Embrace the Power of Practice

The Definite Solution to Overcoming Presentation Anxiety

Do you find your heart racing, palms sweating, and voice trembling every time you’re faced with the prospect of giving a presentation? You’re not alone. The fear of public speaking, often referred to as glossophobia, is a common affliction that many people struggle with. However, there’s a surefire way to conquer this fear and boost your confidence: more practice.

The Paralyzing Grip of Presentation Anxiety

Understand why presentation anxiety is so pervasive. Public speaking involves not just conveying information but doing so in a way that engages, informs, and inspires your audience. The fear of judgment, making mistakes, or forgetting important points can lead to a lack of confidence and heightened anxiety.

The Transformative Power of Practice

Imagine an accomplished musician or athlete who didn’t practice regularly. It’s virtually unheard of. The same principle applies to presentation skills. Practice is the cornerstone of improvement, and it works wonders for enhancing your confidence. Here’s why:

   1. Familiarity Breeds Confidence

Repetition breeds familiarity. The more you practice your presentation, the more comfortable you become with the material. Familiarity empowers you to navigate unexpected questions or technical glitches without losing your composure.

   2. Refinement of Delivery

Practice provides an opportunity to fine-tune your delivery. You can experiment with different tones, pacing, and gestures to identify what resonates best with your audience. As you refine your delivery, your confidence naturally grows.

   3. Overcoming Nerves

The nerves you feel before presenting stem from the unknown. By practicing, you turn the unknown into the known. You’ve rehearsed your content, you’ve handled potential stumbling points, and you’ve envisioned a successful presentation. This mental preparation significantly reduces anxiety.

   4. Enhancing Problem-Solving Skills

During practice, you might encounter challenging questions or scenarios you hadn’t considered. Dealing with these situations in the safety of practice equips you with the skills to handle unexpected challenges during the actual presentation. This sense of preparedness bolsters your confidence.

Strategies for Effective Practice

While practice is essential, effective practice is even more crucial. Here’s how to make the most of your rehearsal sessions:

   1. Simulate the Presentation Environment

Practice in an environment that closely mimics the actual presentation setting. This helps you become accustomed to factors like the room layout, lighting, and potential distractions.

   2. Record Yourself

Recording your practice sessions allows you to objectively assess your performance. You can identify areas for improvement, from body language to articulation, and work on refining them.

   3. Get Feedback

If possible, practice in front of a trusted friend, family member, or colleague. Constructive feedback can provide insights you might have missed and help you make necessary adjustments.

   4. Embrace Iterative Practice

Practice isn’t a one-time event; it’s an iterative process. Repeatedly rehearse your presentation, making incremental improvements each time. This continuous refinement is key to building lasting confidence.

Conclusion

The secret to conquering the lack of confidence in presenting lies in the timeless adage: practice makes perfect. As you invest time and effort into practicing your presentation, you not only enhance your delivery skills but also develop an unshakable sense of confidence.

Remember, the journey from anxiety to confidence begins with that first step onto the practice stage. So, rehearse, refine, and rise above your fears – because your voice deserves to be heard loud and clear.

Custom coaching sessions with Presentation Coach Ray are available.

presentationcoachray.com

“I know you can’t read this but…

…but, I’m going to put it up anyway.

And turn my back on you so I can read it to you!”

LEGIBILITY – a battle of the ages, well, at least the ages since we had slide projectors.

Eastman Kodak developed a “Legitability Standard” that principally targeted screen size vs. audience seating.

The standard was eight times (8x) the height of the projection screen (h) was the furthest viewer (FV).

Formula: 8xh=FV

Example: 4-foot high screen dictated the furthest viewer to be 32 feet from the screen.

What this never dealt with was text size.

Printing your slide/graphic on letter-size paper, and placing it at your feet as you stand up, represented the proper font size.

Message: Don’t just grab any text, booklet, spreadsheet, etc., and expect your audience to be able to read it.

In the virtual world, the issue is more acute.

Presenters have NO CONTROL over the size of the viewing surface the virtual audience is using.

Desktop computer screens all the way to cell phones are the consumption screen today.

If you like the type font on YOUR screen, print out the example above, to see if all viewers will be able to read your content.

Go ahead, try it. I dare you.

