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VOICE OVER TODAY - February 13, 2003

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

established 1988
member Better Business Bureau

demos. training. guidance. CD duplication. resources.

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WANT WORK?
visit www.edgestudio.com/marketinghelp.htm

NEED SCRIPTS?
visit www.edgestudio.com/scripts.htm

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THIS ISSUE INCLUDES:

1.)... Working the Microphone
2.)... Need CD demos? .Or making your own?
3.)... Microphone Etiquette
4.)... more Washington DC Workshops

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1.) WORKING THE MICROPHONE

It is the microphone that captures your voice. Therefore understanding it
and knowing how to use it to your advantage can greatly enhance your voice-
over delivery.

Professional voice talent refer to microphone technique as "working the
mic." Following are techniques that should be employed during every
recording session.

a. Placement - The placement of the microphone is directly related to
sound quality. Engineers therefore precisely place the microphone in a
location, relative to your mouth, based upon your voice and the desired
sound for the narration.

The microphone generally faces your nose, neck, mouth, or cheeks.
Occasionally it is above you, sometimes to the side, and sometimes even
placed below your mouth.

Do not assume that the engineer is incompetent if the microphone is not
where you expect it should be. Nor should you try to move to where the
microphone is. Instead, remain centered with the music stand, and leave
the rest up to the engineer.

b. Lateral movements - It is crucial that you remain "on-axis" (in front of
the microphone) to ensure a consistent tone. Moving to the either side of
the microphone will create drastic tonal changes - making your voice sound
muffled, as without treble (clarity). This is known as being "off-axis"
from the microphone.

One exception is if a producer desires a muffled sound, as if you're
speaking through a door. Then speaking off-axis is perfect.

c. Proximate movements - Moving closer to and farther away from the
microphone will create drastic volume (amplitude) changes. It is essential
that you remain the same distance from the microphone to ensure a
consistent volume.

d. Proximity effect - As you move closer to a directional microphone, the
type most engineers use, the fuller, richer, and more bassey (less treble)
your voice will be. This is known as "proximity effect."

When a full-bodied, sexy, or deep tone is required, use proximity effect to
your advantage - stand about 3 to 4 inches from the mic to achieve this
full sound. When a thinner sound is desired, try standing 6 to 8 inches
away.

NOTE that when standing close to the microphone, you are more prone to
"pop." Popping is when a powerful burst of air from your mouth overloads
and distorts the microphone. This mostly occurs on "plosives" (words that
begin with "p," "b," and "t.") For these words, either move a few inches
further away from the microphone, or lessen the volume of air leaving your
mouth.

Follow these techniques, and you will sound better and appear more
experienced. We hope these help you and your career.

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2.) NEED CD DEMOS?
...OR WANT TO MAKE YOUR OWN?

Find READY-TO-MARKET CD demo packages at www.edgestudio.com/duplication.htm

Other Marketing Resources You'll Find:
DO IT YOURSELF CD templates
information for voice-over graphic artist (for custom designs)
matching business card, letterhead, mailers, labels, etc. information
'text help' to determine what to write on your demos
pictures of professional CD demos

All this at www.edgestudio.com/duplication.htm

If you don't need it now, save the address for future.

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EDGE STUDIO RECOMMENDS: www.opt-inPROMO.com

Promote your talent online directly to thousands of buyers of talent who
have opted in to hear from you!

No more hassle and costly expenses of mailing demos, postcards, flyers.

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.

Target market your website--Promote your new Demo or CD--Send a press
release--Announce new representation-

Get on and keep on the minds of buyers of talent looking specifically for
your category of talent at www.opt-inPROMO.com

Amazingly low prices-each announcement less than the cost of a stamp--and
excellent customer support: admin@opt-inPROMO.com

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3.) MICROPHONE ETIQUETTE

Microphone etiquette is an attribute engineers welcome. Therefore voice
talent who are considerate and respectful of engineer's microphones have a
greater chance of being hired again.

Always remember the following:

a. Never touch the microphone or the microphone stand. The positioning of
the microphone is critical - slight movements can drastically affect the
sound quality. So after the engineer places the microphone, do not change
it.

If the position of the microphone causes a shadow on your script, or is too
high or low for your comfort, simply ask the engineer to adjust it.

Also, touching the microphone can create a very loud sound in the control
room (the engineer's room) if the speakers are turned up. This can damage
the speakers and the engineer's ears.

b. Never blow into or tap on the microphone (as characters in movies do
during sound-checks). First of all, microphones are very fragile - a
slight touch may damage them.

Secondly, microphones are very sensitive. They're intended to pick up and
amplify sounds coming from a few inches away - and they do this very well.
So when the sound is created at the microphone, it will be overly amplified
- possibly causing damage to the recording room's speakers and in your
headphones (damaging your ears). It is, again, best to not touch the
microphone.

c. Never hang the headphones on the microphone stand. First, this can
cause feedback.

Feedback is an audio loop that produces a high-pitched squealing sound. It
occurs when a headphone is too close to a microphone. It is caused by
sound leaving the headphones and being picked up by the microphone,
amplified by the amplifier, and sent back into the headphones (louder this
time due to the amplification), then resonating back into the microphone -
thus creating a loop. This loop will eventually destroy the speakers and
your hearing.

Second, hanging headphones on a microphone stand creates the possibility of
the headphones falling off and breaking.

Remember these guidelines, as they will keep your ears, the engineer's
ears, and the engineer's speakers much happier. And this, of course, will
directly benefit your voice over career.

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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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4.) WASHINGTON DC 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, March 21, 2003 from 9am to 2pm
Friday, March 21, 2003 from 6pm to 11pm
Saturday, March 22, 2003 from 9am to 2pm

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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WANT CUSTOM CD DEMO CARDS?

We can 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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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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