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.
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.
The advice we present here is tried, tested, and true. Peter Dickson is the foremost leading professional voice actor in the UK known for voicing the X-Factor, Britain’s Got Talent, Live at the Apollo, The London 2012 Olympic Games and countless brand commercials. In a stellar  career spanning 40 years, he has worked on over 120 TV shows and series, many of them award winning, been a promo voice on 60 TV and Radio channels around the world, been a featured voice actor on 30 AAA game titles, and voiced in excess of 30,000 radio and TV commercials!
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.)
There are now more opportunities in the voiceover industry than ever before — but competition has never been so fierce — so, in this short series of articles I'll set out what you need to know to get started as a home‑studio voiceover artist, and turn it into a paying job. This month, I'll explain some differences between the voiceover and music industries, and run through the different roles you'll need to become good at. Next time, I'll discuss what makes a good voice, the sort of home‑studio setup you need, and how you can start to get the jobs coming in.
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