We're still amazed at home many people are gaining great insight from the 'Home Studio Equipment' series. If you record yourself, or your instrument(s) from home, it's a great way to get some insight on the proper setup.

For those who already have that setup - we'll now delve into how you can embark on making a profit from it. One great way is with an 'Elevator Speech'. Today's topic is written from the perspective of voiceovers. however, swap out voiceover with any business you do from your home, or even for a big business, and you might find a much more compelling way to perform - be it B2B sales, electronics repair or selling pet food.

So what is an "Elevator Speech"?

Initially it was called an 'Elevator Pitch' and was used as a way to talk to an investor - in the time it took to ride the elevator from the bottom floor to their top floor offices. If done well, you would win a new investor, an invite into their office to hear more, or at least schedule a time with their secretary.

Not a compelling pitch - you rode the elevator back down to the first floor.

The idea caught on - though it's focus has shifted. Now, it maybe the information you pass on to a local client who has no idea how your voiceover or your music is something they may need. Maybe you wrote a jingle that they have to hear, maybe your voice fits their product quite well. At the very least, it's what you can say to someone at a networking event, how you tell your neighbor that you now work from home. In essence, an "Elevator Speech" is a concise, carefully planned, and well-practiced description about your company. it should be simple enough that your mother should be able to understand what you're talking about and should still be said in about the time it takes to ride up an elevator.

However - that being said - you will want to write it longer than what can be said in a short elevator ride. More on that later...

What an "Elevator Speech" is not:

It is not really a "sales pitch." Don't get caught up in using the entire speech to tell a potential client how great your voice is. The Producer or Client is "buying" your professionalism and ability to get it done, not just your voice. At it's core, it's the basis for a coherent conversation. It's a way to speak about yourself without feeling like you're gloating. Aand always keep in mind this rule:, "If you don't connect with a client, they won't trust you can connect with their customers"

Section A - Creating the "Elevator Speech"

There are six questions your "Elevator Speech" must answer:

1. Why they need your service?
Describe what it is you do for clients. Do not go into excruciating detail.

2. Who is your market?
Briefly discuss what you specialize in, what your niche is.

3. How does a voice-over really drive or motivate people?
How is it that a voice-over would work, as opposed to just a PowerPoint slide show??

4. Who is behind the voice?
"Bet on the jockey, not the horse" is a familiar saying. Tell them a little about you, your background and achievements (as it relates to voice-overs) or what qualifies you so well for your work. Remember - people buy why you do it, not just what you do.

5. Who is your competition?
Don't have any? Think again. Briefly discuss who they are and what they have accomplished. Successful competition is an advantage-they are proof your business model and/or concept work - i.e. - why do so many movie stars do voice-overs?

6. What is your competitive advantage?
Simply being in an industry with successful competitors is not enough. You need to effectively communicate how you are different and why you have an advantage over the competition. A better voice, a lower cost, more timely turn around, understanding their company, product or service?

Section B - What your "Elevator Speech" must contain!
Once you've written the first part out, look to highlight these...

1. A "hook"
Open your speech by getting the potential client's attention with a "hook." A statement or question that piques their interest to want to hear more.

2. Not too much!
Your pitch should go no longer than 30-45 seconds (less is more)

3. Passion
Producers and potential clients expect energy and dedication from you.

4. A request
At the end of your pitch, you must ask for something. Do you want their business card, to listen to your demo, to speak more (in person or by phone), to ask for a referral/recommendation?


Section C - Evolve!

A good Elevator Speech doesn't just 'happen'. It will evolve over days, weeks or months. You'll learn where and how it needs to be modified. When it's best to use one, and that waiting for perfection means many lost opportunities. Use what you have today, and it will perfect itself in time.

Section D - Don't be a robot!
Your Elevator Speech is not something you should memorize and rehash to each person in exactly the same way. It's a framework you can use to speak to a specific client in a specific way. Memorize the parts and the pieces, and have a conversation with the client. It will be difficult to say everything in the limited time you have, so focus on having a memorable conversation and let parts of the overall speech enter into the conversation.

