Is There Money Where Your Mouth Is?

Elaine Clark of Voice One wrote an amazing book, now in its second edition, called "There's Money Where Your Mouth is: An Insider's Guide to a Career in Voice-Overs".

You might recognize Elaine as one of our experts on the Voice Over Experts podcast. If you click on her name above, you'll be taken to her profile and will be able to listen to her speak to learn more about her teaching style.

Want to Win? Leave a Comment!

There's Money Where Your Mouth Is

Described at Amazon as:

Aimed at seasoned actors as well as vocal talents who lack show-biz experience, this career manual offers the most complete guide to a lucrative field.

Voices are increasingly in demand for commercials, cartoon characters, announcements, and other voice-over spots. This outstanding handbook explains how to launch a career and find work. Along with sample commercials and script copy, the author gives advice on vocal exercises, on self-promotion, and on business matters, and this expanded edition includes new tips on making a demo CD; vocal modulation and breath techniques; advanced copy-reading techniques; and a section on how copywriters see the job of the voice artists they write for.

How Do You Enter For a Chance to Win?

All you need to do is comment on this article and let me know that you'd like to win Elaine's book!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

The giveaways will include voice acting:

๏ Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners will be drawn randomly from the comments left on the blog and announced the following Saturday. Those who win will be notified by email at which time we'll confirm their shipping address. On the following Saturday, the winner will be announced and another opportunity to win a Saturday Giveaway will present itself.

I'd like to say congratulations to last week's contest winners, Wayne Henderson, Greg Hamilton, Bill Keating, Joe J Thomas, Daniel Rodrigues, Debbie Nomburg, and Kirk Greenhill who will all be receiving a trio of "Entertainer's Secret Throat Relief" in the mail soon.

Comment Now for an Opportunity to Win Elaine Clark's book from Voices.com!

Looking forward to hearing from you!

Don't forget to comment for your chance to win :)

Best wishes,

Stephanie

What kind of VO Work have you been doing?

As we head back into the swing of things, let's do a summer wrap up here and get this party going!

I can't believe we've been doing this column now for 26 weeks!

Thank you all for sharing your gigs and for being a constant encouragement to each other. I love hearing about what you've been doing and want to invite you to comment if you've never done so before.

Of course, if you've commented in the past, you're more than welcome to continue :)

Did You Do Any VO Work You'd Like to Share? Comment!

Best wishes,

Stephanie

©iStockphoto.com/Stephen Morris

What's the biggest challenge for voice actors in today's industry?

It's not getting work... it's self-direction!

Find out more about how you make each performance a dynamite one here at VOX Daily.

Working As a Voice Actor From Home (Alone)!

Before the phenomenon and boom of the professional-grade home recording studio, people in this profession used to go to studios to do auditions and also went to recording studios to complete work they were hired to voice.

Recording at the studio was:

1. Far less of a technical process for the voice actor
2. More social and interactive than being alone at home
3. An environment where voice actors were coached and directed while performing

Evolution

The role of the voice actor has changed dramatically over the years, mainly because recording technology has become more economical and easier to use.

Since then you've been required to take on additional roles and responsibilities such as becoming an engineer, business person, manager, you name it.

What else do you need to do now that you're working from home?

Self-direct!

Voice ACTING

Most voice talent think that they are just delivering a message, but the truth of the matter is that you're acting, just as an actor would on stage or in film with the key difference that you are reliant entirely your voice to communicate subtleties, objectives and context.

When you read a script, you need to prepare yourself for a role, and not just deliver a regurgitation of what is written on the page.

This applies to all applications of voice over, not just animation or commercials; every job that you take on is another role you will perform, even work that you may perceive to be corporate including telephone system voice overs, podcasts or business presentations.

Back to Basics - Understanding Your Role

Who

Decide who your character is and give them a life history. What makes them tick, what do they like, and what kind of person are they? Is your character an influential person?

If you're really keen, write a character sketch, including physical attributes and personality traits. By setting the stage for your character and developing a persona for them, you'll be able to slide into the role and create a more authentic, organic performance.

What

What is your character trying to say? Whose attention are they trying to get? What makes their message important and worth listening to?

If you can distill what the main objective of your character is in relation to the people they are trying to reach or persuade, you'll have more purpose and authority behind your words.

Why

Why should people listen to your character? Why does your character need to share their message?

You really need to get inside the head of your intended audience for this one. Make them care about you and help them to grab hold to your cause by way of artfully communicating the message.

Where

Where is your character when delivering their lines?

You might not think it's all that important, but for context's sake, you need to know where your character is while they are delivering their message. It will affect your read and also make it easier for you to create an ambience if you are using sound effects or a music bed.

How

How is your character relevant to the people they are speaking to? How is your character motivated?

Remember that character sketch you created earlier? Go back to that now, identify the target market / audience for the message and then piece together how your character relates to the audience they are speaking to. What would inspire your character to speak to this audience in particular? How much do they have invested in successfully delivering the message to those people and what is the desired outcome?

Making Art and Having Fun

Now that you've formed your character, know why they are speaking and to whom they are speaking, you're ready to start experimenting with the copy and make meaningful art.

By giving each line a few different kinds of reads and feeling out the copy, you'll be able to direct yourself with greater confidence and achieve the kind of performances you might get when directed by another person.

As many great voice actors have said, it's all about the process and having fun while you're at it.

Series of Three

Using the Series of Three (courtesy Pat Fraley) is an excellent way to self-direct. Essentially, you prepare 3 takes when auditioning or delivering lines for your character when working at home.

The first is your primary interpretation (A), the second is different from the first (B), and the third is mix between takes one and two (C).

Most directors will end up casting your third take, in other words, your C role.

You could think of this as the Goldilocks method: Too hot, too cold, just right.

To add my thoughts to that, you could easily make your C role how you interpret the copy for any voice over job, not just character voice work. You'll certainly notice a difference in how you perform and I'm sure your clients will, too.

How Do You Self-Direct When Recording Voice Overs?

Looking forward to hearing about any tricks or special things you do to help you deliver your best performances!

Leave a comment :)

Best wishes,

Stephanie

©iStockphoto.com/Rhienna Cutler

Today I'm pleased to present a good friend of mine, Marc Cashman, and some wonderful words he jotted down for you as a companion to this week's episode (#62) of Voice Over Experts.

Some of you may have heard Marc lecture a few weeks ago in Los Angeles, and for those of you who did, you know that Marc Cashman is a wonderful teacher and excellent orator.

To hear Marc's podcast (and previous podcasts), be sure to subscribe to the Voice Over Experts podcast to receive it when it becomes available.

Here's a taste of what you'll hear. Enjoy!

Giving Depth to Words

By Marc Cashman

I’ve been struck many times, while listening to Radio or TV commercials, various forms of narration or in the classes I teach, how many voice actors deliver their words with awesome articulation and precise projection, but detached delivery. They’re quite adept at lifting the words off the page effortlessly, but fail to take the opportunity to color words or phrases with the appropriate attitude or emotion. They sometimes forget to use their acting abilities to give depth to the words they speak.

In voice acting, all our emotions and attitudes come through our voice.

People can’t see our eyes or our body language like they can on stage or in film. The slightest nuance in the tone of our voice can convey myriad feelings; non-verbal utterances can convey even more. But there are so many places in copy where we can really give the words the depth they need by feeling the words we’re saying and putting emotionality into them.

An example that came up in one of my classes occurred when we were working on a spot for a regional hospital, and one word that kept popping up was “hope.”

Ask yourself: what does hope sound like?

When you say the word just by itself, out of context, you tend to naturally say it on a down note. Hope. One word, spoken with a period after it. But think about what hope means. Hope means to cherish a desire with anticipation, to wish for something, with some amount of expectation. It could be something you long for that’s realistic or unrealistic. It’s an attitude or feeling that could be attainable. And in the context of a hospital, and the feelings it evokes in potentially life-threatening situations, it’s a word with a very powerful meaning.

So in this context, hope is a word we need to lift, and the attitude is a positive one. When we say this word, we need to have hope in our heart in order to have hope in our voice. Because people can hear if we’re being sincere when we say this word or any word, for that matter. Of course, we could say “hope” in a sarcastic way, a mean way, a forlorn or hopeless way. But in a spot or narration for a hospital, we have to infuse the word “hope” with a positive attitude, with compassion and complete sincerity.

On the other end of the spectrum, I hear the word “pain” a lot in copy, and I hear it thrown away. But this is another opportunity to infuse a word with emotion. When you’re talking about pain, and you’re a sympathetic or empathetic person, when you say the word “pain” you should be wincing a bit. A listener can hear it in your voice.

And here’s a perfect example of how the sound of one word can provoke an emotional response:

How many times have you called someone you know, and just by the tone of one word they use to answer the phone—hello—you can tell if something’s amiss. It will provoke you to either say, “Hi, how’re ya doin’?” or “Are you okay?” So if one word can get that kind of response, just think of how thousands of your other spoken words and phrases are perceived.

The Sky is the Limit

There are innumerable words that you can color and give depth to whenever you come across them. These words are loaded with attitudes and emotions. Don’t throw away the opportunity to infuse these words with the appropriate color, feeling and attitude.

When you say the word “excitement” or “exciting,” deliver it with an exclamation point! (An exclamation point is the only punctuation mark I know that literally connotes an emotion—excitement!) When you talk about how a particular client cares, “care” should be delivered with concern and compassion. Whether they’re nouns, verbs, adjectives or adverbs, don’t throw these words away!

For voice actors, words are easy to say and lift off the page effortlessly, but the listener needs to hear some thought and feeling behind those words. When you really start thinking about them, words are easy to bring to life when you say them with the appropriate feeling or attitude.

Here are just a few examples:

Friendly, elegant, patriotic, confident, sultry, scary, stiff, sensual, helpful, funny, concern, evil, tiring, appetizing, sad, cautionary, breathless, wacky, tough, delicious, carefree, perky, nervous, stuffy, mellow, heroic, magical, cute, bored, sly, exciting.

