• Skip to main content
  • Skip to primary sidebar

laura@volaura.com

973.747.6800

Laura Schreiber Female Voice Over Talent Laura Schreiber Voice Logo
  • Home
  • Demos
    • YouTube Bumper Demo
    • Commercial
    • Covid Response And Emergency Management
    • Radio Imaging
    • TV Affiliate
    • Narration
    • Political
    • Tours
    • Character
    • Kids Voices
    • Baby Voices
    • Promo
    • E-Learning
    • Explainer
    • Telephony
    • Medical Narration
    • French Commercial
    • French Narration
    • Podcast
    • On Camera
  • About
  • Copy Writing
  • Studio
  • Clients
  • Coaching & Demos
  • Services
  • Blog
  • Contact

bookings

As An eLearning Narrator Your Audience Matters

Uncategorized

Last Night on Clubhouse

Last night I had the delight of participating on a Clubhouse panel with some other fantastic, professional voice over actors Identify Your Audiencefrom the US and Canada. Our focus was on marketing, and even as a panel member, it really got my wheels turning. I could not help but think of the specificity of my recent outreach, especially in eLearning. I have worked so hard to build my business as an eLearning narrator, and I think in order to really reach prospects, you need to think about who you are working with. From the very beginning of the process through the completion of the booked work, understanding your audience is essential to success as a working female narrator in eLearning.

From the Marketing…

Often our relationships with eLearning clients, whether they be independent instructional designers or larger companies that create content, begin because of marketing efforts. Sometimes our direct marketing is the first interaction a new eLearning client has with a voiceactor. You would never want to send a government client with classified, sensitive content a jovial and silly email that would not resonate. Likewise, you would never want to send a cosmetic company a super serious message that shows no personality.  All of our outreach needs to have the end user, the eLearning client in mind. Our audience matters in every single correspondence.

Design matters to the audienceSocial media content, across platforms, needs to have the target audience in mind as well. This can be a bit trickier, as it is harder to control who sees your posts. You can, however, try to catch the eye of a specific group of clients or prospects by being clever about your target audience. If, for example, you are posing on Instagram and you want to reach out to instructional designers, both the content you use and the tags that you include in your post matters. Another way to grab your audience is to tag influencers and professionals in that field. Quote them. Have a conversation about them. If you want to work in eLearning, you need to be part of the dialogue.

Another tactic I often use is  brochures. I use them to reach out to clients in eLearning when at eLearning conferences when I would love to show my website and samples of my work but cannot because we are in a huge convention center. I find that having a very branded prop is useful in establishing myself as a professional in the field and helps draw the prospect in. Again, in terms of being mindful of the audience, since conference have a range of content creators, the brochure needs to be professional and have all the essentials.

To the Audition…

The eLearning audience must be top of mind when auditioning. You always have to know who you are talking to, and what the audio is being used for. Imagine if you sent an upbeat and humorous toned training to a group of CPAs, it would not fit. Conversely, let’s take the example of the cosmetic company again, because I happen to love doing trainings for them. Imagine if you were doing training for hair stylists about hair brush options available and instead of sending a relatable, warm tone you sounded like a detached CPA. That also really would not work. When submitting eLearning auditions as a female narrator, the audience drives the read you give. It informs the tone, the texture you add, the variation in the pace. An energetic happy read has a very different pace than a professional, thoughtful read. Again, the audience in eLearning matters.

The Booking….

Size of Audience Doesn't MatterWhen you book an eLearning job, understanding the audience or the enduser is so important. For example, I was recently cast in a training for a local hospital: RWJ St. Barnabas, right here in NJ. It was a caller training. When I first read through the script, in my practice read, I sounded warm, gracious, and welcoming. I then re-read my roll: “Bad Caller.” I was the example of what not to do. Everything I just rehearsed had to be thrown out the window and the opposite read was needed. I was talking to the same people, but I was the example of what not to do, and I had to be the best “Bad Caller” they ever heard. Your job as an eLearning narrator is to make it obvious. They should not have had to figure out what was wrong with my phone skills, so I had to make every effort to clearly connect with the listener. Keeping the audience in mind should inform and transform every eLearning performance.

The Rapport with Your Clients

As a voice over actor, understanding your audience is what makes life easy for your clients. If you don’t get it, the narration will never be right. It makes it easier for everyone for you to clearly connect with the audience you are speaking to in eLearning.

