One of the best in the industry and a top voice on the ProComm Voices roster, Lindsay Ayliffe has been winning clients over with his voice for years. He took a few moments to share his experiences in the voice over biz for our latest feature…

1. How long have you been in the voice over business and what got you started?

I’ve been doing VO’s full time since 1994. Ten years prior to that, I worked as a copywriter for various ad agencies and did a lot of in-house VO’s (I hate those in-house guys now, right?). In my last job working for an ad agency, I was the Senior Copywriter/Associate Creative Director on a large restaurant account. Once I realized the voice actors I hired were having way more fun (and making more money) than I was, that was the end of being an employee. My first professional gig was through ProComm. Annie Lalley and I were booked to play Rhett and Scarlett for a pizza chain in Athens, Georgia. I was so excited that I rented Gone With The Wind to make sure I nailed the accent, and found out — to mah evahlastin’ suhprahz — that NOT ONCE did Clark Gable speak in a Southern accent in the entire film.

2. How would you characterize your style, sound, or signature read?

“Warm. Positive. Life is good and I’m just happy to be here.”

3. Have you had any interesting, unique, funny or scary experiences while voicing that you can recall?

Once, I played a tough, blue-collar termite for a pest-control company. I literally had to chew through an entire bag of pretzels while I talked.
Once, I was a vest on a radio spot for a men’s clothing store. Pin-striped.
Once, I was asked to sound “taller”. Seriously.
Once, I auditioned for the part of George Jetson in a radio spot and ad-libbed a dog bark just for fun. I didn’t get George, but I got an SFX fee for Astro. And a renewal a year later…
I’ve been the voice of water at a water park.
I’ve screeched like a velociraptor for an insurance spot.
I’ve been an “interior designer” for a mall spot. (That coded description got a big laugh from my gay brother.)
Scary experiences? Any session that consisted of multiple, unnecessary takes on a “screamer” script. I love what I do, but I don’t have a spare set of vocal cords.

4. Do you have any heroes, mentors or others in the business that you look up to or have influenced you?

When I worked as a copywriter on the Winn-Dixie account in Jacksonville Florida, we often hired a local voice actor named Cochrane Keating. He had the smoothest, most natural baritone voice I’d ever heard and his attitude made every session a pleasure. I don’t have those pipes but I do my best to emulate his good nature & professionalism.

5. What is the best advice you can offer people who are just getting started?

Talent and availability are the two most important assets — not necessarily in that order. Go on ProComm’s website and listen to the talent. If you can do better or have a completely unique voice, make a demo and send it in. If you’re lucky enough to get signed, make sure you’re available all day long, every week, year ‘round. Oh, and say “YES” to every scheduling request. (You can go on vacation once you’re established.)

6. What would you be doing if you were not a voiceover talent?

You mean a real job? Hmm. Copywriting was always a pleasure, so I’d write more. If money’s no object, I’d immerse myself into learning how to compose electronic/techno music. I’m a big fan of Moby, Zero 7, et al.

7. What is the most important thing you’ve learned since you started in this industry?

I’ll make it plural…the most important things:
Take care of your voice – and ears – like a violinist takes care of his fingers. It’s all you’ve got.
Be available.
Return emails, texts, and voicemails as quickly as possible.
Be easy to work with.
Be professional.
There are no guarantees.

8. Is there anything you would like to add?

Yes. I was a client before I was a talent, so I know what I’m talking about here:
My main job as a voice actor is to make each session the easiest part of my client’s day. That’s what relieves her stress and makes her happy. Which means she calls ProComm again. Which means ProComm calls me again. Which means I get to keep doing the thing I love.

]]> http://www.procommvoices.com/wordpress/voice-talent-feature-lindsay-ayliffe/feed 4 http://www.procommvoices.com/wordpress/what-else-do-you-want-from-your-voiceover-talent http://www.procommvoices.com/wordpress/what-else-do-you-want-from-your-voiceover-talent#comments Mon, 10 Oct 2011 14:23:02 +0000 Dan Friedman http://www.procommvoices.com/wordpress/?p=1138

This blog post is for everyone who uses voiceover talent in their productions. A voice talent’s job is to communicate the message of your script. But what else should you expect from the talent you choose? How do you prefer that the talent go about assisting you with achieving your goals? Other than being great communicators, what can the talent bring to your production that adds value and makes your recording session great?

