I record with “Working Pros” everyday. Voice actors who not only have an agent, but in most cases also have their own home studios. I am often impressed with their vocal quality and ability to effortlessly “lift” the words “off” the page and deliver the right emotion and style in the allotted time. How “DO they do that” I ask myself.

However, there are also times when a voice fails to deliver on a session and I feel embarrassed for them. I want to help them get the read to sound better, but it’s often tricky in front of a client who thinks they have hired a “Pro” voice and expect Pro results.

This got me thinking. Why can some voices deliver session after session while others can’t?

Even as a working Professional Voice artist, you need to keep your tools sharp! By evaluating how you deliver and interpret a script, you will continue to improve and ultimately get more work.

So, Pro or not, Agent or no Agent, Home Studio or no Home Studio you need to:

Keep Your Tools Sharp!

Okay, here’s the reason why “God” invented GOOGLE. Just do a quick search for “Tellyads”. This is a great website were every commercial ever made is now on-line and will be a good friend to you, in many ways.

All you have to do is find any advert (and there are many) that you like, write it down and record it on your iPhone, Dictaphone or Gooseberry. Don’t read it through first, just sight-read it and record it once only. Don’t worry about the audio quality, this isn’t going to Broadcast – this is for “Self Evaluation”. Once recorded, then listen back to the original to compare.

Question to ask yourself on “Playback”

1 Did you go too fast? Did your teeth get in the way? did you stumble on any words? Which words and why?

2 Did you hesitate on any words? Which words and why?

3 Did you leave any words out of the script? If so, which ones?

4 Did you add or change any words? If so, which ones?

5 Did you run out of breath or breath in the wrong place?

6 Did you have “energy” or did you sound “flat” or “monotone?”

7 Did you have too much energy and pitch it too high?

8 Did your delivery sound “sing-song”? Or have another odd pattern to its delivery. ( starting each phrase with a rising inflection and ending each one on a downward inflection ) Describe what you heard.

9 Did you “stress” or “hit” the right words or the wrong words compared to the original recording? Do you over emphasize certain words? Ask yourself why?

10 Did you come in on time? Was your recording too long, too short or around the same time as the original?

By doing this exercise on a regular basis with Commercials and Narrative reads you will start to understand what you are really doing behind the Microphone.

Before you consider recording your Demo it’s wise to find out what your competition is up to and more importantly how they’re doing it. Without a clear understanding of what they’re doing you will find it harder to compete in today’s Industry. You need to hear what they are doing and be able to critically analyze their vocal delivery to get closer to producing you own “Killer Demo”.

Thanks to the good old “Interweb” it’s really easy for you to find thousands of Demos to listen to online from the comfort of your own home and best of all the Demos you will find cover:

Commercials, Documentary, Animation, Character, Promo, Technical, On-Hold, Radio Drama,Video Games, Audio Books,Instructional & Educational, Power Point Presentations, Corporate, Museum Guides, Stately Home Guides, In-Store Promotions, English Language Tapes, Web Virals, Internet Videos & Training, Website Audio, Imaging, Infomercials, Kids, Continuity, Trailers, E-Learning & Education, Impersonations, Medical & Pharmaceutical, Technical, Podcasts, Video/Computer Games…. And many more.

So, there is now no excuse not to do your “Homework” and record that Demo you have always dreamed of !!

Here are some of the things you should listen out for on someone else’s Demo:

1. What’s The Overall Sound Quality Of The Demo Like?

Have a good old listen. Use headphones if you can as you’ll hear more than through your computer speakers.

* Does their demo sound “home produced” or is it professionally recorded with a pro mic in a studio?
* Can you her any “pops” or “clicks?”
* Does the overall sound appear “muffled” or “boxy?”
* Can you hear any background “hiss” or “mouth noises?”.
* Does the music sound “contemporary” or is it “old and dated”?
* Do you “believe” the reads or do they sound “faked?”

2. Does The Demo Have Flow & Movement?

* Is the demo cut fast and pacey leaving you wanting to hear it again, or does it “bore on” and make you want to switch off?
* Are the individual “spots” too short or too long?
* Does the demo go over the “magic” 90 second mark that the voice agents want?

3. Does the Demo Have Variety?

* In pitch and tone?
* In pace?
* In attitude?
* In production?
* In music and SFX?
* In script style and choice?
* In Mic proximity?

4. Voice Acting Ability:

* Are the acting skills up-to-scratch or do they sound mediocre and painful to listen too?
* Can the voice artist actually “read” or can you hear them “thinking” and simply “reading” off the page with no emotional connection being made?
* Do they sound energised and “behind” the words or do they sound bored?
* Do the scripts sound believable or do you think they are dated or even worse written by the artist?

Listening out for all of the above will teach you about what to include and what NOT to include on your own demo.

1 Read out loud. Everyday. The papers our scripts or a book. Read to your partner and children until they say “make it stop”. Practice telling stories with lots of variety in your voice. Tape yourself and really analyze the characters and voices you use.

Ask the basic questions: Who, What, Why, Where and When. Try reading the same script/book in different ways with different emotions and attitudes. Loud, Soft, Happy, Sad, Slow, Fast, Angry, Compassionate. Etc….

Listen back to your recordings and see how you may improve. Listen to your Pace, Timings, and Diction. Does it sound “real” to you. The more you do this the better you will become.

2 One of the best ways to improve and develop new VO skills is to listen to other voice artists’ reels. Mimicking them is a good start to learning some basic techniques and styles.

Listen to the way they deliver their lines /script.. How they get their message across. Their use of Inflection, Pitch, Tone, Pacing and Feeling. Is their delivery conversational or screaming…. And what is you reaction?

In short, do they sound as if they are reading or do they sound natural and believable?

Use what you learn from these working artists and adapt it to your own vocal style. Make it your own.

3 Voiceover is all about making an emotional connection with your audience.

Use the scripts from our archive to achieve more vocal variety. By this I mean pick a script and search for ways to say the words differently. (Make the words your own)

Use different energies, volume, emphasis, pacing and physical movement to create different deliveries. Think musically, try shifting your pitch on different words to explore further possibilities.

I think my studio has reverb. How can I reduce this?

Reverb or echo is caused by your voice “bouncing” off your walls, ceilings, windows, script, computers screen, and floor and then being picked up on your microphone. This is a sign of a bad recording and will cause a problem for you and ultimately your clients as it is impossible to remove from your session recordings. To stop this from happening, you must make sure your walls, ceiling and floor are covered in soft, thick material. Use carpet, curtains and home made acoustic foam panels. If you are still getting reverb, make sure there are no hard surfaces in your recording envirinment/booth, like a window or desk/computer screens that could be causing this reflection.

Experiment using cushions, duvets, blankets and other fabrics that will absorb sound in your booth. If you don’t hear the problem yourself but have been told by your client that you have reverb on your recordings, check you are listening back using Pro headphones that allow you to hear everything clearly.

You can use a head box, reflector shield or foam cage to help create a “dead” sound.

How to convert your demos into easy to upload MP3 files for FREE.

Q: I want to convert my Voice Demo to MP3 files to upload to various websites and send via email to my clients. How do I do this?

A: iTunes by default records music in the AAC format. Just follow these simple tips to convert them into MP3 files.

Open your iTunes application. Go to the iTunes menu and choose Preferences…

Once you’re in the iTunes preferences, make sure the General tab is clicked, then just click on the Import Settings button.

This is where iTunes looks to see how to encode an audio file. Your choices are AAC, AIFF, Apple Lossless, MP3, and WAV.

(This function allows iTunes to become an audio converter for these types of files. You can drag or import any of these types of files into iTunes, and using this dialog, convert them to any of the other types of audio files).

So, in this case as you just want good quality for email and website upload, simply just choose the MP3 encoder option and set the “setting” to “good quality 128 kpbs” (kbps stands for kilobits per second) Leave everything else blank.

