The video focuses on effective communication skills by emphasizing the malleable nature of our speech and voice patterns. It highlights that the way we speak is a series of behaviors that can be modified, enabling us to change how we are perceived by others. Through this lens, the speaker demonstrates various vocal techniques and encourages viewers to explore different modulations and emotions to enhance their communication.

Brilliant communication is boiled down to mastering five core foundations: rate of speech, volume, pitch, tonality, and pausing. These elements are crucial in engaging with an audience effectively, whether it be for educational, inspirational, or professional purposes. The video provides practical exercises and scenarios to help viewers improve these skills, acknowledging that many people do not exploit the full range of their vocal capabilities.

Main takeaways from the video:

Please remember to turn on the CC button to view the subtitles.

Key Vocabularies and Common Phrases:

1. articulators [ɑːrˈtɪkjəleɪtərz] - (noun) - Parts of the mouth such as the tongue, lips, and palate involved in speech - Synonyms: (speech organs, vocal apparatus)

I just changed movements, I changed airflow, I changed behaviours with my articulators, completely changed how I sound.

2. distilled [dɪˈstɪld] - (verb) - To extract the essential meaning or most important aspects of something - Synonyms: (extracted, refined, concentrated)

I've kind of distilled the five core foundations of brilliant communication, right?

3. modulate [ˈmɒdjʊleɪt] - (verb) - To adjust or adapt to a certain measure or proportion - Synonyms: (adjust, regulate, alter)

So we have to modulate it. We have to vary our rate of speech.

4. charisma [kəˈrɪzmə] - (noun) - Compelling attractiveness or charm that can inspire devotion in others - Synonyms: (charm, appeal, allure)

You're losing out on a huge amount of authority, charisma, energy, confidence, and authority, because you don't speak at a level five volume.

5. tonality [toʊˈnælɪti] - (noun) - The character or quality of a musical sound or voice as distinct from its pitch and intensity - Synonyms: (inflection, intonation, pitch)

The fourth one is tonality. And tonality is the emotion that lives underneath your words without realizing.

6. exert [ɪɡˈzɜːrt] - (verb) - Apply or bring to bear (a force, influence, or quality) - Synonyms: (apply, exercise, use)

Because by doing this activity or by exerting more energy, you're getting rid of the excess adrenaline, which stops your body from shaking, which stop your hands from shaking, which then helps you not have a shaky voice when you speak

7. articulation [ɑːrˌtɪkjəˈleɪʃən] - (noun) - The action or manner in which the parts come together at a joint - Synonyms: (pronunciation, expression, articulation)

When you improve articulation and pronunciation of your words, people perceive you to be more intelligent.

8. self-conscious [ˈsɛlfˈkɒnʃəs] - (adjective) - Feeling undue awareness of oneself, one's appearance, or one's actions - Synonyms: (self-aware, embarrassed, uncomfortable)

So then if you don't want to get extremely nervous and don't want to be extremely self conscious.

9. resentment [rɪˈzɛntmənt] - (noun) - Bitter indignation at having been treated unfairly - Synonyms: (bitterness, irritation, displeasure)

But I still have some resentment inside for sure.

10. improvised [ˈɪmprəvaɪzd] - (adjective) - Created and performed spontaneously or without preparation - Synonyms: (unrehearsed, spur-of-the-moment, extemporized)

And the video has to be improvised.

43 minutes straight of SOLID communication skills advice

Can we just make sure this never gets recorded and uploaded online? I get thousands of these questions online every single day. People ask me, they say, vin, is it possible for me to change my voice and how I sound? And I just ask them a question in return, and I say, dear dragonslayer 94, is it possible to change your behavior? And the answer is yes. The way you speak is just a series of behaviors.

Start seeing that through and through, because, look, I'm going to change some of my behaviours if I change some of my behaviors. Lived in America? Favorite place in America? Austin, Texas. So if I change my mouth movements and behavior, I can. You know, I love being a cowboy. I wish that I could be a cowboy because I want to ride a horse. And I love Texas because of the way they cook. Slow brisket.

Now, you see, I could choose to speak like this for the remainder of this class if I wanted to, but I know this is a terrible texan accent. I want to tell you the funniest thing I heard in Texas when they said, vin, you know, there's a difference between cowboys and rednecks. And when the world looks at us, they think we're rednecks. No, no, we're not rednecks. You see, cowboys, we ride horses. Rednecks, they ride their cousins.

We didn't say this was PG, did we? Here's the thing, here's the thing that I'm trying to get at. I just changed movements, I changed airflow, I changed behaviours with my articulators, completely changed how I sound. You are not trapped in your voice. Some people just are so attached to it, they never change it. And you'll notice in their lives, they sound the same forever. What a shame. What a shame. As my vocal teacher would say, you have such a beautiful instrument, you've not realized its power.

