Voiceover

Dog Painting as Analogy for VO

May 31, 2022 by Laura Schreiber

Invited to Event for Charity

I had an experience recently and after the fact realized that dog painting is actually a great analogy for life as a voice over actor. If you follow my blog, then you know that I have two precious studio dogs, Violet and Daisy. Last week were were invited, with the dogs, to a charity event at my brother-in-law’s temple. The event was in support of our local food pantry, and we were going to do dog painting. Yes, that’s right, dog painting. Felix, my BIL, works with a guy named Jason to run the arts committee. Inspired by a Jackson Pollock painting done with chicken feet, they opened it up to community pets. The plan was to have people paint with their pets, make a group mural, and bring pet-specific donations for the food pantry. Often those who cannot afford food for their family, also cannot feed their pets. My daughter Emma signed us up and we brought dog food and treats to contribute. Even the morning of the event, I was very unsure of what we were walking into.

Feeling Unsure and Nervous About what to Expect

My daughter Emma and our cavalier Violet painting.

I knew the space where the event was being held. My twins had attended pre-school there. While I could picture it in my mind, there were so many question marks. Would my dogs, a Cavalier King Charles Spaniel and a rather large Labrador retriever behave? Would they try to eat the paint? Would they engage? Would they get along with the other dogs? Would I be able to get the paint out? Would they actually make art? How messy would I get painting with them? How messy would I get cleaning them up? So, much like in voice over, I had no idea what I was walking into. Aside from knowing what the purpose was, there was no roadmap. I did not even know how long the event would be.

The Actual Experience

Guinea pig painting — Guinea Pig Painting

To my surprise, the event was so lovely. I thought it would be fine or potentially disastrous, but it was actually quite wonderful. There were 8 dogs total and one guinea pig named Mordecai. They all got along well and no one attacked Mordecai which also seemed like a triumph. The art work they made was so beautiful and all so different. Each dog had a varying level of willingness to participate. My Violet made painting after painting. Daisy, in contrast, was a less prolific artist and seemed a little nervous about the experience. She laid very still by my side and did not move. But it was a fun, happy, and friendly morning.

How it Relates to VO

So, I see many parallels between dog painting and VoiceOver. Like the event, in VO there is no roadmap. We wake up each morning not knowing what to expect. We walk into live sessions and we don’t know how long they will be and what the folks will be like. Like the dog painting, there are no guarantees in voice over, no promises that things will work it. It might be fine, but everything could also have fallen apart completely with no hope of salvation. We have no crystal ball and we have to be prepared for any outcome.

Like in dog paining, in voice over we have total command over the career we create. At the dog event, we had the freedom to mix a palate of paints, and try out which colors worked and which ones did not. To me, voice over has been very much like this. Particularly in areas like marketing, we can try out different ideas and see what works and what doesn’t, and I love that there is not one right way of doing things.

Lastly, at the event we very much had to go with the flow. We had to work with the dogs at their comfort level. In voice over, the ability to go with the flow, and see what the voice over universe sends your way is very much essential. Work comes in when we can’t predict it. We have to know how to fill our days when we don’t have bookings. Clients often make requests we have never anticipated. Going with the flow is vital to succeed in voice over.

Final Thoughts

I never thought I’d go dog painting. But I did and I loved it. Not only did I have fun with my pooches in the moment, but I gained valuable life insights and a refreshing perspective on being willing to try new things. Sometimes, even if you have doubts, as longs as what you are considering is safe, it’s worth trying!

Voice Over Breathing Techniques

March 23, 2022 by Laura Schreiber

All Voice Actors Breathe

I remember when I first got into voice over years ago, one of the very first things I had to learn was not to hold my breath. Learning to actually incorporate breathing was hard. Voice actors need to learn how to breath and when to breathe. But being told to breath from your diaphragm and then automatically doing it at all the right places in the script are two very different things. That’s why this week fellow voice over coach Diana Birdsall and I invited Michelle Blenker into our Clubhouse room “Ask the VO Coaches.”