What is most important to you:

Delivery?

Versatility?

Efficiency?

Tonal Quality?

Assistance?

Q: Do you like to allow the voice talent to give their interpretation of a script, or do you prefer to direct them first?

Professional voice talent are trained to interpret a script and use the words as a road map. The words usually determine the tone and delivery. Unless… they don’t. You can allow the voiceover talent to follow the map, or ask the talent to explore other paths.

Q: Do you prefer to hear several different deliveries?

Going into a recording session, you may not have a good idea of what the exact tone of your script should be. It could be very effective delivered in several ways. Asking your voice talent to offer a variety of options may allow you to discover a bit of magic you hadn’t thought of or help you make a final decision as to what delivery works best.

Q: Do you prefer the talent you are working with to deliver the script completely or do you prefer to massage each line and piece together the “perfect” read?

Reading a script straight through, or at least large sections in a single pass, allows the voice talent to maintain tone and pace. This will usually result in a more consistent and cohesive read. When necessary, the talent can pick up lines afterward to get the nuance you may be listening for if they didn’t get it on the first pass. With the assistance of your session’s audio engineer, you can have the best lines edited together quickly to see how they work together as a whole.

Q: Do you choose a talent based on voice quality alone?

Every voice talent has different strengths. Some are best suited for announcer reads, while others shine in more conversational or character roles. If you cast based on voice quality alone you may have mixed results when you get into the studio. This is where it helps to rely on a casting director who knows the abilities of the voice talent and can help you choose the best voice for the job.

Q: Do you find it helpful if a voice talent has the ability to actively assist you with your script, whether it be grammatically or with overall tone and flow?

Professional voice talent learn to become good copy editors. Whether the problem is length of copy, grammar, or a scripts tone and flow, the voice talent you hire may have suggestions that can improve the final product. If your voice over script isn’t sounding right and you can’t put your finger on it, ask the talent for help.

You may find it helpful to ask yourself these questions as you begin each project. There is no doubt that your level of experience with voiceover production may determine some, or all of the answers. Furthermore, everyone chooses a voice based on different needs and what is appropriate for each project. But the answers to these questions could help you decide which voice talent is best for your current or future projects.

There are many voices available and often voice quality is not the number one factor in your choice. If you have narrowed your choices down to two talent and you know that no matter who you choose, the delivery would be great; would the answers to these other questions make a difference in who gets the job? Only you can decide. So, what else do you want from your voiceover talent?

With the passing of former Apple CEO Steve Jobs this week, there have been many things written about the legacy he left for our generation: The many computer products that change our lives, the transformation of how we buy and listen to music, even the advertising industry gained from Apple’s innovative marketing.

You may recall the ‘Here’s to the Crazy Ones’ TV commercial that aired in 1997 to launch Apple’s Think Different campaign. Richard Dreyfuss provided the voice over. But did you know Steve Jobs provided the voice over for an early version that never aired? I stumbled across this on youtube the other day and thought it appropriate to share. Steve Jobs may have had a future as a voice talent, if not for all that creative-genius-visionary stuff.

www.youtube.com/watch?v=8rwsuXHA7RA

For comparison, here’s the Richard Dreyfuss version.

www.youtube.com/watch?v=dX9GTUMh490

Multi-talented voice over artist Jacqui Fehl shares her insights into the voiceover business and how she got started.

1. How long have you been in the voice over business and what got you started?

I’ve been working as a professional voiceover talent for about 15 years. I always knew that I wanted to be an actress, so after graduating college I moved to Los Angeles. I decided that I could learn about the business from the inside so I got a job as an assistant to a young agent at the William Morris Agency in Beverly Hills. Working in the bustling commercial and voiceover department, I was able learn from those already successful at their craft. We handled celebrities as well as unknown union actors and I enjoyed getting to know them as I submitted, scheduled and hustled to get them auditions and jobs. (I have total respect for all the agents and schedulers and folks who now work on my behalf. Truly, I have walked in your shoes!)

When the time came to move up in the company, I decided to dedicate my time and effort to pursuing my craft full-time. I was fortunate to be able to take some incredible classes - and with William Morris now representing me as an actor, I jumped in!

2. How would you characterize your style, sound, or signature read?

My favorite thing to do is characters…the wackier the better! My goal was to have a character demo so diverse that those listening would question if it was just one person doing all those voices. From “cartoony” kid voices to 80 year old grannies, I want to do them all!