When you work with someone, what are the things that you work on in order to help them educate, inspire and entertain at a higher level when it comes to communication? Specifically, I've kind of distilled the five core foundations of brilliant communication, right? And it's actually quite simple. I did years of theatre and years of vocal training to learn how to be a speaker. You learn theatre because this is an instrument. Your body and your voice is an instrument.

And I did years of that, which has helped me distill five core things, right? The first thing is your rate of speech. A lot of people put no thought behind their rate of speech. But if, again, for those listening to this, if I get stuck in a consistent rate of speech now and I stick to this rate of speech. And I don't vary from this rate of speech. What happens to you as a listener? Yeah, it starts to get boring, right? So we have to modulate it.

We have to vary our rate of speech. And if I sometimes go quickly, and when I'm going quickly, it shows passion. But then when I slow down, Kerwin, I'm saying nothing important here, but it seems so profound. Nothing important has been said yet. It seems profound, right? So rate of speech, it's its own beast. The second thing is volume. Volume shows confidence, authority that you believe in what you're saying.

So if I switch off my volume, let's say I speak like this now and I come in, but I'm truly an expert in what I'm talking about. Doesn't seem like I believe in what I'm saying. Doesn't seem like I'm confident in what I'm saying. It's a shame. Most people speak at a volume that is a bit too quiet. And then when you tell them a rating from one to ten, they usually speak about a three. You tell them to speak at a five. They go, oh, I think I'm being too loud.

Each year I coach three CEO's. Right now I'm coaching the CEO of orange Theory fitness, Dave Long, massive shout out to Dave. Awesome human being, but he speaks at a level three volume. I tell him to speak at a level five, what we're doing now. And he goes, oh, Vin, I think I'm being too loud. Okay, Dave, that's crazy. You're not. You're losing out on a huge amount of authority, charisma, energy, confidence, and authority, because you don't speak at a level five volume.

Third one is pitch. Pitch is fascinating because for the listeners who are listening right now, think to a book. Read. Maybe you can even think to a book you've read, Cohen, a book you've read more than ten times, right? Have you got one that you've read a lot? Yes. Maybe not ten times, but let's say you have. You've got one. Okay?

If I asked you to recite for me a page in that book, word for word, could you do it? No. Good. Otherwise you'd be a frick. Now, let me ask you another question. Is there a song that you sing quite often that you enjoy? Oof. There's a song that my son loves to play right. Over and over again. Right. But if I asked you to recite for me word for word, that song, could you recite the song? Oh, and there's not one song in the world that I know the lyrics to. Oh, no.

Okay, so you're a terrible example for this. But for the listeners, you totally ruined my example. Thank you, Kevin. But for the listeners. For the listeners, shortly, you can think of a song that you love, right? Yeah. And generally, most people can recite, I think, one song that I actually know the words of. You never close your eyes anymore when you're the top gun. Top gun. Right, right.

Yeah, of course. Okay, so a song has roughly 280 words, right? A page in a book has roughly 280 words. Why can you recite a song yet not a page in a book? That's so interesting. Music has melody. So if you speak with more melody, what you say becomes more memorable. What you say becomes more memorable. Whereas most people use two notes when they speak, whereas I use the philosophy and I use the mindset of each person. Every one of you that's listening to this right now, you've got a piano of 88 keys, right? And most people speak with a couple of keys.

And I remember my first singing teacher when I met her. And I didn't do this to become a singer. I did this to become a more effective communicator. When I walked into a room, I remember this. She didn't even look at me. And she'd play one key over and over and over again for three minutes. It was like something out of the exorcist. And then she'd stop and she'd go, how do you feel, young man?

I'd say, I don't know. This is kind of scary, awkward, nothing. And then she played this beautiful song called romance. Three minutes. And then she'd turn around. She goes, how do you feel, young man? I said, actually, quite sad, to be honest. That was quite a sad song.

She goes, vin, most people go through life speaking like this. One key. I'll teach you how to speak like this. Melody. So, Melody, right? So again, melody, third foundation. Because. Because here's the thing. Let me give you this example, too. You could hear a piano song and feel sad.

You could hear a piano song and feel happy. You could hear a piano song and feel inspired. You could hear a piano song and feel scared. There's no words. How do you know how to feel? So there's a backing track underneath every voice. There's a backing track under every voice. When people say, oh, when this person walks into the room, lifts the energy of the room. What is that? That's the backing track of their voice. There's people who walk into a room and you feel incredibly heavy, like I come in and I talk. Oh, Kerwin, it's Monday.

Can't believe it's five days till Friday. And there's a backing track behind that. So, Melody. That's Melody, that's pitch. The fourth one is tonality. And tonality is the emotion that lives underneath your words without realizing. And this is where the world of theatre and the world of singing come together. But body language, your face, is the remote control for the emotion that lives underneath your words.