Filed Under: Uncategorized Tagged With: auditions, bookings, Clubhouse, direct marketing, elearning, eLearning clients, eLearning narrator, female narrator, instructional designers, marketing materials, narration, VO, voice over, voice over actor, voiceover

A VO Business in Review: What’s Working and What Needs Work

Voiceover

There's No Reason To Look BackVoice over is a competitive industry, and being a professional female voice over who books mostly commercials and eLearning is something I am very proud of, but it takes daily effort- all day. Every day. I often work weekends. I often work odd hours. And every time I do, I am proud because it means that my small business is succeeding. In order to stay on top of my VO game, it seems like December is the perfect time to reflect on what is working and what could work better. After all, if I’m going to devote to much of my life to pursuing this passion, I want to do as well as I possibly can in voiceover.

What’s working:

Auditions:

I audition a lot. I have a pretty good audition to booking ration, particularly on pay to play sites. I once heard Bob Bergen, renowned voice of Porgy Pig, say that the audition is the job, and I understand just what he went. I also think that my auditions are working in the sense that I submit a lot. Twice in recent months I had clients reach out with direct bookings because they had saved my auditions. Although they had not hired me when I had submitted for that given job, they helpd onto my audition, kept me in mind, and ultimately booked work with me. In this sense, my auditions are going well.

Follow Up:

For me, follow up with both clients and prospects takes several forms. I always send thank you notes after bookings. I send both email follow ups and hand written cards, often with gifts depending on the size of the booking. Typically clients are delighted by this. In addition, I do quarterly check-ins with clients and prospects to maintain the relationships. These are personalized and relevant. I also do outreach, including my monthly newsletter and holiday cards.

Invoicing

I am good at invoicing! I have a great system, so I invoice when I deliver my finished audio. My invoice automatically sends a 30 and 60 day reminder. If it goes to 90 days the client gets a letter from my lawyer/husband. They hate that, but it works really well and I have no money outstanding at present.

Blogs

I blog regularly and am proud of this. I blog so that I am found. In the years since I started blogging, which I was very reluctant to do and did not do when I began my voice over journey, I have tippled my website traffic. In the search terms that I target, I continue to come up on the first page of google. Blogs are going extremely well.

What Needs Work

You'll Know When You're On the Right TrackAuditions

Yes, they were mentioned above. I need to improve my booking ration for agent auditions. I have fantastic regional representation who work really hard to bring me wonderful opportunities. I would love to book more of what they present me with in 2021. I send two takes, I listen to me reads to make sure I am sending my best work, but like I said, the voice over industry is competitive. I am thankful for the agent bookings I had in 2020 and hope to increase the percentage moving forward.

Outreach

Yes, this category was mentioned above as well. The problem is that the possibilities for direct marketing are infinite and I lose focus. I could do a much better job marketing myself. I need to focus on who I want to bring in and what kink fo work I want to regularly book and reach out to those clients with greater gusto. I had been doing it consistently, then work somehow gets in the way of this very important work.

Bringing In New Clients

I need to bring in a few more clients who will send regular work, monthly or weekly. I love the rosters that I am on and I need more clients like that.

Awareness of Changing Market Place

Especially in a year without voiceover conferences to attend, I need to do a better job staying on top of current market place trends. I do not listen to podcasts often, and I have my own perceptions which may or may not be accurate. I think having a better understanding of how the pandemic and election are shaping the marketplace is essential to my new business plan for 2021.

A Glimpse Ahead…

I am lucky that I am not new to VO. I am surrounded by talented women who are innovators and trailblazers. As I plan for the new year, and strategize for my goals ahead, I will be using the network I am so thankful to have built over the years to focus in the right direction.

Filed Under: Voiceover Tagged With: auditions, blogs, bookings, changing market, commercials, female, female professional voice actor, invoicing, outreach, small business owner, talent, VO, voice over, voiceover, working mom

Case Study of a Directed VO Session With JP Morgan

Client Relationships, Live Sessions, Voiceover

The Casting

Pink PhoneMy recent commercial booking for JP Morgan makes for a great case study in voice over bookings. As a professional voice actor, every booking makes us happy, but when the producer emailed me about these radio spots, his explanation was interesting. I was cast directly without auditioning. He did not mention my voice. Nor did he mention my demos. In this instance, it was a matter of scheduling and availability. As I work full-time, they needed someone who could accommodate a live session at a specific time, which turned out to be 11 a.m. on a Friday morning, and he needed to confirm that I was available. The timing, in this scenario, was the most important question I was asked. The producer got back to me and confirmed that I had indeed booked two spots and it was a go. I was delighted.

