What happens when you speak lower than your vocal comfort zone for continuous periods of time?

You might adopt that Hollywood sound Humphrey Bogart and Lauren Bacall were famous for, but you may get more than just the sound... you might get the syndrome!

Guest blogger James Herron shares his experience from Inside Studio A with Bogart-Bacall Syndrome here on VOX Daily.

Vocal Fatigue: Bogart-Bacall Syndrome

By James Herron

I had been finding that some days by 11 a.m. my voice was beginning to fatigue. If you rely on your voice as your livelihood as I do, this can be particularly troublesome.

I first noticed this issue about a year ago. What was going on? What the heck was causing this to occur? Was it something serious? Was it environmental?

My thoughts ran wild with everything from voice polyps; cancer, food and drink issues. I imagined everything and anything.

Scheduling voice over sessions was also challenging and at times an issue since my voice was at its best in the early morning hours EST. Clients on the "left coast" would often receive a request to record as early as possible. Fortunately, I've had such wonderfully flexible and understanding clientele.

A few weeks ago I began tests through the hospital to determine the cause of my voice fatigue.

Ever had a tiny scope with a camera stuck down your throat through your nose? Yikes! Actually, with a little Novocain I did not feel a thing. It was weird however. A TV monitor was mounted so the Doctor could view the results of the probing camera and as I could. I never thought I would be viewing my throat, and larynx.....now that's a very profound statement! In a strange way it was rather interesting.

The results were conclusive. I was diagnosed with Muscle Tension Dysphonia a voice fatigue disorder caused by muscle tension.

Listen Sweetheart.... I'm in famous company as this is amazingly also called Bogart-Bacall Syndrome.

Humphrey Bogart and Lauren Bacall both suffered from a mild vocal disorder that has been named for them, Bogart-Bacall Syndrome. BBS is now the medical term for an ongoing hoarseness that often afflicts actors, singers or TV/radio voice workers who routinely speak in a very low pitch.

Bacall naturally had a high, nasal voice; she trained it to be lower to get her debut part in To Have and Have Not. You can also view the video below to see just how low her voice was for this role:

Apparently, over the years I've been unconsciously "training" my Larynx muscles to find a non-normal flexed and tense position as I used my voice. When I relaxed (got a good night sleep) the muscles returned to normal. The tense flexed position would return to my voice as the day progressed.

Fortunately, this is a very common issue and thankfully one that can be remedied through therapy and rather quickly.

I am working with the "Voice & Swallowing Center" and receiving prescriptive vocal exercises. These include a series of "Hum" exercises I follow daily from a CD. The drill is to make the vocal muscle recall that "normal" zone all the time.

If you would like to view a variety of voice issues and symptoms including Muscle Tension Dysphonia check out The Voice and Swallowing Institute of The New York Eye and Ear Infirmary at http://www.nyee.edu/cfv-larynx-disorders.html

Another important fact I discovered is how essential hydration is to sustain a healthy voice. A minimum of TWO QUARTS of water are recommended per day. So drink baby, drink.

Of course yelling and screaming is not a good thing at all.

I've taken to using a "rapid hand clap" (picture an prim and proper 18th century French Officer) when I cheer for my beloved Boston Red Sox, Celtics, Patriots or President Obama! I also now use simple hand gestures against those challenging the above mentioned.

Okay I look like a dork... but my voice is happy.

My hope is you find this information helpful. I know many of you reading this are professional actors and actresses, singers, teachers, politicians and other blabber mouths.

Inside Studio A...........I'm James Herron

For more information about James Herron or to read his other articles, visit his blog Inside Studio A.

Any Comments?

I'd love to hear from you!

Best wishes,

Stephanie

When a voice becomes weak, breathy or struggles to perform, there may be something more serious going on with the vocal folds than meets the eye.

I asked a number of questions of Dr. H. Steven Sims, Director of the Chicago Institute For Voice Care, about thyroplasty, a procedure that helps fatten up the vocal folds for people who may be experiencing symptoms mentioned above. Patients who opt to have this procedure done do so because their vocal folds are not vibrating as closely together as they should be.

In this short interview, you'll learn what causes the vocal folds to act this way, what the symptoms are, how a stressed voice may sound, and what a thyroplasty consists of.

Some Context: What Can A Stressed Voice Sound Like?

Before we get into the interview, I wanted to share more about why I wrote this article. I received an email from a friend, Bob Green, a professional voice talent, who is about to undergo a thyroplasty. Bob said it was fine with him that I shared his recordings, the first of which was made with a "normal" voice and the second read was recorded two weeks later with a "stressed" voice. He thought it might be interesting for those who are curious or those who are experiencing similar afflictions.

Listen carefully to the first read when his vocal folds were stronger as compared to the second read where his vocal folds are dramatically weaker and stressed. Note the robust and resonant sound in the first read as contrasted with the second read, demonstrating how his voice has changed.

Click here to listen to Bob Green's Voice Before (Healthy) and After (Stressed)

After Bob has had the procedure, he will check in again and share more about his experience and also how he is doing post-surgery.

Now that you have some context for how a potential candidate for thyroplasty might sound, we'll go on with the interview.

Voices.com Interview with Dr. H. Steven Sims

VOX: Welcome back and thank you for joining us! What exactly happens to the vocal folds to make them become less robust? What are the symptoms of this?

DR. SIMS: Several things can happen. The nerve (called the recurrent laryngel nerve) that tell most of the vocal muscles to move also helps stimulate them to grow and develop. Benign tumors, thyroid lumps, and even an aneurysm in the aorta can compress the nerve and make the muscles weaker. Also, they naturally become less robust as a person ages. There are some viruses that attack nerves and make them weaker too. So, there are lots of different ways through which a person can wind up with weak vocal muscles.

VOX: Can this be prevented?

DR. SIMS: Some of the causes (like having a surgeon injure the nerve during an operation) are preventable. Things like aging are not.

VOX: How would one know that they may be at risk and need to have a procedure done such as Thyroplasty?

DR. SIMS: For most of medicine, history or the background story is the key.

If your voice changed after a bad cold (and I mean didn't really ever get back to normal) you may have contracted a virus that weakened the nerve. If your voice changed after thyroid surgery, lung surgery, heart valve surgery and surgery to put a plate on the spine where they got to the spinal column from the front, then the nerve my have been injured during the surgery. Hopefully, your surgeon let you know this was a possible complication from the beginning.

Pretty much any ear nose and throat specialist can look at the vocal folds and see if they move. However, voice specialists have some unique tools to pick up more subtle findings. Perhaps not everyone needs to see a voice doctor, but if you find you can't project your voice and/or it seems to give out really quickly, then maybe a thyroplasty or some sort of vocal fold augmentation could have potential benefit.

VOX: I've heard thyroplasty referred to as "Fatty Injection Thyroplasty". What happens during a thryoplasty procedure?

DR. SIMS: Thyroplasty is also called a "voice lift". I think people sometimes use this terminology because we use liposuction to harvest fat before injecting it into the vocal folds.

There are also several synthetic substances that we use (Cymetra, Radiesse, Juvaderm). The problem with them all is duration, fat and the synthetics substances all get degraded by the body over months (9-12 or so) and have to be repeated. There are products that have been shown to last longer: Teflon--produces granulomas and isn't use much anymore; Bioplastique--no FDA approval, widely used in Europe but unavailable here; and Artefill, which was available in the US until the company went bankrupt.

VOX: That's all very interesting, Steve. Thank you for sharing your expertise and for enlightening us more about thyroplasty.

To learn more about Dr. Sims and his practice, you can find him at ChicagoVoiceDoc.com and also view some of Dr. Sims' YouTube videos here.

Thank you to Dr. Sims for his time and expertise, and also a very warm thank you to Bob Green for sharing his story with us and voice samples.

Best wishes,

Stephanie

©iStockphoto.com/Dmitry Obukhov

Whispering may seem like a good way to conserve your voice, but in reality, it can be very taxing!

There are many myths out there about what does and does not hurt your voice. Whispering, although many people tend to think it is harmless, does affect the voice in a negative way.

Find out what whispering does to your voice and how you can take care here at VOX Daily.

Whispering Kills Resonance?

I was reading up on an article on the Voice Academy microsite, hosted on the University of Iowa website, that covered vocal fatigue (quite a worthwhile read) and was happy to see a little bit about the affects of whispering on the voice.

The article related, that whispering is essentially talking without vibration of the vocal folds, and if the vocal muscles are fatigued, whispering won't allow them to rest. Also, whispering may have a dehydrating effect.

Just think about it:

Whispering is essentially talking without vibration of the vocal folds... if you don't allow your vocal folds to vibrate, you're constricting your vocal folds and are also not getting any beautiful or resonant sound out of your voice!

If your vocal folds are pulled tight, unable to rub together and remain moist as nature intended, it would make sense that a drying affect might occur.

Another thought just occurred to me as to why some people may think that whispering actually helps lessen strain on the voice.

When you are whispering, the audible volume of your voice is greatly diminished, giving the impression that the voice is not being used as vigorously or strenuously because it is quieter. While it may not be a loud yell or bloodcurdling scream, something that we know (commonsense) immediately abuses the voice, whispering silently stifles the voice unwittingly over time and may contribute to vocal fatigue among other things.

When I published an article about vocal rest several days ago, a comment came in from Priscilla Hamilton, sharing that whispering can be even more of a strain on the vocal folds than speaking. She also suggested that there is a misconception that it is OK to whisper while on vocal rest.

Even though some people may see whispering as a means to speak while on vocal rest, it might be better to just write down what you're trying to say on a notepad instead of straining the vocal folds during a period of rest or recovery.

In the same vein, if you are stuck in bed and also on vocal rest, ringing a bell, clapping your hands, or knocking on the headboard of your bed to get the attention of someone who may be caring for you is another way to prevent having to pipe up unnecessarily when your pipes are out of order.

What have your experiences been with whispering? Do you purposely avoid it?

Looking forward to hearing from you!

Best wishes,

Stephanie

©iStockphoto.com/David Gilder

What happens if you take your vocal cords (or vocal folds) for granted?

It's easy to fall into a pattern of voice abuse, and the scariest part is, you may not even realize you are doing it or how vulnerable your vocal cords truly are.

People in broadcast radio should take special note of this article.

Hear a cautionary story from voice talent Dave McCree about one of his friends who suffers from Spasmodic Dysphonia, and how years of overuse transformed a successful broadcasting career into that of a career in journalism, penning the stories instead of reading them.

Take Care of Your Voice From Day One

By Dave McCree

Since 1985 I have been the host of Jim Davidson's nationally syndicated radio program called How To Plan Your Life. The reason I shared this is not to brag, but simply to explain that the reason I am doing it is because Jim Davidson could not continue doing his own program because he abused his vocal cords by overuse.

In addition to giving motivational speeches around the country he was producing his five minute radio programs 3-4 weeks ahead of scheduled air time just to keep ahead. Plus, he was experiencing stress in his personal life, which together spelled disaster to his chords.

Jim never had any formal vocal or broadcast experience to guide him on how much care he should give to his precious cords. Consequently, the price he paid was the complete loss of his vocal chords due to stress. Jim was diagnosed with something called Spasmodic Dysphonia. The chords wrap themselves around each other so all you can do is whisper. Pretty scary, huh?

Fortunately, Little Rock Arkansas has one the nations foremost doctors who specialized in repair of this medical disorder.

Fortunately, Jim regained full use of his cords after six months of therapy. However, he was afraid to overuse his cords again so he hired me to produce and host his syndicated radio program.

My good friend, Jim Davidson, is now a successful nationally syndicated newspaper columnist using many of his 3,000 radio scripts for use in his column. His radio program is still aired on several stations with yours truly, Dave McCree as host.

From my broadcasting and recording experience [since 1966], I have found that nothing ministers and speeds healing to a sore throat and chords better than gargling with warm water and salt several better times a day after meals and before going to bed. Obviously, rest must be exercised. I also have been successful incorporating additional prayer during those times of stress.

Sincerely,

Dave McCree

Has Spasmodic Dysphonia Affected Your Life?

Looking forward to hearing your thoughts and also any comments you may have for Dave.

Best wishes,

Stephanie

©iStockphoto.com/Adam Gregor

Ever find that your voice just isn't up for the challenge? Are you exhausted vocally or unable to speak without pain?

As a person who uses their voice every day as part of their profession or occupation, it's easy to get run down and suffer from periodic or sporadic vocal inconveniences such as laryngitis, bronchitis and the like.

What happens when your voice is not able to emulate what's on your demo because of a temporary health issue?

Many voice actors and singers face that reality every now and then. Find out how resting your voice may be the ticket to getting back to your regular self.

Vocal Rest

When I was a student at university in the music faculty, vocal rest was second to none for protecting your voice and or encouraging healing for a voice in peril. If you were sick, you simply didn't sing and knew not to push it. This notion also extends to any stressful vocal behaviours such as yelling, coughing hard, forceful throat clearing, crying, talking on the phone, or screaming.

Sometimes, vocal rest can mean not uttering a word.

Instead of taxing the vocal apparatus even further or irritating the vocal folds unnecessarily, it is advised to take two and wait out an illness before trying to replicate what you are able to do when you're healthy.

The same goes for voice actors and professionals who rely upon their voice to make a living. There is something to be said for prudence, and when it comes to your health, you can't be too careful... don't be afraid to go to your doctor to get checked out if you are concerned.

Resting The Voice is Also Good For Other Recovery Schedules

Vocal rest is not just prescribed for those with the common cold or overuse of the voice, but also as part of other recovery programs such as heart surgery, for instance.

Just recently, a young Canadian soprano and fan favourite, Measha Brueggergosman, was hospitalized for emergency heart surgery after suffering a tear in her aorta. The procedure went well and she is now taking time off to recover. Part of her getting healthy regime includes not singing for one month, presumably so as not to place strain on her heart.

When you speak or sing, more than just your vocal apparatus is involved. You've got all sorts of muscles working together in your chest, particularly breathing mechanisms and diaphragmatic support, that when used during a time of recovery, can hinder the process greatly, even possibly cause undue painful.

Have You Ever Needed Time for Vocal Rest?

I'm interested to learn if you make it a regular practice to take vocal rest when necessary and what you do to pass the time productively while not voicing.

Looking forward to hearing your stories,

Stephanie

©iStockphoto.com/geotrac

How can a remote destination shown through a virtual tour evoke feelings of warmth, comfort and desire?

Whenever you list something for sale on the Internet, you have to humanize the experience for potential buyers to make what you are selling seem more accessible, meaningful and attractive.

Find out how voice over can add that lovin' feeling and also how voice talent can make selling homes online even easier.

Could Your Voice Move Hundreds of Thousands of Dollars?

The bigger the purchase, the more personable and authentic the sales approach needs to be.

How do you do that online?

Using voice over when showing a property online, for example, adds another dimension to how a prospective buyer identifies with what could be their future home.

Some real estate agencies are already doing this as well as builders. I wouldn't be surprised if there are enterprising homeowners who are selling their home privately and have added voice over narration to their promotional site.

What a great opportunity for you!

Voice talent Ari Ross is a great example of someone who has come to discover how interesting and lucrative this market can be, securing his place in the real estate voice over niche for some time now. Ari has found a way to present his services to real estate brokers and brokerages, catering to their individual needs with custom voice over recordings to help sell properties online.

Real Estate is a universal market. At some point, or at multiple times in our lives, we all will need to move house and find a way to attract potential buyers. Either we will do this for ourselves or enlist the services of other people to help us.

This is where voice over comes in.

What Do Real Estate Agents, Brokers and Home Sellers Need Recorded?

Primarily, you'll find that voice over is needed for:

๏ Virtual tours
๏ Website listings
๏ Sales presentations
๏ Broadcast commercials

Consider how you might be able to grow your business to include these kinds of service offerings to people who promote or sell real estate. You may find that voice over is also needed for similar reasons by builders, interior decorators, and staging companies.

Have You Done Any Voice Over Work for Real Estate?

Looking forward to your reply,

Stephanie

©iStockphoto.com/Andy Dean

Have you been taking advantage of all some free social networking tools to promote your business and make new connections with prospective customers?

In his debut podcast on Voice Over Experts, Terry Daniel shares insight particular to Twitter and Facebook, detailing how you can generate untold revenue through some good old fashioned networking.

Having gained 15 clients through his social networking efforts this year alone, and as he says, 15 customers he wouldn't have had otherwise, I can assure you that Terry's advice is more than worth listening to, indeed so much that I've decided to share his podcast episode with you in today's VOX Daily.

Getting Voice Over Work Through Social Networking

As mentioned earlier, I'd like to share Terry Daniel's lesson "Getting Voice Over Work Through Social Networking". You'll learn how services like Twitter and Facebook help to extend your brand and connect you with prospective clients. Terry points out that it's not just for teenagers anymore, advocating that social networking is very important for business... and the best part of all, it's free!

I hope you enjoy this podcast and drink in the numerous tips on how you can promote your voice while providing valuable insight and being authentic.

Download Podcast Episode 91 »

To learn more about Terry Daniel, follow these links:

Terry Daniel
Terry Daniel's Voices.com Website
Terry Daniel on Voice Over Experts

You can subscribe to Voice Over Experts for free and get caught up on all 91 episodes (to date) this summer. Each week a new one is released, so if you found Terry's podcast to be valuable, you'll thoroughly enjoy the series.

Feel free to comment with your thoughts!

Best wishes,

Stephanie

When work is harder to come by, have you found yourself lowering your rates to remain competitive, or have you been sticking to your guns to ensure that the bar doesn't drop?

How do you cope with the "out of work blues" when you hit a dry spell?

Robin Rowan presents us with her thoughts on this issue and would love to hear what you have to say!

How Low Will You Go?

Taking jobs for less money

By Robin Rowan

I spent two weeks in February looking for a job. I am a full time voiceover talent, and this was the longest stretch without a job in eight years. It was scary. Finally, one of my regular clients came through with a hefty job, but everyone hits panic phase occasionally.

You immediately start questioning your talents, your rates, your abilities, and finally, your decision to get into this crazy business and think that maybe it's time to get out. Okay, so I never got that far, because I simply cannot imagine doing anything else.

What do you do when your regular clients are nowhere to be found? Most of us (maybe all of us) subscribe to one or more web sites for job leads. How can you be selective when you just need work? What's the lowest you'll take? $200? $100? Any amount??? Sometimes I feel as if clients on these sites are taking advantage of our desperation. Are you biting?

I remember one job lead recently where the posting stated that they were already on their third voiceover talent and still couldn't find anyone who was competent. Read on a little farther and you'll see that the job, which was something like 6 1/2 HOURS of finished work, was paying $1000. Do they not understand WHY they couldn't find a competent voice talent for that kind of money?

When no work is coming in, do we sacrifice everything we've worked so hard to get? Maybe. Because if you were a top-level executive and got laid off and spent a few months looking for a job, you just might accept that construction job paying $12 an hour to have something coming in. So it is with voice work. If I didn't take that $200 job, I'd be sitting here with my business principles intact and not working. I always use the example of being a newbie on one of the voiceover sites and finally auditioning for a job that paid what I considered to be chump change. I got the job, and the client turned out to be CitiMortgage, CitiBank's real estate arm. The price for the job was the rate per minute, which suddenly looked a whole lot better. That was 2005, and I've been happily doing all of their online training since.

So how do you cope with the "I got no work" blues?

All the best to all of us who have the best jobs in the world!

Robin Rowan has been a full-time voiceover talent since 2001, self-employed as a writer and voiceover talent for 20 years and in the voiceover industry for more than 30 years.

©iStockphoto.com/technotr

It's amazing how many different "worlds" voice actors can be part of when there is a successful franchise in place.

Have you ever gone to an Anime convention or any other convention where they celebrated characters you have voiced?

I'd love to hear all about it so leave a comment!

Conventions Open Up a Whole New World to Voice Actors

If you have voiced a character for an Anime series, been part of a celebrated series or are a fan of franchises such as Transformers, Star Trek, or Star Wars, chances are you have attended a convention and have unique memories of the experience.

Being involved with these cons opens up an entirely different world and following for voice actors. Not only are there fans and a community of people rallying around the show, there's a whole culture, identity, and may even be a legacy and language associated with it!

One aspect of conventions for fans that is almost as exciting as being among their peers is listening to a voice actor panel talk about their roles. I have footage on the Voices.com video blog introducing the English Naruto voice cast, and believe me, there are many, many more like it on the Internet. Such is the popularity of the voice talent panel.

A little while ago, I published an article about Anime cons and Jon Morss commented with his experience attending conventions. I've linked back to it for you in the previous sentence so be sure to check it out.

What Have Your Experiences Been at Conventions?

I'd love to know hear about your stories about going to conventions, whether as a fan or voice actor and special guest. How does going to such events adds value to your life and career?

Looking forward to your reply!

Best wishes,

Stephanie

Photo from Botcon courtesy Daniel Ross

How do you know it's time to revamp your voice over demos?

There are a number of indicators, some that jump right out at you, and others that are so subtle that it may take another set of ears to discover them.

If it's time for you to do a self-analysis of your demos, or you feel that your demos may soon be on the way out, better take a good look at this list!

So when is it time to make your new demo?

Long story short, you should consider making a new demo when:

1. You have improved
2. Have a new specialty you want to focus on
3. When the styles on your demo are out of date
4. If the music on your demo is out of date
5. If your demo mentions years or specific dates
6. When the demo doesn't feel fresh
7. When you are embarrassed of your demo
8. Straight reads on your demo aren't an accurate representation of your current voice age
9. If your voice has shifted registers
10. If you don't recognize the voice on your own demo

Of course, if you need a second set of ears you could look into a demo reviewing service, or take a look at even more advice right here on this blog to learn more about how demos are critiqued before moving ahead.

Do you have anything to add to this list?

If you find that you have different indicators or have a set schedule for when you update or have new demos produced, I invite you to comment with your thoughts.

Looking forward to hearing from you!

Best wishes,

Stephanie

©iStockphoto.com/Dieter Spears

What's the difference between how voice overs are auditioned for and cast on the east coast versus the west coast of the US?

Which coast is it easier to get representation on?

What challenges face talent, casting directors and agencies alike?

Find out the answer to these questions and more today at VOX Daily.

The New World of Voice Over Casting

Billy Serow, head of the voice over department at Abrams Artists Agency, knows a great deal about how business is done in The Big Apple as compared to Los Angeles.

In his world, which is the union world, the voice over business is structured very, very differently between the west coast and the east coast. The east coast is still for the most part a casting director driven business.

Having been a casting director before he was an agent, Billy witnessed the proliferation of the Internet and how it in turn provided a new space for talent casting sites and enabled talent agencies to build their own in house studios to compete.

How Did Things Go Before the Internet?

In the past, casting directors would require talent to come to their studio to audition for them with the benefit of their direction. In this way, the casting director would get some kind of credit from the advertising agency for doing a good job and choosing the right talent.

The Result:

Casting directors are fighting for their livelihoods because it is easy for talent to get an audition through their own efforts and some clients are casting gigs without the assistance of a casting director.

How a Casting Session Works

As was noted, New York is still a casting director driven business, but that being said, casting session budgets for voice overs are small. They are smaller than budgets for on-camera commercials.

On the average for an on-camera audition, a casting director might audition 50 people or a hundred people for a role because they have the budget and the time and the day to do those auditions.

For voice over auditions, casting directors are usually given a half a day or a quarter of a day to do an audition, even if it is for a major, national campaign.

The number of actors who are auditioning for those sessions are maybe 8 to 20 to maybe 25 if it's a very long half day.

What's good then in the New York market is that your odds are then 1 in 20 of scoring the job.

West Side VS East Side

In LA, partially due to geographical reasons, there are very few casting directors who actually concentrate on voice overs because they can't make a livelihood on it any more so most of the auditioning is done in an agent's office at an agent's studio.

If the job goes out in New York with a casting director, if a job goes out to 6 agents, and each agents sends in 3 or 4 people per job. In LA if the job goes out to 20 agents and they're submitting 10 to 20 people, well, you can do the math. You're competing against 200 to maybe even 400 voices.

The structure of the business between Los Angeles and New York is very, very different and certainly easier to break into in the New York market as well as book jobs.

What Can Talent, Particularly in LA, Do To Get More Work?

Los Angeles-based A1 Voice Over Talent and author, Rodney Saulsberry, recommends that voice talent in LA should develop relationships with casting agencies. The competition you are up against in an audition at your agent's office (combined with the other competing agencies) is a lot steeper than the competition you'd face on a boutique casting roster. A boutique casting agency may only list 8 to 15 people of each gender, which of course is more advantageous for talent, especially when you consider the competitiveness of talent agencies potentially vying for the same work.

Any Comments or Questions?

This insight was shared on an expert panel discussion I took part in. If you're interested in reading more from that panel, click here: Voice Coaches Expo Expert Panel 2009.

Have you experienced a change in how casting is done in your neck of the woods? How have you adapted?

I'm looking forward to hearing your thoughts.

Best wishes,

Stephanie

©iStockphoto.com/Kateryna Govorushchenko

When you first get started in voice overs, what sort of things should you be spending your money on (and in what order) when building your business?

I was asked a question similar to this at the Voice Coaches Marketing Expo on the expert panel, and due to the panel's immense popularity, I'm going to be including the five most interesting and applicable nuggets of information shared that day from industry panelists representing various branches of voice over.

Yesterday, we talked about how proficient a voice talent should be when working with audio, and today we'll talk about which areas you'll need to invest your money in business wise and when it's appropriate to do so.

What should you invest in first when getting your voice over business off the ground? Find out!

Voice Over Businesses Are Businesses Too!

Sometimes it's easy for people entering the voice over industry to treat voice over like a hobby or as a creative outlet. When they're getting started, they see it as fun, challenging and perhaps, instantly rewarding (sacks of cash, right?) having unrealistic expectations for this hobby, not realizing that it's a business like anything else.

With this frame of mind, spending money may not be on the top of the list, although it is a necessity if you want to reach your goals. Having a business costs money! You'll need to invest in a number of things, it's just a question of what those things are and in which order you'll need to get them.

In my opinion, here's the most logical order of items you'll need as a professional voice talent and in which order you need to invest your money:

1. Education
2. Home Recording Studio
3. Promoting Your Voice

1. Education

If you are in business you need to be investing in your business. I would say the first place you should be spending your money is on your education. There's always more to learn, and if you're just entering the business, you've got a whole lot of learning to do!

When I say education, I mean it in the universal sense, encompassing anything you might need to learn about in business, voice acting and technology. As a voice talent working from home and running your own business, you'll need training in all three of those categories to succeed.

Places you can turn to for educational resources:

๏ Voice Over Experts Podcast
๏ VOX Daily Blog
๏ Voices.com's Getting Started in Voice Overs Guide
๏ Voices.com Voice Coaches Network
๏ Harlan Hogan's Coaches List
๏ VoiceOverXtra's Workshop Calendar

Some of the resources I've mentioned above are free to consume, however, note that if you are studying with a voice acting teacher privately, ordering books, or attending a workshop, there are expenses involved. Most workshops cost hundreds of dollars for a day or two at a studio with a teacher. These prices vary.

To find the right teacher for you, listen to podcasts or read blogs. Ask people for references to teachers they have studied with who have made a positive difference in their lives and careers. Teachers can help you work toward planning and recording your voice over demo.

2. Build Your Home Recording Studio

Before you do anything else invest a healthy amount of money into your studio, because if you don't have a studio at home, you really stand no chance of competing with everyone else who is equipped with a home recording studio.

If you have a home studio, you are positioned to record on the fly and you won't have to check in with a studio to see what their availability is. In the long run, you'll be saving time and money by having your own studio. This is also one of the best and most convenient ways to develop your audio engineering skills.

Ideas for where you can get studio equipment:

๏ Used equipment on eBay
๏ From other voice over professionals or recording engineers
๏ zZounds

3. Promoting Your Voice

Once you have the first two taken care of (Education and Home Recording Studio) and are prepared to confidently enter the ring, this is when promoting your business becomes a top priority.

Having a web presence and a subscription to an online voice over marketplace are appropriate steps that can be taken to draw more opportunities to yourself.

Auditioning daily for work yields more benefits than just potentially being hired... auditioning helps to keep you vocally fit, in practice, and serves up diverse copy to interpret that you won't find anywhere else.

Summary

If you aren't focused on building your business, don't have a studio in your home, haven't studied and don't know how to act, you're at a great disadvantage and are setting yourself up for disappointment.

Does that makes sense?

Educate, build your home studio, get some experience and then sign up for a membership at a voice over marketplace.

Any Thoughts on This?

Looking forward to hearing from you!

Best wishes,

Stephanie

©iStockphoto.com/Amanda Rohde

As a voice over talent with a home recording studio, how much should you concern yourself with learning more about (or becoming proficient at) mixing, editing, adding sound effects, and music?

Is it of vital importance that you learn all you can about audio engineering?

Hear some expert advice from David Goldberg of Edge Studio.

How Much of an Audio Engineer Do You Need to Be?

Warren Garling of Voice Coaches moderated the expert panel discussion at the 3rd Annual Voice Coaches Marketing Expo. He directed the question of how proficient a voice talent should be in the arts of audio engineering to David Goldberg, owner of Edge Studio in New York City.

David replied, "That's a great question and it really depends on the type of voice over you are pursuing. So, if you are pursuing, for example, audiobooks, the average unabridged audio book is I think 9.5 hours long. And as Dan spoke earlier from Full Cast Audio, it can take four hours to complete one hour of audio. It takes that long because you have lots of retakes, and you make mouth clicks and pops and you have to go back and start things over again. All that means is that when you go back it, you have 36 hours of recording to clean up, 36 hours of editing. If you are not proficient, it's going to suck. The more proficient you become the more money you make per hour, so again in audiobooks, you are paid by the completed hour of audio. So if you're paid, for example, $100 per completed hour, if it takes you four hours to complete that audio including editing or ten hours, you are at a much better advantage if you can do it in four hours.

"With respect to adding music and sound effects: It's a wonderful service if you can be a one-stop-shop for your clients, but adding music and sound effects is very difficult. We've been doing it for 21 years and we're still learning, we really are. Stephanie said you have to continue learning. I believe that if you offer a service to clients, and you don't do it very well, you'll really hurt your relationship with your client, so go to Voice Coaches (people in attendance were all graduates of the Voice Coaches program). David Bourgeois and Jenny (Marcotte) have a wonderful studio and hook up with them, let them do the music and sound effects for you, and maybe do a little markup on the thing, but be a one-stop-shop for your customers."

You Don't Need To Be Ben Burtt, But it Helps To Be Skilled

In a nutshell, David suggested that if you are good at editing audio, you will be able to work faster and smarter. Incorporating and or mixing in different production elements will give you a leg up on other voice talent and will also enable you to offer your clients a one-stop-shopping experience.

Any Comments?

If you have any tips or advice you'd like to share about audio engineering from the perspective of a voice over talent, please leave a comment and join the conversation. If you're an audio engineer, you're also welcome to chime in with your thoughts!

Best wishes,

Stephanie

©iStockphoto.com/Chris Schmidt

On September 18, 2007, computer science professor Randy Pausch stepped in front of an audience of 400 people at Carnegie Mellon University to deliver a last lecture called "Really Achieving Your Childhood Dreams." With slides of his CT scans beaming out to the audience, Randy told his audience about the cancer that is devouring his pancreas and that will claim his life in a matter of months. On the stage that day, Randy was youthful, energetic, handsome, often cheerfully, darkly funny. He seemed invincible. But this was a brief moment, as he himself acknowledged.

Randy's lecture has become a phenomenon, as has the book he wrote based on the same principles, celebrating the dreams we all strive to make realities. Sadly, Randy lost his battle to pancreatic cancer on July 25th, 2008, but his legacy will continue to inspire us all, for generations to come.

Narrator Erik Singer shares moving insight into his oratory, giving another voice to Randy Pausch's inspiring, informative and touching book, "The Last Lecture", winner of the 2009 Audie for Biography / Memoir.

Preface

While most of us know who Randy Pausch was, I thought it would be good to give a brief overview of Professor Pausch. This biographical excerpt and the opening paragraphs of this article were referenced from TheLastLecture.com:

"Randy Pausch was a professor of Computer Science, Human Computer Interaction, and Design at Carnegie Mellon University. From 1988 to 1997, he taught at the University of Virginia. He was an award-winning teacher and researcher, and worked with Adobe, Google, Electronic Arts (EA), and Walt Disney Imagineering, and pioneered the non-profit Alice project. (Alice is an innovative 3-D environment that teaches programming to young people via storytelling and interactive game-playing.) He also co-founded The Entertainment Technology Center at Carnegie Mellon with Don Marinelli. (ETC is the premier professional graduate program for interactive entertainment as it is applies across a variety of fields.) Randy lost his battle with pancreatic cancer on July 25th, 2008."

Now, I'd like to share the answers to a very special interview in the form of a reflection by Erik Singer, narrator of The Last Lecture.

Narrating "The Last Lecture"

By Erik Singer

It was an honor to narrate The Last Lecture. I hadn't heard of it before I was chosen to narrate it, but I googled it immediately and was blown away by the beauty of the lecture itself, as well as by Professor Pausch's extraordinary warmth and charm -- and, of course, by his story.

I did not get to meet Professor Pausch. We recorded in February of 2008, when he was already very sick. I don't know if he was involved in the casting decision or not. The director, Karen DiMattia, did speak with him before we began recording. His direction to me, through her, consisted of one word: "Bouncy." Tigger-like, is what I took from that -- enthusiastic, optimistic, full of joy and boundless wonder for life and all it's rich strangeness. Much like the author himself. I did my best to embody this.

As I mentioned before, it's been some time since I recorded this, and I have not read or listened to it since. I remember the emotional experience much better than the specifics of the text. This is especially so for the advice sections. I certainly couldn't speak to whether the advice is applicable to all people, but I do think there's a certain amount of wisdom in the book. People are more important than things; live life to the fullest; go after your dreams. These things, surely, connect across a broad range of people and cultures.

I connected with the book on a number of very personal levels. First of all, my father survived testicular cancer 30 years ago. It had metastasized just about everywhere. He had about five major operations and years of chemo. By the grace of extraordinary good fortune, his own will to live, and some phenomenal doctors, he is here today (and in excellent health, though minus about forty percent of his original lung tissue and some other bits and pieces). Although I was too young to have much memory of his battle, I was certainly deeply affected by it -- even formed by it to a certain extent. So Randy Pausch's deeply moving last letter to his children, who would not be so lucky as I was, was a kind of alternate version of what my life might have been like if my father hadn't survived.

In addition, I had a beloved aunt who died from pancreatic cancer when I was 12 and she was 32 and newly-married. This I remember vividly.

I also have two young children of my own -- a three-and-a-half year-old son and an eight-month old daughter. When we were recording, we had only just found out that my wife was pregnant with our daughter. So the parts of the book where Professor Pausch wrote about his children, his sadness that he would not be there to watch them grow up -- well, this was very difficult for me to read. I'm normally a very fast and fluid reader, but I think it probably took us about 2 hours to read the last 15 pages or so. I would keep choking up and even actually weeping, and had to stop to collect myself every few sentences. The end of the book was truly one of the most difficult reads I've ever done.

As a result, this is the aspect of the book that is most vivid for me a year-and-a-half later -- Randy's relationship to his children, and this beautiful, wise, book that he has left for them. The "second head-fake" The book is for them.

Nothing will compensate them for not growing up with their father, just as nothing would have compensated me had my father died of his cancer when I was small, just as nothing would compensate my children if I were to leave them now. But it will certainly help them to know that their father was such a funny, warm, wise, upbeat, witty, enthusiastic and deeply loving man.

Erik Singer

~~

Any Comments or Stories That You'd Like to Share?

Looking forward to hearing your thoughts.

Best wishes,

Stephanie

One of the most influential women in the audiobook industry, Robin Whitten, founder and editor of AudioFile Magazine, moderated a panel discussion at BookExpo America called, "The Heard Word: BEA's Audiobook & Author Tea", hosted by the Audio Publishers Association.

Hear some wisdom and sentiments from television personality Kathie Lee Gifford, author Lisa Scottoline and narrator Katherine Kellgren.

