Keep it respectable and charge what your time and services are worth. That means establishing some minimums. For example, you might set a minimum price of $100 per job. So if the client says they can get it done locally for less than half that price, you explain that they are getting a professional recording and the difference is in the quality of the recording.
The quality of your voice over depends almost entirely o the skill of the voice actor you use. A good voice actor will have perfect enunciation (ie, be very easy to understand), speak at an ideal pace (not too fast and not too slow), and have a pleasing voice. They should also be good at acting, and able to convey the feeling or emotions required by the script, using vocal variance and tone to keep the words interesting while also embodying the desired mood.
A great performance recorded on mediocre gear will always sound better than a mediocre performance recorded on great gear. By preparing well, before the session, you'll find it far easier to relax and focus on the message and the listener. As a producer, it's important to be clear what the expected format is for the final audio file. Although there are certain 'standards', your clients' expectations will vary.Read through the script, look up any questionable words and check their pronunciation. For American English, which accounts for the majority of my work, my favourite pronunciation resource is the Merriam‑Webster on‑line dictionary (www.m‑w.com), which includes audio examples. If you don't know how to pronounce the name of a company or product, call the company's customer service centre (if anyone can pronounce it right, they can!). If you don't know how to pronounce the name of a person or city, try searching YouTube for news reports on the subject.

Next, run these files through any standard EQ high‑pass and low‑pass filters you use, zoom in on the waveform, and select a one‑second strip of silence from each recording. Save these strips as separate files. For instance, on my system, a one‑second strip of silence recorded at 16‑bit, 44.1kHz on a Neumann TLM103 would have this name: room_tone_neumann_tlm_103_44100_16_one_second.wav. Ideally, the noise floor of each strip will be lower than ‑60dB. Now, when you have to remove a bump or a squeak between words, you can paste in a piece of these strips instead of muting, which would draw attention to the edit.


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?
A great performance recorded on mediocre gear will always sound better than a mediocre performance recorded on great gear. By preparing well, before the session, you'll find it far easier to relax and focus on the message and the listener. As a producer, it's important to be clear what the expected format is for the final audio file. Although there are certain 'standards', your clients' expectations will vary.Read through the script, look up any questionable words and check their pronunciation. For American English, which accounts for the majority of my work, my favourite pronunciation resource is the Merriam‑Webster on‑line dictionary (www.m‑w.com), which includes audio examples. If you don't know how to pronounce the name of a company or product, call the company's customer service centre (if anyone can pronounce it right, they can!). If you don't know how to pronounce the name of a person or city, try searching YouTube for news reports on the subject.
Always update yourself on industry standard rates. I recommend reviewing the union rates set forth by SAG-AFTRA.  Voices.com also offers a rate card as well Voice-Over Resource Guide. Upon viewing these rates you may find, based on your current experience, you fall a little lower or higher than said rates. Maybe you have a great deal of experience in the commercial voice-over world, but now you’re branching out into narration, e-learning or audiobooks, so your voice-over rates may be a bit lower for that genre as you find your footing. The most important thing is that you have a baseline rate for yourself and you’re comfortable and confident stating this rate to a client. It’s beneficial to first ask your client’s budget and proceed from there. While stating your rate, also take into consideration edits and pick-ups. It’s customary to include one free round of edits in your rate, but any edits or pick-ups past that incur a fee.
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. 

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).

How much do voice actors make? There is of course no simple answer to this. What you get paid as a voice actor will depend on the type of work, size of project, your experience and many other factors. Some voice actors who are also movie stars, are worth millions. Others, who use freelancing sites can make as little as $30 for a simple radio commercial in a small market. Most professional voice actors fall in between.


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You don't need a state-of-the-art production studio to work in voice-over. You do need good enough equipment to record, edit and submit a good audition. A computer with a microphone and a mixer may do the trick. It's important that the room you record in be as soundproof as possible – if you use a walk-in closet where the clothes muffle the sounds outside, the industry's not going to complain.
You will never have to answer to a “boss”, but you will need to be your own boss and manage yourself. You will work on your own a lot of the time. So you need to embrace the benefits and the challenges this presents. Take courses in areas where you need to develop your skills. When you adequately prepare for running a business, you will succeed in its management, even if part of managing your business means hiring out, in areas that you know are not your strongest.

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"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.”
"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.”

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.
The point is each person can often have a different perspective on how they ‘bid’ for work. Another factor is how you work within an industry if you have a really high profile. For instance if a big car manufacturer chooses you, you’re not going to get any kind of work from any other car manufacturer so you’re alienating yourself out of the rest of the market for the big players.
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.
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.
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.
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