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BOSS Audio: Top Tips for Great Audio – Part 2

This episode could be the best thing to come out of 2020, a second helping of the best tips for BOSS listeners! Anne and VO Tech Guru Tim Tippets talk about the importance of getting to know your tools to help you run an efficient business and connect with clients. Learn why it’s vital to backup external drives, which technology delivers the fastest performance, and why adding video capability to your studio can take your recording sessions to the next level. Check out the episode now to rock your business #LIKEABOSS.


Quick Concepts from Today’s Episode:

  1. You should have in-depth knowledge of every part of your studio and business – including your software and your hardware

  2. Don’t skimp on audio equipment when you’re first starting, buy the highest quality equipment you can afford. Consider it a business investment

  3. Quality equipment will usually last longer and be more dependable

  4. You should hardwire your computer to the internet for reliability

  5. Some computers require adaptors and special cables to hardwire into your internet

  6. In today’s work from home world, video is a valuable communication tool

  7. You can easily add video capabilities to your home studio. High-quality webcams start in the $99 range

  8. It is beneficial to know how to use Zoom, Skype, Source Connect, and/or ipDTL

  9. Be aware that these programs might not automatically default to your professional microphone

  10. Know how to switch audio inputs

  11. Always record at the highest quality levels possible within reason. Common recording speed is 48K, and 32bit quality

  12. Always have a back-up of your original, raw audio

  13. If you let your local drive run the software, and you let your external drive carry and process the audio, your system is going to run smoother

  14. Make sure you backup and archive completed jobs 

  15. Be aware of your physical and emotional state when recording your audio in case your need to do pick-ups later 

  16. Don’t let social media distract you from times that you could be marketing

  17. If you’re posting controversial opinions on social media, you could be alienating potential clients

  18. The internet is forever.

  19. Screenshots can be taken at any time without your knowledge or approval

  20. Hydrate. Hydrate. Hydrate. Your body takes time to absorb liquid, so you must always stay hydrated ahead of time

Referenced in this Episode

Direct links to things we brought up ++

  1. Keep organized by using Evernote

  2. Here’s the adaptor how to use thunderbolt to connect your mac to the internet

  3. Learn more about audio by taking Tim’s Courses!

  4. Hear more about tech with Anne and Tim here

  5. Recorded on ipDTL


>> It’s time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry’s top talent today. Rock your business like a boss, a VO BOSS! Now let’s welcome your host, Anne Ganguzza.

Anne: Hey everyone. Welcome to the VO BOSS Podcast. I’m your host, Anne Ganguzza, and I’m here today with the one and only audio tech guru, Mr. Tim Tippets. I’m so excited to have you here, Tim, and I’m gonna miss you when you’re not here anymore, just saying.

Tim: That’s sweet.

Anne: It’s true, it’s true!

Tim: That’s very sweet.

Anne: Well, you know, our last episode, Tim, we talked about some topics, what I like to say, our, some of our top tips, at least for this year, what’s on our brains right now, things that can help out our BOSS listeners out there. And we had so many tips that we decided to do a part two, so…

Tim: Yes, we did.

Anne: This is gonna be our, this is gonna be the start of our part two tip, and I think you wanted to reiterate one of our last tips.

Tim: Oh yeah, yeah. Actually I wanted to qualify something —

Anne: Ok.

Tim: — that we were talking about, you know, about overburdening resources. So I have been getting so many emails lately that I’ve been asking, you know, coaches like yourself, if you refer someone to me to reach out to me via text, anyone that I’m working with in real time to reach out to me via text because I’m getting just absolutely murdered with emails. And so to make sure that I’m not, you know, missing those emails or anything like that, and plus stuff goes into junk mail for no reason.

Anne: Sure does.

Tim: All sorts of crazy stuff happens. So I just wanted to qualify that, that for anyone who I have specifically asked, to text me. Those statements were not for you. [laughs]

Anne: I think —

Tim: Just wanted to clear that up.