Presentation coach Ray Franklin has 30-minute appointments available to improve your presentations from graphics to eye contact. Share this with a colleague.

ray@presentaioncoachray.com

I hope you don’t have this seat at your next meeting

Who made this decision?

#AudienceAdvocate Ray Franklin knows this event was approved while STANDING in the back of the room with no audience. “Looks good to me.”

Unless EVERY meeting is dedicated to guaranteeing EVERY audience member has the same experience this will continue to happen.

When selling seats at an arena with a post blocking the view of the stage, the ticket will be lower in price and have RESTRICTED VIEW printed on the ticket.

This situation begins with site selection. Always look for high ceilings that will allow the ideal angle for hanging lights (the best is 45 degrees above the stage) and high screens. CHECK

The next step is the AV contractor responding to a client requesting a large video/graphic screen. CHECK

That is where this fell apart. The AV contractor had the option to tell the client, “In order for the screen to be at least 5’6″ off the floor, there may be an expense for different folding screen hardware and drapery.” OR the AV contractor didn’t bring it up. FAIL

The client likely depended on the AV contractor to bring up any issue that would affect EVERY audience member. Most clients are not aware of the laws of physics. FAIL

Share this diagram with anyone planning projection screens.

Basic physics

Ray Franklin, the #AudienceAdvocate and Presentation Coach consults with corporate, education, and venues on all aspects of event production.

Please re-post this to others who fall prey to poor event presentation planning.

Comments are welcome.

Why is WiFi troublesome?

Why is this result troublesome?

In a recent LinkedIn survey, the results surprised me.

Over 4,900 people viewed the survey, but only 90 responded. I guess some are afraid of surveys?

That isn’t the surprise of the survey. 

LinkedIn is a professional platform. I would have expected this WiFi dominance if the survey was on Facebook. 

Why is this an issue? When you join a virtual event, you are counting on your phone/laptop/desktop/tablet to send and receive a quality audio and video signal. 

Though many of us have experienced others with dropout video or garbled audio on a Zoom meeting, we are not aware of our signal unless someone rats you out. 

In a typical home, there are dozens of devices competing for a quality WiFi 2.4Hz signal to and from your router. 

• Microwave

• Cordless phones

• Gaming consoles

• Security devices

• Other wireless devices

https://gobrolly.com/

This does not include someone in the home watching Netflix, gaming, YouTube, or on another Zoom or Facebook Live.

Zoom says: “If you are experiencing any issue(s) with latency, frozen screen, poor quality audio, or meeting getting disconnected while using a home or non-enterprise WiFi connection, this can be due to a poor WiFi connection.”

We expect things to “just work.” We don’t update our computer security unless forced to. We certainly don’t do routine updates of our routers. 

All this and more can rob your Zoom meeting of a consistent, quality signal from you.

In this case, others should suggest you participate by phone. It may not be necessary for everyone to be another one-inch square on everyone’s computer screen. 

More from Zoom:

“￭Try to connect directly via Wired (if your internet router has wired ports).

￭ Try bringing your computer or mobile device closer to the WiFi router or access point.

￭ Upgrade your WiFi router firmware. Check your WiFi router vendor support site for firmware upgrade availability.

￭ Use a WiFi extender such as Amped Wireless or Linksys to increase the distance and strength of your WiFi signal.

￭ Use a higher-powered/long-range WiFi such as Amped Wireless router or adapter to increase the WiFi signal on your PC or Mac.”

Next time you are on a Zoom-like meeting, ask a friend how you sound and look. You will not be aware of your signal. 

Solution – If you can’t move your router to where you Zoom the most, then either ask your ISP provider to move the router so it can be closer or run an annoying cable to your router before your next online event. 

I welcome all comments.

#PresentationCoachRay

#zoom Zoom #vitural #AudienceAdvocate

Preparing for a quality meeting with remote participants. 

Executive Summary:

In 2022, meetings will often include attendees in multiple locations.

Typically, one group originates at the “live” venue with multiple independent participants joining remotely, over the Internet, using Zoom or other virtual meeting platforms. 

The complexity of the Audio/Visual setup in the live venue increases depending on the expectation that all participants have equivalent experiences.

OfficeHours.Global

The Zoom meeting is an intimate one-on-one media. 

