One of my favorite things about being a voice-over actor is the incredibly supportive community. Use your community to communicate with other voice-over actors regarding rates and best business practices. I have rarely found anyone who is secretive or not willing to share their past experiences. By being a generous and communicative community, we are stronger as voice actors and can advocate for ourselves to get paid appropriately. If you are operating from a home studio and all communication is between yourself and the client (versus an agent as the intermediary) it’s usually your responsibility to invoice after sending your VO files. I always include a polite 30-day payment term at the bottom of my invoice. In certain states (for example, New York) there is a “Freelancing isn’t Free Act”, in which you can politely mention to be paid in a timely manner.
Your own voice is your most important piece of equipment. If you're new to the voice-acting world, look around to see if there are classes or coaching in your area. Outside of class, practice speaking clearly and confidently. Learn to do this even with material you've never seen before. It's also important to learn voice care – straining or injuring your voice can hurt you and your career.
When you come to actually recording your voice, try to think of the mic as the ear of your listener. Picture your listener, have an opinion, and read the script as if the words were coming to mind that instant. The distance between your mouth and the mic should be about the same as the distance between your thumb and pinkie when making a hang‑five gesture (see the picture above). Move closer to the mic when you lower your voice and back off when you speak louder. On‑line dictionaries such as the Merriam‑Webster one pictured here, often include audio examples which can help you clarify pronunciation. Just make sure that you use an American English or UK English (or other language!) version as appropriate. (Remember, while you have your engineer hat on, to take account of this when setting levels.) Always use a pop shield, and I'd suggest trying to work slightly off‑axis, as talking to a point just to the right or left of the mic will prevent bursts of air and drops of saliva ruining your recording. I'd also recommend wearing headphones over one ear only, as this allows you to judge volume and listen for clipping and plosives on the recording, while also hearing your natural voice, which makes it easier to focus on that message we talked about. Simone demonstrates this technique in the picture on the next page. Hhe's working slightly off‑axis and has backed off an inch or two to deliver with more energy.Typically, you'd record with your mouth approximately the distance between your thumb and little finger from the mic, as pictured here.
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.
Another factor to consider is how the project is being used and in which medium. If you record a commercial that’s airing nationally on television, then that is a larger rate than a regional television commercial specific to a certain market. The voice-over spot you worked on is being seen by more viewers nationally as opposed to regionally, which warrants more compensation. You should not only consider your session fee, but also get the specifics on how the voice-over is being used. My personal opinion is to avoid “in perpetuity” usage because as your career develops, something which was not a conflict in the past could be in the future. If the spot you had conflicts with another brand in which you are auditioning, this could become a conflict that was unforeseen when you initially booked and recorded the job.
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