Example of creating an "Elevator Pitch"
Here is an example of what you might use in developing an Elevator Speech for a fake VO company - let's call it "YourVoiceOver". Remember - this isn't what you would memorize and repeat verbatim, you would try to memorize the 'bullet points' of the following, and flavor your conversation with a potential client by adding the following at the appropriate point in a conversation:

YourVoiceOver is changing the future of voiceovers - as part of a $12 Billion Dollar a year, and growing, industry - on a local level. While many are familiar with commercials - they represent only 20% of voiceovers being done.

YourVoiceOver offers producers or clients an efficient and interactive method for creating a standard voice across the spectrum for our clients that can represent them in commercials, in store announcements, presentations, voicemail and more - because YourVoiceOver has 24/7 access to a professional recording studio, which means no additional studio fees and quick turnaround time.

YourVoiceOver is a local company working with neighboring businesses and supporting the community by working with non-profits like Reading for the Blind and Disabled (or whatever non-profit you choose).

YourVoiceOver has specific experience the Producer or clients can tap into to represent their topic or industry - years of public speaking, specialized training (perhaps ProTools Classes with Your Audio Pro), industry specific knowledge (if applicable in the medical field, IT, Telecommunications, legal, automotive, etc.) recording training narrations or by working with similar clients at XYZ companies, etc.

Our industry continues to grow as more companies realize a professionally done voiceover humanizes a company at the consumer level - giving you a connection and therefore great potential advantages over a competitor who doesn't. As an example, Morgan Freeman, James Earl Jones and other actors, who have successful movie careers, continue to do voice-overs because they work so well that companies are willing to pay top dollar for star power.

YourVoiceOver is a professional business committed to representing it's Producers and Clients well, and working with you to assist in improving your bottom line. YourVoiceOver is not interested in rushing you through a process and will work with your timeline.

YourVoiceOver continuously improves our facilities, studio equipment, vocal training and accessibility by reinvesting a portion of our income.

Here's my business card, and I have a compelling demo I can send to you by email to let you hear examples of what I do for my clients. Do you prefer a link or attachment?

Now that you have this framework, start writing things down and make a call. Start with a friend and role play with them as if you were trying to get them to invest in you. Who knows, maybe you'll convince them!

To your future!
Mel - Your Audio Pro

For those who are keeping score - it's time for part #10 in our Home Studio Equipment Reviews and Recommendations Series. Part 10 is all about the Cables and Accessories. Don't brush this off as unimportant - if it wasn't, it wouldn't be on the list.So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

Amazingly, many people make some elementary mistakes that can either cost you in excessive amounts of cash - or in an unhappy client - this is one of those often overlooked areas.

It’s the little things that can get you. Make sure you think of them!

Microphone Stand – avoid straight floor and desktop stands which allow only one configuration – a ‘boom’ stand allows multiple options to allow you to find a configuration that works for you and your microphone. For those with very limited space the Desk /Drum Adjustable Boom Mic Stand

Music Stand, hang-able Clipboard or Copy Holder. Be hands free in front of your microphone! If you do get a Music stand, cover it with a carpet sample to reduce vibration and echo off the surface.

Shockmount. Some come with the mic, some don’t. Which one you need depends on which microphone you have. The one above is for the Electro-Voice RE20.

Shure Popper Stopper Pop Filter – great to have, though I have seen them home made with nylons and needlepoint hoops - this tried and true product is a staple in any recording studio that clips onto the Microphone Stand.

Windscreen – not a replacement for a popper stopper, but useful if you tend to breathe on the mic. Typically these are made specifically for a microphone, the one above is for the Electro-Voice RE20  family of microphones.

Microphone/XLR Cables & Monitor cables – there are three basic connector types XLR, RCA , TRS and multiple combination of those three. Which one you need depends on the monitors and interface you purchase. Try Sweetwater’s cable finder: http://www.sweetwater.com/shop/cables/finder.php If you can’t see it on Sweetwater’s Cable finder, ask an expert at the store (most online stores have a tech to call or online chat you can use for this purpose) to let you know which ones will work. If you have to buy them and are unsure, try buying the bundled wires, rather than the plastic packaged. This way you can test the connectors without opening a package and the hassles of trying to return opened items.