And most people, without knowing, are walking around with what is otherwise known as a resting bitch face. And if you've got a resting bitch face, you've got a bitch tone. So if you just slightly smile, it brings more melody into your voice because a smile controls the emotion underneath your words. And again, if I make a disgusted face for no reason, I'm not talking about anything disgusted, but I sound disgusted. The six core human emotions you got happy, Sadeena, fearful, angry, and surprised. You've got to be able to show those six tonalities, at least if you want to be an effective communicator.

Most people don't. Most men don't. Most men. Neutral face and as a result, neutral tone. Most people are afraid of a monotone voice, yet do not know that a monotone voice comes from a monotone body. And your face is a part of your body. So this is a huge one in my classes when I teach, just to get men and women in the corporate world who are so stoic in their facial expressions just to break out of their mold and show me some emotion, damn it. And when they do, they come alive and authenticity is now radiating through them.

So that's the big one. And the fifth one is pausing. Just this. And for the listeners who listen to this just as we pause, it's so powerful. It gives them time to comprehend what we're saying. It gives us as communicators time to listen and to process. And these are important foundations when you're playing your instrument. And if you listen back to this podcast or any great speaker, these are the five things they're modulating. And any speaker who you deem to not be a great communicator, they're just not modulating one of these things.

It's just these five things, mate, that you've nailed it. I'm quite young, and generally most of the environments I'm in are professional environments where the people are a lot more experienced. However, I do feel like I've spent a lot of my time growing up, especially gaining knowledge, for example. And I'm confident in what I, what I know and what I have to offer.

But when it comes to talking about it and presenting my ideas in a way where I'm not overstepping my boundaries, I feel like sometimes I ramble on to the point where it feels like, because I don't know how to structure what I'm saying properly, it feels like I don't know what I'm talking about. Those conversational models I shared with you at the beginning, the frameworks, very vital, very vital, extremely vital for you. So when someone asks you something, what's your area of expertise? I'm a 3d environment artist.

I want you to use the three, two, one approach. Tell me three things about it. Concise. Go. So the three most. Sorry. The three fundamental things about 3d environment artists is when you're starting a project, you want to make sure you have your project mapped out, which includes references. The references is probably one of the biggest and most important things when it comes to creating a big project. The second thing is also feedback from others. Don't have tunnel vision when you're creating your projects.

Otherwise you're just going to think, like Vin said, that your work is the shit, but it really isn't. It's not. You have to get that outside perspective in on your work. And the last step is definitely refinement. Always go back and refine whatever you can, because the first iteration or the second iteration will never be as good as the third iteration.

Perfect. All right, now, before we move over to the next one, which is the two types of remember so, or the two things, I want hand gestures. I want more volume. And I also want you to end your sentences on a lower pitch, okay? So you don't end on a high pitch, you end on a low pitch. Okay? Yeah.

Keep that front of mind. I know I'm throwing a lot at you. In three, what you say is not that important on focusing on delivery. In three, two, one. Go for it. So the two types of 3d environment art are 2d environment art and 3d environment art. More volume. You can have 3d environment art, which is what you'd see in movies, tv shows, games, where you create the assets and the background and the CGI for it.

Or you have the 2d environment art, which is more for portfolio work and less bigger projects that you'd experience with 3d environment art. First example, the second example, there's way more authority in it already. Now what I am going to get you to do is I want you to pause more for this next one. Pause more and hold eye contact with the camera. Okay. And the camera symbolizing another person. So now you're up to the one thing. This is just the one thing. Talk about the one thing.

And pause more. And use hand gestures, stronger hand gestures. Give me a little blamer. Remember, blamer is when you're using the full finger point for some parts. And pause. And I don't mean like a pause like that. I want you to pause like a long pause. Yeah, like that. All right, so here we go. Try again in three.

Lower end your sentences on a lower pitch. In three, two. The one thing. So the one thing I'd say is the most important thing about 3d environment are, is expressing yourself. When you create your projects, think about how many people are in this field and in this industry creating thousands of pieces of art. And here's your opportunity to create art which is inspired by your journey and what you've been through.

So you did great. You did great. However, the pauses we're going to get you to do one more time, my friend. You're going to do it one more time. Except I want some powerful pauses after the powerful statements you just made. It's about you expressing you and just pause. All right, in three, two. Go for it.

Sorry. So to. Don't start with so because so is a filler word. Just begin in three. Okay. Two. The one most important thing about 3d environment art is creating something that you have been inspired by. Think about how many people are out there creating thousands of pieces of art. But this is your opportunity to create a piece of work that has been inspired by your journey.

That's amazing. I don't really have much else to say. That was bloody brilliant. That was so good. I'm just going to walk away from the conversation. That was amazing. That was so good. That was so amazing.

But can you see how we sound plays a critical component to how others perceive what we say. Watch the review and you will see how much getting rid of the filler words, the pauses, the hand gestures, the ending on a lower pitch, those all create a different version of you. Hey, everyone, my name is Daniel. Well, my question will be more of an advice.

