Self-Direction: There is no DIY in voiceover acting.

You've got your studio set up. You've got your ISDN line and your method of transmitting voice over readings remotely. You've got a script, a deadline, and specifications. In this DIY-recording studio, do you really think it's a smart idea to do it ALL your way?
How many times have you submitted a remote reading, only to have to revise it and send it back? How many repeat clients do you have - that is, how many production companies return to you for their voice over needs? If the answer is anything less than "every production company I've worked with has asked me for repeat performances," you would be wise to put down the flag of independence and start listening to the beat of the band, so to speak. You do want to march in the parade, don't you? Well, you need to know the steps. You need to understand and practice what producers need to hear in order to make any use of your recording. If you can't follow instructions, you cannot do it yourself. Here are some priceless tips (although you can measure the damage done by not following these tips, in your lost income) from the person who will be either writing your checks or scrambling for another, more professional artist who indeed can practice smart self-direction.

VO ARTIST: What’s the first thing I should think about when I sit down to record a remote voice over?
PRODUCER: You should immediately ask yourself, "How can I provide the producer with the best choices in readings for their project, and what can I add to the performance?"

VO ARTIST: What should I do if I’m unsure of what the client wants?
PRODUCER: It’s always best to communicate to the producer any questions you may have; if it is impossible to do that, provide as many choices in reading styles as you can think of. That way, the client is more likely to find one of your reads that fits the bill.

VO ARTIST: How can I tell which direction to take, just from reading the script?
PRODUCER: Always request delivery instructions from the producer! Take the time to understand how the audio will be used, what type of industry it's for, what genre it's in, and what message is being delivered.

VO ARTIST: Are there any universally-accepted key words or commands for voice over direction?
PRODUCER: Each producer has a little different style. however, words like conversational, instructional, or friendly are often used to describe the style of voice desired. Get familiar with the meaning behind these adjectives.

VO ARTIST: Should I send several versions of the voice over reading, just to be sure?
PRODUCER: Definitely, and always group them together in the same package, as it makes editing for the best choice much easier than having to go hunt for variations. Producers and clients alike appreciate this. Remember, you’re saving the time and expense of having to physically go to the producer's studio to record and, in most cases, getting the same compensation. Take the time to ensure that what you’re sending reflects positively on you as an artist and that you are showing an interest in achieving what the client is seeking.

VO ARTIST: What tactics have you heard of voice over actors using to get “in scene”?
PRODUCER: Often, voice actors will be extremely animated when reading. I encourage actors to look themselves or someone in the eye as they speak; this will usually result in a more genuine and believable read. Above all, don’t lose your smile (case dependent, obviously - you wouldn't want a PSA about cancer to be cheery). I would encourage each artist to record themselves without a smile, and then again with a big cheeky grin. Just listen to the difference it makes in the sound of the delivery. It is quite remarkable.

VO ARTIST: Is self-direction something that can be quickly taught, or is it just gradually learned?
PRODUCER: I think it depends on the individual, but I can usually tell if the actor rushed through a read or took their time, based on what I receive. The job at hand is what a producer judges the next job on!

VO ARTIST: How can you tell a less-experienced person’s voice over reading apart from a seasoned voice over actor’s? Is there really a difference, when it comes to self-directed voice over readings?
PRODUCER: Yes there is a difference between an experienced and inexperienced person's voice, and the word "reading" is key. No one wants the recording to sound like you’re reading.

VO ARTIST: Let’s say my voice over is neck-and-neck with another person’s. What is that tiny little difference that will get me the gig, instead of the other person?
PRODUCER: Personality and accuracy in pronunciation are key. Remember, the client knows this stuff cold, and they want to feel like you do too. Also, making sure the read is delivered within the time slot needed is important. Of course making deadlines is imperative, but a producer hates to receive a read for a 60 second spot that comes in from the voice over artist at 63 seconds. It shows a lack of caring and attention to detail.

VO ARTIST: Can you give me some general guidelines for various reading styles (narration, character, announcer, etc.)?
PRODUCER: When reading for narration, consider yourself a storyteller. In the world of grammar, the informative sentence rules. You are stating facts in a pleasant manner. When reading for announcement, consider yourself a broadcaster. Your tone should be loud, and I'm not talking about volume. A "loud" voice is confident without having to yell; far-reaching without screeching. When reading for a character, you probably already have your go-to characters lined up and have been asked to perform that character. If the character belongs to the producer or client, learn about that character or create a personality around that character. This small exercise is important for determining how the character would sound if it were a living, breathing creature. For message on hold, your voice should match the industry. For a dentistry practice, a caller wants to hear reassuring, friendly, and professional voices, for instance. A legal firm would desire a more hard-hitting, direct tone of voice.

VO ARTIST: Where can I send my demo?
PRODUCER: Send an email with your .mp3 demos to sarah@markethold.com; if you have a one-sentence description that has served you well, feel free to include that. We have in our ranks some of the most talented writers in the Rochester area, so we can certainly give you a professional, compelling description to accompany your demo. These descriptions help our clients to "preview" your voice before listening to it, which allows them to audition more talents in less time. Lastly, don't hesitate to send a head shot. These things help us to promote you. We consider the audio production industry to be co-operative; besides, your voice could represent us as a production company. We want you to sound your best, even in the promotional period that comes way before you ever step up to the mic.
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So You Wanna Answer a Voice Over Ad.

