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VOICE OVER TODAY – October 21, 2002

Published by EDGE STUDIO
     New York training - 212-868-edge
     Washington DC training - 202-398-edge
     Connecticut training - 203-374-edge
     Tele-Training - 888-321-edge

demos. training. guidance. CD duplication. resources.

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WANT WORK?
visit www.edgestudio.com/marketingresources.htm
NEED SCRIPTS?
visit www.edgestudio.com/scripts.htm ==========================================================

THIS ISSUE INCLUDES:

1.)… Developing and maintaining an appropriate delivery
2.)… What is ISDN? and other questions
3.)… New Workshops:
Washington DC: Intensive Technique
New York City: Accent Elimination
New York City: Accent Acquisition
New York City: Free Marketing EXPO and Marketing Co-op Class
4.)… This Sunday is ActorFest

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Tired of reading off of cue cards? Memorizing long scripts only to get to the job and receive changes? Then read on.

EAR-PROMPTER--The ability to speak, simultaneously, pre-recorded material from a micro-cassette recorder, while hearing it through an earpiece, giving a flawless performance.

This extraordinary on-camera class comes from a leading ear-prompter proficient actor and trainer. Receive a nation-wide list of "Ear" agents at the end of the course and open the doors to more moneymaking opportunities.

Call Andréa Urban 212-591-1097 for private or group lessons

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"Teaching consumers about wellness products and services, or intellectual
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1.) DEVELOPING AND MAINTAINING AN APPROPRIATE DELIVERY

Part of a voice-talent’s job is to establish an appropriate delivery. Once mastered, you appear professional, experienced, and polished. This article will discuss how to develop and maintain an appropriate delivery.

To begin, here are errors voice-talent often make during their recording sessions:
1. taking too long to develop the appropriate delivery
2. not using the appropriate delivery from the beginning of the script
3. not maintaining the delivery

After showing up at the recording studio, members of the creative team (producer, copywriter, engineer, and client) work with you to develop the intended delivery. This is based upon factors, such as who will listen to the completed product, what it’s purpose is, where it will be played. While you’ll have as much time as necessary to develop the correct delivery, it is always best to do it as quickly as possible.

The production team will give you directions like “You need to be softer and more emotional,” or “Give us a bit more smile,” or “Try lowering your pitch.”

The production team may even attempt to demonstrate the required delivery to you. Listen carefully to their voices, try to pick up the subtle nuances they demonstrate. Remember that their voices may not be trained, so use their example only as the framework for your character. Don’t simply mimic them.

Sometimes, you’ll be requested to use a certain delivery sound that you had included on your demo.

By taking the following steps, an experienced voice-over artist can just about “nail” the delivery on the first take.

A. Conjure up a mental image of the finished recording as if a professional had recorded it. Then mimic it. By creating and mimicking this mental image, development of the delivery should be easier.

To conjure up the mental image, concentrate on two items:

a. Audio — Imagine you were the audience, and were listening to a voice-over artist reading the script. What would the voice-over artist sound like? What type of delivery would be used? Would there be music playing in the background? If so, what kind?

b. Visual — Compose a visual scene that helps you establish the mood of the copy. What type of characters would you see? What would the visuals look like?

B. Think about the application of the voice-over. For example:

If the voice-over is for a visual (such as a documentary, children’s picturebook, etc.), then the delivery should be on the slower side. This is so the viewer has time to take in the visual as well as the audio.

But if there is no visual (as with a radio commercial, voice-mail, etc.), the delivery should be faster. This way it will not drag for the listener.

To notice this, watch a television documentary with your eyes closed. The voice-over will appear too slow. However, with your eyes opened, the speed will seem appropriate.

A radio commercial will generally require more variety and energy than a television commercial. This is because the only thing on the radio commercial is the voice, as opposed to a television commercial, which has a visual to help hold the attention of the audience.

C. Recall a situation in which you naturally used the required delivery. For example, if you need to record a funny commercial, think of a funny joke. This mind-set makes it significantly easier to develop a fine-tuned character sound.

D. Create the delivery by using the 4 components of our voice: pitch, tempo, tone, and volume.

E. Manipulate the delivery so that it is neither overdone nor underdone. But beware: there is a very fine line between the two.