Then click OK.

Now insert your CD containing your Voice Demo.

Now go to the iTunes menu and select “file/add to library”

Select the CD and VO tracks you wish to convert. You can click one file or if you wish to select all the files on your cd you can press Command-A or go to the Edit menu and choose Select All. Or just drag your tracks from your cd into the iTunes window.

Once you’ve got the audio files selected that you want to convert, go to the iTunes menu and choose “add to library”.

iTunes will then go to work on converting them to MP3 files in the quality that you set in the preferences dialog. Most excellent.

At this point, you are finished. You can leave your MP3 file in your iTunes library and listen to it whenever you want. You can also connect your iPod/iPhone and drag it to that music library.

However, if you want to move the file somewhere else, ( like to a folder on your desktop for easy email/upload ) you can locate it by right-mouse-button clicking on the title in iTunes,
( control click on MAC ) and choosing Show in Finder.

At that point, a Finder window will open that contains you MP3 file.
You can either move the file out of your iTunes library or make a copy of the file by holding the OPTION key down while dragging the file to a new location, ie: Your new folder or on your desktop.

You’ll notice your cursor will have a + sign. When you drop the file into the new location
(your new folde ), the Finder will make a copy rather than copy the file rather than remove it from your iTunes library.

Name Your Demos:
Now just click and name your file to Commercial Reel, Narrative reel etc…..

All done. Now you can email or upload your Demo.

Joy!

Microphone Patterns and what do they mean?

Microphones have what we call “pickup patterns” also called “polar” patterns.
But what do they mean? And how you can use them when recording? More importantly, how do you decide what you’ll need for a particular project?

Well, every microphone is different and understanding how they function acoustically will help you to use them properly.

But don’t take my word for it. Every job and studio acoustic is different. Experiment and find what works best for you.

Most condenser mics have a setting for different “patterns”. These patterns dictates how the microphone picks up your voice and ultimately how you’re recording will sound and it’s vital to get it right at before you hit the “record” button.

Cardioid
The most common microphone pickup pattern you’ll encounter is the cardioid pattern. Indicated by a heart shaped symbol on your mic. Unsurprisingly, Cardioid means “heart-shaped”, from the Greek root word “cardi” and a cardioid pickup pattern means pickup to the front of the microphone, and to a lesser extent the sides, with good rejection of sound to the back of the microphone. Perfect most most home studio voiceover situations.

Cardioid microphones are recommended for voiceover applications, live taping/recording, and most other situations where the acoustics of the recording environment are good, but not perfect.

Hypercardioid
A hypercardioid microphone (commonly referred to as “hyper”) takes the cardioid concept a step further. A hypercardioid microphone records from the front, a lesser extent to the sides, and rejects everything around 120 degrees to the back of the microphone. Hypercardioid microphones work especially well for on-stage vocal applications (to help with monitor feedback) and live recording in far-away or difficult acoustic situations.

Omnidirectional
An omnidirectional microphone picks up sound equally 360 degrees around the microphone capsule. Omnidirectional microphones sound very open and natural, and are best suited for good acoustic environments, or in a recording situation where an open, natural sound is desired.

Omnidirectional microphones can make some of the best recordings of acoustic instruments, given a good recording room. Their natural, open sound also makes binaural recording possible, if mounted properly. Omnidirectional microphones are not preferred for live sound, as they tend to be prone to feedback if amplified, but really shine for recording sessions where a more “ambiant” feel is needed. ( mainly for instruments and not the voice)

Figure-8 (or “Bidirectional”)
A figure-8 (or “bidirectional”) microphone picks up sound equally from both sides of the mic’s diaphragm. It rejects sound from the sides, as a cardioid pattern would, but picks up sound equally well from the rear as it does the side. Perfect for “interview” situations with a person either side of your mic.

Lovely “Ribbon” mics.
Most ribbon microphones are in figure-8 configurations. Ribbon microphones sound fantastic on acoustic instruments, in stereo configurations for live recording of acoustic and jazz groups, and as drum overheads. Due to their sensitivity, ribbon microphones aren’t recommended for harsh, high-SPL environments. Figure-8 microphones are commonly used in “mid-side” recording setups – Not really for voiceovers, but they promise to bring a “ribbon” VO mic out soon. Watch this space.

Top Tip:
The “settings” switch on your mic can move over time. The “switch” is often hidden by your “pop shield” or “pop filter. So, If you hear a difference in audio quality – check it is in the right place.

What is the best microphone to use for voiceover work?

Microphones can be a complicated subject, but they don’t have to be! There’s so many different mics out there with so many great features, and it’s not easy to choose between them. Here are some of my favourites for VO work.

For your “home studio” set up, you’ll really only want to consider a large diaphragm condenser microphone as this will give you and your client the best possible quality – and there are many out there to choose from.

Get those “Piggy Banks” out!!

Neumann
Most high-end studios will have a Neumann in their collection of voice mics.
The legendary Neumann U87, known for its warm, rich sound and precision engineering, is perhaps the world’s most widely used large diaphragm condenser studio microphone.

The U87 AI – £2,300.00
The U89 I – £2,169.00
The M147 – £2,000.00
TLM 49 – £1,169.00
TLM 193 – £974,00
The TLM 103 – £779.00
The TLM 102 – £477.00

Rode
The Classic II – £1,649.00
The K2 Valve – £499.00
The NTK Valve – 399.00
The NT2000 – 349.00
The NT1A – £329.00
The Broadcaster – £299.00
The NT1000 – £219.00
The Podcaster USB Broadcast Mic – £139.00

AKG
The C 414 XLS – £789.00
The C 4500 B-BC – £425.00
The C 214 – £289.00
The Perception 220 – £129.00
The C 3000 B – £165.00

Audio Technica
The AT4047SVSM – £629.00
The AT4040SM – £359.00
The AT2035 – £161.00
AT2020 – £89.00

Types of Microphones

There are two kinds of microphones: Dynamic and Condenser.

Dynamic
Dynamic microphones are versatile and ideal for general-purpose use. They use a simple design with few moving parts. They are relatively sturdy and resilient to rough handling. They are also better suited to handling high volume levels, such as from certain musical instruments or amplifiers. They have no internal amplifier and do not require batteries or phantom power.

How Dynamic Microphones Work
As you may recall from your school science, when a magnet is moved near a coil of wire an electrical current is generated in the wire. Using this electromagnet principle, the dynamic microphone uses a wire coil and magnet to create the audio signal. The diaphragm is attached to the coil. When the diaphragm vibrates in response to incoming sound waves, the coil moves backwards and forwards past the magnet. This creates a current in the coil which is channelled from the microphone along wires

Dynamics don’t usually have the same flat frequency response as condensers. Instead they tend to have tailored frequency responses for particular applications. Neodymium magnets are more powerful than conventional magnets, meaning that neodymium microphones can be made smaller, with more linear frequency response and higher output level.

Dynamic microphones are really best suited for a “live” vocal/instrument recording or performance environment and not for the “broadcast” voiceover sound you need in your studio.

Condenser
Condenser means capacitor, an electronic component which stores energy in the form of an electrostatic field. The term condenser is actually obsolete but has stuck as the name for this type of microphone, which uses a capacitor to convert acoustical energy into electrical energy.

Condenser microphones require power from a battery or external source. The resulting audio signal is stronger signal than that from a dynamic. Condensers also tend to be more sensitive and responsive than dynamics, making them well-suited to capturing subtle nuances in a sound.

They are not ideal for high-volume work, as their sensitivity makes them prone to distort. They are however perfect for voiceover work.

How Condenser Microphones Work
A capacitor has two plates with a voltage between them. In the condenser mic, one of these plates is made of very light material and acts as the diaphragm. The diaphragm vibrates when struck by sound waves, changing the distance between the two plates and therefore changing the capacitance. Specifically, when the plates are closer together, capacitance increases and a charge current occurs. When the plates are further apart, capacitance decreases and a discharge current occurs.

