I use the Adobe Audition package to edit my own voiceover work, but the techniques described below can be used in most audio‑editing software. Start by saving a new version of your original recording. (I keep the name of the file the same, but change the extension from _original to _edit.) Next, I'll turn my attention to the end of the recording, where I stepped away from the mic after the second take and recorded about 10 seconds of silence. Although processing is usually kept to a minimum, dealing with sibilance is important, and Eiosis' De‑esser plug‑in is much more precise than most.Wearing headphones, I can zoom in on this 'silence', turn up the volume, and listen for any background noise. If I notice any constant noise seeping into the recording, I may consider using Adobe Audition's noise‑reduction tool to capture a one‑ or two‑second profile of the silence, and then reduce the offending noise by about 75 percent throughout the recording. I should stress that this is rarely needed, and it's always a last resort, because such processing can generate swirly, metallic artifacts that draw more attention to themselves than the noise you intended to eliminate! But it's good to listen for such issues with fresh ears at the start of your editing session. If you find yourself using noise‑reduction often, that's a sign that you should find a better place to record, or improve the isolation of the space you've chosen. Don't forget that there are other ways to deal with some noise: often, a high‑pass filter is all you will need to clean up a recording, for example. Also remember that if your recording is to be mixed with music, slight background noise won't be noticeable, and that the more exposed your voice in the end product, the more problematic noise will become.
Some of you might be wondering about the difference between voice over and narration. The short answer: not much. In most cases, you may use voice over and narration fairly interchangeably. However, to be technically correct, narration typically refers to an audio vocal that describes all the action on screen or tells a story based on what’s happening, while voice over may or may not describe as much action and is often more instructional in nature.
No place is totally silent, so find the best place you can — even if that means thinking outside the box. I have a friend who regularly records his podcast in his car. He lives in a small house with dogs and kids, so there really isn’t anywhere else quiet enough. He takes his laptop and mic out to his driveway, shuts himself in the car and records. The results are surprisingly good!
Not all noise can be tackled in this way, though: you need to listen for clicks, plosives, digital glitches and the like. These can normally be acceptably repaired by using a 'heal' tool, or a pencil tool to redraw the waveform. Popped 'p's can often be 'fixed' using a high‑pass filter set at 100Hz. For a single glitch, you can zoom in and cut out the cycle of the waveform in which the glitch appears. Just be careful to start and end the cut where the waveform crosses the centre line, otherwise you'll inadvertently add another digital glitch. If glitches are frequent, it's likely that there's a problem with your audio interface's buffer settings — it may be just a playback issue.
Like pacing, vocal tone and inflection refer to ensuring you speak in a natural and pleasant manner. You want to be friendly and engaging, but not so much that you sound fake. No one wants to sound like a game show host. But, you also want to avoid monotone robot voice which, like pacing that’s too slow, can be boring and off-putting for listeners.
This company has received an equity loan from the Support Program for Technology Entrepreneurs of the Canary Islands JEREMIE Fund and has been 85% co-funded by the European Regional Development Fund from the Canary Islands 2007-2013 ERDF Operational Programme, contributing to the achievement of the objectives of the Axis 2 "Business Development and innovation", the priority theme 9 "Other actions to stimulate research, innovation and entrepreneurship in SMEs.
I’m new to this so keep that in mind, but I use a cheap “dog training clicker” to mark my redo portions. They are very visible in the sound track. In longer recording sessions (where I won’t remember the error) I’m experimenting with using 1,2 or 3 clicks to indicate how far I plan to back up for the restart. I can often find and do the cut without have to play anything – that by having an idea of how far back I need to look.

You need to appreciate that there is a lot to learn and do before your first paid voice acting job. Yes, you want to get out there and start auditioning. But first, you’re going to need proper training, equipment, resources, and yes, some natural talent. The great news is that even though the voice over industry is competitive, there is plenty of voice over work out there for everyone. This guide on how to become a voice actor will give you a good idea of where to start.

While having a broad set of voice skills is beneficial, many voice overs establish themselves in commercials and more general corporate voiceover work before specialising. Having a niche or specialist focus though can make a difference in earning potential. So, bearing in mind the question: how much money do a voice actors make, will also depend on the level and experience in a given niche e.g. animation, audiobooks or gaming.


"The editing process for all our titles starts with receiving the Pro Tools sessions or WAV files and the engineer's script, which has the markings of how many takes there were, and which ones the director liked best. In some cases, I use Strip Silence and add a bed of room tone to expedite the assembly edit. In others I'll add the room tone as I move through the audio. Once I had all the final takes to be used in [Favorite African Folk Tales], I went back to do a fine‑edit pass and created notes on any issues, such as misreads, mispronunciations, noises, and so on. With that list, I was able to discuss with Alfre how we would address the issues. Since the actors' schedules did not permit them to come back in to do pick‑ups I had to do some creative editing.”