The Tech

I asked the producer if we would be using Source Connect or Zoom, the most common ways I connect for live sessions. Initially he gave me a phone patch dial-in and password. This would have been fine. Then, at dinnertime the night before the session, the producer said that the clients preferred Zoom and the team at Spotify sent a link. That was also fine. I recently worked with the VO Tech Guru, and he showed me how to do audio playback during zoom sessions, so I was really excited to test it out during my session.

The Pre-Session Prep

Copy rightI prepare for every single session, whether I am self-directing or in a live session. Part of my prep is administrative. I take some time to log the job in my CRM and create the invoice. I then print a large print version of the script using my preferred font. Then, prior to marking up the script, I spend a bit of time researching the brand and their other ads. Interestingly, JP Morgan and Chase are linked. As a client, when I log in for my JP morgan account I also log into my chase account. Well, at the moment, the below Chase spot is the most sought after read in a long time. Clients often request this as the benchmark for tone, style, and pacing, so I had this in mind going into my session for sure.

The Start of the Call

PcI think the start of a live session is really important. There happened to be a lot of people on this call. In addition to the producer, there were several people from the Spotify team and several people from the JP Morgan Team, including the scrip writer. In my mind looking back here were at least eight people on the session. It is my job to make them happy and to make them comfortable. I try to use the time at the start of the session to let them know that my feelings are not a factor, and that the only thing that would upset me would be for them to know have exactly what they need at the end of the call. I try to have friendly banter, but I want them to know and to be comfortable that I will give them whatever they need, and that it is not about me, it is about them. I think there are a few precious moments to establish this rapport and set the tone.

Working Through the Spots

pink headphonesWith so many on the call, there can be a lot of side chats during a directed session to make sure everybody has the takes that they want. This team was fantastic. They gave very clear direction and it was easy to take their feedback and run with it. They also all remembered to mute themselves while I was recording, which makes everything seamless. In this session, I read the first script all the way through three times. They gave me feedback. I again did three takes, and then we did some variations of the lines. Then, after the line reads, we did the whole script again. It really came together nicely. It was also super exciting to use Zoom’s audio share feature to play back the audio for the clients during the session so that they could mark the takes that they liked and we could also check the timing of the spots. Then we moved on to the next script, and worked through it the same way. The second one went a little faster as I understood what they were looking for from the first spot. All in all, the group was great to work with. For me, because JP Morgan is my bank and I use the app, it was easy to see the product and be enthusiastic about it because I actually enjoy the very features I was describing.

The Aftermath

After the session, I simply sent the drop box link to the producer. I had been deleting outtakes and pausing while we chatted during the session. As I’ve been doing this for years, I am now accustomed to marking the spots and deleting what is not needed during the session. It makes it so much easier to do it in the moment! It is a moment of great joy when I attach he link knowing that the producer now has what they want!

Final Thoughts

Two pink hands shakingI am often asked whether I prefer live sessions or self directing. The answer is really that it depends. I love self directing because it gives me a chance to be creative and a freedom to interpret the texts in front of me. I can explore my imagination and see where it goes. The downside, of course, is that there is always a chance of missing the mark and not giving the client what they need. With live sessions, I love the creative collaboration. I love working with other people. When I have the opportunity to work with the people who created the product or the people who wrote the script, I get a higher level of understanding and can often bring more nuance to the read. So, the answer is still: I depends.

Filed Under: Client Relationships, Live Sessions, Voiceover Tagged With: Audio Branding, bookings, branding, casting, commercials, directed session, JP Morgan, live session, phone patch, producers, radio, Schedule, Source Connect, Spotify, VO, Zoom

Defining a VO Pro

Marketing/Branding, Voiceover

On this Sunday morning, lets’s grapple with this question: if there’s a low barrier to entry in voice over, what defines a pro?