The remote audience will expect that intimacy regardless of the host audience size and complexity.

In this tech world, though we would all like it to be different, nothing is as easy as turning on a light switch.

Backup and tech check an hour before each day’s event. Have access to tech help when you need it. 

Did I need to emphasize more about WiFi BAD? If anyone in the house is watching Netflix or Disney, the home WiFi will not be good enough for video calls. In that case, insist that remote person just joins by telephone. 

Here is an outline of AV support required for each of these options.

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Meeting with no remote participants

For this, AV support expands with the size of the “live” audience. Ten people around a conference table don’t need microphones to hear each other. They can easily share a video screen with graphics or videos. 

More than ten may require not only multiple microphones but also loudspeakers. The size of the video screen must also allow text to be seen clearly by the participant farthest away. Any lectern should not block the view of the screen for any participant.

Depending on the complexity of the presentations, technical support may still be needed to operate the equipment.

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Adding a remote audience

If all the participants only hear each other without video, the conventional telephone conference is all that is needed. All participants in all locations should be able to speak and be heard by everyone else. 

Generally, a Zoom “meeting” is an interactive, closed-loop of defined participants, each with their own camera and microphone. 

If a remote audience is expected to participate in discussions or make presentations with the live audience, considerable attention is required for the technical support. 

Zoom “webinar” – only a few designated panel members one-way to a remote audience. 

Each requires a separate Zoom license.

Regardless of “Meeting” or “Webinar” assume all participants must be equally able to hear and see anyone speaking in any of the locations, this is the “hybrid” configuration. 

Enough microphones must be deployed in the live venue to transmit quality sound to the remote audience. In turn, the remote participants must provide a microphone for themselves, usually over a smartphone, tablet, laptop, or desktop with a built-in camera or camera as an accessory (“webcam”).

Strict guidelines for good remote sound and images will avoid dark faces and garbled sound.

Each remote presenter should meet with the organizer (or producer representative)  in advance to ensure consistent internet signal, sound, and video. 

Corrections must be made in time to improve any deficiency well in advance of the hybrid meeting. Presenters are urged to avoid WiFi in favor of an Ethernet wire connected to their router.

catchbox.com

The hybrid Audio Visual system should include:

• Multiple cameras in the live venue. They can be remote pan/tilt or operated by a camera operator(s).
• A video director to switch cameras providing meaningful video of each participant and graphics at the appropriate time. 
• Multiple microphones (depending on the size of the room, considering acoustics, ambient noise, etc.)
• An audio technician with a sufficient mixing console to control the microphones, the outgoing and incoming audio.
• A PA speaker system to amplify the remote participants to the live meeting room.
• A large screen in the live venue displays the remote audience.
• In Zoom, a “Gallery View” switched to “Speaker View” as individuals speak remotely.
• A large screen increases the awareness of the originating audience that others are participating remotely. 
• Graphics should be prepared to be legible to a remote audience watching on cell phones or tablets.
• A technical coordinator to manage the remote speakers and “spotlight” them as they contribute.

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Decisions for success

• For the live meeting room, select a proper venue that has good acoustics and limited ambient noise.
• Also, allow space for a panel, production support, and additional participants that are not on the panel. 
• AV support from the meeting venue should be detailed and reviewed by an experienced technician.
• A hybrid meeting often exceeds the most venue’s capabilities and this can be determined by demanding specific “Best Practices”.  
• Internet transmission (Zoom) for all participants should not be over WiFi as audio quality and video reliability become questionable. The host venue and each Zoom contributor must hardwire to a router with a solid internet connection. If not, they should participate via phone only. 
• For hybrid events, hire a producer or consultant to coordinate the technical complications well before the event being specific about the equipment, personnel, and configuration needed for success.

Consult requests – ray@presentationcoachray.com 702-879-8177

#PresentationCoachRay

You are on TV when you are on Zoom

Are you looking at me?

I hate to repeat a headline from a previous blog, but the battle continues as I coach people to care how they appear on a virtual meeting.

Please accept this attempt, and share with others who can also benefit.

If you are the two CNBC people above, they are not only looking at the audience, but they are actually looking at each other.

Why is this important?

