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Zaine comments on Post ridiculous munchkin ideas! - LessWrong
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Learn some basic voice production for stage techniques. How your voice sounds is an absurdly strongly weighted component of a first impression, particularly over a phone or prior to direct introduction, and being able to project your voice in a commanding fashion has an overpowered influence on how much people listen to you and consider you a 'natural leader.' In particular, learn what it means to speak from the diaphragm, and learn some basic exercises for strengthening your subsidiary vocal chords like Khargyraa and basic tuvan throat singing, and you'll be surprised at how much it makes people sit up and listen. You might coincidentally have your voice drop into a lower register after about a month of such exercises, it (anecdatally) happened to me and several people in my voice production for stage class in college. (class of 25, 6 people had their voices drop within the first 4 months, teacher said those numbers were normal.)
Most people just assume you're born with a voice and have to deal with it, which is demonstrably untrue, and so they consider your voice to reflect your character.
You seem to have knowledge about how to do this effectively - please share that knowledge or the sources for it.
@Zaine, I considered a lesswrong post on it, but it is very difficult to give general advice on the topic due to interactions between identity and voice, the fact that many people already use many techniques and so could get bored with a list, etc etc. How would you advise structuring such a sharing post?
I would identify a representative set of specific circumstances which would benefit from 'vocal training techniques', then go into detailed explanation of the physiological changes that effect a benefit in each specific circumstance. Now that the generally applicable part has been covered, you can detail various techniques designed to achieve the effects. As each person will have differing degrees of success with different exercises, list many, but at the outset state the ultimate goal for the technique the set of exercises are designed to develop, exempli gratia "You will feel X once it has worked" (I don't know if this is possible).
If you are clear that one is only learning how to use their body more effectively, I should not think considerations of identity will prove problematic - if it does, abandoning the exercises undoes the effects, correct? I would also mention that incorrect use of one's voice over long periods of time damages it; increasing one's ability to use it correctly will help preserve their ability to produce voice into the future.
I've read some basics on this, around 2006, but it's hard to think of more to say than "let most of the force in your breath come from lower." I do find that sitting up straight or standing is much better for this than slouching or lying down, etc. I generally do voicework standing (I only do the minimum for my own projects; I'm not much of an actor). It's the same breathing principals for playing a wind instrument, a lot of martial arts, meditation, etc. (The latter just focuses on breathing without the forceful projection, but the principal of controlling the breath with muscles lower than your throat and upper chest remains the same.)
@cae_jones, the technique you are referring to here is technically known as 'Diaphragm Breathing.' It is very effective and good both actively and passively, and used in voice training for stage, singing, and a variety of martial arts and meditative schools. It will also become second nature very quickly when practiced, and is the single best technique to know the existence of, which is why I taught it at the first rationality minicamp and the first boot camp.
Here is the technique, in brief form. YMMV.
Take a deep breath, placing one hand on your chest and one hand on your stomach. Note which hand moves. If your upper chest hand moves, you have much to gain. If your stomach hand moves, you will have an easy time making progress. If both move, you are partway along already.
To improve your diaphragm breathing, keep one hand on your stomach and fake a yawn. Your stomach hand should move, a lot. Not a little bit, but noticeably. It should feel like you just got fat :).
continue fake yawning in this fashion until you can separate the breathing from your stomach from the concept of a 'fake yawn,' and whenever you have a moment include either fake yawns (at the beginning), or diaphragm breathing (same thing, without the ostentatious yawn) in your quick meditations.
For voicework, I also find that "open your mouth more" and "keep your voice pitched as low as you comfortably can" are often helpful suggestions. Depending on who I'm working with, exercises to open up the chest are helpful too (that is, bring the shoulders down and back, straighten the spine, let the skull "fit" on the end of the spine, etc.). Of course, posture work is useful for actors for other reasons as well.
I have often thought that pranayama work ought to help, also, though I don't know much of anything about it and haven't seen much benefit from what little I do know.
@the other dave, those are excellent for singing and, when actively used, social situations, but there are other techniques which are more passive. The Khargyraa, Tuvan, Diaphragm Breathing, Nasal Passage Opening, and some more general speech techniques including speaking slowly, pausing often, knowing when to gesture, all of these contribute more effectively to your impression than the techniques you mention, which fade as soon as you get caught in the moment.