Spending more time in Facebook Groups These Days

Like many in the voice over industry, I have been spending more time than ever on social media these days, especially on FaceBook. I long for human connection and to feel part of our beloved community, and frankly I enjoy the banter more than ever. Yesterday this post from highly esteemed coach and casting director MaryLynn Wissner caught my attention:

There’s a lot to this. We work in an industry where you don’t have to come from a career in theater or on camera work to get started, though many did study performing arts in school, pivoted for a first career, then returned to voiceover. I, myself, was a History teacher. Christian Lanz was an architect. Maria Pendolino worked in finance. Dana Hurley was a pharmacist. The list goes on and on, and there is nothing wrong with changing careers and bringing all of those skills with you into your business in VO. The question that is being asked here, is what is the difference between a guy who buys a plug in mic and a membership on a pay to play and calls himself a “professional” and then has the credit of having some good coaches, the benefit of being in good company, and an actual working professional? To me, if working with the best of the best in coaches is removed as a criteria in defining a pro, than we need to look to a voice over actor’s website, testimonials, bookings/credentials, and social media standing.

The Website

Put simply, the website is our storefront. More than our business card, our website is our calling card. It not only houses our demos, it is the voice actor’s place to showcase actual booked work. We can display our business philosophy. We can post testimonials. We can make it easy for clients to find us. This is how we create a sense of our brand. And a voiceover professional, unlike an amateur, has all of these things: sample of work across genres, a brand, comments from clients. Joe Davis and Karin Barth were recently interviewed on the “Middle-Class VO Podcast” talking about what sets voice over actor’s websites apart, in terms of what makes them professional and what makes them findable by google. The entire podcast can be found here:

and Joe’s main words of wisdom are that the “website needs to work on whatever device….making sure that they are mobile compliant of mobile responsive….in today’s world more than half of web traffic is mobile.” A telltale sign of an unprofessional talent is one missing key information on their website, missing demos, with demos named improperly, or with a site that is not mobile responsive.

Testimonials:

A professional talent has an abundance of testimonials. Period. They should have them proudly displayed on their website, on LinkedIn, on whatever Pay to Plays they are on, and likely they share them on social media. Testimonials are not difficult to get. Happy clients who have just received pristine audio are typically delighted to provide them. My very first voice coach, Anne Ganguzza, told me how important it was to get testimonials! She asked for one from me about our work and gave me my very fist one. A voice actor without testimonials is likely not a professional voiceover actor.

Street Cred

Ok, I am talking about a solid client list with proof. What is proof? Samples of actual work that has aired. If a voiceover actor does not have samples of work in the genre or clients in a specific genre they have not likely worked in that genre even if they have a demo for it. The exception to this is likely eLearning as so much eLearning is proprietary content. Where can you find samples of work voice actors have done? Booked and finished work is typically prominently displayed in places like voice actor’s websites, YouTube pages, facebook, LinkedIn, ispot.tv, sometimes imdb, and more. So, a real, actual working professional has a body of produced work that they can easily share with anyone who wants to see it.

Social Media

Typically actual working professionals are active on social media as networking is really important. We typically post finished jobs, especially when these jobs have been done for large, recognizable brands. We love to share these clients on Facebook and Instagram. Often we have large social media connections and followings as well. YouTube is another sign of a voice over professional. Typically we post samples of work here. Many of us have videos about our professional philosophy, showing our studios, discussing our work, and more. A lack of a professional social media presence is a major red flag.

The Flip Side

While I think it is clear how to differentiate a professional voice talent from a wannabe, there is, of course, a flip side to all of this. As there is a low barrier of entry and many do not depend on agents or entry to the union for job sustainability, there is a chance that amongst the many with a plug in mic and a computer our bookings ratios will go down and our community demographics will shift. One of my favorite talents who I had the privilege of spending a day with at a VO Revolution conference in 2016, Dave Fennoy, speaks to exactly this issue as the final thought that I leave you with:

Filed Under: Marketing/Branding, Voiceover Tagged With: actor, Anne Ganguzza, bookings, clients, coaches, credentials, Dave Fennoy, pay to play, professional, testimonials, VO, VO Revolution, voice actor, voice over, voiceover actor, website

The More Things Change, The More Some Things in VOice Over Are Somewhat the Same…

Voiceover

My Chat With Liz…

So last night I was chatting with one of my besties who is not in voice over, Liz. Liz is one of those amazing geniuses and every conversation could go on forever because she is a goddess of her own life. A phd in chemical engineering, she is one of the most grounded people I have ever met despite her super important job at a pharmaceutical company. We were initially chatting about Unorthodox which I just finished watching on Netflix, and then the conversation shifted to work. She had hoped that my work would be positively impacted by the pandemic, and then I think Liz got an earful that she did not really want about my experience as a working creative during the Covid-19 pandemic.