What would be your best advice when it comes to accent? So obviously I'm originally from South America and even though my accent is not super strong, sometimes that does take value from your speech whenever you encounter different demographics. Right. So what was it that you did different? That it helped you to develop your skills communicating with people, especially when you have a background. What would be your advice? Thank you for the question.

There was a. Mylin was up here talking to me as well. Where are you, my Lin? You're there as well. Note this down as well. This is relevant to you, too. What I would say, Daniel, is it seems like a lot, but do this. If you record a 20 minutes video of you speaking to camera. 20 minutes. And the video has to be improvised. Okay?

So you talk about whatever you like to camera. Then you take that video and you send it to a speech pathologist. Okay? Local speech pathologist, and say, hey, what would it cost me for you to better review this video? And these are the most common words I would normally use in everyday speech. Could you help me identify the words I'm pronouncing incorrectly in the english language? And then could you help me learn the mouth movements to make to be able to correct the sounds and the pronunciation and the articulation?

So then from that single exercise alone, they will come back to you with maybe two to three pages of, hey, a big one for me was growing up in the vietnamese culture when I said the word. Then when I said the number three, I would say as free, can I have three of those, please? Like, sorry, four free of those, please. Right? So that's what I'd say. Where she goes, no, no, honey, it's tongue out in three. So that single exercise allowed me to enhance my articulation.

And then what that does. When you improve articulation and pronunciation of your words, people perceive you to be more intelligent. They just do, because when you pronounce your words with clarity, you come across as being more intelligent. So this is not just for those with English as a second language in Australia, too. You know, I've met. You know, and I love. I love my country. I love Australians.

Every now and then, you meet someone, they're like, what are you talking about, man? I don't know what you're doing. I was like, my gardener is like that. I love Jeff to death. But sometimes I'm like, Wednesday is a good day, Jeff, because I can't understand what he's saying sometimes, right? I love him today, death. But again, so I'll do that. Number one, two birds, 1 st.

So you send that to a speech pathologist. Second thing you do, Daniel, is you send the same video to an English as a second language teacher. ESL teacher. Okay. Probably cost you $150 for the speech pathologist, maybe $150 for the ESL teacher. For $300. $150. The ESL teacher is going to go through your speech, get it transcribed for her so she doesn't have to transcribe it.

When she looks at it, she'll look for the grammatical errors. My big thing that I used to do is I would use past tense as future tense. Future tense as past tense. And then she'll give me two, three pages of things I need to work on. Two birds, 1 st. You'll knock it out just with a 20 minutes video. Yeah. And then when you're practicing just one thing at a time, don't get analysis paralysis, and you get all this information back and you freak out one thing at a time.

Thank you. My pleasure. My pleasure. Hello. Sorry to disrupt you just for a moment, but if you're interested in improving your communication skills and you're new to my content and you find these types of videos really useful, I've actually got a three part video series that helps you kick start your communication skills journey. So if you want to check that out, that is just in the link, in the description. Go check it out.

When it comes to high stake interviews, you know, job interviews, let's just go with job interviews. We're all going to experience them. Let's talk about it, right? Because when it comes to a job interview, what's the most important thing you can do in those? I believe it's forming a connection. We all know this point of wisdom in the world that people do business with people they like. Once you like me, it's infinitely harder for you to pick somebody else like.

I'll give you an example. Old mate Dan back there. Give him a wave, letting you know you're not cuffed to the table. Both hands. Notice both hands were up. He's not cuffed to the table. That's only after hours. After you all leave. We only do that after hours. Come on. I don't want to get cancelled.

Now, when it comes to job interviews with Dan, he kind of put his hand up to do head of ops for me. Right, so head of operations at all things, Vin Zhang. Now, when I looked at Dan's credentials, I kind of went, I know you've been a psychologist all your life. Have you ever. Have you ever managed anything? And I interviewed a whole bunch of other people that were just way better than Dan. So much better than Dan. Not funny.

Super qualified. Ten years of managing ops for influences, for athletes and all these things. But why did I pick Dan in the end? Why? Because I liked him the most. Because I like the guy the most. And to me, I would rather bet on the person that I like the most, that has the most chemistry, trust, rapport, connection, that I also know he loves and cares about me. I'd rather pick that person or the skills he can learn.

More and more and more, you'll find that more and more employers are starting to adopt the same mindset. And what that means is, again, I believe the weight in an interview, people miss out on opportunity. It's connection. Connection is one of the most powerful things you can form at the beginning of an interview. Why? Because if you just surveyed a thousand people who did interviews and you asked them, what is the most common first question that people ask in an interview? What is it? Can you all tell me in the chat? Tell me in the chat.

