You hear about people making a great living in voiceovers and you want to get involved. You hear about actors working from studios in their own homes, sending their voiceover work across the Internet to clients all over the world and you think that’s really cool. You’ve been told you have an amazing voice and should really look into doing voiceovers. “Sign me up!” Right? Well, not so fast. There’s a lot more to becoming a working voiceover artist than you might think. Just like actors, voiceover artists have to train, identify their type, and market accordingly. And — just like actors find — there are far more people pursuing the work than there are jobs for the taking!
Where To Train
Why do you need training? You’ve already got a great voice, right? Look, you simply must train before you can compete in the voiceover market. When you train, you learn how to analyze copy, you create a “signature” or “voiceprint” (jargon for “type” in the voiceover market), you learn how to work with the equipment you’ll encounter (how far to stand from the mic, not to touch the equipment, what sort of volume you’ll need to use, how to work in group situations based on the equipment provided, what breath sounds or mouth noises are picked up on the mic that you would never know about until playback, etc.), you work out the kinks on sibilant and popping consonants, you learn how to support your voice from your abdomen (and know when to shift into your head voice), and — perhaps most importantly — you get a regular workout, just as a professional athlete does, even when not working every day. You have to stay in top condition, as a voiceover artist. Regular training is key for that.
There are many voiceover instructors out there, but the four that came up over and over for the Los Angeles market are Rick Zieff, Cathy and Harvey Kalmenson, Marc Cashman, and Nancy Wolfson. For the New York market, Joan Baker comes highly recommended.
Many coaches produce demos in addition to training voiceover artists. If you’re in it for the full process of training and demo reel production, it becomes all the more important that you really connect with the coach (and future producer) you choose. Nancy Wolfson, in particular, worked privately with busy voiceover artist Anna Vocino for three months in order to train her voice for, and then produce, a comprehensive demo. Anna then sought the talents of a graphic designer, Jason Sikes, who delivered Anna’s “voiceprint” in a visual manner. This is now the CD cover art for her demo. Artwork and audio itself are available at BrainTracksAudio.com/AVocino.htm. Anna strongly emphasized the value Nancy’s training has had (and continues to have) on her consistently-amazing voiceover career.
Your Voiceover Demo
Just as actors need professional headshots and resumés, voiceover artists need demos. It’s a must. Not negotiable! This CD demo must be professionally-produced. No matter how good your in-home production studio may be, no matter how many years of college radio you did, no matter how cool your software is, you will cost yourself more money in the end if you try creating your first demo on your own. Only after you are a working voiceover artist with years of experience in producing your own spots from your home studio should you feel comfortable updating your own demo.
So, now that you know you will need to go to the professionals to have your demo recorded, let me warn you against rushing into this too early in your career. Working voiceover artists tell me it’s imperative that you don’t record your first demo until you are well-trained enough to deliver the goods that will help you sell yourself according to the “signature” or “voiceprint” you have established through your training (there’s that word again). Having a voiceover demo that is too broadly focused will prevent many people from calling you in at all, having no clue what it is you are selling. As with packaging your type as an actor, voiceover marketing is very specific. That includes the content of the demo as well as the presentation. Professionalism is very important!
Web Resources for Voiceover Artists
In addition to checking out potential instructors and demo production facilities online, you can also hear loads of great demos from currently-working voiceover artists. Spend a little quality time at sites like VoiceActing.com and launch from many other links there. Also, check WorldChampRec.com (production facilities, music, editing, commercial copy, and on-site producers and directors), recommended by another working voiceover artist I spoke with for this week’s column.
At VoiceBank.net, you can listen to all of the existing demos provided by agencies to potential clients. Hear what currently repped-and-working voiceover artists are doing. Focus your attention on the work of those who “sound like” you do. What are they doing? Take good notes! You’ll need these when you meet with your coach and demo reel producer.
Once you have your demo recorded, you’ll need to get it in front of all of the potential buyers and representatives who can help you get work. Check out Voice123.com for this part of the deal. This site generates emails about jobs that match your profile, much like ActorsAccess.com. InteractiveVoices.com is another casting service, mainly focused on corporate narration, local radio spots, phone-on-hold recordings, radio imaging, and promos.
A must-have, according to voiceover artists throughout Los Angeles, is the Voiceover Resource Guide. I’m including this in the web resources section simply because you can get a copy of this guide online at VoiceoverResourceGuide.com (as well as at Samuel French).
Tips from Voiceover Professionals
Always warm up before you audition or work. Visualize the character you are voicing, even if it’s a “boring commercial pitchman,” and really work as that character (beyond just your voice). Take good care of your voice (steer clear of caffeine, alcohol, and of course cigarettes). Read magazine ad copy as if the text is for a radio or TV version of the ad to get started. Later, transcribe audio ad copy, as it will be far more densely-worded than a print ad. Improvise — you’ll use this skill in voiceover just as much as you do in “traditional” acting scenarios, if not more. Stay aware of trends in the market by listening to every voiceover “out there” as well as staying well-trained. Know your type. Stay involved in theatre, as this helps keep up your chops in every facet of acting. Explore animation once you’ve conquered more straightforward, commercial voiceover styles. Attend any free voiceover classes offered by groups such as the SAG Conservatory and visit the studios of those whose classes you are considering taking to make sure you “click.”
Most voiceover business is from repeat customers, so to speak. So, make a good impression, do a good job, and stay in touch. Voiceover acting is an investment of both time and money (just like with an on-camera career) and, similarly, you should be in it for the long-haul, not look for quick rewards. Educate yourself about the key players in the LA voiceover market through networking and reading. An at-home studio, once you’re ready for it, can pay for itself rather quickly for the working voiceover artist. A fast Internet connection allows you to email or FTP files to clients, agents, and casting directors all over the world.
Huge thanks to all of you working and aspiring voiceover artists who contributed to this week’s column! Your help is greatly appreciated!
Bonnie Gillespie is living her dreams by helping others figure out how to live theirs. Wanna work with Bon? Start here. Thanks!
Originally published by Actors Access at http://more.showfax.com/columns/avoice/archives/000213.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.