As for straight announcer, or my “real” voice, I would say that my style is warm, friendly, approachable and hopefully a little hip with a sense of humor.

www.youtube.com/watch?v=F1JovpaQMp8

Jacqui Fehl provides the voice over for St. Thomas Heart Hospital

3. Have you had any interesting, unique, funny or scary experiences while voicing that you can recall?

I hate to sound corny, but each session is interesting and unique. That’s one of the many reasons I love doing what I do. No two sessions are ever exactly the same. I love working with other actors and I really enjoy the chemistry that happens when directors, writers, and actors collaborate. One particularly fun session was with a regular writer/director Tim and one of my favorite male voice talents Lindsay Ayliffe. We had been working with Tim for years on various projects. He was a very loyal client and would write some of the funniest and creative scripts I had ever come across. Well a few years back - maybe 6 or 7 years ago while we were just chatting during a session (which happened often) I told him about a character name that my childhood friend and I had created when we were kids. This character started out as Anita Henrietta Chanburgerdowski. We would continue to add last names over the years until she eventually became: Anita Henrietta ChanburgerdowskimeisterhomersonstienbaumskyhagendorfO’blatowitznerskywookerellischbeindelmerfud. We memorized it and could rattle it off in unison. Laughing, Tim said that one day he would write a spot for this character. ‘Sure,’ I said. ‘Remember, ya only have 59 seconds, her name can take a large chunk of that.’ Years later, Tim emailed me and asked me to send him an MP3 of me saying the name as fast as I could. Incredulous, I recorded a blazing fast rendition. It took a few months, but Tim came back with not one, but a series of hysterical commercials for this character and her sidekick brilliantly interpreted, as always, by Lindsay.  Each spot had the character introduce herself as well as her website, which was her name, with a dot-com. Unbelievably, as a creative team, each spot came in at 59 seconds. Amazing!

4. Do you have any heroes, mentors or others in the business that you look up to or have influenced you?

So many people have and continue to influence me. Each time I work another actor, I learn something new. I think if I had to name a few, it would be Mel Blanc and Susan Blu (a wonderful director, teacher, voice actress and casting director). When I was a newbie in Los Angeles, she not only produced my animation/character demo, but she coached, mentored and hired me for my first episode on an established animated series. I will always be grateful to her for getting me started and encouraging me to stretch and take risks. In a town of really BIG fish, she was kind to me when I was a minnow.

5. What is the best advice you can offer people who are just getting started?

Nowadays, it takes more than just a good voice to “make it” in this business. You must be able to read yet sound like you’re not reading. Sell, but sound like you’re not selling. Don’t rely on a smooth or quirky voice alone. While that may land you a job or two, longevity in this business requires the ability to act, to take direction, and to be a team player. Be flexible and adaptable. Adhering to the ‘proper etiquette’ is important too. If a client wants to make small talk – do it. If a client is pressed for time – don’t make small talk. If you feel a script needs editing, offer a suggestion – but don’t push it. It’s not about you. It’s about pleasing the client. The obvious holds true as well – be on time, be prepared, be friendly.

www.youtube.com/watch?v=rJsgoI2hl54

Jacqui Fehl tags this spot for Connecticut Lottery

6. What would you be doing if you were not a voiceover talent?

Just more of what I already do. In addition to being a mother, I’m a mixed media artist and I sing and play harmonica with my husband in a band, Carolina Rex (which you can find at http://carolinarex.com and on Facebook at http://facebook.com/CarolinaRexBand). If I wasn’t voicing, I’d probably produce a lot more art and play a lot more gigs.

7. What is the most important thing you’ve learned since you started in this industry?

The most important thing I’ve learned since starting in this industry is that you need more than just a good voice and that in the end, this is a service business. It’s not about what I like – it’s about pleasing the client. Wait. That’s two important things. Is that okay?

8. Is there anything you would like to add?

Yes. 2 and 17. I’d like to add them. I think it’s 19.

Corky Coreson has a big voice! He is an accomplished voice talent, producer and musician. We talked to Corky about his career and his experiences in the voiceover industry. Here is what he had to say:

How long have you been in the voiceover business and what got you
started?

35 years. A friend who was a voice talent discovered he was booked for a session and was also the voice of a competitor so he passed the agency to me. The agency liked my voice so they called me for another spot later. The second spot I did was a national TV. In 1976 I got paid $700 to say “See your local Chevy dealer” …. adjusting for inflation you can see why I was hooked!