In a virtual meeting (#zoom) if you are looking at images of people BELOW your camera, you are only looking at IMAGES OF PEOPLE, not the people you think you are addressing.

Question: where are the other participants looking while you speak?

They can only see you on their screen. If you are also looking at your screen, and not the camera, you are NOT LOOKING AT THEM.

Rude or disinterested?

If you are not going to look directly at your audience, by looking only at the camera, MAKE A PHONE CALL INSTEAD.

#PresentationCoachRay consulting for better presentations. Share this with others.

Otter.ai translation discovery, “So, what do you think?”

Videos are easier to edit with a transcription where you can make notes, plan for assets and in my case recently, discover speech patterns that must be fixed.

With otter.ai you can now preserve a written, searchable, copy of your podcasts easilly.

So, this is not about editing video as much as it is touting the value of transcription services. In my case I have chosen otter.ai.

Otter.ai can record podcasts, video shoots, speeches and any MP4 or MP3 file you upload.

I began editing a one-take video recently for publication, only to discover I didn’t have the “umm” “ahhh” vocal fillers I train others to remove from their speaking patters.

I discovered an equally annoying “So, ….” I am shamelessly sharing the Otter.ai transcript to show you what I discovered.

Hi. So obviously, the problem is the cloud on the original mirror at first. It has developed on this Lexus RX 350. And the cost to replace the whole housing is like $300. And a little bit risky according to family friends who are in the automotive business. So I went to this outfit, and they sent me a replacement. It’s very interesting. It’s got a mirror on both sides.

Because it can be used either on the left side or the right side, they have one SKU, which is kind of smart. So the steps to make this work include the following. First we have to clean the surface. And then we have to make sure that we have it set right so it’s going to go there. So I need to clean this surface as well. They sent me these doohickeys to stick on in strategic places. So that replacement mirror will work for me. Sure hope this works.

Ray Franklin – YouTube

So, how many did you count? SIX!!

Awareness is the first step in any recovery program. Thanks Otter.ai for helping me discover my annoying pattern.

The second step is to acknowledge and confess. Done, and done.

We are our own best critics. We are not the best at discovering patterns, ticks or other annoyances until someone points them out, or you see a transcript.

I have begun every meeting, video and podcast with a Post-It note to myself reminding me of my speech pattern. This way it is present of mind before I begin.

Admittedly, I am only in Day One of recovery. I will continue to transcribe my speeches, seminars, podcasts and videos. Use CNTRL+F (in Windows) to search the transcript for your demons.

For visual distractions, eye contact and ticks I routinely watch my recording before publishing.

Now I welcome others to point out my “So’s.”

Improvement can’t be that far away. https://otter.ai/referrals/95BK63Q0

#presentationcoachray

presentationcoachray.com

ray@presentationcoachray.com

Improve every audience experience – including the worst seat in the house.

EXECUTIVE OVERVIEW

AV101 2021 Workshop Tour

What follows here is the outline of a meeting industry seminar aimed at improving the audience experience, every time.

Everyone has attended a meeting in a boardroom, classroom, ballroom, theater or arena, where the audience experience is less than positive.

What you are about to discover are notes from the Audience Advocate, Ray Franklin. He developed this presentation as a result of over 40 years with challenging venues, clients and vendors.

This is an attempt to enlighten all three groups, including Meeting Professionals International (MPI) membership and other professional meeting associations.

The workshop outline:

Segment 1 (30 minutes) – Introduction of the “audience expectation” for an excellent experience. The best practices can benefit each stakeholder in a meeting encounter.

• Audience – Once content is created, the audience wants to be comfortable, be able to see and hear content with minimal distraction. Nobody wants “restricted view” seats to a baseball game, concert or stage play. Same for effective meetings.
• Client – XYZ Corporation is investing money and expect a return on their investment (ROI). Whether the audience is employees, customers or association members, they deserve the full value of the investment.
  • Today’s audiences are avid media consumers with event demands above the casual gathering. They want to be engaged, even distracted from their cell phones. Providing an excellent environment for the event will go a long way to engaging your audience.
• Venue – Hotels sell rooms, Food & Beverage (F&B). The meeting rooms are often free of charge if there is a large enough F&B contract. Of course, the venue wants to maximize use of their available space, they should be aware of some physical issues impact the audience experience, then the client’s choice to return for another meeting. Free civic or university events should also follow these best practices.