Top Anecdotes and Observances from the Panel:

Kathie Lee Gifford: "When someone recognizes me for my voice without even seeing me, I know they have spent time with me." Kathie Lee went on to say, paraphrased, that is is such a privilege to be in her readers' and listeners' company, and to be part of their lives. Being real is also very important. During a session, Kathie Lee's voice broke when talking about her father (who has passed away), and after several takes, decided to leave that raw emotion in to stay true to what her audience would expect of her.

Lisa Scottoline: "Words are the soundtrack of our lives. Your life is defined by the meaningful moments in your life with words spoken such as 'I love you', 'Will you marry me?', 'I do', 'It's a boy!', 'You got the job', and even things that are painful to hear, such as 'It's terminal', or 'It's time to say good-bye.'"

Katherine Kellgren: Paraphrased: "Researching (the script, time period, characters, dialects, etc.) is very important. Sometimes you get requests or encounter material that may be unfamiliar to you, like being asked to laugh like a snorting camel and all the direction you get is, 'Oh, ha ha!' After searching all over the Internet for what was needed, looking for relevant Pachyderm noises, I came across a website where there were a number of recordings of this obscure sound for purchase that I could study, incorporating my interpretation of the sound into the read."

To learn more about each of the panelists, check out the links below:

๏ Kathie Lee Gifford, author of Just When I Thought I'd Dropped My Last Egg (Random House Audio)
๏ Lisa Scottoline, author of Look Again (Macmillan Audio)
๏ Katherine Kellgren, narrator of the Odyssey Honor and Audie Award-winning audiobook Curse of the Blue Tattoo (Listen & Live Audio)

Do You Have Any Narration Tips or Anecdotes to Share?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Wojciech Krusinski

Did you know that the month of June is audiobook month?

For any of you who are audiobook enthusiasts, this may come as no surprise, however, I thought we should mark the occasion with a special blog post.

I've compiled a number of links and resources that relate to audiobooks, audiobook production, narration technique, communities and places where you can buy audiobooks.

Audiobooks: More Than Just MP3s

As the popularity of audiobooks continues to increase, people have come to realize that audiobook recordings are not just companions complementing the written word, they represent the carrying on of oral tradition and storytelling passed down to us from our ancestors for thousands of years, embodying emotion, heart, and making connections on a deeper level than can be expressed through the printed word alone.

Over the last week, we've been talking a lot about audiobooks, and for good reason. Not only is it an extremely diverse field to get into, audiobooks is also one of the fastest growing markets in need of professionally recorded voice overs and narration.

If you're interested in learning more about audiobooks, getting started in audiobook narration or are looking to produce your own audiobook and hire a narrator, I've included a number of resources below for your consideration.

For some audiobook resources, check out these links:

AudioFile Magazine
Audio Publishers Association
Scott Brick's tutorial on how to get started in audiobook narration
Pat Fraley's article about the subtleties of audiobook narration
Dan Bostick of Full Cast Audio shares how their audiobooks are made / video session
Recording Stories from the Public Domain (Royalty-free)
Get your Audiobook Recorded by a Narrator at Voices.com
Audiobook Narrators For Hire
Browse and Buy audiobooks at Audible.com
Browse and Buy audiobooks at SimplyAudiobooks.ca
Visit The LibriVox.org Community for Narrators

Before I go, I want to send a special shout out to some narrators I recently met and know on Twitter:

Lorelei King @LoreleiKing
Scott Brick @ScottBrick
Simon Vance @SimVan

If you know of any other links that you think should be included, comment and let me know.

Happy Audiobook Month!

Warm regards,

Stephanie

©iStockphoto.com/Helder Almeida

What new developments have taken shape at Voices.com?

Discover new features, improvements and more in this Spring '09 Release prepared by Laurynda Pasma.

NEW PROFILE FEATURES

Voice Talent Profile Page Changes

๏ A summary at the top of page now shows the talent's primary demo and most recent feedback rating (if present) and Next steps for visitors to the page. See example.
๏ Removal of individual Store fronts and placement of general store link at the top of the Voices.com pages.
๏ If a client is interested in Store products they may click the Store icon at the top of the page and search for individual talents or browse by category or keywords.

Why remove the individual storefronts and replace it with a general store link?

The simple answer is that not everyone has taken time to create products for their store. When a client would click on one such store and find nothing there, it was disappointing and perhaps, confusing.

Addition of Edit and Save Buttons

What's New?: Members now have Edit and Save buttons present at the top of their General Info pages within their accounts.

What Happens?: If you click on General Info, you will see an Edit button at the top of the page and at the bottom that signals they can modify this info. When clicking on Edit, the next screen has a Save at the top and bottom for any changes made to your profile content.

What To Do: If you have any edits or changes to make, always save your changes.

Profile Completeness Meter Breakdown

On the My Account page, a percentage of completeness is indicated. Each field below is weighted and contributes to the overall completeness. Here is the breakdown of how to achieve full profile completeness.

NEW DEMO FEATURES

Demos Can Now Be Searched For By Voice Age Range

What's New?: Voice talent can now assign an age range to audio files to help clients to conduct even more detailed searches. Note that the Voices.com search engine gives clients the option to take voice age into account.

What Happens?: If a client is searching by age range, they will only see demos that have been classified and match the age range they are looking for. For example, if a client is searching for a teenage voice and searches by the teen voice age range, they'll only be shown demos that have been labeled as Teen.

What To Do: Adding these age ranges is optional. If you choose to do so, be sure to log in to your account at Voices.com and add the appropriate age range to your demos. Only one age range per demo. If there is no age range is assigned to a demo, that demo will never be presented to a client if they are searching for that criteria specifically. Add your voice age ranges to each file you have uploaded to maximize your visibility and opportunities at Voices.com!

NEW MESSAGING FEATURES

Talent and Clients: Ability To Send Files Via Reply Messages

What's New?: Members can now send attachments when they reply to a message sent to them through Voices.com. There is a 10MB limit for sending an audio file.

What Happens?: A copy of the attached file is also stored in the sending member's Sent folder. Only one file per message may be sent.

What To Do: When you are communicating with another member through the site, you are able to include a file attachment before sending that internal message to the recipient. Simply browse your desktop to attach the new file to the message and send.

Private Job Emails

What's New?: Talent are now sent a specialized email notification when they have been invited to reply to a job. Subject line of email is "New Private Invitation at Voices.com"

What Happens?: If you receive an email with that title, that job opportunity is for you specifically, and is a private job.

What To Do: Review the job details and reply to the client, either to respond and apply for the job, or to graciously decline if you are unable to do the job.

NEW JOBS AND AUDITIONS FEATURES

Audition Placement Indicator

What's New?: Talent can now more accurately gauge where they stand in the audition queue, detailed in the Overview screen of their Answered audition.

What Happens?: When voice talent view an answered audition they can now see their audition placement in the Overview tab. The display will read talent placement/total current responses. The placement indicator is a submission number only.

What To Do: Before auditioning, talent can see the number of current responses in the job Overview tab. Once they submit, take a look in the Answered folder and the Overview tab of the job to see where in the audition submissions your audition sits.

Talent Can Now Title Audition Templates

What's New?: Talent may now edit their existing templates and provide a template name to make it easier to identify the correct template when submitting an audition.

What Happens?: All templates currently have "No title" listed until talent log in and update their existing templates. It is strongly advised that you take a moment to title your templates for ease and better reference.

What To Do: Log in to your account and be sure to give each of your templates titles that best reflect their contents or purpose. The Title is presented in the Select a Template drop down list within the Audition response. In an audition situation, choose the most appropriately titled template to accompany your demo and price quote.

Talent Can Now Mass Delete Answered Jobs

What's New?: Talent are now able to delete more than one audition at a time from the Answered folder.

What Happens?: Upon identifying records of answered auditions that you don't want to see anymore, simply check the boxes to delete them en masse.

What To Do: Log in to your account at Voices.com, navigate to your Answered jobs and the listings you no longer wish to see archived in your Answered folder.

Clients Can Request Quotes Directly From Their Favorites

What's New?: Clients may now post a job to talent via their Favorites list.

What Happens?: A client can select one talent, or multiple talent, by checking the box to the left of the talent's name and then clicking the Request Quote button. Clients will be presented with the option of either inviting the talent to an existing job or posting a new job. At this point, they can then select whether or not the job is public or private.

What To Do: Make sure that you are on a client's Favorites List so that you are given more prominence in their account.

Clients Can View Invited List Within Posted Jobs

What's New?: When clients invite talent to their job, those talent appear within the job details immediately as a record of who the client has invited.

What Happens?: The Invited List can be seen via the Description tab within the job. The list shows each talent's name, when they were invited and their current response status. If they have not responded the status is displayed as Open.

What To Do: If a talent has not yet responded to the invitation, the client can click on the talent's name and easily send them a reminder email from their profile page. Once the talent responds they will appear within the client's Responses tab.

Clients Can Give More Direction When Awarding a Job

What's New?: Clients who have posted jobs at Voices.com can now send a message at the award job stage with more direction.

What Happens?: The email will be sent to voice talent internally with the subject line, "Instructions for THE SPECIFIC JOB TITLE". This has been provided instead of enabling talent to contact clients at this stage for now. A copy of the message is stored in the client's Sent folder.

What To Do: If you receive a message from a client like this, you will need to log in to your account, read the message, and then take action according to what your client has shared through this internal message.

Clients Updating Job To Completed

What's New?: Clients can now mark their job as Completed if it has not yet been awarded.

What Happens?: This can be done if the client Edits their posting from the Description tab. Reasons why clients may mark their jobs as completed are : job is not moving forward or a talent has been selected and paid offline.

NEW SUREPAY AND PAYMENTS FEATURES

Clients May Now Request an Edit to a File Uploaded Via SurePay

What's New?: Clients may now include an attachment when requesting an edit to a file uploaded by a talent through a SurePay job.

What Happens?: If a client finds that they need to give a line read, communicate something verbally, or attach a text document with more instructions they are now able to get that information to their voice talent more effectively.

What To Do: If you're a client and need to make use of this, go for it! Communication on projects is incredibly important, and if you need to demonstrate what it is that you need, this may be the best, most efficient (and convenient) way.

Feedback Ratings

What's New?: Feedback ratings are presented on the talent profile page. If there is no record of feedback, no feedback indicators are shown.

What's Happens?: If Feedback has been left, feedback now appears as Stars with a total ratings indicator. For example: ***** (2) indicates a rating of 5 stars averaged based upon the results of 2 separate feedback ratings.

What To Do: Build up your feedback ratings and reviews by using Voices.com's SurePay service to invoice your clients.

WANT TO REQUEST A NEW FEATURE?

Do you have an idea for a new feature that would make for a better experience at Voices.com? Send us an email to send us your feature request, and we'll add it to our to-do list for an upcoming release.

Best wishes,

Laurynda Pasma and the Voices.com Team

Do clients using Voices.com want to hear custom demos?

How many auditions on average are reviewed?

What's the most important factor when picking a voice talent to record?

Find out the answers to these questions and more in the most recent Voices.com Client Survey published by our CEO David Ciccarelli and Product Manager Laurynda Pasma.

HIRING METHOD

At Voices.com, people can hire voice talent by posting a job, searching by keyword or browsing the directory by category. In our survey, we asked clients which approach they take when hiring voice talent at Voices.com.

Take a look and see how people hiring talent go about doing what they do!

AUDITION QUANTITY

A question often asked by voice talent is how many auditions do clients receive for any given job posting?

NUMBER OF AUDITIONS REVIEWED

A similar question is how many auditions do clients actually listen to. The encouraging news is that ¾ of clients are listening to over 50 demos. Clients who are listening to 1-25 demos are posting private jobs where only a limited number of people were invited to respond.

HIRING FACTORS

As you can imagine, your voice-over demo is the single most important factor to clients hiring voice talent at Voices.com. This is followed closely by a combination of the demo and quote.

CUSTOM DEMOS VS. GENERIC DEMOS

The debate continues. If given a script, the majority of clients prefer custom auditions, however, it would appear that this isn't a make-it-or-break it factor.

SHORT LISTING BY ADDING TO FAVORITES

A popular feature among clients, we are finding that they are using their Favorites as a means to shortlist the auditions, narrowing it down even further to a few top picks before to making a final casting selection.

SUREPAY ESCROW SERVICE AWARENESS

More than ever before, clients are hiring voice talent using Voices.com's SurePay escrow service and online work system to complete their projects online.

SUMMARY

The last several months have proven exceptional, validating the decision to redesign Voices.com from the ground up. Read between the lines and you'll recognize that a great demo, a completed profile and being active on Voices.com through auditions are the keys to winning more jobs.

David Ciccarelli, CEO
Laurynda Pasma, Product Manager
Voices.com

Katherine Kellgren, though classically trained, sophisticated and sonorous, narrates stories from the depths of her soul, combining talent and skill with pure passion infused by a love of the spoken word, uplifted by her father's devoted ears.

I was there to see Katherine present at the Audies and also be acknowledged for her talent. Fortunately, I also was present to hear her speak at the BookExpo America Audiobook and Author Tea, discovering more about her creative process and hearing a reading from "Bloody Jack: Being an Account of the Curious Adventures of Mary 'Jacky' Faber, Ship's Boy."

Learn more about this lovely and gracious lady who not only walked away with three Audies this year but also with the hearts of those to whom she read.

"I'm Listening"

Before New Yorker Katherine Kellgren became the celebrated narrator that she is today, she studied at the London Academy of Music and Dramatic Art, seeking her education abroad while keeping ties with home by sending her father a series of recordings that she narrated using a hand-held tape recorder of his favorite detective book from the 1920s in installments on audio cassette.

Each recording was an opportunity to share a special bond with her father, and while perhaps not being done so consciously or deliberately, further develop her narration skills and character voices.

At this time, Kellgren's father was very sick, so these installments came as a great joy to him. When she returned to New York after her graduation, she read him stories he selected by his bedside for several months. These short months, as it would turn out, were to be the final days of his life.

Just as he appeared to be fast asleep, which was one of the goals while reading aloud to him, Katherine would take a good look to make sure he was at rest and then stop reading, closing the book quietly, only to hear him exclaim from the depths of REM sleep, "I'm listening," prompting her to pick up the book and start reading again.

Dedication and Motivation

The words, "I'm listening," continue to echo in Katherine Kellgren's mind, helping her to get through long days in the recording studio. Buoyed by the acute ears and encouraging voice of her father, she is able to push herself to meet any challenge head on and pursue her work with gusto and meticulous attention to detail.

When doing research for audiobooks that she narrates, and depending on the complexities of the book, it can take up to two weeks to get a full grasp of the characters, the setting, jargon, expressions and dialects required. In studio, it can take between 2 to 5 days to record an audiobook from start to finish.

To be an audiobook narrator, just as an actor prepares for a role, it takes at times the mind and determination of a scholar. Understanding of context, rhythm, and a developing a deep connection to the characters does much for the narrator to help suspend the audience's disbelief.

Over the years, Katherine has narrated numerous audiobooks, and has won many awards for her work such as the AudioFile Earphones Award, the Peabody Award, and now most recently, several Audie Awards for her work on the sequel to Bloody Jack called "Curse of the Blue Tattoo: Being an Account of the Misadventures of Jacky Faber, Midshipman and Fine Lady", including the Audie award categories: Solo Narration - Female, Teens, and Distinguished Achievement in Production.

Have You Listened to Any of Katherine Kellgren's Work?

If you are a fan or colleague of Katherine, I'd like to invite you to comment. Also, if you are an audiobook fan in general or of the Bloody Jack books, I want to hear from you, too!

I hope you enjoyed reading this as much as I enjoyed writing it.

Yours,

Stephanie

Last weekend, I had the privilege to attend the 14th annual Audies, sponsored by the Audio Publishers Association, at the fabulous New-York Historical Society situated at 170 Central Park West, and believe me, the voices were just as sensational and decadent as the surroundings they were placed in.

For the remainder of this week, I'll be sharing more about our trip and highlighting special moments and intriguing topics that took shape at the Audies and at BookExpo America.

Curious to learn which audiobooks won awards? Read on!

The Audies

There were so many interesting people at the Audies, many of whom included some of the top narrators in the world.

The gala was exquisite and provided a good many opportunities to network, but the main event was especially lovely, celebrating the achievements of people who had been narrowed down by a hundred judges from a record 1000 entries to a mere 100 selections.

Seated beside us were actors and narrators Cynthia Darlow and her husband Richard Ferrone. Ferrone had won an Audie in 2008 as the Best Voice in Mystery / Suspense for the audiobook, "Dead Street".

Directly behind us, as we learned later that night upon receipt of his award, was author and narrator, David Sedaris. In front of us were the crew from Macmillan Audio. Indeed, the room was packed with all kinds of people, from audiobook publishers to narrators to family and friends.

Without further ado, the winners of the 2009 Audies:

Audiobook of the Year was won by Neil Gaiman, writer and narrator of "The Graveyard Book"; HarperChildren's Audio.

Distinguished Achievement in Production was won by Live & Listen Audio for "Curse of the Blue Tattoo: Being an Account of the Misadventures of Jacky Faber, Midshipman and Fine Lady" by L.A. Meyer, narrated by Katherine Kellgren.

Solo Narration - Male was won by narrator John Lee for his work on "The Count of Monte Cristo" by Alexandre Dumas; Blackstone Audio.

Solo Narration - Female was won by narrator Katherine Kellgren for her work on "Curse of the Blue Tattoo: Being an Account of the Misadventures of Jacky Faber, Midshipman and Fine Lady", a novel by L.A. Meyer; Listen and Live Audio.

Narration by the Author was won by David Sedaris for "When You Are Engulfed in Flames"; Hachette Audio.

Multi-Voiced Performance was won by "Mudbound" by Hillary Jordan, read by Kate Forbes, Joey Collins, Peter Jay Fernandez, Ezra Knight, Brenda Pressley, and Tom Stechschulte; Recorded Books.

Special Achievement Awards were won by Michael Snodgrass and Eileen Hutton of Brilliance Audio.

Judges Award - Politics was won by "Hot, Flat, and Crowded" by Thomas Friedman, read by Oliver Wyman; Macmillan Audio.

Humor was won by "The Learners" by Chip Kidd, read by actor Bronson Pinchot; Blackstone Audio.

Spanish Language was won by "Por in Dia Mas/For One More Day" by Mitch Albom; read by Jose Manuel Vieira; FonoLibro, Inc.

Teens was won by "Curse of the Blue Tattoo: Being an Account of the Misadventures of Jacky Faber, Midshipman and Fine Lady" by L.A. Meyer, read by Katherine Kellgren; Listen & Live Audio.

Children's Titles Ages 8 to 12 was won by "The Graveyard Book", written and narrated by Neil Gaiman; HarperChildren's Audio.

Children's Titles Ages up to 8 was won by "James Herriot's Treasury for Children"; James Herriot, read by Jim Dale; Macmillan Audio.

Original Work was won by "Louis Vuitton Soundwalk: Beijing" by Stephan Crasneanscki, narrated by Gong Li; Louis Vuitton.

Audio Drama was won by "The Odyssey" by Homer, narrated by Tim McInnerny, Amanda Redman and a full cast; BBC Audiobooks America.

Audiobook Adaptation was won by "English Majors: A Comedy Collection For The Highly Literate" written/read by Garrison Keillor and cast, with special guests Billy Collins, Roy Blount Jr., Robert Bly, Donald Hall, Allen Ginsberg, and Calvin Trillin; HighBridge.

Package Design was won by "Founding Fathers", written by Arthur M. Schlesinger, read by Ira Claffey and Richard Rohan with package design by Margo Goody; Macmillan Audio.

Classic was won by "Great Expectations", written by Charles Dickens, read by British narrator Simon Vance; Tantor Audio.

Romance was won by "The Dark Highlander", written by Karen Marie Moning, narrated by Phil Gigante; Brilliance Audio.

Thriller / Suspense was won by "Child 44", written by Tom Rob Smith, read by narrator Dennis Boutsikaris; Hachette Audio.

Science Fiction / Fantasy was won by "Calculating God", a book by Robert J. Sawyer, read by Jonathan Davis; Audible, Inc.

Mystery was won by "Voice of The Violin", authored by Andrea Camilleri, read by narrator Grover Gardner; Blackstone Audio.

Short Stories / Collections was won by "Armageddon in Retrospect" by Kurt Vonnegut; intro read by Mark Vonnegut; read by Rip Torn; Penguin Audio.

Literary Fiction was won by "Elmer Gantry", a novel by Sinclair Lewis, read by narrator Anthony Heald; Blackstone Audio.

Inspirational / Faith-based Fiction was won by "Prague Counterpoint", written by Bodie and Brock Thoene; read by Sean Barrett; FamilyAudioLibrary.com.

Fiction Audie was a tie! This award was won by "The Duma Key", written by Stephen King, read by John Slatter; Simon and Schuster Audio. This award was also won by "The Guernsey Literary and Potato Peel Pie Society" by Mary Ann Shaffer and Annie Barrows, read by Paul Boehmer, Susan Duerden, Rosalyn Landor, John Lee, and Juliet Mills; Books on Tape.

Personal Development was won by "You Staying Young" by Michael F. Roizen and Mehmet C. Oz, read by Johnny Heller, Recorded Books.

Inspirational / Faith-based Non-Fiction was won by "The Word of Promise: Next Generation New Testament" read by Sean Astin and cast; Thomas Nelson Inc.

Business / Educational was won by "The Little Red Book of Selling" written and narrated by Jeffrey Gitomer; Simon & Schuster Audio.

History was won by "Gandhi and Churchill" by Arthur Herman, narrated by John Curless; Recorded Books.

Biography / Memoir was won by "The Last Lecture" by Randy Pausch with Jeffrey Zaslow, narrated by Erik Singer; Hyperion Audiobooks.

Non-Fiction was won by "Hot, Flat, and Crowded", by Thomas Friedman, narrated by Oliver Wyman; Macmillan Audio.

The competition this year was incredibly stiff, as was acknowledged by the Audio Publishers Association, and I'd like to congratulate all of the nominees on their achievements in pursuit of excellence.

Are you a fan of any books, authors or publishers listed here?

Leave a comment to congratulate your friends and colleagues!

Best wishes,

Stephanie

Ever heard of the Audies?

The Audies is the annual awards ceremony, hosted by the Audio Publishers Association, that honors people in the audiobook industry for their achievements in a variety of categories, representing the cream of the crop in every genre.

This year, I will be going to the Audies with David, and I wanted to be sure that I gave a special shout out to all Voices.com members and friends of our company who were nominated for an Audie award in 2009.

AUDIE NOMINATED VOICES.COM MEMBERS

Lovely ladies are lined up this year from Voices.com for Audies in the categories of Solo Narration - Female, Biography/Memoir, and History.

SNEHA MATHAN

Congrats to Sneha Mathan, nominated in the category of Solo Narration - Female for her work as narrator of The Palace of Illusions, by Chitra Banerjee Divakaruni; Blackstone Audio, Inc.

TAVIA GILBERT

I'm also happy to share that Tavia Gilbert has been nominated for her work narrating the memoir, The Middle Place, by Kelly Corrigan; Blackstone Audio, Inc.

KAREN WHITE

Congratulations are in order for Karen White, who narrated The Hemingses of Monticello: An American Family, by Annette Gordon-Reed; Tantor Media.

AUDIE NOMINATED FRIENDS

HILLARY HUBER

Hillary Huber, returning to the Audies, has been nominated this year for two Audie awards, including one audiobook in the category of Personal Development, What Shamu Taught Me About Life, Love, and Marriage, by Amy Sutherland; Blackstone Audio, Inc., and in the category of Science Fiction / Fantasy for her work on Sunrise Alley, by Catherine Asaro; Blackstone Audio, Inc. Congrats, Hillary!

FULL CAST AUDIO

Full Cast Audio is nominated 6 times, count them 6, nominations! Congratulations to Dan Bostick and his crew on this wonderful achievement. We met Dan and heard all about the wonderful things he and his business partner Bruce Coville are doing at Full Cast Audio when he spoke at the Voice Coaches Expo this passed May.

Nominated for 3 Audies is the audiobook, Fairest, by Gail Carson Levine; Narrated by Sarah Naughton; Full Cast Audio. Categories include Children's Titles for Ages 8-12, Teens, and Achievement in Production.

Another nomination in the Children's Titles for Ages 8-12, One-Handed Catch, by M.J. Auch; Narrated by Ryan Sparkes and a full cast.

In the category of Audio Drama, Sun moon stars rain, by Jan Cheripko; Narrated by Spencer Murphy.

Last but not least, a nomination in the category of Science Fiction / Fantasy for the audiobook, Skybreaker, by Kenneth Oppel; Narrated by David Kelly.

SCOTT BRICK & STEFAN RUDNICKI

Scott Brick, a member of our Voice Over Experts faculty, was nominated alongside Stefan Rudnicki and their cast mates in the Original Work category for their contributions to the audiobook, Metatropolis, by John Scalzi, Elizabeth Bear, Jay Lake, Tobias Buckell and Karl Schroeder. Narrators, in addition to Brick and Rudnicki, include Michael Hogan, Alessandro Juliani, and Kandyse McClure; Audible, Inc.

ADRIANA SANANES

You may remember a review I wrote recently about Adriana's narration work on the Brown Bear & Friends CD. Nominated in the Spanish Language category for her work on the audiobook, How The Garcia Girls Lost Their Accents, known in Spanish as: De Como las Muchachas Garcia Perdierno su Acento, by Julia Alvarez. Narrators joining Adriana Sananes on this project include Rossmery Almonte, Silvia Sierra, Laura Gomez and Rosie Berrido; Recorded Books.

MIGNON FOGARTY, GRAMMAR GIRL

My wordy friend Mignon, also known as Grammar Girl, has been nominated in the category of Business / Educational for her book (which she also narrated), Grammar Girl's Quick and Dirty Tips for Better Writing; Macmillan Audio. If you've ever wondered about how to use the English language properly, you should check out what Mignon has to offer at her website and listen to her podcasts.

For details about The Audies® and the Gala, visit the APA web site at www.audiopub.org.

The APA is a not-for-profit trade organization whose primary goals are to promote awareness of the audiobook industry, gather and disseminate industry statistics, encourage high production standards and represent the interests of audiobook publishers. Since 1986, the APA has worked to bring audio publishers together to increase interest in audiobooks.

Thanks for reading!

Stephanie

Herb Merriweather treats us to another article sure to pique your interest!

If you have ever wanted to make history while calling the shots, announcing at a championship sporting event may be just the ticket.

GGGOOOOOAAALLL! Announcing Sports Most Exciting Moments

By Herb Merriweather

Have you ever dreamed of announcing a World Series game? Or for that matter a Stanley Cup playoff match or a Super Bowl? Many of us- not just guys- have dreamed of hitting the game winner/buzzer beater, the match point and some have lived that dream. But what about the folks who put heart and soul into announcing these achievements and giving voice to history?

Many of the highlights and historical moments in sports have an amazing voiceover attached that not only defines victory, defeat, greatness and "goat"-ness, but it personifies all of these emotions.

And for one shining moment all of us fans-including that polished, stat-savvy broadcast professional- are screaming "We win!"

I recently watched an old interview with Hank Aaron and he was asked how he would describe (announce) his historic homerun. His "call" was incredible (and fun) and it made me wonder if other folks have ever stood at home or in the studio, during warmups and /or breaks and imitated their favorite sporting triumph or even "called it like you saw it". How would you describe a dramatic strikeout, a Wimbledon victory, Tiger Woods sinking another one...low key and professional, hometown exuberance or somewhere in between?

Some announcers have made a cool, level headed delivery their stock in trade while others have had a more fan-like approach leaning more towards the folks in the seats.
Although I haven't had the opportunity (yet) to be involved with that kind of event, I already know I'm a "fanboy" and there would be a lot of "Wow" and "OMG" in my delivery!

How about you? Just a little food for thought...

Herb Merriweather

©iStockphoto.com/Ferran Traite Soler

When a character's voice is first created, something special happens, and although it may be voiced by different people over the decades, takes on a life of its own.

Meet a few caretakers who were chosen to pick up where one of their colleagues left off, preserving each character as an individual with great awe and reverence.

The 3rd Voice of Mickey Mouse Takes His Final Bow

Many of you may have heard that Wayne Allwine, the most recent voice of Mickey Mouse, passed away on May 18, 2009 due to complications from diabetes at the age of 62. He and his wife Russi Taylor, the current voice of Minnie Mouse, met in studio over 20 years ago and were inseparable.

Although the two made quite a pair voicing the Disney icons (named as Disney Legends in 2008), they never lost sight of the fact that they were merely the stewards of a legacy, entrusted with taking care of Mickey and Minnie, humbly doing their work in the service of others to keep Walt Disney's dream, and the spirit of the characters, alive.

Russi Taylor, said of her dearly departed husband, Wayne Allwine, "Walt [Disney] used to say, he put the heart and soul into Mickey Mouse,". She noted that while Allwine was certainly proud to be the voice of Mickey Mouse, he was never boastful or arrogant. The couple, in fact, made a point of not using their Minnie and Mickey voices in public out of respect for the characters.

Taylor also shared, "We've always said we were the caretakers of these characters."

Voices of Mickey Mouse (years shown in duration of time as Mickey's voice):

Walt Disney (1928-1947)
Jimmy MacDonald (1947-1977)
Wayne Allwine (1977-2009)

To further the point of characters being their own people, in honor of his 50th Anniversary (November 18, 1978), Mickey Mouse became the first cartoon character to have a star on the Hollywood Walk of Fame. The star is located on 6925 Hollywood Blvd.

Bob Bergen, Voice of Porky Pig, Shares Experiences at Warner Bros.

Bob Bergen is the current voice of Porky Pig among other characters in the Warner Bros. Looney Tunes franchise, taking up where Mel Blanc left off. I asked Bob to contribute some insight into how he sees his role and what it means to him to be a caretaker for several characters who he now gives voice to.

~~

Contributed by Bob Bergen

I'm often asked if I feel a sense of responsibility voicing classic characters. The answer is, of course! It's always my ultimate goal to uphold the integrity of the characters. I will also say that none of us, including myself, can replace Mel Blanc. He was a genius. So much of who he was is in these characters. Just like so much of Jim Henson was in Kermit the Frog. My goal has never been to try to emulate Mel. My goal is to portray Porky, Tweety, Sylvester, Jr., or whichever Looney Tune I've been hired to voice as honestly as I can.

Often this is a challenge. Any actor is only as good as the writing. Every once in a while the writing doesn't work with the character. So, you just do your best. Fortunately, most everyone I've ever worked with at Warner Bros. has been open to ideas and suggestions. "Can I try this a different way?" "Porky wouldn't stutter on that word," etc.

I find it a privilege and an honor to voice these characters. I don't take it for granted. And I have the utmost respect for the legacy of the creators, from Mel Blanc, to Friz Freleng, Chuck Jones, etc. These characters are a conglomerate of a creative mixed marriage. I'm thrilled and humbled to be a part of the family.

Bob Bergen

Are You a Character Voice Caretaker?

It's so very important that the people who take on these roles have a profound respect for those who went before as well as the character itself. People like Bob Bergen, Wayne Allwine and Russi Taylor have set a phenomenal example of what it means to preserve and venerate their characters for generations of families to enjoy now and for years to come.

I invite you to share your story if you have inherited a voice acting legacy.

Also, if you would like to talk about someone's work that is now living on through other voice talent, you're welcome to share those memories, too. Artists may also feel this kinship with other animators, so if you are in that boat, I'd love to hear from you.

Looking forward to your stories,

Stephanie

Randy Thomas and Peter Rofe, co-authors of "Voice For Hire", are having a book signing and workshop hosted by the Washington, DC-Baltimore AFTRA/SAG Conservatory on Saturday, June 13th 2009.

Learn some interesting things, be directed by top talent and get your own complimentary autographed copy of Voice For Hire.

Opportunity to Train With Randy Thomas and Peter Rofé

Randy Thomas and Peter Rofé will discuss voice over technique, microphone technique, terminology, script breakdown, and marketing strategies. Each student will be worked with individually to explore the rhythms and pacing of commercial copy, resulting in a real, intuitive "read".

Specifically, learn how to get to the next level as you explore:

♣ Marketing savvy, and how the secrets of branding can help set you apart and attract big paychecks.
♣ New ways to land big-time gigs.
♣ Strategies to grow your voiceover work to a sustainable income
(and give up your day job).
♣ The art of attracting agents in this increasingly competitive business.
♣ The current state of the voiceover industry, where it's headed . . . and more.

Discover how to:

♣ Enhance your copy interpretation skills.
♣ Understand the secret to booking more auditions.
♣ Learn how to be seen as a top-notch talent with a bankable range of reads.
♣ Build a bigger client base with the home studio of your dreams.

To attend this event, you must be a member of AFTRA and/or SAG in good standing and must register and pay for this seminar in advance. The cost is just $50.00 (prepaid), and your registration fee includes the seminar and an autographed copy of their new book, Voice for Hire: Launch and Maintain a Lucrative Career in Voiceovers.

Details:

Topic: "How to Become Successful in the Voiceover Industry"
Who: Randy Thomas and Peter Rofé
When: Saturday June 13, 2009 from 7 p.m. to 9 p.m. (one night only)
Where: St. John's Episcopal Church, 6701 Wisconsin Avenue, Chevy Chase, Maryland

To make your reservation and receive your PayPal payment instructions, please contact Carolyn Bell at Carolyn@carolynbell.com or (703) 914-2769. 

Have you read Voice For Hire?

Comment if you have found Randy and Peter's book to be of use or inspiration to you!

Best wishes,

Stephanie

Creating characters, while fun in itself, provides a real opportunity to stretch your imagination and vocal versatility.

People watching is one way to conduct your research as you build a repertory of characters.

Going to different places to seek out interesting people to study often yields more than what you bargained for!

That being said, where is the strangest place inspiration has struck you to create a character voice?

Location, Location, Location!

Just short of a week ago, I happened to see something Connie Mustang posted asking about the strangest place you've visited to research creating a particular voice.

Connie Mustang shared, "I've been to Bingo games, yes I said Bingo games, to study elderly voices and was surprised to find bingo callers also have vocal personality. It can be quite amusing, but be forewarned, it can also put you to sleep. Beware: Seniors take their Bingo VERY seriously!"

Where's the strangest place you've created a character voice?

I'm really interested to discover more about this! Looking forward to hearing your answers!

Best wishes,

Stephanie

©iStockphoto.com/Lisa Kyle Young

Traditionally, people known as Triple Threats have been performers who can sing, dance and act, but what if there is a new Triple Threat on the horizon?

The trend in casting lately is to not only pick people who are very good actors for roles, but, to also prominently feature actors who have great voices for the character roles they are playing.

With song and dance stepping to the side, and new variables coming into play, one has to ask:

Is the new triple threat acting ability, looks and voice?

Find out!

Triple Threat

Typically when we refer to a Triple Threat in cinema, theatre, or on Broadway, it's someone who can:

๏ Sing
๏ Dance
๏ Act

Acting is the cornerstone and is the most important of the three.

In a musical production that has a lot of dance numbers, it is not uncommon for a casting director to choose an actor who can dance better than they can sing for a role instead of choosing an actor who sings better but isn't as strong of a dancer.

Likewise, if there is minimal dancing but lots of singing, the actor's ability to sing will overshadow their dance skills. One nearly always trumps the other in casting with regard to singing and dancing, however, acting is never, or at least shouldn't be, trumped by either of the other two.

For a moment, let's set that compound aside and consider what may very well be the new, modern version, at least in Hollywood, of the Triple Threat.

The new Triple Threats are people who possess:

๏ Acting Skills
๏ Good Looks or Striking Appearances
๏ Attractive or Unique Voices

One could argue that looks, that is to say physical appearances fitting the description that a director has in mind for their character, is an honourary fourth element of the original compound, but never before has it been so commercially desired, and for that matter, never before has there been such an emphasis placed on the quality, texture and versatility of an actor's voice on-camera.

After some thought, it occurred to me that a new Triple Threat was taking shape right before our eyes, and while not entirely replacing the original for obvious reasons where it is still king, the new Triple Threat is settling into its own in casting talent today for on-camera work.

Why a New Triple Threat?

Acting has always been the most important element of the compound which is why it has remained first and foremost on my new list, but you might be wondering, why lose singing and dancing?

Since most of our entertainment and favored cinematic productions nowadays have very little to do with singing or dancing, unlike films made several or more decades ago that were rooted in musical theatre tradition, the need for talent with those two specific skill sets has been replaced with what is necessary in the present, which now includes how an actor is able to use their speaking voice and their physical appearance.