A voltage is required across the capacitor for this to work. This voltage is supplied either by a battery in the mic or by external phantom power.

What is Phantom Power?
Phantom power is a means of distributing a DC current through audio cables to provide power for microphones and other equipment.

The supplied voltage is usually between 12 and 48 Volts, with 48V being the most common. Individual microphones draw as much current from this voltage as they need.

A balanced audio signal connected to a 3 pin XLR has the audio signal travelling on the two wires – usually connected to pin 2 (+ve) and pin 3 (-ve). Pin 1 is connected to the shield, which is earthed. The audio signal is an AC (alternating current), whereas phantom power is DC (direct current).
The DC phantom power is transmitted simultaneously on both pin 2 and 3, with the shield (pin 1) being the ground. Since the DC voltage on the ‘hot’ and ‘cold’ pins (2 & 3) is identical, it is seen by equipment as “common mode” noise and rejected, or ignored, by the equipment.

If you put a volt meter on pins 1 & 2, or pins 1 & 3, you will see the 48v DC phantom power, but if you meter pins 2 & 3 (the audio carrying wires) you will see no voltage.

The DC voltage can be harnessed however, and used to power mics, mic-line amps, or indeed a video camera (in this case the DC voltage would travel up the video cable – and would need special equipment to filter this voltage).
In summary, audio signals transmit as AC current, whereas powered equipment requires DC current to operate. Phantom power is a clever way of using one cable to transmit both currents.

How is Phantom Power Generated?
Phantom power can be generated from sound equipment such as mixing consoles and preamplifiers. Special phantom power supplies are also available.

Does Phantom Power Affect the Audio?
Despite occasional reports of damage or unwanted audio disturbance, it is generally accepted that phantom power does not affect the quality of audio and is quite safe to use. However it is recommended that you do not supply phantom power to microphones which do not require it, especially ribbon microphones.

Please note: These rates may have changed and are meant to be a guide only.

Equity are as we speak holding a survey. You may wish to take it to learn more.

Take The Survey Here

Contact Equity Here:

Radio Commercials:
Range from Equity’s rate card
below £50 for local and £70- £5000 depending on which stations used and usage.
Contact Equity for a rate card.

TV Commercials:
Again depending on which channels and usage
£450-£10,000

Corporate:
These will depend on length of script and editing requirements, which are normally additional.
Websites: £150-£500
Training and presentation guides: £150-£1000 (depending on length)
IVR / Telephone prompts: £50-£200 (depending on number of prompts)
Podcasts: £50-£200
Educational & E-Learning: £150-£200 per hour
Products (including toys): £185-£250 + buyout

Narration & Documentaries:
£185-£250 per hour
Audio books: Per page, so generally done per word: £0.05-£0.25 / £125 per hour

Animation / Cartoons:
£185-£250 per hour plus usage buyout
(Additional fees apply if doing more than 3 characters)

Video Games:
£185-£250 per hour plus usage buyout
(Additional fees apply if doing more than 3 characters)

Movie Trailers:
£250-£2000 (depending on usage & broadcast)

Continuity:
Mostly set by production house – Equity standard also.
£185-£250 per hour

If it’s a large amount of work then a day rate is then negotiated at a reduced rate around £350 per day

Choose your Voiceover Genre & Style.

We all know it makes sense to pursue the style most marketable for your voice, delivery, interests, and goals. Here are just some of the genres you can choose to showcase your vocal skills to get the kind of work you want?

There are numerous opportunities out there

Radio Drama
Character Commercials
Video Games
Audio Books
Instructional & Educational Videos
Cartoons and Animation Productions
Sales Presentations
Power Point Presentations
Museum Guides
Stately Home Guides
In-Store Promotions
English Language Tapes
Web Virals
Internet Videos & Training
Website Audio
Imaging
Infomercials
Kids
Political
TV, Movie Promo & Trailers
Promotional
Transportation
Public Service Announcements
Narration
Animation & Character
PA Stadium Announcements
Automated Dialogue Replacement (ADR)
Biography
Corporate (Industrial)
Documentary
e-Learning & Education
Exercise VIdeos
Government
Impersonations
Inspiration & Relaxation
Internet & Website
Medical & Pharmaceutical
Technical
On-Hold
Podcasts
Bus Tours
Video/Computer Games

PLEASE FEEL FREE TO ADD MORE

How to mark your script

The first thing you should do when given a script is not just read it through, but really “search” for the “clues” in the copy to help you find a believable delivery. Then mark it with your own “Code” to get the delivery your client wants.

By “marking” your script first, you create visual cues that will help you give a much better voiceover performance. Marking inflections, highlighting words that need more stress, showing where to pause for pacing, effect and attitude within your script, creates a “framework” for a consistent performance, whether you get the read first time or on the 20th read.

Top Tip
Always use a pencil to mark your script. This allows you “rub out” and make new markings without complicating matters. Make as few markings as possible. Too many markings on a page will cause your brain to go into “thinking” or “reading” mode. (Less Is More).

Q: What is the best way to mark my script?
A: Whatever works best for you.

Remember, voiceover scripts come in all shapes and sizes, but if there’s one common factor it’s that they’re written for the “page” and not for the “voice”. So, being able to quickly “mark” a script with your own shorthand will help you “lift” the words off the page and make your delivery sound more believable.

Top Tip
Always write the client, engineer and voice producers’ name on the top right hand corner of your script. It’s very embarrassing if you forget in the “booth”. Remember to rub them out after the session!!

Note
Before you begin to mark your script, always ask your client what they have in mind. Finding out what style they want will really affect the way you mark the script. Do they want you to contract words like “it is” to “it’s”? Also a technical narration may require more pauses so the listener can follow more easily.

The Code
Although your are free to mark your script in any way that helps your delivery, there is a general set of marks used by “working” voice artists.

* You can pause for both pacing and effect as well as giving you time to breath. Pausing for a breath is indicated by a single slash. For a pause for pacing use a double slash.

* For indicating up & down inflections, use an angled arrow for an up or downward inflected syllable or word.

* Underscore ( underline ) words that require more stress. Put a double or triple underscore under a word or syllable to indicate even more stress or underline the beginning or end part of a word or phrase you wish to stress.

* Use a wavy line to remind you to modulate your voice.

* For a change in attitude, you can use any visual mark that works for you.
Circles, boxes, lines, squares, dots, brackets, smiley faces, or just write a word that gives you the right energy.

* Try letters in circles. A letter in a circle can help you find a change in attitude. For example: an “H” for happier, a “C” for calmer “A” for angry etc. Use whatever you think helps your find a more believable read.

Marking your script can take a few minutes – but it is time well spent and a habit you should get used to. It gives you visual cues that will bring a script to “life”.

Take some time to find and “fine-tune” your own personal system. It will help you every time you get behind the “Mic”.

Top Tip:
Always use a pencil when marking your script and at the end of the session rub out all of your “markings”. You don’t want to give away your “secrets” to any other voice artist who may be “testing” for the same job that happens to find your discarded script lying around in the booth.

The Voice Guru

How A Bad Demo Lets You Down”

By: The Voice Guru

“Making mistakes is part of learning and growing and although we hate to make them, the value is in what we learn from them. The best bit is we don’t have to make all of the mistakes ourselves, we can learn from the mistakes of others”. ……. “Terry Daniel”

I have been producing voice demos since 1989 and have listened to many, many, many demos – (trust me) & I’ve noticed that those who had what I thought to be a “good” voice, often failed at the first “hurdle”. Their career crashed & burned before I got to the end of their Demo and gave them that JOB!

