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.)

To learn more about Nelson Mandela's Favorite African Folktales, visit www-mandelasfavoritefolktales-com.Perhaps the most experienced voice editors are those who work on audiobooks. Nelson Mandela's Favorite African Folktales won the Audies 2010 Audiobook Of The Year award, and features the voices of Matt Damon, Whoopi Goldberg, Hugh Jackman, Samuel L Jackson, Scarlett Johansson, Debra Messing, Alan Rickman, Charlize Theron and Forest Whitaker, among other artists. Recorded in New York, Los Angeles, London, Miami and Johannesburg, this audiobook was co‑produced, edited, and mixed by Michele McGonigle of New York City's Hachette Audio. I invited Michele to tell me a bit about this project and offer some advice to voiceover artists working from home:

Understand that once you’re committed, you’re committed. Given the inevitable transparency of the Internet, if you get caught doing non-union work as a union member, you personal brand and your reputation will take a devastating hit once it’s splashed on discussion forums and professional networks. ‘Naming and shaming’ is a popular tactic these days.
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.)
Important: Use headphones to check the audio quality of your test recording. Your computer speakers will not be good enough for this. Headphones allow you to listen closely to ensure clear audio. Obviously, you want the audio to sound good on even the cheapest speaker, but you will be much happier if you use headphones. Remember, a good portion of your video viewers will listen this way, so you want to be sure they’ll have an optimal experience.
This guide is designed to give you an insight into this hidden world and provide you with enough information to help you make an informed choice on whether or not this is a potential career for you. If you already are a voice actor, we will be giving you some tips and ideas to help you improve your voice acting skills to help you experience a dramatic difference in how you approach the written word.
“Bunny Studio Voice is an indispensable part of my production workflow. Using them saves me time and money compared to hiring a recording studio and VO artist. Without a doubt, their best feature is customer service. Thanks to their enormous support, I have saved DAYS off my deadlines and received pitch-perfect reads. I couldn’t recommend them more”
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.
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.
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.
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:
Megan MacPhee is a voice-over artist, singer, actor, dancer, content creator, and teaching artist based out of NYC. A member of Actors Equity Association, credits include national tours, regional theatre, Radio City Music Hall, and The Metropolitan Opera. Her work as a voice-over artist includes national television commercials, social media spots for various brands, voicing the role of EMMA/GHOST GAL in the animated series “YU-GI-OH! VRAINS,” as well as e-Learning, demos, promos, and audiobooks. She has a Bachelor of Music in Musical Theatre from CUA and Contemporary/Classical training from London Dramatic Academy. To view more of Megan’s work visit www.meganmacphee.com or check out her web series, www.unbalancedwebseries.com

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.
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.
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. 

As I've mentioned, most of our clients prefer to do post‑production work themselves, and request the raw (but edited) recordings. Sometimes, though, as in the Avast! job, the client will want the files ready to go, which might mean using slight EQ and compression. The noise floor on my recordings generally hovers around ‑54dB, but by using EQ to roll off frequencies below 80Hz and above 12kHz, I am usually able to lower the noise floor to around ‑57dB without resorting to noise reduction. Using EQ to reduce low‑end rumble and high‑frequency noise will make your recording sound better, and will be particularly beneficial if you'll be adding compression later, as the compressor's make-up gain won't be raising the level of that noise. Used moderately, compression can usefully reduce dynamic range, and thus improve intelligibility of the words, while still leaving you with a natural‑sounding result. Used excessively, it will suck the life out of a recording.
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:
In late 2009, my wife Simone received an email from Prague in the Czech Republic. The sender, Mirek Jirku, was heading up a project to record voice messages for the foreign‑language versions of the latest Avast! anti‑virus software. Mirek sent us eight messages to be recorded, specified the fee and deadline, and requested a slow, friendly read. He asked us to send separate stereo MP3 files (at 160kbps or higher quality) for each message, specified that we'd have to sign a non‑disclosure agreement before recording, that we'd need to invoice afterwards, and that he'd pay via a wire transfer instead of PayPal (which is often used for international payments).
No place is totally silent, so find the best place you can — even if that means thinking outside the box. I have a friend who regularly records his podcast in his car. He lives in a small house with dogs and kids, so there really isn’t anywhere else quiet enough. He takes his laptop and mic out to his driveway, shuts himself in the car and records. The results are surprisingly good!
Voiceover-Services.com welcomes you to listen & consider professional voice actor Paul Fraley for your next campaign or project. Located in Los Angeles, Paul brings an excitement & unique point-of-view to his work. Whether voicing National TV commercials, explainer videos, creating character voices for international video game apps or as the signature voice for a mid-west grocery store chain – Paul always looks forward to telling the next story.

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.
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