Podcast appearances and mentions of Don LaFontaine

Julius en Jasper praten over stemacteurs. Een gesprek over bekende acteurs in animatiefilms, nostalgische tekenfilms, de stem van filmtrailers en het politieke systeem van Paw Patrol. Ze spreken onder meer over Paul van Gorcum, Arnold Gelderman, Danny Verbiest, Mel Blanc, Chris Pratt, Robin Williams, Jim Cummings, Frank Welker, Paul Haenen, Brian Drummond, Annelies Balhan, Laura Vlasblom, Frits Lambrechts, Beyoncé, Mark Hamill, Carlo Boszhard, Don LaFontaine en George Clooney in South Park. De volgende aflevering van Julius vs Jasper gaat over twee westerns van Sergio Leone: The Good, The Bad and the Ugly (1966) en Once Upon a Time in the West (1968).

Welcome to the 100th Episode!!!If you are Gen X like me then you have heard my guest's voice all throughout some of your most awesome years growing up! Joe Cipriano was the voice telling you to go see Fast Times at Ridgemont High, he was the voice telling you which comedies to watch on that new network FOX, and countless other times his dulcet tones entered your earholes. Now hear how it all started for this good Italian boy from Connecticut, including the ups and downs along the way.Follow Joe on Instagram - @joeciprianovoHis website is JoeCipriano.comCheck out his book Living On Air and the Audiobookand if you want to find out more about his VO Coaching for Promo check out PromoMasterclass.comSupport the showIf you'd like to support this podcast, you can buy me a coffee HERE. Check out the "Keep the Darkness at Bay" Journal & T's Here I'd also appreciate it if you left a 5 star rating and review for the podcast on whichever platform you listen on. Thank You! Special Thanks To: @jasonthe29th - Logo Design @jacobjohnsontunes - Theme Music Pod Decks - Fast 5 Questions DISCLAIMER: Some of the links here are affiliate links, which means I will make a small commission if you click them and make a qualifying purchase, at no extra cost to you :) *I hereby solemnly swear to only promote products and services I actually love and use in my podcast and everyday life!

In this engaging interview, George the Tech talks with the esteemed voiceover artist and coach, Joe Cipriano. They delve into Joe's journey of setting priorities for personal and professional goals, the inspiration behind creating his online promo masterclasses, and the innovative methods used for effective teaching. promomasterclass.com They also reflect on the extensive collaboration on studio builds and the legacy of their late friend, Don LaFontaine. Joe shares success stories from his students, the impact of asynchronous learning, and the fulfillment of mentoring professionals in the voiceover industry. Tune in for insights on achieving your dreams and the power of a supportive community. 00:00 Setting Priorities for Goals 00:45 Introduction to Joe Cipriano 01:32 Building the Perfect Studio 04:05 Family and Friends 04:53 The Legacy of Don LaFontaine 09:06 Creating the Promo Masterclass 16:12 The Asynchronous Learning Model 23:07 Success Stories and Testimonials 27:05 How to Join the Masterclass Donations: https://streamlabs.com/georgethetech Website: http://georgethetech.com Facebook: http://www.facebook.com/georgethetech Twitter: http://www.twitter.com/georgethetech Instagram: @georgethetech Webcast: http://vobs.tv Podcast: http://theproaudiosuite.com

In this episode, host Corey Nathan sits down with Brent Allen Hagel, a professional voiceover artist known for his work in movie trailers, network promos, and commercials. Brent shares his journey into the competitive world of voiceover, the evolution of trailer narration, and the craft behind delivering compelling voiceovers that captivate audiences. What We Discuss: How Brent transitioned from working in kitchens to becoming a full-time voiceover artist. The importance of training, mentorship, and workshops in voice acting. The history and evolution of trailer narration in Hollywood. How voiceover plays a role in storytelling and marketing. Insights into the business side of trailer voiceover work. Episode Highlights: ⏳ [00:01:00] – Brent shares his early love for voiceover, inspired by radio programs and old-time announcers.

Audio tech expert George Whittam, the genius behind George the Tech, joins Anne Ganguzza, on the VO Boss Podcast. The BOSSes tackle the technical hurdles of the industry - from unreliable internet to optimizing studio setups. George's solutions help empower voice talents to keep their focus where it belongs—on their craft. The BOSSes delve into strategies for leveraging technology and outsourcing to scale operations effectively. Adapting to change is non-negotiable in this rapidly shifting market, and finding a mentor can be crucial for navigating its complexities. The BOSSes highlight the importance of forming meaningful industry relationships and the camaraderie that can fuel professional success. 00:04 - Anne Ganguzza (Host) Hey guys, it's that season again. Are you feeling that tickle in your throat? Don't let a cold or flu slow you down. Combat your symptoms early with Vocal Immunity Blast, a simple and natural remedy designed to get you back to 100% fast. With certified therapeutic-grade oils like lemon to support respiratory function, oregano for immune power, and a protective blend that shields against environmental threats, your vocal health is in good hands. Take charge of your health with Vocal Immunity Blast. Visit anneganguzza dot com to shop.  00:41 - Intro (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.  01:00 - Anne Ganguzza (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and I am so happy and elated to be here with my special guest, audio tech guru and owner of George the Tech the one and only George Whittam, Woo-hoo.  01:16 - George Whittam (Guest) Hey, can you hear me okay from the Chili's in Palos Verdes, california.  01:21 - Anne Ganguzza (Host) I can I, can I love it. You know George is. He is technology on the go, guys, and for those of you I don't know anyone that doesn't know you, but for those of you bosses out there that don't know George, you need to know George. He has been doing this since 2005, dedicating his life and I know this because he's helped me to serving the technical needs of bosses out there voice actors, podcasters, recording studio owners and in 2017, he launched georgethetechcom to assist anybody that needs support with just about anything. And he has an amazing team. I know firsthand. I have used that team. I've used George for many, many years and among his many successful clients I'm gonna say, in addition to me, are Don LaFontaine, bill Ratner, mr Beast, david Prog, melissa Disney, randy Thomas, joe Cipriano and Scott Rummel. Well, welcome, welcome, welcome and thank you for checking in with me, george, from your very busy schedule. George actually just popped off the road and said I will join this interview from the Chili's after my customer that you just went to go fix a studio.  02:32 - George Whittam (Guest) I did, I did. I do most of my work from home, of course, remotely, but I have a few clients who do have me on a membership program that I've been doing for many years and I make regular visits. So today was one of those days and technology, once in a while, it just flails miserably at letting you know that there's something you're supposed to be doing, and this was one of those moments. You texted me from the car. You're just, and you're like out of the blue tech, just checking in, and I'm like, oh, that's so nice, and it's just checking in, see you're not checking in.  03:03 You're like where the F are you right now?  03:05 - Anne Ganguzza (Host) George, george, where are you?  03:07 - George Whittam (Guest) In our Riverside room right now. So anyway, thank you. I hope this isn't too distracting. They find me a quiet corner of the restaurant, so we'll see how it goes.  03:17 - Anne Ganguzza (Host) I love it. I will say, though, here's the deal, my video now Riverside. Anybody that's been on Riverside knows that it's uploading video and audio separately, and right now my upload is at 94%, Yours is only at 55%, so that 5G connection keep your fingers crossed that that internet is going to upload that video successfully and the audio Don't worry. Well, guess what I get to do this again.  03:42 - George Whittam (Guest) I got your back because I'm recording it. I was about to say, I was recording in QuickTime and it said that you've stopped recording, so I'm going to start recording it again, just so I have another layer of redundancy to this whole thing. But that is the really cool thing about Riverside is that, yeah, it doesn't want QuickTime, won't let me. Okay, fine, fine, we're going to rely on new technology today. But, yeah, riverside is really cool the way it keeps a local record and even if my internet isn't, great.  04:09 I'll eventually get it uploaded to you, so don't worry about that. Yes, Awesome.  04:15 - Anne Ganguzza (Host) Well, it's always a good excuse to chat with you again, because it's so rare these days, I mean except when I'm desperate in need of technical support.  04:22 - Intro (Announcement) And.  04:23 - Anne Ganguzza (Host) I'll have the bosses know that George helped me with my past or my latest studio upgrade. And I remember, george, that we were talking about me moving my Apollo solo into my studio which, by the way, it is moved in here and we were testing out this very long cable that went from my Mac studio out there into my studio and guess what it's working, and yay, technology. And so, george, you're instrumental in all of my studio upgrades and actually my original studio building when I moved to California back in oh my goodness, 2008. And so you've been through a lot of my studio builds. And let's talk a little bit about, oh gosh, what bosses need audio-wise right for being successful voice actors. They have so many technological needs.  05:14 - George Whittam (Guest) It is so many. You know. The thing is not everybody is like you, anne.  05:19 You love and embrace technology in a way that a lot of actors do not right and so on the cover of the laptop that you can't see because it's on the other side of the camera. I have a cover on my laptop and it's a picture of the left brain, right brain thing, right Like you know, the left being very technical, the right being creative, and I'm such a big proponent of finding the perfect middle balance. Maybe that's because I'm also a Libra, I don't know, but you know it's like I'm such a big proponent of finding the perfect middle balance. Maybe that's because I'm also a Libra, I don't know, but you know it's like I'm always trying to find that balance and I'm also trying to figure out who you are as my client. Are you more Ann Ganguza, or are you more Lori Allen, who's my quintessential super right brain, crazy actor talent, you know, and she knows that I'll say that and she'll laugh that doesn't love technology or doesn't care, right, I mean I get it.  06:09 - Anne Ganguzza (Host) I mean we go into this industry. I mean some of us are just super, super creative and brilliant.  06:18 - George Whittam (Guest) If we had our choice, we would let someone else run all the technology and take care of it for us, which is what you do Absolutely. In a perfect world, we would all have our own little virtual assistant engineer people who just log into your machine and run everything for you. I do know a precious few actors who have actually availed themselves of such a thing, which is a pretty nice position to be in, right, and that would be a really cool scenario where you really don't need to think about it. But the fact of the matter is, the vast majority of the time, we have to think about and know what's going on with the technology and ensure that we're giving the client super clean, great quality audio quickly and on time, reliably, etc. Etc. And that's the goal.  07:01 - Anne Ganguzza (Host) It is about good audio, but it's about a lot of other things beyond just good audio, you know, willing to really experiment and figure out solutions for your clients that are not like status quo. So if they have a budget, you can fit yourself within that budget and you make things work and you say, all right, so if you need this, we can maybe substitute this or we can work with this. And I'm talking bosses, my firsthand experience, not just on what microphone or give me a stack to put on my audio, but like home studio builds from the ground up, like what can I do to save money here? Or what can I do? I have this in my budget and you literally have created things from like the ground up, depending on your client's budget.  08:01 And I think that that's really awesome and it really goes to show like the versatility and the amount of skills that you have in, not just like one thing. I mean you have to be great at everything, because everybody has different technology, everybody has a different microphone, everyone has a different DAW, everyone has a different environment in their house that you have to kind of assess and then say, well, okay, here's a solution. And then I'm quite sure, myself being one of them going, no, I can't do that, so you'll come up with multiple solutions. Or if something doesn't work, you'll actually get it to work. You'll figure out what it is that's not working and then make it work.  08:38 - George Whittam (Guest) Yeah, it's so many different things because there's a lot of things that you can get away with or there's certain things that you can make work or get it to work. Here's my black bean burger and fries.  08:49 - Anne Ganguzza (Host) All right.  08:50 - George Whittam (Guest) There's a lot of things you can get away with, so I'll try to talk while you take a bite. I will eat when you're talking, okay, so there's a lot of things that you can make work. There's a lot of things that you can get away with, and that's where people start out right. That's where you begin, that's where you learn on your own.  09:06 That's where you get used equipment. You get hand-me-downs, you buy what you can find on Amazon, right, you get away with it. You make it work. But at a certain point your clientele requires this consistency, quality and this quick turnaround, and that stuff starts to be cumbersome, it becomes a bother because it's getting in your way, right. So that's a big part of it. And then I'm glad you said earlier budget.  09:33 You really need to know where you're at. I mean, this is why voice acting, especially now as an entrepreneurial pursuit, you really need to have a pretty good idea where you're at with your budget. When you come to me, be honest with yourself, be honest with me. I'm not here to spend unnecessary money. I'm not here to push you or upsell you. I'm going to tell you exactly where you're at, based on where you are with your budget, and make sure it fits, because that's my goal is to help you out and get you where you need to go at the budget you've had to spend.  10:07 And then if it's either really too low, I'll let you know if I think it's not going to work, or I will speak up if I think you're overspending, if I think you've got this budget and it's unnecessarily. You know it's like, oh well, you've got that much to spend, all right. Well, let's think about that. Should we really spend all of that? Or should we really be spending 20% of that on the mic and maybe 50% of that on building your website, getting your demo, that kind of stuff right? So I'll make sure your money is spent the right way, but be really honest with yourself about what your budget is. Know where you're ready to spend so we can get off on the right foot.  10:50 - Anne Ganguzza (Host) So let's talk about the types of services that you do offer, because I'm happy to recommend you and your team to my students, and I think they might have preconceived notions as to oh well, george can just create a stack for me, or George can just tell me what microphone to buy, with lots of experience in multiple operating systems. So it's not just the mic or not just the studio, it can be your computer, it can be your software, it can be how to use Twisted Wave or how to use I just had a student the other day Studio One. I'm sure you have somebody on your team that can help with somebody with Studio One, and so can you create a filter for that? And so I'm constantly saying to myself I know lots of different audio engineers that specialize right, and I think that's great, but they're all independent, right? And so I can't be like, oh gosh, well, who knows Twisted Wave or who knows Studio One, or who knows?  11:48 And I'll think about it. What's great is you're like a one-stop shop, because now you've built yourself up a team. What's great is you're like a one-stop shop because now you've built yourself up a team, and I love this, because when I hired you in the beginning it was just you and you're I mean, you're busy back then and I love how you've like I mean, talk about being a boss, right. You've actually grown your little empire there and created a team of really amazing people that work for you, that have great skills and very specific skills. Speak to that a little bit.  12:14 - George Whittam (Guest) It's been a dream for a really long time to expand beyond myself. It started probably 12, 13 years ago in New York City. I knew I couldn't be in New York City that often and I had a few clients in New York and I thought, god, it'd be a no-brainer to have somebody else backing me up here in Manhattan. I actually had interviews in Borders bookstores with people that responded to ads, sat down, interviewed people and onboarded some folks and it just turned out that, one, maybe it was too soon to do it and two, it wasn't enough demand, because at that time it was a different time. But New York it was almost 100% studio town. Right, all the gigs were in studios because they're all over the place, they're all like walking or a subway ride away. So New York was a different environment.  13:05 So flash forward now quite a few years and I decided, with the new website that I had built by Skills Hub a couple of years ago, that it was finally time to properly expand the team. And now that I have a system built, an infrastructure, a booking system, the whole thing that allows me to essentially infinitely expand, I can build it as big as I want. I finally had the tools and everything in place to do that, and so we have that. Now you can go onto the website. Let's say you need help with Adobe Audition. You can see who is available that is actually an Adobe Audition expert and then you'll see their availability and you can book into the system right then and there and get help with someone that actually knows what they're doing. I realized after a while there's a certain point where I don't necessarily learn and retain new information the way I used to. I think that's just life, that's just age, right?  