In my classes, I have my students say these (and many other) words with their accompanying meaning (and sound), and also have them say them with their opposite meaning (and sound). It’s funny to say “friendly” in an angry tone. It’s funny to say “confident” in a wimpy way! And when you do this exercise, it becomes clear that, as voice actors, when we speak, we’re painting a picture for the listener, compensating for the fact that they can’t literally see us saying what we’re saying.

Making it Work

A lot of the copy you get as a voice actor will not be chock-a-block with words and phrases that you’ll be able to get behind emotionally. There’s no emotional hook in “2.9% APR financing for 60 months on all vehicles in stock.”

But the next time you do get some copy to perform that has any kind of emotional words or phrases or theme, sit with those words for a minute. Feel the emotion behind the copy. Think about how you would feel, how someone you loved (or something, like a pet) would feel, and then deliver it with a newfound depth of feeling.

I guarantee you that you’ll start performing two-dimensional words on a page in three dimensions.

Marc Cashman © 2008

Any comments? Add your thoughts below!

Best wishes,

Marc and Stephanie

Do You Watch The Spectacular Spider-Man?

If so, get set for a fun interview with none other than the voice of Spider-Man / Peter Parker, Josh Keaton here on VOX Daily.

VOX: Thank you for joining me on VOX Daily, Josh, it's a pleasure to have you here. How long have you been voice acting for?

JOSH KEATON: I've been voice acting off and on since I was a kid. I had roles in shows like the "Back to the Future" animated series, and "Peter Pan and the Pirates." I briefly stepped back from voice over to focus on other aspects of my career, but have made it a primary focus in the last few years.

VOX: You have your feet in a few different segments of the entertainment industry, including on-camera, music, and now voice over. What did you bring from on-camera and music to your voice acting career that helped you ease into the business?

JOSH: Being a singer helps immensely with voice acting. You get a sense of pitch that helps in voice matching/character creation, as well as a sense of timing that makes ADR and hitting certain copy times a breeze. On camera acting helps as well because improv skills are always an asset, and most animated shows want to convey a "not too cartoony" sense of realism. On camera experience helps with keeping a character portrayal subtle and nuanced, even in animation.

VOX: Congratulations on your successes with the Spider-Man franchise. Right now, you're the voice of Peter Parker / Spider-man in the cartoon "The Spectacular Spider-Man", a first for you where our friendly neighborhood arachnid is concerned. Do you find that Peter Parker and Spider-Man are very different from each other when you're voice acting? If so, how do you prepare for each of those characters and what makes them special?

JOSH: Thanks! As someone who grew up reading the comics this role has been a dream come true. As for vocal preparation, Peter Parker's voice is pretty similar to my own, just a bit younger. Spidey's voice is pretty much the same as Peter's, but with a bit more confidence. As Spidey, he can say and do things that he can't necessarily do as Peter. Also, Peter tends to sometimes overplay his geekiness as a cover for his alter ego.

VOX: As some people may know, in previous projects, you have voiced Peter Parker's best friend, Harry Osborn. Could you please tell us how you came to be involved with the Spidey franchise and the work you've done?

JOSH: Well, the video games were produced by entirely different production companies than the show. What's interesting is that I originally provided the voice for Peter/Spidey in the first Spider Man video game, but they ended up getting approval to use Tobey Maguire's voice. As I had already completed all the recording for the game, rather than waste the audio they recorded, they put in a secret play mode where upon beating the game, the gamer could play the game again with Harry in the Goblin suit. After that, they ended up re-hiring me to voice Harry in the subsequent games. The audition process for the show was completely separate.

VOX: What kind of process did you go through to develop the voice of Spider-Man? Was there much homework to do on this or did the character come naturally to you? Any challenges?

JOSH: There wasn't really any process as it's pretty much my voice, just a bit younger. As for character, I already had a pretty intimate understanding of the character from growing up with the source material. In addition, I was this guy growing up... well aside from the Spider powers. I was a huge dork in high school and couldn't get a date to save my life, but I had this double life as a child actor. Among my acting friends, I was "cool" but at school, I was already pegged as a dork from my younger years and there wasn't much that could be done to shake that in high school.

VOX: Have you received any fan mail for your work on The Spectacular Spider-Man or voice work in the videogames?

JOSH: I have. Aside from the Spidey fans, I've received quite a bit of fan mail from fans of the Metal Gear Solid franchise. I played Ocelot in the third installment of the game.

VOX: When you're recording, do you have a favorite tea or beverage that you rely on?

JOSH: I like the things they always tell you not to drink, like soda and dairy products. Everyone tells me that they're terrible for vocal recording, but... they work great for me! In emergencies, throat coat tea and slippery elm lozenges are life savers.

VOX: Do you have a home recording studio that you can audition or work from? If so, what's in Spider-Man's studio? If not, is this something you are considering?

JOSH: I do have a studio at home to work on both VO and music. I record into a tube condenser mic (Røde K2) with an Avalon preamp and a Distressor for compression. I usually record into ProTools through a DIGI002 but I've been playing with Logic as well. I'm a huge gearhead/techie as well (remember, I'm a dork) so I'm always looking for cool new gear. I just bought a house and one room will be converted to a dedicated studio with a real vocal booth and console so I'm pretty excited about that. As for auditioning, I still love driving over to my agent's office to audition. I like getting to see all of my friends/fellow actors, but it's great to be able to do things from home when driving there isn't possible. I'm also currently in the process of setting up a mobile rig so that I can work while I travel. I'll most likely be using SourceConnect and ProTools with a Sennheiser 416 and a SE Electronics Reflexion filter.

VOX: Are you a member of SAG or AFTRA? If you are when did you join and is there a story you can share about how you made the decision to go union?

JOSH: I'm a member of both. I've actually been a member of both unions since I was very young as a result of the on-camera commercials/projects that I started with.

VOX: Where do you see yourself in five years? Will voice acting be your main gig?

JOSH: In five years I hope to accomplish a lot. I'd like to release an album (much sooner than 5 years), write/produce music for other artists, and continue to pursue on-camera film/tv roles. VO will always be my bread and butter but I definitely don't want to limit myself to VO only.

VOX: Age old question : Do you have to live in Los Angeles to make it as a voice actor in videogames and animation? Why or why not?

JOSH: It depends on what you define as "making it." It's completely possible to work regularly in VO without living in a primary market like LA or even other big cities like Chicago, San Fransisco, and New York. The fact remains, however, that to realize the full potential of a VO career (at this point in time), living in one of the major cities helps quite a bit. It will be interesting to see how the internet and the availability of inexpensive yet professional recording equipment will change this in the future (the very near future).

VOX: If you could meet someone in voice acting whom you haven't met, who would it be? Is there anyone you look up to? If so, what do you admire about them?

JOSH: I've already worked with a ton of fantastic voice actors but there are always ones that just blow me away. Steve Blum's Green Goblin in Spec Spidey is incredible and I would love to be able to manipulate my voice the way he does. James Arnold Taylor and Kevin Michael Richardson (Harry Osborn and Lonnie Lincoln/Tombstone, respectively) can do voices that you would never imagine coming out of them. I could go on for a long time talking about people like Peter MacNicol and many of the other actors that I've enjoyed working with but I think it's safe to say that I look up to all of them. They're all incredibly talented.

VOX: Anything coming down the pipeline that we should be watching for in your career?

JOSH: I have a few video games out right now and others on the way. I'm the voice of Ryu Hayabusa in the latest installment of Ninja Gaiden, and will be playing Larry Lovage in the upcoming Leisure Suit Larry: Box Office Bust (that one's not for the kids). I'm also a musician and write/produce/perform music with my brother in law. Our group is called Hallway. Finally, there's lots more Spectacular Spider Man on the way. The first of 4 DVD volumes will be released in September, and the second season will begin airing in March of 2009. Keep checking www.joshkeaton.com, and www.spideytv.com for more details.

Any Spider-Man fans out there? Leave a comment!

Best wishes,

Stephanie

P.S. If you go to SpideyTV.com you can play some fun games, including one where you take pictures of Spider-Man to get on the cover of the Daily Bugle!

The face of the Screen Actors Guild may start to look a little bit different this year.

For tens of thousands of people in the acting and voice acting professions, particularly those who are members of SAG and or AFTRA, this change could make all the difference in the world.

Find out more in my special interview with Edoardo Ballerini, a candidate for the SAG Board of Directors and member of Unite For Strength, a group seeking the merger of SAG and AFTRA.

VOX: Thank you for being here on VOX Daily, Edoardo. For those of us who are unfamiliar with Unite For Strength, could you please tell us a little bit about what it is, who is involved and what your mission is?

EDOARDO BALLERINI: Thank you, Stephanie! Unite for Strength is a group of 31 performers running for the Board of the Screen Actors Guild. We are television stars, journeymen, stunt performers, background players, and voice artists. In short, we represent the full breadth of membership. Our mission is to merge SAG and AFTRA so performers are united at the bargaining table once and for all.

VOX: You're personally running for a position on the SAG Board of Directors. What made you want to run?

EDOARDO: Once I started studying the issues facing actors, and the direction our current leadership has taken us in, I felt an obligation. And, not to be too modest, but I think I'd be good at it. My experiences as an actor, having been everything from a day player to a lead, on television and in film, having done commercials and VO, animation and video games, have given me an understanding of what faces nearly every segment of the acting population.

VOX: If elected, what will you bring to the Board of Directors? Do you have any particular goals in mind?

EDOARDO: Unite for Strength has the primary goal of merging SAG and AFTRA. We believe it is in everybody's best interest, and that all other issues pale in comparison right now. Our employers have been merging nearly every year and we should be, too. On a personal note, I would like to bring civility and common sense to the Board. I would also like to spearhead outreach programs to younger members to get them involved.

VOX: One of your running mates happens to be a fan favorite around here, voice actor Bob Bergen. What's it like in the Unite For Strength camp? Are you the only voice actors represented among the candidates?