Michelle Blenker is a well-established professional voice actor and coach. Michelle is the only coach we know who has developed a curriculum specifically for breathing and voice over. She began her vocal training as a young child, taking singing lessons in MA where she grew up. There Michelle learned a breathing methodology to protect the voice.

This practice is useful beyond VO, and would work for people in sales or public speaking as well Michelle noted. As both a trained opera singer and a graduate with a Speech and Hearing Science degree, Michelle has both the training in specific breathing programs and the knowledge and understanding of human anatomy to bring out the best in her voiceover students.

Does Your Voice Feel Tired After Recording All Day?

We were eager to ask Michelle about vocal fatigue. Whether you are auditioning or doing booked work, often your voice feels tired as the day goes on. Our voice is a delicate instrument, Michelle explained. She said our entire being is used when we do voice over. We use our body but our vocal cords take the brunt of what we do so we need to use our whole body to support them. As we bring air into our larynx, we want the air to float through and we don’t want to push air in. She suggests that we reframe our thoughts about where our voice comes from and focus on the diaphragm.

How Can I Control My Breath More?

This is so common, from newbies to established professionals. Everyone wants to know how to best control their breath. Michelle cautions that if you sit, you often slouch which is problematic. In contrast, when you stand, you engage your legs. This provides a loosed base for your instrument. Apparently, most people barely use 40% of their air capacity!

In order to increase this amount, you need to learn how to stand. Then, you need to engage your ribs and fill them more deeply with air. Lastly, you need to control how quickly the air is exhaled. When you learn to use your resonators properly, which are found in your sinuses and more, many voice talents discover that their true voice is actually higher than they realized.

Interestingly, Michelle cautions that a lot of people mistakenly think their voice comes from their chest. It does not. Our vocal apparatus is actually suspended quite miraculously in air by muscle and just floats in the throat. That is why pushing too much air can be so destructive. Our instrument is so delicate. Unlike drums, we need to phonate healthfully to prevent our vocal cords from getting damaged.

How Do You Avoid Vocal Strain?

It seems like that raspy sound is still popular. Still, just because they ask for it, this does not mean you have to provide it if that is not your natural vocal tone. When we speak, our vocal cords vibrate and bump into each other to create sounds. When this happens, we can get nodules. Then, the vocal cords don’t open and close properly. To prevent rasp, there is an exercise you can do:

Take a deep breath in and learn how to control the flow of air
Do this singing and speaking exercise:
- - Very softly and gently sing “Hah-may-mah-mo-meh-moo” across keys

Diana noted that she always feels like when she practices such exercises she should do them stronger and louder. Michelle explained that in this case it’s experiential and you should feel the softness and then put power behind it.

One of our attendees asked a question about promo reads. He said that when he tried to get deep resonance he loses his breath. Michelle confirmed that he stands and he said yes. She directed him to put one foot in front of the other. Then, he was told to tuck his bottom under to expand the back ribs. Michelle said that as he releases his breath he needs to control it and let it come through more slowly. She then told him to do the above exercise in the tucked stance, letting the air flow in and out like a balloon.

Another attendee wanted to know if cardio vascular exercise improves voice over endurance. She surmised that her best recording days are the days that she does her elliptical machine. Michelle suggested that your body is more oxygenated on work out days, so it is possible. She further instructed Lisa to work on practicing her breathing as she walks. To count her steps, and try to control her exhales as a means of learning to increase her breathing capacity.

We also had a touching chat with Keaston, a voice actor living with a spinal cord injury. Keaston has to sit all the time, so he was curious how this technique applies to him. I was fascinated to learn that like pilates, the technique that Michelle teachers her voice students was created for injured veterans after World War II. So, perhaps he could learn from it as well.

Final Thoughts and Breathing and VO

One of our regular attendees, Xavier, made an interesting observation. He noted that when he is really engaged in a script, you can’t hear him breathe and he incorporates the breath naturally. In the end, isn’t that the goal? To have good habits so that the breath flows naturally and all of these habits become second nature?