14:02 - Anne Ganguzza (Host) Well, there's so much now.  14:04 - George Whittam (Guest) And there's so much more.  14:05 - Anne Ganguzza (Host) Yeah, I know you're like right Anne.  14:07 - George Whittam (Guest) Right, but I get that I totally get that.  14:10 - Anne Ganguzza (Host) But think about this what I really love. What I really love is, again and again, this is the VO Boss podcast. So I really like to always relate things to how you can really be a boss, and I think all of us voice actors are bosses, obviously in our own right, and I think we really need to look for ways that we can grow and expand. Right and it's not an easy thing, right, it's a scary thing how can you scale? How can you provide more services for your clients so that your business can move forward successfully? And you are such a great example of I mean, not everybody that's a voice actor, is an audio engineer and they're going to scale their businesses in the way that you did, but it's all relative right, as voice actors, how can you scale your business? And so if you think outside of the box and you think about what can you do that's efficient as a voice actor, right, maybe you don't like technology, maybe you don't understand your computer, and I'm saying there's a certain element that we have to be technologically adept, but you can consider outsourcing these things as a voice actor so that you yourself can scale your business, and you've offered this great place for people to have all kinds of options, and so it's not just like a one-shot deal.  15:25 George, I need help. You have like 24-7 support, and I know for a fact that you've got emergency tech support, which I know, having worked in technology for how many years prior to voiceover. Technology is awesome until it doesn't work and then people panic, right, and that's when it's almost the most important to have that type of support. And so I'm sure lots of you voice actors have had something happen with your computer, like, and all of a sudden you're at a loss, or something happened in your studio, you're at a loss, and now all of a sudden, do you have a backup? Do you have a way that you can deliver your goods, deliver your product to your client?  16:01 And I think we all need to really start thinking about how can we outsource, how can we scale, and you've got a great place where, if voice actors don't necessarily love working with technology or learning technology, nor do they have the time right For me. I have no desire to be an audio engineer, I know what I know right, and if I have problems, let's say I'm setting up my new Mac studio. Well, I don't want to spend my entire weekend trying to learn anymore. I mean, I love learning, don't get me wrong but I don't want to right now. That's not an efficient use of my time.  16:33 So I'd much rather call you and say hey, george, I know you've set up Macs, I know you've done the Apollo on this iOS and I'm running into these problems. Or I know I'm having a problem like with Zoom and then sending my audio through Zoom. How can you help me? So it just makes sense for me, as a boss, right to outsource that. And so make sure, out there, guys, that you have a source, and I highly recommend George a hundred times If you haven't figured it out by now, I'm recommending him a hundred times over. Have a source, have a place that you can go when you run into trouble technology-wise or with your computer, or you want to just learn. You also have educational resources. You have tutorials. Yes, you have one-on-one help. You've just got all those options and I think it just really lends itself. Not only are you showing people how you're a boss and you're scaling your business right. They can scale their business with you.  17:26 - George Whittam (Guest) Yeah, being a boss is what I've really become now. I was always solopreneuring. In a way I still am, but now I do actually have people that look to me for getting paid, look for me for getting jobs, look for me for communication and support and actually training. The content we create for you guys we use internally to train our own team. I want more of our team to be comfortable with the Universal Audio Apollo. I've been encouraging them to watch the content we already have. Everybody who does work for me gets complete carte blanche access to my entire library of content right, so they all can learn.  18:03 I want to work with you, then I would love to have you. I mean, honestly, the point is that we've built the network, we've built the system, we have the infrastructure. Now it's just a matter of what's the next thing a voice actor needs, or what's the next thing podcasters need, what's the next thing people that do media appearances need, studios, people that need to do executives, c-suite folks what do they all need? And we're trying to eventually fill these different gaps right, and so my role now is more of a boss, more of a CEO, more of a director, even beyond. I spend way more hours of my day doing director, boss, ceo work than I do actual build time nowadays, and that's just how things have morphed. But it's great.  18:52 I love finding out that somebody got a service from one of our team and I didn't even know about it. That's the coolest thing ever. Oh, you helped that guy. Awesome, I had no idea. That's great. That means things are working. I don't have to micromanage everything, and so that's been a huge thrill for me, and it's just allowed us to be so much more helpful to more people.  19:11 - Anne Ganguzza (Host) That's such a relief. I know my own business. When you said about micromanaging, and in reality, you know, we talk all the time about voice actors, we're solopreneurs, we wear all the hats, but now's the time to really start thinking about, okay, what is the most efficient use of my time? Right, and I want you bosses to really open your minds out to thinking that a lot of people they get stuck in this whole thought process that, oh, I can't afford to hire somebody. But in reality, if you sat down and you marked what is your price per hour? Right, how much money do you make when you're doing voiceover, versus how much money are you making when you're trying to, like, do the billing yourself? Right?  19:50 - George Whittam (Guest) I'm so glad you mentioned the hourly thing because a while ago somebody made that clear to me.  19:55 There's the hourly rate that you charge retail, right? I know what my hourly rate is per hour. If you want to consult with me directly, it's $360 an hour. Whoa huge number. Wow, that sounds really crazy. That's not what I make per hour. What I make per hour is actually what I made last year. Subtract my expenses, take my net revenue right and divide that by I don't remember the magic number is whatever. It is 52 weeks a year, you know. And then you basically whittle it down to what your actual hourly wage actually is and you start to realize like, oh my gosh, that's what my actual time is worth. And so you're going oh, now it is worth spending $25 an hour for a virtual assistant or somebody because I'm actually worth $50 an hour.  20:45 You know what I mean. So that's. It's really good to know that.  20:48 - Anne Ganguzza (Host) Exactly, exactly.  20:50 And I think that we need to look outside of, like, the numbers that are just spent, because somebody might say, oh, I spent a thousand dollars on this microphone.  21:00 If you figure out what your value is per hour, right, and you're doing tasks that I always say, don't bring you joy a certain standard where, if I want to be able to direct somebody right that I'm going to outsource stuff to, I need to learn enough about it so that I can direct intelligently, right.  21:20 I know, you know, if somebody's saying to me well, it's taking me five hours to do this, when I know, in fact, maybe it shouldn't be taking five hours, because when you become a boss and you start employing people, you have to be concerned about, okay, what's the value of your employees and what are they bringing you, what are you paying them right and how efficient can they be? And I think also, george, it becomes where you now have to inspire the people that work for you to want to do their best for you, that they want to help move your company forward, and to do that, you've got to pay them a fair rate you definitely do and you've got to inspire them with things that they like to do right so that they join the team right.  22:01 And that's a whole other set of boss skills that's a whole other set of boss skills which I love.  22:06 - George Whittam (Guest) The amazing person I brought in to do our customer service and actually kind of act as a bit of an assistant to me as well. She also is a graphic designer. So when I realized that she was getting these skills, she was literally studying and I said you know what? Let's try some things, let's get you doing some more creative endeavors, and I'm paying her more for that. I said you know, track your time when you're doing graphic design, when you're creating our thumbnails and our promotional content for the socials and our webinars, and that's a different rate. You tell me what you think is a fair rate for your graphic design and then you have a rate for all the other general work and she breaks up her billing that way and so she's getting paid better for that work and that's going to be much more fulfilling for her because it's creative stuff and I think it's been working out really well. You know, my biggest fear is her going away. If she goes, away.  23:02 That's going to be a giant pain in my neck to find another person like her Finding good.  23:09 - Anne Ganguzza (Host) It's going to be very difficult, so I want to keep her around.  23:12 - George Whittam (Guest) It's a delicate balance and I trust her. It sure is, you know, but it's a tricky one. The more you rely on outside help, the more you start realizing you need to make sure what will you do if that person needs to be replaced? It's another skill.  23:27 - Anne Ganguzza (Host) And the people that work for you. They need to be better than you, and I think that's an ego thing for a lot of people. Do you know what I mean it's like? Oh no, I want to do it because I want to have control over it. I mean, I'm a control freak. I know this. I mean it took me a while, but once I started realizing that when you hire people who are better than you at the tasks like I'm not a graphic artist, so I want to hire somebody who's amazing at that and then pay them what they're worth, they aren't bitter, they don't feel like, oh, they're just working for pennies, and so they get excited because you want to work with them and collaborate. They get excited about helping you grow your business and you get excited about helping them grow their skills or grow their career as well under you. So I think it's something that bosses out there can really start to think about.  24:10 How would you expand right? And I think now too, with the technology and with AI and all this talk about the industry and how it's changing, I think technology it's always good to educate yourself on the technology evolve with the technology, those other things that we're talking about in addition to voiceover, like on-camera work, right? Voice actors maybe this is something that you know. You want to present yourself more professionally to your clients. What's involved in a good I don't know webcam or good lighting for your studio and that sort of thing. So that's the sort of thing that you can help them with as well in terms of expanding and broadening their horizons, even outside of voice acting.  24:51 So I love that you said that you were also delving into on-camera and technology for expanding businesses, because I think voice actors should also consider things like that. I mean, it's something we've talked about on the podcast as well, as we're moving forward along with this technology. What other services can you offer your clients? What other things can you do? Are you going to be making TikTok videos, right? How can you get your message out there? How can you market yourself right so that people know you exist, so they can hire you? And a part of that is getting out there, getting heard, getting seen, and you can help with that.  25:26 - George Whittam (Guest) And you might also be able to parlay that thing, because now you've become the spokesperson for that channel or that brand or that explainer and if you can now take that ability to create content into a visual medium and you might move beyond just doing voice, if you end up being comfortable on camera. You may not know if you're comfortable on camera until you do it. When I started my first podcast or really web channel, YouTube channel East West On your Body Shop, you can go back and watch episode one.  25:58 - Anne Ganguzza (Host) Oh yeah, and I was like a deer in headlights Myself too.  26:01 - George Whittam (Guest) I got a lot more comfortable on camera. So you know, as I evolve and I start doing more and more interviews and interviewing others and I'm going wow, I'm really comfortable doing this. I've actually really enjoying this. How can I parlay this into a different? So now I'm thinking about speaking engagements and doing speaking roles.  26:21 I've gotten to teach in a couple of universities now. Wow, I love doing that, so maybe I need to parlay that into another thing. So I'm looking into speaking now. So it's just ever-evolving. If you get stuck in one lane, you can quickly start feeling discouraged. When that one lane that you chose starts grinding to a halt, you really need to be ready to try new stuff Starts getting traffic right and saturated.  26:47 - Anne Ganguzza (Host) I mean now I'm just thinking of that, you know, because after the pandemic I mean I had so many people that I think got into voiceover because of the pandemic and now I thought we were saturated before. But there's a lot of people in there. I'm not saying there isn't enough work, voiceover work. However, there's an awful lot of people doing voiceover. So I think it's always healthy for us to consider how we can always grow and always evolve. So I'm going to ask you one last thing, george, before I have to run for the day what would be your best advice that you would give someone out there just getting into the industry?  27:21 - George Whittam (Guest) Definitely work with a coach that understands the spectrum of what you need to learn in a holistic way. That coach doesn't have to be an expert in every aspect, but the coach should be very aware of that. You need to learn these separate skills right. So someone like Anne, for example. She knows a lot about a lot of things, but she also knows when it's time to get another person involved a demo producer, an expert engineer.  27:47 Yeah, that's so, so helpful, right, and it's so easy. These days it's almost like getting support is just like dating. It's so easy to just keep swiping right or swiping left. Which one is it? Because you're like well, that was nice, let me try that guy, and I hear that guy's good. Let's try that guy.  28:03 Hook your wagon to somebody for a while and focus in on what they have to say and learn before you start constantly seeking fresh perspectives. It doesn't mean fresh perspectives are bad, but you really need to focus on one person's methodologies and get behind them and then, after you've done it for a while, consider well, is it the best way? Well, maybe I could learn a new skill, or maybe I have another way to learn this that could save time. I never am offended when a client says I worked with somebody else along the way, but I do get concerned when somebody's pretty new and they've already taken, let's say, consulting from three or four different techs and four or five different coaches, because they're going to have a lot of conflicting or somewhat differing opinions and you're going to get so off base.  28:51 So find somebody that is well vetted, somebody that has like we have our trusted partners page on our website. Everybody on there is somebody we have worked with and trust. And hook your wagon to somebody like Ann, so you have that one point of focus to help you navigate all of this, and then they can help shut you off into different directions for those specialty things. Otherwise it can feel hopelessly confusing and there's just too much conflicting information out there. So that's the best thing I can say Just find one single point of trust, follow that person, get the advice they can give you and find the expertise in different areas when you need it, and go to georgethetech early and often. Yes.  29:41 - Anne Ganguzza (Host) Yes, yes, I was just going to say how can people get in touch with you, george the tech?  29:44 - George Whittam (Guest) You have your landing page right, Absolutely Slash.  29:48 - Anne Ganguzza (Host) Yep, is it slash? Be a boss, my gosh.  29:50 - George Whittam (Guest) I don't have it memorized.  29:51 - Anne Ganguzza (Host) I have it like in a link, I think so I'll check it, I'll look it up.  29:56 I'll put that in the show notes. Yeah, I'll put it in the show notes for services. I do have a nice little link that I can send to you. That will save you some money on your first services with George. So highly recommend. George. It's been so nice to have you and I appreciate you pulling off to the side of the road and being safe and talking with us today, and I'm going to give a great big shout out to IPDTL you too can connect and network like bosses. Find out more at IPDTLcom and George, it's been so wonderful talking with you. I feel like we should do a series. We should do a whole series with George the Tech.  30:31 - George Whittam (Guest) We'll do another one in a proper environment when I'm in my home studio, I promise. And, by the way, it's slash AG, so georgethetech slash AG for Ann Ganguza. That'll take you to all the information we have and our discount codes and come and visit us and learn from us. We have so much useful content that's affordable and accessible. So happy to be of service and thank you, ann. Thanks for being so cool, a friend and being always a pleasure to talk to yes. You're a blast to be around.  31:04 - Anne Ganguzza (Host) I feel the exact same way about you. So thanks so much. All right, bosses, you have an amazing week and we'll see you next week. Take care, bye, bye.  31:13 - Intro (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