What's the first question people tend to ask you in an interview? Type it. Yes. Tell me about yourself. So what can you do? You can prepare for this. You can absolutely prepare for this. Whereas most people, what they do is they just like, let's say, I don't know, let's improv. Let's say I'm applying for a sales role.

Okay, I'm applying for a sales role. I'm sitting in the interview. I'm nervous because I didn't do the breathing before. I'm freaking out, and I didn't learn about para or anything. I didn't learn about storytelling. I don't know what's going on. Freaking out. Really hope to get this job. They can see I'm nervous because I'm rubbing my knees and I'm speaking really fast. And then they ask you, tell me about yourself. You go, okay, well, you know, I love selling. All I do is sell. I sell, sell, sell. I'm persistent. I'm also.

I get really high conversion rates. It's not good. What you can do here is you can share a story. You can prepare. You know, you're going in for a sales role. And now, because for those of you who have been through the courses online or virtual, you know the storytelling formula. And because you know the storytelling formula, you can link that story to sales. For example, if I was going into a job interview for sales, I can sit down. I'm relaxed, body language, because it communicates and it introduces you before you do.

So. Calm body language, relaxed, good posture. You're sitting down, smile on your face, and Suzy asks you, hey, Vin, before we start, why don't you tell us a little bit about yourself? You can respond by going, oh, thanks, Susie. Thank you for wanting to get to know me a little. Suzy, I have to tell you, I'm part entrepreneur. When I was young, when I was 13, I borrowed my mom and dad's credit card. Yeah, I borrowed it, and I borrowed her their credit card to buy MP3 players online.

So I spent over $1,500. And, Susie, I can see from your face, you're like, ah, but how did you get and spend money on the card when you're not authorized? Well, Susie, when the bank calls to check if the transaction is legitimate, guess who's the only english speaking person in the house? Yes, it is. I. It was wonderful. It was a perfect storm. Suzy, I had to do it.

So I bought $1,500 worth of MP3 plays. And, Susie, the crazy thing is, within seven days, I sold every single MP3 player and doubled my money when I was 13. Yeah, I made $3,000 as a 13 year old, and I wasn't doing drugs. And, Suzy, the craziest thing is that I've learned how to sell since I was young. I learned how to sell the wrong way and also learned how to sell the right way.

One of the reasons why I got stopped from selling MP3 plays at school is because, I hope you don't mind me sharing this, being a little vulnerable here. The principal shut down my business because he realized that when people. When people didn't pay me, I started giving bullies money and said, do you mind getting my money back from that kid? He hasn't paid me. Suzie. I didn't know how to deal with accounts receivable. But, Suzy, I've learned, again how to sell and how not to sell. And you know what? One of the fundamental things I've learned, Suzy, is I've learned that a lot of people feel a little gross about selling, and I found that the reason they feel that is because they're selling something they don't believe in. Whereas, Suzy, that's why I'm sitting in this chair right now applying for this role.

I fundamentally believe in what you do here at XYZ company. It's why I'm here. I'm not here just to sell. I'm here to create impact, because I fundamentally believe in what we do here. Linked. Okay, so now that took about two and a half, three minutes. If I've got a 30 minutes interview, I would invest that time into building connection and rapport. And that, to me, now allows you to be in a situation where, sure, whether you're qualified or not, they kind of done that before by looking at your cv here.

They're trying to get to know you as a person. Yet if you jumped into that interview and you just started saying, yes, Mel, it's a true story. It's a true story. I did sell MP3 players when I was young. I used to download music illegally from Napster. Can we just make sure this never gets recorded and uploaded online? I used to download music illegally on Napster. Didn't know it was illegal. I didn't know it was. So it wasn't because I was 13, right? And then I just downloaded the music, put on MP3 plays, sold them the mp3 plays every time they wanted to change music. $5.

It's fantastic. I was the only kid, 13 year old that had multiple types of cologne. And still the ladies didn't like me. No matter what I did. For some reason, I didn't find me attractive. It's fine. It's fine. I found love anyway. In your face, Stacy. From when I was twelve. Look at me now.

Stacey, I'm kidding. I'm kidding. But I still have some resentment inside for sure. All right, so I think I've proved the point there as well. That in these moments when you're in high stakes situations, when you have the 30 minutes, it's absolutely critical to invest five to 10% of that time building connection. 100%. They're going to favor you more. Now, it's inevitable. Versus if everybody else just came in and said, I'm reliable, I'm punctual, I've got high conversion rates. Trust me.

I'm not saying this works 100% of the time, but it works 95% of the time. I mean, that guy right there is evidence. Totally not qualified, totally hired because he's likable as hell. Love that guy. She doesn't fight back. It's fantastic. I've got to stop doing this. I'm going to go to jail. I'm going to go to jail. Dan. Far too often, in the corporate space, in the professional space, we focus on our visual image.