Talking Voice Over with Randy Thomas

February 17, 2022 by Laura Schreiber

Chatting with Voice Over Industry Icon Randy Thomas

Randy Thomas, Laura Schreiber, and Diana Birdsall as we chat on Clubhouse!

Yesterday we had Randy Thomas in our Clubhouse room “Ask the VO Coaches.” If you have ever been in our Clubhouse, then you know that the vibe of the chat was different with Randy. Everyone was extremely excited to have her there. Randy has a body of work like no one else in voice over. She books across genres including Radio Imaging, Promo, and Live Announce and the list goes on. From the Oscars to the Tony’s to GMA, everyone has heard Randy. Despite her celebrity, Randy remains kind and humble. Always dedicated to helping those around her in voice over, Randy spent an hour with us!

How Randy Segued From Radio To VO

Randy worked in radio for many years. Starting as a teen at a station in Detroit, she loved it. As a DJ, she went from MI to NY to Dallas to Miami. Randy said she thought radio was everything and she’d do it forever. While she was at the Miami station, they gave her copy to read. That was when everything changed. Randy became the first female ever to announce for the Oscars.

Live Announce Vs Other Genres

Next, Diana Birdsall and I asked Randy how Live Announce reads are different. She said when she reads for the Oscars she reads it big, with confidence! It’s not about being loud, it’s about the tone and the vibe that you project. Over the years, Randy says she has mellowed. We asked Randy how different shows get different reads. Her instincts come into play a lot. For example, the Tony’s are way more compact. When in the Director’s Guild Awards she feels like she is in “rarified air” and gives a special, hipper read.

Like with other genres of voice over, actors have to make a choice. Directors give input and Randy works with that. Randy shared an anecdote about her late, great friend Chris Corley. Chris is well-known for being the voice of the MLB network, movie trailers, imaging, and more. Anyway, once auditioned. He was cast in this role. Once hired, they told him his read was not what they wanted. But, he was so committed and they loved that commitment to the read. The choices we make when we read and the characters we choose matter so much across genres.

Another interesting aspect to Live Announce is the scarcity. So, no matter how talented a voice over artist is in this genre, there are simply not enough gigs. This is why brancing out into other genres becomes necessary.

Being the First Woman to Announce the Nightly News

I confess I was beyond excited to talk to Randy about this. Only Randy not only has such a good opportunity, but her opportunities have been unique. As the first woman announcer for Prime Time, Randy broke this glass ceiling. We asked her why it took so long? Randy said men were making decisions. They went with what they new. When she got the opportunity to host the Oscars, she did not think about being first, she was thrilled. Randy’s work as the voice of news shows like GMA and Prime Time is important. She is changing perceptions about women and where we fit in the workforce.

Having Top Agency Representation and Its Implications

Atlas Talent represents Randy and all her bookings go through Atlas. Randy shares that 95% of her work comes from Atlas, and she has a few relationships of her own. We asked Randy about the impact of top representation. Having always coveted it myself, I was curious for her perspective. Randy shared she thought it is possible to still go after certain genres without such an agent. In my experience, having various regional agents I am very thankful for, there are limits. Promos, TV Affiliate, and Radio Imaging seem to be under the lock and key of the top tier agencies. As some one with lots of agents, that work just does not come my way and I sure wish it did.

Randy also talked about being a union talent. She talked about how much being part of the union means to her. The union scale jobs have been great for her career.

Exciting Clubhouse Announcements

Finally, we had big announcements! VO Master is coming back in 2022! Randy shared they are back in force this year. Rachel Wohel, Randy’s daughter and fellow VO actor, Joined us. They divulged several upcoming events.

First, they present “Marketing to Local Businesses to Become ‘The voice of your town’” with Tom Aglio. That’s this Saturday, Feb 19th from 9:30-11:30 am PST.