If you're a regular listener to my show, then you know by now that I'm always excited to introduce you to intriguing creatives who are making a positive impact in their fields of expertise.   Today, I'm especially excited for this conversation as in some ways I feel like this particular guest and I have been doppelganger's in both experiences and creative choices. She also happens to share one of my core beliefs that it's never too late to pursue one's dreams.  Now a full time voice and on-camera actor as well as a voice over coach, Jennifer “Jenn” Sims, was deep into her career as the Director of Broadcast at one of L.A.'s top ad agencies, she worked on 100s of commercials with talent agents and casting directors and listened to thousands of voice actor's auditions. She also directed voice actors, including Emmy and Oscar winners; such as Donald Sutherland as the voice for a national healthcare campaign and produced network promos starring the incomparable voice legend, Don LaFontaine, to name a just few. As glamorous as the world of advertising appears to be in the content it creates, it can also be, as Jenn says, very toxic, and her work environment was becoming increasingly so, prompting Jenn to reflect on what she really wanted to do when she began her career in the first place; that of being an actress;  as she spent years honing her quirky sense of humor while studying comedy and improv at The Upright Citizen's Brigade, The Groundlings, (which landed her on-camera commercials for Uber, Snapchat and WebMD) and the American Academy of Dramatic Arts in Los Angeles. It was during a recording session, that Jenn realized her passion for acting was undiminished and made the decision to quit her job to pursue a full time career in voice over! However, in Jenns own words, she was “older” than most people who pursue full time acting. And for anyone who is familiar with how youth oriented show business is; especially in Los Angeles, it wasn't exactly a text-book recipe for success. Leaving that coveted Director of Broadcast position was a huge risk but one she was willing to take, and so Jenn took that leap. I'd like to extend the net by welcoming Actor, Storyteller, Coach and “Smarty Pants”, Jennifer Sims to 19 Stories Contact Heidi Love via the following: Business email:   jennifersimsvo@gmail.com  Business website:  https://www.thejennsims.com/ Business website:  Instagram https://www.instagram.com/thejennsims/ Inquire about classes and private coaching at: voiceactorcoaching@gmail.com Demos https://soundcloud.com/jennifersimsvo/sets/jennifer-sims-voice-over-demos If you enjoyed this episode, make sure to follow 19 Stories wherever you listen to your favorite podcasts. It would be greatly appreciated if you gave a nice review and shared this episode well :-) To give feedback or a story idea: 19stories@soundsatchelstudios.com To listen to my demos: https://www.cherylholling.com/ To contact me via VO work, or to host your podcast, I can be reached at: cheryl@cherylholling.com Follow me on Instagram: @cherylhollingvo Theme Song Credit:  'Together' by For King & Country Outro Music Sample (for this episode): 'My Girl' by The Temptations Proverbs 23:18 "Surely there is a future, and your Hope will not be cut off." Until next time, stay Healthy and Hopeful!

In this podcast episode, longtime Austinites and radio hosts Sandy and Tricia discuss a variety of topics. They start by warning potential movers about Austin's heat, bugs, traffic, and fluctuating Lake Travis levels. They share interesting facts about smoking, tooth brushing, and Pink Floyd's album longevity. Reminiscing about the past, they mention vanished common items like cereal box prizes and milk carton photos of missing children. They touch on Jamie Foxx's mystery illness and discuss Don LaFontaine's iconic voiceover legacy. Highlighting Mr. Beast's philanthropy, they express concern about an approaching hurricane's impact on Jamaica and the Cayman Islands The heat and other warnings (00:00:00) Discussion about warning people about moving to Austin, including the heat and other environmental factors. Traffic and road construction (00:01:28) Conversation about the traffic and constant road construction in Austin and other cities in Texas. Lake Travis water levels (00:02:55) Warning about the fluctuating levels of Lake Travis and its impact on property owners. Don't mess with Texas and Longhorn gear (00:03:30) Discussion about the "Don't Mess with Texas" slogan and the encouragement to have Longhorn gear. Interesting facts: habits, Pink Floyd, and sauna (00:06:26) Facts about the habit of brushing teeth, Pink Floyd's album, and the benefits of sitting in a sauna. Jamie Foxx's mystery illness (00:11:22) Details about Jamie Foxx's mystery illness and speculation about its severity. Vanishing common things (00:14:20) Discussion about common things that used to be popular but have vanished over time, including Heelys, cereal box prizes, and missing children on milk boxes. Obsolete technology and trends (00:16:29) Conversation about outdated TV features like picture-in-picture and the decline of voiceovers in movie trailers. The voiceover movie trailer guy (00:17:09) Discussion about the voiceover artist Don LaFontaine and his iconic movie trailer voice. Funny golf tournament commentary (00:18:57) Amusing commentary from a golf tournament and the reference made by the announcer. Elmo's fireworks safety message (00:20:11) Elmo's message reminding about fireworks safety for the 4th of July. Mr. Beast's philanthropy (00:21:26) Discussion about YouTuber Mr. Beast giving away homes to impoverished families. Hurricane update (00:22:12) Conversation about the earliest-ever Category 5 hurricane and its potential impact on Jamaica and the Cayman Islands. --- Support this podcast: https://podcasters.spotify.com/pod/show/sandy-show1/support

Just about everything in the voice over business slows down in June, July, and August.  But I also hear a lot of talk about a more macro slowdown in the voice over industry overall. Is that real? Is that just a chicken little reaction to AI? Are there other forces at play? Is this a perfect storm that means existential crisis for our business? Do you want the real answer? Who cares. In my humble opinion, which is all I have because there is no data on this that anyone is aware of, yes there appears to be a general slowdown in the industry for many voice actors.  The fact is you, I, nor the ghost of Don LaFontaine himself can't control the global macro and micro forces that may or may not contribute to a slowdown that may or may not be having but think so because, ya know, AI and P2Ps and el Niño and sunspots and windmills. So, who cares? It doesn't even matter if there's a slowdown in the industry or not. If it's slow for you, it's slow. And if there is a slowdown in the industry, macro or micro, you can't do shit about it. But you can do something with it. You have the choice to not just survive, but thrive. Today, we're going to talk about doubling down, leaning into the slowness, and using it to your competitive advantage so that you emerge from the Summer Slowdown, and any slowdown or crisis, even stronger, better, and more successful. _____________________________ ▶️ Watch this video next: https://youtu.be/op22hCQPPeU?si=txe-PspVJ3I6F4ev SUBSCRIBE: https://www.youtube.com/@vo-pro?sub_confirmation=1 The VO Freedom Master Plan: https://vopro.pro/vo-freedom-master-plan The VO Pro Community: https://vopro.app Use code You15Tube for 15% off of your membership for life. The VO Pro Podcast: https://vopro.pro/podcast 7 Steps to Starting and Developing a Career in Voiceover: https://welcome.vopro.pro/7-steps-yt Move Touch Inspire Newsletter for Voice Actors: https://vopro.pro/move-touch-inspire-youtube Facebook Group: https://www.facebook.com/groups/vofreedom The VO Pro Shop: https://vopro.pro/shop Say Hi on Social:  https://pillar.io/paulschmidtpro https://www.instagram.com/vopro.pro https://www.clubhouse.com/@paulschmidtvo https://www.linkedin.com/in/paulschmidtvo/ My voice over website: https://paulschmidtvoice.com GVAA Rate Guide: http://vorateguide.com Tools and People I Work with and Recommend (If you use these links to buy something I may earn a commission.):  Recommended Book List with Links: https://amzn.to/3H9sBOO Gear I Use with Links: https://amzn.to/3V4d3kZ As an Amazon Associate I earn from qualifying purchases. For lead generation and targeting - Apollo.io: https://apollo.grsm.io/yt-paulschmidtpro Way Better than Linktree: https://pillar.io/referral/paulschmidtpro

CONTENT ISN'T KING It is often said that content is King. That isn't necessarily true. Content by itself won't gain you an audience. Content isn't King. Great content is King. Anybody can copy information. Your content needs to be infused with story and personality to really connect with listeners. To help you create more powerful interviews, grab my list of "17 of the most Powerful Podcast Interview Questions Ever". It is a free download you can get at www.PodcastTalentCoach.com/interview. BE UNIQUE It really hit me one time when I was interviewing a musician on the air. I won't mention his name, because he called me out right there in the middle of the interview. Before our conversation, I went online and read his bio. I went through the news release they sent me about the new album and the tour. Once the interview began, I felt pretty good. We were rolling along with the standard questions and he was giving the standard answers. In what city will the tour start? When does the album come out.? What can we expect when you roll through here? Then I asked him a question about a detail in his bio. I though it was something unique. But he said, "Well, I see somebody read my bio." That's when I realized I couldn't just ask typical questions and get typical answers. To create great interviews, I needed to get my guests to tell great stories. Everything I was doing to this point was simply a derivative of someone else. I was a cliché, a poor knock off. Why would anyone listen to me when they could get the same thing by listening a variety of other interviews with the same guest? From there, I took my original content and made it great. CONTENT WITH STORIES Later in my career I was interviewing Preston Brust of the country band LOCASH. He and Chris Lucas had been working hard for years writing songs for themselves and others while also recording and touring. LOCASH had a few different record deals, but had never had that big hit they needed to break through. Other artists were recording songs the two had written, but none of those had hit either. In 2011, country superstar Keith Urban not only decided to record a song written by Preston and Chris, but he was going to release it as a single. When I was talking with Preston, I asked him what it felt like when he got the call that Keith Urban was releasing their song. Here is what he said. "Things weren't going so good. I get this phone call. I'm in the backseat of my friends car and I get this phone call and it sounded like something was wrong. And he says, 'I'm sitting next to Keith Urban and he just told me that 'You Gonna Fly' is going to be his next single, and he's releasing it next week.' And I literally had them stop the car and I got out of the car and I just let out this yell. It just felt like I'm back." They were back. That song went to number one on the country charts. Preston and Chris then wrote a hit for Tim McGraw and eventually a top 5 hit for themselves. I guarantee that question about how it felt to get that call hasn't been asked many times if ever of Preston. We created such a relationship over the years that he still texts me. They just finished their latest song called "Hometown Home" and he sent me the early version. That kind of relationship doesn't happen with typical questions and standard answers. Your audience also isn't attracted to typical interviews. Be different. BE YOURSELF Over the years, my style and content developed. I became myself. That is when my show became #1. My content was original and fresh. Nobody else was doing it. If your content isn't great, nothing else matters. The production of your podcast could be the best available. You could have all the bells and whistles available in your studio, including the best mic. The marketing of your podcast could incredibly creative and unique. However, if the content is average, no one will care. Don't simply go through the motions creating your content. Find a unique angle. Your take on the subject should be interesting. Make your content stand out using stories, creativity, and personal revelation. Content won't attract an audience unless it is great content. When your content is great, you become king. Make it happen. There are four key areas of focus when creating great content and tightening up your show.  1. BE ORIGINAL Old-timey radio would say, "Hello Everybody in Radioland!" You're not an announcer talking to a group. Be a person talking to another person. To be engaging, you need to be human. You need to be yourself. As you record your podcast, use your natural voice and your own words. Individuals who are new to broadcasting tend to want to sound like their broadcasting idols. They try to imitate those they have heard on the radio with their voice and clichés. Unfortunately, new broadcasters tend to sound as if they are using scripted drivel done in some character voice that is forced and unnatural. You don't need to sound like Wolfman Jack, Howard Cosell, Don LaFontaine or Howard Stern. In fact, you shouldn't sound like those guys. The big personalities are who they are. You should be who you are. If you are naturally over-the-top, then be over-the-top. If you are not, don't fake it. You'll sound like an amateur and people can tell. Be natural. Talk with a little energy, but always deliver it as you naturally speak. The days of "the voice for radio" are gone. You don't need a big voice to be on the radio. And you surely don't need a big voice to create a podcast. Your voice becomes unique by what you say, not how you sound saying it. Be yourself. Use your own voice instead of trying to impersonate someone else. Use your natural voice and your own words. 2. REPEATING YOURSELF That's right, of course, like I said, obviously. If you find yourself saying "obviously" or "of course", you are making two mistakes. The first error is repeating yourself. If you are saying "obviously" because you feel everyone already knows the information, you are wasting your breath. If it is obvious, there is no need to say it. To frame it in a way to indicate it is something everyone knows, I might simply make a statement. I may say, "Because the sun comes up in the East, I prefer my bedroom windows be on the West side of the house." Everyone listening to me knows the sun comes up in the East. I simply include the statement. If I use a phrase like, "Of course", it appears I didn't want it to look like I was trying to teach you about the sunrise. I didn't want you to think I just learned that. "Of course" plays it off, but it also doesn't need to be there. If it is "of course", there is no need to say it in the first place. CONFIDENCE The second error is lack of confidence, so we add filler words. You may want to sound knowledgeable to those who know the information. Yet, you know there is a segment of the audience that does not know the details. To inform those unaware, you add the "of course". In this case, you're just wasting words. I may say, "The band will be at the arena Saturday night, of course." Some may be aware of this performance. Yet, there may be people in the audience who haven't heard the news. It makes sense to add the information, but you don't need the "of course". The idea is to sound knowledgeable and credible to those that already know, while providing the information to those unaware. You simply need to restructure you sentence and eliminate the cliché. Use a sentence like, "When the band is at the arena Saturday night, parking will be at a premium." This sentence provides new information to both segments of the audience. I include the "arena Saturday night" portion for the new listeners while giving those already aware of the concert new parking information. Both receive a benefit without the filler words. When you include "that's right" or "like I said", you are repeating yourself. Your listener heard you the first time. Most people use these cliches to fill time while they think of the next thing to say. Avoid going in circles. Your listener will quickly become uninterested. Know where you're going and keep moving forward. 3. ELIMINATE CLICHES I hear so many cliches in podcasts today. They are present in business in general. A cliché is a phrase or opinion that is overused and betrays a lack of original thought. It is a very predictable or unoriginal thing or person. We had a leader of our division who would use one particular cliché on every conference call we had. Every month, we would have a conference call to keep each station in sync. It would be run by our division leader. The call would then feature 4 or 5 other speakers covering various topics. The call would last about 30 minutes. After every speaker would finish their report, our division leader would say, "Really good stuff." "That was really good stuff, Ray." "Thanks, Sarah. Really good stuff." When he would talk about new resources that were available to us, he would wrap it up with "really good stuff". When he talked about new music coming out, he would call it "really good stuff". What started out as a compliment became a hollow nod that carried no weight. It was overused and lacked original thought. It was predictable. He got so predictable, as the speaker would wrap up, we would say to ourselves, “that was really good stuff” right before our leader would chime in with the same line. It kept us entertained on the call, but added nothing to the conversation. What cliches are you using? They are everywhere. Many times you don't realize it is a cliché until you start listening to your own show, or a coach points it out. The one that sounds most out of place to me on a podcast is, "To be honest with you". When somebody says "to be honest with you", I immediately think, "were you lying to me before?" What message are you trying to convey when you say, "to be honest with you"? I assume you are simply trying to add emphasis to what you are saying. In reality, the cliché has lost its power. It means nothing. It's a cliché. There are many others. We are thinking out of the box. We are pushing the envelope. We are taking it to the next level. It's Erik here to remind you something or another. You know what I mean? You know what I'm saying. Listen to an older episode or two of your show. Really listen to the shows like a listener. Find the cliches and eliminate them. Be original. 4. AVOID ROUGH TRANSITIONS And now it's time for … This phrase seems harmless. It looks like a logical transition from one segment to another during your podcast. Unfortunately, this phrase gives your listener permission to leave the show. When you use "and now it's time for..." or some similar phrase, it tells the listener that one segment is over and we are moving on to something else. It also signals a natural break in the show and the perfect time to exit. The transition is a lot like a commercial break in a television show. It is time to grab the remote to see what else is available. This is why TV shows started using the cliff hangers to keep you around. Famous American showman P. T. Barnum noticed that people were lingering too long at his exhibits. If he could get them through the exhibit faster, he could get more people through in a day and make more money. Barnum posted signs around the exhibit indicating "This Way to the Egress". Henry would ask Barbara, "Have you ever seen an egress? No? Let's check it out." Unaware that "Egress" simply meant "Exit", people followed the signs to what they assumed was a fascinating exhibit only to end up outside. Take down your "egress" sign. If you truly want to hold your listener from one segment to the next, don't send up the signal. Simply move to the next segment. THE TRANSITION On a coaching call the other day, I pointed out to the host that he was using "I want to keep this moving" quite often in his show. When he says "I want to keep this moving", I know we are switching to a new topic. I can punch out here if I'd like. Instead, just move on. Imagine you are at a cocktail party. You are discussing the baseball game that you saw over the weekend. After the baseball topic runs its course, do you say, "Now it's time to talk about my new car"? I doubt it. You probably just roll right into, "Hey, I bought a new car last week." It is a natural transition. Your friend doesn't think, "Hmm, that was a pretty rough transition." They have moved on right along with you. As you wrap up one segment, move right to the next. You might end the first segment with, "If you take those steps, things should be back to normal." Roll into the next with, "Jackie has a question about teamwork," and play the call. The next segment just starts. You've hooked them on the next segment without opening the door to leave. Don't flash the exit sign. Eliminate "and now it's time for" to hold your listener for the entire podcast. TIGHTER CONTENT Focus on these four areas to create great content. Avoid repeating yourself. Eliminate the cliches. Create smooth transitions in your content. Above all else, be original. When you be yourself and ask great questions, it will be difficult to copy you. The content will be original. And, people will love you for it. If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals.

