Yap Sesh S2 E9: Ins and Outs of 2026

Anna: Welcome to Yap Sesh. We’re your hosts. I’m Anna Diemer.

Maurice: And my name is Maurice Goodwin.

Anna: And this is 2026.

Maurice: Welcome to 2026. How does it feel?

Anna: You know, it kind of feels like the end of 2025. I’m trying to make less of a big deal out of the new calendar year because it’s still kind of the winter. I’m trying to be slowed down right now. So if I’m like, yeah, it’s the new year, I’m going to get all this stuff done, then that usually doesn’t end well for me. So I’m like, okay, we changed the dates, but I’m just vibing. So that’s where I’m at.

Maurice: Is there a time of year that you feel like is a natural reset for you or like a point in the calendar that you’re like, oh yeah, here’s where things typically feel like they turn over, or is it just one, you’ve, a never-ending midnight sign in the words of Zara?

Anna: Now this is two podcast episodes in a row where we’ve talked about that song.

Maurice: I won’t rest until it’s a top 10 hit.

Anna: So, I mean, it deserves to be. So it’ll become a top 10 hit just from the amount of streams that you and I have put into the song. Absolutely. I am a big fan of how the astrological calendar starts with Aries, starts in March, starts with spring when things are awake again here in the northern hemisphere. So that feels like a growing-of-energy time for me. Like I do solstice reflections for the winter solstice when we’re kind of like in the dark, it’s time to think about stuff, maybe start to think about what I want to do. But then January and February, at least this year, I am trying to not overschedule myself, be more inward-facing. So we’ll see if that happens. So far, so good.

Maurice: I am feeling like I’m a recovered hospital employee where the end of the year always felt quite chaotic, just in balancing my personal life and having to have all my documentation done and every client ever seemingly needing to get an appointment in before their insurance reset. Like, you know, because those things are made up. So I don’t have any of that this year. So it was definitely a fresher holiday into the new year with little to none of that stress. But I think as a private practice owner, I also noticed that like, what a wildly quiet season for what we do, the holiday into the new year. I mean, people really are just like, okay, I’ll see you when I see you.

Anna: Yeah, I was gonna say it’s probably the opposite now. Yes. That’s why I always take off at least two weeks, because I’m like, nobody is having voice lessons right now.

Maurice: No one is having voice lessons. I had, interestingly, a few sessions with people who just don’t naturally celebrate the holidays. And so that was actually kind of nice, because I don’t really either. But yeah, I felt like I was doing nothing for a couple weeks. It was nice. Now that I’m in January and doing something.

Anna: Right. It’s like less good for business, but nice for resting.

Maurice: Nice for resting, nice for resting. Well, we’ve rested. VoiceProEd has rested for about a month.

Anna: We went to ASHA and then we were like, okay, that was all of our energy. VoiceProEd is taking a six-week-long nap. But we are back.

Maurice: We actually hibernated.

Anna: We did hibernate.

Maurice: After eating absolutely everything. ASHA was our smorgasbord. We buffeted at ASHA and then we hibernated.

Anna: We did.

Maurice: You know that meme of the bear coming out of the cave who looks like ragged? That’s VoiceProEd.

Anna: That’s literally us right now.

Maurice: Oh my goodness, we’re going to post that. We’re back with the bear coming out. That’s so funny.

Anna: You heard it — I was going to say you heard it here first, but we’ll probably post that before this podcast comes out. We should do that.

Maurice: That is so funny.

Anna: I’m coming out of my cave and I’ve been doing just fine.

Maurice: You’ll see one of our 2026 goals as a business is to make social media more tolerable. So if you see us posting chaos memes, that is the only way we know how to engage. So that’ll be good.

Anna: It’s a part of our language as chronically online millennials. We are fluent in unhinged memes.

Maurice: We are fluent in unhinged memes. I mean, people really have to think about this. We have been using the internet for as long as the internet’s around. Like, at some point we have to be like, is this gonna be our whole lives? Is having to reinvent the way we engage with this thing that is never-endingly evolving? Oh my goodness. We’re just gonna exist, all right? This is just how we reach you all. This has to be an extension of who we are as people, because I have no more reinvention left in me. I cannot sales funnel ever again. I can only talk to you. Hi, we’re VoiceProEd.

Anna: We’re VoiceProEd. That’s why we started this podcast, because we just want to talk to you.