EDOARDO: Bob is wonderful! A true gentleman, and a sharp mind. Our slate is remarkably cohesive and supportive of each other. Running for office isn't easy, but the group is dedicated both to the cause of merger and to each other. And many of us do voice work. Let's not overlook Marcia Wallace, the voice of Mrs. Krabappel on The Simpsons!

VOX: Edoardo, there's a lengthy list of names listed on the Unite For Strength site that show support, including notable performers such as Sally Field, Alec Baldwin, Tom Hanks and our industry's very own, Don LaFontaine. What's it like to have some of the biggest name in show business supporting the cause? Why are they behind you and your colleagues?

EDOARDO: I am heartened not only that we have "big names" behind us, but who those names are. Tom, Sally, Alec and Don are not only stars, but they are respected and respectful individuals. Their support is rooted in remembering just how important a union is to the non-stars, the people who need residuals to live, and a stable Pension & Health plan for their families. It's important to understand that both sides on this election want the same thing - the best deals for performers. What we differ in is how to achieve these deals. Our supporters believe merging SAG and AFTRA will make that happen far faster than warring between the two unions ever could.

VOX: What can people do to get involved? Do you have to be a member of SAG to be part of this or help out?

EDOARDO: You do have to be a Hollywood SAG member to vote, of course, but there are many ways to get involved. I would like to see younger actors, even those not yet a part of SAG or AFTRA, to take an interest in their future unions, or better still... union. What we do now will affect them more than anybody else. Our website - www.uniteforstrength.com - has a lot of information about us, and our group on Facebook is becoming a great networking vehicle for actors. We're even planning a "live" networking event (imagine that!) for our Facebook group in early September. We're over 500 strong and growing!

VOX: You mentioned that voting has already been open for almost a week. When does voting end and how do people vote?

EDOARDO: Ballots were mailed on the 19th, and I just got mine today. (I confess it was thrilling to vote for myself and all my fellow candidates.) Every Hollywood SAG member in good standing will receive a ballot by mail. They are not due back until the 19th of September, but it's always best to vote right away. Otherwise these things tend to get lost or forgotten. As they say in Chicago, "Vote early, vote often."

VOX: What would it mean for the members of SAG should candidates from Unite For Strength win positions on the board? Is there a certain number of seats available or are all the seats on the board of directors open for new directors?

EDOARDO: There are 55 members of the Board, but only 33 open seats this year. It's a bit like the U.S. Senate or House in that not all seats are up each election. However, a quick glance at the numbers shows that if we get all of our 31 candidates in we would be a majority voice and therefore able to present our agenda of merger without delay. I believe we would instantly be stronger and SAG members would be better protected and represented.

VOX: How would a Unite For Strength Board of Directors affect voice actors? Do you have any specific aims to achieve for voice over performers?

EDOARDO: Voice actors may be the most vulnerable performers when it comes to having two unions, and have been for some time. Merger is essential to us in voice work. Because VO work is so deeply split between SAG and AFTRA, two things happen. First, a performer ends up contributing to two separate Pension & Health plans. And second, a producer can shop between the two unions for a less actor-friendly contract. I know of several VO actors who end up qualifying for neither health plan, but would have easily qualified under a merged union. I also know several VO actors who are working more and earning less. That's not right.

VOX: One of Unite For Strength's main objectives is to unite SAG with AFTRA, an idea that has been bandied around for decades, even brought to the fore by past SAG president, Melissa Gilbert, just to be shot down.

EDOARDO: It was hardly "shot down!" It missed by a few hundred votes, despite an aggressive campaign against it! It actually achieved majority support in SAG at 58.8%, just shy of the 60% needed according to the by-laws. Moreover, an independent study was conducted shortly thereafter that revealed that 78% of members supported merger! So why didn't it pass? Simple. Poor turnout. I think we're starting to see the importance of taking an active interest in our unions! We would not be in this mess today if we had merged in 2003. There would still be issues, of course, but we wouldn't be negotiating with our employers with one hand tied behind our backs.

VOX: I see, although defeated, it was actually quite close and there was a significant amount of support for the motion to merge. That's interesting. I have a few more questions for you, if you don't mind.

a) What needs to happen to make a successful merger?

EDOARDO: There is a long history of successful mergers in this country, the most famous being the AFL and the CIO. I won't pretend that you can just snap your fingers and voila! you're merged. There is a great deal of planning and consideration necessary. But what needs to happen is this: people need to understand how necessary it is for their futures. And it is.

VOX: Why wouldn't people want the two unions to merge?

EDOARDO: The general fears are these: one, that the Pension plans would be at risk, and two, that the union would be too diversified to properly serve actors, that is, that the new union would suddenly comprise a whole lot of "non-actors" like broadcasters. To the first point, people should know that all pension plans are Federally protected, down to the last penny. There is no risk of losing a single cent. To the second point, we are already such a diverse group! We are theatrical actors, extras, stunt players, animation voices, industrial performers, commercial actors, promo voices, stand-ins, and so on. The Screen Actors Guild was once comprised of film actors only. That day has long passed. As a final thought, consider this: any union's ultimate weapon is the threat of a strike. You never want it to come to that, but it's always a union's right if approved by its membership. Today, if we were to strike, the producers lose out on scripted shows, but they can fall back on reality programming, game shows, talk shows, sports, the news, the list goes on and on. Imagine if in this strike scenario, all of that were to come to a halt at once! Now that's real incentive for the producers to make a good deal! Honestly, I haven't heard a compelling argument against merger.

VOX: What has prevented merger thus far? Is it only to do with a small percentage of people in power who don't want merger?

As I said, there is majority support - in both unions - for merger, but it fell agonizingly short. My sense is that people were afraid of the unknown. But the tide has turned. It's no secret now what's happening. We're fighting with each other, and we're undercutting each other. We've had a look over the proverbial cliff. And it's a long fall coming unless we unite for strength.

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Edoardo Ballerini is a candidate for the SAG Board of Directors with the Unite For Strength slate.

Beyond a well established on-camera career, Edoardo has also worked extensively behind the mic, voicing for Infiniti, Toyota, Sony PSP Talkman, Tyco, BMW, and on the upcoming animated series "Batman: The Brave and the Bold" for Warner Bros. He also recently completed an audiobook of Machiavelli's "The Prince."
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Any Comments?

Looking forward to hearing from you,

Stephanie

Got Voice?

You've likely heard me say before that your profile at Voices.com is your online storefront.

What if I were to say it's that and could be much, much more?

Find out what's cooking at Voices.com.

Focus Group Update

A couple of weeks ago we posted an open invitation for people to be part of the focus group for the Voices.com redesign.

The focus group was absolutely dynamite, and we're very excited about the ideas and encouragement presented to us as we keep the wheels of progress moving full steam ahead for the voice over industry.

Since the initial round of review, a number of great suggestions have been implemented and today I'm going to share one of the new features that will accompany the re-branded, re-programmed Voices.com website this fall.

The Voices.com Store

This is an idea we chatted about with the community before, but we've taken it to a completely different level and are pleased to announce that very soon every registered voice talent user of Voices.com will be able to sell their own products and set their own prices for those products.

When we first discussed this concept, it was to be for Premium members only at set prices, but after some careful reconsideration and wisdom that the passage of time permits, the decision to open this revolutionary service up to all voice talent and give you the ability to set your own prices was made to serve as many people as possible and rejuvenate the entire marketplace for both buyers and sellers of voice over services.

Products

Products are bundled voice-over services that make it easy for a client to simply hire you, and conveniently by-pass the audition process.

When you create a product, the experience will be similar to uploading a voice-over demo.

Each product will have:

- product title
- product description
- product category
- product language
- product price
- product demo (a sample audio file that exactly represents what the client can expect to receive after they make their deposit)

Here's an example:

Title: Small Business Package
Description: Script writing, voice-over recording, editing, mixing and delivery as an MP3 or WAV file.
Category: Internet
Language: English
Price: USD$200/hour

Just as we review the job postings for spelling, accuracy and content, we'll be reviewing all products before they are included in the store.

Now, you may be wondering, where will the products be sold?

Your Store

As a member of Voices.com, you'll have a section of your profile dedicated to selling products through your store.

In your store, clients can browse all your available products and purchase the ones that will help them complete their audio production by clicking "Add to Cart".

Should you choose not to have any products, the Store will simply not appear.

Voices.com Store

Naturally, we'll showcase all the products in the Voices.com Store, a central starting point where clients can explore and listen to the professionals on the site.

Check Out

When the client is ready to complete their purchase, they can simply "Check Out", an e-commerce process that's familiar to anyone who has purchased online.

As part of the check-out process, the client will attach their script for you to record. The script along with notification of payment is sent to you, so you can start the recording.

Take a look at the cart!

SurePay Escrow

This innovation is further enhanced by having the client make the full deposit in advance, with the funds being held in Voices.com's neutral escrow account. Only after you've uploaded the finished audio file(s), and the client has downloaded and accepted your work as complete will the funds be released to you. This service, known as SurePay protects both you and the client and should a dispute arise, we're here to help.

Feedback

As with other transactions on Voices.com, both you and your client will have the opportunity to provide a "Rating & Review". The rating is a 1 to 5 start rating, and the review is the text portion that supports the 5-star rating.

Call for Focus Group Participants

This is a feature that clients have been asking for and we'd love to really come through on this one. We recognize that the Store will be successful if it's easy to use, and if it's easy for you to create Products. With that said, we need your help.

If you're interested in seeing exactly how this will work, leave a comment and we'll invite you to get a sneak peek at this new development.

Looking forward to hearing from you :)

Best wishes,

Stephanie, David and The Voices.com Team

Is Your Throat Difficult to Tame in the Booth?

Ever find that you get a dry throat or hoarse voice and need a quick fix to solve the problem?

This week, we're giving away Entertainer's Secret Throat Relief spray gift packages (package includes 3 bottles), sure to help you get through anything from long form narration to knocking out the perfect one-liner.

Used by many voice actors and performers in the industry, Entertainer's Secret is something that you can use in the studio, at rehearsal or on the go.