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - wraps up its discussions on Act 3 of Shakespeare's masterpiece, as Siskoid discusses some of the section's bigger questions and themes with special guest Dr. Anj. They also discuss Arnold Schwarzenegger's Hamlet in Last Action Hero. Plus, your feedback on Act 3's episodes. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon and Kenneth Branagh; and the 1948 Hamlet, starring Laurence Olivier. Bonus clip: "Last Action Hero" by John McTiernan, starring Arnold Schwarzenegger, Don LaFontaine, and Apollo Dukakis. Leave a comment, you know I love to read!

Mike and Emma are joined by senior producer and promo and trailer expert, Harry Dunn...who talks about working with voiceover industry legends like Don Lafontaine, how to find promo work today, representation and more!

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

Facebook's demographic targeting and personalized recommendations Government regulations for controlling AI in the US The threat of militarization of AI and autonomous weapons Eco-friendly transportation like blimps and cross-country train trips Don LaFontaine's train car recordings Google's questionable business practices and dominance Viral courtroom sketches from Sam Bankman-Fried's FTX trial Google switching to mobile-first indexing Google's new .ing domain name Humane's new smart pin device created with OpenAI and Jony Ive Nostalgic retro flip clocks and video games Concept of time and futuristic hotels like TWA Hotel Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: hid.link/twig Miro.com/podcast kolide.com/twig

The Sennheiser 416 has become an industry-standard tool. Being a  “shotgun” mic (or in tech terms a super-cardioid) the microphone is extremely sensitive in a very narrow field. For this reason, it is often used on film sets where the mic needs to be a little farther away from the actor's mouth (so it's not in the frame), and the production team wants to capture the actor's voice without capturing background noise in the room. These qualities also make it extremely versatile for use in home voiceover studios!  But who first decided a Shotgun would be great for Voice Over, and why is it now an industry standard?  A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite   George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson Summary In this episode of the Pro Audio Suite, hosts George Wittam, Robert Marshall, Darren Robbo Robertson, and Andrew Peters take a deep dive into all things related to professional audio equipment. The discussion covers the technicalities of the legendary 41 six microphone, its proximity effect, and how its placement profoundly influences the output. Renowned rock and roll voiceover artist Steve Britton's microphone technique is highlighted, including how he utilizes the aggressive nature of the mic to enhance his voice. The hosts also discuss other microphones such as the eight one eight, the SM Seven, and the 4116, comparing their various characteristics and potential uses. Additionally, they touch upon potential changes in the industry due to the advent of AI voices. The podcast concludes with advice for individuals dealing with their own audio issues, encouraging listeners to explore and make the most out of their equipment like iPhone mic, acknowledging how surprisingly good it can sound when used correctly. Check out theproaudiosuite.com for more information and use the code Trip a P 200 for $200 off your tribooth. #ProAudioSuite #VoiceoverTechTips #TriboothDiscounts   Timestamps [00:00:00] Intro: Welcome to Pro Audio Suite [00:00:30] Exploring the Proximity Effect of 41 Six [00:03:33] Voiceover Pioneer: Ernie Anderson's 41 Six Influence [00:07:44] Microphone Showdown: 416 Vs. SM Seven [00:12:16] Unraveling the Versatility of Eight One Eight [00:17:56] Mic Recommendation: Small Diaphragm Shep [00:23:19] Debunking the Myth: Foam on 41 Six [00:25:32] The History of Headset Mics [00:30:25] AI Voice Realm: A Threat or a Boon?   Transcript Speaker A: Y'all ready be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone, to the Pro Audio Suite. Speaker C: These guys are professional and motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP. International demo. To find out more about us, check thepro audiosuite.com line up learner. Speaker B: Here we go. Speaker C: And don't forget the code. Trip a P 200 that will give you $200 off your tribooth. Now, I've been playing around with the proximity effect of the 41 six, the legendary 41 six, and I've never really set it up to shoot straight down the barrel. Speaker B: So what's your default placement? Speaker C: Usually slightly off to the side. Speaker B: Okay. So still relatively level, but just coming pointing at you a little bit off to the side. Speaker C: Yeah. And pointing down. So pointing down but slightly side. Speaker B: Got it. Speaker C: This way is still pointing down, targeting the mouth, but going full it straight at it. And I did one read like that, then I followed it up with one slightly to the side, and then I followed that up with an eight. One eight. But I know we've talked about the proximity effects of the 41 six, but I actually couldn't believe the difference. It shocked me that it was so bright and it's how I remember the 41 six sounding. Speaker B: So what you're saying is like, you've kind of detuned the mic, you've detuned it to calm down. What makes the mic so aggressive? By using that placement and then when. Speaker C: I put it back holy crap. Speaker B: Oh, yeah, that's what that mic? Speaker A: Well, it's interesting because there's a guy who AP and I know and have both worked with a guy called Steve Britton, who's sort of the big know, rock and roll voiceover guy, and he actually uses it to his advantage because he's not so hyped. His natural voice is not so sort of steeped in those sort of high mids and highs. So he actually gets right up on it. The best way I can describe it is he pretty much swallows the thing when he does a voiceover and uses it to his advantage because it sort of obviously accentuates that part of his voice that isn't really there naturally. The only deficit is that from an engineer's point of view, that as soon as you touch anything in the highs, it just blows up. You've got to be so careful around up there with him when you're sort of mixing him. Speaker C: Well, the strange thing about his voice is you think you're going to have to play with all the lows because it's such a big, deep voice, but as soon as you touch anything, the highs just go mental. Speaker A: Well, yeah, and that's the way you've got to work with Steve's voice, is rather than sort of additive EQ, it's subtractive you've really just got to sort of balance it by taking away some of that deeper stuff that's there in bucket loads. And just leave the top alone, otherwise it will just destroy itself. I've seen people with three DS's on a track trying to get rid of it once they've started sort of trying to get that typical radio cut through, which is the biggest mistake. And as soon as you say start again, but don't touch the highs, just cut some lows, they go, yeah. : Okay. Speaker C: So my question is with the 41 Six, it was the guy who was the voice of The Love Boat. Was he the first guy to use the 41 Six for Ernie Anderson? Speaker B: I don't know if he was the first, but he was certainly the most well known for it. : I thought Don LaFontaine made it really popular. Speaker B: Well, Ernie is the one who's caught on camera using that mic on video and other things, where he's in the studio at ABC and he's literally doing know. : And I got to imagine someone just did it because, like, here's a mic. It's the one that the freaking news guy uses. But here you go. Say the word. Speaker C: The story I heard was not like I think he was a bit paranoid and he didn't like being in the booth because he thought people were talking about him. Speaker B: Right. Speaker C: And so he wanted to sit out in the control area. Speaker B: That's right. Speaker C: And he couldn't use a normal large diaphragm, couldn't use a U eight seven. Speaker B: Out there, every damn thing. Speaker C: So one of the guys on the floor came up with the idea of using the 41 Six. That's what I heard. : Why don't you use this razor blade to record your voice? Speaker B: Yeah, it's probably a 415 or whatever they had at the time. : Yeah, probably a T powered 415 at the time. Yeah, I got a couple of those. Those sound a little bit different than the four. Speaker B: Little bit less distorted. Speaker C: Yeah, exactly. Speaker B: That sound, for whatever reason, better, for worse, it's become the character of what a voiceover sound sounds like. Like when you listen to a voice recorded with a close up mic, I think we've gotten incredibly tuned what that sound is. It's become what was the word you used? Robo? Standard, but something else. Speaker A: Yeah, I did, didn't I? I used a big word printed benchmarked. It's a benchmark. Speaker B: Benchmark, yeah. Kind of a benchmark, yes. So I've been hearing that mic with my clients and promo people for so long. So when I hear another mic, right, upside of it, if it's an accurate mic with very little color, such as the OC 8118, it sounds well, it sounds like this here. Here's a 41 six of Andrew and then the eight one eight. So this is what a non accurate mic and then an accurate mic sounds like side by side. And then you did it in two different placements, right? Speaker C: Yeah. I did that was because of our discussion a couple of weeks back, where we were talking about placement with the 41 Six, which I'd never I thought, yeah, well, whatever. : Andrew, where do you like the 416? Speaker C: You'd be surprised where'd you like that. He's got a dark brown voice. No, he hasn't. Speaker A: Well, if they say that your voice is chocolatey, you can tell them why. Speaker C: Yes. Getting a bit messy now, is it? Speaker A: Yes, indeed. Speaker C: I always had the 40 116, sort of like facing down, but to the slightly to the side. So I'm sort of almost not quite side addressing, but you know what I mean? That's how I had it and I got used to that sound. And then after our discussion, I thought, I wonder if the proximity, I wonder what it really is like. So I moved the mic and went basically pointing straight at me, but slightly downwards towards my mouth, and I couldn't believe the difference. It was just like two different mic. It was two different mics and it was the old get a toothpick and stick it in your eardrum kind of sound that you get with the 41 Six. : Yeah, which is the other reason why I think engineers like it, because you get a voice recorded on that and it's just going to cut through everything and you don't have to do a lot more to it. It just sort of has this pre processing that works for a lot of that in your face advertising. Speaker B: The Hamburger Helper of microphones. : Yeah, it's just like in your face advertising. Right there, done. Speaker B: Here's what it sounded like. Here's the samples. I got them right here. Speaker C: The MercedesBenz GLE SUV is the complete package. The MercedesBenz GLE SUV is the complete package. The MercedesBenz GLE SUV is the complete package. So that's first one was straight down the barrel, second one to the side, and the third one was the eight one eight. : And you can hear it, it just gets less and less edgy, less and less. It does. Speaker A: The interesting thing about the 4116, and I guess its impact on the industry, is it's been copied a few times, probably, or tried to be copied. But I'm on an NTG five right now and it's probably the closest, I reckon, that I've heard. : I don't know. The NTG five has got more bass. I'm on an NTG five, too. I think the NTG five is a warmer mic. Yes, it does have that shotgunny in your face thing, but it's a little bit actually bigger sounding, but it's not necessarily more cuddy. I think this the eight one eight. You could take it and EQ it to do what the 416 does. Speaker B: Oh, yeah. : Pick up more room. But the 416 is just sort of like there it is, it's going to. Speaker A: Put done for you. : It's a cut. Speaker A: Yeah. Speaker B: I'm so used to the way that bright cut condenser mic sounds that I add EQ to my own mic because I want it to sound more like that bright, condenser mic sound. Right. Now I'm talking into the Earthworks Ethos, which is a very flat mic. And if I cut my what is it, ten khz? Six DB shelf, basically. It's not a shelf, but it looks like one. Then it sounds like this. Right, and it still sounds good. It just doesn't have that top end, that bright sizzle. : I think the extreme difference would be go from a 416 to an SM Seven. Speaker B: Yeah, well, the SM Seven has like this kind of this mid range thing that I've never been a big fan of the way that sounds. Speaker A: For voiceover. Speaker B: Yeah, for voiceover. : Do you like the PL 20? The Re 20 better than the SM seven. Speaker B: Yeah. Personally, radio voice, the PL 20 is the Re 20 without that big basket on it, the front, right. : No, I cannot tell you the difference between them, actually. I believe they are the exact same, just years difference. Speaker B: Oh, got you. : For this year to this year. They made the Re 20 and then they I think the PL 20 was before the Re 20 got you. Yeah. No, I think that as powerful and big of a mic. And no matter how much Rush Limbo wanted to gold plate his, I think the SM Seven beat the PL 20 in overall installations since the Pandemic, at least. It's like, holy cow. Did they get the SM Seven out there on podcast? Speaker C: Yeah, absolutely. Speaker B: I don't know who they have to thank for it, but Joe Rogan is probably high up on the list because he's been YouTubing his podcast for quite a few years now. : I mean, there's an ad campaign that I've never seen an ad for an SM Seven. That's marketing. Speaker B: Yeah, that's right. : Yeah, you need it. And I didn't even tell you. Speaker B: I mean, I just installed a podcast studio and the mic was not chosen because that's the best mic. It was chosen because that mic was seen on another podcast. Yes, exactly. Because the owner is and the 416. : Has got that, too. And so it's like, yeah, the SM Seven, you can abuse it. And it's going to be pretty consistent and whatever dark and warm. And it has that thing for radio where it's not going to pick up. It's just going to seem to pick up the voice and not the other stuff. Right. Like the 416 has got the cut. Speaker C: Yeah, the SM seven. SM Seven b basically eat the things anyway, and they're built like a tank, which is perfect. : Yeah. You can abuse the whole mic and you won't hear. I mean, I don't know how Howard Stern gets away with abusing his Neumann condenser the way he does and you never hear it. Speaker C: Can you explain that one's? Speaker B: Still a mystery. : It's like it should just be like. Speaker B: This kind of shit all over the. Speaker A: Place because it's not connected, I'm sure of it. Speaker C: I don't think it's connected. It's a fucking prop, isn't it? : It's a prop, yeah. Speaker B: Now this sounds more like an SM seven B, doesn't it? This is that it does a little. : Darker fatter, a little bit less top. Speaker B: End, a little bit more mid bump around one k, couple of DB. Now it's like an SM seven. I could go to the low frequency and boost up the bottom end. Now, they would sound even maybe a little bit more. : So in the spirit of don't send us a processed voice. Stop using 416s because they sound too processed already. Speaker B: Yeah, stop using them altogether. Speaker C: But it's kind of weird, isn't it? We're like, we get a large diaphragm mic or something and then we try and EQ it up to sound like a four one six. Just use the 41 six and be done with it. Speaker B: Really? I've caught myself doing that where somebody's like, okay, here's a sample of my 41 six, here's a sample of my TLM 103, can you make me a stack for each of these two mics? And over the time I'm just like, okay, I'm not going to touch the EQ at all on the 41 six. : Yeah. And then you're going to make their tail on 103 sound like a 41 six. Speaker B: What, did you resist the urge? I used to, I used to, but I resist the urge and now what I'm doing is I'm mostly just going to do corrective EQ. Speaker A: Yeah. Speaker B: When there's like a harshness, a nasal, some resonance in the booth, then that's it. : I think with the TLM you could give it a little bit more of a glassy sound and not so much of an upper mid, but a way airy high frequency kind of airy boost and make it nice and it'll still have some sort of I wouldn't call it cut, but presence, literally. But it'll be different than the 416, which has that frequency that every speaker has. It's like four k, eight k all packed in there. It's like your worst speaker on earth plays back those frequencies, for sure. Speaker A: Yeah, no doubt, yeah. Well, and the eight one eight, well, it's the polar opposite, isn't it? : I think eight one eight is like the TLM. You could just give it like a glassy airy sound, you're not cornered into the sound of the four six. I think the eight one eight could be more of a chameleon than the 416. The 416 does its thing and that is it. Speaker C: Yeah. It's a one trick pony, that's for sure. Speaker B: It's a one trick pony, but the way you manipulate it is by placement. Speaker C: Yeah, well, that became obvious. Yeah, absolutely. It did sound like two different microphones just by moving it. Speaker B: I mean, the first time I saw. : A 42 different voice actors sometimes, yeah. Speaker B: The first time I saw a 40 116 in an audiobook production facility, I. Speaker A: Was like, yeah, that seems like for. : A long term thing, it's like that's a harsh mic to be listening to 8 hours of the same person. You'd want nice pillowy mic? Speaker B: Yeah. So I don't know what post they were doing on the audio. I'm sure they were doing some EQ. : It's like listening to classical music on NS Ten s? Yes. Speaker A: I was going to say you'd be pulling the earbuds out halfway through mowing the lawn. You'd be going, Jesus, my ears are bleeding. Speaker B: Yeah, absolutely. : Well, maybe it's good for the lawnmower. You're mowing the lawn. It's like I can hear 4K. Speaker A: I've got Ebays in to stop going deaf, but I'm going deaf anyway. : Yeah. Speaker B: Here's a little test. Tell me what this is. Speaker C: The MercedesBenz GLE SUV is the complete package. : That is either the 416 straight on, I think, or maybe to the side. Speaker B: All that was was the eight one eight with a shelf high shelf on it. It was an eight DB shelf starting at seven. : Wow, that's a shitload. That's a lot of DB. Speaker B: It's so funny. I opened up the Au filter plugin, which is like a really simple four band EQ. And the setting I had last loaded, wasn't that's what it was? It was just like an ATP shelf at seven k. Wow. I was like, all right, let's see what that sounds like. That's what that sounds like. : Sounds like so the 416 is boost at. Boost at. Speaker B: But if you ran that EQ on the 416, well, you would get this. Speaker C: The MercedesBenz GLE make it stop. : D 416. Speaker A: Try selling a MercedesBenz with that sound. Yeah, exactly. Oh, my goodness. Speaker B: Off brand, for sure. Yeah, but it's weird, there's a lot of commercial work getting booked, especially female voice stuff. That is really bright. : Yeah, it is. I used to say a lot of the times, depending on the 414, some females didn't work as well with a 414 because their voices were already kind of airy and then you get that really top end mic on it. Yeah. And it's like they overcompensate and sometimes like a U 87 worked better because just sort of try to pick up some of those lower mids. Speaker B: I used to recommend the Rode NTG three all the time for women because it was a very dark, flat and warm mic and so it worked really to their advantage a lot of times, in fact. Speaker C: That's funny you say that, because that's the mic I got for Somerset for Interg three, because it just did not sharp and nasty. Speaker B: So, yeah, it's funny, when you have a good mic that gets all the information with no distortion, you can really EQ it. And when you have a mic that is pre filtered, pre EQed and arguably has some degree of distortion, it's much. : Harder to correct it like anything with audio, it's easy to work with a blank slate compared to trying to uncompress. Speaker B: Oh, boy. : It's impossible or unds. Speaker B: Right? : Or UN crazy 416 EQ something. Because no matter what you do, the fix that you apply will create other harms, and you'll just end up with Swiss cheese in the end. So these broader, flatter, big diaphragm mics or what's interesting is, I think, to get a really accurate voice, I've not seen anybody try to record voice with, say, like a Km 184. And sometimes you see a lot of the opera singers what's an opera singer set up, like, a nice small diaphragm away from the singer? Speaker B: Yeah. Distant placement. : Distant, right. And then you get that just like that is what it is. There's no proximity. And I'll bet you for some people's voice, maybe something like a really pure small diaphragm condenser would be pretty interesting. That's why I was curious about those rode TF. Mics. Speaker B: Yeah, TFI. : Those look pretty high end small diaphragm condenser. And I bet you those would probably. Speaker B: Wait, didn't one of you guys get the small diaphragm Austrian audio? Speaker C: Yeah, robert's got them. : I got the OC eight. I got the OC eight. And those are good. I was going to say, I don't think they're sheps killers. They're closer to 184s. They're not sheps, but they're much closer to like honestly, they're much closer to, like, 450 ones. They're a little bit less full and very good for symbols, but not necessarily the whole I think a really good small diaphragm mic like a shep would be amazing on the right person's voice. But you'd have to have the right booth, right? There's no way, you know, you can. Speaker B: Get a chef's headset microphone. I actually demoed it once. $2,400 headset mic. It was an ultrasound headphone. $600 headphone with a chef. : And the microphone is like a pencil. It's like a pencil, yeah, it was pretty big, actually. Speaker B: It had a big windscreen. It was for sports casting. It had a big gooseneck on it. And it was like this ridiculous contraption that I was able to get a demo of one time, and I used it. It's on YouTube somewhere. $2,400 headset. Headset mic. : Chefs and BNKS. Man, not cheap mic. Speaker B: No compromises. : Yeah, they are good, though, definitely. I mean, Neumann's, too, but those are like, chefs. Doesn't even try to make a 103. They're like, you're going to make $1,000 microphone. Ha. We'll make a $7,000 microphone. Our cheapest mic is $2,000. Speaker C: I would love to, at some point, find out how the 41 six did become so prevalent. : Honestly, I always hurdles, don LaFontaine. I remember I was shocked when I found out, like, really? 416? Speaker B: Just for the record, it was not the mic that was in this booth when I met him. Like, I never saw him using that booth. : The 416 was not the mic that Don LaFontaine used, not when I met him. Speaker B: I mean, I worked with him in 2005, but he'd already been recording for 20 years by that point. : Andrew, when did the 416 become all the rage, because when I started in 1998, it was like, u, people are using shotguns, but I'm just an early engineer who's like, shotguns are colored. You only use them because you have to because you have mitigating circumstances. Why would you ever use a shotgun in a perfectly clean booth? And I start working on higher end commercials, and you start finding these voice talent who are using it. And actually, come to think of it, cutters. We had VIP 50s until, like, the early 2000s VIP, and then we got these Mylabs. Okay, very interesting mic. Rectangular diaphragm. So the skinny side of the rectangle is supposed to give you the best of a small diaphragm mic, and the long side of the rectangle is supposed to give you the best of a large diaphragm mic. Speaker B: Far out. : But they were good. We even had some voicemail go like, what's that mic? Like, I need your setup. And one guy bought one. But by the early 2000s, we put 416s in all the booths, and eventually that was just the mic. Like, the VIP 50s got pushed to the side, and everyone who walked in just got recorded on a 416 by default. And that's by 2005. I feel like we were just all 416. So Andrew, I don't know. When do you feel like the 416 took over? Speaker C: Because I was in radio until 97, so I didn't really see any commercial studios because everything was done in the radio station. So there was from memory, I don't remember seeing any shotguns in any radio stations. It was usually SM seven. : You still don't true. You still don't see shotguns in radio stations. Speaker C: Well, you do here now. You do see them in the production areas. Speaker B: Really? Speaker C: Absolutely. They're all 41 sixes in the production areas of radio stations. So the first time I saw a 41 Six would have been probably late ninety s ninety seven. Ninety eight, I guess. : So that's when it started taking over, in, like, late 90s, early 2000s. Speaker C: Yeah. And then they became everywhere. And a funny story, actually, because I had to do a job when I was in La. So I had to find a studio. So I went to La Sound. Speaker B: And. Speaker C: Of course, they had the 41 Six there. But I was talking to I won't mention the person's name because he's pretty high profile and might get the shits with me, but I was talking about the 40 116 with this person and about the foamy, and he said, no one in this country would ever have the foamy on their 41 six. It just doesn't happen here. I don't know why you guys do that. That's ridiculous. That's crazy. Never seen it before. : Well, usually you just put the normal you put the normal steadman screen windscreen in front of it. Speaker C: Yeah, I sent him a photograph. There's me in the booth, La Sound with the foamy on the 41 six. So they definitely had the foamy on. Speaker A: Well, there you go. I always use the foamy. I used to, because there's plenty of people who didn't know how to use the mic, used to get up all over it and just make it. : Here's a funny one. Even Harlan Hogan's vo one A was based on an older MSL. Model. Was it based on or was it just an older MXL model? Speaker B: No one will really know except him. But they say it's, I think, a 1006 or something. : It's a 1006. Speaker B: And I have two of those and they sound amazing. : I got several. Speaker B: A really fucking good cheap mic. It's a really good cheap mic. : It was the first $100 large diaphragm mic I bought for me, too. And then I won't say who in Australia modify one. Speaker C: Yes, I know who that is. Yeah, we'll leave that bit out. Speaker B: So the chef's headset is the HSC four VXP. It's the model number, if you want to look it up, and very unique mic. And the capsule on it is what probably you're more interested in. And they make different versions, so they have a strong proximity compensation model so you can get it, like, designed to actually compensate for proximity effect. Which is interesting because, again, Sports, they want the boom right up in front of their mouth to reject background. : Let's start let's start putting, like, parabolic mics in the booth. Speaker B: I know you talked about that. That would be crazy. Well, the capsule, which is funny, I'm looking at an ad for the mic and they don't mention the capsule, but I think I did in my video. I have a video on YouTube from years ago. If you just search for Widows World episode 90 Headset Mic Roundup, you'll find this video. And I actually try out a bunch. : Of the Kip Winger headset mic roundup. Speaker B: I mean, I was trying from really cheap crappy stuff all the way up to the ships and everything. : The stuff that you start out with the mics that only pick up S's. Speaker B: Right, or have no low end response period, they just roll off below 200 something. : If you des them, they go silent. Speaker B: Yeah, exactly. Well, there's just been a tradition of bad sounding headset mics for so many years. : Sure has. I mean, do you remember that audio technica that I was playing around with? Is it the really cheap one headset mic? I think it might have been a dynamic and it didn't even have the headset. It's just a head warning mic. But it didn't even have headsets. Speaker B: I use those in many aerobics or fitness studios where budget was an issue because they could be destroyed and it wasn't a huge loss. But, yeah, those are classics. But audio Tending, it just came up with a headset mic. That where they graphed basically an at 2020 capsule onto a headset boom. And it's like a $200 headphone with a 2020 capsule. And it's pretty freaking bad. I mean, it's pretty good. Again, comparing it to what else is out there, it's pretty good, but it's. : Still well, that's the reality. Honestly, if someone gave me a voiceover recorder on a cell phone, I'd get it on the yeah, you find a way and I'd find a way, and I'd freaking bass synthesize some stuff and make it sound as good as it can go. And unfortunately, with a lot of clients, they're like, okay, sounds good. I understand the words. Sounds like a commercial to me. But we know there's a huge difference between all that stuff. I don't know. I still don't like it. But I've had a couple of voices. Now I've run into the tiny, basically rode video microphone, USB video mic. Speaker B: Go two. : Yeah, it's like your pinky. Speaker B: That's probably because I've recommended it to a bunch of people. : You can blame me for that one. Yeah, it's like it's okay. Speaker B: It's $100 mic. : Yeah. The flaws are exposed much quicker and the escape routes are smaller. Speaker B: It's probably marginally better than the phone mic in the iPhone. Just it's a shotgun, so it's a little bit more directional. Yeah. At the end of the day, I'm blown away with, when you use the iPhone mic correctly, how good it actually can sound. It's crazy. : Yeah. And especially if they start putting, like, arrays of microphones in there and doing. Speaker B: Beam forming, they're doing I don't know which vert well, they're already doing that. I mean, you don't realize it, but they are doing that. They use three capsules and it's a beam. : Oh, the microphone and the iPhone is a beam. Speaker B: They have been for quite a while. I even had an LG phone. It was like a V 40 or something. It was probably six years ago. And I could steer the microphone pickup pattern front to back, depending on who using the little slider on the screen. And I could say, make it pick up the guy in front of me and then make it pick me up, and I could go back and forth. So that's been around in cell phones for a while. But anyway, I had a lot of fun doing interviews with the new rode wireless kit with the wireless me, because the rode capture app on the phone will shoot both cameras. So I'm shooting a video of me and shooting a video of the guest. And they have a mic and I have a mic. So when I'm done, I have two videos and two audio tracks to manipulate and post. And it's amazing how good of a production you can make from that, really? : From your pocket. Speaker B: It's crazy. Yeah. I posted a couple interviews. Speaker C: Was that the one with the woman from Heil? Yeah, I saw that. : This is why we're all out of business. Speaker C: I thought you'd actually done some naughty shots, but I didn't realize you were actually live with your bits to camera as well. : What's going. On with the AI voice realm? Has that calmed down or are people still freaking out on AI taking over? Speaker C: I haven't seen much like it's less. : A little bit less discussed recently? Speaker C: I haven't seen much at all. Speaker A: What microphone do you use on an AI voice? : How many drummers does it take to change the light bulb? I'll tell you the same number of voiceovers it takes to read a book. Speaker A: None. : Because you just get an AI to do it. Speaker B: Well, that was fun. Is it over? Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robbo Got your own audio issues? Just askrobo.com. Tech support from George thetech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic or just say good day. Drop us a note at our website proaudiosuite.com.