Maurice: Yes.

Anna: But I think that for me, that’s refreshing, right? Like, I understand that sales copy exists because it works, right? Like, there is psychology behind that. And also, I just want someone to talk to me and tell me what I need to know and not extra stuff.

Maurice: And not extra stuff. We had started this just from a desire to talk about voice science and be voice geeks and voice nerds. And so I think that the more we focus on that, the more true it will probably feel to both of us as well. Maybe we won’t need as many six- to eight-week hibernations in the future. Maybe not.

Anna: Oh, that inspires a not-planned question from me. One of the things that I’m trying to do this year is read all of the pedagogy books that I have bought.

Maurice: Oh gosh.

Anna: So I’ve just started The Tongue. What’s the subtitle?

Maurice: Angelika Nair.

Anna: Yeah. Let me read the whole title: The Tongue as a Gateway to Voice Resonance, Style, and Intelligibility, which I bought in 2021 when it was released and have not read. And so I started the first chapter this week. So is there anything that’s like first up on your personal professional development?

Maurice: That’s a good one. So I am actually — you heard it here first, folks — I’m teaching at the University of Houston. I’m teaching their graduate voice disorders course this spring, and I am working out of a new voice book. And it is… which book is it? Clinical Voice Pathology: Theory and Management by Dr. Joe Stemple and Nelson Roy. And who’s the other author? I’m going to assume this last name is Klaben — Bernice Klaben. So I’ll be working off of that book, and I’ve not read it before. I’ve skimmed some of the chapters, but that’s going to be a cover-to-cover read that I have to get done in the next few weeks. So I’m excited to get into that.

Anna: Yeah, let us know how it is. And listeners out there, let us know what your first voice read of 2026 is.

Maurice: Your first voice read. I hung out with Angelica Nair at a conference once, and we had a whole meal together. We spent the day together, and I knew about this book. I had purchased this book. I had gifted this book to a client of mine. And I had no idea that’s who I was having lunch with. It was so wonderful.

Anna: How — just like in a sense of, are there more Angelica Nairs out there? Like, you didn’t make the connection?

Maurice: I just don’t — well, like she didn’t introduce herself like, “Oh, hi, I’m Angelica Nair, the person who wrote this book about the tongue.” It was just like, “Hey, I’m Angelica,” and I was like, “Hey, what’s up?” And then we hung out. We were hanging out with a mutual friend who brought us together, and it just never came up that they were the person who wrote this book that, at the time, I literally had in my office at the hospital and had gifted to a client of mine. So it wasn’t even like it was a book I read and never picked up. This was something that I found meaningful.

Anna: Right.

Maurice: And then I was just hanging out with this person and was like, “Oh, what a great book.”

Anna: I feel like, to bring it back, this relates to our “we just want to talk to you.” Maybe all voice nerds are people, right?

Maurice: Maybe all voice nerds are people. I did rectify the situation — which I don’t think she was offended by me not recognizing it — but I felt like it was a “whoa, you’re that Angelica. Hey.”

Anna: It’s cool to have the opportunity to be like, “Oh yeah, actually your book was really impactful for me.”

Maurice: Yeah, after I’ve met you and we’ve yapped about life. And that was also right before I ended up getting my tongue tie. I don’t know that we’ve ever talked about this on the podcast.

Anna: I don’t think we’ve ever talked about this on the podcast.

Maurice: Anyway, we don’t have to talk more about it. But that was right before I had done that, so there were lots of tongue-themed things happening in my life.

Anna: I’m so glad to have inspired this.

Maurice: That was a good — I mean, we didn’t plan for that. The spontaneity certainly has not gone anywhere. Some things are the same.

Anna: My brain just went: this is like how you draw a tarot card for every month, except for us it’s like a voice topic. So it’s like accidentally the tongue. My goodness.

Maurice: Do you want to draw cards for VoiceProEd?

Anna: Oh, we can draw cards for VoiceProEd. On the next one.

Maurice: Yeah.

Anna: Okay, yeah. They’re not — am I going to interpret them? Am I going to do a tarot reading on the podcast?

Maurice: The VoiceProEd tarot. I love that.

Anna: Accidental tarot podcast. Maybe we’ll do a yap short or something that’s like —

Maurice: Oh, that one’s good.

Anna: Because I’m sure there are people that do not care about that content.

Maurice: What would we need?

Anna: I like it. I like it.