“A Voice Demo that lands DOA on a Client or Agents desk – will not get a second listen”…….. JP Orr

The Most Common Demo Mistakes:

* Demo too long-90 second max for each demo – each clip no longer than 20 seconds

* Demo showed lack of training or VO experience – just turned up and recorded it

* Really poor demo quality – sounds “home produced” – or done on the “cheap”

* Lack of believability in script choice – sounded written by the voiceover and not “real”

* The voiceover sounded like they where “reading” and not “improvising”

* Their was no “flow” to the “read” – it sounded “placed” or too “thoughtful” in delivery

* Too much “acting” involved. – No “natural” delivery – remember it’s a Mic not a “stage”

* No standard Corporate or Documentary “reads” – just “Drama or Poems” on demo

* Poor character or regional accents

* Dry production. No Music or FX “beds” to add believability – just a “dry” read

* Choice of material is too “old” or too “young” for the voice

* Singing on a Voiceover Demo – AAAhhh – Keep this to a “singing” demo

* Dated material – over 2/3 years old

* Fake “brand names” – pls use real ones

* Failure to use “natural” voice going into a “Broadcast/Announcer” voice or VO voice

* Lack of variation in tone, pitch pace and style – Demo is all on one vocal level

* Using “well known” ads from TV – Oops, we know it’s not you

* Over production that “hides” the vocal skills – eg: DJ Radio Station Promo Production

* Bad mic technique, “pops” ” mouth noises” – can hear “nerves”

Oh did I mention “lack of trainig”?………..

I’m sure there are more mistakes – but these will do for now!

The Voice Guru

What is the best Microphone to use for voiceover work?

It goes without saying that apart from your “voice” your mic is the most important part of your studio set-up. Get it right at “the front end” and your clients will get a pro-sound. Get it wrong and you let yourself and your client down no matter how good your voice is! It’s the connection between you and what your clients hear, so choosing the right one is “key” to getting repeat business.

You must remember that God created different microphone models, types, sizes and prices for a reason. So, when buying a microphone you have to consider what kind of voice you have, and what particular genre or style you intend to focus on. Just like a guitarist will choose a particular guitar and amp, as a voiceover artist you need to choose your microphone carefully.

There are two main types of microphone – condenser and dynamic, although you might hear of other less well known types such as ribbon or piezo. Dynamic mics are typically used in “live” situations (bands and PA systems) while studio and voiceover work will normally see the use of condenser microphones. The former can produce great results dependent on the job but you’ll find more studios will use large diaphragm condenser microphones.

Some areas of voiceover require a microphone that produces a thinner, clearer and brighter sound (less bottom end) – for projects like On-Hold Systems, Internet Virals, Podcasts and Website Training. A less expensive/USB mic can work well for work like this where the recorded content and delivery is more important than the sound quality.

Some areas need a microphone that produces a fuller, bigger, richer sound – a smoother frequency response, more bottom end, sweeter mid-range and top–end. Typical projects will be film, TV promos, commercials, documentaries and audio books. Expectations of sound quality are high so a more expensive mic is needed here.

If you have a big deep voice you should get a mic that captures that lovely warmth and low-end. A “tube” or “valve” character mic can help bring out these flavours.

If you have a lighter, brighter voice then consider a smaller diaphragm condenser.

An often overlooked aspect of recording is that you are not only recording your voice but also the sound of your environment. No matter how good or expensive your microphone is, the acoustics in your recording booth/room have to compliment your mic quality. You’ll hear the sound of an echoey, lively environment and there’s no way to remove it in the edit. You might as well record your voice with the “built in” mic on your Iphone – a poor recording space will always lead to a poor recording.

(Apart from your “voice” It’s a combination of your recording space and quality of mic that will get you work. The two go together hand-in-hand. An expensive or cheap mic will instantly show up any flaws in your recording environment).

Ultimately, it’s all about how a mic sounds with your individual voice/timbre. Every mic reacts differently to different voices so try a few and listen carefully before investing & if you are unsure, ask an voice engineer – they will tell you asap what you should invest in as it is their job!

Top choices are:
Neumann U87, Brauner VM1 (expensive options), the Neumann TLM 103 and TLM 49, AGK 414 (still pricey but popular and excellent VO choices) to other more affordable offerings from Rode, (NT2A – Top Sausage) SE, Audio Technica and Shure microphones although these guys do have some high end offerings. Almost too many choices!

To finish – don’t just choose a microphone because it’s expensive, cheap, someone recommends it or it looks cool. Many shops will allow you to borrow a mic to test in your own home environment. So, borrow one and try it out for yourself. That’s the only way to find a mic that suits your individual voice.

Remember – The higher the quality of Microphone – the better the results. So buy the best you can afford!!

The Voice Guru

( Thanks to Mike “The Mic” Charters for his FAB input )

Should I include a photo with my marketing Info?

By: The Voice Guru

Well, personally I don’t like “photos” When “casting” I listen to a demo and choose to “book” someone from their reel alone and not the way they look.

I like a “voice” to conjure up an “image”. If I see a photo I instantly have an impression about how that person will sound or perform in the studio. Rightly or wrongly – photos “suck”. Let the “voice” tell the story.

Some voices may sound “young” but their looks suggest they should sell ‘Stannah Stair Lifts”

However, when your “looks” compliment your “voice” and your “ brand” image – you win!!

So, I would say “no” don’t include a photo in your marketing plan unless asked to.

A photo gives a preconceived idea of how you could sound or indeed should sound”

Let your voice speak for itself.

What about ethics in voiceover?

By: The Voice Guru

There may come a time when you don’t feel happy about voicing a script for a company or indeed a product because of your “ethical” views.

This is a tricky one – Personally I would just take “the cheque” and run – (I have 3 kids to support) … but I appreciate that you may have a “personal” issue with this type of situation.

Well, it’s entirely “your” decision and in some cases it can protect your “brand” or vocal “image” so think it through.

Would you do a voiceover for a “sex line”?
Would you be happy promoting a “gambling channel?
Would you voice a misleading telephone competition line?
Would you voice an advert for a bank you don’t believe in?

Or – would you just take the “money” as a “job, is a job”?

Whatever your views, take some time out to really think about what products you feel comfortable voicing & tell your agent how you feel so they put you up for the right “gigs’.

Don’t keep it to yourself – think it through and tell your agent how you feel, that way everyone is “happy”.

By: The Voice Guru

This is a question I get asked all the time, and ultimately it is up to you to decide. That said, this is my view on it.

Having spent a lot of time looking at the Voiceover Agents websites, I have discovered that they display their voices “alphabetically” so not to show any “elegance” to a particular actor or celeb they have on their books.

For example, if your name is “Simon/Serena Zanda” you will show up last on their website when a client searches for “male/female” voices.

So, should you have a “stage name” and become “Alan/Alice Aardvark” for “listing” purposes?

Well, some voice actors use a “professional name” or “pseudonym” and you also have the chance to become someone “new” for your voice career.

Something to consider when choosing your name is “branding”. Does your current name reflect your vocal style and your brand?

Lets say a client is searching for a “young, bright, fresh, commercial” female voice, who would they “click” on first – “Mildred Grey” or “Ruby Pink”?

Lets put it another way – if you are a Scottish voiceover you may want to consider changing your surname to a typical Scottish sounding name… McSomething. Stereotypical- But it does what it ”says on the tin”.

Another reason for changing your name is when your “real” name has been taken by another actor. For “Equity” reasons you may need to find an alternative to get registered.

So, the world is your “oyster” – choose a name that represents your vocal brand – and job done!

All food for thought!

The Voice Guru

What voice do you have?