It's time for some sunshine, even as the year moves into its autumn - at least nominally, in the Northern Hemisphere anyway. So Ben and Barry revisit old episodes - episodes 101-105 - and revisit those topics but with a positive attitude. They debate the World's Best Diva, Advert, Escape, Guest and Voiceover, with appearances from the likes of Freddie Mercury, the Honda Accord and the Voice Of God. Follow us on Twitter: @worstfoot @bazmcstay @VanderLaugh Follow us on Instagram: @worstfoot  Join us on our Discord server! https://discord.gg/9buWKthgfx Visit www.worstfootforwardpodcast.com for all previous episodes and you can donate to us on Patreon if you'd like to support the show during this whole pandemic thing, and especially as we work on our first book and plan some live shows! https://www.patreon.com/WorstFootForward Worst Foot Forward is part of Podnose: www.podnose.com

In this episode, Anne and Gillian stress the importance of having a high-quality home studio for voice actors. The hosts discuss the technical aspects of setting up a studio, such as having a good computer, fast internet, and a reliable microphone. They also emphasize the need for soundproofing, with Anne sharing her DIY approach to creating acoustic panels for her studio. Additionally, the hosts talk about the importance of isolation and how it can be achieved through building panels or using reflection filters. Overall, the episode provides valuable insights for anyone looking to set up a professional-grade voiceover studio.   Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: Hey everyone, welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I'm excited to welcome back to the show audio engineer, musician and creative freelancer Gillian Pelkonen for another episode in our BOSS audio series. Hey Gillian.    Gillian: Hello Anne. How's it going today?    Anne: I'm doing good. Gillian, I love talking all things audio with you, especially because for a voice actor, our home studios are so very important. And I work mostly out of my home studio, and I know that you kind of do both. You work out of professional studios and your home studio. So I thought we should discuss the important aspects of what voice actors really need and how they can fine-tune their home studio to sound their best, 'cause that's an important component of today's voice actor. We need to have great sound.    Gillian: Yeah, I definitely agree. And I'm home. This is like my working station, but when I'm really working I'm always just bopping around to different studios. So I understand why your booth is so important. It's like your second home or --   Anne: Yeah. (laughs).   Gillian: You know, you spend all your time in there.   Anne: We spend — oh yeah, we spend a lot of time in our booth. So first of all we have to be confident that it sounds amazing, that we can deliver amazing sound to our clients. And then also it's gotta be someplace where it's comforting for us because we do spend an awful lot of time in here.    Gillian: I definitely agree with my personal setup that I have here. I have like all my little mementos that I wanna see, and I have my mic of course for just meetings and talking. But really professional studios are so different than a home studio, because for me I'm always going different places. There's a ton of different gear, a ton of different stuff that we swap in and out for different uses, different clients, but really you guys are just focusing on your voice.    Anne: Yeah.    Gillian: A lot of the work that I do is just to get creative sounds, different sounds, but with voice acting you want it to be consistent and you wanna show up in the booth to do, I guess, revisions for something that you did six months ago and you need to be the same Anne that you were, which is so crazy to me.    Anne: Yeah. And even longer than that, actually I had a client just the other day that I had to provide pickups on something that I had done close to five years ago. And interestingly enough, I've actually transitioned from one studio to the next. So having I think the good bass sound, right, that you can get out of your studio area and also your mics make a big difference too in terms of the sound. And so I had to make sure that I could match it because I literally moved from my studio in Irvine, which was a different setup, a studio that my father built, to a custom studio that Tim Tippetts built here right before the pandemic. Oh, and in between I had a temporary studio, I forgot to mention that set up at an apartment that we were staying at until our new house was built and ready. So that was a different studio.    So all through those three different studios, thankfully I had the same mic, so I at least knew that I could get the same sound as long as I had a decent environment to record that in. And then also I will give props to myself because I had the audio files from five years ago. So I'm a big proponent of backing up your stuff and keeping an archive of it so you can listen and see what your performance was like, see what you sounded like and then be able to match it.    Gillian: Yeah, that's crazy. And so incredible that you have those files and I think that's one of the most important things for me personally too, just to keep everything backed up and know what's going on. But enlighten me, because I really don't know, like did you spend a lot of time working in studios before the pandemic? Like what was your experience like?    Anne: Oh, good question. So I started, gosh, I started back in the early 2000s doing voiceover, and that was when a home studio was like just a thought. It was not a requirement, it was just a thought. And you used to go to local studios to record things, and you would get your jobs based upon auditioning with either studios, or you could audition and then you would select a studio and you would rent space there, or you might be on a roster for a studio. So it's very interesting because as technology evolved and online became a thing and online casting became a thing, then all of a sudden home studios became a thing. Actually back in the day with Don LaFontaine, right, having to travel LA traffic all the time, he became, I think one of the first proponents of doing things remotely in a studio using ISDN technology.    So that I think really spurred everybody else on to start to get home studios because there's so many variables when you record in a studio. But the good thing about recording in a studio is that you go there and everything is beautiful, everything is sound -- everything is, well maybe not sound proof, but everything is optimized for recording so you didn't have to worry about it. And so for me, all of a sudden having to create a home studio or a space for me to record and sound good -- I'm not an audio engineer by trade, I didn't really study it in school. So for me that was a big hurdle in the beginning of my voiceover career. And I know it still is for voice talent that are coming up through the ranks, because that's not necessarily what we studied. We didn't study audio engineering. And of course it's a whole field.    So (laughs), it's not an easy field. And to set up a space in your home so that it can sound as good as a professional studio is really tough. So in the beginning when I went to studios to record and do my jobs, it was great, except for there was always the stress. Can I book the time in the studio? And if I had the time booked for me in the studio, that was great. All I had to do was make sure I got there on time. And then that became a stressful thing for me because of possible traffic. And back in the day, I didn't live in the LA area, but I did live in the New York area. And so traffic anywhere, just the stress of getting to the studio on time, 'cause that's the last thing. You know, that was the one piece of advice that everybody gave to starting voice talent was that don't be late, don't be late to your studio time. You wanna make sure that you show up and you're professional.    But you certainly didn't have to stress about anything other than just performing in front of the mic. And I think that was a big plus for going into studios. And people still go into studios today. And I know I love it when, even if I'm remotely connecting to a studio, I have the engineer taking care of all the sounds and levels and the files, and there's just so much to think about when you are at your home studio. And I'm rambling on here, but it's also a thing that when we are in our home studios, we have to think about things like, okay, well, it's our time to open those files, save the files, upload the files, send the files to our client, edit those files. And so that's something that when you don't go to a studio is now the responsibility of the voice actor.    Gillian: Well, that's crazy (laughs). I mean obviously a lot of these things I know to some extent and it seems like there's so many pros and cons for both. I mean, just hearing you talk about it, obviously we know showing up to record and not having to record yourself, it takes a burden off of it.    Anne: Yeah.    Gillian: Because I record myself. I mean, I'm not a voice actor by any means, not at all. But I've been working on my music for my whole life, and I think when I was like 12 or 13 I got a little ProTools CD and like a tiny interface and that was what started it and the convenience of being at home. But really it is such a treat to go into a studio.   Anne: It's a luxury. I think I consider it a luxury.    Gillian: But also hearing you talk about it, I feel performance-wise, it's gotta be easier to deliver when you're not stressed about getting there on time, you're not stressed about, you know, needing to be in front of other people. I know for myself, I love recording myself, especially when I'm doing singing or vocals because it's super vulnerable and sometimes I don't wanna have to do that in front of somebody else, especially someone I don't know, a stranger. Like, it's a little bit more difficult. But it is interesting because I work at a lot of music studios, so we don't do a ton of voiceover, but whenever we do, we always apologize to the voice talent, 'cause we have this entire gigantic beautiful studio, and we're like, okay, we're gonna give you one mic, we're gonna stick you in the corner 'cause it has the best isolation and close the door, and that's where you're gonna get to go.    'Cause it really is true. You need a good mic, you need a good setup. But voice actors don't need that whole setup. And so I guess the question or conversation is gonna be about how do you take the pros of a pro studio and incorporate them into your home studio setup and make it so that you don't wish you were at the studio. You have everything you need right there.    Anne: Yeah, yeah. It's a journey, for sure, for a voice actor, because again, I don't have the audio engineering education that you do. I know how to perform behind the mic. And so I just remember for me setting up my initial home studios --and I didn't have an ear either for it. I think when you first begin, you just don't have an ear for what good sound sounds like, and I would record and I didn't think anything of it and sent my file off to someone and they're like, mm, yeah, no Anne, that's not gonna do, that's not acceptable. And I was mortified and then it was like, wow. So what do I have to do to make my studio produce sound that is viable for my client?    Gillian: Yes, definitely an interesting conversation and thought just because it's true, like voice actors, they do have to fill the role of the audio engineer. I do believe that. But I also don't think that all voice actors need to be audio engineers.    Anne: Yes. Yeah. Yeah. I agree.    Gillian: You need to know how to record yourself. You need to know how to see if you're clipping, if you're too quiet to hear, a little bit of distortion or hear if your voice just isn't sounding right. And obviously, you know, with auditions you have to edit, you have to make it sound comparable to the other auditions and maybe a final product. But really I feel like if you tell someone who's not an audio engineer, or if you told me five years ago before I was really an audio engineer, you have to do this, it's so overwhelming. So I feel like talking about what people actually need to know, versus what you hire a professional for, or what you just kind of say, okay, this is a setting within my DAW that does not pertain to me. I don't need to be using this to get proper file delivery -- I feel like that's really important for people to just, I think make peace with. Because if you spent all your time trying to learn how to be an audio engineer, you would have no time to be a voice talent or to be doing what you actually wanna be doing.    Anne: So true, so true. So then I think maybe starting from square one, if BOSSes out there are just getting started, and I know I work with people who are just getting started in the industry, and they'll connect to me for their sessions in an office with a headset, and there will be no studio whatsoever, and they will be okay, I'm building my studio. So for me, I will always say to them, well, I certainly have a ton of people that I can recommend to you that can help you build that studio.    But there are certain principles that I know, like I can now hear if they have good sound or not. And I think the first thing to consider is, in your home, like where is a quiet area? And I know that's such a lofty question to ask, but in reality what I've learned is that if you can go somewhere inside your home that's maybe on an inside wall, maybe something that's not necessarily externally connected or near windows or near doorways or near sounds that can turn on — I mean I thought I was really great in the beginning going into my office closet, but unfortunately I found that it was very close to where I would hear water when the toilet flushed upstairs. So it was like one of those things I kept hearing noises. And so I think the first thing is to find that spot in your home that is quiet and also yet convenient to a place where you can put a microphone and also your computer, 'cause you do need your interface, your computer and your microphone.    So where can you put that and set that down so that you can record in a space and also have the functionality of being able to record into your computer, and then obviously hit the start record, stop, record, and all that stuff. And also wear a pair of headphones in the beginning so that you can kind of find out what your sound is like. All those things that people don't think about, they're like, well, I'm gonna put my studio here in my closet, but then all of a sudden their desk is like at the other side of the room, and they don't have a long enough cable.    It could be that simple, right? (laughs) They don't have a long enough cable for their headphones, and then they're like, well what do I do? Or they don't have a long enough cable for their interface is sitting on desk completely across the room, and then well do they bring the interface into the room? So it becomes all these different questions. But I think understanding that your spot in your home I think needs to be in a quiet area first. Maybe not near a window or not near anything that's within a wall that could be making noise like a heater or air conditioning or a generator, that kind of thing. What are your thoughts on that, Gillian?    Gillian: It's so funny 'cause the like doing vocals in a closet or whatever, it's a cliche because it works. Having the padding of the clothing and typically that ends up being a quiet spot in your house, but it's not sustainable to work in your closet forever. And all those things that you mentioned are totally important. You have to have a computer, all of those things. And don't take me for an example if anyone's watching the video; I'm in my office. I don't do recording in here, but I'm like by a window by a ton of noise. It's terrible. But I think finding the right spot to get set up in is totally important.    But the most important thing I think, and you can let me know what you think, but for the most part for doing voiceover work, obviously you need a microphone, but your computer, your internet connection, those are like hugely important things because how fast your computer is, how good it is at processing audio speeds, how well it connects to your interface — like all of those super technical things within — I know I have like a brand new MacBook — those are gonna really matter for how your audio sounds when you deliver it to clients. And you can have the nicest setup in the world, but if you don't have internet, or I know a lot of people also do like ethernet connections, you're not gonna make it to the job. Obviously if you're just auditioning and sending it later, that's a different scenario. But I mean, how important is it to you to obviously be able to connect to clients? That's like the number one.    Anne: Well, I think that's probably one of the most overlooked aspects of being a successful voice actor is your internet. And especially now with needing to have high capacity audio recording features like Source Connect or ipDTL or whatever connection you might be using to get to a studio — that's if you're connecting to a studio -- you need to have a reliable internet connection. And I remember I very much was adamant when I came to my new place here, because it was being built, I specified that there were three specific ethernet jacks placed on the wall, on each wall. So literally I made sure that I had ethernet hardwired, connected before I moved in because I knew it was gonna be easiest to do it then.    Because the people who move into homes, and they don't have ethernet connections, then they usually have to hire an electrician or somebody that can find out that they can run the wire through the wall to get to their modem or their router, or they have to move the router into their office and then other things become a problem. So ethernet and your hardwire connections are so important. And I don't see the technologies advancing anytime soon. Like wireless technology is great and convenient, but it's still not as great as a straight wired connection. I mean you cannot beat an ethernet connection or a fiber connection to your router that gets your data there fast.    Gillian: I think it's just sturdiness. It's true, wifi goes out or it's finicky sometimes. So those are are really important things. And obviously having the foresight to know that you need to have ethernet and all those things installed is really important. But for the people that didn't think about this, are already living somewhere, don't know what to do, find a spot where you feel comfortable, find a spot that's kind of away from extraneous noise. And I personally don't think, if you're just starting out in voiceover, you need to splurge on a booth or anything right away. I think there's a ton of DIY options that we can talk about, but I think that's also a lot of pressure, or at least from what I'm hearing. I'm also like half in the voiceover world, half out of it. So there's a lot of questions that I'm probably gonna have for you about like why people say certain things. And I know kind of random but kind of on the conversation is a lot of audio people that I know are very adamant about not updating your computer or having really, really old hardware. I understand the processes --   Anne: To support the equipment, right?   Gillian: -- behind it. Yeah. But I personally don't live that way. I update my computer. I have new stuff and there are times, like when I, I updated to a newer version of ProTools or a new version of Mac, like the Mac OS that was not supportive of ProTools, and I had a couple weeks where it was having a little bit of bugs, which is frustrating. But definitely for security of myself and all of the other things going on in my life, I don't think that you need to be using a 2010 computer.    Anne: Well, I agree. Normally I would agree with you 'cause I worked in technology for like 20 years. I would always say --   Gillian: No, no, tell me.    Anne: Update. Update.    Gillian: I'm not saying that right. This is just the way that I work. (laughs)    Anne: Update, and I love being updated to the latest and the greatest 'cause I figure it's getting rid of a lot of bugs. However, sometimes when Apple doesn't update, because I work with Apples, it's not conducive to working with my hardware for my studio. So my Apollo, which is my interface, and I have backup interfaces, but right now the latest release of Mac OS is not compatible with it. And I can't afford to struggle for two weeks. I need to have something that allows me to connect and record. And so I will wait on the update until I find out -- I usually check all the -- there's a lot of great groups out there on the internet that talk about should you update your hardware for this new release? Is it compatible with the latest release for the Apollo? And I think it's wise to keep your eyes on that.    I don't think you should be 10 releases behind for sure. But (laughs), I do think that before you upgrade, to just take a look and ask around to see if things are compatible. That's important, especially if you're required to record every day in your studio, and you don't wanna have to go to your backup recording. And that's the other thing too is that I'm very much into having a backup recording setup, because I've had things happen to me enough times. But people just starting off getting into voice acting, they probably don't even have their first setup (laughs) set up, let alone a backup set of equipment.    Gillian: So let me just talk to you on that for a second. I personally don't have any Apollo, Apollo or UAD stuff for that reason because I'm so nervous to be stuck without it. And I totally agree with you, because when I updated my computer without realizing that ProTools -- I mean I'm fortunate enough that I have five or six other places that I can go use ProTools. It wasn't like -- and it was working. It just, there were certain plug-ins that weren't working. But that's not the end of the world.    Anne: Right.    Gillian: But the lesson that I learned from that was, oh my gosh, never update without checking because it's true all the programs that you're using -- and I think within Apple they will say what is compatible and what's not compatible with these new releases, and that is totally smart person way to do it. And you get burned to realize that you can't do it, which is what happened to me and I'm sure has happened to you.    Anne: You only have to get burned once. Right?    Gillian: You get burned once and then you're like, this sucks. I'm so dumb, I have my features and now I can't do my job.    Anne: Yeah.    Gillian: Which is sucky.    Anne: Exactly.    Gillian: So learn from our mistakes, don't make your own. But there are some people, and I've met them, people that I work with too -- I mean one of these studios, we had a 10 years old ProTools rig, and when you get into the large professional studios, they are upwards of like $10-, $20-, $30,000 for new ProTools rig like expensive.    Anne: Oh yeah. And I'm sure that's why they don't upgrade to the latest and greatest all the time.    Gillian: Well, the old system was super sturdy, was working really well. And then we upgraded and there were some glitches and bugs and things that come with updating. I don't know why. I just heard people that I work with grumbling like, ah, you know, the old system was so great, now we have the new system and it keeps crashing. And so the, there is this conversation about not upgrading for like 10 years. I don't know if you've heard that within audio engineers.    Anne: That's a long time. Yeah.    Gillian: So if anyone is giving you that advice, I'm just gonna give you the counter-advice so that you can take both of them and make an educated choice about what you wanna be doing. You don't need to be doing what I'm doing and have the newest stuff. If you have an Apollo, you definitely can't always have the most updated, because it's a little bit behind and everything that's not within Apple will always be a little bit behind. But just make your own choices, people. (laughs) Listen to us, gather the info and make a good choice.    Anne: Yeah. Make an educated choice. And I, and I agree like there's always that fine line of when do you update your technology, like when does that happen? And I'm very used to just from my previous jobs -- I mean I was always living on the edge. I was always trying the new stuff. And so I'm very bold when it comes to trying new stuff. But I'm also smart enough, I've been burned enough times to know that I need backups of everything and then backups of the backups. And so I'm actually really thankful for that experience. And BOSSes out there, I say backups of backups, backups of your files, backups of your equipment, backups of your internet connection, because the one time will come when you really need it, and you won't have that backup. And that only has to happen once. I'm so old, it's happened to me multiple times.    So I feel good that I've learned from it. And so while I feel as though I'm really close to the edge on everything I possibly can be, I'm also smart about when to get on that edge with equipment and stuff that I need on a day-to-day basis. So yeah, absolutely. So when you're looking for that space in your home, that quiet space, that space that's comfortable for you and also hopefully quiet for you, right, for that home studio, then you start preparing it, right, acoustically. So Gillian, what can people do to prepare their home studios acoustically? What sorts of things can they do to have sound absorption? Like if they're in a closet, obviously they can have their clothing which is a great absorber of sound. What other things can they use?    Gillian: There are a ton of things that you can use. I know there's a few DIY boots in the sense that they're not thousands and thousands of dollars. They're like some PVC pipe and some packing blankets that will kind of isolate you, which is great.    Anne: Sure.    Gillian: I think the issue with the way that homes are built versus how sound works is you get the windows, you get all the boxy walls, and you have all these parallel surfaces, and you talk, and all the sound just bounces from side to side to side. So the whole point of having treatment on the walls and treatment around you is to stop all of that reverberation --   Anne: Reflection.    Gillian: Yeah. And the reflections. And just capture it. And really a lot of studios will be built with like diagonal walls and all of these things to just go against it. I have never built a studio, so I can't say that I've done it, but I've been in a lot of places where I'm like, that wall's really weird. Why is it like that?    Anne: Yeah.    Gillian: And of course it's not for aesthetic, it's for sound. So just making, making sure that you are blocking yourself from any windows are really reflective, just any sort of padding on the walls would be really -- I mean I see yours, all of your stuff in the background. For anyone who's watching, Anne has all those nice little --   Anne: Panels.    Gillian: Yeah. The sound panels that just absorb everything. And there's also these things that we use in studios that I haven't seen any voice actors use, so I'm gonna have to ask you about it. They're like reflection filters. Have you ever heard of them?    Anne: Does that go on a mic?    Gillian: It goes on a mic stand.    Anne: Yes, I have. I have.   Gillian: Have you seen I them?    Anne: Yeah, I have seen them and I have not had good success with them, and I actually hate them. I hate them with a passion.    Gillian: Okay, tell me about it because I'm just curious.    Anne: I think that they can work nicely in a studio that already has some acoustic absorption built into it. And then if it's in a large area, if it's in a large space and you need a little bit more, I think that they can work nicely. However, what most voice actors try to do is use it for their studio and then it just becomes the only thing that is used, and it becomes very close to the mic. And first of all, they're really bulky on the stands. I had something called a reflection filter and I paid a good amount of money for it. And like 300 some odd dollars and that was 10 years ago.    Gillian: Wow.    Anne: And it was very bulky. It weighted my microphone stand in a way that kept falling over. And then also it did not create the kind of sound absorption that I liked because it wasn't enough. It just wasn't enough. And then it became inhibitive in a way because I felt like I had something like right here in front of my face. It was very close, and I feel like it just didn't do a good enough job 'cause I think your absorption material needs to be thick.    Gillian: Yeah.    Anne: And so when they make the reflection filters, it's either thick or even if it's not thick, then it's not enough absorption, I don't believe. One thing that I learned through the years of going through, I'm gonna say, three or four different versions of a home studio is -- and by the way, the window, believe it or not, my studio right now is built in an office. It's a room within a room and right in in front of me.    Gillian: Great.    Anne: A room in a room is great.    Gillian: Yeah.    Anne: Right in front of me is a wall that had a side window on it. And we actually, before we built the studio, we frosted the window so it wouldn't look silly because we had a studio in front of it, and people would just look at a piece of plywood or (laughs), you know, so it wasn't attractive. So we frosted the window and then we actually put Rockwool insulation and then a drywall on the out. So we created a whole encasement for the window.    Gillian: Wow.    Anne: So that that blocked any potential sound that could potentially get in. And then we put the studio right up against it. And so that's how we blocked our window. So we made sure there was absolutely no way that sound could get in from the outside on these walls. So it's a room within a room. And so my acoustic panels are four inches thick. And they have Rockwool insulation and that's something you can get at Home Depot. It's awesome. It's really cost effective. It's not expensive. And these were all DIY panels that were made. And I'm gonna give a big shout out to Tim Tippetts. He's got a great YouTube video on how to make them. They're all four inches thick and they sit just slightly off the wall.    Gillian: Yeah.    Anne: So that way you have a little bit of spacing in between the panels and the wall for the sound to kind of just -- if it bounces on that wall, it'll come back in through the panel, which is four inches thick. So that you get I think the highest amount of sound absorption that you can using the panels. And if they aren't using the panels and they're using blankets, again, those blankets are giving you a certain level of absorption. Not quite as much I think as the four inch thick panels with Rockwool in there, but again, it's your choice. And I hang them everywhere. I have a ton of them in here. I also have clouds that are up above me with the same kind of thing. And then outside of my studio, because I want the outside of my studio to be quiet as well, I also have panels hung out there as well.    Gillian: See, that is just like an impressive setup, and thank you, Tim Tippetts. I know he was the previous BOSS audio guest, and that's awesome that he did all of those things for your studio. And that's just what I would say the difference between a Pro VO setup and a beginner VO setup. You gotta start somewhere, and I think that isolation is really important. And obviously, any advice we give, and this will be what I keep saying on the series, is just take what we say and apply it to your situation. Because unless we're working one-on-one, like either Anne or I working with you, there's no way to know exactly what your situation is.    But when you're starting out, I think that — I mean even if a few people built those things that Tim has a video on it and built those panels and just had them in your home office, behind you, around you, it'll help. You don't need to start with a room within a room, even though that's an amazing setup and it sounds great. And all studios are built with rooms within rooms and floating floors so that there's no sound coming from the outside world. But yeah, I think we got a really good foundation of home studio verse pro studio, how to get your space set up. And I think on the next episode, we should really dive in for the BOSSes on like what you need for a beginner home studio setup. What do you think?    Anne: Absolutely. So guys, when you are thinking about getting into voice acting, you must also think about where in your home is a good place for that studio, because you can have an amazing voice, but if you can't deliver the audio, a good quality audio to your client, you're not gonna be a very successful voice actor. So absolutely very important. But one thing I will say to give you all hope, in case you're overwhelmed at this point, is that once you get a home studio setup, like I have a home studio setup, you're pretty much good to go. I mean, your stress is over. You don't have to worry about it much after that, outside of your equipment failing, but your space, if your space is set up, it's set up, right?    Gillian: The investment is forever.    Anne: Right? Yeah. Foregoing any kind of natural disaster, right, or emergency, it stands and it will absorb your sound appropriately, and you won't have to worry about it again. So that's what I love (laughs).    Gillian: Yeah. And I love, Anne, all you shared with me because obviously I work in all these big studios, but I can't say that I've been given a tour of anyone's booth yet (laughs). So you know, hearing how you set it up and all of those things, I think it'd be great for BOSSes to know, and you taught me a little bit today too.    Anne: Awesome. Well, Gillian, thank you so much. I'm looking forward to our next episode. BOSSes, simple mission, big impact, 100 voices, one hour, $10,000 four times a year. BOSSes, visit 100Voiceswhocare.org to join in. All right. Also, a big shout-out to our sponsor, ipDTL. You too can connect and network like BOSSes, like Gillian and I; find out more at ipdtl.com. Thanks so much, guys. We'll see you next week. Bye.    Gillian: Bye.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

While vacationing, a manchild and his somewhat responsible adults are taken hostage by armed strangers who demand they choose which movie trailer voice actor they want to narrate their demise. On Episode 553 of Trick or Treat Radio we discuss Knock at the Cabin, the latest film from M. Night Shyamalan! We also discuss our all time favorite horror film trailers which leads into a larger discussion about the craft of marketing a film and the rise of AI art. So grab your favorite homemade doomsday weapon, make a fair and imbalanced decision about saving the world, and strap on for the world's most dangerous podcast!Stuff we talk about: Texas Chainsaw Massacre 3, best horror trailers, discussing films without spoilers, premium Zod, male premium content, Ministry Era Undertaker, Terence Stamp, Alien Nation, Michael Shannon, Hitchcock's Psycho, Percy Rodriguez, Ernie Anderson, Don LaFontaine, AI Art, penmanshit, glutes free, Ravenshadow's massage, Wayne Gretzky, Knock at the Cabin, Dave Bautista, M. Night Shyamalan, Rupert Grint, Jonathan Groff, Ben Aldridge, The Sixth Sense, Unbreakable, benching 500 lbs, The Fappening, Old, After Earth, Police Academy, charisma black holes, former wrestlers that became actors, The Rock, Roddy Piper, They Live, Guardians of the Galaxy, Medford MA, Paul G Tremblay, an impossible choice, conspiracy theorists on message boards, natural disasters, Homicide: Life on the Streets, Andre Brougher, Brooklyn 99, The Mist, Paul R. R. Martin, The Outwaters, found footage films, Dune, partying while watching movies, Paul W. S. Anderson, fair and imbalanced, the pot calling the kettle fat, Dave Barista, and the nicest home invaders you've ever met.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

