091 --> 00:37:40,424
Oh yeah.

857
00:37:40,424 --> 00:37:42,093
Okay.

858
00:37:42,093 --> 00:37:45,346
And it did your brain
because your brain gets that word

859
00:37:45,346 --> 00:37:46,597
and it's like, what the fuck's that?

860
00:37:46,597 --> 00:37:49,600
And it just makes you reboot

861
00:37:49,600 --> 00:37:51,769
and it works. It works every time.

862
00:37:51,769 --> 00:37:53,354
That's an interesting one.

863
00:37:53,354 --> 00:37:56,607
But it's on a word that he doesn't like
the way it's being read.

864
00:37:56,649 --> 00:37:57,858
Is that what it is?

865
00:37:57,858 --> 00:38:00,736
Is if I get into a rhythm
where I'm hitting the wrong thing?

866
00:38:00,736 --> 00:38:01,237
Yeah. He was.

867
00:38:01,237 --> 00:38:02,321
I say two, right?

868
00:38:02,321 --> 00:38:03,322
You're two rhythmically.

869
00:38:03,322 --> 00:38:05,324
You're two locked into this
tempo and rhythm.

870
00:38:05,324 --> 00:38:05,700
Yeah.

871
00:38:05,700 --> 00:38:08,035
I need to get
I need to put a little sync thing in.

872
00:38:08,035 --> 00:38:09,870
It's going to make you trip
for a second. So.

873
00:38:09,870 --> 00:38:12,540
So Andrew here,
you're reading it every time.

874
00:38:12,540 --> 00:38:13,582
Yeah.

875
00:38:13,582 --> 00:38:18,462
See, I think a lot of voice talent, they
memorize the script after a couple takes.

876
00:38:19,422 --> 00:38:21,215
Oh no I don't memorize scripts.

877
00:38:21,215 --> 00:38:25,303
I've got no memory
anyway I wonder I'm like an old computer.

878
00:38:25,303 --> 00:38:26,887
I'm fucked.

879
00:38:26,887 --> 00:38:29,098
I should be just holding the door open.

880
00:38:29,098 --> 00:38:29,890
That's funny because.

881
00:38:29,890 --> 00:38:32,685
Because I find that that I like it.

882
00:38:32,685 --> 00:38:35,688
I can tell when actors are reading it.

883
00:38:36,063 --> 00:38:39,108
And it's better when they're not reading
and when they're saying it

884
00:38:39,108 --> 00:38:42,528
from memory,
the performance is always much better.

885
00:38:42,528 --> 00:38:43,904
You can tell when someone's reading.

886
00:38:43,904 --> 00:38:47,491
It's almost like from a audio
point of view, you can see their eyeballs

887
00:38:48,034 --> 00:38:51,162
going back and forth, you know, like, but,
you know, probably right.

888
00:38:51,162 --> 00:38:54,165
For a less experienced actor, for sure.

889
00:38:54,165 --> 00:38:57,585
Like someone who has a lot less experience
leading off the page,

890
00:38:58,044 --> 00:39:00,880
convincing me for them, that's a really,

891
00:39:00,880 --> 00:39:03,883
really good trick
is to memorize the script, get them off.

892
00:39:03,883 --> 00:39:06,427
I think it's important to make it natural.

893
00:39:06,427 --> 00:39:09,638
Yeah, well,
the interesting thing is, when,

894
00:39:09,638 --> 00:39:12,641
it years ago, when I used to do, like,
some on camera acting and stuff

895
00:39:13,142 --> 00:39:16,228
where you had to learn the script
because you can't stand there on camera

896
00:39:16,228 --> 00:39:18,105
with a fucking script
when you're in the middle of a drama.

897
00:39:19,940 --> 00:39:23,778
But it
was much easier to, learn the script

898
00:39:23,778 --> 00:39:26,489
and then deliver it because, like you
said, it's much more natural

899
00:39:26,489 --> 00:39:28,199
because you're actually you're
not reading anything.

900
00:39:28,199 --> 00:39:31,202
You're just saying the words
in a conversation.

901
00:39:31,243 --> 00:39:33,704
When you're doing a drama
and you have a script

902
00:39:33,704 --> 00:39:37,625
you're reading from, it's
so much more difficult. Yes.

903
00:39:38,167 --> 00:39:38,417
Yeah.

904
00:39:38,417 --> 00:39:40,961
Because you're reading
and acting at the same time.

905
00:39:40,961 --> 00:39:43,672
Yeah. And they don't go together
very well. Right.

906
00:39:43,672 --> 00:39:46,842
I, also, this drives me crazy
when I'm doing industrials and they have

907
00:39:46,842 --> 00:39:49,929
the talking head person is like standing
on a green screen reading stuff

908
00:39:50,471 --> 00:39:52,098
and they're just like whirring.

909
00:39:52,098 --> 00:39:55,601
I'm like, their eyes are yeah,
I hate that.

910
00:39:55,601 --> 00:39:57,770
It's like, look me in the eye
and tell me your message.

911
00:39:57,770 --> 00:39:59,814
Don't like I'm not a frickin page.

912
00:39:59,814 --> 00:40:02,983
But there's so many famous actors like,
you know, historically a movie

913
00:40:02,983 --> 00:40:05,986
talk about like, big actors
from years gone by

914
00:40:05,986 --> 00:40:08,406
who could never memorize a script
and then have the other actor

915
00:40:08,406 --> 00:40:10,032
with the script pinned to their chest.

916
00:40:10,032 --> 00:40:12,827
There was something in the back,
you know, it's like,

917
00:40:12,827 --> 00:40:14,036
because I couldn't remember the script.

918
00:40:14,036 --> 00:40:17,581
I just read read off the guy's coat,
but they sure are pretty.

919
00:40:18,165 --> 00:40:19,250
Yeah. Yeah, exactly.

920
00:40:19,250 --> 00:40:21,502
Well, there's that thing
I'm thinking of a couple of my life

921
00:40:21,502 --> 00:40:23,170
that doesn't work in the sex scene,

922
00:40:25,131 --> 00:40:26,173
but you can bleep

923
00:40:26,173 --> 00:40:29,176
that one out rather than it

924
00:40:29,260 --> 00:40:31,262
did. You know. Right. A lot of sex scenes.

925
00:40:31,262 --> 00:40:34,348
Do you know I don't know.

926
00:40:34,348 --> 00:40:35,224
Right.

927
00:40:35,224 --> 00:40:37,685
And he doesn't have a lot of sex
I'm sorry.

928
00:40:37,685 --> 00:40:40,688
That's what I.

929
00:40:41,981 --> 00:40:42,773
Well that was fun.

930
00:40:42,773 --> 00:40:46,026
Is it a lot in the audio suite?

931
00:40:46,235 --> 00:40:50,156
Thanks to driver and Austrian audio
recorded using Source

932
00:40:50,156 --> 00:40:53,993
Connect, edited by Andrew Peaches
and mixed by Robert Good.

933
00:40:53,993 --> 00:40:55,286
Your own audio issues.

934
00:40:55,286 --> 00:40:57,872
Just ask Robert. Don't call him
tech. Support him.

935
00:40:57,872 --> 00:40:58,956
George the tech. William.

936
00:40:58,956 --> 00:41:02,209
Don't forget to subscribe to the show
and join the conversation

937
00:41:02,293 --> 00:41:04,211
on our Facebook group to leave a comment.

938
00:41:04,211 --> 00:41:06,338
Suggest a topic or just say goodnight.

939
00:41:06,338 --> 00:41:09,842
Drop us a night at our website
on your sweet go call.