By: The Voice Guru

Smooth
Warm
Rich
Dulcet
Big-Booming
Versatile
Barry White
Friendly
Soothing
Undertone Of Strength
Distinctive
Rugged
London Charmer
Young
Upbeat
Presenter
Reassuring
Dependable
Mature
Endearing Tone
Rough
Fun
Natural
Deep
Suave
London Geezerbird HQ Streetwise
Cool
Relaxed
Gravely
Husky
Young
Hip
Northern
Persuasive
Matter-of –fact
Emotive
realleman@aol.com Intelligent
No-Nonsense
Sexy
Rich
Strong
Powerful
Moody
Warm with attitude
Trustworthy
Punchy
Hint of the Guy Next Door
Chatty
Lively
Relaxed
Polished
Dry
Quirky
Raw
Dry
Flexible
RP
Wacky
Sensual
Subtly Sexy
Confident
Silky
Witty
Clear
Sincere
Lyrical
Friendly
Concise
Mature
Funky
Husky Street Attitude
Charismatic
Smoky
Conversational
Rounded
Lively Teen
Mumsy
Authoritative

Please feel free to add your own.

Comparing Contact Database Solutions

As your business grows and you begin to develop a network of customers, vendors and colleagues, you’ll want a smart way to organize and update these contacts. A basic program like Apple’s Address Book or Microsoft’s Entourage may be fine when you’re just starting out; however, when you want to do more with your contacts, there are programs out there (both software and web applications) that can help you manage them.

How do you know when you’ve outgrown your basic contact database? When you start to have more information than you can contain in one program. If you’re storing basic contact information in one program but you have to use a spreadsheet or other document to track supplemental data (such as customer preferences and newsletter subscriptions), it’s time to think about upgrading to a program that will help you streamline that information.

E-mail will likely play a key role in helping market your venture. A good e-newsletter is a great way to reach out to your clientele and let them know what’s going on with your business. On the other hand, an uninteresting- or unprofessional-looking e-newsletter can reflect poorly on your company. Fortunately, there are a number of web applications designed to help businesses of all sizes produce and send professional-looking e-mail – without having to learn anything about graphic design or programming.

These programs also let you store, organize and mail directly to your contacts, avoiding potential e-mail gaffes (simple mistakes like forgetting to blind carbon copy e-mail addresses can cost you credibility – and customers).
Here’s the rundown on a few contact database solutions, plus some popular web-based newsletter programs:

Contact Database Solutions:

ACT
For Windows only
Organize, share, group and annotate contacts
Share calendars and sync with Outlook
Attach documents and tasks to contacts
Bento

For Mac OS only
Import lists from Microsoft Excel or other spreadsheet program
Sync with iCal, Address Book and iPhone
Flexible database allows you to track and store any kind of information about contacts
Contact Organizer Deluxe

For Windows only
Basic contact database program
Search, sort, filter and summarize records
Print contact reports and mailing labels
Daylite

For Mac OS only
Interfaces with Apple Mail
Sync contacts with iPhone, BlackBerry, Palm, cell phones and Address Book
Project/opportunity management, automated backups and iCal integration
Now Up-To-Date & Contact

For Mac and Windows platforms
Basic calendar and address book applications
Publish your calendars to the Internet
Sync contacts with iPhone, BlackBerry, Palm and cell phones
Web-Based E-Newsletter Tools:
iContact
E-mail marketing/newsletter application
Subscription management, message scheduling, template gallery
Cost: $9.95 to $100 per month
Received the Web 2.0 Award for Best Marketing Application
Constant Contact
E-mail marketing/newsletter application
Contact management, custom templates, delivery management
Cost: $15 per month and up
Free 60-day trial
Emma

E-mail newsletter application
Custom-designed templates, contact organization/grouping, real-time delivery reporting
Cost: $250 setup, $30 per month and up (special pricing available for startups)

Hope this helps……

ISDN – Integrated Services Digital Network

By: The Voice Guru

ISDN 2E is what I have in The Showreel Studios.

BT will fit the lines for you: Installation cost is a one-off fee of £300.

The cost is around £90 per quarter plus “call Charges”

The ISDN Codecs

All Prima units do the main ISDN formats you need, such as Layer 2, Layer 3. However the more advanced ones have a whole array of extra features like LCD displays and level meter LEDs. (They look good but the basic model is fine for your needs).

To communicate with other “studios” you need a “black box” with a compatible codec system- in this case the CDQ Prima 110 should do the job.

A Prima CDQ 110/120 (second hand) is around £1.400 plus vat

For Your Info:

The USA use a Codec called “Telofzephyr” and will need changing in your box if you want to connect or “work” in the States. The Prima 110 can handle this I believe.

Europe/UK Sessions are fine with this “box” system.

A “Heads Up”

Some other “costs” to be aware of….

In the UK, any call you make to another studio is charged at UK National standard rates. However you must remember that you have 2 lines with ISDN 2E so this doubles the cost of any call.

Any calls you make to Europe or USA are charged at around £1.20 per minute – Again 2 lines so double the cost per minute.

How It Works:

There are 2 ways to run a session.

You either “Host it” – or “Live Read ”.

Basically whoever dials the ISDN lines pays the bill. Nice and simple.

Hosting means:

You call/email the other studio to see what Codec they are using, set your “box” to the same Codec and supply the “voice” they need down the line.

You “Host” the voice session and any remote studio “dials” into your “box” and you don’t pay anything and generally have no need to record the session as a bakup on your system as it is all taken care of their end. Lovely solution and the one you should push to your clients.

Live Read means:

You have to originate the call and pay for it as well.

You call/email the other studio to see what Codec they are using, set your “box” to the same and supply the “voice” they need as above.

However this time YOU call THEM and have to cover the cost of International calls ( for 2 lines ) for the duration of the session. Expensive.!

Rule of thumb is in this instance to charge a mark up of 20% of all BT call charges for any session and bill your client to recoup some of the ISDN quarterly line charges. Hope this helps. Call me anytime my friend if you have any other questions.

PS – I think Prima have now been bought out and the Prima Systems can only be bought second hand or on ebay.

I have a ProntoNet LC+ Most excellent.

I also have a Sonifex HY03S telephone hybrid unit for Phone Patch.
( The best thing I ever bought )

The Voice Guru

Today’s Voice World

The UK Voice Arena has changed a lot over the last 20 years. The internet, ISDN, cheap studio software and the ease of global connectivity has now made it even easier to get heard in a crowded marketplace. The traditional London voice agency business model has indeed been challenged by the huge opportunities available to grow your own independent voice based business. Those that have done so, have flourished and they have done this by building there own pro home studio and using ISDN, Pro-Connect and TBU systems. These “home studios” are on a par with any London VO studio and their owners offer a quality voice product at an affordable price to the “open market”.

Thanks to the explosion of digital media and the Internet, there are now more ways to market your “Voice Over” business. So, with the increased “voice choice” available to clients around the world are you marketing yourself to the best of your ability? In the “beginning” – all those years ago, a voice artist’s skill relied on their voice quality. Those that made money were versatile and had the ability to deliver accents, impressions and a whole host of vocal gymnastics! They didn’t have to worry about the technical side of things as this was the “studios” responsibility and not part of the required “skill-set” for a working VO. They just kept their “voice” in top condition and knew how to use it.

Well, things have changed. Due to the amount of “voices” in the market place, today’s voice artist has to focus more on being “natural” and less of being a “Jack Of All Trades” . They have to focus on being themselves, and capitalising on what they are truly “good” at.

Successful voice talent are those that position themselves in a specific, accent, style or niche area within the voice arena. They have the technical ability to record from home and the marketing ability to be found on the web.

Times have changed and to keep up – you have to “keep up”!

These are exciting times to be involved in voiceover and those that will get the most work are those that are increasingly aware of what is expected from them.

Keep one step ahead of the game – and keep your tools sharp.

