Nerd!

April 30th, 2013

When I was a kid, I fell in love with acting.

In doing so, I realized that I was joining a minority in some respects, especially after discovering the sometimes-derogatory term used for some actors: “thespian”.  I say “sometimes-derogatory” because the word isn’t always used in a negative way, but when I discovered it, it kinda was.  Things like the “Master Thespian” skits on SNL didn’t exactly do much to improve the picture, either, so “thespian” ended up equating to “acting nerd” in my mind.  Still, I was having fun, so I didn’t really care what I was called.

At roughly the same time, I fell in love with computers and programming.

While I don’t recall times when people specifically used the term “nerd” or “geek” in reference to this interest of mine, I have no doubt that it happened.  Maybe my lack of recollection indicates how well I handled it, because I also don’t remember feeling ashamed of this particular passion at any time during my childhood or adolescent years.

To complete the nerd trifecta, I fell in love with 3D animation.  I could go on about how I further isolated myself from those around me with this interest, but I’m sure you get the idea.  :)

In the end, I had very few close friends growing up because my interests varied so greatly from theirs…

  • While my classmates were trying out for football, I was auditioning for the school play.
  • While my friends struggled to grasp computer concepts, I picked them up rather quickly, and even got paid to do small computer-based jobs here and there.
  • While the kids in my neighborhood were collecting toys, I was collecting animation videos.

Thankfully my parents were quite supportive of all of these bits of geekdom.  Not once do I recall hearing either of them tell me that I should stop acting, programming, or dwelling on animation.  On the contrary, they would frequently give me suggestions on how I could further develop these interests.

My teachers were also quite supportive.  In fact, when I signed up to take a Pascal programming class in high school, the instructor gave me the manual and let me teach myself, partly because a) I was the only one who’d signed up, and b) he knew me well enough to trust that I would actually do the work.

Was I a nerd?  Absolutely, though at the time I’m not sure that I would have looked upon the term very favorably.  However, my views have changed since then, and I’m now quite proud of my nerd-/geekdom, in part because I’ve worked over the years to reach the point where people are willing to hire me for these specialized skills.

While the terms “nerd” and “geek” are most often used in reference to very specific interests — like computers, sci-fi, fantasy, etc. — I think they can apply to any specialization.  Is someone a master architect?  They’re a construction nerd.  Is someone at the top of their field in equine studies?  They’re a horse geek, or a herd nerd!  (Granted, using those terms in those ways may not appeal to those being so labeled, but you get the idea.)

Bottom line: nerds and geeks are everywhere, and rather than being shunned or put down for their passions, they should be embraced.  As Wil Wheaton so eloquently put it at the recent Calgary Expo, “Being a nerd is not about what you love; it’s about how you love it.”

Auditions and Bold Choices

April 13th, 2013

One of the pieces of advice that I see very frequently when referring to actors preparing for auditions is this:

Make bold choices!

Do your homework. Dig into the character’s past. Understand them inside and out, and then make bold choices on how you will present that character at the audition. If you’re auditioning for a role and clearly haven’t made bold choices, you’re not likely to get the role. People will be able to see that you’re not committed, and therefore they’ll have a hard time trusting you with the portrayal of the character throughout the course of the project, whether it’s a film, play, voiceover, or whatever.

Clearly, bold choices are important, and the actors who make them in their auditions are much more successful.

But what do some actors say about the process of auditioning?

They hate it!

I’m not talking about the specific presentation of a character in a moment to a camera or casting director, but the entire process of auditioning for roles of any kind.  Some actors will talk your ear off about how much they despise the audition process.  ”It’s so painful,” they say.  ”I can’t stand it!” they complain.

Guess what?

That’s also a bold choice.

It helps to remember that the technical details of an audition are just that: technical.  They’re mere bits of data…

  • We have to memorize a script (or read it cold).
  • We have to meet new people.
  • We have to give our all to the portrayal of the character.
  • We have to take direction.
  • We have to deal with traffic.
  • …and so on

How do we respond to each of these bits of data?  In short, we react.  What does it mean to “react”?  Some see any reaction as involuntary, something outside of our control.  In some cases this is true, such as the reaction to touching a hot surface.  That kind of reaction is built into our brains as a safety mechanism.  However, many other types of reactions are not involuntary, even though we frequently believe that they are.  Part of the medieval Latin meaning of “react” is very telling: “done again.”  And what is it that we’re doing again?

