more Voice Over Today past issues
VOICE OVER TODAY - October 31, 2003
Helping voice-talent build careers.
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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
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WHAT IS EDGE STUDIO?
Voice Over
Career Building
- training, evaluations, demos, marketing resources, guidance
Production
Studio & Casting
- commercial and narration productions
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WANT CD DEMOS?
visit www.edgestudio.com/cd_duplication.htm
NEED PRACTICE
SCRIPTS?
visit www.edgestudio.com/scripts.htm
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THIS ISSUE INCLUDES:
1.) Washington
DC Evaluation & Guidance Workshops! Now Scheduled in November!
2.) Who Is That Woman You Keep Hearing?
3.) Microphone Types
4.) Microphone Pick-Up Patterns
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1.) WASHINGTON DC EVALUATION & GUIDANCE WORKSHOPS!
Our most acclaimed half-day Intensive Technique Workshop...in DC.
WHAT IS THIS?
The Intensive-Technique Workshop -- an accelerated, half-day workshop.
Designed with only two objectives: find your vocal strengths and determine the types of voice over most marketable for you.
THEN?
The workshop concludes with a straightforward, one-on-one assessment with
your instructor to discuss if you have potential, and if so, what should
be your next step.
WHAT COULD
BE NEXT?
If there's potential, (and we'll be straightforward with you), we can
help you with training, demo production, marketing, guidance, and CDs.
WHEN AND
WHERE?
At the Courtyard by Marriott – Embassy Row in downtown Washington
DC.
Choose from one of three time slots:
November 21, Friday 9am – 1pm
November 21, Friday 6pm – 10pm
November 22, Saturday 9am – 1pm
Seats fill
quickly, as only approximately 10 participants per workshop.
Cost is $139.00
To schedule, or for more information, feel welcome to call us weekdays,
9-5 EST, at 888-321-edge (3343).
INTERESTED?
To participate, call us weekdays, 9-5EST, at 888-321-EDGE.
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2.) WHO IS THAT WOMAN YOU KEEP HEARING?
Listened
to radio lately? TV? Telephone messaging systems? Then chances are you
heard Colleen Brown.
We asked this well-known voice over artist to detail some of her experiences.
DO YOU LOVE
DOING VOICEOVERS?
I adore doing voiceovers. Even if I were independently wealthy, I’d
still do voiceovers. Each job is different, you get to meet new people
and travel to various studios, and it sure beats sitting in an office
9 to 5.
WHERE HAVE
WE HEARD YOU IN THE PAST?
A lot of my work is corporate narration, but commercials where you may
have heard me include Ovaltine, Jet Blue, American Express Publishing,
Babies R’Us, Sheraton Hotels, and Virgin Atlantic.
WHERE CAN
WE CURRENTLY HEAR YOU?
Just recently, I had some commercials running for the Greater Hartford
Marathon and the Wadsworth Atheneum on the Hartford affiliate of NBC.
I also have a spot running for the September 11th fund on CBS news radio
88, and some car dealership spots running on networks throughout the country.
WHICH JOBS
ARE THE MOST FUN?
Any job where the producer knows what he or she wants, and is able to
direct well, is fun. Any job where the producer respects the talent and
allows the talent room to contribute his or her opinion or interpretation
of the read is fun. I love doing character voices, because they allow
you to really go over the top and “pull out the stops,” which
is just a blast. For me, I think the bottom line is that if the people
I’m working with have respect for the talent, we are all going to
have a good time—regardless of the material.
WHICH JOBS
ARE THE LEAST FUN?
Any job where the producer does not respect the talent is not going to
be fun, because that producer is not going to get the best out of me.
Jobs where the producer feels the need to micro-direct—“Go
up on the second syllable of the third word in the fifth sentence.”
This type of direction definitely interrupts the flow of the piece. And
I leave feeling that I have not done a good job, which is counterproductive.
HOW DID YOU
GET STARTED?
I used to be in radio, and it was costing me more money to drive to the
station than I was earning!! I decided, as many people do, that a career
in voiceovers would be more rewarding. Radio was a lot of fun, but I don’t
miss it from a financial perspective.
ADVICE TO
NEW-COMERS?
Where to start?? There are so many things to say. I guess I would say
this: Don’t take rejection personally. Don’t base your self-value
on the number of jobs you are or are not getting. This career is not for
the faint of heart, so hang in there, be persistent, have confidence.
Dot your I’s, cross your T’s, have fun, and before you know
it, you’ll have a career. One other thing I’d like to say
concerns money. There are scads of jobs offered to talent for “no
pay.” I think the people that offer those jobs are looking to take
advantage. (If you don’t mind working for free, volunteer to read
books for the blind.) Working for nothing sends a message that you don’t
value your talent. And if you don’t value it, nobody else will,
either. However, when you’re new, don’t hesitate to accept
jobs that are low paying, such as Cable TV, as they are experience.
ADVICE TO
PROFESSIONALS WHO DESIRE MORE WORK?
Yikes—I’m in that boat, myself! I would say that the ability
to diversify and to take various types of work can stand you well, especially
in this very competitive environment. Do your homework—if you don’t
have a web site, get one. Ally yourself with an ISDN studio so you can
work long-distance. Learn character voices if you don’t do them
now. Always keep your skills sharp.