Desk– get a dedicated workspace for your EQ to sit on, and for you to sit at for editing, contacting clients and following up on your tasks. The easier you can access and use your space, the more likely you will be to use it. This Computer Office Desk isn't unlike mine in some ways. It's just big enough for my work that has to do with audio. I have my speaker stands on either side of a compact & dedicated space.

Recordable CD's or Recordable DVD's – occasionally you will have a client who wants a demo CD, or a project burned to CD/DVD and shipped to them. You may also find an agent or casting group that doesn't want to be emailed demos, they want them on CD's. So make sure you can make your own CD’s or DVD’s. I recommend buying the CD’s in packs of 25 minimum, and you can keep just a DVD or two around in case you need it. If you really want those CD's and DVD's to shine, you could even pick up an Inkjet Printer that prints directly to printable CD's and DVD's.

Flash Drive aka Thumb Drive – What if the Internet goes down and you need to get a file to a client?! Keep a thumb drive handy and you can go to a friend’s house, library or right to a client if they are nearby. I've even heard of some printing their logo , name, phone number and email, with digital contact card and demo on these as giveaways. While it might be a bit pricey - the client will likely use it or pass it on, and keep you in mind.

Home/Office Surge Protector or Outlet with Remote Control . In a prior post we talked about power conditioners. These are great, protecting your equipment and potentially extending it's life. So why am I know saying get a surge protector? Simple - they have a nice switch on them that allows you to turn all the power on and off. Why is this important? Any gear that you can't easily turn on is a potential excuse you will use to not do work. The electrical outlet with remote seems silly, as is normally used for Christmas lights, but is perfect for that hard to reach outlet. It gives you a great way to power everything on at the push of a button. Just hang the 'fob' on your desk and 'presto' - you're ready to go.

Thanks for following along!

Coming up next week - we'll talk about developing an 'Elevator Speech',  why it's important to have one and how not to throw a very forgettable sales pitch at a client.

Mel -Your Audio Pro

As we approach the final entry in our Home Studio Equipment Reviews and Recommendations Series, it's important to stop at Part 9 - External Hard Drives. Also known as Hard Disk Drives - we'll just call them "HDD" from now on.

So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

[EDIT] First very important to point out, if you have a desktop/tower, much of this can be done with an internal HDD so you aren't writing to the drive with the OS, however the vast majority of those we work with setting up home studios do so with a laptop, or the odd Mac mini, so we wrote this with that perspective in mind[EDIT]

Why is it important to have an external HDD? Not only will this free up your computer's internal hard drive, give you portability and flexibility in your recording environment, it may be *required* by your DAW Software. We're talking about ProTools, in case you haven't read the instructions that came with your software. Even if you don't use ProTools, an external HDD can be a real necessity - a life saver even. Keeping your files stored on an external HDD gives you easy access, and keeps a client happy, if your computer is unexpectedly out of commission and the file you sent was lost or accidentally deleted (happens at least a few times a year). 

So what is it about an external HDD that make some recommended, and others not? There are a number of considerations (especially with ProTools) that you will want to know first. Already know - go see the full list in our Store.:

1) Is it large enough?
    If you are just looking to store files, or backup your computer's internal HDD, then you're in luck - that's easily done and several HDD options will work. While I highly recommend LaCie or Glyph drives (Glyph is ProTools certified), your preference  may be different and run more in the Western Digital territory. If you are just in need of an option for automated backup, get an external HDD  at least 2-3x bigger than your internal drive - this will allow for automated programs to back up your files properly. My recommendation - buy *at least* a 1TB HDD. External HDD's are very affordable these days and audio files can be surprisingly large. While you may ultimately send the files in mp3 format, always save the originals in the highest quality (PCM WAV, AIFF or similar), then convert them to the desired format. It might be overkill, but it's come in handy several times before with clients. Just remember you can never truly 'upsample' a low quality audio file, but you can always 'downsample' a high quality audio file.

