How to Stop “Audition Voice”: A Self-Tape Sound Check for Natural, Bookable Reads

You know the moment. You were reading the scene out loud in your kitchen and it felt pretty alive. Then you press record and suddenly you’re announcing your lines like you’re hosting an awards show.

That’s “audition voice.” It’s not because you’re untalented or untrained. It’s usually because your nervous system clocked “stakes,” your body got a little tight, and your voice defaulted to *presenting* instead of *communicating*.

The good news: you can fix it quickly—without losing energy, and without going flat.

What “audition voice” actually sounds like It’s not just “too big.” Sometimes it’s *too careful.*

Common tells in self-tapes: - Over-enunciating consonants like you’re trying to “get it right” - A slightly higher pitch (hello, tension) - Extra emphasis on “important” words that weren’t important until you decided they were - The rhythm becomes evenly paced—like you’re reading copy - Breathing gets shallow, and you start pushing sound instead of letting it ride

“If it sounds like you’re trying to be understood, you’re probably not listening.”

That’s the core of it: audition voice is often a listening problem disguised as a speaking problem.

Why self-tapes trigger it (even for pros) Self-tapes are a weird hybrid: - You’re alone, but you’re doing a two-person scene. - You’re intimate with the camera, but you’re also being evaluated. - You want to be free, but you also want to be *correct.*

So your body does what bodies do: it reaches for control. And control often lives in the jaw, the tongue, and the breath.

Instead of fighting yourself, build a tiny pre-tape routine that tells your system: “We’re safe. We’re just talking.”

The 6-minute “sound check” routine (before you tape) This is not a mystical vocal warmup. It’s a reset.

1) Two breaths that actually drop (30 seconds) Stand up. Put a hand on your lower ribs. - Inhale through your nose for 4 - Exhale on a soft “sss” for 6–8 Do it twice.

If your shoulders are rising, you’re not breathing—you’re bracing.

2) Unclench the instrument (45 seconds) Tension loves the jaw. - Massage the hinge of your jaw (right in front of your ears) - Do a slow chew motion - Let your tongue rest behind your bottom teeth

Now say one line while keeping the jaw loose. If the line gets messier, good. Messy is often closer to human.

3) Say the line like it’s not your line (45 seconds) Pick a key sentence from the scene. Say it three ways: - Like you’re telling your roommate something casual - Like you’re late and you’re trying to keep it short - Like you’re trying *not* to start a fight

You’re not looking for “choices” here. You’re reminding your body that language is flexible.

4) Put your focus where it belongs: on them (60 seconds) “Audition voice” shows up when your attention turns inward: “How am I doing?”

Before you roll, answer these out loud: - Who am I talking to? - What do I want from them *right now*? - What do I not want to reveal?

Then do one run where you’re allowed to be unclear—as long as you’re specific about the *person.*

5) Set your reader up to help (90 seconds) Your reader can either reinforce audition voice (by feeling like a recitation partner) or pull you into a real exchange.

Give them two simple notes: - “Keep it conversational—don’t perform the other role.” - “If I start sounding ‘act-y,’ feel free to speed up slightly or overlap me a touch.”

That second note is huge. A tiny bit of natural overlap makes you respond instead of present.

If you’re using a live reader through Self Tape Reader, tell them the vibe of the relationship in one sentence (not the whole backstory). For example: “You’re my older sister and you’ve seen me lie before.” That’s enough to get you both playing the same game.

6) Record a 20-second throwaway take (30 seconds) Not the audition. A throwaway.

Record yourself saying the first few lines with one goal: *be fast and normal.*

Watch it back with the sound on. Ask: “Would I talk like this to a real person?” If the answer is no, don’t punish yourself. Just do another throwaway where you purposely underplay.

Now you’re ready.

During the take: one rule that keeps you honest If you feel audition voice creeping in mid-scene, don’t stop. Don’t apologize. Don’t “fix it” with more acting.

Do this instead: - Put your attention on the last thing your partner said - Let it land - Answer it

That’s it.

A lot of “performance” disappears the second you actually respond.

“Your job isn’t to sound good. Your job is to be affected.”

A quick note about volume (because self-tapes lie) Self-tape audio can trick you into pushing. Especially if you’re monitoring your levels or you’ve had tapes rejected for being quiet.

Two fixes: - Move the mic closer (or your phone closer) rather than getting louder - Aim for *intensity* instead of *volume*

Intensity reads through stillness. Volume often reads as effort.

If you only have time for ONE fix Here’s the shortcut I use when I’m slammed:

Read the scene once at 80% speed. Then read it again at 120% speed. Then tape it at normal speed.

Why it works: the slow pass reveals where you’re “performing the punctuation,” and the fast pass breaks your tendency to over-shape. The normal pass lands right in the pocket.

Working with a reader: the secret is permission A lot of actors don’t want to “burden” the reader, so they keep it vague: “Just read it naturally.”

But natural for *who?* A stressed actor with a deadline? A theater-trained reader with a big voice? A friend who’s trying to be helpful?

Give your reader permission to be simple and consistent, and give yourself permission to be messy on the way to alive.

Try this mini-brief: - “I’m going for grounded and private.” - “Keep your pace steady.” - “If I step on you, don’t stop—keep going.”

That’s enough to create a real rhythm.

The takeaway “Audition voice” isn’t a character flaw. It’s a stress response.

The fix isn’t more intensity, more articulation, or more “commitment.” The fix is: - a loosened body - a clearer focus on the other person - a reader who helps you play the scene instead of recite it

And once you get back to *talking to someone,* your training and choices can finally show up—without all the extra shine.