The Voice Guru

abandoned ~~ absent-minded ~~ abused ~~ accepted
accused ~~ admired ~~ adored ~~ adrift ~~ affectionate
afraid ~~ aggravated ~~ aggressive ~~ agitated
alarmed ~~ alert ~~ alienated ~~ alive ~~ alone ~~ aloof
alluring ~~ amazed ~~ ambushed ~~ amused ~~ angry
antagonistic ~~ anxious ~~ apathetic ~~ appalled
apologetic ~~ appreciated ~~ appreciative
apprehensive ~~ aroused ~~ ashamed ~~ astonished
attacked ~~ attractive ~~ aware ~~ awestruck ~~ awkward

bad ~~ baffled ~~ bashful ~~ beaten down ~~ belittled
benevolent ~~ berated ~~ betrayed ~~ bewildered
bitter ~~ blamed ~~ blue ~~ bold ~~ bored ~~ bothered
brave ~~ broken ~~ bummed ~~ burdened ~~ burned-out

calm ~~ capable ~~ carefree ~~ careless ~~ caring
cautious ~~ censored ~~ centered ~~ certain ~~ challenged
charmed ~~ cheated ~~ cheerful ~~ cherished ~~ childish
clean ~~ clear ~~ clever ~~ close ~~ closed ~~ clueless
clumsy ~~ cold ~~ comfortable ~~ committed
compassionate ~~ competent ~~ competitive
complacent ~~ complete ~~ concerned ~~ condemned
confident ~~ confused ~~ considerate ~~ contemplative
contempt ~~ content ~~ controlled ~~ convicted
cornered ~~ courageous ~~ cowardly ~~ cranky
crazy ~~ cross ~~ crushed ~~ curious

daring ~~ dashed ~~ dazed ~~ dead ~~ deceived
dedicated ~~ defeated ~~ defenseless ~~ defensive
defiant ~~ degraded ~~ dejected ~~ delicate
delighted ~~ demoralized ~~ dependent ~~ depressed
deprived ~~ deserted ~~ desired ~~ despair
desperate ~~ destroyed ~~ detached ~~ determined
devastated ~~ devious ~~ devoted ~~ different
difficult ~~ dirty ~~ disappointed ~~ disbelieving
discarded ~~ disconnected ~~ discontent ~~ discouraged
disgraced ~~ disgusted ~~ disheartened ~~ dishonest
disillusioned ~~ dismal ~~ dismayed ~~ disobedient
disorganized ~~ disposable ~~ distant ~~ distracted
distressed ~~ disturbed ~~ doubtful ~~ drained
dropped ~~ dull ~~ dumb

eager ~~ ecstatic ~~ edgy ~~ effective ~~ embarrassed
empathetic ~~ empty ~~ enchanted ~~ encouraged
energetic ~~ energized ~~ elated ~~ enlightened
enraged ~~ enriched ~~ entertained ~~ enthusiastic
envious ~~ evasive ~~ evil ~~ exasperated ~~ excited
excluded ~~ exhausted ~~ exhilarated ~~ expectant
exploited ~~ exposed ~~ exuberant

faithful ~~ fake ~~ fantastic ~~ fatigued ~~ fearful
fearless ~~ feisty ~~ fine ~~ flustered ~~ foolish
forgiven ~~ forgiving ~~ forgotten ~~ fortunate
framed ~~ frantic ~~ free ~~ friendly ~~ frightened
frisky ~~ frustrated ~~ fulfilled ~~ full ~~ funny
furious

generous ~~ gentle ~~ giving ~~ grieving ~~ glorious
good ~~ grateful ~~ great ~~ glad ~~ gloomy ~~ grouchy
grumpy ~~ guarded ~~ guilty ~~ gullible

handicapped ~~ happy ~~ hateful ~~ haunted ~~ healthy
heard ~~ heartbroken ~~ helpful ~~ helpless ~~ hesitant
honored ~~ hopeful ~~ hopeless ~~ horrible ~~ horrified
hospitable ~~ hostile ~~ humble ~~ humiliated ~~ hurt
hysterical

idealistic ~~ idiotic ~~ ignorant ~~ ignored ~~ imaginative
immune ~~ impatient ~~ impelled ~~ imperfect
impertinent ~~ important ~~ impressed ~~ impulsive
inadequate ~~ inattentive ~~ incensed ~~ incompetent
incomplete ~~ incredulous ~~ indebted ~~ indecisive
independent ~~ indifferent ~~ industrious ~~ inept
inferior ~~ inflated ~~ informed ~~ infuriated ~~
inhibited ~~ innocent ~~ innovative ~~ inquisitive
insane ~~ insecure ~~ insensitive ~~ insignificant
isolated ~~ insulted ~~ intense ~~ interested ~~
interrogated ~~ interrupted ~~ intimidated ~~ intimate
intrigued ~~ invigorated ~~ invisible ~~ involved
irrational ~~ irresponsible ~~ irritated ~~ irked

jaded ~~ jealous ~~ jinxed ~~ jolly ~~ jovial ~~ joyful
jubilant ~~ judged ~~ judgmental ~~ jumpy ~~ just
justified

kidded ~~ kind ~~ knowledgeable

late ~~ lazy ~~ leery ~~ left out ~~ let down ~~ liable
liberated ~~ lifeless ~~ light-hearted ~~ liked
listened to ~~ logical ~~ lonely ~~ loose ~~ lost
lousy ~~ lovable ~~ loved ~~ loving ~~ lucky

mad ~~ manipulated ~~ mean ~~ meditative ~~ melancholy
merry ~~ mischievous ~~ miserable ~~ misinterpreted
mistreated ~~ misunderstood ~~ mixed up ~~ mocked
modest ~~ molested ~~ moody ~~ motivated ~~ moved
mystified

naive ~~ nasty ~~ needed ~~ needy ~~ negative
neglected ~~ nervous ~~ neurotic ~~ nonchalant
nostalgic ~~ noticed ~~ numb

obeyed ~~ obligated ~~ obvious ~~ odd ~~ offended
old ~~ open ~~ oppressed ~~ optimistic ~~ ornery
out of control ~~ outraged ~~ overcome ~~ overjoyed
overloaded ~~ overwhelmed ~~ overworked ~~ owned

pampered ~~ paralyzed ~~ passionate ~~ passive
patient ~~ peaceful ~~ peeved ~~ pensive ~~ perky
perplexed ~~ persecuted ~~ pessimistic ~~ pestered
petrified ~~ petty ~~ phony ~~ pious ~~ playful
pleased ~~ poor ~~ possessive ~~ positive ~~ powerful
powerless ~~ practical ~~ pressured ~~ private
productive ~~ protected ~~ protective ~~ proud
provoked ~~ prudish ~~ punished ~~ pushy ~~ puzzled

questioned ~~ quiet

rambunctious ~~ reassured ~~ realistic ~~ rebellious
reborn ~~ receptive ~~ reckless ~~ recognized
reconciled ~~ reflective ~~ refreshed ~~ regretful
rejected ~~ rejuvenated ~~ relaxed ~~ released
relieved ~~ reluctant ~~ reminiscent ~~ remorse
renewed ~~ replaced ~~ replenished ~~ repressed
rescued ~~ resentful ~~ reserved ~~ resistant
resourceful ~~ respected ~~ responsible ~~ restricted
revengeful ~~ revitalized ~~ rich ~~ ridiculous
right ~~ rigid ~~ robbed ~~ romantic ~~ rotten
rushed

sabotaged ~~ sad ~~ safe ~~ sassy ~~ satisfied
saved ~~ scared ~~ scolded ~~ scorned ~~ secure
seductive ~~ self-assured ~~ self-centered
self-confident ~~ self-conscious ~~ self-destructive
self-reliant ~~ selfish ~~ sensitive ~~ sentimental
serene ~~ serious ~~ sexy ~~ skillful ~~ shamed
shaken ~~ sheepish ~~ shocked ~~ shunned
shy ~~ sick ~~ silenced ~~ silly ~~ sincere ~~ sinful
slandered ~~ sluggish ~~ small ~~ smart ~~ smothered
skeptical ~~ solemn ~~ soothed ~~ sorry ~~ special
spiteful ~~ splendid ~~ spunky ~~ squashed ~~ stifled
stimulated ~~ stingy ~~ strained ~~ stretched
stressed ~~ strong ~~ stubborn ~~ stumped ~~ stunned
stupid ~~ submissive ~~ successful ~~ suicidal
suffocated ~~ sullen ~~ sunk ~~ super ~~ superior
supported ~~ sure ~~ surly ~~ surprised ~~ suspicious
sympathetic