UPDATE!

There will be 5 winners drawn for this contest (each receiving a gift package containing 3 bottles), so if you haven't commented yet, get in there for more chances to win!!!

Want to win? Leave a comment!

Entertainer's Secret

Entertainer's Secret is a throat relief spray that might just be the ticket to drive your hoarseness away with a quick blast of moisturized goodness.

As their website says, Entertainer's Secret Throat Relief is a spray formulated to resemble natural mucosal secretions and designed to moisturize, humidify and lubricate the mucous membranes of the throat and larynx.

How Does it Work?

Entertainer's Secret is a unique, easy to use, non-medicinal throat spray that:

* Supplements the throat's natural moisturizers
* Comforts, soothes
* Restores vocal quality Safely, Quickly, and Effectively

How Do You Enter For a Chance to Win?

All you need to do is comment on this article and let me know that you'd like to win an Entertainer's Secret package!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

The giveaways will include voice acting:

๏ Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners will be drawn randomly from the comments left on the blog and announced the following Saturday. Those who win will be notified by email at which time we'll confirm their shipping address. On the following Saturday, the winner will be announced and another opportunity to win a Saturday Giveaway will present itself.

I'd like to say congratulations to last week's contest winner, Rob Taylor, who will be receiving his copy of "Secrets of Voice-Over Success" in the mail soon.

Comment Now for an Opportunity to Win 1 of 5 Entertainer's Secret Prize Packs from Voices.com!

Looking forward to hearing from you! Don't forget to comment for your chance to win :)

Best wishes,

Stephanie

Are you expanding your territory?

Let me know about what kind of voice over work you've been doing lately!

Join the conversation by adding your comments :)

Who Got the Gig?

I'd love to hear more about what you've been doing this week. Anything exciting you'd like to share with the community?

Best wishes,

Stephanie

©iStockphoto.com/Bart Wolczyk

Audiobook Narration

This portion of the workshop focused on audiobook narration. Each person in the class picked an excerpt that was a paragraph or so in length to read from, rehearsed independently, and then had the privilege of being directed and recorded in the booth by Pat Fraley.

There were some exciting performances, a few surprise interpretations and plenty of beautiful artistry.

I wrote this article about audiobook narration in general mixed with some tips from Pat Fraley and hope that these observations provide some insight for you.

Welcome to audiobook narration, one of the hottest, booming markets in voice over!

The Subtle

This workshop was very enlightening and really gave us all a glimpse into each person's narrative preferences and style.

Will You Hold To the Contract?

Something that Pat focused on was the contract that the narrator makes with the listener at the beginning of the audiobook. The contract is to suspend their disbelief and bring the listener with the narrator on the journey.

Suspension of Disbelief

Suspending one's disbelief means that although the listener is quite aware that the narrator is only telling a story, no matter how fantastical, they decide to put that fact in the back of their mind to enjoy the show, suspending their disbelief in order to be entertained and embrace the narrator's world and a different reality as intended by the author.

If a narrator goes for "big drama", falters or slips in and out of character, the listener will notice and lose faith in the narrator which breaks the suspension of disbelief.

By maintaining your presence and keeping to the contract, narrators will be able to keep the listener with them and earn their trust.

What Does it Take To Narrate an Audiobook?

Narrating audiobooks is a marathon that requires the ultimate balancing act of artistic and technical endurance coupled with the ability to continuously suspend the audiences' disbelief.

A Good Audiobook Narrator Will Be Able To:

1. Engage the listener
2. Make and keep a contract with the listener to suspend their disbelief
3. Give a consistent performance
4. Have intuitive timing
5. Develop multiple convincing and separate character voices
6. Be an authentic narrator with an independent voice
7. Interpret the author's intent
8. Transport the listener to a different time and place
9. Maintain a solid presence
10. Bring the story to life

When those criteria are met, you'll feel great about your work and can also be assured that your audience will connect with the story, relate to the characters and have full confidence in the narrator's (ultimately, your) ability to captivate, amuse and delight.

How to Get a Billion Dollar Read

When you are recording an audiobook demo, make sure that there is no sound and no production behind your narration. Keep the sound nice and clean.

One of the best things you can do to connect with people for work in audiobooks is networking with audiobook publishers. Some people find that the APA (Audio Publishers Association) is a good place to start for serious narrators looking for audiobook narration opportunities.

Any comments? I'd love to hear from some audiobook narrators about how you got started.

Best wishes,

Stephanie

©iStockphoto.com/VikaValter

Want to get into Character Voice Acting for Interactive and Gaming?

In this article, we'll talk a bit about the market and how the acting style of Realism rules this exciting and fascinating genre.

Also, find out how to avoid silly (yet common) mistakes that most actors fail to realize at the onset. Be one of the smart ones and read this article first before going to the studio!

Interactive / Gaming Voice Overs

According to Pat Fraley, interactive / gaming projects are 80% drama driven. Also, 95% of all game tracks are recorded talent by talent and not in an ensemble setting.

There usually isn't much by way of direction, so if you find yourself auditioning for one of these jobs, you need to guess and rely on instinct.

During the recording sessions once you've landed the gig, the director will be a source of great knowledge and assistance, providing context for each and every line of dialogue.

Realism Rules This Genre!

Nobody likes a faker, especially people who play the games (those people are called gamers), and they can sniff a faker out a mile away.

Authenticity is very important for interactive / gaming voice overs so it is up the voice actor to project a realistic persona for their characters and play your actions out based upon motivations. The only way to deliver a realistic performance is good acting.

Being authentic is related to making real choices. There are two kinds of actors, smart actors and stupid actors.

Here Are Some Tips on How To Be a Smart Actor:

๏ When called to sigh, sigh on the the line. Most actors will sigh at the beginning of the sentence or line and it's way too predictable. Sigh on the line.

๏ Abide by the Series of Three when delivering your lines. Pat has mentioned this before but it is good to review. You can use the Goldilocks method of "Too Hot, Too Cold, Just Right", or any other combination of relative feelings toward whoever it is you are talking to in the script, perhaps "Love, Like, Hate", or Like, Impartial, or Dislike".

๏ When you need to speak to small groups of people, don't yell if it's an intimate setting; make sure that your voice and its projection is equal to what one would expect in real life. Similarly, if you're addressing groups of 20 - 50 or larger groups, oh let's say 10,000 people in an army, be mindful of the scope and project as necessary.

๏ If you are recording for an older character, don't make them sound like they have one foot in the grave. People in their 50s, 60s, and in even their 70s still have a robust quality to their voices. There's no need to sound 100 years old when it calls for a mature, senior voice.

๏ Don't touch microphones in the studio but ask for assistance. More on that below.

Microphone Technique

๏ 5 fingers, hand width away, then 5 fingers open for further distance.
๏ For intimate conversations get closer, as close as 3 fingers distance.
๏ Never touch the microphone or adjust the pop filter / wind screen. If you want it moved, ask the recording engineer to make the adjustment. You can move the script or script stand.
๏ Get a comfortable headphone mix. Try putting one head phone on, and the other side of the headphone off so that you hear your true self.

This is also a good technique if you are recording in a group. It's easier to communicate in group, by listening directly and not through the headphones.

Words of Wisdom from Pat Fraley

In relation to character voice acting :

"Never give up your power until you have to."

"To realize a really good choice, you have to work the mic."

What Are Your Thoughts on Interactive / Gaming VO?

I'd love to hear from you so leave a comment!

Best wishes,

Stephanie

©iStockphoto.com/AF-studio

Are you interested in character voice acting for animation?

Great actors on deathbeds have said "Dying is easy, Comedy is hard". Although that is true, you can learn how to be comical and it doesn't have to take years to do.

In Pat Fraley's workshop, "The Silly, The Serious, and The Subtle" we explored character voice acting for the morning and I'd like to share some wisdom with you. Today, we'll look at The Silly!

Meat and Potatoes

Last weekend, we were fortunate to attend a workshop by Pat Fraley in Buffalo at Chameleon Communications hosted by Toni Silveri of All Coast Talent.

As he opened, Pat said that he likes working with Toni for a number of reasons, also sharing that the unique thing about Toni is that she teaches things you won't find in other workshops.

Something you should know about Pat's workshops is that he teaches systemic, practical things that you won't hear in big production centers in Hollywood. These are the systemic things that will help you get times of difficulty and even through a recession.

I've included some of Pat's tips below but am saving some for you to discover should you take one of his classes (something I highly recommend).

5 Tips For How To Become Silly

๏ Watch cartoons
๏ Gather character research
๏ Listen to things you want to be doing
๏ Look at cast lists
๏ Don't be afraid to explore your voice

It's All About Process

Some of the most brilliant people walk the line between genius and stupidity, and many of those geniuses take more time to get things right in the booth than most other people.

When you make mistakes recording, don't be sorry, but realize that it's all about the process.

The best in the business, including celebrity voice actors like Lily Tomlin and Richard Horvitz, aren't satisfied with the first few takes but go for more because they know that it's all about the process.

Upon making that distinction, you'll find that performance is a kinder and gentler place to live where your mistakes are processed and not chastised.

Let Go, Make Art!

Shake off your inhibitions and you'll be able to make art. You've got to turn off the internal safety or governor that dictates what your limitations are and open up to experiencing new, even silly things.

Let it be known that if you don't want to try things you will not achieve brilliance.

Any Comments?

Looking forward to hearing from you,

Stephanie

While at Pat Fraley's workshop over the weekend, we got talking and discovered that nearly 40-45% of voice actors are left-handed!

I'm curious to know which you are (left or right-handed?).

Leave a comment to let us know here at VOX Daily.

So, are you a Righty or a Southpaw?

Usually people who are left-handed are among the minority (if not the only person at the dinner table), but we were surprised to see that almost half of the people at the Pat Fraley workshop over the weekend were left-handed!

It's a good thing we talked it over before sitting down to dinner. Us right-handed folks sat on one side and the lefties were on the other, among them Pat Fraley and Voices.com's CEO, David Ciccarelli.