Maurice: We’re closer to the ground. We’ve had more laughs. This is where we need to be. We have an exciting announcement.

Anna: We do. We’re coming out of the cave. We have scheduled our first course of 2026. It is back by popular demand, Unpacking the Binary, which is our gender-affirming voice course — intro, very, very basics. It is a one-hour course. It is me talking about the work that I do with gender-affirming, mostly speaking voice clients. And it will be live on Monday, February 9th at 8 p.m. Eastern Time, 5 p.m. Pacific. So you can go to work on that Monday and then come hang out with us on your Monday evening.

Maurice: It’s perfect. It’s the perfect way to start off the new year for us as VoiceProEd. It was, I believe, our most responded-to and popular course of last year. And it was really great to see the way people responded to you, the content, and the community that we were able to create from doing stuff like that. So I think it’s great. Super excited.

Anna: I’m excited to bring it back. If you are listening to this podcast, you can register for it now on our website at voiceproed.com slash courses. It is posted. It is ready to go. If you can’t make it live on the 9th, it will be available through the end of March for you to watch the replay. And you can still earn ASHA CEUs by watching the replay. Yay. You can tell when I go into announcer mode. I know announcer mode.

Maurice: We have that tone that’s actually in our bones. Have you ever had, like, a VoiceProEd dream?

Anna: I don’t know.

Maurice: I actually don’t think I ever have.

Anna: I don’t think I ever have either. But the other night I dreamt I was an astronaut, and I was like, “I didn’t go through training for this. What do you mean you’re about to launch me into space?” And I was terrified.

Maurice: I had a dream two nights ago where I abandoned a Hamilton callback because I was too afraid. Isn’t that wild?

Anna: That is — that’s more wild than me being afraid of being launched into space. Like, that’s…

Maurice: This is — and I was like, but I’m the perfect type. I should be comfortable at this audition. And I just couldn’t do it and left the audition, and then I woke up.

Anna: Wow. I mean, that also was okay. You listened to your body.

Maurice: Yeah. I didn’t feel like it was meaningful to any other area. There was nothing in my life that I’m not trying to kick down doors into. So I didn’t feel like I’ve abandoned an audition recently. It was just like, whoa. Yeah. That was a dream. Maybe one day you’ll get launched into space. Who knows?

Anna: I would not like that, but thanks. Hey, listeners, tell us your weird voice dreams. We always say this, and I think I’ve had two people maybe reach out about like, “Yeah, you should start a book club.” Or no one ever told us — we were like, “What are your top five songs?” No one did that. We actually want to know. We would not say this if we did not want to know.

Maurice: So, like, tell us your weird dreams.

Anna: Like, tell us your 2026 resolutions.

Maurice: The registration for the next course. Tell us your top five of 2025.

Anna: Yeah. I mean, why not? We want to know. We just want to talk to you. That’s the — is that the title of this episode?

Maurice: We just want to talk.

Anna: We just want to talk.

Maurice: Title it that.

Anna: What we were actually doing before we also just talked — which I guess could also be the title of this episode — is our ins and outs for 2026.

Maurice: 2026 ins and outs. If y’all have been seeing online, people are posting what’s in for 2026, what’s out for 2026, what are the things that we’re leaving behind in 2025, what are some of the things that we’re bringing into 2026. Do you want to get us started with one of yours?

Anna: Yeah, let’s do ins first. Let’s do all the ins first. I think we did a little bit of this at the end of last year that was more reflective. But for me, this is kind of like the hot take version a little bit. Like, yes. And specifically, I’m thinking about what I’m doing in my work — what’s in and what’s out. So, you know, this is a little bit cheekier than us being like, “Hey, we want to not overburden ourselves and we want to be in the cave,” right? Like, this is the tea. So prepare yourselves. Maurice is giving me the biggest Cheshire Cat smile right now.

Maurice: I have some good ins and outs.

Anna: Excellent. I don’t think mine either — oh, go ahead.

Maurice: The spicy take episode.

Anna: The spicy episode. Okay, so my first in — I literally just wrote down “practicing,” which is like, okay, practicing hopefully is always an in. But this is something I’ve been thinking about a lot because I’m having more clients that are beginners to formal singing training. And some of these people have no framework for practicing. They don’t know what to do. They don’t know how to sing voice exercises. And I’m so used to the type of folks I usually work with coming in and I’m like, “Here are your exercises. Go do that. You know how to practice.”