2) Is the External HDD spinning at the same speed as your internal HDD?
    The speed we're talking about is the disk speed. The two most common are 5400 RPM and 7200 RPM. It's part f the formula of making sure you're matching the disks up properly. It might not seem important, but if your external HDD is slower than your internal HDD, it may always be behind, trying to play catchup and your data may be lost in the process. Unless, of course the next question makes that moot.

3) What is the actual write speed of the external HDD vs the Internal HDD?
    You want to insure that, when writing data to an external HDD, it's going to be able to receive the information from the internal HDD where the files are temporarily cached. Without getting too technical, the 7200 is usually faster - just don't assume it will be. Insure as well that you're connecting by a means that will actually use the speed of the hard disk drive - that means Firewire 800 or eSATA (potentially USB 3.0 - though most computers only suport USB 2.0) Solid State Drives are not on this list as of yet, but keep your eye on them in the future.

4) What are the power requirements of the external HDD?
    Are you going to be working in the field? Then lugging around a generator to power your external Hard Drive might not be an option. The usual conundrum is - USB powered options don't write fast enough and Firewire doesn't power an external HDD. However, with the Firewire, there are a few exceptions. One, used by a team member, is the 'Mercury On-The-Go Pro' in 500GB, 750GB and 1.0TB.

5) What options for connecting are available/required with my external HDD?
    Several options are available  and the requirements depend on your intended use. Using a software like ProTools, that requires you to write to the external HDD, means using the fastest option available - namely Firewire 800 or eSATA (potentially USB 3.0). Anything else will not write fast enough and you may experience a bottleneck of too much data flowing through too small a connection. Again, if you're just using the drive for storage or backup - USB 2.0 will do well enough for you. Soon, new technologies, like Firewire 1394d and USB 3.0, may become standard. They promise to be incredibly fast, though some emerging USB 3.0 products have shown to be a bit less than favorable.

6) How do I keep it all organized? (this is just a bonus for you)
    Use a filing system! Many talents explain their in detail on forums - Just Google it. Below is an example of one client's folder. For me - I start off with the Client name (the computer automatically puts them in alphabetical order). In each of those client folders, is a folder for the year (2011, 2010, 2009), and in each of those a folder for a month I did work for a client. This is very useful when the client says, ‘can you do this job just like you did that one last March?’ When I no longer do work for a client, I typically compress (aka 'zip) the files move them into an 'inactive client' folder. After another 6 months I may decide to archive or delete that folder.

I name my individual files as follows: year_month_day_client_project_my firstname_mylastname.wav So a recent file is named ‘2011_06_03_Client_elearning_Mel_Allen.wav’

 I did a screenshot of an example of the folder structure for you below:

Now that you know what the requirements are, go see the full list in our Store.

For today's installment in our Home Studio Equipment Reviews and Recommendations Series the topic in part #6 is Headphones.

So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

Many people new to professional audio don't understand what a proper pair of headphones are. In fact, I've found that people who have worked with audio for years sometimes don't know how to distinguish a proper pair of headphones. Do You? Look at the headphones next to you - are they ear buds ('in ear' type) or labelled, 'Pro', 'DJ' or 'Noise Canceling'? Don't worry - it's not necessarily a bad thing. Now think about how you use them - do you love the way music sounds on them, but hate listening to audio books (or vice versa)? Do they claim to pump more bass into your music? These are some of the factors that influence your selection when you're looking for a pair of casual use headphones. However there's one simple phrase to look for when you are searching for a good pair of headphones - 'Studio Monitor'.

Why Studio Monitor? It means the headphones are intended to give you a flat response across the sound spectrum. In fact, they will typically say something or even have a chart on the box with a notation '15hz to 25Khz frequency range'. Some will be higher, some will be lower. Don't worry - you probably can't hear everything they are capable of playing. Oddly enough - price (to a degree) doesn't always indicate an identifiable difference in performance.  And just like there is no one microphone perfect for all voices, there is no pair of headphones perfect for all ears. Let's go back to price. What price often does determine is the level of comfort, portability, appearance, quality of materials, name recognition and even life of the product.