As superficial as it sounds, looks, whether an actor be handsome, beautiful, or just what was required for the role, are very important factors in casting the right person. A prime example is casting for the recent Star Trek movie (released in theatres May 2009).

When casting for this film, the producer J.J. Abrams and his team went to great lengths to find actors, who in addition to their acting skills, embodied very particular physical and vocal traits. Perhaps the most dead-on casting decision was to cast Zachary Quinto as the young Spock, nearly a doppelganger for Leonard Nimoy measure for measure in physicality and vocal prowess.

If you've been thinking that perhaps I've allotted too much gravity to looks, remember that it's not necessarily the most good looking actor or actress who will get the role... it's more to do with if their appearance and artistic interpretation fits the vision of what the director is looking for when casting a particular character. Sometimes this is preordained and dictated by details in a book that a movie is based upon where an author describes what the character looks like, or, it's based upon a previous production and is paying tribute or homage to someone who filled the role beforehand.

Could Scarlett O'Hara have been cast as a towering blond with a husky voice? No! That would have gone against what Pulitzer Prize winning author Margaret Mitchell wrote when first describing the protagonist in her novel, Gone With The Wind (1936).

Would it have been the same if Harry Potter was cast in the movies to be a muscular chap who spoke with an accent that was decidedly not British?

Again, I think you'll find that certain characteristics are defined ahead of time, and to stay true to the book, or in some cases, a playwright's original work, these details are given special consideration when casting for a role.

But, Why Has Voice Become So Important?

While our community is biased to say the least, believing that voice has always held a fundamentally significant post in casting, the mainstream media and people outside of our industry are just discovering how much impact voices can have in entertainment and beyond.

The voice conveys more than mere words alone can say.

Just take a look around! With the success of audiobooks, cartoons, animated films, video game voices in games with speaking roles, movie trailers, and films showcasing talent who have voices and deliveries on par with their acting skills, fantastic voices have become more than just a nice thing to have if it happens to comes your way but a requirement for creating a production that people who are accustomed to excellence in entertainment will consume and enjoy.

That's to say nothing of selecting particular voice characteristics in talent for voice over in television and radio commercials, promos, station identification, telephony, podcasting, business presentations and more.

So, given the increase in popular consumption and bars raised for producing entertainment unparalleled in these areas of import, it's literally a no-brainer that voice would rise to the occasion and become a fundamental component of the new Triple Threat.

The Floor is Open!

Can you think of a role that you've seen recently where someone was a Triple Threat of the new school of thought?

Is there anything that you'd like to add?

Looking forward to this discussion! If you are reading on the blog, you're welcome to comment below. If you are reading this in your email, click here to read other comments and join the conversation online.

Best wishes,

Stephanie

©iStockphoto.com/Rich Legg

Star Trek is known for a number of things, but have you ever considered "Voice" to be a strong point for the franchise?

In this article, we're going to look very closely at how voice has been used in Star Trek, specifically at how J.J. Abram's film uses voice, and also reflect on how voices from previous series have figured prominently in the shaping of today's crew.

Voices in Star Trek

Something that I've noticed lately, and we'll get into this more in a future article, is just how important the casting of someone with a great voice is in addition to their ability to perform and their physical attributes.

Want an example? Just listen to some of the spectacular voice talent cast for the newest Star Trek movie.

The actors chosen for the film had great voices in addition to delivering formidable interpretations of their characters.

In particular, I'd like to highlight vocal performances by Zachary Quinto (Spock), Chris Pine (James T. Kirk), Anton Yelchin (Chekhov), Simon Pegg (Scotty), Karl Urban ("Bones" McCoy), John Cho (Sulu), Zoe Saldana (Uhura), and Eric Bana (Nero).

Zachary Quinto as Spock

Zachary Quinto (b. 1977), is as many have noticed, the breakout story on this film. Well known for his work as Sylar on the television series "Heroes", Quinto may now be better known the world over for his role as Spock in the new Star Trek movie and its sequels to come. In addition to an uncanny resemblance to Leonard Nimoy, Quinto's voice shares many qualities with Nimoy's such as its warm depth, ability to soothe and versatility. As a result of being cast in the show "24" as Adam Kaufman (acting in 23 episodes during 2003-2004), he has also recorded voice over work in the video game of the same name. Zachary Quinto has also been on Robot Chicken in the episode "Bionic Cow" (2008) voicing Sylar.

Quinto's most notable voice over work to date is the narration of the Star Trek movie novel adaptation written by Alan Dean Foster, based on Roberto Orci and Alex Kurtzman's screenplay, an 8.5 hour long, unabridged Star Trek audiobook released by Simon & Schuster. This narration includes parts of the story that were not shown in the movie. You can listen to a sample of the audiobook by clicking the link two sentences before this one.

Chris Pine as James Tiberius Kirk

When Chris Pine (b. 1980) was announced as the new Captain Kirk, I think a lot of people were holding their breath to see if he could measure up to the legendary performances of Canadian-born actor, William Shatner. It wasn't until I saw several, if not a dozen, different clips promoting the film that it became clear that Pine was up for the challenge complete with charisma, spirit, a satisfying interpretation and fantastic vocal delivery in a comedic style reminiscent of The Shat. I'm not sure if Chris Pine had to manipulate his voice much for this role, as it's the first film I've seen him in, but his efforts in that realm were appreciated.

To date, credited voice over work performed by Chris Pine includes Quantum Quest: A Cassini Space Odyssey as Dave. Interestingly enough, William Shatner has also signed on to voice a character named Core on this project!

Anton Yelchin as Chekhov

Anton Yelchin (b. 1989), was born in Leningrad (now St. Petersburg), Russia and emigrated to America with his parents at the age of 6 months. Yelchin had an interesting time interpreting the original accent performed by his Chekhov predecessor, Walter Koenig. Imagine having to pronounce all those words with W's instead of V's, for instance, words such as "vessels" would become "wessels", "very strange" becomes "wery strange", and "Vulcan" becomes "Wulcan".... you get the idea! Having a pleasant voice already, the challenge for Yelchin was to deliver a flawless linguistic performance and he executed quite nicely.

Simon Pegg as Scotty

While we're on the accent and dialect train, I happened to read an article in the May 2009 issue of the magazine "Famous" called "Space Cadets" by Jim Slotek. Slotek discovered that Simon Pegg (b. 1970) had befriended the late James Doohan's (original Scotty) son Chris and chose to slightly shift his character Scotty's accent from Aberdeen to Glaswegian. Pegg shared, "Half of my family is Scottish and my wife's Scottish. I had some leeway, and I made Scotty's accent Northwestern Scottish - just above Glasgow, but pretty Glaswegian."

Simon Pegg has recorded a number of voice overs, most recently The Adventures of Tintin: The Secret of the Unicorn as Inspector Thompson (post-production for release in 2010) and Ice Age: Dawn of the Dinosaurs (post-production for release in 2009) as Buck.

Karl Urban as Dr. Leonard "Bones" McCoy

There was no denying that Karl Urban (b. 1972) embodied more than just the physical presentiments of his forerunner in the original Star Trek as "Bones" McCoy... he also sounded amazingly like the original Bones, DeForest Kelley! A challenge for him, having such a deep respect and love for Kelley's work, was to find the spirit and essence of the character and funnel it through what his interpretation of a younger version of that character would be, considering it a gift as an actor to receive a character (Bones in particular) with such polarity between what he says and does.

If you were to hear Urban speak naturally, he has a New Zealand accent as he was brought up in Wellington, NZ and now lives in Auckland. He is also a close friend of actor Viggo Mortensen, a co-star in Lord of the Rings. I think the real beauty of this performance, aside from the obvious voice match, was the American accent Karl Urban was able to perform convincingly throughout the film and his interpretation of classic lines like "I'm a doctor, not a (fill in the blank)!"

While most of Urban's work is on-camera, he has done some voice over as well, namely in the video game The Lord of the Rings: The Third Age (2004) as Eomer and some uncredited voice over work in a first shooter fighting sequence in the video game Doom (2005).

John Cho as Sulu

Jumping into the role of Hikaru Sulu, first played by George Takei, actor John Cho (b. 1972) was born in Seoul, South Korea and was raised in Los Angeles. In the same interview as before, Cho revealed, "I was nervous about stepping into his shoes, but in his typically magnanimous fashion he said, 'In a couple of years, people are going to call me the older version of you.'" That's not bad when you take into account the vast array of credits Takei has, including a body of voice over work.

John Cho's previous voice over work includes an episode of Kim Possible called "Exchange" as Hirotaka and some voice over work on two episodes of Static Shock.

Zoe Saldana as Uhura

Zoe Saldana (b. 1978), one of the lone females in the film, did a superb job donning the role of Uhura. In a video interview I watched of her, Saldana related that the character was a favorite growing up and brought her own interpretation to the role. While there is no documented voice over work in Zoe's resume that I could find, I thought it would still be nice to give her a mention in this article.

Before Star Trek, one of her notable roles in film was Anamaria in Pirates of the Caribbean: The Curse of the Black Pearl (2003).

Eric Bana as Nero

Last but not least, wasn't this an incredible performance! Eric Bana really knows how to play the bad guy and his role as Nero was sterling. The role of Nero, a Romulan, required him to look quite different, with a shaved head, tattooing, and so forth, but something that I noticed even more than his physical presence was his voice. What a voice! Before he even took shape, he had that voice, ominous, gravelly and robust. It's the kind of voice that when used in the right way can give you the shivers. Bana did a wonderful job using his vocal mastery and on-camera experience to project a sinister, warlord type bent on destroying the Federation.

Some of Bana's previous voice over work includes roles in Mary and Max as Damien, and in Finding Nemo as Anchor.

What Do You Think?

I'm interested to hear your thoughts. If you're reading this on the blog, comment below. If you are reading this in your email, click here to get to the blog and comment online.

Best wishes,

Stephanie

P.S. Although I would loved to have included more characters and actors in this article, I had to draw the line somewhere! An honourable mention for Canadian-born actor Bruce Greenwood, who played Captain Christopher Pike, is in order. His voice was splendid in the trailers when used and gave a warm, authoritative presence to the film in a fatherly way.

Released in theatres on May 7, 2009, the newest Star Trek movie to grace the silver screen, directed by J.J. Abrams, received rave reviews from established fans and new Trekkies around the world.

While the plot features younger versions of the iconic characters from the 1960s television series, the movie paid homage to the franchise by casting a remarkably brilliant ensemble, including casting Leonard Nimoy as the older Spock, and maintaining one common element in particular that was omnipresent audibly throughout the entire Star Trek journey... Majel Barrett's (Gene Roddenberry's widow) voice as the computer.

I'd like to share some of my thoughts about Majel Barrett and explore more of her work here today with you on VOX Daily.

The First Lady of Star Trek

If you are a diehard Trekkie, you probably know that Star Trek's creator, the late Gene Roddenberry, chose his wife, the recently deceased Majel Barrett (whom he married in 1969), to be part of the Star Trek franchise, both onscreen in the original series in the first pilot episode as Number One, going on to star in the series as Nurse Christine Chapel, accompanying Bones McCoy, but also as the voice of the omnipresent computer helping the crew to navigate the final frontier where no man had gone before on the Starship Enterprise.

For continuity's sake, and in the process building a legacy, Majel (pronounced "Mabel") Barrett's voice lived well beyond the first Star Trek series, featured prominently as the voice of every computer thereafter in the Star Trek television series and in the majority of the Star Trek movies, also voicing a part in the 11th Star Trek movie, recording lines for computers up to within weeks of her death at the age of 76 of leukemia on December 18, 2008.

In all, Majel Barrett was the voice of the computers in:

The original Star Trek as voice of The Enterprise Computer (1966-1969)
Star Trek: The Next Generation (1987-1994) as voice of the Enterprise Computer
Star Trek: Deep Space Nine (1993-1999) as voice of the Federation Computer
Star Trek: Voyager (1995-2001) as voice of the Voyager Computer
Star Trek: Nemesis (2002) as voice of the Enterprise Computer
Star Trek: Generations (1997) as voice of the Enterprise Computer
Star Trek: First Contact (1996) as the voice of the Enterprise Computer
Star Trek: Borg (1996) as the voice of the Federation Computer
Star Trek: Judgment Rites (1993) as voice of the Enterprise Computer
Enterprise (2005) as the voice of the Computer
Star Trek: New Voyages (2007) as voice of the STNV Computer
"Start Trek" (2009) as voice of the Starfleet Computer aboard the USS Enterprise

7 Little Known Facts About Majel Barrett Roddenberry's Voice Over Work:

1. There was a Star Trek: The Animated Series, (box set released in 1973) in which Majel Barrett recorded voice over for Nurse Christine Chapel, Lt. M'Ress, Amanda Grayson, the Enterprise Computer, Briel, Rila/Aquan Female, Slaver Weapon Computer, Randi Bryce, Lara/Vedala Female, and of course, Additional Voices.

2. Majel Barrett Roddenberry was also the voice of the computer on the game, Star Trek: The Next Generation Interactive Technical Manual (1994).

3. She was the voice of the Federation Computer on the Star Trek: Deep Space Nine Companion (1999) and the voice of the Federation Computer on Star Trek: The Next Generation Companion (1999)

4. Majel Barrett Roddenberry was also the computer voice on an episode of Family Guy on "Emission Impossible" (November 8, 2001).

5. Majel Barrett Roddenberry was the voice of Anna Watson on the Spider-man cartoon series (1996-1998).

6. Some of Barrett's final voice over work is still in post-production to be released this year in an animated production called "Hamlet A.D.D." credited as Majel Barrett Roddenberry, playing the voice over role of Queen Robot.

7. Even though her voice over work on Star Trek as computer voices was omnipresent, Barrett's voice over work went largely uncredited in a number of instances.

Any Comments?

I hope that this article will draw attention to the immense contribution Majel Barrett Roddenberry made over the 4 decades she was involved with the Star Trek franchise.

Even though this article is fairly exhaustive, I know that there are likely pieces of the puzzle that are missing that you can add! I'm interested to hear from fans and voice over people alike.

If you have any remembrances or insights that you'd like to share about Majel Barrett Roddenberry's work, please add your thoughts as comments below.

Best wishes,

Stephanie

Have you ever been really congested, stuffy or full of phlegm?

These symptoms are annoying, and if you're a voice over professional, are an especially costly nuisance that can tamper with your voice and livelihood.

What can you do about it?

While I'm not a doctor, and haven't played one on TV, I've found that one recipe in particular has helped to drain the sinuses, help ward off viruses and get rid of thick, disgusting mucous in your throat that I'd like to share with you, courtesy of voice instructor, Susan Eichhorn Young.

Being Sick Sucks

When you're up, you're up, and when you're down, you're down. Isn't it amazing how one little cold can go a long way to wreak havoc with your voice?

I have been suffering from a cold that started roughly one month ago that is now just finally eradicating itself which I attribute to many out-of-the-ordinary networking activities I participated in over the course of a busy, tiring week.

When visiting my family doctor several weeks ago, I discovered that I had an ear infection, lots of congestion, and was also the reluctant owner of a mild cough. He remarked that he had seen more people who were sick in the month of April than he had throughout the entire winter.

Something was definitely making the rounds.

I was prescribed some medication to help (which did clear out the ear infection), but I was still left with a persistent cough and nasal congestion.

This coughing, which was intolerable, rendered many of my conversations painful. I also blew my nose far too hard on one side and ended up, in conjunction with the cough, stretching an intercostal muscle. Needless to say, that's a painful lesson!

Your intercostal muscles are muscles found in between your ribs. If you hurt or stretch one of these muscles, it becomes difficult and painful to cough, sneeze, laugh, and even breathe comfortably. You may also find that your mobility is limited, not because your arm is infirm, but because lifting the ribcage is a painful process to endure.

Having said all this, I feel that I could have done something earlier in addition to what I took medicine wise to perhaps prevent the stretching of my intercostal muscles and in due course, shortening the time of my cold overall...

Feeling Better Tips for Voice Actors and Singers

To give you some background, I studied at the University of Western Ontario at the Don Wright Faculty of Music, graduating with a Bachelor of Musical Arts. My instrument, as you may have guessed, was voice.

Years of training as a classical singer have paid off, but so has listening to a trusted and beloved teacher!

For a number of years, I studied privately with Susan Eichhorn Young when she was on faculty at UWO. Susan is a Canadian soprano and voice teacher currently teaching voice at CAP21 in the Musical Theatre Studio in the Drama Department at NYU's Tisch School of the Arts, and lives in New York City with her husband, Thomas Young, tenor and member of the celebrated trio, Three Mo Tenors, Cook, Dixon and Young.

It was because this cold that I was inspired to ask her once again for her recipe.

A Liberating Recipe For Banishing Congestion

Susan has this amazing remedy that just drains all the gunk out of your sinuses to breathe easier and free yourself from feeling like something the cat dragged in. It's a very easy, inexpensive recipe to make and I've included it here for you to try:

What you'll need ingredients wise:

One ginger root
2 Lemons
Water

Directions:

1. Get a nice big pot and put it on the stove.
2. Fill the pot with water.
3. Cut up an entire ginger root and 2 lemons (with the rinds included).
4. Bring the mixture to a slow boil; simmer and cover.
5. Let it is get mushy!
6. Strain the liquid, drink... and feel fabulous!

This works nearly every time. If you are feeling yucky, icky or simply need to cleanse your instrument, perhaps you might try this recipe.

New York City, Midtown Manhattan to be precise, is very fortunate to have Susan living and teaching there. As a voice actor, it doesn't hurt to get some singing or theatrical training. I don't give recommendations often or freely, however, I do recommend that you look Susan up if you're interested in improving your singing, breathing techniques, building the core of your voice, auditioning, or acting and interpretation, exploring different aspects of your voice that you never knew existed while developing a wider range.

You can also follow Susan Eichhorn Young on Twitter.

Have You Been Sick Lately? What Have You Done to Get Better?

Looking forward to hearing from you,

Stephanie

If you've been in voice over for any length of time and are doing well, you may have run across situations where your client has made you sign a non-disclosure agreement (NDA) or advised you not to share that you are the voice of their campaign, product or company.

Although you may have had to sign one, have you ever thought about why you were asked to and what the motivation behind that request was?

This article covers a number of reasons why non-disclosure agreements could be used in voice over contracts. If I've missed one, let me know!

NDAs

An NDA (non-disclosure agreement) is a confidentiality agreement, usually between two parties, that is signed agreeing not to disclose certain details of a business deal, which can often include clauses that prevent individuals from sharing that they have even worked together.

Could NDAs Be Used to Fuel the Fire of Fanatical Debate?

In our industry, a lot of high profile work goes uncredited in a public sense, for example, commercial campaigns for Apple's iPhone TV commercial that aired in 2007. One report said it was the voice of John Krasinski of the hit television sitcom, "The Office". When we covered this story, (it was just breaking), all of a sudden people started popping out of the woodwork denouncing the claim, strongly suggesting that someone else, a Glenn Martin who worked for Apple, had recorded the voice over, not Krasinski.

So, like any good journalist would do seeking truth, I set out to contact Glenn Martin's agent and also telephoned Apple's public relations department to get a confirmation. The agent never responded to my email to confirm and Apple's lips were sealed, not confirming or denying who the voice was.

After more research, I found that Glenn Martin did at the time have an Apple spot on his demo, however everyone in a position to officially confirm the information was mum on the subject.

Perhaps allowing the controversy to continue brewing worked more in their favor than actually confirming who it was because it kept their brand and commercial alive in discussions on the topic, with people on both sides of the argument passionately asserting their opinions.

NDAs Can Be Used to Serve and Protect

There are instances where NDAs are used to keep something under the radar, including the contents of the script, in order to protect someone or a particular group of people. One such example can be found in the expert panel discussion at the 2009 Voice Coaches Expo when it was said that a friend had recorded voice overs for a branch of law enforcement specific to prison guard training. By not revealing the contents of that script or potentially the name of the artist, an entire profession is protected because that information is not disclosed.

NDAs Enforced For Corporate Preservation

Sometimes NDAs are used from a competitive standpoint, hiding the identity of the voice talent, producing an incognito VO as a result. One example that I can think of is how America's Republican Party, during John McCain's run for the presidency in 2008, chose to conceal the identity of their campaign voice "Joan", stating that her identity was a corporate secret.

We'd Rather Nots for Intrigue, Mystery and Awe

You may find that you are not bound to an NDA legally but there is still an air of, "We'd rather you didn't promote the fact that you recorded this," which makes you hesitant to claim the work as your own or mention it in detail on your resume. While there are no technical or legal restrictions, you may feel bound by your desire to keep working for the client and agree to not list them among your recent customers. By not openly revealing who did the voices for something, a company may be trying to maintain an air of mystique, or perhaps, magic.

Disregard For Credit Where Credit is Due

If you find none of the above were the case but you still were not credited for the work (assuming it would have been reasonable to do so), there is reason to follow up and see if it was an oversight. Recently, I reviewed an audiobook that upon first glance, had hidden tracks. To my delight, I excitedly wrote about the extra material that I considered to be a bonus and contacted the voice talent to congratulate her on her work, only to find out that she, although featured narrating 4 tracks on the CD, had no idea that her work had gone uncredited on the CD packaging and on the publisher's website. This product had also been nominated for a Grammy! Upon this realization she decided to follow up with the producers to inquire to see if it was indeed an oversight. Considering her talent and involvement in the project, I sincerely hope that is was an oversight.

How About You?

Has something similar happened to you in an instance where crediting talent is customary? Check it out and see if you can resolve the issue! That's one great way to get recognition for your work that goes beyond a paycheck.

If you have any comments that you'd like to add about your own experiences, or comments to do with the article in general, you're welcome to join the conversation with your thoughts.

Best wishes,

Stephanie

©iStockphoto.com/RickBL

When you go to a recording studio for the first time to work with their crew, there are a number of ways you can make a good first impression so that you're asked back again like being prompt, sensitive to direction, gracious and friendly, but what about other gestures unrelated to your performance and punctuality?

Recently, it was referred to on an expert panel at Voice Coaches that cookies and cheesecake were brought to a recording session, appreciated by all at their office.

Sounds good, doesn't it?

While cheesecake may be be a bit much, what might you bring to make a good first impression to a studio session?

Is Bringing Treats Acceptable?

Someone who had read the expert panel discussion emailed me and asked if I thought bringing cookies or cheesecake was ridiculous, a distraction or welcome, to which I replied, "I can see cookies being welcome so long as they are peanut-free. I know that if someone brought me cookies, I'd be happy! Likely it depends on the people working on staff. If you know them well enough, do what you think they'd appreciate. If it's your first session at the studio, bringing some cookies or the like would be memorable and also make a good impression, demonstrating thoughtfulness and generosity."

I imagine there are people who bring coffee, donuts and the like. If someone came to my office with Tim Horton's or something special that I didn't anticipate, I'd certainly be grateful for the unexpected gift and remember that down the road.

It wouldn't set a precedent, mind you, but it is always nice to be surprised when a person does something out of the ordinary that makes you feel special.

Remember, people may forget what you say, but they'll never forget how you made them feel.

Have You Done Anything Similar in the Past?

Do you make a habit of bringing something to sessions to share or do you find that doing so is unnecessary or unwelcome?

Looking forward to hearing from you!

Best wishes,

Stephanie

©iStockphoto.com/Lynn Seeden

Have you ever been on the Walt Disney World or on the Disneyland Monorail System?

When David was away on business presenting at a conference in January, he happened to stay at a Walt Disney World resort and ride on the infamous "Monorail". His experience inspired me to dig a bit deeper into the voices, past and present, of Disney's Monorail.

There's a lot of good information here but what I'm missing are your memories!

If you have anything you'd like to share about the monorails at Disney or are simply curious to learn more, read on!

Disney's Monorail

I asked a number of people to share just about anything they could think of regarding the monorail and the voices on it. Elli TheKingofBroadway referred to this Wikipedia listing about the Disney World Monorail System, as did Caryn Clark, which I've quoted a paragraph or so from below:

"The Disney monorail system uses a set of pre-recorded announcements to instruct and entertain passengers.

Prior to departure, a recorded announcement asks guests to 'please stand clear of the doors; por favor manténganse se alejado de las puertas.' One of the most known phrases within the resort, it was recorded by Jack Wagner (1925-1995), who was known as 'the Voice of Disneyland.'

Disney employee Matt Hanson replaced Jack Wagner. Hanson is still (as of 2004 at any rate) with the Walt Disney Company.

During the system's early years, the trains featured Wagner's narration of the sights and scenery along the way, as well as information on special events, the resort, and the monorail system itself. Since that time, other announcers have provided these narrations, yet the 'stand clear' announcement remains in Wagner's voice. This is at least partially due to the fact that the audio for the doors is generated via a separate system than that for the rest of the narrations."

Disney monorail works will often refer to these recordings as "spiels".

You can hear Jack Wagner's Disney Monorail voice recordings here.

While we're on the topic, voice talent Alex Verde, has performed one of the voices on the Disneyland Monorail.

Disney Monorail Voices : For The Record

There wasn't a lot of information out there about the voices specifically, but with some help, I stumbled upon a thread of discussion at a site called Hidden Mickeys that explores little known, fun facts about the theme parks.

I thought you might find this comment particularly interesting as it gives you some background on how Jack Wagner recorded the voice overs as well as other intriguing details.

Statement made by Jack Bohannan on Hidden Mickeys

I would like to set the record straight on the voice. Throughout the 1970's and into the 1980's the voice heard on all Disney monorails, as well as most all the voiceover work for all the parks was the legendary "Voice of Disney", Jack Wagner.

I have had the privilege of working with him many times through the years.

One interesting side note is that Jack's home in Southern California was one of the first uses for a direct audio link from a remote recording studio. It was put in by Disney in the 70's and connected a voiceover booth in his home to Studio D at Disneyland in Anaheim. He frequently would receive last minute calls for special events and was able to just walk over to the booth and "beam" it directly to the park. Anyhow, with the amount of work that Florida was generating after Epcot and the Studios opened, plus the fact that Jack wanted to head towards retiring sometime, other voice talent was sought out locally in Florida.

There have been several people used in voiceover work since then, one of them being Kevin Miles, who is one of the original members of the Voices of Liberty at Epcot, and can still be heard there daily. Kevin recorded the monorail voiceovers after the Grand Floridian was built, and his voice was still there until the 25th Anniversary rolled around, when it was updated by one of the new voiceover talents.

The amount of voiceover work at the parks now is astronomical, and it is shared by a couple of people who have "the voice", including Kevin. Interestingly enough, though, Jack's voice can still be heard welcoming everyone to Orlando on the monorails at the airport terminals.

Tom Bohannan, quote from the HiddenMickeys.org site, added July 25, 1997.

Like Father, Like Son

When looking for more information about Jack Wagner, I came across a Jack Wagner tribute that included this tidbit about his son, Mike Wagner:

"Born in 1953, Mike is almost as 'enthusiastic' about Disney as his dad. Although his profession is radio broadcasting, he still would make Voice Overs for the Disney Theme Parks (he also did the V.O. narration for the Disneyland and Walt Disney World Forever kiosks).

Many visitors and cast members call him the 'voice of Disneyland Paris'.

Funny to note, that the former french Park Management thought his voice would be too 'American' and rejected his offer to make the voice-overs. In 1995 Jay Smith would ask him again and Mike agreed.

Unfortunately Mike left Disneyland Paris on January 28th 2000, and became the director of the french radio station 'Nostalgie La Legende'.

In DLP Mike Wagner can still be heard as an announcer for parades like Imaginations Parade and Wonderful World of Disney Parade."

You can hear Mike Wagner's Disney recordings here.

Do You Have Memories of the Monorail or Trivia You'd Like to Share?

Did you grow up hearing these voices? Do you have something else you'd like to add to this conversation?

Leave a comment!

Best wishes,

Stephanie

Image via castevens12's photostream on Flickr.com, Some Rights Reserved under Creative Commons

Have you ever heard that it's the journey that matters, not just getting to the destination?

You may find in your travels that going to events issues opportunities to learn, to admire and reminisce in a beautiful and historic setting, combining voice over with the local culture.

Voice talent Linda Ristig shares her experiences in the American city of Schenectady, NY. By setting aside time to explore her surroundings, Linda was introduced to people, places and things within the city gates, connecting with her in meaningful ways.

A Voice Over Guest Perspective

By Linda Ristig

I'll admit, I didn't even know how to spell Schenectady, let along pinpoint where it was located in New York somewhere, until I read about the Voice Coaches Technology + You = Opportunity Marketing & Networking Event 2009 through Stephanie Ciccarelli's Vox Daily blog a month or so ago. After becoming aware of the impressive list of guest speakers, I felt compelled to be part of the learning curve. When I checked our family calendar, I knew the May dates for the weekend conference would fit into my schedule.

But what I gained from that experience went far beyond the various topics discussed. Through the last several articles on this site, you've read an amazingly and accurately thorough analysis of what pearls of wisdom the speakers addressed. But there was so much more...

When I arrived at the Albany airport, I spotted a poster of a Science Museum located in Schenectady. Within minutes, a delightful Capital Cab taxi driver, Mike, explained with his NY accent, that I'd enjoy my stay in Schenectady, since I'd be staying at the Parker Inn. He began to tell me a bit about the history of the town, in relationship to electricity and the settlement by the Dutch. He showed me several beautiful photos he had recently taken of tulips, and wished me a pleasant visit.

Now, it's my nature to have a sense of wonder and curiosity about the world around me. After checking into the hotel, I rode the wrought iron encased elevator to the fifth floor. Only four rooms were on my level, and I was entranced. The room was spacious and beautifully appointed. Back down I flew to desk to ask directions to the local science museum. It turned out it was only a few blocks from my hotel.

Off I trekked to the Schenectady Museum & Suits-Bueche Planetarium, Science Center of Tech Valley. I found out that Thomas Edison arrived in the town in the 1880's, and was involved in founding the company all of us recognize, General Electric. There were so many industrial inventions and interactive displays within the museum. My husband's grandfather had the first radio shop in Washington, D.C., so I recognized the oscillating fan and old time radio that we have at home, on display there! I learned about the locomotives that were manufactured in the factories. During WWII, those foundries were altered so they could produce a tank in 19 days, with half of the workers being women. I learned also about the war between Edison and Tesla over AC and DC current. There was so much to see, but I only had an hour.

When I went to the section that predated the industrial revolution, one word jump out at me. Mohawk. The original settlement was located on the Mohawk River, founded back in the 1600s. I graduated from Mohawk High School, PA! I knew I needed to find that river! I learned about the Stockade Walking Tour of the historical buildings because of a kindhearted informative museum docent. She showed me a brochure, and explained that if I liked architecture, I wouldn't be disappointed.

I needed to zip back to the hotel to change for the Expo's Meet and Greet. I should mention that my hotel connected to the elegant and classic Proctor's Theatre, the site of the first movie projection screen! I had take a short stroll through the main lobby, a quaint bar, and a comfortable seating area, and there I was... in the main concourse of the theatre.

There I was fortunate to be introduced to some outstanding people, both established in the field of VO, and some that were just beginning their careers. I still consider myself very lucky to have been able to attend. The energy and positive outlook were fantastic to be a part of. In addition, the catered food was outstanding! John Florian created a fun-filled photo montage of the event at his VoiceOverXtra.com website.

Fast forward to Sunday, when the conference was over. My flight was scheduled to leave in the mid-afternoon. I dug out my "Stockade Walking Tour" pamphlet, and set off on another adventure. I must tell you, the historical homes were marvelous. Having taught Middle Ages history for a number of years, I have a special fondness for Gothic architecture. Wrought iron and stained glass captivate me. Located on one of the Ellis mansions, I even spotted a gargoyle! In the oldest section, there were many beautiful churches that have withstood attacks within the walls of the original fort. Yes, the tulips were blossoming, birds were chirping, church bells were ringing, and I even saw a priest close a huge wooden door to signal the beginning of services. I glanced at the dates engraved on some of the centuries-old tombstones, as a few late parishioners rushed to claim their spot in the service.

Lastly, I found the Mohawk Riverfront. I stood at the general area where the Dutch founder of the town purchased the land from the Mohawk Indians in 1661. A longhouse actually had been within the walls of the town, for visiting Indians who traded furs with those long ago settlers.

I called my mother on my cell phone to let her know I was standing along its shores. I wandered a few blocks from the river, and found a statue of Lawrence, the Native American Indian that helped the original settlers. Those wooden walls of the stockade no longer exist, but there was so much history here, and I had no trouble envisioning the town as it might have been.

I've only touched on a few of the wonders within Schenectady. Taking time to step outside and learn about your surroundings can create unexpected and marvelous adventures.

The world of voiceovers allows you to tell stories that matter, just like I'm sharing this special memory with you. Just a Marketing Expo? I think not!

To what surprising and interesting places have you been led during your voiceover experience?

Linda Ristig

Lawrence Circle Image via Suns Along the Mohawk, photos of the Schenectady Stockade by David Giacalone

This transcript of the Voice Coaches expert panel will make you feel like you were there, and for those who were there, you get to relive some of the event!

If you've been wondering what the difference is between NYC and LA for voice over, when it's time to redo your demo, what the current trends are, working as a voice actor in an animated film or cartoon, what it takes to get the gig and why it pays to be prepared (and a little nervous), sit back and let the experts deliver the answers to you here at VOX Daily.

Warren Garling: We want to start with David Bourgeois because there is something that came up just in the last little bit this afternoon.

David Bourgeois: Just a quick thing I want to add in, here. I had somebody approach me and suggest I clarify this. Some people seem to have a misunderstanding when it comes to marketing yourself with an MP3 versus marketing yourself with a physical demo, that it's a one or the other thing. It isn't, it's a both thing. When we think about services like Voices.com, the clients on that service who are looking for voice actors expect to be marketed to that way. Stephanie and David have put together a tremendous way to effectively market yourself that way. When we speak about not marketing yourself with an MP3, that's when we're talking about blindly sending somebody out an MP3 who doesn't suspect it. Put something physical in their hands in that case I think.

Warren Garling: Well, if you'll allow me just to add, my last two voice over jobs came from folks that I'd given my CD to 18 months before, and it's because it sat on their shelf and because when they thought, "Oh, now I know what I want to use this guy for", they pulled it off their shelf and there it was, but 18 months, a year and a half! I talked to them maybe once or twice in between, so don't tell me that it doesn't work, it does work, it's out there.

Warren Garling: Let's get started. Evan, in animated movies, are the voices of the characters all voice actors, or movie actors, or both, and how would one get into the animation film business as a voice actor?

Evan Farmer: The short answer would be all of the above. I have to clarify first of all, I don't think to my knowledge I've been in an animation movie yet, so Rodney would probably be a much better person to ask that, but, how do you get into it... My experience getting into my voice acting career started and ended in that genre about ten years ago and back then we didn't have MP3s and digital and all that stuff. I actually left a voice mail (laughing) on somebody's tape cassette answering machine. Back then I called in at a specific time because there wasn't call waiting and I would actually just read when I was in my bathrobe the lines they had given me earlier.

Every job I've had since has been an offshoot of networking, somebody had heard my voice, or another project had sort of led to somebody questioning "Hey is this guy available for this sort of thing? Can he audition?" In my experience it's always been an audition of some sort. Now more often than not, it's an audition based upon someone recommending me who was familiar with my work. I don't know if that really answers the question because I really don't have a lot of experience in the film industry.

Warren Garling: Well, let's move next to Rodney then, and just ask how did that transition for you? How did you find yourself doing animated characters?

Rodney Saulsberry: Someone just asked me that question too, up front. You know, it's another branch. You find out that you can do it, and you audition, and you get lucky, and you get cast. Once you're cast once in something animated, that's part of your credits and so you're trusted to audition for other things. One thing I do want to say is that a lot of times, people think that animation is some funny voice. Bob Bergen is Porky Pig; we've got Porky. We've got some other people who do these voices, but every time I've done some animation, I must tell you that I'm talking pretty much have been talking like I'm talking now, especially the character I was hired for, and contractually, they get two more characters out of me and then I may get into a character voice, but for the most part, it's just who you're hearing. Cartoons have gotten real real these days.