So I’ve been having to think to myself, like, okay, how do I actually give this person a structure and the tools that they need to do this when I’m not here in front of them, when I’m not playing the piano along with them? And also creating something that feels sustainable and not stressful to do, because I will have people come back and be like, “I thought about practicing, but then I got really stressed out because I didn’t want to do it wrong.”

Maurice: Yeah.

Anna: Like, y’all, sing. Use your voice. Here’s how. How can I help facilitate that better? So that’s an in for me.

Maurice: Perfect. I’m going to go kind of big picture. Some of my ins are going to be maybe a little bit about the field and who we are as professionals and music performance. So my first in for music performance — and this is going to fall under a hot take slash prediction — is I would love to see more high-level pop, and specifically arena and stadium artists, talking about the fact that they all use some form of vocal stem or backing track to support their quote-unquote voice health when they’re touring and performing.

I would love for people to be more open about that reality, because then I think it makes our work more rooted in reality when we’re training singers for live performance and setting realistic expectations about what the voice can and does do under those specific circumstances. And I feel like it would be really healthy. Kind of in a similar way to how, a couple years ago, people started realizing that images are airbrushed and bodies are altered on magazine covers. That reckoning felt important. The same thing is happening with voices. So let’s be open about it. Let’s talk about how these tools are used — to protect voices and to support the work artists are doing. That’s a great thing. Talking about it more would be even better.

Anna: I love that you’re coming in with — you work with a lot more high-level singers than I do. So we’re at both ends of the spectrum here, right? We’re teaching beginners how to practice, and we’re teaching people who do this for a living how to do it sustainably. It’s the same thing at different scales. Yeah. Okay, more ins?

Maurice: More ins.

Anna: More ins. Okay, so this is another — my end of the scale here. All of my singers, especially the ones in choirs, are reluctantly requesting — but still requesting — to work more on musicianship, music theory, sight reading. I get that constantly. And it always gets pushed to the side, partially because they’re also avoiding it, and partially because I rabbit-hole down vocal technique stuff, because that’s my specialty as someone who teaches voice function.

But we’re getting into sight reading. I’m having folks do it first thing. You show up, you say hi, we’re going to sight-read eight or sixteen measures, and then we can get going. It’s not going to be a month before your audition where you’re cramming. I like it. We’re doing this.

Maurice: I like it. I like it. My next in actually has to do with voice teachers, speech pathologists, people who work in the voice world, voice scientists — and the idea is significantly more community. This idea that we all have a lot to learn and a lot to learn from each other.

A slight branch off of that is recognizing that we can’t be great at every type of singing training or every type of voice function training. You can be very experienced and still know that there’s someone else with deeper expertise in a specific area. That’s just teaching and knowledge. So relying on each other as a community — to educate, support, and just be together in this work.

Anna: More ins. More literal ins in community, not exclusivity.

Maurice: Yeah. Voice teaching and voice work is very lonely by nature when it’s just you and a client. So more community between folks who do the work.

Anna: Yeah. That’s nice. Especially in private practice, when you’re in your house all day seeing people on a little screen. We need that. Okay, I have one more in. This is a personal pet peeve. I humbly request that if you want to take voice lessons with me, you fill out my intake form, please.

If you’re doing SLP work — especially in a hospital — you have to fill out all kinds of forms. I made most of my questions optional except contact info and emergency contact, but I want to get to know you before we show up on Zoom so I’m not just like, “Okay, so why are you here?”

This is my autistic brain going, “I would like as much information as possible going into this situation.” And I also think it’s helpful for people to reflect on why they want voice lessons, what they want to work on, and how I can help them. So yes, it’s a little spicy. But come on, y’all. Do the thing. I believe in that.

Maurice: Do the thing. I like that. I like that as an in. And my last in would probably be similar to yours — that in speech pathology practice there’s often a really set end goal. Often, not always, but something like, “I’m going to attend until I feel better,” or “I sound better,” or “there’s no hoarseness,” or “I’ve made it past this post-op period.” And sometimes in singing voice lessons, that gets missed, right? That determination of what are we achieving and what are we doing.

So my in for myself has been similar to yours: who are you? What would you like out of this experience? And how can I help you? Because technically, we’re both very technical teachers and we know how to do a lot of things with the voice, but it’s not really up to me. I have a lot of thoughts about voicing, but it’s your voice. So what would you like to do? How do we bring that out of our clients, students, and the people we work with? So ins is getting our clients to fill out their forms so we know how to help them.