Next, they offer “The Anatomy of a News Promo: Work With ABC News Producer Yoni Mintz” on March 7th from 5-7 PM PST.

Lastly, for the first time ever, they are doing casting on Clubhouse! They will be casting for a dystopian poem, “Drums of Grace” by Michael Rothenberg. Randy and Dennis Kleinman have already co-narrated it. This will be a condensed version written by Cherise Alexander. They will be casting for this live reading soon, so don’t miss your opportunity!

Why Improv is Great for Voice Over

February 14, 2022 by Laura Schreiber

How did I end up doing Improv?

Firstly, I never set out to study improvisational technique when I started doing voice over. Early in my VO career I worked with amazing coach Fred Frees. Fred was my character coach. We were doing private lessons working towards a character demo. Fred is not only an established talent, but he also grew up in the industry. Fred happens to be the son of VO legend Paul Frees. There is not a voice, character, or trick that Fred can’t do. The man is amazing. One day in one of our lessons Fred told me I had to find an improv class. For me, this was out of my comfort zone. He told me that he heard repetition in my characters and that I was falling into patterns. The only way to break this was with an improv class.

Why was I nervous? Well, in the safety of my studio, I was fearless in front of a microphone. Fred suggested leaving the booth and going to an actual theater with real live people. Learning a very new different skill set was scary. It was daunting. And, it was necessary.

I found a class called “Advanced Acting and Improv” at Paper Mill Playhouse. Taught by Broadway great Elisa Va Duyne, the class was hard. I was not used to learning lines. The amount of drama was also a big change. Physicality amongst others was also new to me. But I started the class none the less. Want to know how long it took for Fred to hear a difference once class started? Fred heard a difference in my reads in one week. He said I was like a different person in our sessions.

Scott Parkin and Voice Over

Fast forward quite a few years. Now I have the luxury of having a weekly Clubhouse Room, “Ask the VO Coaches.” This week voice over legend Scott Parkin was our guest! Whether you know it or not, you likely know Scott! He is the voice and face of many recognizable brands as he does both voice over and on-camera work. He actually started out on morning radio. Scott has a national Tide TV commercial and many more. He has also made appearances on well-known shows like “Grace and Frankie.” Scott finds that the relationship between VO and on-camera work is symbiotic. Scott shared that most of his work comes in through his agents at DPN. As a single dad, his daughter Miranda grew up socializing with other talents in the DPN waiting room.

Scott Talks Improv and Voice Over

Diana Birdsall and I asked Scott why voice actors should study improv? Scott explained that improv helps you find a character. It also helps you find that sought after conversational read. For example, think about what you like to do for fun. When you respond, you make it real, including stops and starts. Scott was great fun in the Clubhouse! He fell into many characters for us. He was Angus, a Scottish soccer player. Then he was Doug from Doug’s BBQ in Texas. First Scott became the character. Then he showed how they would say their lines with ease.

Improve Across the Genres

We asked Scott which genres of voice over improv helps with. He said it is useful in all genres. We talked about assuming characters in genres like eLearning or narration. One of our attendees, Jeffrey, told Scott he is taking improv classes in Atlanta. Jeffrey asked Scott what he should look for in class. Scott said it depends on your goal, which might include:

On-Camera work
Sharpening your skills
Writing Sketches

The conversation went on to consider if improv practice can happen via zoom. Scott said that he has adapted his drills to work on-line. But, in-person classes are still the gold standard.

The Culmination of Improv: “Comet Casino”

“The Comet Casino” Original art by Miranda Parkin

Scott has a daughter Miranda. Miranda is both a voice actor and an amazing artist. Perhaps it’s because Miranda grew up surrounded by voice actors. Maybe it’s because Miranda’s dad bursts into character at the snap of a finger. Or most likely it’s because Miranda has oodles and oodles of talent! This 21 year- old phenom has created her own cartoon: “The Comet Casino.”