My Bookings…

What I explained to Liz, and what is interesting, is that during the Pandemic I continue to book what I have always booked, there is just less of it. So what am I still booking? Commercials, eLearning, and telephony/IVR. For me, the amount of jobs I typically have in a day or even half a day on some weeks I am having total in a week. I am thankful for every single booking, but the volume of booked work for me during the pandemic has gone down. Typically, I do a lot of radio commercials. The commercials I have booked this month have been radio commercials. They have been from steady clients who continue to send work. Some are for clients here and some have been for clients abroad, as far as New Zealand.

In terms of eLearning work, again, this is for clients that I had before the pandemic started. They needed me for specific work and we had live sessions booked via source connect. They were not canceled and I was very thankful.

The IVR work that I have had come in, believe it or not, has not been covid specific! This shocked me. It was just companies that needed messages. I gather some companies do not want to invest in temporary phone systems. I would not have predicted this, but this has been the case in the past two weeks.

My Auditions….

There have been some big differences in auditions so I think I should go point by point:

  • Quantity: On the pay to plays that I am on there are significantly fewer auditions. I continue to get a lot of private invitations and I am thankful for that, but in terms of daily numbers of postings, there is dramatically less. There also seem to be a lot of other talents submitting right away. On Friday, for example, I got an invitation for a job that wanted 10 auditions. My kids were off from school last week. Not remote learning, just on Spring Break, so I was giving them lunch. I waited about 40 minutes to submit, which is not so long. By the time I submitted there were already 32 submissions for the listing that wanted 10!
  • Rush Required: I see a lot of jobs, both from agents and on pay to plays, with RUSH in the specs. The turn arounds are very fast and they need availability to record in a very short window. I do not know if expectations have shifted as they know we cannot go anywhere, but I gather a lot of new content is needed and the clients are genuinely in a hurry to put out relevant content that makes sense in light of all that has changed, and the producers just need to accommodate the clients.
  • Source Connect Required: More than any other time in the past 5 years, I have seen Source Connect required when jobs are posted. I am seeing requests specifically for Source Connect more than Zoom, Skype, ISDN, or ipDTL. A lot of specs tell talent not to audition if they do not have the professional, paid for version of Source Connect up and running already.
  • Agent Specs Are Changing: Agent specs are becoming more specific than ever before and there is a sense of no-messing around. All of the above is true of the listings that agents are sending out, and some agents are sending out job listings before they even know the rates. Listings the previously would have been LA only are now open to those of us with Source Connect. Things are shifting…

Feelings About Supporting the Community…

In general it feels like everyone is being very kind and supportive. It feels like it is a time when a lot of people are looking to reconnect. Still, I have gotten my fair share of inquiries from those new to the industry or those looking to move into voice over now. When I started in VO, I never expected free advice, and this does not seem like the time for free advice. After years of working hard to build my business and coming up with clever and innovative ways to get on rosters, with no shortcuts, I find it frustrating when those who have been curious about voiceover for five minutes feel entitled to what the rest of us came by through hard work. This is not the time to expect the keys to the castle for free. I do feel that there is a profound difference between networking and keeping in touch and crossing a line. Let’s all use this time to lift each other up, make the community stronger, and help those in our network already who need it.

Filed Under: Voiceover Tagged With: auditions, Availability, bookings, commercials, elearning, Expectations, invitations, live sessions, RUSH Jobs, Source Connect, Specs, support, training, VO, voiceover, working mom

Vocal Age and Bookings in Voice Over

Voiceover

Real Age Vs. Vocal Age

Ok, so I am at the point in my life when I cringe when I have to reveal on print, or anywhere else for that matter, my real age. I feel as energetic as I did years ago, and in my mind I do not age those around me. But to help you place my age, I am old enough to have twins turning 17 this summer. Soooo… I am fortunate to sound younger than I am since millennial voices are highly sought after at the moment. My vocal age, then, differs greatly from my real age. How does this effect me? Greatly! I am sent, audition for, and book work that is NOT based on my real age but is booked on my vocal range.

Here are some examples, an adult voice:

A kid voice:

Auditioning

I pay close attention to the desired vocal range when auditioning. My sweet spot tents to be the 17-22 or 18-35 category. When they ask for the conversational, millennial read little fire works go off in my head as that is my sweet spot. When they want the girl-next-door who sounds like she is on the couch talking to her best friend, that is me. When they want someone with gravitas and rasp, that is not me. Why does it matter that you know how you sound? Why waste the listeners time? And when you only have precious time to audition and submit, why not maximize your own time submitting for what you are most likely to book. Although I can do a character granny voice, if there is a commercial casing wanting a senior female I would never submit. They are not looking for me and there are talented folks in the senior vocal range with a more mature voice who will offer the sound they want in those spots. In those moments I simply move on to the next read.