Anne: I think there is always that like path when we’re really, you know, when we are really there, want to be there for our students, and we say go ahead and text.

Tim: Yeah.

Anne: We would not say that without meaning that.

Tim: Right, exactly.

Anne: For sure, for sure.

Tim: So I think, I think when we were finishing up the last round, we were going to get into getting to know your tools very well.

Anne: Ah yes. [laughs]

Tim: I think that’s what was up next. And that includes, when we say tools, we’re not just talking about your microphone, your interface.

Anne: Right.

Tim: We’re also talking about software, we’re talking about integration of any sort of accounting program you might have.

Anne: Absolutely.

Tim: You know? And so on. Get to know those things very, very well, because if you don’t know them well, a couple of really bad things can happen. One is you are creating a ton of inefficiency, right?

Anne: Yup, absolutely.

Tim: You get back into it, and you’re like, “ok, where was that again?” Right? And you know, who needs that, right? And also in the middle of a session, we definitely don’t need to try to figure out how our mic stand works in order to get it in the right position or whatever.

Anne: Absolutely. Or which cable goes where. When you have to move fast and get yourself back up and running and change out that interface, oh my gosh. Where does the — ok, is this a USB connection? You know, how is — is this an XLR cable? What is it and where does it go? In the past, Tim, I used to take pictures. Because I wasn’t familiar. I’m not an audio engineer. When I got my first piece, my interface and my microphone, I, I literally took pictures so that I knew where cables went, and I labeled cables, and settings on my interface, that was so important, Tim. I had like — ok, I worked with an engineer, and they said this is where your gain, your input should be, and this is where this should be. And so I took a picture, and then saved that picture so that in case, you know, somebody ever moved a knob, or you know, the cat stepped on my audio interface, I knew where that went and where it, where I need to put it back.

Tim: That is super smart. There is an app that I recently got into maybe a couple, three months ago called Evernote.

Anne: Oh yes.

Tim: And you can access it online.

Anne: Yup.

Tim: You can access it through your tablet, through your phone, etc. What’s really cool about this program, if you buy the premium, which I think, I don’t know, they charge me like $7.99 a month or something like that, totally affordable. What’s great about this program is that if I do take a picture of something, and then I put a note underneath it, like let’s say where that cable goes or whatever.

Anne: Yup.

Tim: What’s great about Evernote if I put in one word, it’s going to bring up everything that I’ve ever written, every picture that I’ve ever taken that has to do with that keyword.

Anne: It’s super helpful, yes.

Tim: Oh, it absolutely is.

Anne: Yep, absolutely.

Tim: It’s no different than when I’m writing melodies for a song, you know, because I compose too. When I’m in the car, and I don’t have anything to record on, I will open my Voice Memos, and I will hum or sing the part or the drum beat or whatever, and that has been an unbelievable resource for me to be able to just go back and you know, “what was that again?” And that’s a super, super efficient way to, you know, keep on track and not have all of your bandwidth taken up. Because we live in an age of information overload, you know, as it is, between Facebook and Instagram. For those of you who can’t, you know, help but “oh, what’s happening right now, you know, on social media,” we’re already so involved. I suppose that’s another tip, by the way, is to try to stay off of social media as much as possible.

Anne: [laughs] Yeah.

Tim: And waste time.

Anne: In terms of —

Tim: Yeah.

Anne: In terms of—

Tim: If it’s business, that’s one thing.

Anne: That’s different.

Tim: It’s so easy to get sucked into the social media black hole, right, that before you know it, you’ve spent two hours in there, and you could be marketing. You could be auditioning, etc.

Anne: And you know lately too, Tim, it’s gotten to be a different landscape out there, and I think that, you know, with the times and you know, the politics and the craziness of the pandemic, it has probably, in certain cases, not been a good thing for people to be connected to social media, because it’s affecting their mental health. And I —

Tim: And their relationships, and their relationships, because they are giving their political opinion very forcefully a lot of the times, and creating — you know, you’re losing half of your audience right there.