Does it really make a difference what your dominant hand is when voice acting and for audio engineering? Any advantages or disadvantages that you'd like to share?

Comment with the designation you fall under and let the discussion begin!

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Kek Wee Tan

Fame & Fortune

What does it take to make it big time in voice-overs?

Is there a roadmap to achieve your dreams?

Find out how some of today's top pros made it to the big league in Joan Baker's book Secrets of Voice-Over Success : Top Voice-Over Actors Reveal How They Did It.

Joan Baker’s book, SECRETS OF VOICE-OVER SUCCESS, published in 2005, is a practical handbook for anyone seeking a career in voice-over acting.

The foreword is written by fellow voice-over actor David Hyde Pierce (Niles on Frasier), and consists of compelling career stories from the top voice-over actors in the industry including:

๏ Don LaFontaine
๏ George DelHoyo
๏ Keith David
๏ Dave Fennoy
๏ E.G Daily
๏ Nancy Giles
๏ Bill Ratner
๏ Rodd Houston
๏ Joe Cipriano
๏ Stephen Newman
๏ Cedering Fox
๏ Sylvia Villagran
๏ Valerie Smaldone
๏ Steve Zirnkilton
๏ Hattie Winston
๏ Joan Baker
๏ Fred Collins
๏ Janice Pendarvis
๏ Les Marshak

All proceeds benefit the Alzheimer’s Association.

Praise for "Secrets of Voice-Over Success"

“For anyone who thinks they would like to be a voice-over talent, as well as those already in the profession, this is the book they should read before sending out another demo tape. In the voices of super successes in the field, readers will learn about everything from interpreting scripts to packing their tapes, along with the people they should get to know for the best chances of success, and they range far beyond agents. Joan Baker's own passion for the business is shared by the other 18 experts she has enlisted to share their career successes, and she has put their stories together along with a history of the voice-over profession in a readable, accessible book that is fascinating to even an outsider. To do it all for a cause that is dear to her heart shows that Ms. Baker is much more than a voice.”

- J.C. Barden, Editor on THE NEW YORK TIMES

"Secrets Of Voice-Over Success embodies wisdom and diversity in a collection of journey's from 19 artists' points of view that leaves one with an instinctive experience of what it takes for a career in the voice-over industry. There is no book that tells it like it is so clearly. And that all royalties from this project benefit the Alzheimer's Association this book truly reaches the height of the human spirit and dignity too."

- Sandy Grushow, Chairman Fox Television Entertainment Group

"Ms. Baker's book is among the most unique contributions I have seen to the Alzheimer's Association's mission to cure this disease…"

- Sheldon Goldberg, President & CEO of The Alzheimer's Association

How Do You Enter For a Chance to Win?

All you need to do is comment on this article and let us know that you'd like to win the book!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

The Giveaways Will Include Voice Acting:

๏ Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners will be drawn randomly from the comments left on the blog and announced the following Saturday. Those who win will be notified by email at which time we'll confirm their shipping address. On the following Saturday, the winner will be announced and another opportunity to win a Saturday Giveaway will present itself.

I'd like to say congratulations to last week's winner, Paul Hernandez, who will be receiving his copy of "Word of Mouth" in the mail soon.

Looking forward to hearing from you! Don't forget to comment for your chance to win :)

Best wishes,

Stephanie

What Kind of Voice Over Work Did you Do This Week?

Let us know by commenting and sharing some a story about your most recent set of gigs!

Were You Rockin' the Mic?

Add your comments below and let's get this party going!

Best wishes from Buffalo,

Stephanie

©iStockphoto.com/Jacob Wackerhausen

Do You Know Who Has Had a Stroke or Has Parkinson's Disease?

In Dr. Arlene Barr's lecture, she discussed how neurological diseases are related to voice disorders, featuring Stroke and Parkinson's Disease, among others.

Learn more about how neurological disorders affect speech at VOX Daily.

Diseases Associated with Voice Disorders

๏ Stroke
๏ Parkinson's Disease
๏ Essential Tremor
๏ Spasmodic Dysphonia
๏ Amyotrophic Lateral Sclerosis
๏ Myasthenia Gravis

We'll be focusing on Stroke and Parkinson's Disease in this article.

Stroke

๏ After a stroke the can be cortical impairment of comprehension (receptive aphasia) and articulation (expressive aphasia).
๏ Production of sound can be affected by impairment of subcortical structures that are coordinated by the cortex. These structures include:
- brainstem structures
- the phrenic nerve which innervates the diaphragm
๏ Cortex - left: production of speech, right: prosody (inflection, intonation, and timing)
๏ Corticobulbar tracts: communication between the cortex and brainstem
๏ Cerebellum and basal ganglia - modulate motor control of speech

Components of Voice Production and Their Roles

See if you can connect the dots! CN is for "central nerve".

Component: Diaphragm, lungs
Nerves: Phrenic (C 3-5)
Role: Source Generation

Component: Vocal Folds
Nerves: CN: X
Role: Pitch, phonation

Component: Supraglottis, pharynx, oral and nasal cavities
Nerves: CN: VII, X
Role: Shape, resonance

Component: Lips, cheeks, mandible (jaw), tongue
Nerves: V, VII, XII
Role: Articulation

When you think about it, there's a lot that goes into speech production and phonation, and you can see from the information above just how complex voice production is.

Impact on Stroke on Speech

๏ Vascular disease of either the cortex or brainstem can have a direct effect on speech
๏ Indirect complications of stroke include: intubation, ventilation, aspiration risk, nasogastric nutrition, pneumonia, and medication side effects

Treatment of Speech Disorders Associated with Stroke

๏ Rehabilitation is handled by the speech pathologist
๏ Laryngeal paralysis or vocal fold paralysis due to a CNS lesion can require surgical intervention

Let's take a look now at how Dr. Barr explains Parkinson's Disease and its affects on the voice.

Parkinson's Disease

๏ A progressive disorder of the substantia nigra in the brainstem
๏ Typical symptoms include: pill-rolling tremor, rigidity, shuffling gait, poor balance, stooped posture, slowness of movement (bradykinesia)
๏ Approximately 70% - 80% have speech problems
๏ Greater than 30% find the speech problems very disabling

Speech Manifestations in Parkinson's Disease

๏ Related to bradykinesia
๏ Soft, breathy, monotone voice, can have a tremor or stuttering-like quality
๏ Poor articulation, difficulty in initiating speech
๏ Vocal fold adduction is weak
๏ Vocal folds appear thin and bowed due to vocalis muscle atrophy
๏ Articulation is sluggish
๏ Voice is strained and can sound like spasmodic dysphonia

Treatment of Speech Disorders in Parkinson's Disease

๏ Dopaminergic medications
๏ Speech therapy
๏ Injection laryngoplasty
๏ Botulinum toxin (Botox) injection of laryngeal muscles in patients with hyperkinetic dysphonia (vocal rigidity predominates over hypokinesia)

About Arlene Barr, MD

Associate Professor of Clinical Neurology
University of Illinois at Chicago
Department of Neurology

Dr. Barr is a part-time Associate Professor in Clinical Neurology at the University of Illinois at Chicago since her retirement in 2004. She specializes in electromyography, peripheral neuropathy, and movement disorders. Throughout her career at UIC, she has held various academic positions, which included Director of Electrodiagnostic Laboratory from 1991-2004 and Co-Director of Clinical Neurophysiology Fellowship, Department of Neurology from 1994-2004. Also, she has been named one of America's Best Doctors in 2006 and 2007.

Any comments?

Best wishes,

Stephanie

Doc, I've Got Sinus!

Learn all about:

๏ How allergies develop
๏ Treatment options

Dr. Stephanie Joe gives us the rundown on runny noses in this excerpt from her presentation at the Midwest Voice Conference in Chicago.

What's Rhinology?

๏ The study of the function and physiology of:
- the nose
- nasal cavities
- paranasal sinuses
๏ And its diseases

What Does Your Nose Do?

Your nose:

๏ Regulates temperature
๏ Is a humidifier
๏ Filters and removes particulate matter
๏ Provides defense against infections

Nasal Problems Affect the Voice

As voice actors and professional voice users, you know that the ears, nose and throat are all connected, and when one suffers, it takes a toll on the entire system. When your nose is battling an infection, the following symptoms present themselves:

๏ Hoarseness
๏ Throat clearing
๏ Thick drainage
๏ "Nasal Voice"
๏ Poor resonance
๏ Poor lung function

Who Here Hasn't Had a Cold? Silence.... That's What I thought!

Colds are annoying and oftentimes they manifest themselves through:

๏ Runny nose
๏ Stuffy nose
๏ Congestion
๏ Sore throat
๏ Fevers
๏ Body aches

You Can Treat Colds By:

๏ Having proper hygiene
๏ Drinking plenty of fluids
๏ Getting plenty of rest
๏ Consuming some Chicken Soup (there's actually science that says it works!)
๏ Expect recovery to take 7-10 days

Doc, I Got Sinus!

Sometimes when people think they have sinus issues, what they really have is Rhinitis.

๏ Inflammation and/or irritation of the nasal passages
๏ May or may not involve the sinuses
๏ Sinusitis - refers to inflammation of the sinus cavities

When Is It an Allergy?

You could be suffering from an allergy when any or all of the following are present:

๏ Watery, itchy eyes
๏ Sneezing
๏ Runny, itchy nose
๏ Ears, throat itch
๏ Dark circles under the eyes

It's Definitely an Allergy When:

๏ Symptoms stop when there is no contact with irritant
๏ No fevers or aches
๏ If it's seasonal
๏ There are no other sick family members

What Causes Allergic Rhinitis?

๏ Trees
๏ Grasses
๏ Weeds
๏ Pollen
๏ Dust
๏ Molds
๏ Cats, Dogs
๏ Feathers

These triggers can be single or multiple.