The advertising landscape is changing. People want to connect with real people, not just faceless brands. Anne & Lau share their tips for putting yourself out there visually. What matters is that you are enhancing your natural essence, not turning into some inauthentic version of you. Share yourself on social media & your website. When clients see who you are, they feel like they really know you. It also makes them more likely to remember you and recommend you to others. If all else fails, present yourself in any way that makes you feel comfortable & shows those around you that you care about what you're doing.   Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: Hey everyone, welcome to the VO BOSS Podcast and the Business superpower series. I'm here, Anne Ganguzza, with my bestie, favorite special guest, co-host Lau Lapides. Hey Lau.   Lau: Hey, Anne.   Anne: You know, Lau, since I started with you, I made that decision to have all of our podcasts also be on video. And I have to do my hair, I gotta do my makeup . And I found myself increasingly out there on camera and in front of people. And remember back in the day, when you made that decision -- or maybe you didn't, but I did. It was always like, well, I don't wanna have to be in front of a camera. I just wanna be an actor behind a mic and nobody needs to see my face. Well, I think that's changed.   Lau: Mm-Hmm.   Anne: And I think it would be a good thing to talk about is it necessary for us to have a visual image as well as our voice?   Lau: And I remember actually, like it was yesterday, I remember the day where it was fairly detrimental to be seen because you would be pigeonholed. You'd be stereotyped. Like let's say I, I'm able to do a 10-year-old boy's voice for animation. Then all of a sudden you see me, and I look completely different than that. And now it's stuck in a producer's mind. That was the mindset back then of like, keep yourself hidden enough so that you're branding could go all over the map. And now it's like completely changed in so many ways.   Anne: Has it? See, 'cause that's the question I get these days, especially from character actors, or let's say actors that don't look like they sound. And so they're concerned about being pigeonholed if they show their face. But I am like, these days, especially with video being right up in the forefront right up and everybody's faces, it's so popular. And especially after coming out of the pandemic where people weren't in contact anymore, I do believe that people wanna connect with people. It's a human need to connect with people, to connect with faces. And I, for one, I cannot stand it when I cannot, let's say, call up a business to ask a question to get a real person on the phone. And I know this is weird. Where are my millennials? I'm sorry. My millennials are like, but I can text.   Anne: But even so, I like to call to make sure I can hear a voice on the other end. Or I like to meet on Zoom, a lot of times with new clients, kind of I validate them to make sure they're human. For me, it's a thing. I need to connect with humans. And I am always telling my business students that people wanna connect with a person and not necessarily a logo.   Lau: Yes. Yes. And here's pure irony. You and I come from a generation where we need to do that. Like I, I remember the days where when I needed to get a phone number, I'd call something called Information. Information was 411. And then I'd hear someone, usually the same woman, and she'd be like, hello, Information, how may I help you? And I loved talking to people. I still, I don't trust online booking for hotels. I don't trust online booking for air fare. I, I still have that in me to wanna talk to people, wanna make that connection, wanna have that trust. But here's the irony. In voiceover of those days, that's where we had a lot of announcer reads. That's where we had a lot of caricature style reads, especially in the commercial market. Today, today, no one wants to talk to each other. You'll always get a machine, you'll always be online filling out those fields online, right? You'll never be able to get customer service. But stylistically we want naturalism. We want to have naturalism.   Anne: We want authenticity. Mm-hmm. Authenticity, that's the biggest trend. Isn't that funny? And especially from the younger generation, right? They want that authenticity. So I believe that a visual image, an in-person or an on-camera or a, that kind of a thing really helps to bring the authenticity to the business.   Lau: It does. Like I wanna see you. I wanna see that you're a real person. You're not a bot, you're not an avatar. You're not a cartoon drawing. That's okay. Like I love seeing those, but that doesn't take the place of the person. I still wanna see the person. If I'm gonna work with you, hire you, cast you, whatever, I still wanna see that you're a person and get a sense of that.   Anne: And you know what's so interesting? It's gotten to the point where I am putting myself out there so much visually that I have a brand ,and you know what my brand consists of? Headphones, that might be red or blue or purple. Or I just got a really beautiful pair of navy blue, and I got a pair of blue glasses, . And I just ordered, do you know what I just ordered? A pair of red glasses. And I also ordered a wind sock that is red . Uh, so maybe when I'm gonna be in the BOSS booth recording an episode, I might have a red headphone with red lipstick with red glasses, with a red -- but it becomes a visual part of my brand and it becomes something that people recognize for me. And it becomes consistent. I believe that consistency brands recognition and brands, something being more memorable. And I think that in addition to your voice being memorable, connecting that with a human, authentic being on the other side and also adding some visual branding can really help to make you a memorable brand.   Lau: Yes. And anyone who has been an actor either on tv, done film, done theater, knows the power of wardrobe, the power of makeup, the power of a mask. You know, we'll call it a mask right now because it could be be for men as well, or whatever you identify as. You have something that you may utilize to initiate your branding visually, whatever that is. It could be a hat, it could be, as you said, glasses, lipstick, it could be even a pen that you use, even a prop that you use. You know what I mean?   Anne: Nails.   Lau: Yeah. Nails. Right. So that it sort of gives you a little bit of superpower. It gives you a little bit of dynamic to fall into that role, whatever that role is for you, that if you don't do it, and you don't have it, it's a tougher way to reach the role that you're trying to play.   Anne: And that includes websites too, because that's one of the biggest questions I get is, do I put my photo on my website? Because that has always been the biggest bone of contention, right? Because I'm a voice actor, they don't need to see my face, but again, online people, before they even know you, you want to make yourself as memorable as possible. Yes, it's wonderful to think that my voice alone could do it, but why not your voice combined with your authentic headshot? And I'm gonna say, even if you don't sound how you look, I can say there's value in having, on your about page, a photo of yourself.   I don't think that that is going to misrepresent you at all. And especially if we're talking about authenticity, right? Who is it behind the voice? I think that that really warrants a lot to showcase a photo of yourself. Now, for me, I've always been about visual branding, and so on my website, I've always had a photo of myself, my voiceover website. And I feel as though it doesn't hurt me at all. I think it probably helps me. I think that I probably look like I sound. I don't know, Lau, what do you think? Do I?   Lau: Yes. I think your visual branding matches everything else that you're doing. Not always the case with voiceover talent, but that's okay. For you, I think it's perfect. Perfect. Your visual matches your vocal. It's wonderful.   Anne: So then again, let's talk more in depth about if your visual doesn't match your vocal. Can it hurt you if you put your photo on your website or -- I mean, I feel like you're gonna have to interact with your clients at some point.   Lau: Well, that's it.   Anne: In some way. Right?   Lau: That's it. I think he, you can't avoid the unavoidable and you know, you may not always meet everyone in person, but you are going to be -- now that we're in post COVID, we're having many more in-person events come back.   Anne: Or video meetings.   Lau: Or Zoom. Yes. Mm-hmm. Video meetings. And do you always wanna have your video off? Do you always wanna look a little bit MIA, like you're not fully present? No. You wanna have the ability to have confidence and say, I like the way I look. I'm proud of the way I look. It's part of who I am as a business person. And if they misconstrued my sound with the way I look, you know, hey, what can I do about it? That's called living in the world. I would rather see someone than not for sure.   Anne: Exactly. Yeah. As a client, absolutely. I would much rather deal with someone that I can see visually. Now have I seen all of my clients visually? No. No. But I have usually contacted them via email or at one time or another, my repeat clients, right, I've seen them. I've been in a video meeting with them to discuss a project or I've contacted them for some reason one way or they've live directed me. Some people can put the camera off during one of those sessions. But I like to have it on just to say hi. Just to let people know, hi, I'm a real person. And now during my performance, I don't necessarily have to have it on me as long as I've introduced myself as a part of my business with my visual face.   Now let's talk about, is there any sort of code of how should I look? Remember a long time ago there used to be restrictions, I know, for in the workplace about hair, right? And about beards and about that sort of a thing where it wasn't considered corporate to have a beard or long hair or something like that. So what are your thoughts about today and, and for a voice talent, is there a code of anything really?   Lau: I think it's the best time, Anne, to be able to show your face because the playing field is so open now with what's acceptable, what's welcome. Everything's diversity. Everything is age, everything is background, everything is, you know -- when you go into, like even in Manhattan, when I go into some of the more corporatey kind of firms, they're very business casual. The younger generation is much more casual --   Anne: I love that.   Lau: -- than they were years ago. I love it too. So I think a lot more is acceptable. But that being said, I don't think it gives people a free pass of saying, oh, I'll just look like whatever. I'll just stick on whatever. I'll just do whatever. I would take the time to work with a coach, your coach, whoever is great with styling, great with image, great with fashion, great with branding, and say, listen, this is who I am. This is what I do. I don't wanna go too far away from my authentic, neutral self, but I wanna look really great for who I am. I wanna look put together, I wanna be fresh, I wanna have great colors, great fits.   Anne: Or you wanna look like you care.   Lau: Yeah. Yeah.   Anne: Look, there's a lot of casual people in California. I get that. I've lived here for enough years to know. But coming from the east coast to the west coast is, in terms of clothing and ideals about looks and how you would dress for a corporate job, it's actually quite a bit different. But the cool thing is like, I wear black, I wear leather. Everything I wore on the east coast, I wear on the West Coast. And I haven't changed because I've changed where I've lived. And the cool thing is, is that it allows me to be me. I mean California, for all their casualness, you don't have to put on fancy clothes. But I think also you don't wanna look like that you don't care about your appearance.   Lau: Exactly.   Anne: And so I think that no matter what you have, like, and I remember, gosh, I remember tattoos weren't a thing either. This is my corporate background coming in. Tattoos weren't a thing, nose piercings that -- I've always wanted to get a nose piercing, by the way. This is, this is is Anne's admission. And I think I'm going to get one.   Lau: The truth comes out.   Anne: At this age, I am going to get one, a very small delicate, 'cause I'm a, I'm a bling girl. Right? And I feel like a small bling right here would look awesome.   Lau: Do it, do it.   Anne: But, so now people are gonna hold me to it. So maybe at one point, everybody, BOSSes out there, you'll see me with a little bit of a nose, a nose pierce.   Lau: A little diamond bling right there.   Anne: Little diamond bling. 'Cause it's --   Lau: I love it.   Anne: I like the bling.   Lau: I love it.   Anne: But yeah, I do think that as long as you're showing your authentic you and it's something that your authentic you is something you care about, I think that presents -- because again, it's personal, but don't forget that our personal brand is a business brand. And so we're representing ourselves to people who might want to hire us or maybe not hire us based upon our looks. Is that a thing? True. I mean, I think if we're gonna be brave and show our face and show who we are, we have to also accept the fact that maybe people won't hire us based upon our looks. Lau, thoughts?   Lau: Yeah. If you're meeting people too, which you and I are meeting people all the time, whether we're on Zoom or we're in person, we're meeting people, you know, how do we come across? How do we look them in the eye? Do we smile, all this stuff? So I don't want it to seem like you have to put on armor to meet people. But you wanna enhance your natural beauty, your natural essence, your natural energy. It's sort of like the rule of thumb for a really great actor headshot is I don't want it to be glamorous. I don't want it to be overdone. I want it to be super natural and look like you on a really great day.   Anne: Yeah, yeah.   Lau: So that's sort of the rule of thumb. And ask yourself this question, look at all the businesses out there that now have the owners or the people working in the business show their visual faces. Real estate agents, they all have their faces on cards, right. We have a lot of branding in advertising for everything from furniture to cars to on and on it goes of people who own the dealership, people who run the furniture stores, and, and you're thinking, well why? Why are they on there? Why don't they have, you know, beautiful looking talent on there that are gorgeous? No. Because people wanna see real people. They wanna see who they're creating relationship with to buy these products, but they just wanna make sure that they look good on a good day. They don't wanna roll outta bed. You know?   Anne: Do you remember Don LaFontaine for many years? We heard his voice, heard his voice, heard his voice, and then he started doing the commercials where he, he was in person? I love that. And also because you're on the east coast, oh Lau, please let me know if you -- Men's Warehouse, do you remember his voice? Oh my gosh, for years --   Lau: Oh yes!   Anne: The guy who owned Men's Warehouse had the most beautiful voice and I thought, wow, he should be doing more voiceover instead of his commercials. And then they showed him on the commercial. And so he brought his visual brand, and I loved it. I absolutely loved finding out who the person was behind the voice. And --   Lau: And now they all do it. Now they all do it. And sometimes you're looking and you're going, I'd rather they stayed behind the camera. . Like, you know, they have these deep, you know, Boston accents, you know, come on in and buy a sofah.   Anne: Yeah, yeah.   Lau: You know, what I mean? But the point is, that's what the largest demographic in the commercial market really wants. They want approachable, natural, authentic, real authentic.   Anne: And you know, just like, okay, so just like being an announcer has gone off trend, right? And whenever we get behind that mic, we feel like we have to put on that voice. Here is my voiceover voice. Hello, I'm Anne and this is my voiceover voice. Like that's a put on kind of a -- like people want more authentic. Now character, we're talking something completely different, right? Because you become that character, but you're becoming an authentic character, right? So just as, we don't necessarily like inauthentic sounding or inauthentic in social media where everything's always perfect, we like the authentic person, and that visual brand helps to bring out that authenticity. And I think that is something that can truly help elevate your business as scared as you are.   And for all of the people out there who have gotten into voiceover, because, well I got into voiceover so they didn't have to see my face. Well, I think it's time guys for you to appear and show up to your businesses and show up because we wanna connect with you. And I'm always talking in terms of performance, when I'm trying to get that conversational read, even for narration, right? I'm trying to get that engagement. It's that back and forth. That visual can help you. I'm always talking about, I want that authenticity, I want that engagement. Your visual brand can help you. And that visual brand is in person, when you meet people, your website, it can be a great indicator for your visual brand as well. Even if it's just a picture of you on the about page. I think that it's something that can bring a lot of value, a lot of value.   Lau: I agree. And I think you feel differently. You internalize your external. So you know, it's a fine line. Like we're not all about what we look like. We're not all about what externally comes out. But there is a deep connection between what I'm internally emotionalizing and feeling and what I'm externally giving out to the world. And so I think we can learn a lot from actors who are going for visual roles that they don't dress in costume, and they shouldn't dress in costume for an audition, but they should give a flavor, give a hint of the character in how they're gonna present themselves when they walk in the room.   Anne: And it's always bringing themselves to the character. Right? That really is the winning --   Lau: Yeah, you're gonna do --   Anne: It's the winning. Right? Your twist. Your unique, authentic twist to the story no matter what. Whether you're performing behind the mic, performing in front of the camera, your online storefront, whatever that is, it's helping you to bring that organic, authentic part of you to the role. And even yeah, as you say, character acting.   Lau: If you're gonna do a narration, a corporate narration gig, don't come in wearing your old t-shirt and shorts and flip flops because there's gonna be a little bit of a psychological jump for you to do to that particular job. Come in, you know, come into your booth in your home.   Anne: You're coming into it as an employee, right? In reality, if they've hired you to be the voice of their brand, you are now an employee of that company. So now, dress visually and I think emote as if you were a part of their brand, which you are. If they've hired you and they're going to pay you, you are now an employee, quote unquote, of that company. So.   Lau: Yeah, there's a culture. So there's always this culture to every gig, every client, every happening that shifts and changes. It really doesn't and shouldn't stay the same. To have the mindset of like, well they'll just accept me the way I am -- okay. Sometimes they do. But sometimes they don't. Sometimes they want to have a visual mirror as to who they are, how they're coming in, how they feel about the work. Same with your clients that are your coaching clients or demo clients.   Anne: Sure.   Lau: They wanna feel comfortable that you understand where they're coming from. And sometimes that's visual cues.   Anne: It's very interesting because I coach without visual, I do not coach through Zoom. I coach through ipDTL. Yay, love ip -- why do I coach through ipDTL? Because it's a high quality audio connection, and I need to hear those nuances, especially when I'm doing long format coaching for narration, medical, nuance is everything -- actually nuance is everything for every part of voiceover I think. But that's me. And so I need to be able to hear really well. I need to be able to hear that coming through. And it's interesting 'cause I'll coach a student 10, 20 sessions, and then I'll talk to them over Zoom when I reveal their demo. I always do a Zoom reveal so I can finally meet them. And most of the time I'm not necessarily surprised at how they look 'cause they have a presence on social media or they look like they sound. But sometimes I am completely surprised and pleasantly so. I've never been unpleasantly surprised. But absolutely when I've seen someone, I'm like, wow, I had no idea.   And so I think a lot of times when I'm coaching for voiceover, right, that is primary is voiceover is your voice and hearing the nuances in your voice. But I always wanna hear your authentic self come through in the voice. But always, especially when you're representing a company, you are the employee of that company. But I need your unique, authentic self to come through. And a lot of times that authentic self is your personality. Right? A lot of times your voiceover, I think, is made better by your personality, your unique personality that you bring to it. Because I'm here to help you, I'm here to serve you, I'm here to tell you about this great product that you're -- it's always positive. I don't think we're ever, unless we're doing character work, right? I don't think we're ever emoting things that are negative. Right? Typically we're not hired for negative sounding voiceovers or angry voiceovers, again, unless we're a character. It's mostly a positive, comes from the heart, from a helpful situation. What are your thoughts on that, Lau?   Lau: Oh, I agree. I agree. And I, I mean when you consider how many people out there that are visual learners, they literally take in information, process information and create quick output based on what they're taking in visually. Like I have to give them something to work with if I have the ability to. If they don't see me, they see nothing visual that I do, well, okay. But oftentimes they will, they'll go to my website. They'll go to your social, they'll go to something that has you on it, whatever that is, . And they'll say quickly, do I feel comfortable with this person? Happens in like two seconds.   Anne: Excellent point. And I'm glad you brought that up because whether people decide to put their picture on their website, which is the biggest question I get, or not, right, there's social media somewhere, somewhere out there, there's going to be a photo of you that someone might discover. And maybe that's not the photo that you want them to discover first. Maybe it could be a photo from years ago when you weren't in voiceover or maybe you're being crazy and you know, having fun at a party. Maybe that's not the first photo that you want your potential client to see.   So I figure if you're going to put out a photo, put out that photo that is authentic you now and not you maybe 20 years ago when you weren't doing voiceover. And that's what a lot of my argument is. They're like, yeah, but I, you know, they're not hiring me for my face. And I'm like, true. But they wanna connect with a human being. And by the way, if they really wanted to, they probably could find a picture of you somewhere out there on the internet.   Lau: Yeah. And you know, it's really interesting too. Like it's, this is on topic, off topic. It's like when we were at the conference out in LA, you and I were at that conference out in LA, which we had a fab time, and I pay attention 'cause I listen, listen, listen for cues -- this is all face-to-face in person -- when I'm going through the steps of speaking at that conference, I'm listening to comments to me and comments about me, about who I am and about my brand. And a number of times I heard sometimes from men, sometimes from women, like, oh, I'm standing next to this beautiful woman right here. Or oh, this pretty lady, whatever. Or isn't she just sweet whatever, making initial comment on my visual in the way I look.   And I take it all in because I say, well, that's what they're getting in the first 5, 10, 15 seconds of not really knowing me, just kind of knowing my brand or knowing my name, whatever, I'll take it. I'm not offended by any of it because I feel like people wanna find the quick way to make themselves feel comfortable with you.   Anne: Yeah.   Lau: Whatever it is. Maybe I look like their mom, maybe I look like their wife, maybe I look like their daughter. Maybe I have an elegant presence to them in some way. Great. I'll take it. Rather than them saying, oh, you know, she could have switched out that sweatshirt. You know what I mean? She could have put some nice --   Anne: She could have put some nice clothes. Not dirty. That would be my mother talking.   Lau: Yeah. She could've put some, you know, taken off the dirty tennis shoes to come here. You know what I mean? It's--   Anne: My mother who always, you know what I'm saying? My mother, my mother did. Your mother, my mother used to say this all the, all the time she could like if I was going on, she goes, now make sure you put clean underwear on in case you get into an accident.   Lau: Yeah. In case you're an accident.   Anne: Yes. Oh my gosh. . So, but Lau, you know what's so interesting that you mentioned that when I first met you, I think one thing that was instantly drawn to was your smile and your laugh. And that I feel is like an inherent part of who you are and your personality. And again, I feel like that was a visual before I even heard you. Because remember we met during that webinar, we met on video.   Lau: Yes.   Anne: And I just remember your smile and your laugh and I thought instantly it was an instant connection. And I feel like that's what you want to be to your clients. You want to have an instant connection with your clients.   Lau: You do. And to the point where it's so deeply psychological, they feel they know you. They feel they know you already. Like they really know you and you're thinking, I don't think you know me or they don't know me, but that's okay. That's okay. I want to know you. I'm going to know you. And if this is just a first step, then this is just a first step.   Anne: And I feel if you're on social media at all, right? Social media is so visual these days. Right? I mean if you are on social media, you're probably throwing out a picture, a picture, maybe not of you, but it could be of your family, could be of your fur babies, could be of -- you're throwing out images of your authentic self. We hope. Right? Because sometimes, as we know is the issue with social media is it becomes the fake presence. But I think if any of you are on social media at all and you've got potential clients everywhere, and they could be seeing your presence socially before they even consider hiring you, and that social impression that they get from you could be from comments that you're making or pictures that you're sharing. Everything's video now. TikTok, Instagram reels. Facebook reels. And I feel like it's almost impossible for you to not showcase your visual on social media these days.   Lau: Yeah. It is. Like you can't get away from it at all. Even if people are taking photos at an event that you attended, you're gonna show up somewhere in the photo. And they may not always be a great photo, but the point is you gotta stay at home and never leave and be super careful to not be caught in some sort of visual. And even in your branding, you have to put out some sort of visual for your branding.   Anne: And I think if your fear is being pigeonholed, I think your vocal type might be pigeonholed anyways if you have a very unique voice. Right? I think when you're talking like a very young voice for your age or any type of voice that is different than you look like, whether you put your picture out there or not, I feel like you're going to be cast in a certain role.   For example, if you have a very high pitched voice right now, although now it's becoming more commonplace, maybe you wouldn't be cast for an older personality that's buying, I don't know, bifocals. So whether your photo is out there or not, your voice is gonna be cast in that way or not based upon the sound or the perceived sound that the client is looking for. So I don't think it matters if you post a photo of yourself on your website that doesn't represent your voice because they're hiring you for the voice, and the voice is then being cast in a role as they see fit. But your authenticity comes through in that voice.   Lau: Yes. And everything's subjective at the end of the day, like you can't get away from subjectivity. That's human nature. We're based on our own frame of reference, how we are perceiving you and how we're taking you in. So I don't think we can fully control that. But there is something, I think, especially with someone who doesn't know you, there is a psychological bond that happens quickly when they perceive that you care.   Anne: Yeah. Yeah.   Lau: They perceive you care enough to put yourself together, to do that little extra whatever it is you are doing, whether it's your hair, or your materials -- or as a woman, Anne, we talk about this all the time, I get so many people who say, Hey Lau, I love what you're wearing. What's that necklace you're wearing? Or where'd you get that ring? Or da da da. Sounds kind of materialistic, but it's something that they can connect to you on. Something that they care about, something that makes them feel comfortable. And then you'll make that chitchat based exactly on, oh, where I got this or what is that? Or, and then that always leads to the next thing, the next thing, the next thing, the next thing.   Anne: Absolutely.   Lau: And so that, that's valuable.   Anne: And people who know you because of what you've put out there, like visually and/or audibly, right, becomes a point of connection that you can then use to be memorable in your brand. So great discussion. So guys, if you're afraid to put your pho -- don't be afraid to put your photo out there. Don't be afraid to put yourself out there on video. Don't be afraid to put yourself out there in person, in front of your potential clients, in front of your clients. It is a piece of who you are, it is a piece of your brand, and it's a piece of your business.   Lau: I'm with you all the way.   Anne: Well, thank you, Lau, for another thrilling discussion. I love, I love, love, love talking to you every week.   Lau: I love it too. And may I say we look fabulous today.   Anne: Yes. We thank you , because we're our authentic selves. So with that, I'd like to give a great shout out to ipDTL. You too can network, communicate like BOSS. Find out more at ipdtl.com. And also if you have a local nonprofit that's close to your heart, if you've ever wanted to help them, you can visit 100voiceswhocare.org to learn how. You guys, have an amazing week, and we'll see you next week. Thanks so much. Bye.   Lau: Bye. Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

2023.01.04 – 0734 – Movie Trailers VoiceoversMovie trailersThe ‘god' of these was the iconic voice of Don LaFontaine who recorded more than 5,000 film trailers and hundreds of thousands of television advertisements, network promotions, and video game trailers. At the height of his career, he was voicing 60 trailers a week. He became identified with the phrase "In a world...", used in so many movie trailers that it became a cliché. https://www.youtube.com/watch?v=AGNqI6RYBrQBut since his death, styles in this area as in many others have changed to one which is more informal.Podcasts and RadioThe key skills for an announcer are: “…the ability to communicate with one person and the ability to grasp the technical side so you can forget it all and concentrate on the primary focus which is the listener. When I started announcing I was told to imagine I was talking to a little old lady in Fulham, south London. The reason was to bear in mind that I was talking to a person that may not necessarily be an avid listener to Radio 4 so I have to tempt them in to get them to listen more carefully. I've got to be clear in my delivery as she may be a little hard of hearing and I've got to grab her attention.Two of the prerequisites of an announcer's equipment are your two ears. It's easy to get beguiled by the equipment around you, but this is what your listeners are using and what you should be using: your perception of how the sound is, properly balanced, to check monitoring …”Chris Aldridge, presenter BBC Radio 4, “Radio: Getting Your Voice on Air” podcast Hosted on Acast. See acast.com/privacy for more information.