How would you characterize your style, sound, or signature read?

“Regular guy with a big announcer voice” Sounds like a conflict in terms but that’s what it seems like to me. I can order lunch and the waitress/waiter will say “You sound like someone on the radio.”
I’m often hired to be the big announcery guy or the “cheesy-50′s voice” or the movie trailer style but what I LIKE to do is the serious gentle hospital commercial type reads or even better … the documentary PBS style narrations. I don’t see my “announcery” voice to be a disqualification as being a “regular guy”  … I really sound like this.

Have you had any interesting, unique, funny or scary experiences
while voicing that you can recall?

Oh man. Where do I start?
I was once hired to do a script for a product called “The Toot Trapper”. Basically you could pass gas into this cushion without fouling the air. I was not at my most professional during that session, I couldn’t stop laughing.

Did a session with fellow voice talent Ike Willis (bassist for Frank Zappas band) for a speech therapist who wanted to help people pronounce l’s and r’s so we did lines like “Larry Logan longs to linger with his friend Ronnie Rogers at Lonnies Rib Roast Inn.”

Do you have any heroes, mentors or others in the business that you
look up to or have influenced you?

Everyone looks up to the great Don Lafontaine, master of the movie trailer. I’m no exception there. I’ve tried to emulate the style of some of the more powerful speakers I’ve heard without considering them as voice talent. Just effective speakers. High on that list are Orson Welles who does a great job of making us low register guys sound good without sounding like an announcer. One other person I’ve always admired the speaking style of is Rod Serling. Instead of projecting into your face, he sort of draws you up close to him. I love how he is subtle and yet powerful, its a magical quality that he had.

What is the best advice you can offer people who are just getting
started?

1- Read Dan Friedman’s book “Sound Advice – Voiceover From an Audio Engineer’s Perspective“.
2- Set realistic expectations. You can’t start ANY business and expect great success while you wait for the phone to ring.You have to work at this.
3- Read the Don Lafontaine chapter in “Secrets Of Voice Over Success“. He explains how important it is to understand that you are not the star, the clients wishes are the star. AND, the fact that they may become frustrated when you give them a great read in the first 5 minutes of the session. They know what they are paying you and they just can’t believe its that simple. Its a wonderful read for talent, engineers, agencies, and clients. His experience is worth consideration.

What would you be doing if you were not a voiceover talent?

I’d be playing music in bars at night (Which I already do) and I’d probably still be a DJ even though I gave that up 22 years ago.

What is the most important thing you’ve learned since you started in
this industry?

Doing great work is a part of a good life but it is not life. Nothing around our work is important enough to get upset about. Either you do a great job or you are not right for the job. It isn’t personal. Family and friends are personal. Being asked for a couple more takes isn’t.

Is there anything you would like to add?

The only thing better than the Procomm concept of creating great audio, is the Procomm staff itself. What a great group of people. I feel like all of them are friends even though I’ve only seen them in person once! My admiration for John Brooks and his ability to create not just a product but a life for all these wonderful people is immeasurable. The staff, the voice talent, the clients …. everybody wins!

Your Message

You’re about to direct a voice over session. You may be producing a TV or radio commercial. Maybe you’re producing a corporate presentation or program narration. Whatever the project is, your goal will be to get your chosen voice talent to communicate your message to your audience.  Your message could be many things, but one thing is almost certain… it is probably more than just the words written on the page. Being able to direct your voice talent to communicate both the written and unwritten messages within your script takes skill and flexibility. You must also be certain as to what your message is meant to communicate. Furthermore, it helps to have the ability to communicate effectively yourself, and a willingness to allow your talent and your engineer/producer to help you achieve your goal.

Who Will Deliver and How?

The most important thing to know and understand before beginning is… your message. What do you want your message to be? What emotions are you trying to evoke in your audience? The answer to these questions will determine how you want that message delivered and who will be best at delivering it. Your choice of talent is critical. Often a voice talent with a bold announcer’s voice will be chosen to do a role that would be better suited to someone with a regular-guy/gal voice, and vice-versa. These contradictions make it difficult to hear the message beyond the voice. Simply hearing a nice voice speak your written words is not enough. The emotion comes from how those words are delivered. As the director, you need to determine what voice is right for a role, as well as the type of delivery that will communicate your message and elicit the desired response from your audience.