Anne: Yeah. And so, yeah. [laughs] That was a tip that just happened, by the way, for you guys out there. This is your other tip.

Tim: People have this idea that, you know, people in our business are a certain way politically or whatever, and so they can say whatever they want, and everyone’s going to agree with them. And I don’t talk about my political affiliations either, whether I have them or a lack of them, because you know, human beings are human beings, right? And that’s the way they should be treated. And politics really shouldn’t come into play. The reason I don’t post about politics is because, number one, I’m going to get blowback, ok, and that’s — and then I need to respond. And it, after all, it’s just an opinion as well, right? And so you know, on the other end of that, you kind of need, when people are giving their opinion, is kind of give them some room, even if it irritates you, it’s freedom of speech.

Anne: Well, we —

Tim: They are speaking their mind.

Anne: We could have a whole podcast about just that.

Tim: Yeah, we could.

Anne: And technically speaking, a screenshot can be taken at any given time, no matter what group you’re in, whether you think it’s closed, whether you think it’s private, whether you think they can’t see, it’s all in the ethers. That’s all I’m gonna say about that.

Tim: I did that once, when we were in a group, I did that once, and right in the middle of stating, “at any point in time, a screenshot,” and then I took a screenshot of me saying that, can be posted and guess what, it lives there forever. I was told, well, this isn’t, it’s not my business page or whatever, so I don’t need to worry about it.

Anne: Yes, you do.

Tim: I asked the question, “well, have you ever worked with a producer or anyone like that, and you end up being Facebook friends with them?” “Yeah, of course.” I go, “Congratulations. Your personal page is now a business page.”

Anne: Yeah, absolutely.

Tim: So you know, anyway, be careful with that stuff.

Anne: Good advice. Hey you know, speaking of not knowing where to plug the cable in, unless you take a picture, right, and you know your stuff very well, which I think is just — know your stuff, keep notes on it. But speaking of equipment, right, I think it’s also a good thing to really, when you’re purchasing equipment for your business, make sure that it’s quality equipment. I know that this may sound like — people can say “you can build a home studio for cheap,” or “you don’t have to spend a ton of money on your microphone,” but I think we also covered this a little bit in a past episode, Tim, that quality, you get what you pay for.

Tim: Yeah, you do. And you should, it’s an investment. I know that we’ve talked about this before. But just as it is when we’re talking about buying a Mac, this is something that people say again and again and again, buy as much Mac as you can afford at the time.

Anne: Yup.

Tim: Because Macs are notorious for lasting a very long time. I gave my son recently, I gave him my 2013 MacBook Pro, and the thing’s still humming along.

Anne: Oh, I still have a 2012 that’s amazing. Back when they —

Tim: Exactly.

Anne: Back when they, Tim, by the way, I wanted to make mention of this when we’re talking about hardwiring, back when they actually had an Ethernet port in the MacBook Pros, that was 2012. I think that was the last year that they did that. And then they just started with the new connection, and the Ethernet wasn’t as important anymore. Well, I’m here to say, it still is very important, and you can buy adaptors that have Ethernet connections on them. And that is something that you still have to go and buy. That is your quality equipment that’s going to have you, going to help you have a quality connection to the Internet and to your clients, and thus, thus deeming success all around. So.

Tim: Yeah, and not to sound like a fanboy of Macs, because I am, and I used to build Monster PCs —

Anne: And I’m a fangirl. [laughs]

Tim: Yeah, and I used to build Monster PCs, and I get it. You can’t change things out and all that. But it’s made my life so much easier, the integration.

Anne: Oh my gosh, me too.