We go into a home, make sure we're in a suit or a beautiful dress or what we go in and meet our clients with. We focus on our visual image, but we do not focus on our vocal image. People don't realize, but you have an image that you create vocally when you use your voice. Let me ask you this question. How many of you in this room think I'm a. Think I'm a friendly person? Raise your hands. Oh, thank you.

Thank you very much. I will take note of those of you who didn't raise your hands, make you disappear later. How many of you think I'm a trustworthy person, a magician, asking the question. Thank you. Lovely. And how many of you think I'm an intelligent person. And one last one. How do you think I'm a good leader to my team? Lovely. So what I'll tell you is none of you know me well enough to know if any of those things are true.

You don't. But you've made those assumptions based on my vocal image and my visual image. But most people only focus on their visual image and forget about their vocal image. Don't leave this to chance. If you want to build rapport with people, if you want to learn how to build trust, you need to learn how to master the adviser's instrument. This is very powerful. So I ask you, as you move forward, to train your instrument, I ask you to be courageous. I ask you to train the advisor's instrument so you connect more with the people you serve.

Because only when we connect with people do we deserve to influence their decision. It only takes one voice at the right pitch to start an avalanche. Because let me tell you this, how does a chef become a great chef? This is the interactive part. Yes, cooking. Yes, cooking. But what do they have to do? Practice. But with whose recipes? Other people's recipes. Right, other recipes. If you're just starting as a chef, you don't go, I'm going to cook this thing, this new thing. No one's ever.

No, you follow the recipes from great chefs. So what they do is they imitate, they copy. And in the world of cooking, when you copy a great chef's kind of dish, no one's like, oh, you shouldn't copy. It's bad. No, you should do. This is how you learn. So then the chef copies it. And what happens the first time he copies it, gets it slightly wrong, doesn't taste quite right, and he goes, oh, but I'm getting close. Builds confidence because you're following a proven method. And then he copies it again.

The second time, tastes a little bit better. Third time tastes great. Fourth time is confident. Fifth time is like, I'm adding a bit of lemon. And then he adds a bit of lemon, makes it his own. This is the same process we all must follow if we want to become great communicators, is we must find someone now like Manuel, looking for great communicators that we like, allowing them to influence us and allowing ourselves to imitate. It's okay to imitate, but it's not okay to imitate forever.

And never add lemon or chives or onion or garlic. Right? You have to start making things your own. But the fastest way to improve is to look for people you like. So you've got a proven recipe that works. And please don't make sure the speaker is a speaker that is good. Don't like bad speakers. So again, look for that, and it helps you develop your own flavor. Even if you found two inspirations, you're already something unique. Bye. Copying those two people, it's fascinating.

So imitation is not a bad thing. It's a great. It's the most important thing when it comes to learning. Hey, Vin, how do you deal with nerves before you present? And this is a wonderful question that I do feel extremely qualified to answer because. Because I've done over a thousand presentations in my career. I've spoken to groups small as ten to 20, to groups as large as over 35,000 people, and talk about nerves.

I still remember the day where I presented to. It was in Thailand, in Bangkok, Thailand, where I spoke to an audience, over 35,000 people. I was backstage so nervous. And if I didn't have a method and methods on how to manage nerves, I would have done a terrible presentation. And here's something that most people don't get. What they don't get is generally, most of us are great communicators.

And when I meet people one on one and I talk to them, they're great communicators. They communicate exceptionally well, right? And then when they get on stage, all of those great communication skills just disappear. And then they're this bland, stiff, awkward presenter. And I'm thinking, wait, what the hell? I just met someone who was really engaging. What happened to that person?

And it was because they didn't know how to manage the nerves, and the nerves robbed them of a great presentation. So this is a very important topic. Now, I think of managing nerves in two core different ways. I first think about it from a body point of view. How do I manage the nerves from a body standpoint? So the way that I manage my nerves from that standpoint is I think about breathing a lot.

And breathing is something that we all do every single day, and we all think, oh, it's breathing. It's easy. We all know how to breathe. I know how to breathe. I don't need to learn how to breathe. No, no, no, you're wrong. There are workshops that go for a whole week just on learning how to master the breath. And unless you want to actually go along and do one of those workshops, one of the greatest hacks when it comes to breathing is Wim Hof.

When it comes to Wim hof breathing, the link will be down below as you learn how to do this. What it's going to do is it's going to help you relax your body, and it also helps relax your mind, which is the second component of how to deal with nerves. So it's a, it's a, it's a 1 st, two birds type move. So again, I would, I don't know why there are balloons all of a sudden, but I would ensure that you learn how to do a couple of cycles of Wim Hof breathing, because that helps you manage the nerves in your body, and it also helps you manage your psychology.