Professional voice talent should be able to look over your script and know reasonably quickly what type of delivery is required. Most often the words will dictate what the message should be. However, as the talent reads the script aloud, the director should be listening for the nuances in the delivery. There is more than one way to effectively communicate a message and the director should be sure to listen carefully to those nuances and determine which communicates the message best.

Keep it Simple and Clear

When offering direction to voice talent, keep it simple and succinct. The more direction you offer at one time, the less likely you will be to get everything you need or want.

Lots of directions… often lead to contradictions. These contradictions lead to confusion. This invariably means that it will take more time to get your message where it needs to go (which possibly means spending more money as well). Directing a voice talent is analogous to being a passenger in a car and telling the driver where he or she needs to go. If the passenger tells the driver to go both right and left at the same time and at the last possible second, the driver is likely to crash.  Even when the direction is clear, offering too much direction or too much explanation, can also present a problem. Going back to the passenger and driver analogy; if the passenger tells the driver he’ll have to turn right but then continues to explain the right turn or begins to discuss what will happen after that (or really just about anything that takes the drivers attention away from the road), the driver could miss the turn entirely.

Using descriptive and unambiguous terminology is another key factor in hastening your success. Telling the talent to make it “flat”, for example, could mean many things. Does it mean to read without emotion, without inflection, or to simply read the script conversationally and not sound like an announcer? Terms such as: “dramatic”, “forceful”, “proud”, “nonchalant”, “conversational”, with “more/less energy”, or “more/less smile” are much easier to understand. Books about voice over (the same books that voice talent read) can be very helpful when directing. Many offer a more comprehensive list of terms and also explain delivery styles.

Trust Your Engineer

Some voice talents respond very well to concepts. They may want to know who the audience is or what the setting will be. Others need details, such as simple directives about inflections or emphasis on a line or word. Usually a combination of these things will be most effective. If you do not have experience directing or are unfamiliar with a particular voice talent, the engineer or producer can be a tremendous asset. Allow them to help you. One of the great things about working with an engineer or producer who is experienced in voiceover is that they often work with many of the same people on many different projects. They get to know the talent well and know how each responds to different ways of directing. If you are having trouble explaining what it is you want to hear, the engineer or producer may be able to interpret your needs and convey them to the talent in a way that the talent responds best.

Line Reading… The Last Resort

Still not able to get what you want from your voice talent? As a last resort… offer a line read. It is rarely a good idea to start a recording session by offering a line read. Line reading is usually unnecessary and can be misleading. After all, the talent was hired for more than just their voice. They were also hired for their interpretation skills. William Shatner famously coerced a director to line read for him after the director gave Mr. Shatner several unnecessary directions about his delivery. Needless to say, the director couldn’t begin to deliver the message like William Shatner, and Mr. Shatner was quick to let him know it.  That session is legendary in the voiceover community and the audio is available here.

This director surely learned that line reading can lead to big problems. Thankfully, most voice artists will not be as brazen as Mr. Shatner was with this particular director on that particular day. Many voice artists will kindly ask for a line read after they’ve made several attempts and still aren’t delivering a line the way you hear it in your head. Most voice talents are very appreciative to have been chosen to deliver your messages. They are more than willing to do what is necessary to give you the read you want. That being said, it is still a good idea to save line reading for small parts, pronunciations and when all other methods of communicating your needs have failed.

Directing a voiceover session can be the easiest and best part of your workday. If you understand your messages and communicate them to the talent and the engineers/producers as simply and clearly as possible, you’ll be able to sit back, relax and allow the talents of your chosen voice artist communicate your message to the world.

For more information about Dan Friedman visit soundadvicevo.com

One of the busiest voice talents in the industry, Bob Jump has recorded countless radio and TV commercials, movie trailers, political ads, and narrations. He’s been the voice for Smucker’s, Ron Paul, ArmorAll, Bridgestone, and the PGA Tour, just to name a few. We took a minute to sit down with Bob to find out what makes him tick…

Bob, how long have you been in the voiceover business and what got you started?

Ricky Martin was chosen over me as the replacement star in the boy band Menudo in 1984; it was then that I knew voiceover acting was my life’s path.

How would you characterize your style, sound, or signature read?