Warren Garling: Very good, thank you. Stephanie, the question is obviously we all have limits on what we can spend up front on our careers. After the initial investment, what makes the most sense? I'll go through a list here and maybe we can put these in order. Books, online coaching, home studio, membership in the chamber, membership at online at sites like Voices.com... I have a feeling I know what you're going to rank first (laughter), but where else do you think it is very important to be spending money?

Stephanie Ciccarelli: Well, that's a good question, because obviously money is part of the whole thing. If you are in business you need to be investing in your business. I would say some of the first places you should be spending your money are in education. You've already been through Voice Coaches, there's still more to learn.

Before you do anything else, even before you upgrade for a membership at Voices.com, I strongly suggest that you then invest that money into your studio, because if you don't have a studio at home, you really stand no chance to compete with everyone else who is professionally voice acting on a daily basis, and also it's the only way that you'll get access to those auditions.

So, if you have a home studio, then at least you are positioned to be able to record on the fly, you don't have to check in with a studio to see what their availability is, and you're also saving some money there. Now, I would say lastly, invest in a membership at Voices.com because unless you are ready to go up against people who have been doing this (voice acting) for 25 or 30 years then there really isn't much of a point. If you don't have a studio in your home, you don't have your education, and you don't know how to act, then you're really at a great disadvantage and you won't get anything out of the service and you'll be disappointed. Does that makes sense? Educate, build your home studio, get some experience and then sign up for a membership at a voice over marketplace.

Warren Garling: Very nice, thank you. Dave Goldberg, as a voice over talent with a home recording studio, how much should I concern myself with learning more about or becoming proficient at mixing and editing and adding sound effects, music and that sort of thing?

David Goldberg: That's a great question and it really depends on the type of voice over you are pursuing. So, if you are pursuing, for example, audiobooks, the average unabridged audio book is I think 9.5 hours long. And as Dan spoke earlier from Full Cast Audio, it can take four hours to complete one hour of audio. It takes that long because you have lots of retakes, and you make mouth clicks and pops and you have to go back and start things over again. All that means is that when you go back it, you have 36 hours of recording to clean up, 36 hours of editing. If you are not proficient, it's going to suck. The more proficient you become the more money you make per hour, so again in audiobooks, you are paid by the completed hour of audio. So if you're paid, for example, $100 per completed hour, if it takes you four hours to complete that audio including editing or ten hours, you are at a much better advantage if you can do it in four hours.

With respect to adding music and sound effects: It's a wonderful service if you can be a one-stop-shop for your clients, but adding music and sound effects is very difficult. We've been doing it for 21 years and we're still learning, we really are. Stephanie said, you have to continue learning. I believe that if you offer a service to clients, and you don't do it very well, you'll really hurt your relationship with your client, so go to Voice Coaches. David Bourgeois and Jenny have a wonderful studio and hook up with them, let them do the music and sound effects for you, and maybe do a little markup on the thing, but be a one-stop-shop for your customers. I hope that answers your question, but now I've forgotten what the question was (laughter). See, in voice over you have a script so you don't have to memorize anything so you don't write notes!

Warren Garling: Jenny Marcotte, I really want you to think of me the next time you're looking for a voice. What should I do to make that happen?

Jenny Marcotte: Please keep in touch with me. We were kind of talking about this before where people will go out with their demo and they're sure they are going to do this and I never hear from them. Or, we'll have potential new students call me and say, "How many people are successful in doing this?", but until you tell me and you call me to say, "I've done this job," or "I just got done with this" I won't know and that's actually the best way. I need to know you're still doing it. I think one of the worst things would be to recommend someone and call them up to find out, "Oh, I actually really haven't done this since I made my demo" so it's really important. Please just keep in touch, let me know what you're doing, send me an MP3, send me a quick note, that's the best way.

Warren Garling: Thanks, Jenny. Billy, how much difference is there from East Coast to West Coast re: style, formality, % of use of Internet vs. studio?

Billy Serow: In my world, which is the union world, the voice over business is structured very, very differently between the west coast and the east coast. The east coast is still for the most part a casting director driven business. I was a casting director before I was an agent. I saw with the proliferation of the internet, which in turn made sites and talent agencies building their own in house studios, casting directors are really fighting for their livelihoods because it is easy to get an audition, but casting directors want you to be in their studio to audition for them with the benefit of their direction so they can get some kind of credit from the advertising agency for doing a good job and choosing the right talent.

Budgets for casting sessions for voice overs are small. They are smaller than budgets for on-camera commercials. On the average for an on-camera audition, a casting director might audition 50 people or a hundred people for a role because they have the budget and the time and the day to do those auditions. For voice over auditions, casting directors are usually given a half a day or a quarter of a day to do an audition, even if it is for a major, national campaign. The number of actors who are auditioning for those sessions are maybe 8 to 20 to maybe 25 if it's a very long half day. What's good then in the New York market is that your odds are then 1 in 20 of scoring the job. In LA, partially because of the geographic nightmare that is Los Angeles, there are very few casting directors who actually concentrate on voice overs because they can't make a livelihood on it any more so most of the auditioning is done in an agent's office at an agent's studio.

So if the job goes out in New York with a casting director, if a job goes out to 6 agents, and each agents sends in 3 or 4 people per job, in LA if the job goes out to 20 agents and they're putting on tape 10 to 20 people, well, you can do the math. You're competing against 200 to maybe even 400 voices. If an advertiser is listening to 200 voices, theoretically, chances are they are not listening to 200 voices. Chances are they are listening to the auditions that come in and when they hear someone they like, they go "OK, I'll take that guy". So, the structure of the business between Los Angeles and New York is very, very different and certainly easier to break into in the New York market.

Warren Garling: Would you agree with that, Rodney, or do you want time for rebuttal? (laughter from the audience)

Rodney Saulsberry: No, I definitely agree. Everything Billy said was right. I think it's important to find houses. I'm in LA, and when I have an audition at my agency, which is William Morris, the competition is a lot more because we've got all the William Morris clients plus every other agency in California, in Los Angeles, whereas...

Billy Serow: (off mic) Sometimes also New York.

Rodney Saulsberry: And also New York, Billy's right, however, when I go to a Carroll Casting, which is a big casting agency in Los Angeles, and I've been quite successful there, Carroll has decided on about 8 to 15 guys, so that's it. Elaine Craig Casting... so any time these houses call you, you have a better chance of being successful. Amen to what Billy is saying because everything he is saying is correct.

Warren Garling: Thank you. David Bourgeois, am I always free to use quotes and name of people/brands that I've worked with or do I need permission?

David Bourgeois: I think to a large degree, particularly at the local and regional level, corporate training level, it's assumed by the client that you are going to use some sample of the work on a demo or a quote they gave you or something like that in regard to your marketing material, I do however, and I've run into this professionally... once in a while you will meet resistance and the best course of action is to ask permission to do that. You'll certainly run into situations where you're going to eventually do material that can't be released. A great example, I had a friend do a series of work for the New York State Department of Corrections. Some of it is training for prison guards that can't be released, he can't go putting that on his demo or a lot of prison guards will get beat up, but for the most part, I think absolutely, and I think that it would be unusual for somebody who you work with or have a professional affiliation with to not allow you to do that, so usually, yes.

Warren Garling: All right. Evan, back to animation from a few years back when you did an animated character. What's the difference between doing that kind of a session and a voice over session for what you did on "While You Were Out", which you did in our studios, I'd like to say.

Evan Farmer: That's a great question. One, it's a lot of fun, because there are absolutely no boundaries for a free spirit like myself, it's great, but I learned to enjoy the technical aspects of While You Were Out, and I'll explain the difference. When you go in, and at least the cartoons that I was involved with, we didn't do what's called ADR, I didn't have to match a characters mouth or film when you do ADR, there's a technical aspect to that. I would go in and it was acting as you've heard quite a bit today. It was really all about creating a character using your imagination which is one of the wonderful advantages to voice acting over regular acting in that there's a lack of self-consciousness that you can really grab onto in a studio, in a dark studio with a microphone and it's your imagination that's speaking. I really enjoyed that aspect. I would go in and read lines... usually we would go until both the engineer and I were laughing. That's kind of why I tended to get hired because I'm a goofy kind of guy and I was willing to go there.

I made an allusion to it but my first cartoon voice acting job was for a cartoon called Daria on MTV. I phoned in my audition and I was literally in a bathrobe because I almost missed my audition. I totally forgot the time and everything, and I'm looking at myself in my living room mirror, I'm half dressed, on the phone, just thinking of how ludicrous this was and it loosened me up. That's one of the great things about a home studio as well. It's the same effect. I was safe in my own environment.

Now with the technical side of going in to do voice overs for a show that you're hosting, for example, there's mostly a time requirement and a formula that's alluding me right now, but there is a certain number of seconds per word, so when somebody is writing, a good producer or director who is writing the copy will know that if they have a space they need to fill on the show that they've got 5 seconds, that they can only use a certain number of words. You could always tell, as somebody who has worked on 300 episodes of While You Were Out, for example, 300 episodes where I had to do an hour's worth of voice over narration, you learn very quickly which directors were good at dialing that in, however, I didn't always have the option to change the copy, which would have been a great option so you have to learn to make it work.

The technical side of it mainly came with the experience and the practice and that was being in the studio time and time again. I got to the point where, David (Bourgeois) can testify, we'd go through an hour's worth of voice over and we'd knock it out in about 20 minutes because I'd be dialed into that and he'd say "You've got 3.2 seconds" and I'd hit it at 3.1, and he'd say, "One more time, you've got to add a .1" My brain automatically knew what .1 seconds sounded like and where I needed to get that and still get the inflection. That became a very enjoyable aspect of it to me because it became a sense of accomplishment. I could go in and deliver this great 20 minutes of solid, hit it out of the park work because I had mastered the art of the technique. They are two different beasts altogether, both of them tremendous fun from different perspectives.

Warren Garling: Terrific. Stephanie, we're back to the union again. Does the VO talent have to be a union member for the jobs on Voices.com?

Stephanie Ciccarelli: To answer the question, no, a voice talent doesn't have to be a member of the union. We have non-union talent as well as union talent on the site. There are clients who search for one or the other or they audition both. To some people it doesn't matter and some people are looking for something very specific. But in short, no, it really doesn't matter if you are union or non-union, any voice talent, as long as you are professional and confident in what you can do, and prepared to actually do the work and be ready with your studio and education, training, all the good things that Rodney brought up earlier, then you should be set and you're more than welcome to be listed on Voices.com.

Warren Garling: Very good. Dave Goldberg, what if you are offered a job for an ad promoting a product/person/company that you don't like or support? How could saying 'no' affect my chances at getting work as a voice actor?

David Goldberg: That's an interesting question. I guess I should say that I know a lot of voice talent, a lot of voice actors who have turned down jobs over the years because they just don't believe in the personal product or it could be a politician that you don't support and so forth, so to answer the question how could it negatively affect you?

Certainly, you could lose a relationship with that particular client, and of course as most of you have heard throughout the day, you do one job and you meet the script writer who knows the video editor of another thing and one job can lead to many jobs, and you know, it can have an affect. I think at the same time, if you're working with an agent or a casting agent or a director, producer, copy writer, whoever your direct client is, if you word it in such a way and you stand up for your beliefs, they can possibly come to your aid, and say, "This guy is pretty good. They'll read only what they want to read."

Maybe it makes you look very professional, that you are not so desperate to take on a job that you turn down a job. There are certain things that I personally won't produce, our studio won't produce any commercial for cigarettes, that's our thing. I think it really comes down to what your beliefs are and how important they are, and it probably comes down to how expensive your rent check is and how badly you need to pay your rent check. You have to weigh the pros and cons.

Warren Garling: Good point. Rodney, we get this question quite often from folks and maybe you can help us out a bit. "I'm really concerned about being too nervous when I enter the booth. What can I do to relax?"

Rodney Saulsberry: Well, I think nervous is good, I really do. I said this last year, I was terribly nervous before I came out and spoke with you all today. But if I ever lose that, something would be wrong, and I think that you take that nervous energy, you use that adrenaline to be successful. That's what it does for me, it keeps me on my toes. If you are a basket case and you have a real problem and you never pull it together, I think you're going to have to work on that, I don't know that I can necessarily say how. Taking deep breaths are good I think, just sort of settling yourself. Breathing is real important in voice over and I think it cures nervousness too, at times. But don't fear nervous, embrace it. I think it makes you better, it makes you sharp.

I want to go back to something real briefly about doing work that you don't want to do. I had a person ask me to do a job and they said the money is not that great. OK, that wasn't a problem. Then they sent me the script and I wrote back that I'm not into doing this because I didn't want to be this guy. The guy was the guy who was sexually harassing somebody on the job. And I said in the email, "Don't I have the right as a voice over artist to turn down something I don't want to do?" to which the person wrote back, "Yeah you really do. Well we've got other spots, what if you aren't that guy but the victim or something? Would you be into that?" And I'm like OK, because I'm into the cause, I'm not into sexual harassment on the job, but I did say no to saying the slimy things that this guy was saying and I was respected for it. She wrote back in one email and said, "Why? Is it because of the money?", I said, "The cause, I would do for free. I just don't want to play this character." I thought when they switched and gave me the next character that they were going to say, "Well now you said you would do this for free... would you do it..." but they didn't do that. (laughter)

David Bourgeois: I just want to add to the nervousness question. I agree 100% with Rodney. It can be important to be nervous, it can be an advantage. I would love you all to be nervous, as long as you're nervous about the right thing. Too many voice actors I meet who are new to the field come in to do a professional job, and when I meet them ahead of time, do you know what they are nervous about? They're nervous about getting it right. I need to be nervous about that, I'm the producer, or the client needs to be nervous about that. Getting it right is not part of your job description. You're not going to be determining what right is unless you are self-producing that job through Voices.com.

You've got three things on your plate here, read aloud, take and interpret direction, and very importantly, apply creativity to the material you are reading. You focus on the things you should be nervous about. Develop your reading skill, develop your direction, taking it and your ability to effectively apply direction, and for goodness sake, always with people like me who are producing, I always prefer to have somebody that takes a unique and creative approach to the copy, even if it's 19 miles away from what I'm looking for, I'd rather have that than somebody who comes in flat because at least I know there's somebody who I can work with.

Warren Garling: Great, thank you. Jenny, what are some of the things voice actors you've hired did RIGHT to get invited back to work with you again?

Jenny Marcotte: Did right. Practiced, definitely, came in on time, professional, followed up, thank you. Just what he (David Bourgeois) was saying, you can tell when they were able to take direction, they were creative, they were fun to work with. All of those things definitely help me be able to hire that person back and refer somebody to them.

Warren Garling: Don't forget cookies!

Jenny Marcotte: And the cookies, right, definitely! And cheesecake I think we got too, recently.

Warren Garling: Chocolate chip especially

Jenny Marcotte: Yes, we did. (laughter)

Warren Garling: Let's ask the other side of that and have Jenny answer again. What has someone done wrong when they've come into the studio that in your head you're saying that you you'd never invite this person again or hire this person again?

Jenny Marcotte: How much time do we have? (laughter from the audience) Just on the flip, we recently had this happen. I had a pretty good demo and referred this person. She had not practiced from the time she made that demo. It was an extremely long and painful session I believe, really hard to work with and basically what it does is it then costs us that client, too. People not showing up or thinking it's okay to show up an hour late to a session, having to reschedule... I know it probably sounds ridiculous, but it actually has happened, and it does get mentioned after so please keep those things in mind.

David Goldberg: Let me add a comment to this. I've seen this happen so many times with new talent. You're on your first job and you look at the script and the talent says, (leaning in) "Who wrote this piece of garbage?" (audience laughter) and the client is right there and it's not a good thing to say.

Jenny Marcotte: You can think it all you want.

David Goldberg: Yes, think it, you know... and also, actually, it's kind of a rude story, but I have to tell this and I'll make it fast. We had a woman in the studio once, quick background: there were about 10 producers on this particular job, don't ask why, but the creative director, the script writer, the video editor and so forth, the woman forgot that the microphone was on when she went in the booth and she passed gas (audience laughter), and had no clue, and then all of a sudden 10 people on the other side of the glass are laughing and she had no idea what happened. So remember, the microphone is always on and you don't want to lose a job over silly things.

Warren Garling: Billy, have you noticed a change over the years as to the kind of voices businesses are requesting?

Billy Serow: (leaning in) No. (audience laughter)

Warren Garling: Thank you, next question!

Billy Serow: Ah yes, Rodney touched on this greatly so I'm just going to I'm just going to sound like a broken record. Yes, the operative word "real" and these are the days of the anti-announcer. Every single day, and it's so funny how people say it as if you're supposedly hearing it for the first time. "We're looking for a guy, 40-45, NOT announcery" (audience laughter). Hmm, OK. You take them at their word and then you read the copy and the copy says "Introducing!", something that nobody says in real life, and you're supposed to sound real while saying the word introducing, so yeah, the operative word is "real".

Warren Garling: Stephanie, I notice that you require a minimum $100 fee for any voice work offered through Voices.com. Why can't I charge less?

Stephanie Ciccarelli: Why can you not charge less? Well, the answer is that you need to respect yourself. If you are putting all this work into the audition itself, and your studio, your education, all of these things have culminated to something worthwhile for you in your business, so if you start quoting less than what is suggested and what the client is actually prepared to pay, then you are doing yourself a disservice, your peers a disservice, you're doing the industry a disservice. So please keep in mind that if a client has specified this is my budget, this is the high end, the low end, please meet me somewhere in the middle or do your best to quote, remain within that budget. Also, don't take yourself for granted because your skills, everything you put into yourself, your work, your voice, how they are going to use it... you're worth so much more than undercutting yourself and everyone else who is on the website (applause from panel and audience), so that is why you shouldn't bid less than $100.

Warren Garling: Very nice, absolutely. Dave Goldberg, is there any seasonality to the VO business? Is there a good time of year, bad time of year?

David Goldberg: It depends what you're talking about. We've found at our studios that summers are typically a bit slower, the amount of production work that comes in, meaning for you that it's a fantastic time to market yourselves. Producers have a bit more time on their hands, or their ears, so take advantage of it. And certainly, I guess there are different kinds of commercials that sell more during winter and summer, it depends on the product that's being narrated but, otherwise I'm not familiar with any seasonality.

Warren Garling: OK, thank you. Rodney, how has marketing yourself changed over the years as you've become successful? Do you still have to market yourself just as hard as you did from day one?

Rodney Saulsberry: Yes, you do, and I talked about YouTube. It's just the same. In my book I talk about saturating the market, but it is important to do your research first, you know you don't want to just throw things out there that don't go anywhere. Have a plan, have a group of people that you are going to send something to. If you can, make contact with people at these places that are hired to listen to these demos, and trust me when I tell you that they were hired to do that for a good reason because that's what they are supposed to do. Sometimes they actually do listen, and sometimes you are successful, but you have to take those shots and market yourself. I talked about simplicity.

Someone asked me about pictures on a CD. I think it's a personal thing. If you want to, you can, but when I'm asked my thought about that, I say No. I say that we need to be recognized by our voices and our talent as opposed to someone seeing a picture and deciding something about us and that may make them not hire us for the job. I had a situation recently where I did a cartoon and all of a sudden they said they wanted to see me for a motion cap (motion capture), a mo-cap, they call it, session, and so I had to drive to San Diego and put on this scuba diving type suit and all of these balls on me and this thing on my head. The character that I played, the body and the movements are based on my body, the face is not, it doesn't look like me, but the movements that I'm making... well, you know, I do voice overs! I'm working for 4 or 5 minutes, 30 minutes et cetera, I'm done, they've got me for a day, 8 hours, and all of a sudden I've got rifles in my hand and they're asking me to roll around on the floor and all types of things, and I'm thinking to myself, as

I looked at all these younger people around me, they thought my voice sounded like something (laughing), but now I'm here and I'm not necessarily that same guy. I may not have ever gotten there if they had seen a picture, so let your voice do the work for you and yes marketing is very important, just as it was when I wrote that book in 2004 and talked about saturating the market.

Warren Garling: Thank you Rodney, Mr. Bourgeois, what techniques do you recommend for slowing yourself down when reading text?

David Bourgeois: Well, like Billy said, we have definitely gravitated toward conversational, believable, sincere delivery. One of the most common differences in how people read text and how they speak text is that reading becomes task oriented with the goal being reaching the end. So, everyone has a natural tendency to accelerate their pace when they're reading.

I used to do a little experiment with people where I would have them speak for a couple of minutes off of the top of their head, and this goes way back to when I started training in this field, and we'd bring them back in the control room and play that back a couple of times, write it down word for word, and ask them to go in and read it at the same pace that they felt that they had said it. We never, and I did that with many people, had anybody able to read it in any more than half the time it took them to say a couple of minutes of material. It's very interesting.

So, a great technique to fight this is to use what I would call reset points. Take your pencil and just put little reminder marks in your copy to reset that pace back to a genuine, believable, conversational pace. You always want to be working off of what I would refer to as your conversational average, your average conversational pace. As the excitement level increases in the copy you're reading, you're not just going to speed up, you're going to use more variation in the pace. As your perception of the excitement level in the copy lessens, you don't just slow down, you come back closer to that conversational average. But maintaining that conversational average is difficult, feel free, mark your copy up, put reminders at the beginning of the third or fourth line that says, "Hey, settle down back down and get that energy together again". To the client, to the copy writer, to the person trying to convey that information, the words later in the copy are just as important as the words you started out with.

Rodney Saulsberry: I love that, and I call it scoring the copy. For me, all of this voice over is analogous to music, right, and so I draw lines where I'm going to pause, I draw lines up where I'm going to take a line up at the end, and I think about something that Evan said when he talked about how from doing this over and over again, he began to have an internal clock that just naturally happened, you know, and that's what I'm talking about practicing. The more that you do something, the better you are going to get, and the notation that David is talking about, and what I'm telling about, you're going to do that - I still do that today - but you will find that if you keep doing it, practice is practice, and then pretty soon it's in you and you got it, and you don't even need to mark it as much, but do in the beginning, and if you have to mark late like I still do, mark.

Underline words that you're going to emphasize, if you're going to go down, you're going down, if you're going to go up, it's going up.

I do an exercise where I can have two people, and we can have a paragraph, no let's say a few lines, four or five lines. I will have one person score the copy, come up with an interpretation and then score it. Underline words they are going to emphasize, make a line go up when they are going to go up, make a line go down. I will have that person read that interpretation that they have just scored, or do just what David said, and then the next person will tell us and tell that person where their underscores were, where the lines were going up, where the lines were going down. Do you see what I'm saying? That's how important scoring copy is and that's how obvious it can be if you have written this map that is so right on that somebody can tell you what's on your paper. When we looked at the paper, the next student got it exactly right, because the person read their interpretation just like they scored it.

Evan Farmer: The power of the scoring, and for me it's mostly on-camera stuff, is so evident that when I score an audition for a sitcom audition, for example, and I'll see other actors also doing the same thing in the room, I'll take my sheet into the room and typically I'm off-book by the time I go into read. I'm a big believer in preparedness. It's one way to take the fear out of an audition. Anytime you feel anxiety about something it's usually nature's way of saying, "Hey prepare, prepare for what's coming. Are you prepared?"

Sometimes there are other things like what we've spoken about before, but my copy of that audition sheet to me is such gold, that I wouldn't in a million years let another actor see it, because my interpretation that I have come up with could the the ticket of why I got the job, and I'll give you a quick example of that.

Austin Powers III : Gold Member, anybody see that? Young Number 2 character, Robert Wagner, originally Rob Lowe, I was the high school version.

Now, to give you an idea of what I was up against, when I auditioned for that I was 30 years old, I was playing a high school character, and in film that's not always a leap of faith, but the people they had already cast for characters to play next to me were in high school. But, I went in and I auditioned, and actually it's a longer story and I'll make it shorter, I auditioned for another character, the casting director came in and said, "Hey, that guy looks like Rob Lowe", thought I looked like I could be the part, mind you, I was at the apex of my career, I had a big television show, I had been in the MTV thing where we opened up for Britney Spears, I could go into malls and get my shirt ripped off my back and yet I was in there auditioning for the first audition just like everybody else.

So another example, it never ends, you're never too big, and your marketing never stops, but that's not the point.

I go in there, and I had this line, and I'll never forget it. It didn't end up in the movie, and I'll tell you exactly where it comes, but my character was supposed to explain his existence in the prequel episodes of the movie, and my character, Number 2, I walk up to Young Doctor Evil who is looking at his class standings, his ratings in the class, and he says, (in character) "Hey look everybody, I'm Number One!" and that was the part I originally auditioned for and I clearly didn't get it for that reason you just saw.

Anyway, my character comes up and I walk up in my Robert Wagner / Rob Lowe kind of voice, and I did a lot of preparation, in fact DVDs for me are a great way because I needed to find that voice and I had to find something that kind of had a blend of both of them. So I watched the DVDs and watched Robert Wagner in the special scene selections and Rob Lowe talking at the end of those. That's how I prepared for that movie. So anyway, my character comes in and says (in character), "Hello, I'm Number 2" and so he goes, "Hello, Number 2", and I have to explain to him, and this line is how I got the movie, I explained to him, "No, my name is not Number 2, I'm Number 2 in the class", and then he goes on to say something, he goes, "Well, what's your name?" It was something like Mark Banibischibinibinischwitz, or something ridiculous, you know, some Hollywood... and he says, "Well, I'm sorry to hear that", and then of course this is the part, and my script actually had this little sign I have for a take when an actor kind of takes a moment and acts without saying anything, and I took a deep breath, and he says, "I'm sorry to hear that", and I went (huskily, airy Robe Lowesque), "Tell me about it".

It was this big pause in this scene that had this rhythm and it broke the scene up. So fast forward, I get the part, return that $700 suit I bought at Macy's to audition with (audience laughter), always keep the receipt, and I'm on set with Jay Roach and we're doing the scene, and I notice on the script that the line had been cut out and I was a little upset because I knew that was my moment.

That was actually the very moment I could see on the casting directors faces and the directors faces that I got the part. Sometimes you don't know, but sometimes in an audition you can just get that visceral, boom, I'm in. That was the moment.

So anyway, I walk up and Jay was having a hard time getting this good scene out of me and he couldn't understand why because he didn't realize it had been rewritten 17 times. He's like, "There's something you did in the audition. In fact, Mike Myers..." - this is one of those great moments where you get a glimpse into the decision making process - "In fact, Mike Myers and I watched your audition tape and we both" - and I can't say it - "Beeped ourselves. It was awesome. What did you do?"

I knew because I remembered it was that moment that I'll never forget that I got the part. And I said, "Oh, well it was this line that is no longer in it (the movie)". It was that, and I made that decision on my couch while I was reading through this, and I found an opportunity for me to shine, for me to give a little piece of me that nobody else probably will, and now had somebody seen my sheet, if they could even read my scoring, I don't know if they could have picked that up but that one take is how I did. That's how critical it is from a perspective of on-camera as well, and to this day I never let anybody see my sheet, and I write in code (audience laughter).

Warren Garling: Thank you very much, Evan. Dave Goldberg, it's been a while since I did my first demo. When do you know it's time for a new one?

David Goldberg: If it's been a while, yes. A couple of things to say about this. The most important thing, I think you said it, Jenny. It's so important that if there's a time lapse between when you've made your demo and got your first job that you are able to reproduce the sound on your demo. Does that make sense to everyone? Because we've lost clients over that same reason and it's not good for anyone.

So when is it time to make your new demo?

1. When you have improved.

2. If you have a new specialty that you want to focus on, so for example, you may have a demo that just focuses on general commercial or general narration but perhaps you decide to focus on animation, or audiobook or documentary or educational or sales and presentations and so forth.

3. It's time to produce a new demo when the styles on your existing demo are all out of date. And you don't need to produce an entirely new demo, but if you have a demo that sounds like it was done in 1997, add one or two new spots on your demo, and now hopefully if a casting agents ears are in tune, they'll listen to your demo say, "Well, it sounds like they were working ten, twelve years ago and they are still working today," because you have a new sounding style on your demo, it appears as if you're very experienced, you have been working for twelve years. There's some thoughts.

David Bourgeois: Yeah, I agree completely with what Dave says, and the mindset should be like this, your demo is your resume; your demo is never done throughout your voice over career. You'll continue to add to your demo, tune your demo just based on exactly what Dave said, you know, you develop a new skill, you want to focus on a specialty, particularly in a B market, you've done some recognizable work that you want to include on your demo, but it's a resume - keep it fresh and I 100% agree with Dave on a point he made - you've really got to bring your skill set into the studio with you. Make sense?

Stephanie Ciccarelli: I'd like to add something to this too, and I think David you kind of pointed to it, you can have older material on your demo just make sure it isn't dated like, "1997, come get our Ford whatever it is!" because right away you know that is 10, 12 years old. That, and also keep in mind that you will age too, your voice is going to change. For women, your voice matures when you are 40 years old. It will go through a variety of different stages depending on how old you are when you start your voice over career. You will go from sounding one way to maturing and so forth.

Men, your voices tend to stay around the same area for a while. When you're middle aged, you'll still sound like you're younger, potentially. Your voice will shift as well, obviously it will happen, but as you age, take a look at it. If you listen to your demo and all of a sudden you don't recognize the voice on that demo (audience laughter), it may be time to reconsider because it's just like a headshot. If you get a headshot done and you're passing out this picture of yourself but it doesn't look like you anymore, you're misleading somebody with what you can do.

So, if you keep up with the trends, keep up with the different things in the market, but also make sure that what people are hearing is actually something that you can still do, as you age obviously you can still manipulate your voice to sound younger perhaps, or to sound older, but if you can't maintain that anymore and if your natural speaking voice has shifted into a different register, for men, sometimes tenors will become baritones, so keep that in mind, but specifically for women, you're going to want to look at this more because the female voice ages more dramatically as the years go on, more so than the male voice does, so I just thought I add that in there.

Warren Garling: Thank you Stephanie, and that's going to have to be the last word. Ladies and gentlemen, can I hear a rousing thank you for these folks (audience applause)

Any Comments You'd Like To Share or Add?

Looking forward to hearing from you!

On behalf of everyone on the panel and at the Voice Coaches Expo, thank you for reading and I hope you've enjoyed this conference coverage.

Best wishes,

Stephanie

©iStockphoto.com/Valerie Loiseleux

Voice over legend Rodney Saulsberry returned to the Voice Coaches Expo to a rousing, standing ovation.

A Detroit native and graduate of the University of Michigan, Rodney Saulsberry is one of the most sought-after voice talents in our industry. As one of the top movie trailer voices in the business, moviegoers have heard Rodney's voice promoting some of the most popular films of recent years, including How Stella Got Her Groove Back, Friday, Drumline, Finding Forrester, Tyler Perry's Diary of a Mad Black Woman, Dumb and Dumberer, and many more. His voice has also announced for prestigious ceremonies including the NAACP Image Awards and the Essence Awards.

Filled with anticipation, people sat in the darkened theater, fully engaged in captivating storytelling that was both authentic and inspired.

Learn more from this phenomenal teacher through this coverage and hear about some personal experiences in voice acting.

Your Arm's Too Short to Box With God, But Not For Taxi

If you know Rodney Saulsberry's story about how he got into the business, you know that he started out in music and acting, but what you might not know is how this connection landed him on the Paramount lot in Los Angeles and how that day changed his life.

Rodney always wanted to go to LA, in fact, nearly every day he would tell his friends so much when they got together and watched a nightly program on TV. Toward the end of the show as the host was signing off, Rodney would interject his own sign off, which was, "Rodney Saulsberry, Los Angeles California". His friends encouraged him and knew that one day he would make it beyond the University of Michigan, his alma mater, to ham it up and make a go of it as an actor in Hollywood.

When he found himself on tour with the Broadway musical, "Your Arm's Too Short to Box With God", the final leg of the tour was in Los Angeles.

Not being one to let an opportunity pass him by, Rodney was considered for a role on "Happy Days", a role that he didn't get because he was too tall to play opposite The Fonz. Was he deterred? No! Rodney chose to keep walking the Paramount lot and found himself on the set of a show called "Taxi", directed by James L. Brooks, which starred Tony Danza.

Tony Danza happened to spot Rodney and gave him a playful push. Rodney, always the actor, pushed him back. They started to spar, and in the midst of this, Danza piped up and said, "That's him James!" For those of you who watched Taxi, this was the fateful moment where Tony Danza had identified a new cast mate for the show in Rodney Saulsberry, who then donned the role of Carl the Boxer.

A Man of His Word and a Man of Action

Rodney Saulsberry did indeed make it to Los Angeles where he resides with his family to this day. He has enjoyed a very successful career and continues to work for companies such as Twix, Toyota, Burger King, Zatarains, Alpo, Honda, 7UP, Nestle Crunch, SBC, Verizon, and now is also a sound alike for the current US president, Barack Obama.

Two things that got him to Los Angeles were his determination to be successful and his desire to entertain. Four things, among others that have kept him there, are Rodney's integrity, his talent, faith, and genuine humility. To add a fifth, his innate need to give back and see others succeed, reaching their potential.

Here's just a sampling of Rodney's work:

What it Takes to Be Successful

According to Rodney, it takes three things:

1. Confidence
2. Talent
3. Technique

In response to the day, Rodney added a fourth to the list, which was another T for Training.

How Can You Be Successful?

Rodney draws upon all of his personal experiences, skills and talents, or branches, to create new characters or interpretations. He likens this process to the anatomy a tree.

Your roots are always looking for something new with inspiration that feeds the trunk, which is your signature voice. Your signature voice is the voice that makes you the most money. Remember that everything you do, even if it is very different sounding from your regular speaking voice, is still an extension of you and is your voice. Lastly, when the roots offer a new opportunity to your core voice, or the trunk, let's say an audition, your branches, which are everything you have done in the past, are there to help assist you in developing whatever it is that you need to make creative choices that work.

For an example, Rodney's Zatarain man voice comes from a familial branch, modeled after his father-in-law's voice. Because of its success, Rodney's wife still jokes that he owes her dad money!

Other projects require pulling experience from his musical branches, such as the motivational music CD that he released earlier this year called "Better Than Before", a CD with 7 tracks based upon his teachings that build confidence.

P for Prolific

Rodney Saulsberry is the author of two published books, You Can Bank on Your Voice and Step Up to the Mic. He also has a CD as I mentioned before of motivational music called Better Than Before.

If you take a turn on YouTube, you'll notice that Rodney Saulsberry has a YouTube channel featuring a number of videos online, tongue twisters and podcasts.

The Rodney Saulsberry Effect

The night before the event, Rodney was able to make it to the gala mixer and spend some time with the participants, Voice Coaches staff and David and I. Within minutes, he had graciously connected with people who were very excited to meet him, enjoying the encounters, too. The next morning, people were already buying copies of his books and CDs. I was happy to see this because I have all of his books and his CD and know what kind of an impact they can make.

Rodney didn't present until late that afternoon, and after his presentation, there was a line up from the door of the theater to his booth at least 60 to 80 people long! Needless to say, those books and CDs went even faster then than they had gone before the presentation. There's something special about being in the presence of someone who inspires you and being able to shake their hand. I think this event was the perfect kind of venue for people to meet Rodney and see him in his element.

Any Comments?

Has Rodney made a difference in your fife? If you've read any of Rodney's books, listened to his music, attended a workshop or heard him speak, I'd love to hear from you in celebration of his contributions to the voice over industry.

Please add a comment if you are moved to do so.

Best wishes,

Stephanie

©iStockphoto.com/AVTG

David and I delivered an interactive presentation that shares how members of Voices.com can get the most out of the service and gave some power tips that make a world of difference.

Giving the presentation was so much fun! I'm excited to share some of the highlights with you now.

Even if you are already doing much of what is mentioned, you'll probably find something new that you haven't explored or tried, so dig in!

Game Plan

This year we decided to place more of an emphasis on how our members can get the most out of Voices.com, including power tips for marketing your voice that will make a world of difference.

During the presentation, we discussed:

๏ Creating Your Profile
๏ Uploading Your Demos
๏ Auditioning for Job Opportunities
๏ Accepting Payment
๏ Delivering Files

Creating Your Profile

Describing your voice

Describing your voice may seem a bit of a chore but you must remember that it is often the description of your voice that sells your talent first. Text is visual and easier to take in whereas audio requires taking the step to listen. A good description of your voice is gold. Your description should be brief yet telling, accurate, and easy to digest.