tacky ~~ tactful ~~ talented ~~ talkative ~~ tame
tarnished ~~ tasteful ~~ tearful ~~ teased ~~ tenacious
tender ~~ tense ~~ tepid ~~ terrible ~~ terrific
terrified ~~ tested ~~ testy ~~ thankful ~~ thoughtful
threatened ~~ thrifty ~~ thrilled ~~ tired ~~ tormented
torn ~~ tortured ~~ tough ~~ tragic ~~ tranquil
transformed ~~ trapped ~~ treasured ~~ trembly
tremendous ~~ tricked ~~ troubled ~~ trusted

ugly ~~ unaccepted ~~ unappreciated ~~ unbalanced
unburdened ~~ uncanny ~~ uncomfortable ~~ unconcerned
uneven ~~ unfit ~~ unfriendly ~~ united ~~ unjust
unknown ~~ unneeded ~~ unpleasant ~~ unreal ~~ unruly
unwise ~~ uplifted ~~ used ~~ useless

vacant ~~ vague ~~ vain ~~ valid ~~ valued ~~ vexed
vicious ~~ victimized ~~ victorious ~~ violated ~~ vivid
void

wacky ~~ warlike ~~ warm ~~ warmhearted ~~ warned
wary ~~ wasted ~~ weak ~~ wealthy ~~ weary ~~ weird
whole ~~ wild ~~ willful ~~ wishful ~~ witty ~~ worldly
worse ~~ worthy ~~ wounded ~~ wrong

yearning ~~ yellow ~~ yielding ~~ young ~~ youthful

“How to Make Money With Social Media in 30 Minutes or Less A Day,” is now available for download.Click Here

Susan Berkley

Today’s Voiceover industry is a competitive one and it requires not just a great Demo but also skill, dedication, persistence and hard work if you are to succeed. It can also be incredibly rewarding.

However, to get started you’ll need a “calling card” your voice demo. This is the audio equivalent of an actor’s headshot and in about a minute and a half, any potential agent or client should be able to gain a clear picture of your vocal range, age and ability. You are competing with working professionals that have great voice demos and yours must sound just as professional if you are to stand a chance in today’s competitive arena.

There are two schools of thought for producing a Demo for the UK market these days. Some say you should produce a demo that shows a range of voices, showing different emotions, attitudes, regional accents and character voices. While others say you should focus on being the most real and natural person you can be while demonstrating a range of emotions within the natural delivery of your own voice.

Regardless of which approach you decided to follow, it is the range and the variety of performance in your demo that shows your vocal ability.
The essence of who you are needs to be present in every clip on your demo. You need to capitalize on your strong points and present them in the best possible way showing only your best and most developed voices.

Your strongest and most dynamic and most marketable voice is called your “signature voice” or your “money voice”. This is the voice that will get you the most work and should be the very first thing anyone hears on your demo. Your other voices are icing on the cake but are necessary to clearly show your range and versatility as a voice artist.

By The Lovely Susan Berkley

Question: “It seems sort of odd that you tell us NEVER say you are a beginner & in the cover letter you say to state your experience (if any). If you don’t have experience and you don’t tell them so in your cover letter), wouldn’t the prospect get it figured out & throw your cd in the trash?

Answer: “I firmly believe that if a prospect knows you are a beginner, he or she won’t want to hire you, unless you are willing to work for free. Therefore, it’s especially important to get training that not only prepares you to perform professionally behind the mic, but also to present yourself professionally in your marketing materials so the question of whether you are a beginner or not will never even enter their mind.

When a prospect working for a company makes a buying decision about voice talent, he sees no benefit in working with a beginner. The kind of people you SHOULD want to work with won’t be wanting to pinch pennies by working with a newbie. They’re more concerned with looking good to customers and co-workers because they chose the right vendor who got the job done right the first time, met their budget and their timeline.

Few voice talent realize that what they’re really selling is not merely their voice, but their trustworthiness, reliability, professionalism and even their celebrity (even on the small town local level). I say celebrity, because this gives the people who hire them bragging rights at the water cooler, elevating their status among their peers, a huge plus for cubicle workers in big, dull companies.

So, if your skills are not to the point where you can’t make a professional sounding demo, don’t. Wait until you’re ready. With a good coach and a great director, it’s possible for a beginner to make a strong entrance in the market and launch their career in record time.

By The Lovely Susan Berkley

One day, when you least expect it, you will book your first big job. You’ll be nervous, of course. But, will you be able to hide your nerves and sound your professional best? Nerves can cause a sudden adrenaline rush and a number of unpleasant symptoms including dry mouth (or excess saliva), shortness of breath and a trembling voice. The best way to combat these symptoms is to prevent them from happening in the first place. The surprising cause of a trembling voice is… perfectionism!

Beginning voice talent places undue stress on him or herself by expecting to give a perfect performance. This is impossible. We can never be perfect, only optimal. Because voice-over sessions are never live, mistakes can always be edited out and you can always do another take. Another factor that causes stress is when the talent imagines that the director will be overly critical. This is actually a psychological phenomenon known as projection. The talent is projecting a harsh, self-critical attitude onto the director.

The good news about adrenaline is that it is a short lived hormone and can be burned off by speaking or by light physical activity. If your voice feels trembles before a session, walk briskly up and down the hallway or read the script several times out loud. You’ll soon regain your composure and restore the sound of your voice.

By Anthony Mendez

Here’s a quick video on how to create a download link for your mp3 or voiceover demos that automatically prompts the visitor to save it to their computer. The advantage of this technique is that it avoids an extra step for your visitor; They won’t have to right-click (or CTRL+click on a Mac) and then choose to download it. More importantly, it won’t open up the annoying embedded mp3 in the middle of a new or the same window. The latter is usually a result of having linked directly to your audio.

Creating an MP3 Voiceover Demo Download Link Video

I can think of other uses for this other than serving your demo. For example, if you change the “mp3″ in the PHP code to say “aif” or “wav” and create a path to a folder on your website where you store your final voiceover files for your clients, you can then simply send your client a link to that file (formatted as described in the video) that will prompt them to download it; all without having to give them an FTP login and protecting your folder at the same time since you won’t be revealing it in the link.

Many professionals who use their voice for a living complain that after a day’s work they feel the strain in their voice and sometimes have developed a sore throat. What can be done? As with everything else to do with the body, prevention is better than cure and what follows is a basic voice care routine that we recommend to everyone who finds themselves in frequent speaking situations.

• Maintain a high level of fluid intake – this literally lubricates all the parts connected to voice. Always have a good supply of water to hand when training, and remember to sip it at regular intervals.

• Always start the day with some sort of vocal warm-up. An athlete would never start running from home without doing stretches first. Singing in the car on the way is as good as any other warm-up!

• Standing in front of people generates some level of anxiety and this tends to make the throat constrict, therefore causing the first symptoms of strain. Try to make time for some physical ‘loosening up’ exercises (arm swings, head rotations) before you arrive. Take several deep breaths just before you begin to speak and give yourself opportunities to repeat at intervals throughout the day.

• Remember that speaking clearly has nothing to do with shouting – use facial muscles with energy to project your voice forward, rather than strain it by trying to increase volume.

• Be aware of tension in the jaw – this is  a sure  sign that voice strain will follow! The simplest way to counter this is to just drop the jaw for a second; you will feel the facial muscles relax and doing this a number of times may save you from real problems later.

• If you have strained your voice, the best remedy is to find space and time to completely relax the whole body. You should lie down in a warm room and drink plenty of warm water with lemon and honey. If you’ve caught it early enough, a half hour of this may be all you need and could save you a great deal of trouble later on.