Well, I’ll let one of my clients speak for me, (yeah, that’s a first!). He said, “When Bob says words like “divorce” or “chemotherapy” it doesn’t sound so bad.”

Have you had any interesting, unique, funny or scary experiences while voicing that you can recall?

I voiced a soiree at the White House a few years back. Barbara Bush asked if the V.O. was Walter Cronkite! HIGH praise indeed!

Do you have any heroes, mentors or others in the business that you look up to or have influenced you?

The voice of God. No, not that voice of God. Charlton Heston – for heaven’s sake!

What is the best advice you can offer people who are just getting started?

Do not, I repeat, do not take losing an audition personally…. While it’s never happened to me, I’ve heard it can be really devastating to the ego!

What would you be doing if you were not a voice over talent?

Scratching at the top of my coffin. In other words, I LOVE what I do. Being a V.O. actor makes me truly happy. It’s not work, it’s fun – and I am blessed to have fun and earn a living at the same time. I hope to be behind the mic when I’m 80 – even if I have to use a walker and shuffle up to it 30 minutes before a session starts!

What is the most important thing you’ve learned since you started in this industry?

Please refer to question #5.

Is there anything you would like to add?

Usually a little pepper. Maybe a dash of Tabasco.

Am I ready to make a voice over demo?

This may be the biggest question any aspiring voice talent will ask. With all of the attention the voice over industry has received lately thanks to Ted Williams, it is no surprise that many people are asking this question right now.  If you are new to the industry, there are several questions you should ask yourself (and ask others) before making your first demo. By answering honestly, you will have a much greater understanding of where you are in your career and whether or not you are truly ready to make a voice over demo.

Simply having a nice voice is not enough to achieve success in this business. There are several basic things you should be able to do before taking your desire to work as a voice talent to the next level. If you are unable to effectively communicate the message of a script or have trouble following and implementing given directions, then you are not ready to make a demo. If your reads almost always require editing and compiling of multiple takes of the same copy to get the correct inflections, energy, or delivery into one cohesive piece of audio, then you are not ready to make a demo. Ideally, you should be able to read a well-written script from top to bottom, and communicate the messages of that script, without stumbling or requiring extensive editing. Prior to digital recording and editing… this was the standard.

You probably know, or think you know, what a demo is. It is a representation of how your voice sounds and your ability to perform, right? Yes, but it is more than just that. Your demo is your business card, your resume’, and the number one way to be considered for a job or representation. Your demo should be interesting, perhaps even exciting and make someone want to hear more of you. It should not overstate or misrepresent who you are or your ability. It should accurately reflect your sound, style(s) and ability to deliver copy.

What do you need to get started on your demo? You will need some material, or scripts, to create your demo. This material should come largely from actual work that you have done. If you don’t have any then you should use material from voiceover workshops that you have taken and scripts from practice sessions. You have taken a workshop and had almost daily practice sessions… haven’t you? If the answer is “no” then you are not ready to make a demo. The most important thing to know before making your first demo is that, before even considering it, you should have been doing voiceover on your own for quite some time. In other words, you should have been practicing. How long do you need to practice? Only your ears and the ears of others can tell you when you are ready.

Do you know an engineer, producer or director (or someone with voice over experience who can perform these rolls) who will be completely honest with you about your deliveries? Does this person know how a voiceover demo should sound and how to produce a demo specific to your skills or what style you wish to present? Making a demo is not something you should do on your own. Even the most experienced voice over talents know that a second set of experienced ears is critical to making a great demo. You will need someone to help direct you and make choices on what should be included and what should be left out. More importantly, you can only learn about the industry from someone who works in the industry. Read voice over books. Network. Attend workshops, classes and seminars. Make connections and don’t be afraid to ask questions.

Ideally you should record your demo in a professional recording environment where you can focus on your deliveries and let someone else focus on the equipment.  However, not all recording studios work with voice over talent and simply having the equipment to record audio or even recording experience, does not mean that the studio engineer knows what is needed for voiceover. Furthermore, they may not have the music and sound effects libraries required to fully produce a professional sounding demo. Find a studio that does. Invest the time and money to have your demo done right.

Speaking of equipment, do you have the necessary equipment to actually do a job? More importantly, do you know how to use it? These days being a voiceover talent usually requires more than a great voice and the ability to use it. At a minimum, you have to know how to record and edit. You also need to invest in the proper equipment to do so. This requires a good quality microphone, preamp, interface, computer, recording software, headphones, cables and ideally a sound-proof/acoustically treated room. This equipment needs to have the capability to reproduce your voice accurately without any electronic noise, distortion or coloration.