A bold choice.

Some have made the bold choice that meeting new people is an uncomfortable experience.  When they later meet new people, they “react,” and that discomfort choice is done again.  Others have made the bold choice to be angry in heavy traffic.  What happens when they’re caught in heavy traffic?  That anger choice is done again.

The audition process is what it is, and we actors (most likely) can’t change that process to suit our tastes.  What we can change is how we feel about it.

Many years ago, I discovered a quote from Mildred Barthel that quickly became one of my favorites.

Happiness is a conscious choice, not an automatic response.

The concept behind that statement can apply to a lot of different feelings, so to rephrase it in the context of auditions, “How we feel about auditions is a conscious choice, not an automatic response.”

Therefore, if we want auditions to become experiences that we enjoy rather than dread, what do we need to do?

Make bold choices!

Moving mayhem

April 11th, 2013

My apologies for the inaccessibility of the blog for the past several weeks. I’m migrating the site to a new domain, and somehow it didn’t register in my brain pan (until it was too late) that if I redirected the entire domain, the blog would be effectively dead. I’ve nixed the redirect for now, and have simply put a pointer link on the main page.  Eventually this blog is going to move to the new site, but for now it’s gonna just chill right here.

So why the new site?  Well, in short, I’m tired of trying to manage so many individual web sites.  I used to think that splitting everything up was the way to go, but it’s proved to be more troublesome than anything.  I also agree with some suggestions that I’ve heard and read multiple times over the years that providing people with a single place to go is more effective than taking a divide-and-conquer approach.  While the site itself is “divided” into subdomains for different aspects of my life, the root domain is simply me.

If you know my name, you’ll know where to find me online.  If you don’t know my name…well, I’m working on that.  :)

Want to get into voiceover?

February 4th, 2013

I’m not sure what it is, but I’ve been getting more and more questions lately about how to get started in voiceover.  Whatever the reason, I always point people to this resource to start their research:

The Voiceover Entrance Exam

This wonderful e-book by my VO friend Peter O’Connell lays it all out quite plainly, and at times quite bluntly, but that’s far better than the sugar-coating that some resources provide.  Some people think that voiceover is just talking for a living, but there’s so much more to it than that, and The Voiceover Entrance Exam is a great place to come to grips with the reality of the biz.

Once you have a handle on that reality, there are lots of resources online that will help the new (and not-so-new) voice talent.  Thankfully another of my VO buddies, Dave Courvoisier, has compiled an ever-expanding list of these resources:

Newbie Resources

While you’re on Dave’s site, hover over the “VO Education” link in the top menu bar.  There are subcategories in there that will pull up other articles that Dave has written on the subject.  And believe me, Dave has written quite a lot: over 2800 blog posts since 2007.

Just like any career, there’s more to voiceover than what is visible on the surface.  Take the time to truly understand what you’re getting into before you take the plunge.

Regrets?

January 25th, 2013

Six months ago yesterday — July 24, 2012 — was my last day of full-time employment.

Six months ago today was the beginning of my full-time pursuit of my passions: primarily acting and voiceover, but not forgetting programming, as I still like to get my geek on.

I mentioned this to my wife yesterday, and her first question was, “Do you regret it?”

As I stood there and thought about everything that’s happened in the past six months, I really didn’t know how to answer that question. In an odd way, it feels like it’s too soon to tell yet. I’ve definitely enjoyed the many new experiences that I’ve had during that time — things that I never could have done if I still had a day job — but there have been plenty of times when I’ve gone to bed a total mental and emotional mess because I had no idea how we were going to pay for the next big bill that was due in just a few days. So far, though, we’ve been blessed with lots of little miracles in those moments of madness…

  • a friend would pay us to watch their dog while they’re on a trip
  • a long-awaited check from a previous job would finally arrive in the mail
  • my wife would pick up a new piano student
  • I’d pick up some extra hours at a seasonal job

…and the list goes on.