Generally, voice-over artists feel that they are employing more character than they actually are. In fact, the producer typically needs to direct the voice-over artist to give more character, so that the desired character level is achieved.

However, then the common tendency of the voice-over artist is to over-compensate and give too much.

If you’re unsure of how much character to give, begin with too much, as that will most likely be appropriate. And on the rare occasion when it is too much, you will impress the producer by demonstrating an ability to cover a large range — and that could lead to additional work.

F. Develop a “lead-in” (also known as a “silent warm-up”). A lead-in is a word or phrase that you think prior to reading the script. This acts as a warm-up, and makes it easier to establish the character on the first word.

This is a common technique in the industry, because establishing the appropriate delivery on the first word is difficult. Without employing a lead-in, it is common for the first word to be in the wrong delivery. Producers will not accept this.

Very often, a lead-in may be as short as, “Ya’ know,” or “Listen,” or “Okay.”

Practice reading the following sentences. Notice that in the first example, the first word will not be as full of character as it will be on the second example.

Script: I was walking into my bank, and the teller said something about free...
Now add a lead-in: It was amazing, I was walking into my bank, and the teller said ...

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WANT CUSTOM CD DEMO CARDS?

Work by phone, Internet, or IF YOU LIVE IN NEW YORK CITY I can meet you at your place of work, home, or even Starbucks. If you live out of the New York City are, I cannot travel to you.

Together we’ll listen to your demo and create artwork suitable for it! Everything is stored on file for future duplicates.

CD Front Card - $1 per card
CD Tray Card - $1 per card
Cassette J-Card - $1 per card
One time Set-up fee - $40
Cutting Charge - $8 per order

Paul Liberti (212) 229-7856
PlibertiNY@aol.com

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ADVERTISEMENT

The 2002 edition of the Audiobook Reference Guide, from the publisher of AudioFile magazine is worth checking out. This comprehensive sourcebook to the audiobook industry, the guide provides contact information for 600 audiobook publishers, wholesale and retail distributors, creative, manufacturing and support services.

Check out the new section on Voice Talent--and sign up for YOUR listing in the 2002 Edition.

Call 800-506-1212 or visit www.audiofilemagazine.com to order your copy now. Just $24.00 (inc. s/h). For info on the Voice Talent listings email jennifer@audiofilemagazine.com.

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2.) WHAT IS ISDN? AND OTHER QUESTIONS

Our “Answer Series” has expanded. New questions include:
- What is ISDN?
- Demo…what type should I make?
- CD demos…what to avoid?
Find these and many more at: www.edgestudio.com/answerseries.htm

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Let www.opt-inPROMO.com create and distribute your individual, distinctive announcement to your choice of any of their exclusive opt-in lists of buyers of talent and/or to your own lists of contacts.

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3.) NEW WORKSHOPS

WASHINGTON DC – INTENSIVE TECHNIQUE WORKSHOP

Curious about commercials, books-on-tape, documentary, web-site narration, voice-mail, reading-for-the-blind, children educational films, etc?

Participate in Edge Studio’s Intensive-Technique workshop, in Washington, DC.

Assess your strengths and help determine marketable niches in this accelerated half-day workshop. A candid private evaluation session is included.

Choose either:
Friday, December 6, 2002 from 9am to 1pm
Friday, December 6, 2002 from 6pm to 10pm
Saturday, December 7, 2002 from 9am to 1pm

Fee: $139
Location: Governor’s House in DC.
Call 888-321-edge (3343) to reserve. 10 participants per workshop.
Member Better Business Bureau

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NEW YORK CITY – ACCENT ELIMINATION WORKSHOP

Have an accent? Acquire Standard American (Non-Regional) English. $79. (Even a slight accent can turn off casting professionals).

Instructed by Sam Chwat, Director of New York Speech Improvement
Services - the nation's largest company of licensed speech therapists
specializing in accent elimination, Standard American English, and
professional speech and voice improvement. He taught Julia Roberts
and Andie MacDowell to lose their Southern accents before their film
careers began, and counts among his clients Robert DeNiro, Kathleen
Turner, Jude Law, Isabella Rossellini, Tony Danza, Jon Bon Jovi,
Patrick Stewart, John Leguizamo, Roberto Benigni, James Gandolfini,
and many other performers.