What is your specialty? What do you do best? The answer to these questions will determine what kind of demo you should make. There are many different types of voiceover work and your first demo should communicate what you do best. Commercials, phone systems, audio books, promos, imaging, characters and narrations (just to name a few) are all very different styles and formats. While there can be some overlap among them on your demo, you should be certain the emphasis is on what you do best or on the type of work you seek.

How should your demo sound when complete? It should be fully produced. It should have music and/or sound effects where necessary. It should have several vignettes that reflect your style and versatility. It should be interesting and hold the listener’s attention as it flows effortlessly from one spot to the next. It shouldn’t be more than a minute and a half long  (although a minute to just over a minute is preferable). Most importantly, it should have your name and contact information on the physical medium itself. If you are sending it electronically be sure that the file contains your full name and the email contains several clear ways to contact you.

Making a demo is a critical step to taking your career to a professional level. I often receive submissions that are intended to be demos, but simply aren’t. Snippets of home recordings, answering machine messages and recorded ramblings of voices that you “like to do”, do not qualify as a demo and are a clear indication that you need training, experience and professional help.  Perhaps in more ways than one for some people… if you could hear these you would know what I mean! I also frequently receive great sounding demos from “talent” who fall short of expectations when put to a live-session test read. Unfortunately, these people almost never get a second chance.

Your demo is vital to your success. Do not try to “go it alone”. Have it made with the help of industry professionals. Do not send out material that really isn’t a “demo”. Most importantly, be sure you are truly ready to take this important step by having a great sounding demo and being able to deliver on what your demo promises.

For some examples of great sounding demo’s check out some of the voice talent on the ProComm Voices roster.

For more information about Dan Friedman visit:

www.soundadvicevo.com

Congratulations to Rodney Saulsberry for his recent nomination in the “Outstanding Actor in a Daytime Drama Series” category of The 42nd NAACP Image Awards for his role as a “Homeless Golden Voice” singer on the Bold and the Beautiful.  The awards program will air live March 4th, 2011 on Fox.

Rodney has been a successful voice over talent with ProComm Voices for several years, with campaigns including Zatarain’s, Instant Tax Services, and many more.

Check out this Zatarain’s commercial featuring Rodney as the announcer:

www.youtube.com/watch?v=ovcJSWsdr3g

I was recently asked the question in regards to voice overs, which processors (i.e.- compressors, EQ, etc.) are better: hardware or software? The answer is that the tools available in both formats have advantages and disadvantages. Furthermore, there are hardware models that sound great and perform exceptionally well, and then there are some that do not. The same is true for software versions.

Consistency is critical in voice over work, so a clean unprocessed signal during recording is usually ideal. As a voice talent you generally will not, or should not, be using processors when recording, and if you are it should be very minimal and the same every time. Therefore, you really don’t need a great deal of choices.

If you are a voice over talent working from your home studio, chances are that software versions will be your best or maybe your only option. Besides not really needing many choices, it just doesn’t make financial sense for someone who only does voice over work to own a vast array of hardware or rack gear.  Also, hardware boxes will take up valuable space in what are often small spaces to begin with. Another downside is that they give off a great deal of heat (especially tube gear) making tight spaces more uncomfortable.

Does hardware sound better than software? Not necessarily.  As an engineer, I would love to have full racks of hardware options at my disposal. Each helps to create different sounds, characteristics and textures within a mix. But would having racks of gear stop me from using software versions? Not likely.

Software versions of processors perform the same functions as their hardware counterparts, and like their hardware counterparts, they also have different sounds, characteristics and textures of their own. These characteristics vary from processor to processor in software versions just as they do in different brands and types of hardware. Software versions meant to emulate specific models of rack gear can come very close to capturing that hardware sound. But they will still have their own sound and character that make them different, not necessarily better or worse, than the hardware they emulate.

If it is great sound as well as a variety of sounds you are going for, then having both hardware and software is the way to go. However, if your space and budget are limited, then having a variety of software versions will probably be just fine for your needs. The bottom line is this, whether your processing options come from hardware or software, the tools are only as good and as effective as the person using them. Get the best sounding tools you can afford, learn how to use them and most importantly… use your ears.