Thinking about possible regrets, there’s only one that comes to mind readily: I regret not setting aside more funds before making the leap. The first couple months weren’t so bad, but it’s been getting progressively scarier since then, even with the little miracles that still pop up to save the day.

Do I regret it?

Let me get back to you on that. I’ve got work to do.

Andy Nebula: Interstellar Rock Star

October 2nd, 2012

I received word earlier today that Andy Nebula: Interstellar Rock Star is now available for purchase through Iambik!  While a sample clip isn’t available on the Iambik page (yet), you can hear the first chapter on Iambik’s Tumblr page. I had a blast narrating this book, written by Edward Willett, and am already several chapters into the narration of its sequel, Andy Nebula: Double Trouble.

Audiobook news and notes

September 18th, 2012

It’s time to record the next audiobook: Andy Nebula: Double Trouble. This is the sequel to the book I finished last month (Andy Nebula: Interstellar Rock Star), which I hope will be released soon. Recording on the sequel commenced yesterday, though I was only able to complete the main narration for the first chapter. The non-narrator character voices for that chapter were recorded today, and will be spliced in now that the narration is edited.

Some people have asked me about this technique of recording the narration and character parts separately.  Most audiobook narrators record the character lines along with the main narration.  While this process works for some (and would be required if I were recording anywhere outside of my own studio), I found it difficult to get into for a variety of reasons, so I took a stab at recording the character bits separately.  It worked quite well, and  has been the process I’ve used almost exclusively ever since.

This process of recording the characters separately has worked really well for me for several reasons:

1) Vocal quality — Some character voices that I create are more taxing on my vocal cords. By saving the character voices for a separate pass, my natural/narrator voice doesn’t suffer as much wear over the course of each chapter.  Because I can typically only record a chapter a day, this means greater consistency in the narrator voice between chapters.

2) Character consistency — When I record character voices, I do them in batches: all lines in the entire chapter for one character, then all of the next character’s lines, and so on.  This allows me to maintain greater consistency in each character voice over the course of the chapter.  I generally record secondary/background characters first, as they tend to have fewer lines, as well as characters with very easy voices to perform, saving those with more lines and more taxing voices for last.

3) Time constraints — I’m still trying to reduce the number of mistakes that I make when narrating long passages, so that adds some time to the recording process.  Also, I often do several takes of each character line to hone in on the right emotional delivery for the moment. Because of all this extra time, recording characters in the middle of a chapter won’t work if I’m pressed for time.  These days I’m pursuing voiceover and acting full-time, and can usually record the character lines immediately after the main narration is complete for each chapter.  However, for the first half of the first Andy Nebula book, I still had a full-time day job, and was doing all my recording outside of that.  Due to time constraints, I didn’t always have time to record both the main narration and all the character takes in one sitting.  In at least one instance, the character lines weren’t recorded until several weeks after the narration was done.  However, because my recording setup never changes, I’m very mindful of my placement in front of the microphone, and the characters are all different from my own natural voice, it’s virtually impossible to tell (in my opinion) that the whole thing wasn’t voiced in a single session.

I’m not saying that this process is right for everyone, and there may come a time when I change to follow the more common practice of voicing everything at the same time.  However, it’s working really well for my current situation, and I’m glad that I took the chance to try it.

Don’t know JACK about sending audio to Skype?

August 7th, 2012

For those VO artists who aren’t blessed with ISDN or SourceConnect, getting a good phone patch setup can be very beneficial, yet it can also be very frustrating.  In my case, I prefer to use Skype to connect with clients, and so far I haven’t run into one who wasn’t willing to go that route.  I also haven’t yet had a client ask to hear a take back in the middle of a session…until yesterday.

During most sessions, I just set Skype’s microphone to use my audio interface.  The client can hear exactly what I’m recording, and we just end up doing several takes ’til they get something they like.  We end the Skype session, I send the raw recording, and they have what they want.  Easy breezy!  Yesterday, though, I was contacted by a potential client who mentioned that I was in the running for a job, and wanted to confirm that I had “a working phone patch with playback capability.”