Welcome to Campfire Classics, a Literary Comedy Podcast!! In a world where EVERYONE has a podcast, you must ask yourself...why aren't we a union yet!? Did you read that in you best Don LaFontaine voice?  I hope so.  Anyway, about the episode. Heather has chosen a story for Ken to read.  It's a Western by the guy who wrote Destry Rides Again.  The story is "Wine on the Desert" by Frederick Schiller Faust, AKA Max Brand, AKA Evan Evans, AKA George Owen Baxter, AKA George Evans, AKA Peter Dawson, AKA David Manning, AKA John Frederick, AKA Peter Morland, AKA George Challis, AKA Peter Ward, AKA Frederick Frost...I'm tired now, what was I saying? Ken reads, and along the way your hosts discuss their favorite listeners, dead wood dick, and sweet sweet revenge cherries. "Wine on the Desert" was published in 1941 under the pen name Evan Evans. Email us at 5050artsproduction@gmail.com. Remember to tell five friends to check out Campfire Classics. Like, subscribe, leave a review. Now sit back, light a fire (or even a candle), grab a drink, and enjoy.

Today on the show, award-winning voice actor David Kaplan joins us from his studio in New York to share about his career in voice over, the studio microphone he shares in common with the great late Don LaFontaine and what it takes to be successful every day as a full-time professional voice actor. Mentioned on […]

It's another week here on The Great American Pop Culture Quiz Show, this time kicking off our Mark VII division with Megan, Keith, and Cornelius. These players will square off in three rounds of trivia about everything from Don LaFontaine voiceovers in 90s movie trailers to iconic pop culture fashion choices. Plus some other things in between you won't want to miss! NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

It's another week here on The Great American Pop Culture Quiz Show, this time kicking off our Mark VII division with Megan, Keith, and Cornelius. These players will square off in three rounds of trivia about everything from Don LaFontaine voiceovers in 90s movie trailers to iconic pop culture fashion choices. Plus some other things in between you won't want to miss!Support Us On Patreon

On this week's episode, can you name these ten movie trailers said by Don Lafontaine?Enjoy the show? Please follow, share with a friend, write a review and leave a rating on spotify,  apple podcast or podchaser.Follow MMT on social media to vote on future episodes, know next weeks category, and a hint to one of the answers on Instagram, or Facebook.Send MMT your favorite movie trailer said by Don Lafontaine at Murphsmovietrivia@gmail.com.Support the show (https://www.buymeacoffee.com/MurphsMovieT)

Season five has begun! A brand new cabal of 27 pop culture know-it-alls have thrown their hats into the ring, and are ready to show their stuff! We'll kick off the bracket with new players Nate and Seth, playing alongside Sean (returning from season one, and our music theatre special). We've got a tribute to the great trailer voiceover artist Don LaFontaine in round one before taking to the skies in round two as we test our players' memories of movies and tv set on airplanes. And as (almost) always, it all comes down to the lightning round! NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

Season five has begun! A brand new cabal of 27 pop culture know-it-alls have thrown their hats into the ring, and are ready to show their stuff! We'll kick off the bracket with new players Nate and Seth, playing alongside Sean (returning from season one, and our music theatre special). We've got a tribute to the great trailer voiceover artist Don LaFontaine in round one before taking to the skies in round two as we test our players' memories of movies and tv set on airplanes. And as (almost) always, it all comes down to the lightning round!Support Us On Patreon

Pat has staged a hostile takeover of this time slot. He talks The Wild Demands of Don LaFontaine, Tom Hanks' biggest bomb Chet and a gruesome, stupid murder. This is a special FREE edition of our premium Patreon only offering PMZ. Pat the Gossipy Bitch dishes out one of these each week only on Patreon.com/AnotherPodcastNetwork The free episode of APS returns next week! Video version: https://youtu.be/tGuWdbM-1iU Merch is here - AnotherMerchStore.com

Welcome to the Murder Booth! From his shallow grave, a fully organic Jon has been braving slugs and worms to bring you his best mycelium impression, with a penitential side-order of Kentucky-fried Huapango. Meanwhile, Mike's gone full Karate Kid in a world of Don LaFontaine's chewy syllables, while slapping himself with his own gauntlet and pinch-zooming a perspex shield. They're not alone either: MIT's finest have been playing 'Mary Had A Little Lamb' on an off-piste DX7 and expressing amino acids through the medium of uncooked spaghetti. Even the colour-balance-proof spiders have been scuba-diving, paragliding, and jamming along. And in case you wanted to experience those quotes from Professor Buehler in their original context, here are links to those interviews: https://www.lx.com/science-tech/researchers-have-turned-spider-webs-into-music-is-talking-to-them-next/35969/ https://news.mit.edu/2020/qa-markus-buehler-setting-coronavirus-and-ai-inspired-proteins-to-music-0402 Fancy more of our nonsense? Then please support the podcast at https://www.patreon.com/projectstudioteabreak and check out the merch store at https://www.projectstudioteabreak.com/merch For more episodes, as well as links relating to each one (via our zero-spam but 100-percent-idiocy mailing list), check out https://www.projectstudioteabreak.com. Or get in touch by email at teabreak@projectstudioteabreak.com.

Tiene una de las voces más influyentes y populares en el mundo. Una carrera de décadas en Los Ángeles que lo ha puesto al lado de talentos como Don Lafontaine. En este episodio de El Locutorio escuche esta conversación fresca, sincera y algunos tips para el manejo de la vozAudios: Youtube

Lori Alan is one in a million! Talented, witty, gorgeous and willing to share her knowledge! We never know what she'll bring up! And YOU can ask her questions! Lori has played a long-running role as Pearl The Whale Krabs on the animated television series SpongeBob SquarePants. She also voiced Diane Simmons on Family Guy, the Invisible Woman on The Fantastic Four, and The Boss in the Metal Gear video game series and the unforgettable “Chairy” on PeeW Wee Playhouse. We warmly welcome her back to our VOBS studio! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

Voice Over Body Shop  You Wanted More VO Tech, And VO BS Delivers! Every other week, Dan and George expand their tech offerings! More topics, more demonstrations and more answers to your questions! Got some? Send your questions to THEGUYS@VOBS.TV, and we'll answer it! This week we have George's Tech Update with the latest in VO technology! We show you our newly refurbished multi-Media studio! We answer your specific questions sent in to theguys@VOBS.TV. Plus much more! Starting this Monday on our homepage: VOBS.TV, our YouTube Channel, where you can watch any past VOBS Episode, and of course here with our podcast edition. Brought to you by Voiceoveressentials.com, Vo2Gogo.com,Sourceelements.com, VoiceOverXtra.com,VOICEACTORWEBSITES.com and J. Michael Collins Demos jmcvoiceover.com/demo-production Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show

As Voice talent in 2018, YOU HAVE TO HAVE A WEBSITE! However, there's so much you have to know to create an effective site that allows your customers to easily find you and HEAR what you do. Joe Davis and his team at VOICEACTORWEBSITES.com are the best, most knowledgeable, innovative and of course nicest guys in the Voice Over website business! Joe is our guest on this weeks Voice Over Body Shop and he answers questions about websites, SEO, and functionality!   ALSO!!! Dan and George share the latest in VO tech, our topic of the week the VOBS/Voice Over Xtra News and much more!   Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games.   George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios.   Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it!   The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today!   GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/   DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/     CONNECT WITH US ON SOCIAL MEDIA   Facebook: https://www.facebook.com/voiceoverbodyshop/   Twitter: https://twitter.com/EWABS_show     VOICE OVER BODY SHOP IS SPONSORED BY:   Voiceover Essentials http://voiceoveressentials.com   Vo2Gogo Vo2Gogo.com   Source Elements https://source-elements.com/   Voice Over Xtra https://www.voiceoverxtra.com/   J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/   Voice Actor Websites VOICEACTORWEBSITES.com

 Voice Over Body Shop Dan and George continue bringing you the best guests and VO tech advice. Our guest this week, Adam Verner, is an accomplished, full time voice over talent and audio book narrator with almost 400 titles to his name. He's been working professionally in the voice over world in all genres since 2003, voicing thousands of TV and radio commercials, eLearning courses, and industrials. He holds his MFA in Acting from the Chicago College of the Performing Arts at Roosevelt University. We'll talk about his career and his tips for Long-term voice over success. ALSO!!! Dan and George share the latest in VO tech, our topic of the week the VOBS/Voice Over Xtra News and much more! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

  How do you get chosen for a Voice Over project? For big commercials and other projects, the upfront gatekeeper is the Casting Director. Our guest this week will give us the inside view of what goes on when being chosen to even audition for project, let alone chosen for the gig. Kathryn Horan has been a Casting Director, Demo Producer, Audio Engineer, and Voiceover Coach with The Voicecaster since 2012. Kathryn has cast for major brands like Honda, ampm, Ashley Furniture, Verizon, Nike, and many more! She has a B.A. in Theatre Arts and Acting from New Mexico State University and has been in the entertainment industry in Los Angeles for over 10 years! And Of Course!!! Dan and George want to answer your home voice over studio questions sent to: theguys@VOBS.tv and share the latest in VO tech. Voice Over Body Shop is helping you get to the top! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

ur distinguished guest this week on VOBS is Paul Pape! Paul began his professional acting career in New York as one of the original members of the Collonades Theater Lab. Paul was cast to co-star as 'Double J' opposite John Travolta in "Saturday Night Fever". Paul has also been performing as a voice-over artist with over 7000 credits to-date. He's been heard in virtually every media - including commercials, narrations, promos, trailers, television series, films, video games and national political campaigns. Recent accomplishments include being one of the voices of President Obama's re-election campaign in 2012 and Hillary's Clinton's Presidential campaign in 2016, along with numerous U.S. Senatorial and Gubernatorial races. He is a voice for various environmental and energy related campaigns nationwide among his other corporate commercial credits. Paul co-produced and co-wrote the film with his best friend, voice-over legend Don LaFontaine, who passed away a short time later. Both men acted in the film and Paul received nominations in the writing and supporting actor categories Paul is the President and CEO of New Trails Productions.  A member of the Academy of Television Arts and Sciences, Paul also serves on the Board of Directors of the SAG-AFTRA Foundation. He is a Co-Founder of the Foundation's Don LaFontaine Voice-over Lab, which he helped build in memory of his best friend. And Of Course!!! Dan and George want to answer your home voice over studio questions sent to: theguys@VOBS.tv and share the latest in VO tech, our topic of the week on Mic technique and much more! Bringing you the best of guests! Only on VO BS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

Our guest this week on Voice Over Body Shop, Bob Bergen, needs little introduction. He is the current voice of the Warner Bros. cartoon characters Porky Pig and Tweety Bird and formerly hosted Jep!, a kids' version of the popular game show Jeopardy! Bob is also a tireless advocate for working voice actors everywhere through his work with SAG/AFTRA. We're sure you have a lot questions for Bob about his impressive career in animation, technique for improving your character voice skills and of course issues concerning union membership and benefits. ALSO, DAN AND GEORGE WANT TO ANSWER YOUR HOME VOICE OVER STUDIO QUESTIONS sent to: theguys@VOBS.tv and share the latest in VO tech, our topic of the week on Pre-amps and much more! Voice Over Body Shop is VO BS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how thoffettey do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbod... Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-prod... Voice Actor Websites VOICEACTORWEBSITES.com

  Perhaps most recognized for voicing various animated characters on The Simpsons, Chris Edgerly has a sweeping vocal portfolio that spans animated television and multiple hit video games. He has even made a few television appearances including Hot in Cleveland, The King of Queens, SeaQuest 2032, and Kenan and Kel. While Chris enjoys his time on-screen, he is at his best when lending his vocal talents to animated television, movie, and video game roles. He's also been doing stand-up comedy for the last ten years, traveling around the country. He's also producing a Web series with his Brother David: Edgy Brothers Presents Happy Hour! We'll talk about his multi-faceted career in all these genre's and about what its like to produce the web series. And Of Course!!! Dan and George want to answer your home voice over studio questions sent to: THEGUYS@VOBS.TV and share the latest in VO tech, our topic of the week and much more! Voice Over Body Shop is VO BS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

J. Michael Collins is everywhere! Doing Voice Over, being well known voice in the VO biz, taking on the “bad” guys and winning awards for his outstanding demo production for voice talents everywhere! He and his demo engineer, A.J. McKay join us for a lively discussion about how they go about making demos, why they work well together, what demos should be like, the different types, and how to use your demo effectively to gain VO work. A discussion you don't want to miss if you're wondering what they and your demo can do for you! ALSO!!! The VOBS/Voice oVer Xtra News and Dan and George want to answer your home voice over studio questions sent to: theguys@VOBS.tv and share the latest in VO tech, our topic of the week on Mic technique and much more! Voice Over Body Shop is VO BS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbod... Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-prod... Voice Actor Websites VOICEACTORWEBSITES.com

Mike Lenz is the former mayor of Saratoga Springs in upstate New York. But he's really made his mark since as a full-time professional voice talent and podcast producer. For more than 10 years Mike has worked with clients on eLearning projects, corporate and web-based videos, audiobooks, brand imaging and commercials. Mike is also a Voice Arts Award nominated podcast producer, creator, and host of the Mike Lenz VO Podcast and creator of Podcast Snap (podcastsnap.com) – a concierge podcasting service, helping his clients with every step of their podcast creation and production. We'll talk about his transition from politician to voice talent and how podcasting is becoming bigger than big! Dan and George will also answer your home voice over studio questions sent to: theguys@VOBS.tv and share the latest in VO tech! We'll also get the Voice Over Xtra/VOBS News much more! Looking at the Voice Over world like no one else! We're VOBS! Voice Over Body Shop! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

Many of us share our VO careers with our families and loved ones simply because we live with them.. What if you bring your kids into the booth and get them involved in helping pay the rent by also pursuing a VO Career? Kristin Lennox is a successful voice talent with clients like Ocean Spray, Subway and Royal Caribbean. Kristin's daughters share the family sound booth and all contribute to the family. She and her daughter Ryleigh join Dan and George for a fun discussion about having VO family and how they balance Business and family life. We'll answer your questions for Kristin and Ryleigh, along with all your VO studio tech questions for Dan and George  We'll also get the Voice Over Xtra/VOBS News and much more! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com  

Mike DelGaudio is a non-union voice actor out of Pittsburgh PA. In addition to radio and TV commercial work, you may have heard him narrate for the New York Times weekly on Audible or as part of the regular troupe on the No Sleep Podcast, a popular podcast that dramatizes horror stories. He also hosts a Youtube channel called “Booth Junkie” in which he helps people set up their home studio so they can start to perform behind the microphone. We'll answer your questions for Mike along with all your VO studio tech questions for Dan and George submitted either to theguys@vobs.tv or in our live and interactive chatroom! We'll also get the Voice Over Xtra/VOBS News and the unpredictability of a live show! It doesn't get any weirder than this on VOBS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

On Voice Over Body Shop, aside from bringing you all the latest VO tech stuff, we pride ourselves on bringing the bests guests in the VO Webcasting business! You don't want to miss this episode as we welcome a very successful actor and voice actor, Roger Rose! He's a former VH1 VJ, and known for such films as Ski Patrol and for voice work in animated films and television series such as Happy Feet, Rugrats, Scooby-Doo, The Grim Adventures of Billy and Mandy, and Quack Pack. He is also an very busy Promo and imaging voice for many network programs, as well as lots of commercials. We'll talk about his career, but more importantly, his views on the business of voice acting in todays marketplace! And we'll take your questions for him in our chatroom. We'll also answer your studio tech questions and present PHOTOS OF YOUR HOME STUDIOS submitted to THE GUYS@VOBS.TV And we'll get the Voice Over Xtra/VOBS News and the unpredictability of a live show! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VO BUZZ WEEKLY IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

A VOBS You Don't Want To Miss! In the world of voice acting for animation, Debi Derryberry is one of the best. As one of Hollywood's most active voiceover artists AND multi-talented kids' entertainer, Debi Derryberry is probably best known as the voice of Jimmy Neutron. Wednesday in The Addams Family cartoon, and Jackie in Bobby's World. In English language dubs of anime, Derryberry provided the voice of Ryo-Ohki in the Tenchi Muyo series. She received a Best Actress in a Comedy award at the American Anime Awards for her work as Zatch in Zatch Bell!. Quite a resume'! Debi brings her bubbly personality and in-depth knowledge of the animation voice acting world to the set of Voice Over Body Shop this Monday night, Live, at 9 ET, 6 PT at VOBS.tv. She's always entertaining and informative. We'll talk about her career, how she now coaches the accomplished and hopefuls, some tips on creating characters and whatever else we can think of. Plus we'll have a special appearance of her noted band Honey Pig! Live music on VOBS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” He is a board member of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and Paul Strikwerda, among many others. http://www.homevoiceoverstudio.com/ CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbodyshop/ Twitter: https://twitter.com/EWABS_show VO BUZZ WEEKLY IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-production/ Voice Actor Websites VOICEACTORWEBSITES.com

If you're into narrating audiobooks, this Voice Over Body Shop is one you can't miss. Aside from all the top of the heap home voice over studio tech info, our guest is Sean Pratt. He's been a working professional actor in the theater, film, TV, and voice-overs for twenty-five years. He has been an audiobook narrator for seventeen years, has recorded over 700 books in almost every genre, and has received eight AudioFile magazine Earphones Awards and four Audie Award nominations from the Audio Publishers Association. For the last ten years, Sean has been helping actors, both students and professionals, to understand the complexities of the BIZ as well as reinvigorate and refocus their careers through his easy-to-understand, dynamic concepts. Showing you all parts of the VO Biz, We're VOBS! Voice Over Body Shop, or VOBS, is one of the voiceover industry's most loved “how to do voice over” shows and the go-to VO resource for voice actors everywhere. From their Los Angeles studio, hosts George Whittam and Dan Lenard talk voice over tech, training, recording, and business. Learn from the best voiceover narrators; voice actors from your favorite cartoons, animation, and television shows; and the biggest names in promo, TV shows, movies, audiobooks, movie trailers, TV commercials, and video games. George and Dan also ask for tips from the top agents, managers, and voice casting directors working in the VO industry today. And since voiceover is now done largely from home studios, we ask the best in the biz how they do it from their own home studios. Not only that, but we invite you to ask questions that George and Dan AND their guests answer live! So you can get the answers you need on vo tech, equipment, microphones, DAWs, cables—you name it! The guys will also help you find the best voice over coaches to help you make the most of your VO career at any level. Get tips from the best voiceover teachers in the industry that you can apply to your VO work today! GEORGE WHITTAM is a renowned voice over tech consultant, having worked with nearly all of the industry's top talents on their studios. His clients include Don LaFontaine, Joe Cipriano, David Kaye, Lori Alan, Jim Tasker, Pat Fraley, Scott Rummell, and many more. Let him help you with technical questions from Pro Tools to major studio builds. http://www.georgethe.tech/ DAN LENARD is known worldwide as “The Home Studio Master.” An expert in how to set-up a home or "Personal" voice over studio. Wether your a beginner in VO or a working pro with little to no experience on how to record at home. He has a long list of happy home studio clients, including Debi Derryberry, Marc Cashman, and many other up and coming VO Stars. http://www.homevoiceoverstudio.com/ He is a FOUNDING Board member and Vice President of Technical Standards of World-Voices Organization (WoVO), a non-profit, member-driven industry association of professional voice talent. CONNECT WITH US ON SOCIAL MEDIA Facebook: https://www.facebook.com/voiceoverbod... Twitter: https://twitter.com/EWABS_show VOICE OVER BODY SHOP IS SPONSORED BY: Voiceover Essentials http://voiceoveressentials.com Vo2Gogo Vo2Gogo.com Source Elements https://source-elements.com/ Voice Over Xtra https://www.voiceoverxtra.com/ J. Michael Collins Demos http://www.jmcvoiceover.com/demo-prod... Voice Actor Websites VOICEACTORWEBSITES.com