Selecting your "Primary Language", adding accents and dialects

When you are featuring your voice and capabilities, it's important to let clients know what language you speak primarily and also which accents and or dialects you are able to perform.

Highlight your experience

Experience can include anything you've done that would support your voice over career or business. I've heard someone in casting say that they consider education to be experience. If you are a new voice over talent and feel that you don't have much to show for yourself as a voice talent yet, including your education, any training, volunteer work or projects you've created promoting your voice count for something and look better than leaving the field in your profile blank.

Profile Power Tips

๏ Add testimonials in your feedback area
๏ Include a partial client list
๏ Upload a head shot or representative image

Uploading Your Demos

Upload MP3 demos

If you upload an MP3 demo, your file will play beautifully in the flash players at Voices.com. Do not upload any other file format and expect it to work because it won't! This goes for auditions, too. Only submit MP3s.

Select a category for each demo to get featured in the Directory

Once you have uploaded your demo, you will be able to choose a category to feature it in. Pick the category that best represents what's on your audio file, for instance, if you have uploaded auto attendants and on-hold messaging for telephone system recordings, choose the Telephone category.

Choose one demo as your "Primary Demo"

If you have multiple demos uploaded (more than one), it will be necessary to identify one of your demos as the audio sample you want to appear in name-based searches. When a client looks for you by name, this will be the demo they hear.

Demo Power Tips

๏ Name your demos appropriately
๏ Add tags (descriptive words) to each demo
๏ Make sure you feature only your best work

Auditioning Tips

Make sure your profile is complete

As you may know, all of the job notifications you receive are based upon the information that you have listed in your profile. Any preferences you have selected also determine what kind of jobs you receive. By completing all aspects of your profile, you'll be opening the door for more opportunities to come rolling your way through job invitations and also via the Voices.com search engine.

Only audition for jobs you are suited for

Inevitably, there will be jobs that you are notified of that match your profile on paper but aren't necessarily a perfect fit in practice. If you read the requirements for a job and feel that it's not your cup of tea or that you don't meet some of the casting specifications, there is no harm in passing on the audition.

By only submitting for jobs that you are best suited for, you stand a better chance of being hired and or making a good impression on the person who is hiring.

Audition Power Tips

๏ Personalize proposals
๏ Stay within the client's budget range
๏ Record a dry voice, custom demo whenever possible

Accepting Payment

Clients pay using SurePay at Voices.com

In response to the needs of our customers, both client and voice talent, we developed a payment gateway that ensures clients are satisfied with the work and that voice talent get paid for their services.

SurePay protects both clients and talent

When you're doing business online, especially doing business for the first time with someone you don't know, it is a comfort to have something in place that protects both the buyer and seller, ensuring smooth sailing for both parties. As a neutral party, Voices.com is able to mediate should a dispute ever arise between voice talent and clients at the site who are using our payment service. We've found that dispute resolution is required in about 1 in 10,000 jobs.

Funds are released to talent once clients approve the files

When your client receives the files to review and is happy with them, they click "I accept" which notifies Voices.com that the client has released their payment.

Work Agreement

Outlines the scope of work

A work agreement must be uploaded by a voice talent upon a client awarding them a job. When a client awards a job, it's time to get all of the details from the initial proposal into a work agreement that confirms all that you said you'd be able to do for the client.

Confirms important details

Your work agreement will spell out the nitty gritty of your project, confirming details such as when the work will be finished by, the format you'll be delivering it in, the quote and any other particulars.

Is a binding contract

Once completed and uploaded to Voices.com, your client will need to accept the work agreement in order to continue, verifying all that you have proposed. This is a binding contract which you have both agreed to. This is also information that our team at Voices.com is privy to. If need be, we can refer to this work agreement to assist you at any stage of the project's completion.

Delivering Files

Upload your files to the work space at Voices.com

Once you have recorded for your client, the next step is to upload the finished audio to your work space at Voices.com.

File limit is 100MB

100MB is a generous amount for delivering files. Most projects come in under 100MB.

Click "Send File"

Just as easy as it sounds. When you're finished uploading your file(s), click "Send File".

Give and Receive Feedback

Many people prefer to use SurePay because it makes it easier to do business and getting feedback is an important part of that process to build trust and credibility. Briefly:

๏ Jobs completed through SurePay are eligible to receive feedback
๏ Client rates experience
๏ Talent rates experience
๏ Feedback consists of a 5-star rating and a review

If you have any questions about how this works or would like to read more about the various aspects of Voices.com, scroll back up and click on the blue hyperlinked words to visit articles concentrating on particular features or topics of interest.

Any Comments?

Looking forward to hearing from you,

Stephanie and David

Having a home recording studio is a given if you want to be a professional voice talent in today's world.

Even if you do most of your work outside of your home in local studios, you will still need to have a basic setup available to you 24/7 in the comfort and convenience of your own home.

Hear about some new pieces of audio recording equipment that might be an attractive fit for your digital home recording studio via advice from Sweetwater Sound's Mark Magdich courtesy of the Voice Coaches Advanced Marketing Expo.

Great Gear

When you start a voice over business, you'll need to make a modest investment in your equipment, however that being said, you can't just buy anything and expect that it will meet your needs and approval of those in a position to hire you.

Depending on how savvy someone is, they'll know in one look at your profile, or listen, what kind of equipment you are using to record your voice. Perception can make or break your studio because people in the know are going to notice.

Last year, I covered the fundamentals of a home recording studio for voice talent. This article will be shorter and focus on a few items that Mark Magdich of Sweetwater Sound referred during his presentation.

Pro Tools

You may be afraid of Pro Tools, perhaps in part to it's complexity and price, but it is good to know that it provides both a hardware and software solution. Many of you won't have a need for the multi tracking capabilities that Pro Tools provides, however, if you do get into any kind of production work, this is the industry standard.

Mbox Mini

Another product to be aware of is the Mbox 2 Mini. This fits in the palm of your hand, comes with Pro Tools and is integrated as a hardware / software.

Bluebird Microphone

One of the more nifty things mentioned was the Bluebird Microphone, styled upon the 50s bottle mic, similar to what Frank Sinatra used. The beauty of this microphone is that it makes your voice bigger. The closer you get, the louder and more full your voice sounds. This microphone retails at $299.

sE Electronics Reflexion Filter

If you're looking for more noise reduction or need something that will give you the portability of a voice booth, you might want to do a bit of research on the sE Electronics Reflexion Filter. This piece of equipment sits on the mic stand and acts as a portable booth, weighing all of 11 lbs. The Microphone mounts right into the center of it and it can be used in any room to turn it into a studio environment. The sE Electronics Reflexion Filter will also act as if you are standing in a whisper room or recording studio. Obviously, if you have a lot of external noise (road traffic) it won't block it out but is very good otherwise for recording in a quiet room.

A few other elements that were mentioned in the presentation include the Wavelab Essential - Personal Audio Editing System by Steinberg; Peak LE 6 - Essential Audio tools for your digital lifestyle; and Secrets of the Pros - basics and beyond ProTools DVD: Volume 1.

Mark Magdich (Fort Wayne, Indiana)

Home Recording Expert and Sales Engineer Mark Magdich from Sweetwater, America's leading recording equipment retailer, is an accomplished musician, playing nine different instruments and singing the theme songs for numerous animated series, including the New Adventures of Speed Racer.

Do You Use Any of These Products in Your Home Recording Studio?

Looking forward to your reply,

Stephanie

How has the use of voice over changed in multimedia over the years?

You'd be amazed by where a few decades has brought voice over! In fact, you'd even be more amazed by what a matter of months can do in the age of modern multimedia.

This informative lecture presented by Dan Dinsmore of Overit Media at the Voice Coaches Advanced Marketing Expo will share how new doors of opportunity have opened for voice over talent online, specifically through podcasts and interactive gaming.

Want to learn more?

Gain a new perspective on this field and learn how you can make multimedia voice over part of your business.

Voice Over's Rise to Prominence in Multimedia

Voice over has become a standard element of advertising in multimedia, but it wasn't always the case. In recent years, voice over has gone from being an afterthought, to an option, to a service offered to customers developing their ad campaigns for the web, mobile, and interactive.

Traditional ad agencies are now seeing the exciting potential of voice over and how it can be used to invigorate visual displays, make advertisements more human and reach people on a deeper, more pronounced level in ways unheard of even a decade ago.

All kinds of companies, from traditional brick and mortar to online startups, are finding new ways to leverage media such as podcasting, web, interactive gaming, and mobile applications.

Even Better News?

The majority of these media are perfectly suited to voice over and have created work where none existed before for voice actors.

Not only is this fabulous news to hear, the best part is that it's true.

What Kind of Work is there in Multimedia for Voice Actors?

๏ Being the voice of a corporate podcast
๏ Representing a company as the voice heard on their website
๏ Interacting with customers through online support channels
๏ Recording voice over for in-store advertisements
๏ Voice over in video games, Internet, and on mobile gaming devices
๏ New work in telephony

And, the list goes on...

Companies are using the tools available to them to spread their message even further, especially online. Of late, organizations are finding that marketing their messages through social media is of particular benefit from a cost savings perspective in addition to the heightened visibility they achieve.

Speaking of mobile applications, there is now talk of geo-centric advertising, in effect, ads that are triggered on a mobile device when you are in proximity of an advertiser. This is text based at present but could also take on a more audible form using voice over in the future.

Who Wants to Sound Good?

EVERYONE!

While marketing has become a bit easier thanks to social media, that doesn't change the basic need for companies and individuals to brand themselves in the best possible way to attract business.

Now that podcasting is a proven vehicle for communicating ideas and reaching audiences, the realization has set in that they want their content to sound professional in addition to being well written and produced.

You'll find that most podcasts created by larger corporations and conglomerates are professionally recorded by a voice talent. Even small to mid-sized businesses are realizing that image is everything and are opting to explore adding professionally recorded voice overs to their marketing mix and internal communications such as newsletters and memorandums.

Voice Styles Used in Multimedia

The journalistic approach is to use voice artists who can tell a story with authenticity and trustworthiness.

Some companies are even having testimonials recorded by voice talent to give their website an entirely different dimension.

Experimentation with shorter, viral commercials, testimonials as mentioned a moment ago, and even animated characters has given way to introducing voice over as a requirement to achieve success, not just an afterthought or suggestion.

Voice Acting Balloons in Video Games

Of course, what we've just been talking about isn't limited to mere captains of industry, but reaches beyond to all industries, including the gaming industry.

Gaming, an $18 billion a year industry in the US alone, is averaging roughly 1,200 to 1,500 lines of dialogue per character in story driven games.

To give you some perspective, Halo 3 had more than 35,000 total lines of dialogue, quite a bit of voice over, you'll agree.

I hope this article has given you some ideas regarding how you can work multimedia into your voice over business, whether for your personal use or as a service you provide to your clients.

Best wishes,

Stephanie

~~

Dan Dinsmore (Albany, New York)

As a visual communications and advertising expert, Dan is CEO of the award-winning design firm, Overit Media. Overit Media's clients include the Chicago Bulls, Trump Vodka, the Denver Nuggets, and AOL founder Steve Case, as well as Voice Coaches. Dan's team is extremely active in developing visual marketing for voice professionals. In addition, Dan was recently named one of New York's Capitol Region's "40 Most Successful Business People Under Age 40".

©iStockphoto.com/Eva Serrabassa

Have you been wondering about getting into the world of audio book narration?

What about playing a role as part of a full cast of characters?

Dan Bostick, Artistic Director of Full Cast Audio, a speaker at the Voice Coaches Marketing Expo, describes how the company got started, their creative process and shows you how working with a variety of voice actors to achieve a common goal can be a rewarding experience.

Full Cast Audio

Founded by Bruce Coville in 2001, an author of children's books, in partnership with director and voice actor Dan Bostick, Full Cast Audio presents the public with a wide variety of unabridged family friendly classics and a collection of audio books recorded specifically for children, teens and families.

How Full Cast Audio Began

After having a poor experience with a publisher who hired a professional narrator to record his books, Bruce Coville found that by taking matters into his own hands, he could ensure that his stories were read to his satisfaction and brought to life by not just one narrator, but a whole cast of characters. Pioneering and nurturing this aspect of his work for five years with Listening Library, Coville's relationship with Listening Library came to an amicable close when Listening Library was purchased by Random House. Following that, Full Cast Audio as we know it now, was born, blending pleasure with passion to achieve excellence in audio book narration.

Recognized By Industry

An award-winning company, Full Cast Audio delights in creating artistic brilliance by capturing an author's literary interests in audio, recorded with a full cast of characters. The majority of voice talent who work with their company are either aspiring actors or non-union voice talent, recording their work together in studio with the bulk of recordings produced in Syracuse, NY.

At one point, there have been as many as 56 voice actors in a cast, although this was the exception, not the rule.

Full Cast Audio has been nominated in 6 award categories at this year's Audies.

Author-Approved Audio Book Recordings

The highest goal and most critical component of the Full Cast Audio mission is to thrill the author by realizing, in audio format, everything that the author intended including staying true to the book, breathing life into characters and telling the story as they themselves had envisioned it.

By incorporating a full cast, each character is able to spring into action, contributing a deeper meaning and additional dramatic layers to the production.

Voice talent are able to smoothly deliver their lines to make the listening experience enjoyable, and also shape the smallest piece of text, even the most mundane, into a compelling statement.

Insights From the Director's Perspective

๏ Get every bit of meaning out of the text
๏ Match the voices he hears in his head with the voices of voice actors
๏ Matching is tricky which is why they need many voices
๏ Getting the shape of the performance to match exactly what is heard in his head
๏ Actor will have more inspired, instinctive responses than what the casting director has in their head which can be refreshing

Capturing Drama: Tips on How to Improve Your Reading

Read Aloud

If you want to improve and elevate your skills, regardless of skill level, read aloud. Audiences give you feedback, so if you can take advantage of reading in front of a live audience, do so!

Be Mindful and Vocally Resourceful

Voice acting in degree of difficulty is 5:1 over stage acting. There are no props, costumes, movements, or facial expressions that your audience can see to aid or embellish your performance.

Be Yourself

Voice work should always start with your own voice. Forget characterization. Speak as yourself.

Be Confident and Flow Well

Read clearly, feed those images, don't take it too slow.

Reading Lists with Continuity

When you have a list to read, build a list in a circle to fascinate your reader at least for the duration of the list. Go incrementally from a lower pitch to a higher pitch and return back to lowest pitch at the end of the list.

Make Repeated Information Interesting

Even at the beginning of paragraphs, find different pitch notes to start with. Always think, could I give more meaning to this?

The Full Cast Audio Culture

When you're working with a voice cast, the sessions become an artistic collective, different from other environments where the director micromanages the actors.

Everyone brings their gifts, talent and skill to the table. When everyone participates and finds meaning in the book, it's a thrill.

If the interpretation that a voice actor offers doesn't intuitively match what is in the director's head, the opportunity to jointly craft a performance arises.

Dan Bostick played a number of videos from recorded sessions for us to gain insight into the creative process and his direction. One was from a session for Cyrano by Geraldine McCaughrean, featuring Trevor Hill as Cyrano de Bergerac and Cynthia Bishop as the narrator, dissecting Cyrano's delivery on "The Art of the Insult".

The art of the insult is at times soft but instructive, pointed, and grows in strength throughout the read to a triumphant climax. Italics in the text were used to help fuel the crescendo.

When narrating something like this, relish what's about to happen. You can do this with volume but you can also do it with ravish.

Giving this kind of performance is extremely hard work for the actor. The roles that Full Cast Audio casts voice actors in helps them to grow in maturity as performers and stretches their voices.

Books Read By The Author

A new venture for Full Cast Audio is single voice productions. Not only is the voice of the narrator the only voice that is heard, the company is challenged by a different situation altogether when guiding the author in reading their own book.

Authors reading their own books need to be directed just like actors. Although they have a more intimate connection to the text and characters, it is still helpful to direct their performances making use of tools such as metaphors to help express direction.

We got to watch a session with an author narrating their own book which was very interesting. She was guided through metaphor. Once the suggestion was made, the difference in her read was amazing! Sometimes being so close to the material influences much of how you interpret a read. In these cases, it is beneficial to have an outside ear providing feedback that will result in more creative, definite choices when read aloud.

Dan Bostick (Syracuse, New York)

Dan Bostick is Artistic Director of one of America's premier audio book recording companies, Full Cast Audio. Dan spends his day preparing for, casting, and directing audio book productions of family-friendly classics. Using a "full cast" of characters to voice each book, Dan and his company have been singled out and awarded for their excellence.

Any Comments or Experiences You'd Like to Share?

If you've been part of a full cast audio production or found value in this article, I invite you to leave a comment. Also, if you found this article to be useful, please pass the link along to someone who would benefit from reading this information.

With gratitude,

Stephanie

©iStockphoto.com/Fred Palmieri

The first presentation at the Voice Coaches Expo this year was delivered by Jay Silverman, discussing how technology can help to facilitate traditional marketing techniques while reminding us that offline marketing is still one of the most personal and effective ways to self-promote.

I've taken some time to jot down much of what Jay advised as well as added my own thoughts in this article about how you can leverage technology combined with the personal touch.

Modern Self-Marketing

Creating new opportunities to market yourself has never been easier thanks to technology, specifically, the Internet.

Having a website that you can call your own to feature your voice on is absolutely mandatory in today's world where you, and your voice, may be only a click or several keystrokes away.

Although the web offers an abundance of opportunity to network and get the word out about your business, don't forget that there is a whole world out there of flesh and blood connections that you can introduce yourself to with some personal marketing.

How Marketing in Person Can Strengthen Your Online Marketing

Many people grew up before social networks, before it was common to use the Internet as a business tool, or even before the Internet existed, period. Networking was based upon the physical of meeting people in person at events, business meetings, at conferences, social encounters and in the workplace.

Firm handshakes, making eye contact, being friendly and open while exuding confidence and an attitude of service were and still are key in developing meaningful business relationships... the challenge faced today is making those skills translate to networking in a virtual environment.

Those same people are also in business today, and to their benefit, are applying techniques and person-to-person communication skills to online efforts.

Creating More Business Opportunities

People everywhere admire and are moved by the personal touch. It means so much more when you receive something that you know has been touched, written by hand or sent especially to you in the mail.

Consider the following ways that using technology can help create more business for you:

Have hard copies of your demo on CD: Being able to hand someone a physical representation of your work is very important. You'll find that there are people who want to hire you who are uncomfortable with receiving attachments via email, especially when it's the first encounter. While MP3s are more convenient for you as the sender, sometimes they can pose issues and actually deter people from listening to your work if the MP3 is unsolicited.

Business Letter that accompanies the demo: Share that you are looking for work and have the talent, are understanding of what that perspective employer does and thus needs from you. Do more self-marketing through following up. More business is lost because someone drops the ball on follow up than any other reason.

Do web research to learn more about who the clientele is: Find out what they need and how your voice can help target their target audiences.

Build a website: Your website gives you the opportunity to look better and present yourself. Fully display your range, depth of your voice, and other assets.

TIP: Don't just hope that someone finds your website among the millions of sites out there. You must guide people to finding your website. Helping them find you is very important. List the URL of your website on your business card.

Marketing activities still work, and as communications processes evolve, you can apply the same principles to your marketing as before.

Job Opportunities May Rely Upon 3 Things:

1. Training and your ability to use it (formal training, reading articles, listening to podcasts, etc.)
2. Communicate person to person and sell yourself to convey that you know what you are doing and that you can help them.
3. Your willingness to use some of your time resources even better. For those who are still working in other areas outside of voice over, you will need to give up more time than potentially anticipated.

Tell The World!

Hesitation will only hold you back.

Here are a number of ideas to help you self-promote and be a good ambassador for your business:

๏ Be aggressive in marketing yourself
๏ Take advantage of marketing opportunities already out there
๏ Be creative in establishing marketing opportunities for yourself
๏ Educate people about voice over
๏ Educate people, even those at social / recreational events you participate in
๏ Business meetings outside of your workplace
๏ Give examples that they'll recognize to learn more about what voice over is really about
๏ Bring a load of business cards
๏ Training makes you qualified to seek out work
๏ Do something social to network with people one-on-one, BBQs for instance
๏ Non-technical, inexpensive ways to extend your self-marketing a little bit farther.
๏ Be prepared
๏ Develop an elevator speech / pitch

Elevator Speech / Pitch

When you give an elevator speech, you're summing up who you are, what you do and how you can be of service to someone in less than 60 seconds. You can also see this as the amount of time it would take you to travel on an elevator with a person of influence from the first floor lobby to their executive office, upwards of 30 floors or higher. You've got a limited window of opportunity to make an impact and you've got to have your pitch down.

If there is a follow up question from the person you are talking to, you know they are interested.

For some great examples of this, visit:

60 Second Pitch Contest at Voices.com

Parting Words

Remember to follow up and stick with it. Also, always have a copy of your demo on you as you'll never know when opportunity will knock. Handing someone a demo CD, even though it may seem to be low-tech when compared to zipping an MP3 off to someone, is still a viable and potentially preferred way to present someone with your offering and show them what you can do.

Jay Silverman (Mechanicville, New York)

In addition to being a voice actor and professional announcer, Jay is a marketing and public communications expert. His experience in communications training spans the corporate, government, higher education, and not-for-profit sectors. Jay is a member of the marketing faculty at the Sage College and the University of Albany.

Any Comments?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/P_Wei

As a voice over professional, you may take for granted that people are intrigued by what you do, perhaps even follow your work by hearing alone.

What have you been voicing lately?

Share some of your most recent gigs so that people far and near may find out who they are listening to and check out more of your portfolio!

What Have You Been Voicing Lately?

I'd love to hear what you've been up to in the last month or so. If you want, include ongoing campaigns your voice is part of so that your fans can find you, too!

Share some of your voiceography now!

Just leave a comment below. Fans and prospective clients will be able to find your comment via searching and get to know you a bit better.

Cheers,

Stephanie

©iStockphoto.com/digitalskillet

For many voice talent, interpreting a script isn't a problem... it's wondering what else to include in the recorded audition!

When you're creating a custom demo or auditioning for a voice over job, do you simply submit dry voice, or do you include music, sound effects or other production elements?

Share your comments and experiences with your friends at VOX Daily.

Auditions: Dry Voice or Full Production?

Recording your voice for an audition is one thing but adding tracks with music and sound effects is another.

Dry voice is pure, 100% you (no preservatives and or pesticides)!

"Dry voice" is the industry's way of saying unadulterated sound. When you are required to record a dry voice track, all you should be doing is providing your read, nothing more. That means no music, no sound effects, no effects on your voice, you get the picture.

What happens when you add to your voice?

Adding to your voice is a completely different animal. Whenever something is "produced", it means that production elements were used, such as music, sound effects and so on. Usually in this instance, you are multi-track recording and might have a separate track set aside for your voice with an array of tracks for music beds, sound effects and the like.

Depending on what it is that you are auditioning for, you may find that produced audio may either help or hinder your chances of landing the gig. Dry voice is safe, but remember, it's not always the safe choices that get noticed...

Having said that, whether you decide to do dry voice exclusively or dabble in production, always make sure that your vocal choices with regard to interpretation are unique and demonstrate how you would best serve the client.

What's Your Auditioning Style?

Depending on which you prefer, how has this worked out for you, and does one provide better results than the other?

Looking forward to hearing from you,

Stephanie

P.S. Thanks for Elizabeth Webb Sosner for the inspiration to write this post :)

©iStockphoto.com/Imgorthand

Adam Caplan gave an amazing presentation at PodCamp London called "The Practice of Brevity", teaching us how to deliver a compelling, educational and entertaining message in two minutes or less.

Don LaFontaine's name came up as someone he had worked with and I decided to follow up with Adam to discover more about his experiences with "The Don". Adam has graciously shared some of his insight and memories here with us at VOX Daily for you to enjoy.

Learn more about how Don LaFontaine's masterful application of the art of brevity helped him to make a significant and profound impact while maintaining his trademark delivery and singular style.

Working with Don LaFontaine, A Master of Brevity

By Adam Caplan

I had the pleasure of working with Don only a few times as the Head Writer or Creative Director would generally direct the sessions - I was a 'preditor' (Producer/Editor combo), and so our work 'together' was limited.

Most of the work done by the company I worked for (DG Entertainment) was for TV promos and movie packages (I have a Field of Dreams spot voiced by Don and written by Harris Cohen for DG Entertainment that's really great). TV spots for shows like Leeza, 'Go Wild' and radio for the Star Trek franchise were the day-to-day for Don, so we would be a regular stop on his daily tour of the city's TV & movie shops.

Don started out as a writer; Indeed, he is frequently credited for inventing the catchphrases for which he became known.

Sometimes, hanging out in the sound booth, I watched as his ability to tell stories informed every part of his work. It was this sensibility that was perhaps what inspired me most about him; his ability to look at a script and intuit the angle that the writer/producer was going for.

When he performed, he would physically find the beats and use his own rhythm to sell the angle.

It wasn't Don's voice that made it memorable, it was the way Don led us into the story he was telling, showing us, the audience, how to emotionally empathize with what we were hearing or watching, no matter the length or the subject.

Moreover, Don was a consummate gentleman and professional. His generosity of spirit, advice, and the time he made for young voice actors is still legendary, and remains an inspiration for me when I am approached to offer advice or mentorship for those seeking to enter new media.

Finally, I believe that Don was a true innovator.

He really was the first to recognize that his voice provided the emotional tone and timbre for the text that was written, much in the same that a concert violinist or pianist can provide new insights into music that is sometimes hundreds of years old. This innovation is notable because it represented the migration from the insistently stoic voice-over style of the mid-century to our modern, emotionally pitched voices.

Don brought humanity to modern promotional media, and brought our emotions front-and-centre.

As someone engaged with short-form media I can say that the hardest goal - and the most important - is to leave audience members with an emotionally memorable message. The only way to do that is to engage listeners emotionally, and lead them to the point you're trying to make by showing them, with emotional resonance, rather than telling them, with just words. Aligning the words with the right emotion takes practice and talent, and is tremendously valuable when it's realized.

Finally, to voice actors: Consider writing!

Blogging, short stories, scripts, poems... All these formats require a knowledge of the fundamental tenets of storytelling. By practicing the art of storytelling, and understanding a writer's sensibility, you can both improve your own interpretive (and thus performance) abilities, and also have a more informed conversation with your clients and their copywriters.

Sincerely,

Adam Caplan

Adam Caplan is a lecturer at the University of Western Ontario and is a graduate of the California Institute of the Arts. He works at his own startup, web.isod.es. You can follow also Adam Caplan on Twitter.

Any Comments?

Looking forward to hearing from you,

Stephanie

Have you ever volunteered as a reader in a school or library?

Maybe you've always wanted to do so but haven't researched the opportunities available to you.

Hear about Elaine Victoria Grey's experience as a "Celebrity Reader" in the school system and how volunteering her gifts as a narrator and artist impacted children and inspired her in her career.

Reflections on Being a Celebrity Reader

By Elaine Victoria Grey

An opportunity to become a "Celebrity Reader" was presented to me a number of years ago, when an elementary school teacher, (coincidentally her name was Norma Ciccarelli), requested that I read to her fourth-fifth grade class. It was a pleasure for me to accept the offer.

The event took place during Celebrity Read-a-thon Week, at the Hosmer School, Watertown, MA, which became an annual event that I thoroughly enjoyed.

Mrs. Ciccarelli would allow me to pick books that I would like to read to her class, and she would also make suggestions and give me a selection of books to choose from that were prize winners. Most of the times I would pick from the books she suggested, and I always selected two books for the big day.

For those of you who are looking for books now, there is a site called Scholastic.com, where some award winning books are listed. For instance there is the Caldecott and the Newbury Medal award collection.

The Caldecott Medal award winner, "The Trumpet Swan" by E.B. White is a favorite of mine and the children loved it because it had wonderful illustrations. Note: Randolf Caldecott was a 18th century illustrator.

The favorite books are not only ones that are well written, but ones that are well illustrated. This was important, because as I read to the children, I would turn the pages toward them so they could see the vivid images of the story.

Because I am an artist, I would also ask Mrs. Ciccarelli to have drawing paper and markers and or crayons on each students desk so I could ask them to draw what they were feeling as I was reading to them.

I got great feedback from the school, the children and the parents and got invited back each year. The children would always ask me lots of questions about my career as an artist, and they would readily answer questions that I would ask of them.

Where did my inspiration come from? My inspiration can be found in the face of each child, and the knowledge that I could share something special with them that they may always remember, and that might make that little difference in their lives.

I believe we need to give back to our communities, and that we should share the gifts that we have received with future generations.

When I was a child, I used to go to the library every week to "hear a women read to me. She would read from Grimm's Fairy Tales." I will never forget her. She gave me my first taste of Literature, and then reading became such an important part of my life.

The greatest gift I received from reading to those fourth graders is the feeling that I had when I saw the satisfaction on their faces and knew that I touched their imagination in a very special way.

Some of the children would give me one of their sketches to keep as a remembrance. The rest of the sketches would get pinned up on the board. Usually, there was always one or two children who would never pick up the marker to draw and their paper would remain as white as snow, until towards the end of the reading I would look up and see them drawing. It was a wonderful reward.

And lastly, I would receive a Celebrity Reader Certificate along with a framed note of thanks from the children with all of their signatures. How cool!

Do you want to read to children at schools?

My advice is not to wait any longer. Get involved.

Elaine Victoria Grey

ELAINE VICTORIA GREY IS A CELEBRATED BOSTON ARTIST, whose accomplishments include a one-person exhibit entitled "Innovations" at Harvard University's Baker Library and copyright renderings of historic sites in Boston.

Did you enjoy Elaine's story?

Leave a comment with your thoughts!

Best wishes,

Stephanie

©iStockphoto.com/Jani Bryson

Over the weekend, I decided that the Saturday Giveaway would be conducted through Twitter this time

What's up for grabs?

A 1-year Premium membership to Voices.com!

In order to qualify, you'll need to follow my instructions and get on the Twitter bandwagon.

Why Do You Want a Voices.com Premium Membership?

"Saturday Giveaway: In 140 characters or less, tell me why you want a Premium membership to Voices.com. Reply to this tweet to enter."

On Saturday night, I was tweeting from PodCamp London's evening event at the Windermere Manor, and thought it would be cool to post the Saturday Giveaway through Twitter this time.

If you are interested in a chance to win a 1-year Premium membership from Voices.com, currently valued at $299, you will need to do the following:

1. If you are already on Twitter, reply to me @stephciccarelli and tell me why you want the membership in 140 characters or less.

2. If you are not yet on Twitter, you will need to:

a) Register for a free Twitter account at http://www.twitter.com
b) Follow me here at http://www.twitter.com/stephciccarelli
c) Message me by typing in @stephciccarelli and letting me know, in 140 characters or less, why you want a Voices.com Premium membership

On Twitter, you are able to let other people know what you are doing and you can also send people messages by using the @ symbol in front of their username. In my case, you'd be starting your message to me here @stephciccarelli .

Easy as that!

The winner will be announced on Saturday May 2, 2009 through Twitter and on my Facebook status.

Looking forward to hearing from you on Twitter!

Best wishes,

Stephanie
@stephciccarelli

Learn how to take care of your voice, engage in a vocal warmup, speak clearly and become more confident behind the microphone.

Discover how you can improve your voice over technique and achieve a personal best with regard to vocal performance.

Your audience will thank you!

PodCamp London

Yesterday, I presented at PodCamp London and am eager to share the contents of my session with you!

The topic was "Content is King But Voice is Queen".

During my session, those in attendance heard an abbreviated, but substantial, version of what I have blogged about in today's article.

My audience was a group of podcasters, however, I think you'll find a great deal of value in this as voice over professionals or public speakers.

Content is King...

When you're trying to reach an audience, the most important aspect of your presentation is your content.

As a podcaster, you have the responsibility to:

- Research topics
- Create quality content
- Be prepared

...but Voice is Queen

Why would I say that voice is queen? Why not audio production skills or something else?

- Your voice communicates the message
- Makes creative choices when interpreting copy
- Voices connect with people on a deep, human level

These Pipes Were Made for Talkin'

- The human voice has been used for thousands of years to communicate
- It's the most effective way of engaging another person
- When talking, realize that it's not all talk, it's social engagement

Know And Love Your Voice

By now, I'm sure you've realized just how singularly important it is to keep your voice safe, after all, without it, podcasting would be incredibly difficult. How many of you take care of your voice, I mean, really treat it well? Like most things, before you can meet its needs, you need to have a relationship and understanding of how your voice works and how you can protect your asset.

Caring For The Voice

Your voice is so delicate. It's not something you can turn on or off by flicking a switch. It's also not something that you can carry in a bag or download on the Internet. Simply put, your voice is with you at all times and cannot be put on hold or paused whenever it's convenient to do so.

When caring for your voice, you need to be aware of just how sensitive your instrument is and also realize that it is just that, an instrument. Coming from a musical background, I grew up abiding by a number of guidelines set in place to protect my voice. In university, the first week of school, we were handed an extensive package that described in great detail what to avoid doing to save our instruments from harm.

Getting sick aside, any number of external elements could affect the well being of your voice and its performance, including what you eat, drink, breathe in and so on.

Don't Abuse Your Voice

Yelling, screaming, whispering, crying and even talking extensively on the phone can all wear your voice down. You might have been surprised by the telephone citation, but believe me, it's a culprit and is very tiring, drying and can be taxing on your voice.

Some of those things may appear to be obvious to you because they directly involve the use of your voice. Now consider this. Smoking cigarettes, drinking alcoholic or caffeinated beverages, and inhaling second-hand smoke can also injure your voice.

Avoid these at all costs before a recording and stick to water as the beverage of choice.

Also be mindful to not wear perfume or cologne before you warm up your voice and record. If you must wear something, make it a light, neutral scent. Remember, no one can smell you through your podcast.

Be Realistic

Know your range and respect its natural boundaries.

If you know that your vocal range is limited to an octave or so, don't push harder to reach low, growly pitches or strain to speak too high, either. Do not force yourself because you'll not only sound bad but it will also hurt your voice.

Your natural speaking voice sits in your comfort zone, also known as your tessitura. Tessitura is an Italian word that refers to a singer's comfortable range that presents its best sounding texture or timbre.

Bearing this in mind, your voice has limits and you'll need to respect them otherwise you will grow tired quickly and find that your voice is under performing, even in pain.

Protecting Your Voice From Sickness

Protect your voice from environmental factors / sick people!

I went to see my doctor just yesterday for an ear/nose/throat issue and in passing, he mentioned that he has seen more people lately who are sick with a cold than he did throughout the entire winter. For whatever reason, there's something going around, and because of what we know about how important our voice is, we've got to do even more to protect ourselves from getting sick.

Being sick when you record changes the quality of your voice, its range and also may injure you. When you're sick, it's best to let your voice rest and save recording for another day.

Some Tips For Keeping Healthy:

1. Wash your hands thoroughly
2. Make as little contact as possible with those who are sick
3. Take your vitamins, remain hydrated, get lots of sleep and eat healthy foods

Warming Up Your Voice

- Stay hydrated
- Start with gentle warmups like humming
- Engage your articulators and resonators - do tongue twisters

Don't Forget To Breathe!

- Breathing and support is fundamentally important
- Supporting from your diaphragm helps you to project
- Phrase well by speaking on the breath

When we were little babies, breathing was so natural. Over time, you lose your ability to breathe properly and fall into some bad habits. When you are singing, speaking in public or acting, you need access to as much supported breath as possible and that may mean that you need to relearn how to breathe deeply, sustain the breath and use it to buoy your phrases.

For a moment, I want you to stop thinking about everything and concentrate only on breathing. Feel the air as you inhale as it fills your lungs, and gently exhale and release. If you can, please stand for this to get the full effect. Put your hand on your stomach now as you breathe. When you breathe in, your ribcage should expand as your lungs fill with air. When you breathe out, let the air leave you slowly on a hiss.

Panting like a dog can help you to establish proper breathing technique in its earliest stages. Try it. You can't help but inhale and exhale properly when you are panting. Pant quickly at first to get the rhythm and then slow it down so that you can dissect your breathing technique. When you breath in, your stomach should expand. When you breath out, or exhale, your stomach should return to its normal state.

What Did You Say?