As with any professional position, a call for voice over talent is a request for responsible talent.  A call for voice over talent is not a come-on-down-for-fun-times request.  Voice over artistry is not something that anyone can do.  It is, however, something that many people think they can do.  Anyone can cover a wall with paint – not everyone is a paint artist.

Here are some points to consider when responding to a classified ad for voice talent.  These points are from the point of view of the person who receives your response to the ad.  In other words, this person has the power to flag you in for a reading and a paying gig – or laugh your application right into the trash.  These pointers are from a purely human-resources and talent-management point of view.  For in-depth technical and vocal training advice, you’ll consult with a skilled sound producer such as Steve Bartolotta.  For self-promotion techniques, you’ll read through this blog entry.

Yes, everyone has to start somewhere, and you may be one of those people who is truly talented but has not recorded a demo yet.  How am I to distinguish you from the video game potato who thinks it would be “fun to try”?  Hey, performing surgery would be fun to try, but when I take an honest look at myself, I discover that I am slightly under-qualified.  Please refrain from responding to our ad with “I got a good singing voice,” misspelled and lacking any identifying information, such as your name.  This angers the email gods in a mighty way.

You might list your character impersonations, foreign languages, and accents in your email response, but once you are in the booth, what amuses your friends and family might turn out to be something that makes our ears bleed.  The simplest, most straightforward way around this problem is to give the studio a call on the phone.  It’s a mini-screening, and it helps the recruiter get a better idea of your vocal range.  This saves us a lot of time, and gives an inexperienced voice talent a chance to prove him or herself.  

On the other side of the coin, there are some beneficial rules of practice that apply to experienced voice over artists seeking a gig.  First of all, send your demo with your response to the request for talent.  Just do it.  Don’t send me to your website and insist that they can all be downloaded, because we will be sending four emails back and forth to each other: I tell you they can’t be downloaded; you tell me they can; I explain in greater detail that they can’t be downloaded; you finally send me a demo.  Just send the demo.

If the request for talent specifies a language or accent, send a demo showcasing your talents in that exact language or accent.  Here’s the key to success, however: Split your demos.  Do not send an entire reel of you going through your repertoire, from narration to character to accent to announcement and everything in between.  This is because your particular submission will be much stronger if it is not diluted with extraneous examples of your voice.  For instance, let’s say a client is seeking a voice to speak English in a German accent, and they insist on an authentic accent.  If you submit a demo that contains your German accent, a shaky British accent, and your impression of Spongebob, you’re not getting the job.  It becomes glaringly obvious that you are imitating the accent, and the client loses their ear for you, so to speak.  They are distracted by your lack of qualifying factors and will not be able to imagine your voice reading their script.  The client's ideal in this case is a native speaker of the language, reading an English script.  Your challenge is to convince the client, with your voice talent, that you are a native speaker.  That is the essence of (voice) acting.  If your German accent is indeed precise, practiced, and authentic-sounding, that will come through in your individual demo.  Your voice will literally speak for itself.  Bundled together with other accents – especially if those accents are not exactly crisp – that German accent you’ve worked so hard to perfect sounds like a cheap knockoff, even if it is pronounced with perfection.

To be a successful voice over artist, you need talent, skill, and the proper equipment.  To be a successful job candidate, you need some marketing savvy, business knowledge, and people skills.  If you are just breaking into this business, you will eventually have all of these qualifications – but you will never gain experience until you get your foot in the door – or your lips near our mic.

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Selecting Music for Your Production

When producing a presentation, DVD, Radio or Television spot, or other multi-media production, the proper use of music can make or break your final product.  When possible, it is always most desirable to have a custom post score done by a professional and commercial composer.  Sadly, the harsh reality of most budgets exclude this option and often times, music becomes a mere afterthought.

Bummer!

Well, afterthought or not, your music choice is critical.  As an audio producer with nearly 30 years of experience, I’ve found that in most cases simpler is better.  I often listen to over-produced production music and try to imagine how anyone could effectively use the track - a slight disconnect between composer and producer I would say.  

Tight and simple statements are usually best to convey a feeling, whether it be excitement, importance, sincerity or attention.  We apply this same philosophy when writing a piece as well.  It is important to consider tempo first.  The tempo of the voice over will often times determine an appropriate tempo for the music to be added.  If you take the time to listen to the dry voice over first, you can audition different tempos by simply clapping your hands to the read and listening for what sounds most natural.  In some cases, the voice over is too fast or feels nervous and can be quelled with a slightly more relaxed musical piece.  More often a read is too flat, as in the case of a testimonial or a read by someone who normally doesn’t do voice over professionally.  In this case a more exciting music bed can help the read along.

Some other tips when mixing music are to not settle for the equalization that is on the piece that you introduced into your project.  I will often thin out music that is too rich in the mid range section, for example, in order to make room for the voice over.  This enables you to keep the music level up so that it is audible and exciting, without it competing with the voice over too much.  Another technique I use is to make an exact copy of the music on a lower track.  I will then hard pan the top track to one side and the bottom track to the other.  This provides more room for the voice as well! 

Music in production is an essential asset and can truly elevate any production to a higher level!

Steve  Bartolotta
Markethold Productions, Inc.

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