Demos

Your demos need to show your range within your age range. Your demos also need to be tagged in a user friendly way, especially on pay to plays, so that clients can find what they need. If you sound young, and your demo is comprised of demo spots, then make sure that you actually have spots that would hire someone in your vocal range. No one wants my voice selling adult diapers, hemorrhoid cream, or talking about retirement communities, right? There is a reason I do fitness campaigns and brands like Kind Bar and Dove. I sound young and upbeat, and I market myself directly for brands that want this kind of fun, sassy, playful sound. A funeral home is probably not looking for my happy, bright voice. Although, interestingly I did do a narration for a women’s shelter who wanted someone who sounded happy and reassuring.

Bookings

This blog actually came to mind because last week I booked a character job where I played both a mom and a kid in the same job. How? Well with training and years of practice I do a lot of work in kids practice. And the bottom of my voice, and yes I have a bottom, is my mom voice. So if you understand how to use your voice, you can offer this kind of versatility to your clients. I have had this opportunity, as have many of my industry friends, where we are cast in multiple roles in the same job. It can happen in eLearning, commercials, video games, cartoons…And it is about understanding how to use your voice. It is also about understanding the role you are playing, the nuances of the role, and how the characters relate to each other.

Your vocal age is often not your chronological age. I do a lot of work for Pandora, and typically the range they send me is 17-22. That is my natural range. When I work out of that range, I have to understand specifically what the client is looking for, and I have to be able to match it for pickups and revisions. It is much easier for me to sound older late in the day. When I book work, I typically note on the script and in my notes in my CRM when I recorded the job, so if there are changes later I am best able to accommodate the vocal age.

Conclusions

You need to understand your voice. You need to understand how others perceive your voice. Without a strong vocal awareness you will be limited in what you book and what you can provide your clients. In character work you have a chance to shine and to play and to test your limits. While we are acting, to be sure, some genres lend themselves more to being creative and submitting outside the box. Be aware for the sake of your time and of others.’

Filed Under: Voiceover Tagged With: auditions, being found, bookings, conversational, girl-next-door, kids voices, millennial, pay to plays, real age, techniques, VO, vocal age, voiceover

  • Go to page 1
  • Go to page 2
  • Go to Next Page »

Primary Sidebar

Recent Posts

  • Who do You Take VO Advice From?
  • As An eLearning Narrator Your Audience Matters
  • Rebranding my Voice Over Business and Website
  • Radio Imaging That’s Upbeat, Fun, and Affordable
  • Working in VO Through Chronic Migraines

Categories

Subscribe

  • Receive news and updates.

  • This field is for validation purposes and should be left unchanged.

  • Laura answers every correspondence with a smile and a prompt reply. In addition to RUSH jobs and quick turnarounds, guided sessions are available and Laura works hard to make every project perfect. Do not hesitate to call or email anytime:) The one exception to this is erotica. Should you need someone for adult content, all the best to you, Laura is not your gal, do not reach out.

  • This field is for validation purposes and should be left unchanged.

HIRE

Laura

Laura Schreiber Female Voice Over Talent Contact Image

973.747.6800

laura@volaura.com

SKYPE: lauraschreiber324

ipDTL: Laura Schreiber Voice

Laura Schreiber Female Voice Over Talent Sourceconnect

LAURA IS REPRESENTED REGIONALLY IN THE UNITED STATES AND ABROAD.

©2021 Laura Schreiber Voice. All rights reserved. PRIVACY POLICY.

Voice Over Site by Voice Actor Websites  // Site design by notobelladesigns.com.

  • Home
  • Demos
    • YouTube Bumper Demo
    • Commercial
    • Covid Response And Emergency Management
    • Radio Imaging
    • TV Affiliate
    • Narration
    • Political
    • Tours
    • Character
    • Kids Voices
    • Baby Voices
    • Promo
    • E-Learning
    • Explainer
    • Telephony
    • Medical Narration
    • French Commercial
    • French Narration
    • Podcast
    • On Camera
  • About
  • Copy Writing
  • Studio
  • Clients
  • Coaching & Demos
  • Services
  • Blog
  • Contact