How the heck can I get playback with my current setup?!?

My audio chain is pretty simple: mic to interface to computer.  There’s no mixer middleman in the mix, which means that I can’t use some solutions that require additional hardware.  (If  you’re in that situation, though, I highly recommend checking out Corey Snow’s post that covers the subject quite well.)  I really needed something that could just let me route the audio signals inside the computer, without having to physically patch stuff together with cables.

Enter JACK

Don’t know JACK?  Well, you will after this post, or at least you’ll have (I hope) a better handle on how you can use him to solve certain problems.

JACK is a slick little free tool that does exactly what I said above: it lets you route audio signals internally.  It takes a little time to get used to how JACK operates, but once you get the hang of it, I’m sure you’ll quickly see how you can use it in a variety of ways.  For this post, though, I’m only going to share the steps that I needed to use JACK to connect both my microphone and my audio software (Reaper) to Skype, so that clients can not only hear my live mic, but also the playback of anything that I record in the session.

Install JACK

First, you gotta get JACK.  I’m on a Mac, so the place I went was the JACK OSX web site, which hosts (as you can guess) the OSX-specific version of JACK.  For other operating systems, go to the main JACK web site.  (Note: This article is NOT about how to install JACK.  Installation is a breeze on the Mac, but I don’t know what it’s like for other systems, and I can’t help if you run into any hiccups along the way.  Sorry.)

Once you’ve got JACK installed, open the JACK Pilot.  The first time you run the JACK Pilot, it will open a Preferences dialog that lets you set a bunch of custom options.  The only thing that I did was change the input and output devices to my audio interface, which is an M-Audio FastTrack Pro.

Once you’ve saved the changes, you’ll be left with the cute little JACK Pilot window:

Jack Pilot window

Click the “Start” button, which will kick off the JACK server.  After a few seconds, the “CPU Load” section will start showing how much of a drain JACK is putting on your system.  Unless you get into some really crazy audio routing, it probably won’t be much.

The “Routing” button on the JACK Pilot window will also become active once the server is running.  Click this to bring up the routing window, which will look something like this:

Jack routing window

The exact contents of each section will vary depending on the nature of your system, what programs are running that might affect JACK, etc.  In other words, don’t freak out if you don’t see the same stuff that’s in the image.

Setup Skype

Now is the time to open the software that you want to use with JACK.  For me, I’m going to open Reaper and Skype.  Generally speaking, I found that things work more reliably if I open the programs that I want to use with JACK after starting the JACK server, as some of the routing features of JACK may not be available if you do it the other way around.

I’m going to start by getting Skype ready to go.  In the Skype preferences, go to the Audio/Video section, and click on the the option box next to “Microphone”.  In addition to the items that you’re used to seeing in there, you should see a new entry related to the JACK router.  On the Mac, it’s named “JackRouter”, but the name may be different on other systems.  If you don’t see that entry, close Skype, go back to the JACK Pilot and make sure that the server is running (the “CPU Load” number should be some number greater than zero, and should be changing periodically), then restart Skype and try again.

Skype settings

With Skype set to get its input from the JACK router, go back to JACK and look at the Routing window.  You should see new entries for Skype in both the “Send Ports” and “Receive Ports” sections.

Setup Audio Software

Now’s the time to get your audio software up and running.  I’m using Reaper, so the functions and features may be different than what you have, but it shouldn’t be too tough to figure out the equivalent things to do in your software (I hope).

First off, I need to change Reaper’s audio interface settings.  After opening the Preferences dialog, I select the Device section under the Audio category.  In the option box next to “Audio Device”, I’ll choose “JackRouter”, then click “OK” to save the changes and close the window.

Reaper track setup

Next, I’ll add a new audio track, and make sure that the track is armed for recording (see above).  Arming the track is a vital step, because JACK won’t see Reaper unless there’s an armed track.  It’s also important to remember this when in the middle of a session, because the connections that you make in JACK between Reaper and Skype will be un-done if you un-arm the track in Reaper.  (Again, I’m not sure how this equates to other software.  JACK may be able to see other audio programs without going through the equivalent of arming a track to record.  If so, count your blessings!)

