As editor, you need to turn the raw recording into the final version of the file you'll be sending to your client. Editing during a recording session can be problematic, and particularly so if you're recording in a domestic environment. How can you expect to hear the drone of the dishwasher ruining your recording if the dishwasher is still running as you edit? I'll look in more detail at setting up a voiceover recording studio next time, but for now, if recording in a separate room or isolated booth isn't an option, at least try to edit the file the following morning (or maybe at night) when there's less noise around — because hearing your recording with a fresh ear and in a quieter environment will help you to make better editing decisions, and will reveal noises that slipped your attention earlier.
A demo recording of you doing voice-over work is your CV and your business card combined. If you're applying for a voice-over job, you can send the potential customer your demo via the Internet. Ideally you have multiple demos for different types of gigs. For commercials, clients want to hear 60 to 90 seconds of voice work. If you're auditioning as an audiobook reader, five minutes of demo proves that you can stay in character over a longer stretch of time.
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.”
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.
3. You need a simple, reliable, home-recording setup. Keep in mind: Your objective is on being the best voice talent you can be, not the best production studio or recording engineer. Nevertheless, you do need the ability to record, edit, and turnaround a proper audition. Do not run out and purchase a mic! You can’t return it, for hygienic reasons. Besides, there’s a bit of a learning curve to this and recent industry advances have made having a home “studio” easier and more affordable than ever before. You could have the best gear and the coolest toys on the block, but if you can’t use them it’s a waste. (Tip: What you’re recording on matters less than where you’re recording. Find a quiet place like a closet full of clothes to record in.)
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:
2. You need training. “Winging it” isn’t professional because it’s unreliable, and could explain why there are so many one-hit wonders in this profession. You need a professional approach, mic technique training, and time dedicated to practice, practice, practice in order to build your skills. Your confidence will build from there. Much like circuit training fine tunes your physical acuity with continued use, technique training conditions your performance muscle. You can’t expect to run a marathon if you don’t train. Every skill level of talent benefits from proper coaching.
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?
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).