• AV Vendor – In-house AV firms (or venue AV staff) have the benefit of “exclusive” provider of sound, lighting, AV, video and often electricity for meetings. Their ultimate client is the GM of the venue. The better AV provider is a consultative partner with the venue to support the client event. Too often the in-house AV provider has staff that is not aware of the “audience experience.” The result is screens, sound systems, etc. are not optimized for the client, room or event.

Segment 2 (35 minutes) – Demonstration of the issues and solutions that should be adopted as “Best Practices When Using AV in Any Meeting – Regardless of Size.” We will give an equipment list to the in-house AV provider to demonstrate each of the following categories.

Segment 3 (30 minutes) – Q&A including discussion of the client expectations and real-world situations that vary between venues.

Seminar Option – audience seating

Where appropriate, add a 15-minute review of audience seating for banquet, classroom or theater seating. Many venues need to understand the audience comfort, and safety when setting a room. For example – most venue setup staff don’t know the local Fire Marshal rules for seating, egress, etc. They often don’t understand “theater seating” requires the more complicated setting of chairs in staggered rows, not one behind the other.

Screen size

• Screens should be large enough so the entire audience can read all text on the screen.
  • Ceiling height and room depth determine screen size
• Screen(s) must be at least 5’6″ above the floor for the entire audience to see the entire screen – ALWAYS SIT in the last row to determine visibility and “sight lines.”
  • In breakout rooms consider the low ceilings may require electronic displays (LED SCREENS) on a minimum of 56” tall stands in strategic places in the room.
  • An 8’ ceiling is too low for most projection screens. Adding the required 5’6” screen base and a 5’ high screen – do the math.
  • AV projection is never figured into the venue “seating capacity” charts regardless of the intended use of the room.
  • Consider using “short throw” projectors in breakout rooms. The projector can be as little as 8 from the wall to a 100” screen.
• The furthest viewer must be no further than 8 times the height of the screen.
  • Example: If the room is 40′ long, the screen must be 5′ high for everything to be legible.
  • Of course, that is not possible given the 5’6” needed from the floor to the bottom of the screen.
  • 5’6” plus 5’ high screen requires a clearance of 10’6” ceiling, given the 40’ long room.
• Front projection screens always battle with ambient light for visibility.
• Rear screen is often preferable – space permitting. Consider placing the screen(s) in one, or two corner(s) of the room angled 45 degreed so all can see.
• True ceiling height for an AV event is the “lowest point” in the ceiling considering soffits, air wall tracks and All these contribute to the restricted height of AV screens.
  • All “AV friendly” published hotel ceiling heights are a lie.
  • The best hotel seating capacity chart is #HonestHotelCapacityChart
• Use a fabric “dress kit” to remove ambient light behind the screen.
  • A dress kit consists of 3 parts
    • Skirt – often too short to hang to the floor if the screen is properly elevated to a minimum of 5’6” from the floor.
      • The simple solution is to place a banquet or classroom table dressed in a black skirt and table cloth to hide the gap from the bottom of the skirt to the floor. It won’t be seen by anyone other than the 1^st
    • Wings – Drapes either side of the screen
    • Valence – single drape (typically 1’ height) above the screen
      • AVOID valence if you need to raise the screen in a low ceiling.
      • Don’t waste empty space above the screen if the room allows. Always raise the screen.
    • Always turn off ALL lights behind the rear screen and those casting direct light from the front. This will require communicating with the venue engineering, or AV staff to unscrew lamps (typical method) or switch off banks of lights.
      • Use a DLP or laser projector – NOT LCD. Colors are better and brighter. Ensure ample light output to fill the screen.
      • When using drapery to mask the screen or provide a backdrop to the stage, don’t use translucent “banjo cloth” exhibit drape. You will be distracted by movement behind the drape, exit lights or glow from the projector light(s).
    • Specify 16:9 aspect ratio – typical for all PowerPoint graphics and video