Treatments

Dr. Joe recommends the following when treating your allergies:

๏ Avoidance
๏ Environmental changes
๏ Medications
๏ Immunotherapy

Avoidance:

๏ Stay away from the irritant (allergen)!
๏ Spring - trees
๏ Summer - grasses
๏ Fall - weeds
๏ Winter - dust, molds

14 Tips for Avoidance and Environment:

๏ Keep windows and doors closed during season
๏ Stay indoors
๏ Wear a pollen mask when gardening or housecleaning
๏ High efficiency vacuum
๏ Remove upholstery, carpeting, drapery
๏ Electrostatic filters, change / clean monthly, air purifier, HEPA units
๏ Wrap mattress and box springs in hypoallergenic coverings
๏ Wash bed linens in hot water every two weeks
๏ Change from feather and wool to cotton or synthetics
๏ Low humidity
๏ Clean sources of mildew, like your fridge, remove indoor plants
๏ Ventilate damp areas such as the bathroom and laundry
๏ No dander producing animals (cats, dogs)
๏ No smoking

Have Questions about Allergies, Allergy Testing or Immunotherapy?

Contact your doctor for more information or consult a voice clinic such as the Chicago Institute for Voice Care.

About Stephanie Joe, MD

Assistant Professor
Director, Sinus & Nasal Allergy Center
University of Illinois at Chicago

Dr. Joe is an Otolaryngologist certified by the American Board of Otolaryngology, sub-specializing in rhinology, sinus surgery, and nasal surgery. She is trained in treating a variety of nasal and sinus problems. Her expertise is in the minimally invasive surgical treatment of nasal and sinus problems.

Any Comments?

I'd love to hear from you!

Best wishes,

Stephanie

Ever heard of Pharyngeal Voice?

Some people debate its very existence while others study it and credit the singing style for their success.

Find out more about this centuries old method through this mind-bending lecture presented by Randy Buescher, of Your True Voice, and Dr. H. Steven Sims, Director of the Chicago Institute for Voice Care.

Historical Background of Pharyngeal Voice

๏ Pharyngeal Voice was discovered some 350 years ago as it was used by church tenors throughout Italy
๏ It was known as "Voce faringea"
๏ E. Herbert-Caesari wrote about it with a degree of ambivalence

Is There Such a Thing as Pharyngeal Voice?

Although E. Herbert-Caesari identified pharyngeal voice in his writings for The Musical Times in 1950, he was quick to also say that there was no such thing as "pharyngeal" voice, stating that the term evolved merely to describe the peculiar tonal quality produced.

E. Herbert-Caesari recognized that there are 3 distinct vocal mechanisms:

๏ Falsetto
๏ Pharyngeal
๏ Chest

"All tenors, some light baritones, and all female voices (have) a pharyngeal mechanism whether they know it or not". - E. Herbert-Caesari

How Does Pharyngeal Voice Work?

๏ Herbert-Caesari indicates that the "Singer can engage the mechanism separately or in combination with (the) other two mechanisms"
๏ He also said, perhaps controversially "The falsetto by itself is an anemic, stupid tone, mixed however with good percentages of pharyngeal it becomes a living entity"
๏ The use of the pharyngeal mechanism can be trained AND can eliminate the fear of high notes

Wait, What Does this Have to Do With Voice Overs?

Although this seems like it is only applicable to singers, Dr. Sims suggested that voice actors, by virtue of their wide array of vocal projects and versatility, are likely using the Pharyngeal voice without being consciously aware that they are doing so.

He also said that he hopes to explore this idea further in the coming year and may present on the topic at next year's conference.

What Do You Think of this "Pharyngeal Voice" So Far?

By some accounts, we've opened a can of worms and I can understand if it seems a bit strange to you.

If I hadn't heard it for myself, I'd have questions about it too, however, for our part, there was a demonstration later in the afternoon with a young soprano who has been coached using the pharyngeal voice and it was astounding to hear the steadiness, power and focus in her voice, with her head and chest voice connected seamlessly.

The male voice works this way already and the female voice, using this method, could also be trained to have a fully connected head and chest voice.

I wasn't trained using this technique but with Bel Canto, the standard technique in conservatories and universities that has been used for hundreds of years to train singers of opera, art song, musical theater and those who want to engage in beautiful singing in general.

To go from what I knew to hearing what I heard took me aback and was puzzling as I tried to wrap my head around the concept and the sheer power of the sound at all times on any pitch. It's like turning the fire hose on full blast.

But Is It a True Vocal Mechanism?

As with anything new, or in this case, what's old is new again, you need to ask questions to fully understand what it is and to justify the use of Pharyngeal voice and be aware of any harm it could do to the voice.

How Does It Work?

Without going into too much detail and medical terminology, there are certain muscles that play a role in speech that act together to create the pharyngeal sound.

How Does It Sound?

When warming up the voice, the soprano from the workshop was asked to make an "ugly" nasal sound, kind of like how a witch would cackle.

After someone has been trained using this approach, their ability to produce consistently powerful sound is incredible and sounds very "commercial" or "marketable" leaving many to question how they can maintain the intensity and still have a brilliant, resonant tone. Randy Buescher teaches this approach exclusively at Your True Voice.

The one thing that people using this approach need to be wary of is that they don't sound twangy or too nasal.

The tone that is produced works well for people singing Pop, Gospel, Country, Blues, R&B, Musical Theater and would definitely blow the doors off the Karaoke Bar.

Benefits of Using the Pharyngeal Voice

People who use this approach have noted:

๏ The use of pharyngeal mechanisms allowed them to sing higher
๏ Less self-reported vocal fatigue
๏ Less self-reported neck soreness after singing
๏ Must take care to prevent "twangy" sound

About Randy Buescher, MS

Voice Coach
Director, Your True Voice Studio

Randy Buescher has a degree in music from DePaul University along with a B.A. in Communications, and is degreed in Speech Language Pathology. He strictly teaches the Your True Voice Singing Technique. It is a systematic approach to bridge together all the registers of the voice. As a former certified Speech Level Singing teacher he was extensively trained in that approach.

About H. Steven Sims, MD

Assistant Professor
Director, Chicago Institute for Voice Care
University of Illinois at Chicago

Dr. Sims is an Otolaryngologist certified by the American Board of Otolaryngology, sub-specializing in professional voice care. As the Director of the Chicago Institute for Voice Care at the University of Illinois at Chicago he provides treatment for the care of the voice and airway disorders. From vocal fatigue to reflux disease the institute treats a range of disorders that affect the voice, including paralyzed vocal folds, chronic hoarseness, Spasmodic Dysphonia and chronic throat irritation. An accomplished musician and singer, Dr. Sims is dedicated to providing education to professional voice users to help them avoid voice injury.

Any Comments on the Pharyngeal Voice? Have You Ever Tried It?

Best wishes,

Stephanie

©iStockphoto.com/Mark Strozier

Does Girth Have Anything to Do With Your Voice?

Just because there are many portly singers doesn't necessarily mean that you need to be fat to be good.

In this lecture, we'll take a look at:

๏ The state of American obesity
๏ How obesity affects the voice
๏ Treatment options

Find out this and more, all courtesy of Dr. Carlos Galvani, here at VOX Daily.

Just How Fat is the USA?

While sitting through this lecture, Dr. Galvani presented some startling facts about just how fat the US is becoming, and the numbers will shock you.

Here are some National Statistics on Obesity:

๏ Obesity has dramatically increased in the last 30 years, affecting 33% of the adult population in the United States. Obesity has increased in every state and both sexes, across all age groups, races and educational levels.
๏ Presently, the lifetime risk of being overweight exceeds 70%.

We looked at a number of charts that tracked the levels of obesity over the years and the increase was unbelievable.

The Prevalence of Obesity Among US Adults in 2007:

15% - 19% of people were obese in one state
20% - 24% of people were obese in 20 states
25% - 29% of people were obese in 27 states
>30% of people were obese in 3 states

Zeroing In on Illinois

๏ Ranked 25th heaviest state
๏ Adult obesity 23.9% (national goal 15%)
- Diabetes 7.1%
- Hypertension 24.8%
๏ IL is one of 31 states whose obesity rates rose in 2006
๏ IL obesity attributable medical expense in 2003: $3.439 Billion (ranks 6th nationally)

Obesity is the result of a combination of influences:

๏ Genes inherited from parents
๏ Surroundings
๏ Psychological factors
๏ Modern lifestyle

Dr. Galvani made the reference that we're a "Modern Society with Stone Age Genes". Not much has changed in our bodies over thousands of years, however, our eating habits, lifestyles and environments have changed significantly.

How Does Obesity Affect Your Voice?

The following diseases are related to obesity. Those diseases also affect the voice to varying degrees.

๏ GERD / LPRD
๏ Cancer
๏ Asthma
๏ NIDDM
๏ Obesity Hypoventilation syndrome

In particular pertaining to the voice, Extra-esophageal manifestations of gastroesophageal reflux disease (GERD) in obesity include symptoms of:

๏ Laryngitis (laryngopharyngeal reflux LPR)
- 50% - 60% of chronic laryngitis
๏ Asthma
- GERD is present in 50% - 80% of asthmatic patients

- Cough
- Chest pain
- Dental erosions

Why Breathing is Important

It goes without saying (and we won't get too technical here) that obesity affects breathing, and as we all know, breathing is important. Obesity also is a cause of sleep apnea syndrome, cardiac disease, diabetes, asthma and other ailments.

As a voice actor you rely on your capacity to breathe properly in order to get enough airflow to project your voice, maintain your support and complete a phrase.

Obesity Affects Breathing, Especially for Asthmatics

I have some information to share about subjective and objective evaluation of voice quality in patients with asthma:

๏ Adequate airflow during expiration is a prerequisite for the effective vibration of vocal folds during the generation of voice:

- in patients with asthma, obstruction and resistance, which are most pronounced during expiration, result in impairment in the generation of the voice
- Allergy and nasal polyposis, in patients with asthma affect the vocal performance
- Bronchodilators and steroids have been reported to be associated with voice changes

Does Weight Affect Your Voice?

