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.
However, there are lots of second tier voice over agencies and ones that are just getting established. One of your goals as a voice actor should be to get listed by an agency. However, wait until you have at least established yourself and put together a portfolio of work and super hot demos you can send out to them for consideration. When selecting an agent you need to carefully examine who they currently represent and then ask yourself: How do I fit in here? Does this agent have anyone like me on their books? If not, you will most definitely stand a better chance of being represented.
Perhaps you come from a corporate business background, but you have a remarkable capacity for accents and original character voices, or you’ve been in radio and broadcasting for a number of years. If you’re an actor looking to expand your employment opportunities, mastering voiceover is imperative considering it’s required in every manner of recorded media: film, TV, animation, games, corporate industrials, and commercials. Whatever your specific experience has been to date, getting started in voiceover most often requires the following:
Hey Rob. You certainly know your stuff. I know this for a fact, because I’ve been a working professional at this for nearly ten years and spend every week since that time making mistakes and learning from them. I also incorporate 99 percent of your suggestions here and believe it folks they work, if used properly. Very informative and practical. Thanks, Rob.
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.
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.
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.
It’s equally important to realize that when you join a union, you pledge to no longer accept non-union work. The reason for this is solidarity: you stand together with your fellow members so that you can negotiate better working conditions and pay for all of you as a collective. It’s worth noting, however, that a union in any given country only functions within the borders of that country and not beyond them.
When asked by someone outside of the industry how much I’m compensated for a commercial voice-over, I can see their eyes grow large with excitement. It may sound like a large number for two or three hours of studio time, but what is not understood is the investment in time, money and education that it takes to begin and sustain a voice acting career. As voice-over professionals, we need to remember (especially if we are setting our own rates) that the time we have spent in classes, coaching sessions, and our booth add up to our expertise in this field. When setting your own voice-over rates, or negotiating those set by producers and/or clients, you need to not only consider your session fee (the time spent in the booth recording the specific copy), but also all the training you’ve acquired and the investment in your home studio (which helps make your client’s job much easier).