Tim: Yeah, between my iPad and my iPhone, and everything just works and is dependable, etc. But the Thunderbolt 3 technology is way faster than the USB-C technology. And even though they’re the same cable, the technology itself is four times faster, the Thunderbolt 3, than its nearest competitor. Ok? So when we’re talking about porting into Ethernet or to hard drives and whatnot, the capabilities that the Macs now have are absolutely phenomenal. I mean, when I’m running video out of this program After Effects, I have here on my desktop a 2015 5K 27-inch Mac, which is still running just fine. It’s got 40 gigs of memory. It’s great. I bought a 2019 MacBook Pro, 16 gigs. When I’m porting out into my hard drive and I’m rendering, it just kicks my desktop’s butt. That’s how much these things improve over time.

Anne: I think we’re like soul brothers and sister here, because —

Tim: Yeah.

Anne: — because when we’re talking about buy, you know, buy the quality equipment that you can when you’re starting out, I mean, it doesn’t stop with my microphone or my interface, it goes right to my computer. Because again, that’s, you know, it’s also hosting my accounting software. It’s also hosting my Zoom connections, that computer. The better, the more that I’m investing in my computer, the faster it runs, the better it runs, the better connectivity, the more dependable it will be, and it just, all around I will be more efficient in running my business, so.

Tim: And the same, the same can be said for microphones and other equipment. You might see someone say, “hey, the preamps on this less expensive interface are, you know, just as clean as the ones on this more expensive interface, and so why wouldn’t you buy that?” Well, for the same reason I only buy Mogami cables. I pay $60 for a 10-foot or 15-foot Mogami, you know, cable, but it’s quad shielded. I’ve got one here that I have had for like, what, 12 years now.

Anne: Right.

Tim: And I’ve said this before in a previous podcast. I’d rather pay, you know, twice as much for a cable that’s gonna last four times longer.

Anne: Right.

Tim: The same can be said for an interface, for instance.

Anne: Yes. Yes, agreed.

Tim: Let’s say that the preamps are just as clean in the $150 version versus the $600 or $500 version. However, my last Apollo that I had I left on literally more than 99.9% of the time.

Anne: I remember you telling me this.

Tim: Not turning it off. Yeah, not turning it off, ok? And that Apollo Twin just hummed along for like seven years without giving me any problems whatsoever, ok? My 2i2, the first one that I bought, within the first four months —

Anne: Oh my gosh!

Tim: Turn it in for repair.

Anne: I had to do that twice!

Tim: Nothing, nothing against them, ok, because the 2i2 is a great option for starting out.

Anne: It sure is.

Tim: You know, it’s affordable, etc. But that being said, if you can afford to get yourself some really good equipment up front, again, we’re not talking about going out and buying a U87 and filling your studio with the highest quality equipment possible. Because if you’re new to this game — maybe you do that if you’re a pro and you’ve been around awhile.

Anne: Right. Exactly, exactly.

Tim: But if you’re new to this game —

Anne: And you’re not sure that you’re gonna stay in the game, right?

Tim: Well, because you never know.

Anne: It’s true.

Tim: This is a results based business.

Anne: Yep.

Tim: You don’t know what the trajectory is going to be exactly until you get things such as the market giving you feedback on the type of work that it wants from you. That alone takes a bit of time to figure out so that you are auditioning for the right jobs, right? You’re going after the right ones, because you know what the market wants from you. Ok? And as you succeed, as you do begin to understand those things, and you are executing at a higher level because you do have the right equipment, and it’s lasting, and it’s not dying in the middle of a session, or you have that backup in place, and you’ve been able to get to that point where you are getting those higher paying jobs, well, when you do get a $5000 job, let’s say, that would be a good time to do a next level on your equipment, let’s say.

Anne: Absolutely, absolutely.

Tim: That’s the way it should be, so.

Anne: Speaking of equipment, right, I wanted to touch base about things we don’t necessarily think about that would really enhance our business in terms of investing in equipment, would be, and this I found to really help me, is to invest in a good, like, add video capabilities to your studio.

Tim: Absolutely.

Anne: This allows a connection with your client that, you know, especially now I think is super important, when we’re doing a whole lot more from our home studios, and we have clients who may be used to directing us in studios or going to the studio. Now I think it gives an element of trust, right, because they can see us when we’re performing, they can see our face, we can see them. And I think it just sets the, I don’t know, sets the tone for a more connected client, you know, business relationship.