Remember that rather rotund picture of the late opera singer Luciano Pavarotti in the opening of this article?

Pavarotti used to say that he loved tasty food and good wine. He considered his size as part of his identity and one of the reasons for his success, however, whether or not his size was the source of his beautiful voice is another debate altogether.

Take a look at this picture of Luciano Pavarotti when he was 33 years old and considerably less obese if overweight at all. Was his distinctive sound very different then as compared to the tenor voice he had in his middle age and later in life?

Voices age but they do carry certain characteristics with them over the years so it would make sense that the sound he was known for (and that made him famous) was the same robustness back then changed slightly by his weight gain later on.

Vocalist Who Took Operative Measures To Save Her Career

Dr. Galvani spoke about opera singer Deborah Voigt for a little while.

In 2005, Voigt was dismissed from a production for being overweight and has since had surgery to reduce her size, opting to undergo Gastric-Bypass Surgery, losing 135 lbs.

The reason for her dismissal?

The people running the production at London's Royal Opera House said that Voigt would not suit her costume (she would not fit into Ariadne's little black dress, according to sources).

Losing her role in Ariadne auf Naxos was the final straw for her I would imagine. Losing the weight it seems got her back in the production for the 2008-2009 season with her performance reported as:

“Soprano Deborah Voigt finds that less is more at the opera house.” ~ From the "A Shadow of Herself" interview on New City Chicago

Has Her Voice Changed Since the Weight Loss?

There is a difference between what she sounded like and then and how she sounds now if you listen closely to her range and tone quality.

Is it any better? Any worse? That's up to you to figure out, but the fact of the matter is, weight gain or loss does have an affect on the voice.

Opera singer Maria Callas is another singer who lost a significant amount of weight near the end of her career. She tried to carry on the way she had sung before at a fraction of her original weight and the damage done was irreparable.

Another example of a popular singer who is still with us who has also experienced a major shift in weight is singer Aretha Franklin.

Her slender figure in the days of Motown has been replaced with a larger, more obese figure that gives her cause to stop for breath more often which has surely affected her voice, vocal abilities and tone quality as Dr. Sims had politely pointed out.

Conclusion

There's a lot to think about here, isn't there?

Dr. Galvani closed with the following statement:

"Finally, no man should ever attempt to adopt the rotund figure of Luciano Pavarotti unless he thinks he can sing as well as Pavarotti."

About Carlos Galvani, MD

Assistant Professor of Surgery
Bariatric Surgery
University of Illinois at Chicago

Dr. Galvani is an Assistant Professor of Surgery, whose specialties include Bariatric Surgery (Lap band, Sleeve gastrectomy), minimally invasive and robotic surgery, surgery of the gastrointestinal tract, surgery for Gastroparesis (ENTERRA), robotic-assisted esophageal surgery for benign and malignant diseases of the esophagus, and robotic-assisted living donor nephrectomy.

Any Comments? Do you find that this is the same with voice when used for speaking and voice overs?

Looking forward to hearing your thoughts.

Best wishes,

Stephanie

What is GERD?

According to the American College of Gastroenterology, GERD is defined as:

"Chronic symptoms or mucosal damage produced by the abnormal reflux of gastric contents into the esophagus."

Do you have acid reflux?

If so, this lecture presented by Dr. Jay L. Goldstein will teach you the basic principals of gastroesophageal reflux (GERD), help you to understand how reflux can get to and affect the vocal folds, and learn about treatment options.

GERD is not fun, particularly if you rely on your voice to make a living.

Symptoms associated with GERD include:

๏ Heartburn
๏ Typical symptoms other than heartburn:
- Regurgitation
- Dysphagia
๏ Atypical Symptoms

Atypical Symptoms of GERD

๏ Throat clearing
๏ Globus
๏ Laryngospasm
๏ Dental eroison
๏ Chest pain
๏ Hoarseness
๏ Chronic cough
๏ Sore throat
๏ Wheezing

Without going into too much detail as to the scientific explanation and how GERD happens, it's basically triggered by acid-peptic attacks that weakens cells leading to a widening of gaps between the cells allowing acid to penetrate.

Penetration of acid and pepsin allows for acid to make contact with the nerve, and as a result, disrupts intracellular mechanisms leading to cell rupture -- reflux!

(Explanation paraphrased as explained on a diagram from Orlando. Am J Gastroenterol 1996)

Let's take a look at some dietary factors that may aggravate GERD symptoms.

Dr. Goldstein suggested the following as potential aggravators:

๏ Caffeinated products
๏ Peppermint
๏ Fatty foods
๏ Chocolate
๏ Spicy foods
๏ Citrus fruits and juices
๏ Tomato-based products
๏ Alcohol

Food is one factor in that may aggravate GERD, but certain medications may also play a part in aggravating GERD symptoms by impairing LES function and medications that may aggravate GERD symptoms by damaging the esophageal mucosa.

It's All About Acid!

Management of Non-erosive Reflux Disease

GERD strikes most people at night time when going to sleep, but it is also prevalent throughout the day at meal times, running on a 24 hour cycle, usually becoming more severe with each meal, and the dinner hour being the most disruptive for GERD symptoms.

You can manage non-erosive GERD by taking charge and making some lifestyle changes such as:

๏ Raise the head of the bed, or lie on left side
๏ Decrease fat intake
๏ Avoid certain foods
๏ Avoid lying down for 3 hours after eating
๏ Stop smoking
๏ Lose weight if appropriate

There are several different types of reflux disease (non-erosive, erosive, complicated, and refractory), and to learn more, I recommend you consult your doctor should these be areas of concern for you.

About Jay L. Goldstein, MD

Professor of Medicine
Vice Head for Clinical Affairs
University of Illinois at Chicago

Dr. Jay L. Goldstein is a gastroenterologist at the University of Illinois Medical Center at Chicago. After completing his fellowship in gastroenterology, he joined the faculty at the University of Illinois at Chicago in 1984, where he is currently Professor of Medicine and Vice Head for Clinical Affairs. Dr. Goldstein is a Fellow in the American College of Physicians (FACP), American College of Gastroenterology (FACG) and the American Gastroenterological Association (AGAF).

Any comments, tips or thoughts you'd like to share?

Looking forward to hear about any methods you've found to alleviate GERD to help you with your voice over performance.

Best wishes,

Stephanie

Have you ever suffered a vocal injury?

For those of you who have you know the long road to vocal recovery that presents special challenges and demands.

Read some pearls of wisdom from Karen Wicklund, MD, as she shares some tips on how to help recover from a voice injury like surgery, nodules or a vocal hemorrhage and also how to take it easy while exercising your voice to return to full strength.

Preface

I am only sharing a few points from this lecture as Dr. Wicklund has a book about to go to press in September 2009, "Singing Voice Rehabilitation: A Guide for the Voice Teacher and SLP", and the information she lectured on is part of that endeavor. This will be a short overview as it pertains to voice actors and performers of voice over.

The Role of the Voice Teacher in Voice Rehabilitation

When a voice teacher encounters a vocal injury in a singer, they are often the best people to help rehabilitate that person as they knew the voice pre-injury and already have an established relationship and history with the student.

Should a voice teacher not feel that they are qualified to treat the vocal injury, referrals to a professional who specializes in treating vocal injuries and disorders is a standard practice so that the student's voice can be rehabilitated properly.

3 Kinds of Vocal Disorders

There are 3 types of voice disorders:

๏ Organic
๏ Neurogenic
๏ Functional, further divided into (a) hyperfunction, (b) hypofunction

What Should Be Considered When Evaluating the Injured Voice?

Dr. Wicklund refers to this as PIRDQ:

๏ Pitch
๏ Intensity
๏ Resonance
๏ Duration
๏ Quality

Vocal Recovery Schedule

With some exceptions, therapy can begin almost immediately, however, teachers or therapists (also the person being treated) should be prepared to expect and accept a less-than-beautiful tone at first during early stages of treatment.

Therapeutic Exercises

The speaker or singer should keep exercises smooth and within a comfortable middle range, making incremental range increases by step rather than by leap.

For voice actors, this means that when you are recovering, fluctuate your voice with less range (keep in the mid range of your voice) and build upon your strengths little by little. In music, we refer to these small steps as semi-tones or whole tones.

When doing therapeutic exercises, you'll need to keep your voice moving in a comfortable range (tessitura for singers). You don't want to be leaping all around. The leaps Dr. Wicklund is referring to are pitches greater than a Perfect Fifth (P5), which for you, could mean the difference between how your voice changes or ascends when asking a question, emphasizing an exclamation point or noticeably jumping up or dropping down in pitch suddenly.

Good News

As voice actors and professional voice users, you are highly motivated to get your voice back to where you want it to be, thus being able to discipline yourself and not jeopardize your recovery by going to far or to fast.

From what I've learned, should find yourself in a state of vocal injury, the best thing to do is to seek professional help from an ENT (Ear, Nose, Throat Specialist). You may need a referral from your doctor to see an ENT to begin therapy for your vocal injury.

About Dr. Karen Wicklund, MD, MHS, CF-SLP

Associate Professor of Voice and Musical Theater Voice
Western Michigan University

Dr. Wicklund is the Director of the Chicago Center for Professional Voice, which provides a wellness site, http://www.singershealth.com, rehabilitation, and referrals for medical services for singers and other professional voice users. She is also Clinical Faculty Specialist at the Van Riper Clinic where she is a speech-language pathologist.

Have you Ever Had or Treated a Vocal Injury? Any Comments?

Best wishes,

Stephanie

Last weekend, I had the privilege of attending the Midwest Voice Conference on August 9, at the University of Illinois at Chicago, an event sponsored in part by Voices.com.

Prepare to be educated en mass! I'll be covering two lectures each day in this week dedicated to protecting your asset, in other words, your voice.

Midwest Voice Conference : Protecting Your Asset

As a delegate at the conference who represented the voice over industry, I'm excited to relay that the Midwest Voice Conference offered a wealth of information that I can share with you about taking care of your voice and the assessment and treatment of common disorders that may affect the voice, presenting articles centering in on areas of interest pertaining to voice actors and voice acting.