Seldom do you misinterpret what a professional actors says or miss words due to poor diction on a CBC radio program, however, when it comes to podcasting, not everyone is a trained professional and aware of how they pronounce words, intone or deliver their speech.

I once had a teacher at my choir school who would ask people to come in literally off the street to see if they could understand what our class was singing. If someone who was hearing the piece for the first time could repeat back exactly what we were singing, we knew that our diction was spot on. If they had difficulty, we had to place more emphasis on spitting our consonants out.

Sometimes it helps to have another person listen to your recordings before you publish them and be that second set of ears for you.

- Be conscious of how you sound
- Watch your diction
- Project your voice and do not mumble

Your Voice Speaks Volumes About You

- Your voice and how you use it defines you
- How you use your voice will directly impact your audience
- People expect to hear quality content and pleasant voices

Podcasting is an audio medium and the most important tool that you have to communicate your message is your voice. If you are recording podcasts for pleasure and are not trying to make a business of it, people will not be as judgmental, however, if the podcast is for a corporation or organization, there is the expectation that the voice over be of professional caliber.

Final Tips:

- Drink lots of water!
- Respect your voice
- Maintain good health
- Speak in your comfort zone
- Prepare for success

Download The Presentation At Slideshare.net

If you'd like to download a PDF copy of my presentation, visit this link:

"Content is King But Voice is Queen" from PodCamp London by Stephanie Ciccarelli

At some point in the near future, the actual recording of the presentation will also be available to enjoy. Thanks to those of you who attended in person and via the web on Saturday streaming live!

Thank you also for reading and I hope you enjoyed this post!

Cheers,

Stephanie

Have you ever considered having a professional photograph taken to help you promote your career?

Last night I had my first session with London, ON photographer, David Raposo, and I'd like to share a bit about my experience with you.

As a voice actor, you might think that head shots aren't a priority or good for business, however, you may change your mind after you read this.

Head Shots

Whether you like it or not, nearly everyone in the entertainment industry needs to have a quality head shot or portrait taken that will represent them as professionals.

Before now, I had never sat for a true business photo session, mainly because I felt that it could wait or that I didn't need a head shot. Perhaps you feel like this too and are just waiting for a kick in the butt to get yours done.

My butt kicking came after I realized that when people ask me to speak somewhere, I need to have a photo that they can use online or in agendas to help sell what I'm talking about to complement a thoughtfully worded bio. If I were to publish a book, be quoted in a newspaper or even show up at an industry event, having a photo already prepared is not only convenient but mandatory.

Boy, do I wish I had done this earlier!

I was photographed by London, Ontario photographer, David Raposo. David also photographed David Ciccarelli, my husband and Voices.com co-founder, a couple of months ago. Raposo has experience working with fashion models, business people, does wedding photography and enjoys taking photos of families, too. I'm already looking forward to booking my next session and also family portraits to capture more of the people I love in pictures.

5 Characteristics You'll Find in a Good Photographer:

1. They are interested in getting to know you as a person
2. They have mastered the art of lighting
3. The photographer has been referred to you and gets a lot of business through referrals
4. Their work has been featured in newspapers, magazines, online, etc.
5. They know how to direct a session, put you at ease, and can inspire ideas

Great Photo Session = Being Comfortable

The key to a great photo session is confidence and feeling comfortable with your photographer.

The first part of the session may be spent getting to know each other. If you are at ease, the images are more authentic, believable and are also less grating to look at when you review them following the session.

When I took a look at the first round we did shortly after I arrived (I had only met David in person that night but knew of him through referrals, networking, email and Facebook), I admit that I wasn't as relaxed as I was once we really got rolling 20 minutes later. By picture 35 or so, I was in tune with what was being asked of me and I was even making suggestions at that point which was truly progress for me.

There were in the neighbourhood of 70 pictures taken during the 1 hour session. One of the great things about digital photography is that you can keep shooting and you don't have to worry about running out of film.

5 Tips on How To Prepare for a Head Shot Session

1. If you're a woman, wear your hair down, perhaps flat iron it if you like
2. Choose neutral, safe colours to wear that won't look dated years later
3. Solid colours are best - patterns or lines are too distracting
4. Have pro makeup done. Men: basic foundation/powder is a must... yes, you heard me!
5. Envision your goals and think of some poses you'd like to try

Word of caution: If you are considering cutting your hair or doing anything drastic to your appearance, hold off until you have had your photos taken. I wanted to cut my hair shorter but am glad that I chose not to do so before these pictures were taken. Thank you to the many people who urged otherwise and helped to persuade me!

Miscellaneous Photography Session Tips

๏ Come prepared with a few outfits or shirts that you can change into
๏ Bring a hair brush with you as well as any items you might wish to keep on hand
๏ Invite a friend to come with you to the session to make you more comfortable
๏ Get adequate sleep the night before
๏ Drink lots of water and even bring some to the session
๏ Treat yourself to a relatively stress-free day if you can manage it
๏ Try to schedule your hair (first) and makeup (second) appointments close together
๏ Let your makeup artist know that you need professional makeup applied for photos
๏ Book your session at a time of day when you are at your best, hopefully following shortly after your hair and makeup appointments
๏ Reapply lipstick if necessary - men, bring a moisturizer or lip balm to avoid chapped lips
๏ Don't wear ridiculous footwear or tight fitting clothes - resist torturing yourself! It's just a from the chest up sort of photo, not your whole body
๏ Be willing to try different poses or facial expressions, even suggest some of your own
๏ Bring clippings from magazines of images you like / would like to recreate in your shoot

So, that's what is really going on with head shots.

They are a great boon to you as a professional, but make sure that you're also in it for the journey and appreciate the warmer, more personal side.

I hope my experience has helped you in some way to prepare for an enjoyable photo shoot!

Any Comments?

Looking forward to hearing from you,

Stephanie

Have you ever visited an online medical site?

Many health care related sites are now providing useful, reliable health information directly to patients to help them manage their conditions and make treatment choices through interactive presentations involving voice over.

Learn more about this opportunity for voice over talent and also hear from Shelley Baldiga, the voice of the Information Therapy Conversations presented on the Harvard Pilgrim HealthCare's website.

Information Therapy

While not replacing consultations with medical professionals, these interactive avenues, such as the resources offered by Harvard Pilgrim HealthCare, provide people with access to information that will help them to take better care of themselves to solve age-old problems.

To enrich these presentations, and better engage potential customers, voice over is being used more and more in this field.

How Harvard Pilgrim HealthCare Is Using Voice Over

The Wall Street Journal reports that Harvard Pilgrim HealthCare, a nonprofit health plan in New England, recently began offering on its Web site one of Healthwise's coaching programs called Information Therapy Conversations.

The site, open to the public at harvardpilgrim.org/conversations, guides consumers through issues such as dealing with sleep problems, depression and lower-back pain. Using soothing voice-overs and animations, it asks questions to determine the extent of the problem, suggests the types of doctors or health professionals who might help, and provides information based on the patient's answers.

I had the opportunity to talk with Shelley Baldiga about her experience recording the voice over and have included our interview for you to read.

VOX: How did you get the job narrating these conversations for Harvard Pilgrim HealthCare?

SHELLEY BALDIGA: I actually narrate the conversations for a company called Healthwise, an organization that provides health information and programs for major hospitals and insurers like Harvard Pilgrim HealthCare as well as Internet sites like WebMD. I auditioned with Healthwise for their first conversation back in 2006 and have been voicing for them ever since.

VOX: Thanks for clarifying that detail, Shelley! When taking one of the guided conversations about sleep, I noticed that there are a number of variables presented, which I'm sure translated to a lot of voice over work having to record accounting for each possible scenario in the survey. How many prompts did you record for each conversation?

SB: I believe it's around 350 individual audio files per conversation. The whole recording session is totally fragmented -- from doing partial sentences to single transitional words, like "okay", "great" or "hmmmm." And, as you would expect, each response varies depending on where we are in the conversation. We also have to consider what someone has already told us as we travel down different paths. For example, on the sleep conversation, we ask how long they've had sleep problems, do they need an alarm to wake up, what do they do right before bed, have they been diagnosed with sleep apnea or depression, etc. Then, we refer to that information when giving advice down the line. The producer is constantly reminding me who a particular response applies to. "This is for someone who says he doesn't have sleep apnea but does have anxiety about lack of sleep..." You have to consider those variables when reading the lines.

VOX: How long did this project take for you to complete?

SB: We're more efficient now than with our first conversation. These days, it takes about 4-5 hours to record a single topic, start to finish.

VOX: Have you yourself found these conversations to be useful? Did you learn anything from them when recording?

SB: I've learned a lot! It has helped me to better understand diabetes, which is helpful since my dad was recently diagnosed with type 2. I could tell you all kinds of interesting facts about heart health and the medications for it, when to have surgery for low back pain, things like that. I learn something new every time we record.

VOX: You got to keep your own name for the character you recorded. Was this something that was decided from the start or were you able to make a suggestion that your first name "Shelley" be used?

SB: Healthwise wanted to use my name. I believe their reasoning was "to keep it real." The whole concept is that this should sound like an actual conversation you'd have with your doctor or some other medical professional, not just automated responses from your computer. That's what makes the product so compelling. It really feels personal, like you're talking with someone who wants to help. And I have to think that helps people take away more information, and in a much more fun way.

VOX: As a voice over talent, it is rare to record a script using your own name. Did narrating as "Shelley" make a difference in how you interpreted the script? How did it feel? Were you recording as you or did you develop a new character with specific qualities who happened to bear the same name?

SB: I think narrating as myself has made a difference. I see the character as me... but in a medical role. As long as I remember I'm wearing that hat, there's never any question about how the character will respond. And I find myself focusing a lot more on who I'm speaking to, rather than who my character is supposed to be.

VOX: Your work got some nice coverage in the Wall Street Journal and I was wondering if you had heard additional commentary, perhaps even from users of the site? Have you heard much feedback regarding the conversations?

SB: The feedback has been great! People seem impressed with the fact that they get specific health advice based on their specific symptoms, not just a generic speech. Plus, it's fun and different. When asked about the voice, we hear comments that run from "she sounds like a nice, older lady" to "she sounds hot!" I have to laugh. I guess it depends on who they want the character to be.

VOX: What has been the biggest challenge in a project like this?

SB: For me, it's finding that balance between being too laid back and too preachy. The conversations are interactive and they're supposed to be fun! But we're talking about serious stuff - sometimes life-or-death health conditions. It's a challenge keeping things casual without offending anyone or turning someone away. It helps to remember... just keep it real.

Have you had any experience using or narrating Information Therapy?

Looking forward to hearing from you!

Stephanie

What will you be doing for Earth Day?

I'm pleased to welcome back actor, writer and the source of many intellectual musings, Edoardo Ballerini.

Join me now in this discussion about how you can make a difference and how the entertainment industry can help make our world a better place.

VOX: Edoardo, thank you for joining me again on VOX Daily. Welcome :) How have you been?

EDOARDO BALLERINI: I have been well, thank you. Our industry has been shifting quickly, and along with the economic uncertainty, has created some interesting challenges, but it can be a period of re-evaluation and re-positioning. On the voice side of things, I'm putting together a series of audiobooks, as both voice talent and producer, something I wouldn't have imagined even two years ago. Oh, and since we've spoken, I got to do my first animation gig, for "Batman: The Brave and the Bold," which was a blast!

VOX: That's great news, Edoardo! From listening to your Mineralava Musings podcast, I have discovered, among other things, that you are quite interested in the environment and are passionate about how people in the entertainment industry can help to minimize their direct impact on the planet. As Earth Day is now upon us, I thought it would be nice to chat with you a bit about how we can make a difference, too. Before we get too far in, what drives you to be so eco-conscious?

EB: If I had a "moment of zen" about being eco-conscious it was during a hike a few years back. I looked out at this magnificent landscape of hills and earth and along the ridge I saw... power lines. I don't begrudge power lines per se, but it struck me just how insensitive we as a race of people were about the natural environment. Surely, there's a way to supply power without desecrating natural beauty!

My belief is this: there are small things we can all do that, added up, make a huge difference. I can't claim to be perfectly eco-conscious, but there are simple choices we could make, that don't even impact the quality of our lives. Bringing a mug to the coffee shop, using cloth bags at the supermarket, re-using bottles for water instead of buying them new every time, planning a route for errands and doing them all at once, eating less meat. Little things.

But my big passion in this area is in buying used goods whenever possible. From clothing to furniture to equipment, buying used means saving something from the scrap heap, fewer materials used, and virtually no shipping costs since used goods tend to be purchased locally.

VOX: Doing little things to help does make a significant impact. We do a lot of recycling and composting at our house and also use reusable bags when grocery shopping. On another note, you live in Los Angeles for the most part in addition to spending quite a bit of time in New York and London, all large cities deeply involved in the artistic scene. In your opinion, what could Hollywood, and other centers of entertainment, be doing better (or doing more of) to help the environment?

EB: Well, if we as individuals can do the little things, then the studios and networks around the world can do the big things, and I believe they have that responsibility. They can power their buildings through solar panels, keep their money in "green" banks, replace fleets of cars with hybrids and electrics, that kind of thing. But they can also incorporate "green" themes into programming and content. The same way that smoking has all but been eradicated from films, imagine if we were exposed to characters who lived eco-friendly lifestyles. It could help it become the cultural norm and not an "alternative."

VOX: All great points! In which ways can voice actors working from home make a difference? Is there anything in particular that you suggest doing?

EB: Voice actors working from home are already doing a lot by simply not being on the roads, or using courier services to deliver CDs. I recognize that there's a trade-off because computer equipment has a lot of hazardous materials inside, but on balance, it's a great thing to do, not to mention a lot less stressful than getting stuck on a freeway or subway!

VOX: While digital technology has created some eco-friendly solutions, such as the potential of the paperless office, has the technology also in some ways created issues for the environment? Are we using more energy than before, for instance, to power up gear?

EB: Ah, I anticipated your question! Yes, powering up gear requires energy, of course, but it's likely that our computers and mixers will become more energy efficient than our cars. And if you travel to a studio, you're still confronted with using energy once you arrive, so cutting out a step makes sense.

VOX: Buying second-hand or gently used items is a great idea that I know you are also a fan of. What kind of things can be purchased used and how does buying used items such as clothing or recording equipment help to reduce our consumption of natural resources?

EB: Hmmm... I seem to have gotten ahead of your questions. But I can add another something to the idea of buying used. For many years, I think there was a stigma against it because the things you got would be of poor quality, truly the discarded bits of people's lives that nobody would want. But the advent of sites like craigslist and eBay have made it possible to search beyond the local Salvation Army, and there are truly some amazing things out there for sale. So you can get what you want, save money, and do some good all at once.

VOX: Are there any ways that voice talent specifically can contribute to making the world a greener, better place?

EB: What voice actors can do is what anybody else can do. Get educated, make some simple changes to habits, and realize that our resources are, in fact, finite. We have to be smart about how we use them! And because we do use a lot of equipment, it's important that we understand how to discard of it when it comes time to do so.

VOX: Note taken. I'm glad you pointed that out, Edoardo. Sometimes professionals don't see beyond their own little worlds and it's always good to remind ourselves that voice actors, while unique to a degree, are people just like anyone else. That being said, how will you be spending Earth Day?

EB: I'll be spending Earth Day in New York, a city that can often feel devoid of nature. But I just read about an artist who wants people to sprinkle wildflower seeds around town, wherever there's a tree-bed or some patch of earth. I thought that was very clever, so I'll do that.

~~

What Will You Be Doing to Celebrate Earth Day?

If you have anything you'd like to add to this conversation, please comment below. I'm looking forward to hearing from you! Now, off to plant some wild flowers...

Cheers,

Stephanie

Did you grow up reading Brown Bear, Brown Bear, What Do You See?

Mother and actress, Gwyneth Paltrow had a great time narrating this modern classic in a collection of recordings called "Brown Bear & Friends" (Macmillan Audio 2008) penned by Bill Martin Jr. with illustrations by Eric Carle.

Brown Bear and Friends

Brown Bear, Brown Bear, What Do You See, first published in 1967, began a great collaborative friendship between author Bill Martin Jr. (1916-2004) and author / illustrator, Eric Carle. Entertaining and enriching the minds of generations, three of their books, specifically, Brown Bear, Brown Bear, What Do You See?; Polar Bear, Polar Bear, What Do You Hear?; and Panda Bear, Panda Bear, What Do You See? are included in "Brown Bear & Friends". The newest addition, Baby Bear, Baby Bear, What Do You See? is also on the CD. Collectively, Martin Jr. and Carle's collaborative efforts have sold more than eleven million copies worldwide.

A GRAMMY Nominee in the category of Best Spoken Word Album for Children, the Brown Bear & Friends CD was directed and produced by Laura Wilson, with music by Kessler Media Productions, published by Macmillan Audio in 2008. Brown Bear & Friends has 11 tracks and runs for 1 hour.

Tracks 1-4 are Gwyneth Paltrow's narration, tracks 5-8 feature the Spanish translation of the books read by Adriana Sananes, Bill Martin Jr. narrates Brown Bear, Brown Bear, What Do You See on track 9, and tracks 10-11 feature an interview with Eric Carle.

Gwyneth Paltrow Voice Over Performance

Academy Award-winning actress and mother Gwyneth Paltrow, narrated the four books mentioned above with motherly tenderness. Her interpretation of Brown Bear was more relaxed and bed-time like, making safe performance choices that honored the original tale. Paltrow took more artistic liberty in subsequent tracks better exhibiting her acting skills, yielding a more exotic, imaginative performance complete with creative musical accompaniment. Paltrow differentiated her characters well while maintaining a strong narrative. I listened to this CD with my three children and they all loved the reference to the Macaroni Penguin. Another observation was that the narration for Polar Bear, Polar Bear, What Do You Hear? was more engaging because it was about hearing not seeing, something that makes a big difference when listening to an audio recording. Polar Bear, Polar Bear, in my opinion, was for that reason the most memorable story.

Spanish Voice Talent Performance by Adriana Sananes

What a lovely surprise it was to have the stories translated into Spanish, featured as hidden tracks (5-8) on the disc, performed by voice actress Adriana Sananes. Such lively recordings! I appreciated how Adriana Sananes used her versatile voice to express a vibrant interpretation of books which translated well into Spanish. I found Sananes' elasticity, diction and mastery of her vocal range to be incomparable. Her characters were very interesting and I must say that I especially adored her Baby Bear voice. From the start, it was clear that Adriana was a trained voice actress and I'm pleased that the producer decided to go with someone of her caliber to introduce these books to the Spanish and bilingual Spanish / English listening audience.

For those interested, Teresa Mlawer provided the Spanish language translation for Bill Martin Jr.'s books. Mlawer is a widely respected translator and the president of Lectorum Publications, the largest U.S. distributor of children's books in Spanish.

Do you have any comments or thoughts you'd like to add?

Looking forward to your reply,

Stephanie

Despite being only 11 years old, Travis Mustang, son of voice over talent Connie Mustang, has demonstrated a number of leadership qualities and a voice full of heart.

Already a member of Voices.com, Voice Over Universe, and the online group Teen Talk V.O. Style, Travis is well on his way to achieving his goal of becoming a career voice over talent.

Hear about how one boy is making a big difference in shaping the future of the voice over community.

Travis' Story

I first heard about Travis Mustang and his story through a nomination and his being a finalist in the category of Best Child Voice this year for the 3rd Annual Voicey Awards. I was floored by what I read and I wanted to share what an inspiring person he is and how Travis has embraced more than just the role of performer, but also that of a business man and an industry ambassador, already having tackled stand-up comedy by age 8 and ADR by the age of 9.

In his business, Travis does things that every adult should do to strive towards making their business a success. He practices his craft, takes college courses (reportedly the youngest student they ever had), and professional courses in theatrical arts, singing, and voice over in order to make himself an asset to the Voice Over Community. He has studied privately with M.J. Lallo and is now a member of her voice talent roster.

If that wasn't enough, Travis attends industry conferences, seminars, comes prepared to mixers bringing his own business cards, and has even given a pro-bono talk to a business class of college students at Mount San Antonio College on how to get into the Voice Over business.

Travis' mother, Connie, relates that her son volunteers his time to direct her voice over sessions, reading along, sometimes narrating textbooks that are high school level or higher. His direction helps to ensure that the recordings are perfect before presenting them to Recording for the Blind and Dyslexic's Hollywood office.

Connie Mustang, shares, "This is Travis' business, and it is pleasing to see him take such an active role in running it. He is truly passionate about being a voice artist and plans to make this a life-long career."

By now, you're probably wondering how Travis does it all, and by most accounts, I'd wonder too, but I think what we're looking at here is the exception to the rule, and people who fall into that category are rare and worth watching.

In addition to his voice over career aspirations, contributions to the community and other activities, Travis is also sensitive to the well being of those around him and the challenges people face in their lives.

In this difficult economy, while most boys are out spending their parents' money on expensive wants, Travis is helping his out by providing a means to pay for his own boyish desires while saving for his college education. He also has a heart for people and has volunteered for many projects, including assisting a single mom who was struggling to make ends meet for her and her son.

His mother confided, "Travis has a giving nature and never expects anything in return. He has the same passion with his voice work, although he does get paid, I think the true joy for him is bringing happiness to others through his work."

Do you have a story to share?

If you'd like respond to what you just read or share your own story about a young voice talent in your life, be sure to comment :)

Best wishes,

Stephanie

Has a Voice Over recording ever surprised or frightened you when you least expected it?

It is quite possible to be caught off guard by a voice over, regardless of how nice it may sound or how safe the venue.

Hear my story and then share yours!

In-Scare Advertising

A few weeks ago while grocery shopping, I was pushing my cart up and down the aisles, picking out some potato chips, minding my own business.

Let it be documented that I was alone at the time.

As I left the aisle, I must have walked passed a sensor that triggered a voice over recording. The female voice over asked me if I was getting enough fiber in my diet, and given the circumstances, it literally made me jump!

The voice over itself was well done and wasn't scary, however, the timing of when it played as I hastily moved on was just enough to make me uncomfortable and do a double take.

Have you ever had an uncomfortable or irregular encounter with a voice over?

Looking forward to hearing your stories!

Best wishes,

Stephanie

©iStockphoto.com/Chris Bernard

Bam! Kapow! Zowie!

Have you ever wondered how Batman got his voice?

Discover some interesting things about Batman, the Caped Crusader's voices over the years, and draw some parallels here at Voices.com's VOX Daily.

Voices in Gotham City

When I first started thinking about voice over with regard to Batman, my original thought was to discuss something entirely different, perhaps a tad darker and more speculative. That was before I sparked a conversation on Facebook that quickly changed my focus and pointed me in a different direction.

During the conversation, my attention shifted from the late Heath Ledger's role as The Joker and the potential use of ADR to complete his lines following his tragic death, to the voice of Batman himself and how it has morphed over the years, starting with the televised series starring Adam West (1966), to the 1992 cartoon series with Kevin Conroy, and films ranging from Michael Keaton's smooth portrayal to the polar opposite, otherworldly voice of Batman in The Dark Knight as performed by Christian Bale.

This article, the prelude now being over, is specifically about the various actors, mediums and character voice interpretations that Bruce Wayne / Batman has experienced over the last four decades.

The Original Batman, Adam West

The series "Batman", starring Adam West, first aired in 1966 and ran for 120 episodes, each 30 minutes in duration. It was here that Batman became more than just a comic strip but a vibrant discussion piece around the family dinner table.

My dear friend, Nancy Wolfson, upon hearing that I was writing this article, offered to connect me with Fred Wostbrock of KSR Talent, Adam West's agent, to see if we might be able to learn more about the inner workings of West's Batman and Bruce Wayne.

Adam West, when asked how he differentiated the voices of Batman and Bruce Wayne, shared, "My Batman delivery was more forceful, quick, dynamic, comedic, musing and deductive in tone and rhythm. Whereas my Bruce Wayne was open and seemingly naive and vulnerable. I tried to give him a sound and demeanor as if he were hiding secrets that the audience was really in on. Again, fun for the adults and serious for the kiddies."

My first recollection of Adam West as Batman was through reruns when the series was rebroadcast on YTV in Canada. I loved the innocence and vigor of the show, and when the opportunity arose to include Adam West, I couldn't pass it up.

Kevin Conroy in Batman: The Animated Series

To many, Kevin Conroy is the definitive, quintessential voice of the animated Batman. "Batman" aired in 1992 and ran 85 episodes, each 22 minutes in length.

The voice casting of Kevin Conroy and his epic performances as Batman are legendary, with a number of voice actors citing Conroy's interpretation as their inspiration to become voice actors. In December of 2008, it was announced that Kevin Conroy and Mark Hamill, the voice of The Joker in Batman: TAS, were invited back to reprise their roles by videogame developer Rocksteady Games in the upcoming, Batman: Arkham Asylum.

Norm Hayden, a voice over talent in the US, relates, "Kevin Conroy is still the definitive Batman voice. Perfect casting."

In accordance, American voice talent, Jim Feldman offered, "Kevin Conroy really hits it out of the park. He definitely gives the impression that Bruce Wayne and Batman are 2 different people... and it doesn't even sound forced."

Batman: The Animated Series has set a number of benchmarks in the minds of those who follow the Batman franchise, even crossing expectations in the realm of film. Belgian voice actor, Philippe Bernaerts noticed a discrepancy between certain roles, noting that the voice casting in TAS was superior to how the characters' vocal performance translated onto the silver screen.

Bernaerts said, "I think the voice-acting, voice-casting and voice-directing on Batman: TAS was outstanding. In fact, Batman: TAS had such outstanding characterization that it made the movies look pale. Thumbs up for Andrea Romano!"

Diedrich Bader in Batman: The Brave and The Bold

Andrea Romano cast more than one Batman cartoon, including, "Batman The Brave and The Bold", featuring the voice of actor Diedrich Bader, a series based upon the DC comic book of the same name that debuted in 1955. So far, there have been about 16 episodes, embarking in 2008 into 2009.

Norm Hayden chimed in, "I think Diedrich Bader is doing a good job as Batman in Batman: The Brave and The Bold. I like the darker Batman myself, but the new show is aimed at younger kids. It's fun and the art design is fantastic."

Reviewer, david929, at IMDb shared, "This cartoon is absolutely fantastic and mind-blowingly good. Sadly, it isn't Batman: TAS, but it doesn't pretend to be either. Instead, it is a perfect blend of modern and retro that doesn't take itself too seriously but is clearly articulate and deliberate... The only reason I'm not giving this wonderful cartoon 10 out of 10 is because it doesn't at all attempt to incorporate Bruce Wayne. I think there could be plenty of opportunities to include something with the comic and clumsy Bruce Wayne that the story writers probably intentionally left out to further the dichotomy between this show and our old and beloved Batman: TAS."

Batman in Film

Most of us probably don't think much about how Bruce Wayne / Batman's voices differ in film because we are so focused on the action, but if you've been paying attention over the years, each actor has brought their own interpretation to the cinematic version of this troubled hero.

Christian Bale's Batman

Of all the Batmans, I would say that Christian Bale has stood out most for his vocal interpretation above all others, perhaps because his creative choices became very different in The Dark Knight from previous Batmans. When you do something differently and break the mould, people take note, and, they also take sides.

I have read a number of articles about Bale's Batman voice, and while it is admittedly more gruff, scary and intense than previous Batman voices, it does match the setting, both physical and literal, that Christopher Nolan set for his films Batman Begins and The Dark Knight.

Dave Kendricken's article "Defending Christian Bale's Batman Voice" is extremely interesting and a worthwhile read. He discusses much of what I said a paragraph ago but in far greater detail, specifically:

"The Batman of Nolan's films strives to be a shadowy, stealthy, ghostly apparition of unflinching justice and a symbol of dread to any and all criminals. To those he ambushes, Batman exists as a terrifying entity that cannot be killed, harmed, or pinned down. Using the disorientation he creates with his physical skills, Batman completes the psychological effect on criminals by using the harsh yell."

The Huffington Post took a different angle altogether, offering the Associated Press' observation, "Why does Batman talk like the offspring of Clint Eastwood and a grizzly bear?"

True, Bale did reach deep into his lower register to create the voice, but I've also heard that there may have been some audio engineering at work, too. Sarah F. Sullivan, featured on Associated Content, was quick to note the following, "While the voice is completely Bale's, director Christopher Nolan and supervising sound editor Richard King adjusted the voice, exaggerating it through modulation."

Fans apparently thought that Bale's voice lacked a certain "meatiness" in the first movie so extra measures were taken to ensure that it surpassed the previous interpretation with a deeper, darker, raspier and eerier sound.

Sullivan went on to say, "Looking back at the history of Batman films, Christian Bale is the first Batman to fully alter his voice between Bruce Wayne and his alter-ego. While Michael Keaton's voice as Batman was different from Bruce Wayne's, they were still close enough to make the connection. Val Kilmer and George Clooney did little to modify their voices for the character."

Michael Dobson in Batman: Black and White

Last but not least, Batman: Black and White, available exclusively on Apple iTunes! I happened to cover this series on Voice Over Times a while ago.

Released in 2008, the collection consists of animated adaptations of ten short stories bundled into five episodes. Batman: Black and White takes place in and around Gotham City featuring Batman and a number of villains including Harvey Dent (Two-Face) to name just one.

Each story was written and told from the unique perspective of different writers and artists presenting their own interpretation and spin on the world of Batman with voice actor Michael Dobson performing multiple roles in addition to Batman including the voices of Alfred, Joker, Thomas Wayne, Doctor Rubin, Ahmet, Winsor Munsell, David Thompson, and the Scientist.

Final Thoughts

As we have just seen, Batman, and the numerous interpretations of his voice, have been of great interest and yielded much debate. I think what we can all agree on though is that this interesting topic is a healthy thing for the voice acting community to explore and warrants further discussion.

Any Comments?

Whether you'd like to discuss your favorite Batman voice, talk about the article in general or compare Batman voices, I welcome your comments below!

Thank you in advance for joining the conversation.

Best wishes,

Stephanie

Do you have voice over musings spinning around in your head that you'd like to share with an audience?

Maybe you'd like to step up as a guest blogger!

Find out how you can get even more publicity through Voices.com by becoming a contributor to the VOX Daily blog.

Contributing Articles

There are few better ways online to establish yourself as an authority or expert than to write some good, solid articles. Quality articles, I might add, not only breed credibility but they are also linked to and republished.

Who is this opportunity suited to?

๏ Voice acting coaches and teachers
๏ Voice talent bloggers
๏ Voice actors who like to write
๏ A voice over professional with a story to share
๏ Casting directors and agents
๏ Union representatives
๏ Industry professionals
๏ Audio recording engineers

Ideal Article Length

Generally, 250 - 500 words is the right amount to write a substantial article. Of course, there are exceptions to the rule, but if you like solid parameters and want to stay in the safe zone, shoot somewhere in that range.

What should you write about?

Anything to do with voice over! Of course, the content needs to be family friendly and in good taste, but otherwise the spectrum of content you could produce is quite wide.

Kinds of articles to consider:

๏ Educational
๏ Business
๏ Technical
๏ Opinion Piece
๏ Product Review
๏ Expository Piece
๏ Personal Reflection
๏ Interview

General Guidelines

Why have I set guidelines for this? Simple.

VOX Daily is read and enters the email boxes of thousands of people every day representing varying ages, backgrounds and beliefs. Out of respect for our subscribers and online readers, the content must be of high quality, relevant to voice over, and free of questionable material.

Email Your Article

Send your material to my email address by clicking here

Looking forward to helping you get the word out!

Best wishes,

Stephanie

©iStockphoto.com/Frank van den Bergh

Do you have any client testimonials on your website?

If you've ever been hired because someone read about how you served one of your clients, you know the value of adding testimonials and the instant credibility they can instill for prospective customers.

Were you nodding your head in agreement (or at least agreeing) with what I just said? If so, I have some great news for you!

Feedback

Part of your profile at Voices.com was created to feature success stories, or testimonials, from clients you've worked with in the past. This part of your profile is aptly called "Feedback".

When people visit your Voices.com profile, they can toggle between your main profile page, your demos, your store, and feedback.

Difference Between Feedback Ratings and References

At Voices.com, you can receive feedback ratings from clients you've done business with using SurePay, AND you can also add references and testimonials that share experiences you've had with your own clients outside of Voices.com.

This is particularly useful for those of you who have been hired by a client on Voices.com but then decided to conduct business off the site, which leads me to...

Why can't all clients give me a Feedback Rating?

Many people ask us how they can receive feedback ratings from clients who hired them at Voices.com but did not use SurePay. They did, in fact, get the job at Voices.com and the client is happy to confirm, so shouldn't that count?

While it is great news that some members get work that they attribute to a relationship established at Voices.com, we can't track and verify the entire process and transaction if they chose to do business outside of our SurePay payment service. For these reasons, only transactions that we can verify through SurePay are included in the Feedback Ratings.

Include Testimonials to Build Even More Trust

Considering that you likely have testimonials from clients (or could attain them), including these success stories in your Feedback section of your profile is not only encouraged, it's strongly recommended. After all, the most important element of doing business online is trust.

Examples

I took a look around the site to find a few great examples that you could model your Feedback page after.

All of these professionals have included testimonials, references and a list of clients they have done work for in the past:

Bob Souer
Randye Kaye
Mike Cooper

Looks really great, doesn't it?

As I said earlier, this is a particularly good feature for those of you who haven't been paid using SurePay. Even if you have, why not give people another reason (or many) to hire you by taking a few minutes to quickly update your profile?

To add some testimonials to your Feedback page, click here:

Add references, testimonials and my client list now

I'd love to see your completed Feedback pages! Comment to let me know and include the URL.

Best wishes,

Stephanie

©iStockphoto.com/PhotoInc

Do you have any questions that you've always wanted to ask people who buy voice over services that you haven't been able to ask?

Each client who posts a job at Voices.com is surveyed about their experience. Our team releases a quarterly report sharing results from these surveys, and this time, we're looking for your input!

Comment with your questions...

this is an invitation and your opportunity to impact what is included in our newly revised client satisfaction survey!

Have a Question for Voices.com Clients?

This is the perfect opportunity to share your burning questions, and possibly through our surveys, get some answers!

I would appreciate your help designing some of the new questions. The floor is now yours!

Looking forward to hearing your suggestions and questions,

Stephanie

©iStockphoto.com/Katie Little

Over a period of several weeks, we had been conducting layout tests to see which home page layout was preferred by clients using our service to hire voice over talent.

As you may have noted today, we have a winner.

While it may not be what you are used to seeing, statistics don't lie, and frankly, this is what works!

Learn more about why we waited until now to announce this and also about the positive changes we are already seeing thanks to some research, tracking and implementation.

Changes

Whenever we do anything at our company, it is always in the best interests of our customers and providing them with an even better experience using Voices.com to meet their needs and fulfill their goals. Some of these activities include testing technical aspects of the site, which I'll explain in more detail below.

The Voices.com home page, as I had mentioned earlier, underwent a series of tests to see which version of our home page performed best with regard to client registrations and job postings.

During the testing, anyone visiting the site would have seen a different home page layout, meaning not all members were seeing the same things. This was key in discovering which layout worked best.

In order to make sure that the results of this test were as pure as they could be, we were unable to tell you that testing was going on, otherwise the results wouldn't have been an accurate representation of how people were instinctively using Voices.com.

Removal of Featured Talent Lists from the Home Page

The most notable difference is that the Featured Talent lists have been removed from the home page. To assure you, these lists still exist, and while they may not be on the home page any more, Featured Talent lists are accessible from the Site Map among other locations on the site.

I've also included links to them right here for your convenience:

Top 100 New Voices
Top 100 Most Listens This Week
Top 100 Most Listens This Month
Top 100 Most Listens All Time
Top 100 Favorites This Week
Top 100 Favorites This Month
Top 100 Favorites All Time
Top 100 Recently Hired

What Clients Want

This may seem obvious, but what clients care about most when visiting Voices.com is hiring voice over talent and posting jobs.

We needed to do something drastic that would have an impact and help to sell your services for you in a different way in order to raise the bar.

Fact: The Voices.com home page is usually the first place a client lands when visiting our website.

Bearing this in mind, we needed to have a clearer offering presented to them from the start. I heard that someone thought the new home page looked like an advertisement, and they're right! To add to that thought, isn't that what you expect of us and what we are supposed to do... advertise how people can hire voice talent for voice over work?