Tim: It definitely does. I’ve created relationships with people. Andy is a good example, Andy Field. He and I had gotten to know each other for, I don’t know, maybe a year and a half, something like that, and we met at Voiceover Atlanta for the first time ever in person. And it wasn’t like this big hug type of thing. It was like, “hey man, how are you doing,” because we knew each other so well, it was as if we had been there together in person the entire time.

Anne: Yeah.

Tim: So there was no like, “hey, it’s great to finally get to know you in person, right?” And not only that, but we miss so many visual cues when we’re communicating —

Anne: Oh, isn’t that true?

Tim: — if we don’t see someone’s face, and we see this in text all the time. We see it again in social media posts, right, where what we’re reading was not the actual intent. Because it’s difficult to pick up all of those nuances. The video thing is great, love it. Love it.

Anne: I don’t think, I’m not gonna say it’s a requirement, but it sure is a nice bonus for relationship building. And even during the pandemic, when we are all sick of Zoom sessions, trust me, a Zoom session is better than, sometimes, than not being able to see a visual cue or, I don’t know, have that back and forth connection.

Tim: Yeah, it can make a big difference, it really can. I think next on our list, we had always record at the highest quality levels possible.

Anne: Oh gosh, yes, yes.

Tim: Within reason. Alright, so within reason would be like 48K, 32-bit or 24-bit, something like that. But what you want to do is when you record, you want to save that as a raw file. What I do is I actually put the word “raw” at the end of that file when I’m saving it, ok? Then what I’ll do is I will immediately save it again as the original name of the project.

Anne: Yes, very important.

Tim: If anything ever goes wrong, like computer crashes, it dies, whatever, that raw file is always there.

Anne: Yep, and you have the original to go back to. So important. It’s immediate. Like I open, then save, then save a backup.

Tim: Yup, yup, and you were talking about cloud storage earlier.

Anne: Yes.

Tim: What I like to do is this, and I think you do it a little bit differently. I guess we can both talk about how it is that we go about doing it, but I will keep that raw file local until I am actually paid for that project. And then I will delete the raw file, and then I will take the finished project, and I will upload that to the cloud. But I think that you actually upload the raw to the cloud as well?

Anne: Just as a backup. So for my client, I save the raw file locally, and then I have an automatic backup which backs up my entire drive to the cloud.

Tim: Oh right, you’re synced, you’re synced to the cloud already.

Anne: Yup, I’m synced to the cloud. I also have a backup software that backs up to the cloud. I also have, not only do I have a backup to the cloud, but I have a backup that goes to another local disk. I have mirrored discs.

Tim: Ok.

Anne: So that means I’m always working on an external drive or the cloud. I’m not working on my main computer space, because there’s so many times where my computer just, you know, if something goes wrong, and I’ve got to reformat or reload the operating system, then I don’t have to lost any work, so.

Tim: Well, that’s a really good tip that we’re kind of water-shedding here a little bit, because you made me think of something that’s very important, and that is that you should have exterior drives.

Anne: Oh yes.

Tim: For your computer whenever possible. Now in your configuration, what you just talked about the backup, the mirroring is what’s called the Raid setup, right? It’s the Raid mirror, right?

Anne: You know what? I do it so simple. Yes, I understand a Raid setup, and it used to be a thing like when I worked in IT, and we would have Raid systems, and we would have automated backups that would happen incrementally and full backups, but mine is super simple. Mine is, I have a, I have one those AC external drives, which I love, I have on my Apple, and I bought two of them. So literally all of my work, no matter I do, goes on that drive. Then I have a very simple piece of software called Sync that basically syncs the two together. And it’s simple as that.

Tim: Right, right.

Anne: It’s the oldest software in the world. It’s free. but it works, and it simply just mirrors my drive, and I also have a backup software that automatically backs up to the cloud. So I really have two backups so I’m never without my work.