If a client likes your demo, they may invite you to audition. In the 21st century, you can download the audition script, record the audition at home, and then send the results to your client over the Internet. Prepare yourself for a life of constant auditions: Even successful voice pros may do many more auditions than actual jobs. But if enough jobs come your way, it's worth it.
ADR / Automated Dialogue Replacement in Salt Lake City, Utah Audio Mixing / Sound Recording Equipment Rentals in Salt Lake City, Utah Audio Mixing / Sweetening / Sound Editing / Sound Designers in Salt Lake City, Utah Audio Technicians / Audio Engineer / A1 / A2 in Salt Lake City, Utah Film Post Production Services in Salt Lake City, Utah Foley Stages in Salt Lake City, Utah Post House / Video Post Production Facilities / Editing Services in Salt Lake City, Utah Recording Studios in Salt Lake City, Utah Sound Mixers / Recordists in Salt Lake City, Utah Voice Over Artists in Salt Lake City, Utah
Important: Use headphones to check the audio quality of your test recording. Your computer speakers will not be good enough for this. Headphones allow you to listen closely to ensure clear audio. Obviously, you want the audio to sound good on even the cheapest speaker, but you will be much happier if you use headphones. Remember, a good portion of your video viewers will listen this way, so you want to be sure they’ll have an optimal experience.
Also listen for sibilance. Strong 'ess' sounds are best corrected at source, by using good mic technique, but sometimes they're unavoidable. If you hear an 'ess' that really sizzles in your recording, you can manually reduce its volume. You can, of course, also use a de‑esser, but do be careful, as applying some de‑essers to the entire audio file can alter the sound of your recording. It often works best to apply them to short sections, either offline or using automation. My preferred de‑esser plug‑in is the one sold by Eiosis (www.eiosis.com),Make sure you record some silence at the end of each take. That way, if a great performance suffers from noise issues, you have something to feed your noise‑reduction processors. Just don't rely on this technique too much! which cleverly separates the esses from the rest of the audio and allows you to manipulate them independently. If you want to learn about some more advanced strategies for de‑essing check out Mike Senior's article from SOS May 2009 (/sos/may09/articles/deessing.htm).
First, I like to listen to the entire voice over recording from start to finish. I may make notes here and there to remind myself of something I want to go back and edit, but this time through I really just want to concentrate on the overall pacing and tone of the recording. Does it sound like I hoped? Did I rush or speak too slowly? Did I flub any words, mumble, or misspeak? Are there weird silences or unknown sounds?

Before you get down to the nitty-gritty, though, I recommend doing a test recording to ensure your equipment works properly and your audio levels are strong. You don’t need to record the entire script, but a few paragraphs will give you enough to ensure that the audio is clear, at an appropriate level, and doesn’t include any stray or ambient noises.
"The editing process for all our titles starts with receiving the Pro Tools sessions or WAV files and the engineer's script, which has the markings of how many takes there were, and which ones the director liked best. In some cases, I use Strip Silence and add a bed of room tone to expedite the assembly edit. In others I'll add the room tone as I move through the audio. Once I had all the final takes to be used in [Favorite African Folk Tales], I went back to do a fine‑edit pass and created notes on any issues, such as misreads, mispronunciations, noises, and so on. With that list, I was able to discuss with Alfre how we would address the issues. Since the actors' schedules did not permit them to come back in to do pick‑ups I had to do some creative editing.”
As the engineer, your key job is to select and set up the recording space, choose and position the microphone, set levels and make sure you're recording a good, clean signal at a healthy level. Like music, the louder the signal you want to record, the less audible the noise floor, but you don't want to have to speak louder than sounds natural, and you don't want to overcook things when tracking: any distortion will be very noticeable on an exposed voice part, and an otherwise great take with digital clipping won't be acceptable. If you notice clipping only when you start editing, software clip restoration tools might help to make the take usable, but it's not going to be perfect. Remember that although you may have needed to record 'hot' on analogue tape and older 16‑bit digital recording systems, modern 24‑bit A‑D converters can accommodate a much wider dynamic range, so you no longer have to track so loud: you can leave much more headroom.