#Lecternnotapodium

• Lecterns stand on platforms or podiums.
  • Olympic winners stand on a podium for their medals.
  • Speakers use a lectern to hold notes.
  • Why the confusion?
• Lectern must have a reading light that does not glare in presenter’s face
• Reading light and microphone must allow for an open 3-ring binder to sit comfortably on the deck of the lectern without fighting for space with a mic stand or reading light base.
• Avoid attaching the mic to the lectern without a significant shock mount. Shock mounts are seldom available from in-house inventory
  • Use, instead, a floor standing “baby boom” mic stand to avoid noise from the lectern.
  • The floor-standing boom will hold any mic away from the noise and interference with the lectern.
• Consider presenters who will not use the lectern. Provide lighting to the rest of the stage, or floor area where you expect presenters to roam.
  • These presenters will either use a lavalier or handheld wireless
  • Some presenters prefer headset mics that will plug into the wireless mic transmitter
• Many are moving away from traditional lecterns due to the “barrier” they present to the audience.
  • A banquet “high-top” table with a simple cover over the top only provide a clean space for notes, water glass and props
  • The high-top is ideal when two people need to share the spotlight.
  • Plexiglas lecterns are a dust and scratch magnet. With stage lights on, all these imperfections are exaggerated. Avoid except for the “Awards Banquet”
• Avoid white background and high contrast letters on any shiny surface for either a lectern sign and/or a banner behind the presenter.
  • Always specify “flat” material and art. You will regret not doing so once the stage lights go on. Reflections are a distraction.
  • Take the time to “hang out” any folded or rolled backdrops
  • Specify top and bottom pockets for drapery pipe to ensure backdrops hang without wrinkles

Stage, platform or riser

• Always prefer to place the stage on the “long wall” of any room.
  • This ensures the audience is closer to the presenters.
• Prefer the audience enter from the rear of the room. Less chance to distract presenters, video screens or audience every time the doors open.
  • I prefer a “light lock,” or curtain if the open door to the foyer is bright. Set the curtain inside the meeting room about 10 feet from the entrance.
  • I also prefer venues where the banquet servers don’t expose the inside of the otherwise nicely decorated banquet room with open doors and fluorescent light from the service corridor.
• Stage height should be sufficient for the top of the lectern to be seen by the last person in the audience over the heads of the person in the row or seat in front of you.
• Any stage higher than 8″ must have at least one step unit WITH handrails
  • Any step unit must be attached to the stage for safety
  • Consider the placement of the step units from the side or front of the stage. If you anticipate photos of people on stage, you will want the step units on the side of the stage.
  • Consider two sets of steps. Ease of access for the audience and presenters.
• Consider the number of people who might be on the stage at any one time. A group of award winners should not have to crowd behind the lectern to be seen and photographed. Allow a minimum of 2.5 feet for each person on stage.
  • Allow a 5 ft. wide “no-go” zone behind the lectern for any award presentations.
• Venues often don’t take care of their portable risers. They are thrown around by set-up staff and not maintained
  • Insist on the venue’s best-looking risers each time
  • “Creaky” risers are a distraction to the presenter and likely emit sound to the microphones
• Don’t set lectern on the gap between two risers.
  • They are often not even and will cause lectern to rock back and forth, creating noise
• If risers are squeaking because they don’t lock together, ONLY use 6” (or larger) C-clamps.
  • Wire and gaffer tape will not work, don’t waste your time.
• If using stage lights, always use 1” WHITE paper tape to mark stage edges and step access.
  • This to avoid talent from losing the edge in the bright lights and falling off the stage.
• Clean, proper height “stage skirts” must clip or Velcro on. If too long, take care to fold nicely under the stage to avoid being a trip hazard.

Lighting – don’t leave the presenter(s) in the dark

• Light the stage or at least the person(s) who will be standing at the lectern.
  • Consider anyone joining the presenter on stage. They need to be lit as well.
• All stage lighting should be set at a 45° angle left AND right of the stage at a height as high as possible. Lighting from one side only creates a shadow on one side of the presenters.
  • Reject any stage lighting from the rear of the room – directly in the eyes of the presenter(s).
• Use dimmers to control the intensity. Simple manual dimmers at the base of each light tree will suffice
  • The intent is to highlight the presenter’s expressions, not a stage play
  • Use no-color pink, or surprise pink (lavender) gel in frame
  • For IMAG ½ CTB gell
• Light the background drape or wall to give separation from the presenter.
  • The background should be no more than 40% of the intensity of the light on the presenter.
  • Using any video (FaceBook Live, etc.) provide a head and shoulder “backlight” to separate the talent from the background.
• Take care placing talent under bright overhead lights. Long shadows result on talent faces.
• Allow at least 6 ft. behind the lectern to the backdrop.
• If using video playback insist on house light remote control from a convenient position so you can dim the house lights for a better video viewing experience
  • Older venues only have house light controls on salon walls. This is not ideal.
  • Prefer remote house light control (not InfraRed) remote available at a convenient place