In the coming days you can look forward to:

๏ Current Methods in Singing Voice Rehabilitation
๏ Diagnostic Evaluation and Medical Treatment of Adult Patients with GERD
๏ Do Singers Have to Be Fat?
๏ Pharyngeal Voice: Description and Application to Pop Music Styles
๏ Rhinology and the Voice
๏ Neurological Diseases Associated with Voice Disorders
๏ Finding your Authentic Singing Voice
๏ Common Voice Disorders and Preventative Care

At first glance, it may look like this conference was meant only for singers... not at all, I assure you!

Coming from a musical background (I have my Bachelor of Musical Arts, Instrument Voice), this conference was helpful for anyone who uses their voice professionally or teaches others how to use and care for their voice for singing, speaking, speech therapy, voice over, and professional coaching.

Earlier in this article, I mentioned that I'd be writing from a voice acting perspective, so even if you're still not convinced that the above topics affect you and your voice over career, I hope to show you how each of these lectures offers valuable information and understanding that you can apply to your voice and its professional use.

Gratitude

Before we start the coverage, I would like to thank many people who made my day at the conference particularly memorable and enjoyable:

Thank you especially to Dr. H Steven Sims, Colleen Kenost, Adello Purnell, Janet Hotch, Simon Kaulius and Janine Sacco.

Our first and second articles following this introduction are right around the bend. I hope you find these insights helpful and perhaps life-changing.

Best wishes,

Stephanie

©iStockphoto.com/U.P.images

Are you an avid, passionate user of Voices.com?

We're looking for power users of Voices.com to evaluate and provide constructive criticism on the new design that will be revealed this fall.

Interested?

If you want to have the first glance at the new Voices.com redesign, add a comment to this article to join the focus group!

What are the Goals of the Redesign for Voices.com?

๏ Improved Usability
๏ Increased Server Speed and Page Load Time
๏ Greater Community Involvement

This should take you no more than 10 to 15 minutes to explore as part of the focus group.

The focus group will finish up by August 17th followed by a couple more rounds of iteration and previewing before launching.

If you're interested, add a comment!

Best wishes,

Stephanie, David and the Voices.com Team

©iStockphoto.com/Shawn Hine

Ever heard of the amazing voice actor and casting director Susan Blu?

Susan co-authored the third edition of "Word of Mouth : A Guide to Commercial and Animation Voice-Over Excellence" with Molly Ann Mullin and Cynthia Songé, a book all about the rudiments of voice acting, giving yourself permission to play, and learning how to release the characters within.

Want to win Word of Mouth? Leave a comment to get in on the fun!

First published in 1987, "Word of Mouth" was the first-ever book written that focused on voice-overs. The edition printed in 2006 addresses technological changes that have developed since the initial printing.

The book has 160 pages of core content, a glossary, an industry contact list and also includes an entertaining instructional CD that was recorded at the time of the book's first release in 1987.

Many of you know about Susan Blu's extensive career in animation voice overs (Transformers, Smurfs, etc.) and also know her as a casting director and instructor.

If you'd like to read the review, click on this link:

Word of Mouth, 3rd Edition

How Do You Enter For a Chance to Win?

All you need to do is comment on this article and let us know that you'd like to win the book!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

The giveaways will include voice acting:

๏ Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners will be drawn randomly from the comments left on the blog and announced the following Saturday. Those who win will be notified by email at which time we'll confirm their shipping address. On the following Saturday, the winner will be announced and another opportunity to win a Saturday Giveaway will present itself.

I'd like to say congratulations to last week's winner, David Rodwell, who will be receiving his copy of "Step Up to the Mic" in the mail soon.

Looking forward to hearing from you! Don't forget to comment for your chance to win :)

Best wishes,

Stephanie

Citius, Altius, Fortius!

With the Olympic Games starting today in Beijing, I thought it fitting to give this edition of our weekly feature "Who Got the Gig" some citius, altius, and fortius!

What kind of voice overs got you going faster, soaring higher, and voicing stronger?

Share your gigs by leaving a comment and let the games begin!

Taking First Place

It's a great feeling to be recognized as the right person for the job and finishing first has its own rewards.

Did you take the gold this week?

Comment to let me know!

Best wishes,

Stephanie

©iStockphoto.com/imagedepotpro

Some people call it "Automated Dialogue Replacement" or "Additional Dialogue Replacement", but everyone agrees that it is called "ADR" for short.

Find out what it is, why it's important and how it is used here on VOX Daily.

What is ADR?

ADR, sometimes referred to as Automated Dialogue Replacement, is a niche within voice over that occurs during post-production of a film after the final edit has been completed (locked).

Who Uses ADR?

Generally, ADR is standard for big budget films and Hollywood blockbusters, in other words, films that need to be as professional and clean as possible for mass audience consumption at the box office and beyond.

Who Decides What Needs ADR?

Prior to an ADR session, technicians at the film's post-production facility of choice team up to check for any vocal mishaps or unusable lines; this effort is called a "spotting" session. Once areas that need ADR are identified, the team divvies up the work and sets out to book actors for ADR sessions.

How is ADR Done?

If there are lines or words that weren't delivered properly (or as desired by the director) ADR sessions take place and the actor (or hired voice actor doing the voice match on the ADR) is required to record the lines in question so that the replacement audio can be edited into the film.

Many takes are recorded to get the perfect delivery that will be used in the final version of the film.

Why is ADR Important?

As we noticed earlier, ADR is important because it can present a pristine image and seamless production with minimal effort considering the massive size of the overall project.

ADR is also necessary because there are often two different versions of a film made, one for the theatres and DVDs but also another version usually for airing on television that may need to have certain words censored. For example, a substitute word may be included to replace a curse or swear word.

In rare instances, ADR can even be recorded to help complete a film when an actor has passed away before their ADR session or the film is re-mastered decades after the initial filming and a voice match is needed.

Cool Facts About ADR

๏ ADR sessions can take place on special ADR sound stages
๏ Voice actors have the ability to make very good money performing ADR for celebrities
๏ The SAG union pay scale for an ADR session is at least $466.00 (SAG ADR rate from 2005).
๏ Anthony Hopkins recorded some ADR for the late Laurence Olivier in the re-mastered version of Sparticus

Do you have any experience with ADR? Let us know by adding a comment!

Looking forward to hearing your stories,

Stephanie

Photo via the Columbia Academy Website, Studio B

Do you have a demo that needs to be updated?

If you can identify with any or all of the following 10 symptoms, your outdated demo is way passed its expiration date!

Check in here to see if your commercial demo is aging!

Last week I had the great pleasure of reviewing Julie Williams' "How To Make Money in Voice-Overs Even if you aren't in N.Y. or L.A." and was inspired to write an article and revisit the topic of how voice over demos "age" over time.

To take a different slant on it, this time we're going to look at this concept from the ever-popular Top Ten list, so buckle up ;)

10 Signs Your Demo May Be Outdated

10. You needed to get your demo transferred from tape to CD

9. Mentions of cars, sporting events, and movie releases predate your child's birth (or the family pet)

8. The music on the demo makes you want to breakout into the Macarena or wear "Hammer Pants"

7. Peers and friends in the VO community start dropping hints

6. It's your very first demo and you've been in the biz for a few years

5. Companies or stations you included on the demo have since gone out of business

4. Dates and times "date" your demo

3. The material doesn't reflect the kind of voice overs you are doing now

2. You feel like you need to apologize when sending your demo out to people

1. You don't recognize the voice on your own demo

Any comments?

Cheers,

Stephanie

©iStockphoto.com/James Steidl

The VOX Daily Saturday Giveaway!

Starting today, we're going to be having weekly Saturday Giveaways to show our appreciation to our readers and say "thank you" for subscribing to VOX Daily.

Kicking it off, there's a copy of "Step Up to the Mic" by Rodney Saulsberry, a dear friend and phenomenal person, who also happens to be one of the most in-demand voice actors and lecturers around.

Rodney Saulsberry's "Step Up to the Mic" is a book all about stepping up to life's challenges and a positive approach on how to succeed from the perspective of a voice actor.

If you're looking for an uplifting, empowering and nourishing book to read, you'll want to comment here on VOX Daily for a chance to win this book!

Saturday Giveaway for August 2, 2008 : Step Up to the Mic

I've had a chance to read Rodney Saulsberry's books, "You Can Bank on Your Voice" and "Step Up to the Mic" (they've actually both been reviewed on the blog already), and I think it's truly fitting to start with Rodney's gem of a book that will encourage you, challenge you, and help you to grow in your voice over career.

If you'd like to read the review, click on this link:

"Step Up to the Mic"

How Do You Enter For a Chance to Win?

All you need to do is comment on this article and let us know that you'd like to win the book!

Each week, there will be something different, so be sure to subscribe to VOX Daily to get the Saturday Giveaway notices as well as other voice acting articles throughout the week.

The giveaways will include voice acting:

๏ Books
๏ DVDs
๏ Coaching Sessions
๏ Recording Equipment
๏ Gift certificates
๏ Workshop / Conference Passes
๏ Unique Promotional Opportunities

When is the Winner Chosen?

Winners will be drawn randomly from the comments left on the blog and announced the following Saturday. Those who win will be notified by email at which time we'll confirm their shipping address. On the following Saturday, the winner will be announced and another opportunity to win a Saturday Giveaway will present itself.

Looking forward to hearing from you! Don't forget to comment :)

Best wishes,

Stephanie

Well, hello August!

To bring some closure to the month of July, I'd like to invite anyone who got work last month to leave a comment here describing the kind of voice overs being recorded in the VO community.

We can celebrate with you if you let us know :)

Anything goes, so if you spotted some hot jobs and reeled them in, be sure to mention your successes here on VOX Daily.

What kind of voice over work did you do so far this summer?

Looking forward to learning more about what you've been up too.

Best wishes,

Stephanie

©iStockphoto.com/Izabela Habur