The show boasts an all star cast with the likes of Tara Strong, Billy West, and Maurice LeMarsh to name a few. Dad and daughter are doing all the leg work themselves. From creating the team to raising funds for animation, it is a family project. What’s the point? If you connect the dots, it’s no accident that a kid with profound improv training did this. Miranda can act. She is also an artist. Miranda had a vision. This gal also happens to have an amazing dad behind her. Now, am I saying that if you study improv you can write a show? Maybe not. But the point is, you never know where years of exposure and on-going training and coaching will take you. That’s the point. Work on your craft. In conclusion, keep working on it. And if you have the means, also support this amazing family here.

When Is it Time to Submit to A Voice Over Agent?

February 6, 2022 by Laura Schreiber

How Do you Know When You Are Ready?

So you’ve been working really hard to build your voice over career. You’ve been working with coaches, you’re on pay to plays, you’ve been doing some direct marketing, but now you feel that your moment has come! You want to make your bold move: it’s time for a voice over agent! But how do you get one? Well, before you begin your official outreach, it’s important to make sure you have positioned yourself for success. What does having an agent really mean? Having an agent really means access to increased opportunities, and you want to maximize this potential. Here are some key considerations when preparing to market ourself to an agent.

https://youtu.be/WPfIhiiG5Cc

Demos Are Done…

You want to begin the agent outreach process once your commercial demo and any others that you are seeking representation for are complete. If you intend to work with an agent, and go after the more lucrative work, it is imperative to understand you cannot produce your demo on your own. Having top notch demos that compete and represent current industry trends is essential. Your demos should be ready to go before you begin marketing to agents.

Website is Up

Your website is your virtual storefront. It established your personal brand and why you are unique from other voice over actors. You should not start to market your self to voice over agents until your website is up. By “up” I mean fully operational. I do have a website planning guide under my “free resources,” but you need to make sure that you have downloadable demos and an easy to find contact page at the very least.

Source Connect is ALREADY SET UP

Most agents require you to have the PAID version of Source Connect in order to sign you. You might be thinking, oh, well, I’ll just tell them I have it and then when I book work I’ll add it. I strongly advise against this. When you get Source Connect, you have to have something done called getting your ports mapped. It is done through a service call on their end. You basically schedule the call, download software, give them remote access to your computer, and they map the ports to your router. It must be done from their end to your end, and it must be set up. Sometimes support appointments are harder to get than others, so it is really important to have Source Connect up and running. The other important detail is that once your ports are mapped, they are mapped to a specific location. So my ports are mapped to the iMac in my studio. If I were going out of town, and needed remote access, I would need to have my ports re-mapped to my MacBook Air. The other alternative is to rent studio space. Why does this matter? Reputable agents expect you to have Source Connect up and running so that if you book a gig with them they can schedule you anytime at the clients convenience.

What Should You Say?

It’s best to keep things short and sweet. Tell the agents who you are, why you are reaching out, and why you are qualified. Attach your VO Resume and appropriate demos. Give them your contact info. That’s it. You can follow up a week later to confirm they got it and then based on what they say decide how often to reply.

International Agents

While it is great to have regional representation, it is also extremely beneficial to have representation abroad as well. As they often need voices of all demographics and accents, it is in your best interest to reach out throughout Europe, Central America, South America, and Asia. The more opportunity you have, the more exposure you will benefit from.

Keeping In Touch

Sometimes agents are kind enough to reply and tell you that the do not have space on their roster at present but they may in the future. This is a great opportunity. This means there is something about you that they like enough to respond, but it is now your responsibility to check in without stalking them! So, you have to decide how often you will pursue this lead and when it is the right time. Such instances include when you have a stellar booking or a very strong month, if you are nominated or win an award, if your earnings start to rise drastically, and if you have been to a conference and met someone from their team. Any of these reasons are great time to circle back and see if anything at all has changed on their end, and to let them know in a fun and casual way about your great successes. The point is to maintain a relationship and keep the possibilities open.