You start off each job as a producer, consulting your client and getting briefed on the project at hand. Then you become an engineer, dealing with recording gear and software, setting the mic position and levels. Next, you step up to the mic as an actor, bringing the script off the page and connecting with the listener. Meanwhile, the director in you sits behind the metaphorical glass, making sure the actor doesn't mispronounce a word or stumble through a passage of text. Then you're an editor, cleaning up the best take and sending the resulting audio to your client. You need to be able to perform all of these roles to a high standard, and the better you are at each, the more your business will prosper.
This guide is designed to give you an insight into this hidden world and provide you with enough information to help you make an informed choice on whether or not this is a potential career for you. If you already are a voice actor, we will be giving you some tips and ideas to help you improve your voice acting skills to help you experience a dramatic difference in how you approach the written word.
I’m new to this so keep that in mind, but I use a cheap “dog training clicker” to mark my redo portions. They are very visible in the sound track. In longer recording sessions (where I won’t remember the error) I’m experimenting with using 1,2 or 3 clicks to indicate how far I plan to back up for the restart. I can often find and do the cut without have to play anything – that by having an idea of how far back I need to look.
"You need to be able to pull the listener in, help them suspend disbelief, become a part of the world the author created, and take the journey with your voice as the guide. Practice your character voices; they must be believable and honest. Work on your accents and timing and delivery within different genres. When reading, read out loud — even if you're not recording or being paid for it. This will help you with flow and dialogue. Listen to other audiobooks and figure out what you like and don't like, then work on these factors in your own performances. Working from a home studio, you have many more responsibilities to consider. Be mindful of them, set attainable goals and know your limitations. Never over-promise and under-deliver to a client. There are many established and aspiring narrators out there, so bring your best to the table.”
First, since you’ve decided to use professional talent rather than record your own voice over, you know the challenge is to find a person whose interpretation of your script and voice quality represents your brand. You might have a list of qualities — female or male, a mature or childlike voice, a certain accent, authoritative, and so on. This is your voice profile. It’s best to start with this list already defined so you can easily narrow your results.
First, I like to listen to the entire voice over recording from start to finish. I may make notes here and there to remind myself of something I want to go back and edit, but this time through I really just want to concentrate on the overall pacing and tone of the recording. Does it sound like I hoped? Did I rush or speak too slowly? Did I flub any words, mumble, or misspeak? Are there weird silences or unknown sounds?
Fortunately, the internet has made this easier and more open. Most businesses have a logo, brand and a website. This forms the basis of how people get to know them. As a voice-over business you need to recognise that you need to market yourself. This involves ensuring you get your brand, your business, in front of the right people. Marketing though is also about building relationships with customers, not just selling to them. The more customers that use you on a regular basis the more money you can earn and the easier it becomes to achieve a good income.
A better, more natural-sounding way to clean up a voice recording, though, is to paste in strips of 'silence' that showcase your home studio at its best. To do this, wake up early (ie. when your house is quiet), turn on your gear and set your levels for a normal job. Then record a full minute of silence at whatever bit depths and sample rates you're likely to be using. Repeat this process for each different mic you use, and save each file in a folder titled Room Tones, or something similarly suitable. 

"Ideally the talent should be seated, staying on axis, approximately a foot away from the mic, which should be angled back from the face a bit, not parallel to it. You'll need to see what angle provides the best results, usually a few degrees off from parallel works great — and located between the forehead and the nose, not directly in line with the mouth. This will help with plosives, mouth noise, and some other issues. Movement in the booth should be limited, as the microphone is likely to pick up arms flailing, hands rubbing, page turns, stomach growling, and so on. Keep the levels consistent, moving closer if the scene calls for a whisper, or moving back for a loud voice or scream. A well‑versed narrator is capable of delivering a dynamic performance without creating dynamic levels.”
You need to appreciate that there is a lot to learn and do before your first paid voice acting job. Yes, you want to get out there and start auditioning. But first, you’re going to need proper training, equipment, resources, and yes, some natural talent. The great news is that even though the voice over industry is competitive, there is plenty of voice over work out there for everyone. This guide on how to become a voice actor will give you a good idea of where to start.
One of the most frequent questions I hear from other professionals pursuing a voice acting career is, “How much should I charge a client for [insert voice-over project here]?” It’s imperative for voice-over artists to do their due diligence in researching current industry standard rates for various projects, as well as speak with other professionals in the industry about voice-over rates.
I’m new to this so keep that in mind, but I use a cheap “dog training clicker” to mark my redo portions. They are very visible in the sound track. In longer recording sessions (where I won’t remember the error) I’m experimenting with using 1,2 or 3 clicks to indicate how far I plan to back up for the restart. I can often find and do the cut without have to play anything – that by having an idea of how far back I need to look.
Our recommendation is to start small and reinvest the money you make into upgrading your equipment and set up. All clients, whether they are Pixar or just a guy who needs a voicemail message, expect crystal clear audio recordings. You absolutely MUST be recording in a professional recording environment with professional equipment. They are NOT going to settle for less than perfection. Does this mean spending thousands of dollars? Maybe, eventually it does, but not today. What you’ll need to get started:
×