Tim: That’s awesome. Well you know, I know that we keep talking about Macs here.

Anne: I know.

Tim: I hope we’re not losing half our audience by doing that, but since we’re on —

Anne: You could do the same thing with a PC. It’s just, it’s very simple.

Tim: No, no, no, definitely. But one of the things I wanted to say about backups is Time Machine, which is a program inside the Mac which is awesome, definitely do Time Machine backups on your external drives. And also the external drive is great for handling your actual files versus keeping them on your local drive, because if you let your local drive do the job of running the software, and you let that external drive do the job of carrying and processing that audio, your system is gonna run much smoother.

Anne: Oh yeah, good point.

Tim: Not only that, not only that, but if you do have all of your files on that external drive, well now you can take your laptop and everything that you have, that you need to work on, edit, etc. on the road —

Anne: Yup.

Tim:— instead of your entire computer.

Anne: Absolutely. I just take the drive.

Tim: And you don’t have to worry about — yeah, exactly, I do the same exact thing.

Anne: Yup.

Tim: And now the idea behind having the external drive process your audio, there’s this thing known as caching, right. C-A-C-H-E. And basically that’s just this temporary area for the software to store the files or record them, etc, because we don’t really think about this. Well, while we’re recording right now, since it’s not an actual file yet, we haven’t saved it, where is it being recorded? Where is it being stored, etc., right? So in these areas, in these cache areas, if you don’t know about, anything about that, just look it up on Google, for like Audacity and cache files, etc., because it will run a lot smoother, and your system will be more stable.

Anne: Yeah.

Tim: Ok, so external drives are huge.

Anne: Quick point back to that raw file that we’re saving, the raw audio file, I can’t tell you how many times a customer or client has come back to me maybe a year or two later and asked me to do another take on something, or they’re going to add to the material. So they need me to do the job again. I need to go back to the original raw file that I have. It definitely helps me to understand where I was, what equipment. By the way, when you’re naming those files, right, you should name the file with the type of equipment that you used as well —

Tim: Yup.

Anne: — in the file. Besides “raw,” it might be like 416, or did you use your TLM 103? That will help you to remember in case you have to go back to that file and then do a pickup, or do some new stuff.

Tim: Yeah. And the same should be said for creating presets, if you’re creating effects racks specifically for a certain job.

Anne: Absolutely.

Tim: What I do is I keep a Word document in the file there, if I changed anything. Like when I introduced the Nissan Rogue, they had me on a different mic, and I was doing a different type of read, completely different from what I normally do. So I had to take notes because I was using different EQ, and different mic, and all that stuff. They took the three that I did, and they did a split into five, so I had to do some pickup work. And so thankfully when I did it, I was able to go back to my notes, see exactly what I did, send it in back to them, and they said, “my God, it fit right in there.”

Anne: Yup, yup.

Tim: It sounds like the original session. I go, “yeah, I’m good at duplicating myself,” or whatever, doing an impression of myself, is what I said. Anyway, to come full circle, the reason that you want to record at the highest quality, highest quality level possible, is because when you’re exporting, if you do export into an MP3 format or whatever, that’s fine. But what if the client got it wrong, for instance, and said well, actually, I just talked to the producer, and they need it at 48K?

Anne: Right, right.

Tim: Because a lot of like video game, videographers, they have this idea that 48K is just so much better than 44,100, and so you don’t want to be in a situation —

Anne: And you can’t go backwards, right? You can’t save it at 44 and then try to produce — you know what I mean?

Tim: No.

Anne: Save it at the very highest, yup.

Tim: I have seen it online where people say just up-sample it, and no, it does not work that way.

Anne: Yeah, no.

Tim: No, and they can definitely tell. You can’t just take an MP3 and then just, you know, upgrade it to 48K. It doesn’t work. Anyway, just to come full circle on that, why you would want to record at the highest level possible, that’s why. That’s what you want your raw file to be. Is it going to take up more space? Yeah.

