In other words, Mirek gave us all the information we needed to start the job. Unfortunately, though, that's not how it usually works! Usually, you'll need to work hard to get all the information you need from your client to do the job well. If you're at all uncertain about their expectations, whether about the performance, or about technical and organisational issues such as file formats or payment procedures, save yourself time and a headache by clearing up all doubts beforehand, and don't hit the record button until your client has given you the green light by email. With that sorted, you can more easily don your other hats and get on with the job.
Recording voice overs like a pro isn’t that difficult when you know how to do it. You may have noticed that the actual recording part plays little part when compared to the preparation. Taking the proper steps before you hit the record button and then taking the time to edit your audio appropriately will go a long way to ensuring your voice overs sound professional and engaging.
Much of the working week as a voice actor, is taken up with auditioning. The success of auditions will depend on your skill, understanding of the brief, speed to deliver, your technical ability and how well you record your voice. By tracking and improving your success your can improve the ratio of auditions to paid work. This in itself requires you to match your voice to the auditions that are a natural fit to your vocal ability and style. As your experience and voice skills expand, so the breadth of work that you can audition for increases.

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.


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.
Digital Commercials are defined as spots that are used to advertise a product or service that are run on websites or platforms other than the client's own. For example, a 15 second recording that plays on YouTube before the requested content begins. Explainer videos are not included in this rate, they fall into INTERNET USAGE / EXPLAINER in another category.
First of all, don’t be put off by the word technical. The ‘technical’ skills you need to learn to involve how you record and then edit your recording and of course you will need a home studio to do this. This needn’t be a daunting prospect though. Many freelance sound engineers are available who can help you with this – contact us if you want a reputable one.
Voice actors get paid on a per project or per job basis. Your earnings as a voice actor range from: $35 for a small market radio spot, $150 for a 15 second recording for say a small website, $250 – $350 for a 30 second major market radio commercial (Plus use fees) to about $2000 – $5000 per audiobook, as an established voice talent. There are several ways to calculate how much voice actors get paid, with the most common being the word count of the script. The use of the material is also taken into consideration and whether or not you are granting a license to use your material for a specific duration on specific channels or if you are seeking a fee for a universal buyout.
To learn more about Nelson Mandela's Favorite African Folktales, visit www-mandelasfavoritefolktales-com.Perhaps the most experienced voice editors are those who work on audiobooks. Nelson Mandela's Favorite African Folktales won the Audies 2010 Audiobook Of The Year award, and features the voices of Matt Damon, Whoopi Goldberg, Hugh Jackman, Samuel L Jackson, Scarlett Johansson, Debra Messing, Alan Rickman, Charlize Theron and Forest Whitaker, among other artists. Recorded in New York, Los Angeles, London, Miami and Johannesburg, this audiobook was co‑produced, edited, and mixed by Michele McGonigle of New York City's Hachette Audio. I invited Michele to tell me a bit about this project and offer some advice to voiceover artists working from home:
"It's always best to address these issues while recording. If a person is sibilant and/or 'mouthy' (clicks, pops, whistles), there are ways to lessen and sometimes eliminate the issues all together: juice from green apples, rinsing with water, repositioning the mic and pop‑filter, and adjusting his or her way of breathing. If there are still issues, I edit out as many of the problems as possible. Often, I redraw the waveform to get rid of issues, or use plug‑ins. We have just started to make use of Izotope's RX 2 Advanced, which works wonders on clicks, crackles, and the like. What I can't fix we try to have the talent come back in to do pick‑ups.”
Both union and non-union have advantages and disadvantages; ultimately, it’s a decision that you, as a voice over actor, will have to make. Like everything else, it’s of critical importance that you do your research and weigh up the pros and cons. Seasoned pros will usually tell you it’s best to be a union member because, if you run into trouble, the union will fight your cause.
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. 

At the end of the day, we all need to have a baseline of what is an acceptable pay rate and what you may need to walk away from politely. This is a competitive market and when you have put in the training, financial investment, technical education in perfecting your studio sound, and countless hours practicing in the booth you must advocate for yourself and know your worth! If you have any questions, reach out to the SAV community. We’re here to be stronger together as you move through your voice acting career!
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!

To learn more about Nelson Mandela's Favorite African Folktales, visit www-mandelasfavoritefolktales-com.Perhaps the most experienced voice editors are those who work on audiobooks. Nelson Mandela's Favorite African Folktales won the Audies 2010 Audiobook Of The Year award, and features the voices of Matt Damon, Whoopi Goldberg, Hugh Jackman, Samuel L Jackson, Scarlett Johansson, Debra Messing, Alan Rickman, Charlize Theron and Forest Whitaker, among other artists. Recorded in New York, Los Angeles, London, Miami and Johannesburg, this audiobook was co‑produced, edited, and mixed by Michele McGonigle of New York City's Hachette Audio. I invited Michele to tell me a bit about this project and offer some advice to voiceover artists working from home:
When surveyed clients often list price as less important to them than the voice quality (fit to their brief), the recording studio quality, the time of turnaround…The point is that they want people that are reliable and can add value not just through their voice but also in the production stages and the speed at which they adapt to the client brief.
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!
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