So why did I mention to stay away from the ear buds, Pro, DJ or noise cancelling headphones? The ear bud style headphones will often lead to ear fatigue or discomfort (unless they are custom fit). The Pro, DJ and Noise Cancelling headphones typically 'color' the sound. Pro and DJ styles often add more bass and change the treble and mid tones of music. Mix on a Pro or DJ set of headphones and you'll find that everything sounds good on those headphones, but, when listening through standard speakers, it may sound very thin or unexpectedly muddy. Noise cancelling headphones are simple - they actively change the sound based on any interference, the same technology that allows you to hear music while on an airplane or train is what makes these unreliable for mixing.

So what to choose? Well, there are many more choices in our store -  but I'll share with you some of those options below that I know have worked well.

The ''Low End', 'Mid Range' and 'High End' distinction are not to say they are the lowest or the best, just a range with the average budget that clients have come to me with. You may decide your budget allows even more - and I will assure you there are options to suit you.

Low End:

For decent comfort, good sound, doesn’t allow much sound in or out. Some replaceable parts. The Audio-Technica ATHM40FS Precision Studio Headphones deliver clean audio and at about $50-60.

For good comfort, good sound and editing in more open environments.  Some say they are better than other low end, others disagree and say you're paying for the Sennheiser name. However, the Sennheiser HD-280 PRO Headphones seem to deliver between $80 - 90.

These are a bit of a quirk. People seem to love them or hate them. they are decent in their comfortable, clarity and collapsible. They even come with a soft bag for transporting. Caution - if you love them you won't want to use anything else. The Sony MDR7506 Professional
comes in at about $80-90

Mid Range:

Standard equipment at many recording studios/radio stations for great musical range, allows airflow for extended wear comfort – good for quiet home environments and studios they are my personal all around favorites: The AKG Acoustics K-240 Semi Open Studio Headphones have a good overall balance of price, clarity and comfort all for about $100

High End:

As you would expect we start with a set of headphones that is a step up in comfort, quality and appearance. These, like many high end headphones, have some replaceable parts to insure they will last you some time. The Audio-Technica ATHM50 Studio Monitor Headphones with Coiled Cable delivers it nicely for about $160

Again besting it's little brothers in several areas, these are comfortable for long periods of time, again have several replaceable parts and are good for areas where there might be distractions or in a bit more of a noisy environment. The Sennheiser HD 380 Pro might be right for you and cost about $190

Better Comfort, better sound and again doesn't allow much sound in or out. Several Replaceable parts make these last a long time. You'll often find these are labelled 'hands off' in broadcast studios as the owner doesn't want to share.The AKG K271MKII Closed Back Circumaural Headphones delivers all of the good of it's little brothers and makes it better for about $160

Now - like all equipment, you can spend as much as you have available for a lovely set of headphones that are hand built, have wooden ear-cups and a guarantee for comfort, etc. I hope you're able to add those to your collection some day. The sets I've shown you, however, should carry you into a new world of audio clarity. A word of caution, if you listen to your CD's with these or similar quality headphones - you may not want to use anything else. You'll hear what I mean if you do!

Stand by for next week's installment in our Home Studio Equipment Reviews and Recommendations Series for some discussion on what is commonly called 'Sound Proofing'. I prefer to call it Acoustic Treatment or Sound Management and it should be some fodder for great discussion.

Until then, onward and upward!
Mel

Time for another installment in my Home Studio Equipment Reviews and Recommendations series. Today, in Part #2, we're talking computers.
So here's the list; In the order of importance as I see them they are as follows:

1. Microphone
   
2. Computer
   
3. Audio Interface
   
4. DAW Software
   
5. Power Conditioner
   
6. Headphones
   
7. Acoustic Treatment
   
8. Studio Monitors (speakers)
   
9. External Hard Drive
   
10. Cables & Accessories

First - I had some feedback in regards to the microphone section, so I'll cover that before we talk about the second most important piece of equipment, the computer in your studio.