Anna: Period.

Maurice: Period.

Anna: I have nothing to add to that. That’s great. I would like people to do that.

Maurice: What’s one of your outs? What is out?

Anna: Out for me — I’m saying this to myself personally, but also to all of my non-beginners, my professional voice users — it is out to skip your functional voice warm-up. If you’re a professional voice user, you need to be warming up your voice every single day. Period. Period again.

Maurice: Period.

Anna: And sometimes I — well, I mean, I’ve been on vacation also — but if I have to use my voice that day, if I am teaching, I am lip trilling for at least ten minutes. And sometimes that’s it. That’s enough for me. But I want to make sure I’m doing that, and I want to encourage my clients to be doing that too, and fitting it into their lives in a way that makes sense — habit stacking, making it a habit.

This goes back to my in of practicing, right? How are you making this work for you so that your voice can work better for you?

Maurice: Yeah, I like it.

Anna: What about you?

Maurice: I’m talking about that a lot with some of my clients. We need to get this in shape.

Anna: Yeah. Right. But it doesn’t have to be hard. It doesn’t have to be a whole sit-down, technical exercise, looking in the mirror, and—

Maurice: Yeah. My out — my first out — is actually being in a 24/7 skill acquisition phase of singing training. So many singers constantly feel like they have to achieve more with their voice, and it creates an exhausting physical, mental, and emotional relationship with their voice when they feel like they always have to achieve something else.

There’s almost no other area of life where we think things have to be better all the time, but singing training often feels like that. And that’s not reasonable. There are different times of life, different periods of performance and training, that call for different phases — skill acquisition, maintenance, reserve, pullback, rest. All of those exist in voice use. But not all of them have to be skill acquisition phases.

So one of my outs is helping people just sit with: where is your voice now? How do we maintain it? How do you treat it and care for it without feeling like you have to reach another high note or make your mix better? That non–skill acquisition phase is important.

Anna: I feel like this is really normalized in athletics — tapering before a big race, cycles of training. And yes, we want you to fill out our forms and tell us how we can help you sing better, and also recognize that there are different phases to that.

Maurice: Yeah. And they all exist in voice use. It’s not, “Well, I’m not learning something new, so I’m not singing at all.” No. There are phases where it’s like, yeah, I just need to be with my voice where it’s at and feel confident doing what I do right now.

Anna: Yeah.

Maurice: I’m trying to learn that too as a coach and teacher.

Anna: I thought this was going to go in the direction of constantly trying to absorb every single pedagogical thing. You do that more than me. I’m coming around the other side of that by, you know, reading The Tongue. But also, it can be hard when articles are constantly being published and new information is always coming out. That’s great and important.

But we also need time to digest, incorporate, and figure out how to apply what we’ve learned to our work — not feel like we have to read the Journal of Singing front to back the day it comes out.

Maurice: Or you’re missing out. Yeah, I hear you.

Anna: That’s a good one. I have a silly out next. This is mostly for my clients, but maybe for me too. It’s — how do I phrase this? Being cringe is in. Being afraid of being cringe is out. Singing is weird.

This is especially for my newbie folks. I have exercises that sound silly. I encourage people to be silly and lighthearted. It gets people out of their heads and into their bodies. And sometimes the brain goes, “Oh my gosh, cringe.” And I’m like, singing is cringe. Don’t be afraid of that. I am here to hold your hand and step boldly into 2026 being silly about singing.

Maurice: I like it.

Anna: I am also just, like, so cringe.

Maurice: So out: fear of being cringe.

Anna: Do you have another out?

Maurice: I do. This one’s not meant as a call-out, but more of a lean-in. One of my outs is poor or misunderstood relationships to hydration. We know some things about hydration and the vocal folds, but we don’t actually know everything. And sometimes there’s content online that’s extremely misleading about what water does or doesn’t do.

A thing can be good without us fully understanding it. Water can be good just because it’s good. You should drink water. Period.

Anna: Period.

Maurice: Period. Just drink water.

Anna: So we’re practicing, we’re being cringe, we’re filling out our forms, we’re drinking water.

Maurice: We’re drinking water.

Anna: Hydrated, moisturized, unbothered, in our lanes.

