To Let it In or Let it Out.
The obvious place for tension to go when we are stressed about speech is the muscle groups directly involved. I think of these muscles as the “gates”; sometimes we don’t want to let what’s out IN (usually someone or something that we don’t like). There are also times when we don’t want to let what’s in OUT (on those occasions when it’s better to hold back).
Of course, we need our “gates” to maintain civility, but throat / tongue / jaw / lip tension can harden into habit; making rich natural sound production difficult to achieve in stressful situations – especially ones where our voice matters.
PROBLEM: Your voice sounds tense, hard, not yourself
REMEDY: Have the tongue drop, let the jaw relax, widen and soften the throat and the lips
VOLUME
PROBLEM: Your voice is either too quiet or too loud
REMEDY: Breath = volume. Eye Contact = Appropriate Volume
It really is that simple. Air flow equals volume. To push the vocal mechanism to create volume, without the fuel of air flow coming up below the larynx, creates a nasty sound – one that will not endear you to your audience.
The solution is to look at where you want your voice to go — your lungs will inflate sufficiently to create the appropriate volume for your word to get there. Amazing. Look, don’t push.
Speaking in a Large Space: The Honey Spots
When you are going to be speaking in a new or large space, if possible, go into the room beforehand when it is empty. Go in with a friend and have them sit in various places in the auditorium as you practise your speech. This way you can get to know the best place for the audience to hear you. Find the vocal honey spot – where your voice sounds best – and use this spot as a place to start and to go back to if you need reassurance in your delivery, like when someone randomly questions you.
Ceiling height can make a profound difference to the sound you make. The honey spot is often under a lower part of the ceiling.
Speaking towards wood is going to sound better than speaking to glass. Humans make the best sounding boards, so speak to them.
Avoid using a mic unless absolutely necessary – it alienates you from your audience. Those who run large halls often insist on giving mics out to speakers when there is no need of them. Obviously there are situations when a mic is necessary, but if you can do without a mic it’s better for your connection with the audience.
So, sound the space out beforehand with your friend right at the back, and if they can hear you when the place is empty you will sound even better with people in.
Another favour your friend can do for you when you go in to sound out the room, is to have them tell you where you are best lit as you walk about. This is very important because you can easily lose an audience if you are standing in a pool of relative darkness.
In conclusion, find your light and sound honey spots.