With the interface settings tweaked and an armed track ready to record, I can go back to the JACK routing window and see that I now have entries for Reaper in the ”Send Ports” and “Receive Ports” sections.

Start Routing

Now it’s time to start routing audio.  Without digging through the JACK documentation, the routing window interface isn’t very intuitive.  However, its operation is actually very simple:

  • Entries and groups in the “Send Ports” column are output connections.
  • Entries and groups in the “Receive Ports” column are input connections.
  • To connect a source and a destination, click on one, then double-click on the other one (the order doesn’t matter)
  • With an entry/group selected, the “Connections” column on the far right will show you what’s connected to that entry/group

With that basic outline in mind, we can make all the needed connections to get Skype and Reaper talking to one another!

First let’s connect the audio interface to both programs.  On my Mac, because I’ve set my M-Audio interface as the default audio device, the audio interface inputs are under the “system” group as “capture_1″ and “capture_2″.  I could connect them to the desired programs individually, but the JACK router is smart enough to know how to connect multiple sources under one “Send Ports” group to multiple destinations under another “Receive Ports” group.  All I have to do is click “system” in the “Send Ports” column, then double-click “Skype” in the “Receive Ports” column, and the two groups are intelligently connected.  The same basic operation works to connect the audio interface to Reaper.  I click “system” again under “Send Ports”, then double-click “Reaper” under “Receive Ports”.  Now the audio interface’s inputs are feeding both programs, so a client with whom I’ve connected via Skype can hear the same audio that I’m sending to Reaper for recording.

But wait.  Now that we have the audio interface feeding Skype’s input, doesn’t that mean that we’re stuck for playback from Reaper?  Nope.  Part of the beauty of JACK’s routing is that a “Receive” port can receive from multiple sources.  JACK simply mixes all the audio that it receives on a given “Receive” port into a single signal.

With that in mind, I’m sure you’ve already figured out what to do next: click “Reaper” under “Send Ports,” then double-click “Skype” under “Receive Ports”.  Now Skype is getting a mix of both the audio interface and the output from Reaper.

And if you’re thinking what I think you’re thinking, you’re absolutely correct: all it takes is a change in the Skype settings to send output to JackRouter, and one more connection in the JACK routing window — from Skype to Reaper — to allow Reaper to record both sides of a Skype conversation.

I’m still waiting to hear if I got that job, but at the very least, I’m better prepared for the next Skype session because I know JACK!

 

Succeed by Staying Present

June 27th, 2012

There’s an interesting dichotomy in just about any acting situation (aside from improv): you’re following a written script, yet you’re supposed to look/sound unrehearsed.

How do you pull that off?

While I have very little formal acting training, I feel like I do fairly well in many situations, but I still struggle in many others. For me, it’s actually a fun challenge figuring out how to stay present/in-the-moment/real/grounded, and it was great to read Anthony Meindl’s thoughts on the subject on Backstage.com.  Whether you’re on a stage, in front of a camera, or behind a mic, staying present is vital to creating a believable, engaging performance.

How do you stay present?

Change is coming

June 26th, 2012

In one month, my life will change. Dramatically.

I initially discussed this change with my wife nearly a year ago, and we planned to take action at the end of last year, but it just wasn’t the right time. However, after a few more months of planning and thought and prayer and work, things finally started to fall into place. I announced my plan at work on April 30th, and now it’s time to share it here.

As of July 25th, I will no longer be working my full-time job at Reel FX, and will be pursuing acting and voiceover (and some other creative interests) full-time.

I’m both exhilarated and terrified at the thought of what’s about to happen, but as I’ve been telling many people recently, I can’t not do this. Years ago I thought that I would be satisfied acting through animated characters. It took seven years to learn that I was wrong. I then thought that I would be satisfied working as a not-so-mild-mannered programmer by day and dabbling in voiceover on the side. It took four years to learn that I was wrong there, too. This fire is just too strong to burn “on the side.” It’s begging for my undivided attention, and in a month, I’ll finally be able to satisfy that request.

Let the countdown begin!