Remember, in the end, there are no guarantees of success in VoiceOver. Having a VO agent does not need that you have made it. It just gives you access to great opportunities. The most direct and sure way to success in voice over is consistent hard work over an extended period of time.

Pickups and Revisions: What’s Your Policy?

January 31, 2022 by Laura Schreiber

Why Voice Actors Need a Policy for Pickups and Revisions

As a full-time, professional voice actor, I love working with repeat clients. I love delivering finished audio I can be proud of, and over the years I’ve come up with a few strategies to reduce the number of pickups I have to do. It is important to understand the difference between pickups and revisions, and how live sessions come into play.

Just What is a Pickup

A pickup implies that you, the voice over talent, have made an error, and typically any and all performance errors are covered by the actor regardless of the size of the job’s budget. This could mean that you misread the script, it could mean that there is an odd noise in the recording and it is obscuring your work, or it could be a performance error. Perhaps you were meant to sound calm and relaxed and the client feels you give off an agitated vibe. Any of this constitutes a pickup. When I book a job, I do ask clients to give me the courtesy of asking for pickups and deliveries within 48 hours of when I give them the finished audio. Most do. Some don’t. How flexible you want to be is up to you, and makes a difference in how you feel about your relationship with the client.

What is a Revision

A revision is different than a pickup. A revision implies that the client has changed the script. Typically this means that they got your VoiceOver audio back, reviewed it, and then decided to make tweaks. For me, for jobs over $250, I include one round of minor revisions which I define as less than 20% of the script within 48 hours of delivery. If it is after 48 hours or more than 20% I charge $75 per 30-minute revision session. If the revisions are more than 40 percent of the script I adjust the rate. If the script starts to look more than 3/4 different and it is a long narration, then it becomes a new job, and negotiations begin. This is not common. In all my years as a VO talent and coach, the two times this has happened, the clients were upfront about the revisions and offered me a new rate before I even had to start worrying. If you are noticing, they are noticing. In terms of the turnaround with revisions, again, you have to decide what you can live with. For example, I work with some eLearning companies that take quite a while to review their work. For me, this is not a problem and I am happy to wait.

Throwing a Live Session into the Mix

So you have a session for Source Connect, Zoom, or Skype. Wonderful. What should your pickup policy be? Audio from a live session is always final delivery. Period. The session should not end until the clients have what they need. This is the industry standard. If the client comes back after a life session and wants a re-record, you are entitled to a fee for an entirely new booking. Basically, you have made yourself available to however many people from their team are on the call, from the producer, to the creative director, to the folks from the brand. They have plenty of time to give direction, chat, and get all that they need from you. You are not in any hurry. If, after the spot is produced, they decide to take the work in a different direction, that’s fine. They can pay you for another session.

Tips to Avoid Pickups and Revisions

In the end, here are some tips I have come up with that leave me having to do very little pickups.

On jobs under three and a half or four minutes, I deliver at least two takes. If a client has options, they are less likely to come back to you wanting more.
I deliver wilds of the end. If there is a talk line, give them lots of options of the end as you would in a live session.
If there is something that may have an unusual or unexpected pronunciation, either try to call the company and hear how they say it, or fine it on YouTube and avoid having to do the retake for that. If you can’t find it, give them wilds of the word or sentence with different pronunciations.
Try to review your audio several times before you submit it. If you are new to VoiceOver, this is a reminder that you need to do your editing for correctness to script before adding EQ/Compression/Effect stack.
If you have a long narration, I actually edit page by page. I go through each page twice before moving on to the next one. I catch my errors and it gives my voice a break.

Ultimately Why Pickups and Revision Policies Matter

In the end, we want our clients to have a great experience working with us. We want them to come back to us over and over again. If we lay out our policies clearly, and there is no room for ambiguities, communication should be seamless. Expectations should be clear. Relationships are built on trust, and when policies are consistent, because there is, in fact, an actual policy, it is much easier for a client to understand what they are being charged for and why.