This all makes sense when you view it from the perspective of someone who is looking for the easiest, fastest and most convenient way to search for talent or post a job.

Summary: The #1 purpose of Voices.com is to connect voice talent with people who want to hire them. Knowing this, we needed to make a change in order to help the website perform better and serve our members.

Serving Our Customers

Voices.com has two complementary customer sets, voice over professionals and the people who need to get a voice over recorded.

The simple truth of the matter is that the voice over marketplace's relationship with both sets is symbiotic, meaning that everyone relies upon, is served by and directly benefits from each other.

๏ Voice talent want to find work and choose to list their profiles on Voices.com
๏ Voices.com attracts clients who need voice overs recorded to the site
๏ Clients use Voices.com to hire voice over talents

When clients hire talent at Voices.com, they get what they want, voice over talent receive work, and the team at Voices.com achieves our goal of connecting people for work opportunities.

Anything Else?

What other improvements would you suggest we try on the home page?

Looking forward to hearing from you,

Stephanie

The Voices.com Store is an exciting feature that gives members of Voices.com the opportunity to be hired straight off product samples instead of cutting custom demos.

I had the opportunity to learn more about how voice talent are using their stores and thought you'd be interested in what's going on!

Hear about some experiences had by voice talent who have sold products in their Voices.com Stores and discover how easy it is to create and list your own products.

Success May Be in "Store" For You!

Yesterday I took a few minutes to follow up with some voice talent who had sold products in the Voices.com Store and asked them about their experiences.

Melanie Wood, James Herron and Melanie Haynes were quick to respond and shared their experiences with clients and the process.

Selling My Product on Voices.com was Quick and Easy

Selling my product on Voices.com was very quick and easy. I received an email stating that my product had been sold (IVR & on hold message). When I went to my page the script was there waiting for me. Within a few hours the client had their completed product and the funds were released to me! :)

The Client was very happy and left great feedback!

Warm Regards
Melanie Wood

The One-Stop-Shopping Feature Was Good For Business

Smith Pro Rodeos contracted me through the Voices.com Store. They were looking for a "Sam Elliott" sounding Voice Over for a special "opening presentation: for a rodeo event to viewed on the 'jumbo-tron". Smith Pro Rodeos, is the preeminent professional rodeo producer and in reviewing my "Sam Elliott" demo in the store of Voices.com I was selected for the project.

I voiced the exciting opening event film presentation for the Super Bowl of rodeos The Gold Buckle Award. The client was very cordial and professional and sincerely believe the ease of the Voices.com one stop shopping feature for this client (who does not have a regular need for VO talent) made it a particularly easy business experience.

Thank you,
James Herron

Saves Both Client and Talent a Great Deal of Time

Being hired and paid via SurePay from my Store on voices.com is one of the easiest and most streamlined ways to do business! It saves both the client and talent a great deal of time.

Thanks,
Melanie Haynes

How Can You Stock Your Shelves at Voices.com?

1. Log in to your Voices.com account
2. Select "Products" within your Profile tab
3. Click on the green button to "+ Add Product"

When Creating Products, Be Sure to Include the Following:

๏ Product Title:
A 1-line field for the title or name of the product.

๏ Product Tags:
Select keywords (adjectives) used to describe the product.

๏ Product Language:
The language that the recording will be done in.

๏ Product Category:
Radio, television, business and so on.

๏ Product Demo:
A sample MP3 file used to help demonstrate what will be delivered following purchase.

๏ Product Description:
A large text area used to describe the product, service description, deliverables and other technical or relevant information.

๏ Product Price:
USD price of the product sold.

You can view a good example of a product description in your account while creating your products if you'd like some guidance.

For more information and ideas, read this article I wrote earlier about how to create a product and make use of your Voices.com Store.

Have You Created a Product Yet?

Looking forward to hearing from you,

Stephanie

You might have wondered how you use the Internal Messaging system at Voices.com.

This article will show you how to do just that and also give you some tips on how you can maximize communications with clients and even fellow talent members at Voices.com.

Internal Messaging

Did you know that you can communicate with clients online at Voices.com by using our new internal messaging system located within your account?

This feature will come in handy if you need to clarify any project details before auditioning for a Private Job or if you are communicating back and forth with a client who has hired you at the Voices.com site during the completion of their project.

Examples of What This Correspondence Looks Like

As mentioned before, all users of Voices.com may use the internal messaging system to communicate with each other.

Let's say Jane Doe, a client using Voices.com to hire voice talent, has discovered your profile and has decided to send you a message.

If Jane were to send you a message from your profile at Voices.com, the subject line will be:

"Jane Doe has sent a message from your website"

As you can see, Jane Doe's name is visible in the subject line. Why is this? Because Jane is registered with Voices.com, her details have been auto-populated on her behalf making her identity clear and credible.

Similarly, if Jane were to send you a message from your products page (this is your personal Voices.com Store), the subject line will read:

"Jane Doe has sent a message from your Store"

You might have noticed that the subject line changes depending on where Jane is contacting you from on the Voices.com website. This differentiating feature helps you to track where clients are contacting you from and also helps to let you know what's working for you promotion wise.

Should you have auditioned for a job that Jane posted and she decided to contact you from your audition, the subject line is:

"Jane Doe has a question about your audition for job #11271"

* At present, voice talent may only initiate internal messaging communications with clients if the client has opted to send them an invitation to a Private Job. All other communications using the Voices.com internal messaging system must be started by a client.

Internal Messages are Stored in Your Voices.com Account

Lastly, the messages you send and receive will be safely archived for you in your account. You can find both sent and received messages in your "Inbox".

The storage of these messages serves a number of purposes that benefit you, including:

1. Record of correspondence
2. Conveniently stored messages for referencing
3. Proof of correspondence if arbitration should become an issue

As always, we encourage you to keep your conversations with clients polite, direct and relevant to the project at hand. If you are communicating with other talent members, the same spirit of graciousness and professionalism applies.

Looking Out For Each Other

If you encounter any abuse of the Internal Messaging system, the best way to let us know is by sending an email to Customer Care that includes all details of what happened, citing the person's name and a copy of their message. In rare instances where abuse or spamming does occur, we are able to investigate the situation and take action, if necessary, by giving a warning or suspending offending member accounts.

You can email Customer Care by clicking on the link below:

http://www.voices.com/service/customer_care

Any Comments or Questions?

Looking forward to hearing from you,

Stephanie

How does the Voices.com search engine work?

What can you do to rank higher and be found for the kind of jobs you hope to receive?

Learn how you can improve and increase your rankings in this tutorial.

How The Voices.com Search Engine Works

You've probably heard the saying "Knowledge is Power", and today you'll gain some insight and further understanding into how the search engine at Voices.com works... information that is powerful, indeed!

The Voices.com search engine is driven by the contents of your profile which is why it makes a great deal of sense to complete your profile and update it as often as required.

For best results, be sure to complete your profile accurately including:

๏ Description of your voice
๏ Gender
๏ Age
๏ Language
๏ Union status

Tags selected from the drop down list are not searchable at this time, however, the description you write for each of your demos is so I encourage you to take advantage of that.

It is also a good idea to include your name in the body of your profile if your username is something other that your first and last name.

If there are multiple results in a search, members are displayed in order of membership type.

The order is as follows:

๏ Platinum
๏ Premium
๏ Premium LITE
๏ Preferred
๏ Preferred LITE
๏ Guests

* Please note that if you do not have any voice samples on your Voices.com profile, you will not show up in the search results.

Which Demo Shows Up?

As you may know, you are able to select a Primary Demo at Voices.com that is featured on your main profile page. That being said, your selected Primary Demo is NOT necessarily the one presented in search results, as the method of search dictates which voice over demos are presented.

Here are 2 things that you should know about this feature:

1. Language overrides Primary Demo
2. Category overrides Primary Demo

Let's pretend your Primary Demo is a Telephone voice over demo.

If a client were looking for an Internet demo in the Featured Talent Directory, your Internet demo would show up in the results as opposed to your Primary Demo (remember it's a Telephone voice over!), which as you'll agree, makes for a perfect fit.

Similarly, if a client were searching for a particular language, let's say Spanish, they would only be presented with Spanish voice over demos.

Troubleshooting

Not seeing what you think you should in the search results for your profile? Consider the following:

1. How did you navigate to the search results? Was it by clicking the search button, or did you click a category?
2. Check the URL of the search results page.

Do You Have Any Questions or Comments About What You've Read?

Add a comment below!

Thanks,

Stephanie

Do you have any questions about fixed prices and budget ranges at Voices.com?

This article will go over in detail what they mean and explain how you can make use of these features.

Fixed Prices

Have you been seeing fixed prices in some of the audition invitations you've been receiving since the Voices.com redesign?

Clients are now able to choose whether they present you with a fixed budget or a budget range. This option, which enables a client to enter a fixed dollar amount, is available to clients on the job posting form below the set budget ranges, designated as "Other".

Note:

At present, fixed budget rates are not filtered to match member preferences, meaning that a talent who has chosen not to be notified of jobs within the $100-$250 range will be notified of a fixed budget job that may have a rate of $100.

Instituted by Popular Demand

Having the ability to enter a fixed budget was a feature requested by a number of voice talent and client members. As we've noted, this feature indicates exactly how much money a client has allocated for their voice over, making their budget known and revealing additional information that makes it easier for voice talent to quote.

When the job has a fixed rate, the audition quote will automatically reflect the client's fixed rate into the total price field. For example, if a client lists his or her budget as $100, the same rate, $100, is automatically populated as the total rate including the SurePay fee.

Of course, if you feel the rate doesn't reflect the fee you wish to command, you are able to respond with a higher fee when you submit your audition.

An aside, for both budget ranges and fixed rates, clients are unable to enter anything less than $100.

Budget Ranges

A budget range gives clients more flexibility when posting their job to gather responses from a variety of talent. There are a number of budget ranges for clients to choose from, starting from $100 all the way to $10,000+.

This feature has been around for a long time and has been updated to narrow some of the wider gaps, for instance the ranges $500 - $750 and $750 - $1000, an improvement where there used to simply be a $500 - $1000 range.

What Do You Think of the new Fixed Budget Feature?

Looking forward to your reply,

Stephanie

What happens when you've been studying for years and it seems as though your newly acquired education is contradicting or not in sync with what you've learned (and paid good money for) in the past?

A conversation sparked in the Working Voice Actors Group on LinkedIn has inspired this post.

What do you think?

A Difference of Opinion

Conflict is never a pretty thing.

Inevitably, we all encounter conflict, and while not always a physical thing, conflict can be a matter of contrasting ideas, techniques or philosophies.

Even if you are studying with some of the best in the business, should you study with more than one of those people, you're likely to encounter a butting of heads or difference of opinion as each of those teachers has their own perspective, experiences and methods.

When you are paying for lessons, seminars or workshops, you might find that you are being taught a number of things, wonderful things, but all the same, potentially conflicting information.

What do you do in such an instance? Do you take only what you want from certain instruction? Have you stopped studying with other teachers altogether to avoid this?

Looking forward to hearing from you,

Stephanie

The online marketplace for voice overs can be a wild place, however, if all voice talent band together and commit to sticking to some standard practices, it can be a friendlier, more prosperous environment.

Quoting for voice over jobs is one of these areas where mutual respect and business acumen comes in handy. It also doesn't hurt to stick to the guidelines.

How do you get paid more for your work?

Hear about an experience voice talent Karen DeBoer had here at Voices.com.

Taking Action

Karen DeBoer wrote to me a week ago sharing a couple of concerns regarding what some voice talent members are quoting clients when auditioning for Public Jobs. Interestingly enough, I was working on an article in the same vein and Karen's email inspired me to tackle this topic from a different perspective.

Karen DeBoer's Experience

Karen was contacted by a client at Voices.com regarding a quote she provided. The name of the client has been removed but what you are reading is real.

Client: We really like your voice... Would $40 be acceptable to you? It would not let me ask for less than $100.

 All you would have to do is email us that MP3... Your audition is perfect as is. 

Thanks

Karen: Hi,

Thanks for your nice comments about my audition--glad you liked it! Unfortunately, my minimum fee needs to stay at the stated $100 budget, as that is the minimum that Voices.com will allow us as talent to charge. If you still want to use me, I 
will be happy to release the clean file right away. Just let me know.

Client: That's odd because other persons are offering $25 for this job. You cannot?

 I can send you a check in the mail too.

 It's your call.

 I'm ready to send you $40 today. 

Just tell me no.

Karen: Hi,

Unfortunately, others are apparently willing to go around the stated guidelines for being a member at Voices.com. Voices.com has no way to monitor every bid that individual talents are submitting, but in order to keep everyone on a level playing field, and not compromise the professionalism of those of us that do this for our only means of income, they request that we abide by those guidelines.

I wouldn't feel comfortable circumventing those guidelines, so for the sake of integrity, I need to stick with the rules that Voices has put in place.

I would certainly love to provide this for you at the stated bid, but will understand if you choose to select a less-expensive talent. (Actually, my normal minimum is $150, but I was willing to submit a lower bid because it was such a small job, and because I knew you were a small business.)

Let me know if you'd like to hire me--otherwise, best of luck in your business.

Best regards,

Karen

How Do We Solve This Issue?

What I have gleaned from this experience, and from other similar cases in the past, is that clients aren't necessarily the root instigators of low budgets that fall well below the minimum. Sometimes, it may be voice talent who are trying to get work by quoting lower than the minimum thereby making it harder for their peers and other professional voice over talent to charge what many would call respectable rates for their work.

We're faced with an age old problem:

There has always been a temptation for service providers to undercut competitors to get business just as there has been and will always be customers looking for a bargain or the lowest possible price.

This is the nature of any business.

The state of the economy may appear to be a convenient excuse to devalue the worth of voice over work, however, lowering rates drastically to get business from new clients is a dangerous game to play that may do more harm than good for business in the long term.

Will those same clients pay more when this crisis is over if they got the work done for less before? Indeed, that's something to consider when a career voice over talent and in the business for the long haul.

Bidding under the minimum of $100 does a great disservice to people who abide by the Voices.com guidelines who make their living doing voice over by charging rates more in the neighborhood of what the union suggests if not higher.

Our team has found that sometimes our voice talent members are not aware that the client is prepared to pay at least $100, and happily, even more so if they have selected a higher budget range.

Once a member discovers this, they usually start bidding within the budget ranges provided and feel better about submitting their auditions quoting a higher fee placing more value on their work.

To come full circle, if a client posts a Public Job at Voices.com and tells us in some way or another that they are not prepared to meet the minimum (but still want to gather responses from talent), their job is not approved and they are invited to contact talent directly out of respect for your time and our job posting guidelines.

This article isn't meant to point fingers. The purpose is to educate and affirm that voice talent can charge higher rates for their voice over services and still get hired.

Not everyone hires solely based upon a quoted fee. Others in a position to hire place talent, value and relationships ahead of price. It's important to realize and make the distinction that it isn't always the person who charges the least amount of money that gets the job, oftentimes it is the person who best meets all of the requirements, and pricing is only one part of the whole.

How do I know?

We have indisputable proof of this from data collected tracking transactions that have been paid out through our SurePay escrow service, and have witnessed some voice talent receiving thousands of dollars at a time for their work who stuck by their rate cards and were paid accordingly. I'm speaking for both union and non-union voice talent, many of whom are union talent.

Do you have any thoughts you'd like to add?

I'm interested to hear if any of you have had similar experiences to Karen's and how we might improve upon this.

Best wishes,

Stephanie

©iStockphoto.com/VMJones

Ever needed to contact someone at Voices.com and weren't sure who to shoot that email to?

If so, my goal is to give you a solution!

Meet some of our team members in this "get to know" Voices.com post and discover more about who we are, who does what and how we can help you and your voice over career.

Meet Key Members of the Voices.com Staff

Name: Jessica Stiles
Title: Customer Care Specialist
Email: Send Jessica an Email
Phone: 1-888-359-3472 x 115
How Jessica can help you: Jessica is one of our representatives who works with Guest talent members. She is your contact for anything you need regarding your profile, how the site works and how you can benefit from what we offer. You can reach Jessica through telephone calls, live chats, emails and through online support cases. Jessica is also the person that aspiring talent can connect with to learn more about getting started in voice overs and registering with Voices.com.

Name: Lin Parkin
Title: Customer Care Manager
Email: Send Lin an Email
Phone: 1-888-359-3472 x116
How Lin can help you: Lin is one of our representatives who is available to assist Premium members in need of support. She is also able to answer any questions about how to make the most of your Voices.com subscription. Ready to serve via email, live chat, and phone, Lin's goal is to help make your experience at Voices.com the absolute best that it can be.

Name: Kim Lindsay
Title: Billing Manager
Email: Send Kim an Email
Phone: 1-888-359-3472 x112
How Kim can help you: If you ever need help with your subscription or have a billing inquiry, Kim is the appropriate person to contact. Kim, in addition to managing recurring subscriptions, is also responsible for managing SurePay Escrow payouts via check and PayPal.

Name: Erica Bontje
Title: Social Media Manager
Email: Send Erica an Email
Phone: 1-888-359-3472 x118
How Erica can help you: If you use sites such as Twitter, Facebook and the like, you probably are already acquainted with Erica and count her among your friends in social networking. How can Erica help you? Ask a question or send her your news and she'll post it to Twitter and Facebook.

Name: Laurynda Pasma
Title: Product Development Manager
Email: Send Laurynda an Email
Phone: 1-888-359-3472 x113
How Laurynda can help you: Laurynda's finger is on the pulse of all activities pertaining to Voices.com client members who post jobs and hire voice over talent. If you are posting a job, or have in the past, Laurynda can help better define what you're looking for to get the best responses possible.

Name: Stephanie Ciccarelli
Title: Vice President of Marketing
Email: Send Stephanie an Email
Phone: 1-888-359-3472 x117
How Stephanie can help you: Stephanie is responsible for public relations and enjoys sparking conversation and promoting voice over talent through community involvement on her VOX Daily blog. If you have a story to share, need publicity, have received work or want to give back to the voice over community through one of Voices.com's programs, Stephanie is the person to contact.

Name: David Ciccarelli
Title: President and CEO
Email: Send David an Email
Phone: 1-888-359-3472 x111
How David can help you: David works with Voices.com partners to strengthen relationships and ties with people outside of the voice over industry. If you have a business proposition or press opportunity and need a quote for a publication, David is your go-to guy.

There you go! Thanks for keeping in touch and we look forward to serving you soon.

Best wishes,

Stephanie & The Voices.com Team

©iStockphoto.com/Neustockimages

Wall-E, while short on dialogue, is filled with incredible sound design courtesy of 4-time Academy award winner Ben Burtt, also known as "The Father of Modern Sound Design".

Learn more about how the movie was built from the "sound" up and how the voices of Wall-E and Eve were created here on VOX Daily.

Disney: A Rich History of Sound Design

Sound plays an enormously significant role in entertainment and in the shaping of how audiences respond to what they are watching, whether it be a moving picture or an animated film.

In the earliest days of sound design for film, crews would make use of simple, controlled orchestral instruments and devices that could be used inside a studio due to the size and bulk of the recording equipment at that time. As audio recording technology evolved, sound design became more authentic and elaborate, particularly as sound designers could capture specimens of live sound outdoors to establish more sonic credibility.

From wind machines turned by hand, to rain sticks, and sheet metal to recreate thunderstorms, Disney has cornered the market for Foley artistry in animated films for decades.

Ben Burtt and Wall-E

Sound designer at Disney Imagineering, Ben Burtt, with his experimental methods and unique insight into how sound is made, is perhaps the most spectacular sound designer of all-time. Burtt was commissioned by film director Andrew Stanton to be the sound designer for Wall-E.

Known to many as either the "Doctor" or "Father of Modern Sound Design", Burtt's experience goes all the way back to designing sound for George Lucas' original Star Wars movies. He also designed the sound universe of the Indiana Jones movies and is fully responsible for giving Wall-E and its world a voice.

Playing with sound has always appealed to Ben Burtt, making all kinds of neat sound effects with the use of a stretched out metal slinky, including the sound that accompanied the firing of Eve's laser blasts.

Creating the Voices of Wall-E and Eve

Ben Burtt related that the most difficult assignment he has ever received as a sound designer was to design voices for characters. His primary challenge was to maintain the soul of a human being while creating a believable, synthesized sound that appropriately matched the characters' robotic form and features.

A good example of creating a voice for a non-human character is evident in Disney's film, "Dumbo" (1941), wherein producers used a Sonavox (an artificial larynx) to make a train "speak" with human-like qualities to achieve a desired result. Today, the Vocoder, a digital tool, is used to create a similar yet more sophisticated effect to alter the voice, even modulate pitch.

The Vocoder was used in Wall-E to change the vocal qualities of voice actress Elissa Knight, who performed the voice of Wall-E's love interest, Eve.

The voice of Wall-E was first performed by Ben Burtt and then manipulated with a digital pen that acted like a joystick, modulating the sound even further.

What Does Sound Design Mean to You?

Looking forward to hearing your comments about either Wall-E, Ben Burtt or sound design in general.

Best wishes,

Stephanie

Image via HomeCinemaChoice.com Ben Burtt Interview

Have you ever noticed that there isn't an amateur tradition for those aspiring to be professional voice over talent?

My friend Pat Fraley has some thoughts to share, as have I, in hopes that this article opens up discussion for how we might establish an amateur tradition for our industry that we can be proud of.

We'd love to hear your thoughts too, so be sure to read the entire article before commenting with your ideas. Thanks!

Why Voice Over Needs an Amateur Tradition

Submitted by Pat Fraley

When you think about it, most all performance genres except voice over, have an amateur tradition. Voice Over was brought into existence with an implied collaborator: Voice Over What?

This presents a problem: Where and how does the voice over hopeful get training and experience prior to losing their "amateur standing?"

Work out groups are one of the few ways I know of where performers may practice voice over, or voice performance with like-minded performers.

Another way is to come up with amusing fake spots, jingles, narrations, sketches, etc., and share them with the voice over community. I've done this my entire career.

Recently I recorded a brief lesson and posted on my free lesson page (here's a link to the lesson)

http://patfraley.com/Free/FreeLessons.html

It is called VO for Free. In it I give examples of doing free stuff. I was pleasantly surprised to receive several brief recordings from colleagues who do the same thing.

I think it would be wonderful to have a site somewhere, which would post our "amateur efforts."

Pat Fraley

~~

Amateur Tradition in Voice Over? Some Objection Handling, if you Please!

I asked for some opinions on the topic of amateur tradition for voice over on Facebook and received a response from one person who shared some valid concerns about how this may be received.

Her fear was that by identifying an amateur tradition, it may present an even larger gap between aspiring talent and professionals, opening another can of worms that may result in further disdain voiced by certain voice talent in forums and berating of talent whom they may regard as "beneath" them and unsuited to compete with established professionals.

While it is true that there are some people who feel it necessary to tear others down, we need to remember that there is a far greater number of people who work toward building others up. Thank you to those of you who stand among the encouraging lot.

If there is one thing that we should be able to agree upon (corrupt examples, in sport for instance, aside), the difference between an amateur and a professional is that the amateur is not or has never been paid for their efforts in a given discipline or art whereas a professional has received payment or is paid for their services.

Once you have performed and been paid for your services, you are no longer technically by definition, an amateur. Depending on how much of your income you derive from the art, you become a semi-pro or a pro.

To make another distinction:

Just because someone is an amateur, that doesn't mean that they are any less talented than some of the people who provide services professionally, in fact there are instances where an amateur may be more talented than a given professional.

Good Examples of Ways to Gain Experience in Voice Over

I've covered this before but it never hurts to say it again.

There are sites such as LibriVox.org that give people the opportunity to record audiobooks and upload them to the public for free consumption. You can also volunteer at libraries to read to children or narrate for the blind. You can learn more about similar opportunities by reading this article about building your voice acting portfolio through volunteer work.

An Opportunity to Start Something Amazing

I believe that amateurs should be nurtured and that there should always be a constant stream of people who want to become involved in voice acting. We want our industry to grow, mature, and be comprised of people who are properly trained in the art and business who have a deep respect for what they do. Oftentimes, achieving that kind of reverence and eventual willingness to give back to community stems from a person's experience in the amateur tradition.

That being said, amateurs need to be mentored. There is a great deal of mentoring going on already that you rarely hear about and this article has given us another opportunity to explore making mentors available to those who are seeking guidance.

When I was talking with James Herron, he agreed that it would be a great idea to offer some kind of service that matches up mentors with novice voice over talent, a formidable way to connect those who wish to mentor with those desiring it.

Would this kind of opportunity interest you?

I would like to explore offering such a program for the voice over community through Voices.com.

Please keep subscribed to VOX Daily for more information. If you have any feedback or ideas for how we could do this, you are welcome to comment here or email me directly at stephanie@voices.com

Any Thoughts?

You are welcome to comment and share what you think. I know this was a long, perhaps complicated article, but as I discovered this afternoon through many, many conversations, this is a complicated topic!

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Tracy Whiteside

In direct defiance of global economic woes, London's business community gathered for an evening of celebration at the London Convention Centre in style, marking a stark contrast to what you hear, read and see in the media.

What a night!

Hear about our experience and also learn more about the announcer of this event, Craig Rockford.

Business Achievement Awards

Last night, David and I attended the London Chamber of Commerce's annual Business Achievement Awards dinner and gala, emceed by Dan MacLellan, the lead news anchor from A News, which was attended by many dignitaries including her worship, London Mayor Anne Marie DeCicco-Best, among others.

Aside from there being well over 1000 people and plenty of interesting conversation, there was an abundance of voice over and live announce, which fittingly, is my focus.

Use of Voice Over and Live Announce at London's BAA

Every time an award category was introduced (there were 7), a video played outlining the award and acknowledging each of the finalists, narrated by the husband and wife team of Craig Rockford and Amy Zammit. Craig also performed live announcements throughout the program and has been announcing this awards show for roughly a decade.

How do I know this? I strode over to the announcer's table between the end of dinner (absolutely delicious!) and just prior to the recommencement of the show, and managed to get Craig's attention, who was seated behind a luminous green lamp going over the script.

Given that time was running short, I introduced myself quickly and to my surprise, he said "Stephanie from Voices.com? I just got an email from you!" Talk about a small world!

At this point, I still didn't know his name and toward the end of the night did find out, realizing this morning that Craig Rockford has a profile on Voices.com. Amy Zammit has a profile, too.

Here's a shot of the awards gala:

Earlier, I mentioned that Craig has been voicing this award show a decade, and that made me wonder how many of you have regular gigs announcing for award ceremonies.

Do you serve as a live announcer at galas and award nights?

Leave a comment and share which shows you announce or have announced for.

Looking forward to hearing from you!

Best wishes,

Stephanie

Who are the Voicey award winners this year?

Find out now!

Welcome to the 3rd Annual Voicey Awards

Ladies and Gentlemen, welcome to the 3rd Annual Voicey Awards, I'm your host, Stephanie Ciccarelli.

It is a privilege and my great pleasure to pay tribute to those whose work has been recognized this year. Voice overs are spoken word recordings performed by voice actors, perhaps better known to the world as unseen narrators, breathing life into every medium imaginable.

Thank you for joining me in experiencing this momentous event where we can come together in celebration.

Before I announce our finalists, I would like to acknowledge our judges, without whom this wouldn't be possible.

A very special thank you to Randy Thomas, the first woman to announce the Academy Awards, the voice of Entertainment Tonight and The Insider, and co-author of "Voice For Hire"; thank you to Paul Russell, a New York City casting director and the author of "Acting: Make It Your Business"; gratitude is also bestowed upon Billy Serow from Abrams Artists Agency in New York; thank you to Melissa Disney, the singing voice of Snow White and female movie trailer voice over pioneer. I'd also like to thank Kathleen Herles, the original voice of Dora the Explorer, British voiceover coach and talent Gary Terzza, Mitch Joel, president of Twist Image and author of the Six Pixels of Separation blog and podcast; and last but certainly not least, much appreciation is expressed to voice actress and industry blogger Bobbin Beam.

BEST NEW VOICE

Without further ado, the finalists in the category of Best New Voice are:

Michelle Ann Dunphy
James Clamp
Veronica March
Janice Downes
Matt Josdal

And the winner is Michelle Ann Dunphy! Congratulations Michelle!

BEST CHILD VOICE

The finalists in the category of Best Child Voice this year include:

Travis Mustang
Grace Taylor

And the winner of the Best Child Voice Award is Grace Taylor. Congratulations to you Grace! Keep up the good work!

BEST TEEN VOICE

This year, Sophie Neveu is in a category all to herself. It is my pleasure to announce that Sophie Neveu be awarded Best Teen Voice this year. Congratulations Sophie.

BEST PERSONAL BRANDING

Seldom are voice artists seen, except that is, when promoting their services. Living proof that it's not only the voice that stands out, the finalists in the category of Best Personal Branding include:

Nickie Jurado
Julie Williams
Doug Turkel
Vicki Amorose
James Clamp

And the winner is Julie Williams! Congratulations to you Julie.

BEST FOREIGN VOICE

As this truly is a global celebration, I'd like to take a moment now to recognize our finalists for Best Foreign Voice, who are:

Roald Woods
Wuzhi Lu
Julie-Ann Dean
Janpa Serino
Claire Dodin

And the winner is Wuzhi Lu! Congratulations Wuzhi for your outstanding work in Mandarin Chinese voice over.

BEST VOICE TEAM

Voice over is often a lonely profession, but there come times where two artists or more collaborate to create unique performances. The finalists in the category of Best Voice Team are:

The Voice teams of:

Robert Jadah and Diane Havens
Ken Theriot and Lisa Theriot

And the winning Voice Team for 2009 is Robert Jadah and Diane Havens!

LIFETIME ACHIEVEMENT

It is perhaps my greatest privilege to announce the winner of the Lifetime Achievement Voicey award. This category is very special to me, and this year, there were many wonderful people nominated, including:

Don Morrow
Richard Horvitz
Bill Kates
Rita Pardue
Arroe Collins

It is my great privilege to share that this year's Lifetime Achievement award belongs to the legendary Don Morrow.

Don, I can confidently say this on behalf of the entire voice over community:

Thank you for over 50 years of service, for inspiring the world to believe in the magic of motion pictures, for blazing a trail alongside the late Don LaFontaine, and for opening up a world of possibilities for your colleagues and those to follow.

As we draw nearer to the end, two categories remain: Best Female Voice and Best Male Voice.

BEST FEMALE VOICE

The finalists in the category of Best Female Voice are:

Wendy Brown
Teri Clark Linden
Amy Taylor
Vanessa Hart
Heather Halley

And the winner of the Best Female Voice award is Amy Taylor! Congratulations Amy!

BEST MALE VOICE

To bring the program to a close, the finalists for Best Male Voice are:

Dave DeAndrea
Michael Richard Dobson
James Herron
Eric Gusky
Bill Painter

The winner of the Best Male Voice for 2009 is Dave DeAndrea!

Congratulations to Dave and to all of the Voicey award winners this year.

Thank you to all those who nominated voice talent and congratulations to all of the Voicey finalists. Thank you to our judges and also to the team at Voices.com for their help, support, and sponsorship.

Most sincerely,

Stephanie Ciccarelli

Published by Listening Library in 2006, Dustin Hoffman breathes life into one of Dr. Seuss' most beloved stories, reminding us that "a person's a person no matter how small" as narrator of Horton Hears a Who!

Aside from Hollywood and literary celebrity status, what else made this audiobook stand out?

Learn more about what I thought of this performance here at VOX Daily.

Horton Hears A Who!

If you've ever read or watched the original version of Horton Hears A Who!, you will be sure to love this 16 minute narration performed by Hollywood actor, Dustin Hoffman. I think Dr. Seuss would approve! This recording was one of three tracks on a CD I borrowed from our local library featuring two other Seuss tales, including "Horton Hatches the Egg" narrated by Billy Crystal and "Thidwick, the Big-Hearted Moose" narrated by Mercedes McCambridge.

Dustin Hoffman Voice Over Performance

While listening to Dustin Hoffman's performance, I was thrilled to pinpoint three areas of immediate interest including his clear narrative, intricate character development and certain elements of post-production. I appreciated his bold, artistic choices, including giving Horton's character an endearing lisp and a slower vocal delivery. It was marvelous to hear how Hoffman was able to create distinct voices for each character role while maintaining a consistent narrative throughout. I don't think I've ever said this about post-production, but there were some particularly cute effects on the Who's voices. The voices, all belonging to Dustin Hoffman, were entertaining and touching.

If you're curious about where you can find this recording, Audible Kids carries it and you can download the Horton Hears a Who audiobook here for only $2.95.

Should you be interested more recordings, there are eleven complete Dr. Seuss stories for $13.95, "The Cat in the Hat and Other Dr. Seuss Favorites" (Unabridged) featuring performances by John Cleese, Billy Crystal, Ted Danson, Kelsey Grammer, Dustin Hoffman, John Lithgow, Walter Matthau and Mercedes McCambridge.

Additionally, nine other complete Dr. Seuss stories in "Green Eggs and Ham and Other Servings of Dr. Seuss" (Unabridged), featuring performances by Jason Alexander, Michael McKean, and David Hyde Pierce are also available.

Have you listened to Dustin Hoffman narrate this story?

Leave a comment with your thoughts!

Best wishes,

Stephanie

In the near future, many of the voice over industry's brightest minds will gather for an event that is sure to knock your socks off.

Voices.com is pleased to announce that the Voice Coaches Expo, "Technology + You = Opportunity" will take place on Saturday May 2nd in Schenectady, NY at the GE Theater, featuring presenters and experts within the field of voice over and beyond, to name just one, Rodney Saulsberry!

Find out more about this event now.

Technology + You = Opportunity

I'm thrilled to share that David Bourgeois and his team at Voice Coaches have invited Voices.com to speak for the third year running at their annual expo. David Ciccarelli and I, as co-founders of Voices.com, will be presenting on how voice talent can get the absolute most from Voices.com and Internet marketing.

As stated earlier, Rodney Saulsberry, will also return to speak. As Voice Coaches puts it, "For Voice Actors, this is an opportunity to hear from a professional with royalty status in our field." Who'd want to miss that? Rodney will share his experiences, offer his unique brand of motivation, and answer your questions.

We're thrilled to share the stage with fellow presenters including:

๏ Rodney Saulsberry, voice artist, instructor and author of books "You Can Bank on Your Voice" and "Step Up to the Mic"
๏ Mark Magdich from Sweetwater Sound, who will be presenting on how to build a home recording studio, elaborating on software, hardware (and maybe even some insider info on new products!)
๏ Dan Dinsmore, president and creative director of Overit Media, who will discuss the changing face of visual communication and the opportunities it provides for today's voice actors
๏ Dan Bostick, Artistic Director for Full Cast Audio, who regularly produces, casts, and directs audio books with a "full cast" of characters. Dan will talk about the world of audio book voice acting and share information ranging from how voice actors are selected to the skills needed to bring characters to life.

VIP Mixer

The night before (Friday May 1, 2009), there will be a VIP Mixer where participants can join a number of the speakers, experts, and panelists. This social is one of the highlights of the event because you can mingle, have some delicious food and enjoy the company of those around you.

Voice Coaches President David Bourgeois will give the welcome address and Voice Coaches Marketing Expert Jay Silverman will set the stage for the expo prior to the first guest presentation of the day.

The Expert Panel this year includes:

๏ Rodney Saulsberry: One of the most successful professional Voice Actors in our field
๏ Evan Farmer: Host of TV's "While You Were Out," numerous film, television and voice roles
๏ Billy Serow: Top industry agent from Abrams Artists Agency in NYC
๏ Dave Goldberg: Voice over producer and trainer - Disney, Nickelodeon, HBO
๏ Stephanie Ciccarelli: Co-founder of Voices.com
๏ David Bourgeois: Voice Coaches President, Professional Producer
๏ Jenny Marcotte: Studio Manager for Voice Coaches and White Lake Music & Post, Jenny is regularly involved in hiring and casting Voice Actors

Additional special guests will be announced and on hand throughout the event.

Want to learn more?

Visit http://www.voicecoaches.com/marketing for more information about the event and learn more about the individual presenters and presentations.

Should you want to speak with someone about the expo, you can contact Kristen or Jenny at Voice Coaches for additional information or to enroll by dialing 1-866-887-2834 Extension 100.