Anne: Yes. [laughs]

Tim: Might it save your butt? Has it saved my butt and lots of other people’s butts? Yes.

Anne: Oh my gosh! And space is so darn cheap these days. Speaking of being, you know, coming back to a project a couple years later, I think that you have to be hyper aware of when you’re recording audio. This is not — ok, so we’re thinking, are these audio tips? This is also a performance tip as it relates to your audio. Be aware of your mental state, physical state. Are you tired, are you stressed? You know, or are you happy or whatever it is while you’re recording your audio? And I’m sure I’m not the only person that’s going to say this, I’ve been in the studio recording something, and then the next day I’ll listen to what I recorded, and I’ll be like, what?

Tim: Yup.

Anne: You know, I —

Tim: What was I thinking?

Anne: What was I thinking? I could have sworn that sounded so great when I recorded it, but then if you’re, if I’m over tired, a lot of times that affects our performance. It affects our voice. When we’re stressed, our pitch tends to go up, register higher.

Tim: Yup.

Anne: Be very aware. I think the way to get to know yourself, get to know your body, is to just continually change times that you’re recording, if you have that luxury. If you can record in the morning, how are you in the morning? If you record late at night, are you better at night? Get to know your body so you know how your recordings sound, your audio sounds.

Tim: Have a ritual in place, so whether that is stretching, or breathing, humming in the morning, that’s one of the things that I do in order to get my voice —

Anne: I breathe.

Tim: — in order to get my voice, yeah. In the morning the voice is extremely deep. It’s too deep.

Anne: No, Tim. No! [laughs]

Tim: Well, I mean everyone has that, when they wake up in the morning and their voice is down here, right?

Anne: Well, mine’s not quite that low. [laughs]

Tim: I’ll do my exercises, etc. And I go through my ritual and you know slap myself in the face a few times, whatever it takes, right, to get yourself prepared so you are in tip-top shape. And part of being in tip-top shape, by the way, is making sure you are hydrated.

Anne: Oh yeah.

Tim: Being hydrated is not, ok, let me go grab some water real quick before I voice. That’s not how it works.

Anne: Yes.

Tim: Your body takes time to absorb that water —

Anne: Absolutely.

Tim:— or Gatorade —

Anne: Like hours.

Tim: — whatever it is.

Anne: Sometimes.

Tim: Yeah.

Anne: Hours or you know, a day, overnight sometimes.

Tim: Right, right, etc. And so you know, people have a lot of problem with mouth noise, and a lot of times it comes down to them not being hydrated. And they’re saying, well, I drink plenty of water when I’m voicing —

Anne: Yes.

Tim: That’s not gonna get it done.

Anne: Drink it before you voice, and drink it after you voice, and just continually drink.

Tim: Yup, yup, yup.

Anne: Good stuff —

Tim: And it’s good for you anyway.

Anne: That’s right. Good stuff.

Tim: Drinking water is good for you anyway, so.

Anne: [laughs] Wow, Tim. That was an amazing set of tips.

Tim: Well, they were tips.

Anne: They were tips.

Tim: I hope they, I hope they help people. That’s the whole idea here.

Anne: Guys, let’s use these tips if you can for, you know, making your business better, become a stronger performer, and have a really kick-butt 2021, because you know, we’re all looking forward to that, for sure.

Tim: Yes, please. 2021 cannot come soon enough.

Anne: Yay, yes.

Tim: 2020, goodbye.

Anne: Yeah.

Tim: [laughs]

Anne: Well, Tim, it’s been amazing, and I’m gonna give a great big shout-out to our sponsor, ipDTL, that has allowed me to connect with you and really have this discussion about these amazing tips for really improving your performance and your audio, for 2021 and beyond.

Tim: Love it.

Anne: Thanks so much to ipDTL. If you’d like to find out more, you can check them out at You guys have an amazing week, and we’ll see you next week. Thanks, bye!

Tim: See you, guys.

>> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to Coast connectivity via ipDTL.