• Remember that the best way to avoid voice strain is to keep the facial muscles relaxed; and the best way to relax those muscles at any time is to smile!

FREE SPECIAL REPORT by Susan Berkley

A study done at UCLA found that when selling by phone 84% of the message is conveyed by the music in the voice—your vocal quality: pitch, tone and inflection. When selling by phone, tone of voice is crucial. Brain researchers have discovered that the brain has sensitive credibility detectors. These detectors are pre-verbal. They are activated by tone of voice and body language-not words. They give us important information about a speaker’s sincerity, integrity, and emotional state.

You know your credibility detectors are active when you get a gut-level hunch about someone – good or bad. And the same goes for your customers! Whenever a salesperson calls, their credibility detectors are on “high alert.” As a sales person its especially important to get feedback on the effect your voice has on others. If not, you might inadvertently be speaking in a way that makes clients and prospects uncomfortable or annoyed.

I know one fellow who sounds secretive and muffled. A receptionist at one of our suppliers sounds tired and depressed. And the cordial words of the lady at the bank have a distinctly hostile undertone. Unfortunately, these people haven’t a clue about the way they come across.

Because we listen to ourselves from inside our heads its impossible to hear ourselves as others hear us. To hear yourself as others hear you, you must listen to your voice on tape.

• Record a few sales calls and ask a trusted friend or colleague for feedback.

Then, by practicing the techniques you are about to learn, you can consciously manipulate your tone of voice in a way that makes people feel good about you and the products and services you represent. As a result you will sound more credible, articulate, persuasive. You’ll improve rapport with clients and prospects. And become more skillful at motivating and inspiring others.

Actors in TV and radio commercials (and skilled politicians!) use voice control techniques all the time. By doing so, they are able to read a script with so much conviction people are irresistibly compelled to buy.

How To instantly change your tone of voice

Your tone of voice mirrors your emotional state and physical well-being. If your emotional state is positive and you’re feeling strong and healthy, your tone of voice will naturally sound upbeat, energetic and enthusiastic. Problem is, the normal stresses and strains of life are easily reflected in the voice . It can be hard to sound happy and energetic when you are having a bad day. Or you may have unconsciously adopted an unpleasant tone of voice from the people around you when you learned to speak as a child.

There are six vocal components: pitch, tone, tempo, rhythm, placement and dialect. Change any one and drastically alter the way you sound.

Of these, tone is most important for conveying emotion and creating feelings of good will.

In the exercises that follow you will learn 4 simple steps to manipulate your tone of voice and make a lasting and favorable impression. I call this process VoiceShaping.

How to sound warm and friendly on cue.

It is difficult to progress in sales without a warm and friendly demeanor. Knowing how to sound warm and friendly on cue is especially helpful when you need to make an important phone call or presentation on stressful days when nothing seems to be going right.

Here are the four steps to follow to change your tone of voice:

• Key word. Find a key word which represents the tone of voice you wish to create and say it 3 times slowly, with as much feeling as you can muster. Use what ever key word is meaningful for you. My key word for a warm and friendly voice is tender Say your key word aloud three times slowly with feeling . If it’s a good key word, your voice should begin to soften.
• Mental image. Focus on a mental image which enhances the key word . What image does the word “tender” bring to mind for you? I imagine that I’m holding a sleeping infant in my arms. Or perhaps you might visualize whispering into the ear of a lover, stroking a pet, or even slicing into a nice, tender piece of meat.
• Body position. Adopt a body position consistent with the tone of voice you want to convey. The body position for a warm and friendly voice is relaxed. To help drain tension, inhale and consciously tense every muscle. Hold for a count of 5. Now exhale for a count of 10 feeling the tension drain from your body.
• Facial Expression. The shape of your mouth and the expression on your face will shape the sound of your voice. One of the easiest ways to sound warm and friendly is to smile. A relaxed, gentle smile will do. If you do nothing else but smile while speaking, your voice will sound 90% warmer. Until you get the hang of smiling while speaking, practice by keeping a mirror by the telephone. Glance at yourself from time to time to make sure the expression on your face is pleasant as you speak.

How to sound authoritative on cue.

Use an authoritative tone when you want to be taken seriously and show others you mean business. This is also useful when you need to take control of a conversation.

• Key word. My key word for an authoritative voice is respect. Say it aloud three times now with feeling: respect, respect, respect.
• Mental image. As you say the word respect, what image comes to mind? For me, I’m standing in front of a classroom. The students are looking at me, listening attentively. I feel good, centered and in control. If this image doesn’t work for you, feel free to use your own. Focus on your authoritative mental image until it is big and bright in your mind.
• Body Position. To assume an authoritative body position, sit or stand as straight as you can. Feel how the soles of your feet make contact with the ground. Say the word respect a few more times and gesture firmly, as if to emphasize a point.
• Facial expression. Now, look in the mirror. For an authoritative voice, your mouth should be relaxed and neutral, but your eyes should be intense and focused. You should feel as if you are making eye contact with each person in an imaginary classroom.

These are just two of the many vocal tones you can create using the VoiceShaping technique. Before making a sales call, follow the four steps to get your voice in shape, and then speak your way to success!

More Tips from the Top from Connie Terwilliger

Articulation: Exercises to overcome “Immovable Jaw”, “Idle Tongue”, “Lazy Lips”, and “Too Much Speed”.

LIMBERING UP

• 1.      Spread the lips in a smile for “eeeee”, open them for “aaahh”, and close them for “ooooo”.
• 2.      Rapidly say “fud-dud-dud-dah” several times. Now say “ira-ira-ira-ira-ira-ira”.
• 3.      Make believe you are a truck. Trill your tongue. Be a rattlesnake.

TONGUE

Say each of the following words 5 times, trying to keep the tongue forward, just behind the upper front teeth. Listen for brightness and liveliness of tone.

• Tea
• Deal
• Tick
• Dish
• Tail
• Thick
• Nape
• Table

LIPS

A stiff upper lip is one cause of misarticulation. Say the words “pit-pat-pit-pat-pit-pat” many times. Try to pronounce the “P’s” and “T’s” very clearly. Now try to pick up the speed. DON’T LOOSE THE “P” AND THE “T”.

JAW OPENING EXERCISES

1. Say the following words while exaggerating your jaw opening.

• Hack
• Yacht
• Dot
• Paw
• Yard
• Dart
• Tab
• Tot
• Dark
• Hah
• Tat
• Lad

2.      These next words have diphthongs, which require the jaw to be open at the beginning of the word, shifting to a more closed position at the end.

• High
• Tie
• Die
• Lie
• Rye
• Kite
• Howl
• Noun
• Loud
• Coin
• Loyal
• Dine

MORE LOOSENING UP EXERCISES

Repeat each of the following word groupings clearly over and over. Start slowly at first. As your articulators become more nimble and relaxed you will be able to pick up speed without stumbling. Do any sort of tongue twister that comes to mind. The more you loosen up before a session, the easier it will be.

• Good Blood, Bad Blood Bad Blood, Good Blood
• Red Leather, Yellow Leather
• Buttah, Guttah Guttah, Buttah
• The Leaf Police Dismisses Us

Connie Terwilliger

iTunes is an application that allows you to encode CD tracks or audio files in .aif or .wav format into .mp3 files (as well as other compressed audio file formats).
Depending on the MP3 settings you choose, the finished files will have varying sizes. Before converting your CD Tracks or audio files, check the instructions below for changing the iTunes MP3 import settings to select settings that optimize the mp3 file size.

To change iTunes MP3 import settings:

• From the iTunes menu, select Preferences. The Preferences window will open.

• Click on the General button and choose Import settings.

• From the Import Using pull-down menu select MP3 Encoder and set it to Highest Quality.
• Click OK..

Next:

• Insert your cd
• Go to iTunes menu “Edit”
• Choose “import to library”.

You are Done!