Audio support

• The goal is for evenly distributed sound throughout the audience. That means, don’t expect to blow out the ears of the people in the front of the room so those in the back can hear.
• Sound is like light from a flashlight. If you are not in the DIRECT path of the speaker, you are likely to hear a muffled
  • The muffled sound will result in a loss of speech recognition. The consonants (t,b,d, etc) all sound the same unless seated in the direct sound pattern.
• When using amplified speakers, ensure they are raised above audience heads by at least 1 foot.
  • ALWAYS place the speakers between the open mics and the audience.
  • Placing speakers even with the stage, or behind the open mics will deteriorate the sound and promote audio feedback
  • Any time more than 3 mics are in use, insist on an audio technician to set-up and monitor audio during the event.
  • Only open mics in use. Fade others down (to 20%) to limit feedback
• With more than 3 mics insist on a third-octave equalizer to reduce sounds only in the narrow feedback frequencies
  • Do not try to eliminate feedback using the broadband knobs on the mic mixer.
  • Use a “real-time analyzer” app on any cell phone to identify feedback frequencies.
• Insist the audio technician is directly in the sound pattern so the sound to the audience is easy to monitor
• Use overhead speakers for microphones if you are not able to use enough powered, standing speakers to provide “even sound coverage” to the entire
  • Avoid placing the lectern directly under an overhead speaker unless that speaker can be muted.
  • Outside AV/production suppliers often battle with venues who pretend they are protecting their overhead system from damage from outside vendors. That can be easily resolved with a house mixer limiting levels to the house sound system.
  • In most cases refusing outside vendors from using house overhead speakers is to force the use of in-house AV.
• Some venues allow the use of overhead speakers with expensive “patch fees.” Be sure to negotiate to avoid “per room, per day” fees.
  • In-house AV companies often say the house system is terrible, justifying the need for additional billing for a separate sound system.
• Do not use overhead speakers for video playback, music, and any non-speech sounds. Provide separate speakers from the front of the audience to provide playback sound.
• Wireless mics are often overused. Without careful coordination, they are often misused and subject to interference and battery issues.
  • Fresh batteries on all wireless mics every 4 hours.
  • Always provide a wired mic to the stage in case of wireless mic failure, because they often do.

Video projection support

• Most meetings will have PowerPoint graphics.
• When possible, have redundant (identical) laptops with the same version of the PowerPoint software and ALL necessary special fonts
  • One computer will feed the screen, the other will be “on-line” backup
  • If running video within PowerPoint be sure to test the transitions necessary to switch to and back from the video
• Prefer a wireless remote control that is NOT Bluetooth or Infra-Red. They are both prone to miscues. The best remote is D’San Perfect Cue. It is FM, reliable and will advance prime and backup laptops.
• Ensure the laptops are in the “presentation mode”
  • Will avoid going to sleep if on battery
  • Will mute any interference with notifications and popups
  • Limit the HDMI cable run to under 10 feet if possible. Longer runs should be avoided.
    • Longer video feeds should use fiber optic cable between laptop(s) or switcher, and the projector(s).
  • If using multiple video sources, consider simple HDMI switcher – not a ScreenPro or similar that requires trained technician
  • When using PowerPoint, provide a “confidence monitor” on a stand on the floor about 10 feet from the stage edge, with the top of the screen at least 4 feet from the ground.
    • This will be a direct feed of what the audience sees, allowing the presenter to keep eye contact.
  • Never allow chair or table dollies rollover cable
    • Use cable ramps in doorways
    • Route cables over door frame

©2019 Ray Franklin

#AudienceAdvocate

production.director@gmail.com

702-879-8177