Choose one:
Saturday, November 16, 2002 from 12:30pm to 2pm.
Tuesday, November 19, 2002 from 7pm to 8:30pm.

Offered by: Edge Studio
Location: New York Speech Improvement Services
253 West 16th Street, Suite # l-B
Between 7th and 8th Avenues

Fee: $79

**Seating is limited to 10 participants, and based on a first pay, first serve basis.

To schedule, call 888-321-edge (3343).

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NEW YORK CITY – ACCENT ACQUISITION WORKSHOP

Learn 5 accents in 5 classes, $300.

An impressive resume builder...

Instructed by Sam Chwat, Director of New York Speech Improvement
Services - dialect coach for Robert DeNiro in CAPE FEAR and THIS BOY'S
LIFE; Willem Dafoe in his Oscar-nominated role in SHADOW OF THE
VAMPIRE; and Marcia Gaye Harden for her Oscar win in POLLOCK; Julia
Roberts, Andie MacDowell, Jude Law; and many other stars.

5 Saturday classes from 10am to 12noon
November 2, November 9, November 16, November 23, and December 7

Offered by: Edge Studio
Location: New York Speech Improvement Services
253 West 16th Street, Suite # l-B
Between 7th and 8th Avenues

Fee: $300 includes all 5 sessions

**Seating is limited to 10 participants, and based on a first pay, first serve basis.

To schedule, call 888-321-edge (3343).

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NEW YORK CITY – FREE MARKETING EXPO and MARKETING CO-OP CLASS

WHAT IS FREE?
A free voice-over MARKETING EXPO Sunday, November 3rd, 1pm to 5pm. Bring An Extra Demo.

LOCATION
122 West 26th Street, 10th floor, Suite 1000, New York, NY (Class only available in New York City)

WHY IS IT FREE?
It’s an introduction to the VOICE-OVER MARKETING CO-OP, an 8 week-class with marketing expert Scott Glasgow. Learn what this class offers, meet Scott, and decide if it’s right for you. And if it's not right for you, you'll still gain marketing information.

WHAT IS THE MARKETING CO-OP CLASS?
It’s for artists seriously interested in voice-over.

WHY IS IT COOPERATIVE?
Participants combine information marketing resources, including sharing hand delivery of each other’s demos to over 300 casting professionals.

OUTLINE
1) Analyze your individual skills and define your marketability. 2) Research an industry periodical and swap information with other participants. 3) Create a database of voice over clients. 4) Deliver each others demos. 5) Create relationships with Casting Directors, Talent Agents, Radio Stations, Production Companies, Advertising Agencies, Networks & Studios.

CLASS TIMES
Class begins Tuesday, November 5 from 7:30pm to 10pm and run: 11/5, 11/12, 11/19, 11/26, 12/3, 12/10, 12/17 & 01/07/03.

HOW TO PREREQUISITE
Your demo must be reviewed to ensure you are serious -- deliver it while attending the free VO EXPO (see above).

INTERESTED?
Cost is $375 for the entire 8 classes. Call Edge Studio weekdays 9-5 EST at 888-321-edge (3343).

RESULTS
Historically over half of participants are called by an Agent or Casting Director before the class concludes.

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4.)… THIS SUNDAY IS ACTORFEST

Interested in meeting us? Then visit us at Backstage’s Actorfest on Saturday, October 26th, 2002 at the Marriott Marquis, 1535 Broadway, New York City between 9am and 5pm.

Actorfest offers voice-over artists, as well as actors, a chance to learn what resources are available to them: meet hundreds of vendors, ranging from talent organizations to website developers. Plus if you mention this special, receive the Industry GuideBook for 50% off (only valid with cash on the day of the event and if you mention this special.)

We hope to see you there.

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HAVE A DEMO? We're always searching for new talent. Please mail us your CD demo to: Edge Studio, 251 West 30th Street, suite 9-fm. NY, NY 10001 USA
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Voice Over Today is an Edge Studio publication
- advancing voice-over careers since 1988 -
www.edgestudio.com
888-321-edge

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To advertise, email: info@edgestudio.com or call 1-888-321-edge
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