4 Steps To Create Great Content (HINT: Enough With The Cliches) – Episode 151   Content Isn't King ...   You've heard it often. Content is King.   That isn't necessarily true. Content by itself won't gain you an audience. Content isn't King. Great content is King.   I learned this early on in my radio career when my program director told me to stop being like everyone else.   On-air radio talent, a.k.a. DJs of disc jockeys, get critiqued on a regular basis by their program directors in meetings called aircheck sessions. In these one-on-one meetings, you listen to your show and your PD gives you suggestions to make it better.   Nobody likes to be critiqued. However, if you take the suggestions knowing that your best interest is what it is all about, your show gets better.   We had just launched a new station playing alternative music of the early 90s. New Order, R.E.M., Depeche Mode, Natalie Merchant and 10,000 Maniacs, and so many others. It was a great time.   I had moved across the hall from our active rock station. At that station we were playing Metallica, Pearl Jam, AC/DC, Motley Crue and the rock tunes of the time.   Even though I had made the move to the alternative station, my style and delivery was still influenced by the rock station. I was using the lingo, cadence and content that I had been using. It was natural to me, but didn't fit the style of the station.   As we were listening to my show in that aircheck session, my program director pointed it out. She said, “That line is really a rock thing. Why don't you leave it to them and do something unique? Be yourself.” That is when I took the first step in really developing my own style.   Everything I was doing to this point was simply a derivative of someone else. I was a cliché, a poor knock off.   Why would anyone listen to me when they could get the real thing by listening to the original?   From there, I took my original content and made it great.   Over the years, my style and content developed. I became myself. That is when my show became #1. My content was original and fresh. Nobody else was doing it.   If your content isn't great, nothing else matters. The production of your podcast could be the best available. You could have all the bells and whistles available in your studio. The marketing of your podcast could incredibly creative and unique. However, if the content is great, no one will care.   Don't simply go through the motions creating your content. Find a unique angle. Your take on the subject should be interesting. Make your content stand out using stories, creativity, and personal revelation.   Content won't attract an audience unless it is great content. When your content is great, you become king. Make it happen.   There are four key areas of focus when creating great content.   1. REPEATING YOURSELF   That's right, of course, like I said, obviously.   If you find yourself saying "obviously" or "of course", you are making one of two errors.   The first error is repeating yourself. If you are saying "obviously" because you feel everyone already knows the information, you are wasting your breath. There is no need to say it.   I may say, "The sun comes up in the East, of course." Everyone listening to me knows the sun comes up in the East. There was no reason for me to point out the origin of the morning sun.   "Of course" gets thrown in, so it didn't look like I was trying to teach you about the sunrise. I didn't want you to think I just learned that. "Of course" plays it off.   The second error is lack of confidence. You may want to sound knowledgeable to those who know the information. Yet, you know there is a segment of the audience that does not know the details. In this case, you're just wasting words.   I may say, "The band will be at the arena Saturday night, of course." Some may be aware of this performance. Yet, there may be members of the audience who haven't heard the news. It makes sense to add the information.   The idea is to sound knowledgeable and credible to those that already know, while providing the information to those unaware. You simply need to restructure you sentence and eliminate the cliché.   "When the band is at the arena Saturday night, parking will be at a premium." This sentence provides new information to both segments. I include the "arena Saturday night" portion for the new listeners while giving those already aware of the concert new parking information. Both receive a benefit.   When you include "that's right" or "like I said", you are repeating yourself. Your listener heard you the first time. Most people use these cliches to fill time while they think of the next thing to say. Avoid going in circles. Your listener will quickly become uninterested. Know where you're going and keep moving forward.   2. ELIMINATE CLICHES   I hear so many cliches in podcasts today. Really in business in general.   A cliché is a phrase or opinion that is overused and betrays a lack of original thought. It is a very predictable or unoriginal thing or person.   We had a leader of our division who would use one particular cliché on every conference call we had.   Every month, we would have a conference call to keep each station in sync. It would be run by our division leader. The call would then feature 4 or 5 other speakers covering various topics. The call would last about 30 minutes.   After every speaker would finish their report, our division leader would say, "Really good stuff." When he would talk about new resources that were available to us, he would wrap it up with "really good stuff". When he talked about new music coming out, he would call it "really good stuff".   What started out as a compliment became a hollow nod that carried no weight. It was overused and lacked original thought. It was predictable.   He got so predictable, as the speaker would wrap up, we would say to ourselves, "that was really good stuff" right before our leader would chime in with the same line. It kept us entertained on the call, but added nothing to the conversation.   What cliches are you using? There are so many. Many times you don't realize it is a cliché until you start listening to your own show, or a coach points it out.   The one that sounds most out of place to me on a podcast is, "To be honest with you". When somebody says "to be honest with you", I immediately think, "were you lying to me before?"   What message are you trying to convey when you say, "to be honest with you"? I assume you are simply trying to add emphasis to what you are saying. In reality, the cliché has lost its power. It means nothing. Cliche.   There are many others. We are thinking out of the box. We are pushing the envelope. We are taking it to the next level. It's Erik here to remind you something or another. You know what I mean? You know what I'm saying.   Take an older episode or two of your show and really listen to them. Find the cliches and eliminate them. Be original.   3. AVOID ROUGH TRANSITIONS   And now it's time for …   This phrase seems harmless. It looks like a logical transition from one segment to another during your podcast. Unfortunately, this phrase gives your listener permission to leave the show.   When you use "and now it's time for..." or some similar phrase, it tells the listener that one segment is over and we are moving on to something else. It also signals a natural break in the show and the perfect time to exit. The transition is a lot like a commercial break in a television show. It is time to grab the remote to see what else is available.   Famous American showman P. T. Barnum noticed that people were lingering too long at his exhibits. If he could get them through the exhibit faster, he could get more people through in a day. Barnum posted signs around the exhibit indicating "This Way to the Egress". Unaware that "Egress" simply meant "Exit", people followed the signs to what they assumed was a fascinating exhibit only to end up outside.   Take down the "egress" sign. If you truly want to hold your listener from one segment to the next, don't send up the signal. Simply move to the next segment.   Imagine you are at a cocktail party. You are discussing the baseball game that you saw over the weekend. After that topic runs its course, do you say, "Now it's time to talk about my new car"? I doubt it. You probably just roll right into, "Hey, I bought a new car last week." It is a natural transition. Your friend doesn't think, "Hmm, that was a pretty rough transition." They have moved on right along with you.   As you wrap up one segment, move right to the next. You might end the first segment with, "If you take those steps, things should be back to normal." Roll into the next with, "Jackie has a question about teamwork," and play the call. The next segment just starts. You've hooked them on the next segment without opening the door to leave.   Don't flash the exit sign. Eliminate "and now it's time for" to hold your listener for the entire podcast.   4. BE ORIGINAL   Hello Everybody in Radioland!   To be engaging, you need to be human. You need to be yourself.   As you record your podcast, use your natural voice and your own words. Individuals who are new to broadcasting tend to want to sound like their broadcasting idols. They try to imitate those they have heard on the radio with their voice and clichés. Unfortunately, new broadcasters tend to sound as if they are using scripted drivel done in some character voice that is forced and unnatural.   You don't need to sound like Wolfman Jack, Howard Cosell, Don LaFontaine or Howard Stern. In fact, you shouldn't sound like those guys. They are who they are. You should be who you are. If you are naturally over-the-top, then be over-the-top. If you are not, don't fake it. You'll sound like an amateur.   Be natural. Talk with a little energy, but always deliver it as you naturally speak. The days of "the voice for radio" are gone. You don't need a big voice to be on the radio. You surely don't need a big voice to create a podcast. Your voice becomes unique by what you say, not how you sound saying it.   Be yourself. Use your own voice instead of trying to impersonate someone else. Use your natural voice and your own words.   Focus on these four areas to create great content. Avoid repeating yourself. Eliminate the cliches. Create smooth transitions in your content. Above all else, be original.   Do you need help with your podcast? E-mail me any time at Coach@PodcastTalentCoach.com. Let's see what we can do.   You can find my podcast and other tools to help you create great content at www.PodcastTalentCoach.com.   Let's turn your information into engaging entertainment.  

Ever wondered how to make a living with just your voice? Interested in becoming a professional voice-over artist? This week I'm joined by professional voice-over artist Jay Britton, who has done work for companies like HBO (Game of Thrones!), Marvel, Amazon, and more. He built his voice-over career from scratch in his late 20's, and in this episode, Jay shares everything you need to know if you want to be a professional voice-over artist too. We talked about how he got started, what gear he recommends for beginners, how to find work if you're just starting out, how to get your first agent, tips for improving your speaking voice, and so much more. Key Takeaways: You don't need the fanciest mic or a ton of knowledge to sound good. Just make sure you aren't clipping and do some basic treatment to your audio. Not every mic is right for your voice. You'll need to try some different mics out to see what pairs with your voice the best. If you want to make a living from voice-over work, you have to think about yourself as a business. If you're just getting started as a voice-over artist, a voice coach is one of the best investments you can make. You can make a living in voice-over without an agent. You don't need an agent to be successful. It doesn't matter how you start, it just matters that you start. You're born with the voice you are born with, that's it. You can't change that. All you can do is learn how to use your own voice to its best abilities. You're not going to get many scripts that you can read in advance, so the ability to read ahead while performing a script is essential. How Did You Start Your Career as a Voice-over Artist? Aaron: How did you get started doing voice-over work? Were you born with a golden voice, did you know from an early age that you were going to be a voice actor? Jay: Golden voice? Not exactly. I don't really have a special Barry White kind of voice. I did know from an early age that I wanted to do something with my voice. I blame the Animaniacs and all those kinds of shows for the inspiration. I just wanted to do voices; I was that guy in school who did the funny voices. Like so many people, I decided to do something sensible after college. I left college and went straight into an IT job for 10 years or so. But I got to a point in my life where IT work was just too boring; I knew I couldn't do it for the rest of my life. I asked myself what I wanted to do, and knew that it was voice-over. So I slowly started to take some steps towards getting started. Those first steps are always the scariest. The first thing I did was look for a voice coach. I booked a workshop in London and got some coaching and recorded some demos. Then (slowly) I started to try to find voice-over work. There was a long journey from then to what I have now; I definitely had a false start, kind of kept it on the sidelines for awhile. I kind of dabbled, I didn't commit to getting my voice-over business off the ground. After about 3 years of dabbling, I had a really bad day at my job (still IT) and I was talking to my wife afterwards about how much I hated it. She said, “Why don't you do the voice-over thing properly?” So that's when I started taking it seriously. I went over to the states and got some more coaching, got some real recordings done, got some new kit (that's gear), and really worked hard to make it my full-time business. So it started off slowly, but when I made my mind up that it was possible and starting applying myself, that's when it all started coming together. Aaron: So how old were you when you started dabbling? And how long did it take you to go full-time? Jay: I'd just got married… so 27? I'm 31 now, so I got started around four years ago. And I kept my job until recently. My hours at the job decreased as my voice-over work increased, and eventually I ditched the day job altogether. But in the beginning I'd work the day job Monday-Friday, 9am to 5pm, and as I got more bookings for voice-over work my schedule got a little crazy. So the transition was hard but it was worth it. What Kind of Gear Do You Need to Get Started as a Voice-over Artist? Aaron: What kind of gear did you have when you were starting out? Jay: I had (and this is terrible)… a $30 USB microphone. It had a built-in pop shield. For my booth (my entire sound treatment), I had two pieces of foam stood up in a “V” behind the microphone, and a blanket over my head. Not terribly professional, but it got me started. Aaron: Did you actually do some paying gigs with that setup? Jay: Oh yeah, I booked a lot of work on that mic. I booked and recorded a Marvel gig on that kit. I was supposed to do the voice of Jarvis for some Avengers promo stuff. That's when I started feeling a little bit of imposter syndrome. It was just me in my little pop-up booth in my house in England with my $30 USB microphone. But they had no idea; I was just a voice on a microphone and I did the job, and that was that. Who Handles the Post-Production for a Voice-over Artist? Aaron: How much did you know about things like setting input gain levels and EQ and compression and all that post production stuff? Was that handled by you or did your clients do it? Jay: At that point I knew very little about it. I was flying by the seat of my pants. Most clients at that stage didn't require much, just a bit of cleanup and normalizing. I knew that I didn't want to go over the red line on the meters; if you're chopping the top off, dial it down. But that was about it, I really didn't know much about recording and post-production when I was getting started. Aaron: I think a lot of people will be relieved to hear that. I talk about sound quality and post-production a lot because I hate to see podcasts ruined by poor audio quality, but that's something you have to learn through trial and error. You can't let it keep you from getting started. Jay: Absolutely. I'm a big believer in simplicity. I'm talking to you on a USB microphone right now because my home studio is currently being put back together. You don't need the fanciest mic or a ton of knowledge to sound good. Just make sure you aren't clipping and do some basic treatment to your audio. Jay's Favorite Gear for Voice-over Work Aaron: So which USB mic are you using currently? And what other gear do you have in your home studio? Jay: I'm recording this episode with a Rode NT USB mic ($170), which is really nice. It's not a very “hot” mic, so it's good if you're in a noisy environment. It's kind of my backup/travel mic. In my main studio I use a Sennheiser 416 shotgun mic ($999). It's a beautiful mic. I also have the “voice-over standard”, the Neumann TLM 103 ($1299). I record everything through a Focusrite Scarlett 2i4 interface ($180) (with a 2i2 as a backup). Not every mic is right for your voice. You'll need to try some different mics out to see what pairs with your voice the best. Jay's Tips for How to Get Started Doing Professional Voice-Over Work Aaron: What advice would you give to someone interested in making a living doing voice-over work? Jay: The first thing I'd recommend is forgetting about the creative side of it when you're first getting into it. You are starting a business. You have to get your head around that. You're going to be pretty isolated as a voice-over artist; most of your work is going to be done from home. You have to approach it like you're starting a business. You have to think about things like your vocal training, where you're going to invest your money, how you're going to brand and market your voice, what your competition is like, what the market wants at the moment… You have to think about things like that. If you think about those things you'll have a massive advantage over someone who just buys a mic and records some stuff. If you want to make a living from voice-over work, you have to think about yourself as a business. I'm a huge believer in voice coaching as well. I've had four different coaches since I got started. Each genre has particular requirements, and a voice-over coach can help you understand those things and also the industry as a whole. If you're just getting started as a voice-over artist, a voice coach is one of the best investments you can make. How to Find Voice-over Work if You're Just Getting Started Jay: After you get a simple home studio setup, you can start looking for work. And there's really only three ways you can get work: First, through an agent. Second, through “pay to play” websites, where you pay to become a member and you get access to auditions. And third, through direct marketing; reaching out directly to production companies. You phone them up and say, “Hey, I'm a voice-over actor, do you guys needs voices? Here's my demo reel.” Start building relationships, and if you have a plan and you hit all three of those, you'll start booking work. Aaron: Can you share how you got started? Which did you do first, and what worked best for you? Jay: I had some pretty awful reels (demos) when I first started, but I signed up for a pay to play website called Voice 123 and I got a couple of gigs there. That was where I dabbled for awhile; I stayed on that site and picked up a bit of work here and there. When I decided I was going to do it properly, I put about $15,000 on a credit card to train with a commercial coach, an animation coach, and a promotion coach, and I flew out to Los Angeles to get some proper reels done. Once I had those, I hit all the pay to play websites again and started doing direct marketing. I started doing research on Twitter and Google, finding the production companies and phoning them up, giving them my reels and my website and stuff like that. I also started networking, meeting other voice-over actors, meeting game producers, going to events and getting my name out there. Once I had a decent offering, that's when I went to the agents and said, “Here I am, this is what I've got. Represent me, dammit!” Aaron: Sounds like a fantastic strategy. And hey, it worked. Do I Need an Agent to Find Work as a Voice-over Actor? Jay: There's a common misconception that you get your work through an agent, and these days that's just not the case. Thanks to the internet, anyone can find your website and hire you. Agents will always have their place because many of them look after the niche and “big” jobs, things like Coca-Cola advertisements and huge triple-A games. But so much work is now on the pay to play websites and through production companies. You can make a living in voice-over without an agent. You don't need an agent to be successful. I love my agents, but they don't make up the majority of my income. You don't need to worry about getting an agent when you're just getting started. In fact, agents won't take you on until you've got a lot of stuff to offer them. Voice-over Gear for People on a Budget Aaron: I know earlier you mentioned that you got started on a 30 dollar USB microphone. Do you have any gear recommendations for new voice actors who don't want to spend a ton of money to get started? Jay: That was 6 years ago and USB mics are way better these days. There's a starter kit that I recommend from Focusrite. It comes with a microphone, a Scarlett 2i4 interface, and some headphones. Basically everything you need to get started for around 200 dollars (you will need to buy a pop filter and a mic stand, though). A basic setup like that is all you need, and then just sit in a closet with some pillows and a duvet over your head. I'm a big fan of simplicity. Just get started. You can always buy a better microphone later once you've made some money. It doesn't matter how you start, it just matters that you start. You can always buy a better microphone, you can always build a voice-over booth. But the sure-fire way to make sure nothing ever happens is to never start in the first place. It doesn't matter how you start, just start. Note: If you're interested in learning more about affordable gear for voice-over or podcasting, check out https://kit.com/thepodcastdude/podcasting-gear. Jay's Tips for How to Be a Better Speaker Aaron: Are people born with great voices, or is that something you can teach yourself? What are your tips for improving your voice and the way you talk? Jay: Some people are both with a voice that makes a nice sound. Is that relevant, does that directly relate to their potential success as a voice actor? No. Not in the slightest. Like I said earlier, I don't have an amazing voice. I have a standard voice that sounds like everyone else's, and so do most of my colleagues. You've got guys like Don LaFontaine who have a deep and boomy voice (the “In a world…” movie trailer voice), but you wouldn't book him to do a corporate voice-over gig. His voice just wouldn't sound right. You're born with the voice you are born with, that's it. You can't change that. All you can do is learn how to use your own voice to it's best abilities. I'm proud of the fact that I'm able to do a broad range of characters with my voice. I can go high, I can go a little low, I can do accents and I can make my voice sound funny. But I'm never going to book a movie trailer; I don't have the right voice for it. That's ok. Part of working in voice-over is understanding that you might book work in genres that you don't necessarily want to work in. You might want to do movie trailers but if you don't have the right voice for it, you won't get the gig. This is why you need coaching. You need to understand things like, if you're reading a promo script for a TV show, you need to know how to make the read less funny, or how to change the inflection. So much is based on melody. Knowing how to play with your voice is so much more important then the voice you were born with. One of my coaches said, “As far as booking a job goes, 95% of it is how well you understand the copy and how well you perform the copy, and the last 5% is genetics.” Rather than worry about how your natural voice sounds, worry about what you do have control over, which is how you use the voice that you have. How to Get Better at Reading Scripts Out Loud Jay: Want to get better at reading scripts? Read out loud every day. It's not good enough just to read, you need to read out loud everyday. One skill that is absolutely critical is being able to read ahead of what you're currently saying out loud when you're reading a script. You'll make less mistakes because you'll know what words are coming, and you'll very rarely mess up the intonation of a sentence. You're not going to get many scripts that you can read in advance, so the ability to read ahead while performing a script is essential. Reading ahead will feel unnatural at first, but after you do it for awhile it will get easier and you'll start making less mistakes. This is especially important for video games because you'll often get thrown into recording sessions without a chance to read the script or even get a full idea of what your character is like. It's an immensely helpful skill because no one in this business has any time. If you can nail something on the first take, then you'll do great. Another tip is go and do some improv and learn how to ad-lib. It'll speed up the auditory part of your brain, you'll learn how to come up with words and get them out quickly. That's a great skill to have. Increase that “brain-to-mouth” speed. Q&A: Tobi asks: What are your thoughts about working with unions? Jay: It really depends. If you're just starting out, there's no reason to join the union, and more and more work is going non-union in the US. So if you're in the states and you're trying to do voice-over work, don't join the union until you're forced to join the union. You can actually book your first union job without being a part of the union, and it's $5000 to join after that, so at the start of your career, it's not really necessary. Richard asks: What are some of the best methods to get in front of casting agents? What elements are they looking for in a vocal reel? Is sending in a vocal reel the best way to get hired for voice over gigs/start a relationship with casting agents? Jay: There's two sides to this. There's casting agents (or as we call them here in the UK, casting directors), and then there are agents. An agent will represent you and present you to a casting director (who will then consider you for a job). If you want to get yourself an agent, the best way to do that is by referral. So make sure you have a great sound reel (demos) and do lots of networking with other voice actors, especially the ones who work with agency you'd like to work with. Don't be weird, but develop relationships with other voice actors and agent. If you're good, they'll notice. Thousands of people want to be voice actors and work with these agents, so you've got to find a way to stand above the crowd. Doing great work and getting referred by another successful voice actor is one of the best ways to get an agent. In terms of working with casting directors, generally they are “behind the scenes” people. They're not the most receptive to being bombarded by voice actors. The best way to get to know them is to organically get a job for them and just start a relationship with them. Another way to meet casting agents is on Twitter. Social media in general is a great tool for growing relationships, just don't be salesy about it. If they tweet a funny picture of their cat, don't reply with “I'm a voice actor, please hire me!” Ultimately, people work with people. Don't smash your voice reel in their face; take the time to build a relationship. That's the way I play it. Aaron: Relationships are so important if you want to be successful as a freelancer. When I was getting started as a podcast editor, most of my best clients came from referals. I always made sure I was friendly and I did a good job and if I saw an opportunity to provide some value, I'd do that. Eventually people grew to trust me, and if they knew someone who needed my services, they'd send them to me. So I got a ton of work that way, and I think that works in almost any industry. Jay: Exactly. I've done voice-over work for 22 games in the past 2-3 years, and something like 80% of those jobs came through networking. Another tip is give it time. It's natural to want everything to happen yesterday, but it takes time to develop those relationships. I'm going to be working on a big game project pretty soon, and I only got the gig after talking with the casting director for over eight months. That's a long time to pursue a lead, but things don't happen overnight. You've got to be prepared to play the long game. Eric asks: Do clients expect you to do post-processing on your recordings, or is that something they typically handle? Is it important for you to know how to master your own recordings? Jay: It's usually a 50/50 split. If I book something through my agent, I'm usually going to a studio where they have professional audio engineers to handle everything. If you record something at home, the client will most likely expect you to handle the mastering. If you're booking work through the pay to play websites or through direct marketing, they're probably going to expect you to do the post-production. Quite a few of my clients also want me to match the audio to the video as well. In general, most clients just want the audio to be clean and pretty level in terms of dynamics. So you do need to be comfortable with editing audio and doing basic treatment (equalizing, compression, normalizing). Find Jay Britton Online: You can find Jay's website at VoiceOfJayBritton.com, and follow him on Twitter @voicejaybritton. If you'd like to make a living as a voice actor, I highly suggest hiring Jay for coaching. It's an investment that will pay off 10x in the long run. 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