The questions I was asked were mainly along the lines of , "How do I 'demo' a microphone?" There are many options available, especially if you are in a metropolitan area. Many businesses rent AV Equipment - and mics are something they may have available. If you have a friend at a local radio station, that's another possible option - I recommend bringing a laptop, interface and XLR/mic cable with you to insure you're bypassing all of the compression, de-essers and limiters that are likely in the mix. Music stores are another option, many will let you rent or demo a microphone either in house, or at yours, so long as you put down a deposit. Call your local studios. It will cost you, sometimes as much as the lower end microphones, but you can rent a studio out, and test their mics. Tell them you want to test a variety of mics, bring in a short 15-20 second script and read it with each microphone. If you stumble, do it again. Try to keep your reads as similar as you can. Pick the microphone that captured you the best. Many studios have a partial list of microphones available on their website, but ask if you don't see one as they may have it available. Lastly, only because it takes time, build yourself a network of other talents. If they have one, maybe you can borrow it or arrange to test it.

2 – Computer – Mac or PC? This is a big argument to get into - so I'll tell you that your preference is the most important.  The bigger question to ask yourself is, "Do I want a workhorse for all around use, or just a computer to record with?" Sometimes, an inexpensive computer, loaded with RAM and outfitted with a large 250-500GB Hard Drive (that isn’t used for emailing, surfing the web, etc.) can be better used than a top of the line computer, which you want to use for everything and can eat up much of your budget. Many people ask, "What do you use?" It's a valid question, until you realize I may be doing very different things with my computer(s) than you will be. The answer, though, is both. I have mainly PC's in my house, but one MacBook and one Toshiba laptop. I use them for different types of work, and love them for what they each do. The Toshiba laptop I have, though, cost about $600 less than the MacBook. Also - don't forget about used and refurbished. Craigslist.org, again, is a great site. If you haven't used the site before, look over the 'scam warnings' and such. My rule - ever buy anything from Craigslist 'online' or have it shipped. Only buy it in person, only meet with other people present or on neutral ground, and always make sure it works before you pay them.

Ok, on to the personal computers that started the great debate!

Macs - The true benefit to Macs is that they are ‘all the same’, they all (except the Airbook) are designed to meet a series of minimum standards. This can be a very desirable thing because, no matter which model you have – if it can run the more recent updates – it can run any Mac software you throw at it. However, Mac’s are expensive. Why? Well - all the parts are built and tested to meet the minimum requirements of Apple before making it to final assembly. This is the biggest reason people who use Mac's love them. It takes a lot of the questions out of the process, but you pay for the convenience. Many people, funny enough, find Mac's much more intuitive once they learn how to use them. One computer in the Mac lineup of particular note is the Mac Mini. Quiet, powerful and extremely compact - it's a great fit in a studio.

PC – The more affordable option, at first, are PC's. Most PC’s are capable of running the same software you find on Mac's (with a few specific exceptions), however as tens of thousands of companies manufacture parts and build PC’s - the parts are not all tested to meet minimum requirements. As a result, you can have issues – especially with inexpensive laptops & desktops. Depending on which DAW you will use, you may need to modify or apply updates before the software will work properly. I caution people to do their homework prior to buying a PC, especially if it's one of the very inexpensive ones, and make sure the store has a good return policy. Many 'Big Box stores' charge you a fee to restock computers. I know several people who bought a $300 laptop PC only to find the sound card isn't capable of handing off control to an external device - ruining any chance of using it for audio. So why do I recommend PC's - well if you have a $1600 budget for your studio, and you bought a $400 microphone, a MacBook takes up the rest of your budget. Doing some homework and buying a $600 PC means you still have $600 left over for the interface, Digital Audio Workstation (DAW) Software and (perhaps) the rest.

In both cases, at least 4GB of RAM is recommended. If you need more for your computer, Crucial.com is a good website to find memory for your specific computer.