Alternatively, if you want to attend and prefer communicating electronically, send an email to scheduling@voicecoaches.com with the subject line "Reserve My Space." Kristen or Jenny will return a call to you at your convenience to finalize your registration.

Looking forward to seeing you there!

Best wishes,

Stephanie

Water is bar none the most important beverage on the face of the earth. In fact, our bodies are made of a significant amount of water which means it is of extreme importance to be hydrated.

When you're working in your recording studio, how much water do you consume on average throughout the day?

Chime in with your daily H2O consumption!

Drinking Water is Good For You

The Mayo Clinic suggests as a basic rule that people should drink eight 8-ounce glasses of water each and every day to keep their bodies hydrated, because water comprises about 60% of our total body weight.

Your body uses water to perform a number of voluntary and involuntary tasks. Mayo Clinic states:

"The average urine output for adults is about 1.5 liters (6.3 cups) a day. You lose close to an additional liter of water a day through breathing, sweating and bowel movements. Food usually accounts for 20 percent of your total fluid intake, so if you consume 2 liters of water or other beverages a day (a little more than 8 cups) along with your normal diet, you will typically replace the lost fluids."

That's a lot of water to replace!

If you exercise, you may drink even more than the suggested guideline of eight 8-ounce glasses per day, and if you're busy talking or performing, the same may be true for you.

Is it fair to say that professional voice actors consume more water on a daily basis than the average person?

How much water do you drink in a given day?

Leave a comment!

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Sergey Tumanov

Most business relationships start out great, but how do you keep them that way?

Maintaining a business relationship is something you have to work at and can be likened to a marriage, which as you may know, needs constant TLC.

Find out what to do, and perhaps most importantly, what NOT to do to keep your business relationships healthy at VOX Daily.

Good, Even Great Business Relationships!

Nothing beats having a great business relationship. We have several key relationships with partners that are simply fantastic, but no word of a lie, it takes a lot of work to maintain those relationships and keep them going strong.

In a way, it's almost like being married. You've got to be sensitive, respectful, and in some cases, protective of your partner. There's sure to be some give and take and there certainly needs to be a clear understanding of your goals and how you are going to reach them together.

In a business relationship you have to stay on message.

While I could go on and on about how to be a good business partner or associate, I'd like to point out a few things that could catch you off guard if you're not careful that may ruin or severely compromise your relationship.

1. Don't Be Two-Faced

No one likes being talked about behind their back, especially not by those who they believe to be on level or amiable terms with. If you are in a business relationship, whether it be with a client, a vendor, or someone else, make sure that you always speak to the best interests of your partnership and don't say things to other people (online or off) that could be misinterpreted as disagreeable or ambiguous. Similarly, never bring your business into a relationship where you aren't completely comfortable with a partner and their objectives as it could come back to bite you or put you at a disadvantage. This can become toxic and the other party always finds out which as you can imagine paints a different picture and could spell the end of your affiliation.

2. Don't Take Your Relationship For Granted

It's a well known truth that you only get what you put into something, and that includes business relationships. If you cease to nurture your relationships and put them on the back burner, the pot will sizzle in your absence and boil over making a mess of what you thought was the perfect pairing. Keeping in contact regularly helps and open lines of communication are a must. While you don't need to send annual gifts marking your first business deal, you should be considerate of all you've worked to build and let your partners know that you appreciate them.

3. Don't Entertain Offers From Your Partner's Competitors

This is perhaps the proverbial nail in the coffin. Never, under any circumstance, strongly consider or engage in business activities with a valued partner's direct competitors. To avoid this (at all costs), be sure to discuss who your partner considers to be their competition while revealing who you believe yours to be. This is a good opportunity to reassure your partner that you will not stray from your relationship. If need be, put up barriers to entry to protect your partnership by creating a template response that declines offers in a prompt and professional manner. If emailing, BCCing (blind carbon copying) your partners on such communications helps to build a better rapport with them and reinforces your desire to work only with your established partner in this space. Another way to preempt or educate potential suitors ahead of time is to issue a joint press release announcing your partnership.

Final Words

If you've noticed a theme to this article, it's that people are at the heart of relationships, not companies, organizations or buildings. By keeping your business relationships healthy, they stand a better chance to prosper and open up more doors of opportunity than previously imagined.

How Do You Fireproof Your Business Relationships?

Comment and share what's worked for you!

Best wishes,

Stephanie

©iStockphoto.com/Jeffrey Hochstrasser

Ever found that the challenges we as people face are often of our own making?

Perhaps its a nagging voice from our childhood or a preconceived notion that rears its head, serving as a stumbling block or hurdle to achieving a goal.

Whether it's about success, business, money making, or marketing, each of us has our own established beliefs and behaviors that formed over years of living, including accepted beliefs from the families we were raised by, other influences, and experiences we've had throughout our lives.

Can you relate to any of the fibs in this article? Read on to find out!

Fibs!

While not exactly outright lies, the following fibs, which are often misunderstood, contain kernels of truth.

Fib #1: You've Got To Pay Your Dues

This is a very common belief, and to a degree, yes, you do have to put the time in before you see a return, however, there are always exceptions to the rule. Being prepared, confident and having the right connections can get you further than you'd ever think possible, especially if you have it drilled in your mind that you need to achieve certain objectives in a strict order.

This is an important realization:

No one is going to step aside for you to make your move or leap ahead. You need to cut to the front of the line and nobody will keep you from doing that but yourself.

True, there is no such thing as an overnight success, but that doesn't mean that you can't make a splash prior to getting an agent, joining a union or seeing your name in lights. You just have to know how to recognize opportunities when you come across them and seize the day.

While this is true of any profession or in any industry, people in the performing arts tend to feel this most deeply. That includes voice actors and also members of Voices.com.

People like to think that the reason their careers aren't doing well is because of inalienable truths they believe such as:

"I've got to pay my dues."
"I've got to stand in line."
"Eventually, if I follow in the footsteps of the fairly successful people before, I'll have an average business or career."

Insight: You can explode onto the scene given that you commit to taking full responsibility for your actions, and subsequently, your success.

Fib #2: If You Want to Be Successful, You've Got to Work Your Tail Off

When you're getting your business of the ground, there will be a lot of late nights, dizzying days and a substantial amount of time spent on weekends, especially if you are trying to do everything yourself.

If you're doing everything yourself, you're doing things you are good at, things you're mediocre at and things you really ought to leave to the professionals. Why work yourself like a dog to achieve less than stellar results when you can focus on what you love and seek the expertise of others who can help.

One of the first things you need to do to overcome this second fib is to work smarter, not harder. That means delegating or outsourcing work and tasks that aren't your strengths to people who are qualified to do so. This may be accounting, book keeping, or the management of your career.

Insight: When you do what you do best and delegate other tasks, you're in a stronger position to attract new business and better maintain the business you have.

Fib #3: It's All About Getting Your Name Out There

There are many ways you can "get your name out there", however, there are only a few ways that you can really get a good return on your investment.

The easiest way to do this is to throw money at the wall and hope something comes of it, for instance, traditional advertising in magazines or direct mail campaigns.

Sure, your name will get out there, but what's the return on your investment if you can't track or see results from the effort?

You may want to consider advertising campaigns that allow you to track your efforts and how well your ads are performing such as Google AdWords.

But paying for advertising, even if it is effective, only gets you so far!

Simply "getting your name out there" through traditional advertising isn't enough... it's merely a starting point. You need to take this another step forward and actually make connections that help you to make headlines or get noticed.

How can you do that?

Establish yourself as an expert and generously give back to your community, perhaps through speaking at events or by starting your own blog. Create value for people. You'll become wider known and contacts you meet may refer you (Word Of Mouth) to other people they know in need of your services. When other people help to promote you through referrals, you'll notice an increase in business and an increased validation of your services.

Insight: Spend your money wisely on marketing and advertising campaigns that generate a return on investment. Focus your efforts where you get the best response.

Fib #4: It Takes Money to Make Money

This perhaps is the big daddy of all business fibs...

While it is true that there are start up costs to get a business going, once you're ready to be of service to people, it doesn't really have to take additional money allocated to advertising to make money.

You can market on a limited budget. In fact in our early days, we've proved this can be equally if not more powerful by investing in relationship with people, rather than buying up ads in magazines and trade journals.

David and I also spent hundreds, possibly thousands of hours writing articles, research papers and reports that have since positioned Voices.com as leader, gaining publicity in books, magazines, newspapers and most recently on CNN.com -- all free.

As was mentioned earlier, if you position yourself as an industry pundit, these opportunities find their way to you. Consider (if you're not on them already) publicity options such as social networking on Twitter, Facebook, MySpace or LinkedIn. You can also contribute to online communities by leaving comments that reinforce your position as an expert.

Insight: It doesn't take money to make money once you have your business up and running. Think creatively, network and get yourself some publicity.

Any Comments?

Looking forward to hearing from you,

Stephanie

©iStockphoto.com/Florea Marius Catalin

We're pleased to announce that Voices.com has partnered with VoodooVox to bring even more opportunities to the voice over marketplace.

While any Voices.com member may be contacted for these jobs, an invitation has been extended to Voices.com paid members to be included in a special program and presented as preferred vendors.

The Voice of In-Call Media

VoodooVox In-Call Media has hundreds of voice over jobs that they need filled each and every month for in-call advertising. They have chosen to partner with Voices.com to meet their needs.

What Opportunities Will Be Posted by VoodooVox Advertisers?

These jobs will be advertisements for In-Call Media, essentially audio advertising that is dynamically inserted into the call experience. Examples include voice over recordings for automated movie ticket lines, radio station contest lines, no-cost conference call services, and so on.

How Will This Work?

Our teams have worked together to seamlessly integrate our technologies. Advertisers at VoodooVox will select Voices.com talent to record their ads. If you are selected for one of these opportunities it will appear as a private job offer in your Voices.com account.

While the technology allows for everyone at Voices.com to be considered, VoodooVox has a special program that we are inviting paid members at Voices.com to apply for. If you are chosen, you'll be part of a certified list of professionals as selected and recommended by VoodooVox that will be presented to their customers via a special search filter within VoodooVox's advertising platform.

You can learn more through our VoodooVox portal at Voices.com linked here:

VoodooVox Training Center at Voices.com

How To Apply?

If you are a paid member of Voices.com, check your email for a special invitation email sent from me today.

Best wishes,

Stephanie Ciccarelli
Co-founder of Voices.com

P.S. The date to submit by is March 18, 2009 to be considered for this opportunity.

The Voicey finalists have now been announced!

Find out who they are now.

Best Female Voice Finalists

Wendy Brown
Teri Clark Linden
Amy Taylor
Vanessa Hart
Heather Halley

Best Male Voice Finalists

Dave DeAndrea
Michael Richard Dobson
James Herron
Eric Gusky
Bill Painter

Best New Voice Finalists

Michelle Ann Dunphy
James Clamp
Veronica March
Janice Downes
Matt Josdal

Best Foreign Voice Finalists

Roald Woods
Wuzhi Lu
Julie-Ann Dean
Janpa Serino
Claire Dodin

Best Child Voice Finalists

Grace Taylor
Travis Mustang

Best Teen Voice Finalist

Sophie Neveu

Best Voice Team Finalists

Robert Jadah and Diane Havens
Ken Theriot and Lisa Theriot

Best Personal Branding Finalists

Nickie Jurado
Julie Williams
Doug Turkel
Vicki Amorose
James Clamp

Lifetime Achievement Finalists

Don Morrow
Richard Horvitz
Bill Kates
Rita Pardue
Arroe Collins

Congratulations!

I want to congratulate all of our finalists as well as thank everyone who nominated someone or was nominated this year.

I'd also like to take the opportunity to thank our judges for their participation, including Paul Russell, Randy Thomas, Billy Serow, Gary Terzza, Melissa Disney, Bobbin Beam, Kathleen Herles and Mitch Joel.

Best wishes,

Stephanie

Over the years, we've spelled out the name of this industry in a number of ways, however, those differences have never changed what the term means.

This word represents our world, so to speak, and we need to protect it!

What does the word "voiceover" mean to you and what makes it uniquely ours?

Share your thoughts and let the conversation begin!

Voiceover

It's time to protect a word that is rightfully ours!

Recent events have inspired this post. After publishing a blog entry last night, I had some new clarity thanks to a tip sent to me by Elaine Victoria Grey, discovering that there weren't voice actors hired specially to record voiceovers for this generation of the iPod Shuffle... it was reported on the blog Gizmodo this morning to be in fact, quite the opposite.

This was a surprise to me, and I must admit, I was really hoping to find out who got the gig. I love Apple and was excited, thinking perhaps naively, that custom voiceovers were recorded for the iPod Shuffle as the feature named "VoiceOver" suggested.

It is a widely held opinion that text-to-speech (TTS) isn't voiceover, nor are synthetic, aggregated phonemes that when read out by a computer form words and sentences. This technology does have its merits, particularly for the visually impaired, however, it isn't in the truest sense, voiceover.

The term "Voiceover" (and its subsequent variations) belongs to our community of voice artists and audio producers, and we're proud of it!

If there's any doubt in your mind, read the barrage of 68 comments left on the article where the industry debated the spelling of its own name.

Diane Havens, in relation to what Apple is referring to as voiceover, put it nicely today when she said:

"... It is, of course, not a voice over, it's not even really a voice -- it's a synthesized sound that approximates human speech. No smile."

If one were to go back to the origin of the word, "voiceover" actually referred to the laying down of a voice track over music or the like (thank you to Sid Whatley for that via Facebook).

Is the world to believe that synthetic voices are actually voiceovers?

Text-to-speech and synthetic computerized utterances must not prevail...

Say It Loud!

Leave a comment with your thoughts. This is far too important not to speak up for!

Best wishes,

Stephanie

©iStockphoto.com/Andrejs Zemdega

Apple has just announced the release of their newest version of the iPod Shuffle.

What makes this unique and why may it matter to you?

The iPod Shuffle is nearly half the size of its predecessor, holds 1,000 songs, and most notably, is programmed to announce song titles, artists names and playlists.

Where Will the iPod Go Next?

Now in its 3rd generation, the iPod Shuffle has evolved to include voiceover, able to speak 14 languages including English, Czech, Dutch, French, German, Greek, Italian, Japanese, Mandarin Chinese, Polish, Portuguese, Spanish, Swedish and Turkish.

The iPod Shuffle press release, published today (March 11, 2009) quoted an Apple official proposing the following in a pitch to sell the product:

"Imagine your music player talking to you, telling you your song titles, artists and playlist names," said Greg Joswiak, Apple's vice president of iPod and iPhone™ Product Marketing. "The amazingly small new iPod shuffle takes a revolutionary approach to how you listen to your music by talking to you, also making it the first iPod shuffle with playlists."

Pretty neat, isn't it?

That's a lot of VO

Why add voiceover?

Apple must have done their research and deduced that this was a feature people wanted or would find useful, presumably making it easy for the iPod Shuffle owner to decide whether or not they wanted to employ the voiceover option.

What's not clear, however, is who the voice talent were that recorded the voiceovers or the gender(s) of the voice over artist(s) in each language.

I'm certain whoever did this work must have signed a non-disclosure agreement as that is the way these things generally go with companies the likes of Apple, regardless, it would be interesting to find out who the voice talent are that participated in this massive project.

Any Comments?

What do you think? Could you shed more light on this for us?

If so, leave a comment!

Best wishes,

Stephanie

When a customer presents you with a script that has grammatical errors, missing words, or poorly phrased sentences and the like, do you edit the text to make it more comprehensible for you and the intended audience on behalf of your client?

You may find that a client has unwittingly hired a voice talent and an editor.

We're out to find out whether or not massaging copy is a service commonly provided by voice over talent.

Read one voice actor's account and add your views to the conversation.

Your Story Ideas at Work

In December of last year, Paul Plack contacted me with a story idea for the VOX Daily blog, the same story which you are about to read below.

After you've read Paul's story, I invite you to comment with your thoughts. We are both excited to hear your thoughts and think it would be interesting to document what goes on industry wide. All perspectives are welcome.

Massaging Copy : To Do or Not To Do?

Submitted by Paul Plack

I did lots of small voice projects in the 1990s, but have focused on a few big, steady accounts the past few years. Now that I'm actively pursuing smaller projects again, I'm reminded of an issue which can take the joy out of our work - bad writing.

Not surprisingly, I notice this most in the lowest budget tier. I'm not referring here to the radio and TV commercials with copy which doesn't match the specified length, lacks imagination, contains tongue-twisters or just sells the product poorly. I can cheerfully crank those out like anyone else. I'm talking about grammar or other defects which make it tough to understand the copy, and tougher still to convey meaning to listeners.

In some cases, writers who normally work in print are tasked with turning out copy for spoken-word, and it winds up filled with parentheses, abbreviations, or sentence structure which preclude sounding natural. By the nature of their creative process, talking books often pose this problem. Sometimes, we're given copy lifted directly from a print ad, and it's clear nobody has even tried reading the script aloud before sending it out. The worst cases make the reader sound foolish and unprofessional.

I was once given a photocopy of a client's ad from the yellow pages of the phone book as copy. I saw one request for bids which provided no copy at all, and expected the voice talent to create his own!

I can think of various approaches to this issue. If you're busy enough to be choosy, you can simply decline to bid. If you're feeling charitable, you could offer to touch up the copy, at the risk of offending the client.

I recently worked with an international client who doesn't use English day-to-day. The copy was generally very well done, but used a few figures of speech which sounded a little stiff or forced. I suggested a few changes, and apparently did so with enough tact that the client welcomed the input. But, I ran at least some risk of losing the job, especially since I made the suggestions at the audition stage.

How do we handle this?

Do you feel taking the time to massage copy is an unproductive use of your time? Would you rather risk offending the client, or put out work which doesn't meet your standards? If you offer such suggestions to clients often, how many clients were alienated, and how many were appreciative?

Thanks!

Paul Plack

~~

Do You Have Anything to Add or Say About This?

Looking forward to your reply!

Stephanie

©iStockphoto.com/knape

Remember coloring when you were younger?

It was fun and liberating, wasn't it?

Discover how the same spirit and techniques from your youth can apply to voiceover artistry when coloring words courtesy of guest blogger, Marc Cashman.

Ready to reminisce?

Coloring Our Words

By Marc Cashman

It's hard to remember exactly when we got our first coloring book, but we do remember it was fun. At first, we sprayed crayon colors all over the page, without a care as to whether we stayed inside the lines or not. As we became toddlers, our coloring got more refined. We learned boundaries, we assigned certain colors to certain objects, and were more discerning in our choice of colors. A few years later found us drawing with colored pencils or markers. Later still, we marveled at the results of paint-by-numbers, and then on to watercolors and pastels.

The coloring books were random, assorted pictures, themed pictures or page-by-page pictures that laid out a story. And each one of these pages had the same format: a black outline on a white page that showed a picture. At a glance, we could see a cabin on a lake, with smoke rising from its chimney; a boat tethered to a pier, fishing poles jutting out at its end; a winding road leading up toward the cabin, and a big, broad apple tree on its front lawn, with majestic mountains towering behind the cabin, backed by a sky full of puffy clouds and a bright sun.

As children, we looked at this black and white tableau and made some decisions: the sky would be blue, we'd leave the clouds white; the cabin would be brown and the lawn would be green; we'd apply the same colors to the apple tree, but add some red for the apples; the road might be charcoal; the lake would be blue, the mountains might be gray, and the sun would be yellow. We colored in the outline of a story.

As adolescents, we got better at drawing. Our sky might be bluish-purplish. The clouds might have shades of gray and green; the water on the lake would be a mixture of many colors, possibly reflecting the boat that floated on it; the road might be a mixture of brown, dusty tan or beige to signify dirt, with black rocks and pebbles strewn about; the cabin would have a different colored roof, and, like the apple tree, cast shadows from the light of the sun.

We'd use different coloring tools in our teens: pastels, colored pencils, watercolors and markers. And we'd start adding depth and shading, because we could discern perspective and light better. And we'd spend much more time at our task; we were more exacting and meticulous.

Printed words are groupings of black symbols on white paper. Strung together intelligently and creatively, they tell a story, just like the outline of a picture in a coloring book. It's our job as voice actors to color words, to give them depth, shading and perspective. Our tools: our voice, vocal techniques and acting abilities. And it's our acting that has to come to the fore through our voice. And through our voice needs to pour conversationality and emotion in order for us to sound believable.

The reason that most great stage and screen actors are believable is because we can see their characters. We see their body language, their movements, their gesticulations, and their eyes. We see them embody characters through their actions. But people can't see voice actors -- they can only hear us. So all the color and emotions we bring to a script has to come out of just one place -- our mouth.

The nuances of the human voice are extraordinary. Millions of years of human evolution have made the sound of the human voice a wonder to behold and something no machine will ever duplicate. Oh, they've tried.

At first, people thought that developing speech recognition would be a simple matter of replicating phonemes, and they've had some success in transplanting those basic sounds into myriad applications. But like astronomers exploring the universe -- the more they peer into the vastness of space, the more they realize how complex it is -- in their quest to simulate real speech with a machine, scientists have found that the more they try to perfect speech recognition, they realize they can't. Because the human voice is so incredibly unique.

Our vocal cords hold a powerful gift: the power to paint pictures, with an infinite variety of colored shades, textures, depth, patterns and mixtures. We have the innate ability, through our voice, to convey meaning without even uttering a word! No machine could do that.

Many of us refer to ourselves as voice artists as well as voice actors.

If we're artists, then we have to take out our palette of vocal colors and brush those words, wash, tint and dab them. We have to channel impressionism, cubism, pointillism, abstract art, op art and realism into our phrasing. We have to apply the endless color combinations of emotions and infuse them into words. When we're presented with text that cries out for coloring, take out your 120-count box of vocal Crayolas® with all their wonderful hues and shades and create a masterpiece!

We're blessed with the ability to lift words off the page effortlessly and to articulate them clearly. But if we don't inject emotional depth and real meaning into them, if we don't artistically color in the outlines of those pictures, we'll never do justice to beautifully crafted text or copy or capture a listener's attention. And we'll waste a great opportunity.

Sincerely,

Marc
Marc Cashman © 2009

Any Comments?

I'm sure Marc would love to know what you think!

Best wishes,

Stephanie

©iStockphoto.com/Knud Nielsen

After reviewing some amazing slogan ideas, the time has come to announce the winning slogan.

Choosing The Perfect Fit

When we were going through all of the wonderful slogan submissions, we were looking specifically for a slogan that appealed to people buying voice over services that also resonated with voice over talent while communicating exactly what it is that we do at Voices.com.

The most basic description of what happens at the site was conveyed in a number of ways by a variety of people through their comments, and in the end, it all came down to the right verb, its tense and how it was used to express the essence of the voice over marketplace.

Four verbs that we were very interested in were Talk, Say, Listen and Hear.

The two verbs that did battle in the end were Talk and Say.

We felt that "Say" was particularly good for conveying a message en masse or individually and also noted that "Say" or "Saying" was closer to "Speak", "Speaking" and "Speech" than were "Talk" or "Talking", an important distinction considering that people associate voice over with "spoken word" recordings.

Winning Slogan: "We say it for you"

Congratulations to Andy Boyns of the United Kingdom! We have chosen Andy's slogan to help brand Voices.com going forward.

What made us choose "We say it for you"?

Andy's "We say it for you" was immediately obvious, and although a great many slogans easily identified with Voices.com, many of which were witty or edgy (and awesome on a t-shirt!), they could have been interpreted in more than one way. Our main goal was to stay on message and Andy Boyns has helped us to do just that!

This slogan also shares with the reader that they will be served, and if the reader happens to be someone who is selling their services, it suggests that they can also sign up to promote their voice, validating the statement in the slogan on another level.

"We say it for you" is reassuring and takes the weight off the customer's shoulders. The slogan assures them that hiring a voice talent is easy, and once they've found someone to record their script, it's a totally hands-off experience for them, allowing them to relax and enjoy the creative process without being directly involved in the recording.

You'll note as well that "We say it for you" comforts customers and gives them peace of mind, after all, they're working with a professional voice over talent at Voices.com who can get the job done and deliver something that they can be proud of.

At Voices.com, we've always believed that our customers are voice talent members and the people (also members) who use the site to hire our voice talent. We always put our customers first.

Bearing that in mind, it is very important that we recognize both of our customer sets. This slogan embodied our purpose and mission simply and beautifully, inclusive of buyer and seller, unifying the voice over marketplace.

Thank you everyone!

We'd like to thank all of you for presenting your slogans, blessing us with your creativity, and willingness to share how you feel about Voices.com and what we can do for you.

Now, I've said it once and I'll say it again... the voice over community rocks and I'm so pleased that you are part of it!

If you're reading this in your email or RSS reader, thank you for subscribing to VOX Daily, and for those in social networks, thank you for being part of our Facebook group The Voice Acting Hub, Fans of Voices.com, a friend on MySpace, following us on Twitter and for being our most ardent supporters.

I'd also like to say a special thank you to Julie Williams for her assistance spreading the word about this contest and donation of her wonderful resource "How To Make Money in Voice-Overs", which Andy Boyns will be receiving in the mail in addition to a 1-year Premium membership to Voices.com.

Any Comments?

Looking forward to hearing from you!

Best wishes,

Stephanie

Out of the 357 comments submitted before 12 p.m. EST, we have narrowed the slogans down to 10.

There were so many wonderful slogans submitted and we're grateful to everyone who participated in this exciting contest!

Is your slogan one of the 10?

Find out who the finalists are in the Voices.com Slogan Contest!

Voices.com Slogan Contest Finalists

In no particular order, here are the top 10 finalists whose slogans caught our eye.

"Voices.com: Your Words, Our Voices"
Philippe Bernaerts

"Voices.com: We Say It All"
Mary Morgan

"Voices.com: You write it, we'll say it"
Mary Morgan

"Voices.com: When we talk, people listen"
Brad Venable

"Voices.com: Hear the difference"
Tim Hunt

"Voices.com: Say it better"
Alex Rain

"Voices.com: We say it for you"
Andy Boyns

"Voices.com: Making you sound good"
Lisa Rice

"Voices.com: A Word's Best Friend"
Rajiv Hasan

"Voices.com: Say it to the World"
Carol Inman

The winning slogan will be announced later today!

Thank you to everyone who entered the contest. There were hundreds of spectacular ideas!

Stay tuned...

Stephanie

©iStockphoto.com/Jacob Wackerhausen

When reviewing the 300+ slogan submissions last night, we came across many that made us laugh out loud, a number of which we thought would be fun to share with you.

Take a gander at these entries and let us know what you think!

Isn't the voice over community a hotbed of creativity? Some of these would make for excellent t-shirts :)

Funny Slogans Submitted to Voices.com

In no particular order, here are the 20 funniest slogans for Voices.com we received!

"Voices.com: We're Just Sayin'"
Scott Fortney

"Voices.com: When your own voice sucks"
Bob Marini

"Voices.com: Dictators Wanted!"
Kevin Darbro

"Voices.com: Um yeah, we get paid to do this."
Dina Monaco-Boland

"Voices.com: We'll talk your ear off"
Tim Webb

"Voices.com: Someone has to say it"
Colin Campbell

"Voices.com: Ear Candy"
Mark Samarias

"Voices.com: Let us be your sweet talkers"
Lydia Scholten

"Voices.com: We need to talk"
Shawn Maroney

"Voices.com: Just pros no cons"
Juan Carlos Hernandez

"Voices.com: Get your blah blah on"
Mark Sommer

"Voices.com: Is this thing turned on?"
M. Triskana West

"Voices.com: Bookmark us, or else"
Gregory Whitfield

"Voices.com: Start yappin'"
Gregory Whitfield

"Voices.com: We'll bend your ear"
James Lorenz

"Voices.com: When you're tired of the same DJ on every spot"
Brad Venable

"Voices.com: Because it's a jingle out there!"
Jud Niven

"Voices.com: Enough Said"
Mercedes Rose

Do You Have a Favorite?

Looking forward to hearing from you!

Best wishes,

Stephanie

P.S. Stay tuned for more posts throughout the day, including articles announcing finalists and the winning entry for the Voices.com Slogan Contest.

What do you think of when you hear "Voices.com"?

We're curious to find out!

Comment with what you think our new slogan should be and if your slogan is selected, we'll give you a 1-year Premium membership subscription to Voices.com as well as Julie Williams' How To Make Money in Voice-Overs 5-CD set, a combined value of $449.95!

Learn more by reading this post.

What Is a Slogan?

According to Merriam-Webster's online dictionary, the word slogan, derived from the Scottish Gaelic sluagh-ghairm, means:

1 a: a war cry especially of a Scottish clan b: a word or phrase used to express a characteristic position or stand or a goal to be achieved

2: a brief attention-getting phrase used in advertising or promotion

In case you're wondering, we're most taken with the second definition, which is a brief attention-getting phrase used in advertising or promotion.

Examples of Some Familiar Slogans

Skype: Take a Deep Breath.
Orange: The Future's Bright, the Future's Orange.
Apple: Think different.
Amex: Don't leave home without it.
Smith Barney: We make money the old-fashioned way - we earn it.
DeBeers: A diamond is forever.
Audi: Vorsprung durch technik.
Heinz: Beanz meanz Heinz.
Carlsberg: Probably the best beer in the world

How Do You Write a Slogan?

One of the best ways to get started is through brainstorming and writing down every word or feeling that comes to mind when you think of Voices.com, perhaps what makes us different, what we're known for, how the site can help, etc.

I've found an article on EZarticles.com called 10 Tips For Writing Tag Lines that provides additional guidance and ideas if you're interested.

How Do You Enter the Contest?

Simply leave a comment here on this post with your slogan for Voices.com. You may submit more than one if you desire.

The window of opportunity is limited to 48 hours effective Thursday March 5, 12 p.m. EST through Saturday March 7, 12 p.m. EST. 2009.

The person whose slogan / tag line is chosen as the winning submission will walk away with 2 fabulous prizes, including:

1. A 1-year Premium membership to Voices.com, valued at $300.00
2. Voice-Overs.com owner / VO Forum facilitator Julie Williams' "How To Make Money in Voice-Overs" 5 CD set, valued at $149.95

* Bonus - Bragging rights (you know they're worth something!)

Looking Forward to Hearing Your Ideas!

Best wishes,

Stephanie

©iStockphoto.com/Dean Mitchell

Ever heard that the best things in life are free?

It's true, and that includes getting publicity for your business.

Discover how to find bloggers, introduce yourself, and how to build relationships that may result in the publicity and coverage you are seeking.

Preface

This article was inspired by a presentation at PodCamp Toronto 2009 entitled "Building Relationships with Word of Mouth PR Practitioners While Maintaining Credibility with your Audience".

I've been thinking about writing an article on this topic for months and was pleased to attend a session where pitching was discussed featuring a panel of people who were in a position to either provide publicity or acquire it for those desiring publicity.

Below, you'll find a summary of what was presented by panelists Eden Spodek of the Bargainista blog, Anita Clarke of the I Want I Got blog, David Jones of Hill and Knowlton, and Matthew Stradiotto co-founder of Matchstick.

Building Relationships with Bloggers

If you want to get publicity where everyone can see it, your best bet is to approach a blogger who will publish their content online and make it freely available for literally the entire Internet using world to see.

At first glance, you might think that an article in a paper publication would be better, and depending on which publication you're talking about, perhaps it is, however, being featured on a blog is potentially more effective in the long run than the fleeting prestige of having an article written in a paper which is available for a brief time and could disappear behind a wall.

Bloggers Share Best and Worst Experiences Getting Pitched

What Should You Do to Get Noticed and Considered?

You can liken these first encounters to a well-researched cold call, only this encounter is via email and can be rehearsed and executed to perfection in a carefully crafted proposal. The message you send should represent you in a respectable manner and you will be judged based upon that message immediately.

Bearing that in mind, good pitches can be formulaic.

Here are a number of ideas and best practices when pitching a blogger:

๏ Good pitches provide relevant information and additional links to learn more
๏ The information provided should be able to serve as the basis of an article
๏ All communications should be personalized to the blogger
๏ Your pitch should be relevant to the material they generally cover on their blog
๏ Make information about your company easily accessible
๏ Be prepared to answer any questions the blogger may have
๏ The story you are pitching should ultimately add value to their audience
๏ Provide an option to be removed from your mailing list
๏ Respect and appreciate that the blogger's whole life isn't there to accommodate your client or you; realize that they might have other full-time jobs

Try to get to know the blogger and what they are about prior to sending them an email. This means take a spin around their blog to get a feel for what they typically write about, what interests them and who they are writing for (their audience).

Be sure to read more than just one article on the blog before contacting them as not all postings are indicative of their primary focus.

Once you've become more familiar with the blogger and their work, you'll be equipped to personalize relevant content that will be attractive to the blogger's interests when pitching them.

In a Nutshell, Your Pitch Should:

๏ Be appealing
๏ Include a personalized note
๏ A short story
๏ Easily identify the highlights
๏ Provide links
๏ Link to a social media news release if you have one
๏ Give the option to opt out of future communications

What NOT to do: This is What Useless (and ignored) Pitches are Made Of

In general, not many people enjoy being solicited, especially when the solicitation is ill thought out and has no apparent goal or motive other than to get some indiscriminate press.

Bad pitches:

๏ Are not personalized
๏ Do not give any information in the email
๏ Include spelling or grammatical errors
๏ Do not include a URL (web link for more information) to visit
๏ Are not researched and consequently irrelevant to the blogger and their blog
๏ Leave much to be desired resulting in little to no interest... and no coverage

Something many bloggers hate is being told what they have to write. Don't send an email and expect that what you've included will be published verbatim. That was an extreme turnoff for the bloggers on the panel.

Bloggers have their own writing styles and what you've sent them may need to be tweaked or turned on its head so that becomes meaningful to their audience.

Another consideration to be aware of is that the majority of bloggers are not full-time bloggers and have other responsibilities. As was mentioned above, they are not there at your beck and call, but can be great allies for you if you treat them with respect.

Engaging and Building Relationships with Bloggers and other Online Influencers

How do you make sure that you're targeting the right people to write about you?

Sometimes the hardest part is finding the bloggers best suited to work with you who are also interested in your story.

Instead of seeking out and compiling a list of every single blogger who covers audio, advertising or voice over, realize that quality over quantity rules -- send out less pitches but make those emails better, more targeted and measured.

A Must

The key is to build relationships with top bloggers, and to do that, you need to know what drives the content behind the blog. Get to know bloggers on a personal level. This small effort will go a long way.

Don't forget that these should be mutually beneficial relationships built on trust. If you give bloggers relevant content to share with their readers, they will reward you with publicity and potentially more opportunities down the road.

It takes more time to pitch a blogger than traditional journalists but there can be a greater return. If a journalist is pitched and doesn't like it, they won't cover it. A blogger may regardless of their opinion.

Also, news stories in the media have a shelf life and disappear after about 15 days. Bloggers' posts live on indefinitely.

Someone said that the best blogger outreach happens by people who are out there and active in the space themselves. Essentially, the pitchers and now being pitched.

Note that bloggers like to talk about everything openly and transparently. PR firms realize this and leave the discretion in the hands of the blogger. When in Rome, do as the Romans do.

Changes in Economy Trigger Changes in Traditional Marketing

If you are a blogger, you might notice that there are companies approaching you to review their products, some of which may compensate you with a product in exchange for a review, whether positive, neutral or negative. In these cases, upfront disclosure of where a product came from and why you're reviewing it may be necessary.

Whenever I do a giveaway on VOX Daily, the items are generally donated for that specific purpose. As a bonus, and personal rule, I review the items prior to giving them away, many of which are posted for all to see as a means to provide greater value to my readers and also recognize the value in what is being raffled off.

Content - Influence - Long-term Relationship

If you get anything out of this article at all, be sure that when you approach a blogger, you are:

๏ Prepared
๏ Selective
๏ Interesting
๏ Courteous
๏ Relevant

Any Comments?

If you enjoyed this or found it useful, please let me know!

Best wishes,

Stephanie

©iStockphoto.com/Konstantinos Kokkinis

What do you do when spam becomes a problem?

This passed week, we have experienced an unprecedented amount of spam and we'd now like to address this publicly for the sake of our members.

To learn more, read on.

Spam

Over the last week, Voices.com members have shared their concerns with us about being solicited through the website's internal messaging system by a company inviting them to join a social netw