Now, that's the first thing I would do. The second thing I would do is another kind of body standpoint. One of the key reasons why our voice shakes when we are presenting, and one of the key reasons why our hands shake. And sometimes we get all different symptoms. Everyone get different types of symptoms. Sometimes people, their whole body shakes and their feet shake, everything. One of the key reasons that happens is because of excess adrenaline. And you need to learn how to manage the adrenaline that's in your body, the excess levels of adrenaline.

So what you can do is before you go on stage, while you're backstage, go for a quick walk and walk at a quicker pace, maybe do some star jumps, drop down, give me ten push ups. Right. Because by doing this activity or by exerting more energy, you're getting rid of the excess adrenaline, which stops your body from shaking, which stop your hands from shaking, which then helps you not have a shaky voice when you speak. And one of the worst things that happen to great communicators and great public speakers, when they don't manage the excess adrenaline, when they go on stage, then they start just moving all over the stage. They start prowling all over the stage.

And that's a nonfunctional behavior, especially if there's no reason for you to move like that. So keep in mind, getting rid of that excess adrenaline is a very important part of the process when you're trying to deal with nerves. Now, we talked about a body a lot, right? So the body is exercise, a little bit of exercise, and then also a little bit of wim hof breathing. Two to three cycles of that. Amazing. Now then, you also have to think about nerves when it comes to mindset.

I think one of the main reasons we get nervous when it comes to psychology and the way we think is because we think everybody is thinking about us. We fear judgment, right? So again, a lot of the times when we go on stage, we get nervous because we become extremely self conscious. So then if you don't want to get extremely nervous and don't want to be extremely self conscious. What do you do? You take that consciousness in your head, and you place it outward focus on the audience. It's not about you. It's not about you as much as you think.

It's about you. It's not about you. When you're on stage, it's all about the audience. You're there to give value to the people that are in the audience. It's not about you. And the more you can get out of your own head and into the audience, the more you can be less self conscious. The more you can be more audience conscious, the better you're going to feel.

And that's what I always do when I'm about to get on stage and I'm starting to feel a bit nervous, I just think to myself, you know what, Vin? Stop it. It's not about you today. It's about the 500 people that you're about to be able to help. These are the things that really help me. It's known as 88 keys. 88 keys refers to the keys on a piano. And I remember being taught this philosophy and way of life with communication with one of my music teachers.

I went to a vocal teacher not to learn singing, but rather to learn how to speak more more effectively. And she said, vin, a piano has 88 keys, and your voice is even more beautiful than this instrument right in front of me. And here's what I want to share with you right now. You're very comfortable playing the keys you currently play with during this workshop. I'm going to push you. I'm going to get you to do things with your voice that you've never done before, and I'm going to even push you in further than, you know, maybe play in the falsetto range and have a bit of fun.

And I know I sound like Mickey Mouse when I do this. My son loves it. And I might even get you to try really deep and dark voice and play. When I ask you to do this, something happens in your brain straight away, where the moment I push you out of the keys that feel comfortable, you'll go, vin, thank you. But that makes me feel a little bit fake and phony. I mean, how is it fake and phony? You were able to make the sound. It's not fake or phony.

It's your instrument. It's your keys. It's not fake and phony. So the moment your brain goes to fake and phony and inauthentic, stop that straight away. Reframe it immediately. It's not fake and phony. You're just familiar with these keys. You're just unfamiliar with these keys.

That's all. So please note that it's just familiar, unfamiliar. So the moment your brain, anytime it wants to go to inauthentic, I don't want to try that. That doesn't feel right for me. Stop it. Reframe. It's just unfamiliar to me. That's all.

That allows the learning process to continue. Otherwise, your brain will stop you from even exploring your instrument. We're here to learn how to play the entire instrument. So please, you're just unfamiliar with it. What helped me build all of my confidence was improvised improv classes.

This is the very theater I first learned improv in. It's why I do all of my events here. It's a very special place in my heart. So if you want to get more confident improv, and I'll tell you why, let's try something. So stand up. We're going to play a game. And the game is called it's a presence game. Okay?

So this is how the presence game works. I'm going to be person a, and I'm just going to say, oh, hey, it's your birthday, and I've got something for you, Tanya. And then you take it, and then you've got to look at it and you go, you open the box and you go, you got me a blank. How did you know I wanted a blank? And then I'm gonna say, I knew you wanted a blank because of blank. So you're saying you got me a blank. How did you know I wanted a blank? Does that make sense?

Yep. Tanya, it's your birthday. I got you a little something. Thank you. No, my pleasure. Into the mic, please. Yep. Oh, a rabbit. How'd you know I wanted a rabbit? I knew you wanted a rabbit because I was gonna get you on stage and do a trick tonight. Oh, excellent. Lovely. Reverse the rolls immediately.

Okay, so it's my birthday. Give me a present. Here's a present for you, Vin. Daniel, you shouldn't have let me have a quick look at what you got me. You got me a packet of 50 cent me goreng noodles. How did you know I wanted Migo reng noodles? You were talking about it the other day and I thought, oh, okay, I know where to get some.