Maurice: And it’s okay to not completely understand how everything works.

Anna: I run into that with clients too. Sometimes something works, you do it again, it’s better, and you don’t know why — and that’s allowed. We’re allowed to move forward without knowing every reason for everything.

Maurice: Are you ready for your last out? Because it’s my out too.

Anna: Okay, this is our other big announcement. If you’re one of our wonderful VoiceProEd learners, you may have already seen this, but our out for 2026 for VoiceProEd is asynchronous courses.

We’ve decided that live courses make more sense for us — for our capacities, preferences, and how we like to teach and learn together. We’re phasing out all asynchronous courses by the end of March. Don’t worry, we’re not going anywhere. We’ll still be offering live courses.

We don’t want to record and edit videos alone behind screens anymore. We want to go live. We want to see you. We want to answer your questions together in the Zoom room. So asynchronous courses are out.

Maurice: They are out. And we’ve talked about — and I mentioned at the beginning — that we’ve thought a lot about what this looks like. For our next course, the course will be available for a few weeks after we deliver it, and we plan on continuing to make that available for folks who are unable to attend live.

We want to create a sustainable business for the two of us, because that’s the only way we can continue to engage, live our lives, build our own businesses, and be good people to the people in our lives and to each other. And we want to root that in what feels right for us as a business. So thank you for being on this journey with us as we continue to figure out how to do that with VoiceProEd.

Anna: Thanks for listening. Thanks for being our learners.

Maurice: Yes.

Anna: If you have thoughts on what you’d like to see in our live offerings, if you have ins and outs for 2026, let us know. You can respond to our spicier hot takes as well. Let us know how you’re hydrating and practicing in 2026. Should we do the first Tool Time of 2026?

Maurice: Let’s do the first TOOL TIME.

Anna: Do you have a tool you’d like to share with us?

Maurice: Sure. I have a tool. Can you hear the piano?

Anna: Cannot hear the piano.

Maurice: Oh, okay. All right. So I was recently working with a client who was feeling like they had difficulty connecting their chest voice and head voice. And they weren’t really at a place where they had the language to define all of that. It was a shorter session, and I’m going to see them again.

But I was thinking, how can I help someone do this without them having to label all the pieces and fully understand all these different voices? They felt really comfortable with lip drills. So all we did — and this is by no means groundbreaking — was a lip drill on a pattern like one–three–one–five–one–eight–one.

For them, the goal was creating a longer vocal line and challenging breath flow and breath pressure. So we just kept extending the exercise, adding pitches as needed. It got them from chest voice into head voice — they were a treble voice — and then we moved up and down the scale and played around.

And going back to one of our themes, sometimes I know how something works and my client doesn’t, and that’s okay. We just need to get them doing the thing. We’re looking for exercises that connect people to their voice and help them achieve their goals.

Anna: That’s so fantastic, because I’ve been thinking a lot about chest voice and head voice this week too — especially with newbies who haven’t experienced that before. Some folks sing in head voice for the first time and are like, “What just happened to my voice?” And you get to say, “This is supposed to happen. Voices do this.”

So maybe my tool is getting to nerd out with my clients about what’s happening in their voice. Specifically, intentionality and education. Educate is one of the five E’s. Letting them know what’s going on, and then asking, can you be in head voice on these pitches? Can you be in chest voice on these pitches?

I had a client yesterday doing a five-note descending scale like: head, head, head, chest, chest — deciding where the switch happens. Once they realized the registration event was happening, they had agency over it. They could smooth it out, choose where to switch, and how they wanted to sing. That intentionality and specificity is something I’ve been really focused on this week.

Maurice: Noice, noice, noice. I like it. Tool time. The first tool time of 2026.

Anna: 2026. We’ve got the tongue, we’ve got registration.

Maurice: We really had a little bit of everything today. Thanks for joining us for the first Yap Sesh episode of 2026. We’re excited about this year, excited about some of the changes we’re making, and excited about the things that aren’t changing and are staying the same.

Anna: We’re excited about being in our cave for a few more months, because it’s winter. And we’re excited about our first course on Monday, February 9th — Unpacking the Binary: Gender-Affirming Voice Basics with me. You can sign up at voiceproed.com slash courses.

We release episodes every other Sunday, so we’ll see you in two weeks with more yapping.

Maurice: More yapping in two weeks.

Anna & Maurice: Bye.