Very good. Okay, fantastic. Thank you. Cheap present, but that's fine. So have a seat, Tanya. But the thing is, right, that right there is the skill of improvisation, which shows me you're very good at improvisation. Right. But the better you get at what we just did. What is that?

That is just conversation. A question is just that. So as we get better with navigating the skill of improvisation, we get better with the art of conversation. And if we get better at the art of conversation, we become more confident, because think about what any conversation is. What am I doing with all of you right now? This is a game of improv. I don't know what you're going to ask me. I have no idea what you're going to ask me.

But because I have the skill of improvisation, I can take it anywhere I want to go. And that when you truly know you're good at that, the art of conversation, it gives you confidence. Even if I don't know the answer, it's okay. I've got that skill of improv. I can duck and weave and move around. So, improv classes, I promise you will. Yeah. Vin before improv and vin after improv is. Is pretty crazy.

Thank you for the question. My voice is quite low volume. Volume, yes. So you feel you're quite quiet. Okay. When you're too loud, people will let you know. They will. But. But I would say the majority of people need more volume. They need more volume because, again, imagine you had an idea that you're trying to share, and, like, I'll switch over. Switch all my foundations off.

I'm switching all off right now. Okay. No, bodily. Nothing. So imagine I just did the rest of the talk like this. This is me playing the smaller version of myself. This is me being Kwang. To me, this is highly irritating, and I'm slightly losing my mind right now. But I want to give you the contrast, because here's the thing. If you keep playing the smaller version of yourself, what kind of opportunities would you attract this person? And it's not your fault.

It's not your fault. If that's how you are now, it's because we've never been taught how to use this instrument. You were born and you were given one of the most complex instruments in the world. No manual, no teacher, no coach. Just get good. It's ridiculous. But to me, when you learn how to, you learn how to use this. Remember this thing we talked about? You may be this good, but if you're only this good at communicating, people perceive you to be this good, not this good.

So as you improve your communication skills, you're then able to amplify to the rest of the world the best parts of who you are. You're then able to show you the rest of the world, what you've truly got inside. But only if you learn how to use this. I've showed you the foundations for voice. I've showed you the foundations for hand gestures. We don't have time to go through everything, but I know there's one thing that will stop you from practicing.

It's that when you walk into an environment where people know who you are and they know you're naturally quiet, for example, and you come into that environment, you're like, hey, guys, trying something new, they're going to be like. They'll be like, what? Why is she squatting? What is happening? And. And here's the thing. So I need to teach you something very important. There's a concept I teach in my workshops, and what it's called is, it's called neutral ears. A neutral ear is someone who has no preconceived idea of who you are and what you're like.

So, for example, you're in Toronto. You may go to the local deli here. You're like, that person doesn't know who I am to am. I'm normally quiet. Bugger it. You go in and you go, good afternoon. Do you have any bagels here? And they will just accept you for who you are.

And they'll be like, gosh, that's a loud person. But anyway. But what that does is you don't get the flinch because from your friends, they'll kind of be like, what are you doing? Just that slight flinch will make you go back into your mind mould. But when you find a neutral ear and you try something different with your voice, they don't flinch. They just accept you for who you are because they don't know any better. That helps your new behavior. Stick that little bit more in a place where you can.

Hopefully you're all not in your home city. There's plenty of neutral ears here. Try something different with your voice. Play with your tonality. Walk in with a very excited face, and all of a sudden you sound more excited over a chocolate bar like you've never sounded before.

But play with this instrument. That's the only way you explore. But there's always going to be one thing that stops you from doing that. Do you know what it is? Fear. Did someone say fear?

But you see, look, let's be real for a second. Look. Danger, or danger is very real. But fear. Fear is not a useful feeling. Fear is just an illusion. But why is this important again, in the context of communication?

So many people, when they leave this little workshop of ours. You will feel fear when it comes to trying something different with your voice, you're going to feel scared. And what I'm telling you is when you try to use your voice differently, there are no nails. It's not real. They're illusions that you have in your mind. Molds that other people create for you that are not real.

My friends, you have one of the most beautiful instruments in the world. Learn how to master this, and it will change the way you're able to connect with those you lead. And more importantly, it will help you connect with those you love at such a deeper level.

Education, Motivation, Leadership, Effective Communication, Public Speaking, Vocal Techniques, Vinh Giang, Vinhgiang, Vinh, Giang, Communication Skills, How To Improve Your Communication, Communication Tips, How To Become A Better Communication, How To Improve Your Voice, Public Speaking Skills, Public Speaking Training, Public Speaking Course, Vinh Giang Public Speaking, Vinh Giang Communication, Communication Tips Vinh Giang, Askvinh Communication Tips, 43 Minutes Straight Of Solid Communication Skills Advice, 43 Minutes Straight, 43 Minutes Of, Vinh Giang