STRANGEST
EXPERIENCE IN A VOICEOVER SESSION?
This one takes the cake—I passed out! Down like a stone on the bottom
of the booth. I got up, got some air, continued, had to stop, went out,
got more air, continued, and finished the job. Talk about embarrassed!
But the engineer sent me a very nice note afterward. In retrospect, I
think I just wasn’t breathing properly. The importance of deep and
proper breathing can’t be overemphasized!!! (Can you say “diaphragm,”
boys and girls?)
HOW IMPORTANT
DO YOU FEEL TRAINING IS?
I think ongoing training—“tune-ups,” if you will—is
imperative. Olympic athletes work with a trainer, why shouldn’t
voiceover folks? Having another perspective on your work from someone
you respect and trust is invaluable. Personally, I also find that training
really improves my confidence level. When I walk into a job, I want to
be giving my clients the best that I can be. Regular training helps ensure
that I do just that.
WHAT DO YOU
SUGGEST TO LOOK FOR IN A COACH?
I look for someone who I am comfortable working with, but who I know has
a great ear and is not afraid to point out what isn’t working with
a particular read. I want someone who can point out areas that need improvement,
but remain encouraging and positive at the same time. Basically, you want
to have a good working relationship with your coach.
WHAT’S
YOUR SECRET TO SUCCESS?
Depends on how you define success! To me, success is going out there,
building yourself a career from nothing, and maintaining your confidence
and self-esteem in an industry that is extremely competitive. I don’t
have any real secrets, but I can say that persistence, patience, and focus
pay off. I think that for many of us, the road to success is a long one,
so its important to pace yourself, be honest and kind to others along
the way, help your colleagues when you can, and at the end of the day,
be able to live with the person and the voiceover professional that you
are. And don’t give up—a famous actor (maybe John Wayne?)
said: “You always quit the day before you become a big star.”
ANY FINAL
THOUGHTS?
Value your talent. Everybody hates their own voice, but learn to appreciate
yours and what it can--and can’t do--for you. Don’t try to
be who you aren’t, and don’t try to sound like anyone else
but you. That’s why your clients hire you!
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3.) MICROPHONE TYPES
This is not just for education. Understanding microphones can help you get the most out of your recording sessions…whether at a commercial or home recording studio.
The microphone (also known as a “mic”) is a transducer, meaning it converts one thing into another – in this case, sound waves into electrical energy. After sound waves leave the mouth of the voice-over artist, and are converted into electrical energy, they then travel through a microphone cable, called an XLR cable, into a microphone pre-amplifier (known as a “pre-amp”). The microphone pre-amplifier boosts the electrical energy to a point where it is compatible with recording equipment. There are three general types of microphones:
- condenser (also known as “electric condenser”) — Condenser microphones are the only microphones that are electrically powered. They contain a diaphragm and metal disk which are charged with static electricity. When sound waves vibrate the diaphragm, an electrical energy is created. This allows the microphone to respond very quickly and accurately to sound waves, producing a very clear, detailed sound. Condenser microphones are sensitive, fragile, and usually more expensive than other types of microphones. They are generally found in quality recording studios, and are usually the preferred microphone type for voice-over.
- dynamic (also known as “moving coil”) — Dynamic microphones use a wire coil, suspended in a magnetic field, and attached to a diaphragm, to convert sound waves into electrical energy. As sound waves vibrate the coil of wire, the diaphragm generates the electrical energy. Dynamic microphones are cumbersome and sometimes hinder the response time of the microphone, creating a “meatier” sound. However, they are very sturdy and are often used for “live recordings” (for example, concert recordings, etc.). Dynamic microphones are usually less expensive than condenser microphones, and are rarely used for voice over recording.
- ribbon (also known as “moving coil”) — Ribbon microphones use a thin metal ribbon that is suspended between magnets so that incoming vibrations generate electrical energy. Ribbon microphones, unlike condenser microphones, are usually heavy and slow, and create a very “warm” sound. They were more popular years ago (the RCA emblem is a dog sitting besides a ribbon microphone). Ribbon microphones are generally fragile, expensive, and rarely used for voice over recording.
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4.) MICROPHONE PICK-UP PATTERNS
Microphones usually pick up sound in one of three patterns, known as “pick-up” patterns. Some microphones, usually condensers, have the ability to switch from one to another, allowing the user to select which one they desire. Other microphones are factory made with one. The three types are:
- directional — A directional pick-up pattern picks up sound waves from the front of the microphone, not the back or sides. This is the pattern generally used for voice over recording. This is also ideal if you are recording in a noisy room. For example, if noise is coming from a noisy air-conditioning unit, face the microphone with its back to the unit, allowing the microphone to pick-up the sound coming towards it. (There are three kinds of directional patterns: cardioid, super-cardioid, and hyper-cardioid. Each offers the engineer slightly different control of the sound. Cardioid is the most popular.)
- bi-directional (also known as “figure-8”) — A bi-directional pick-up pattern microphone picks up sound from the front and back of the microphone, but not the sides of the microphone. This pattern is used when two people are recording into one microphone (one person is in front of the microphone, the other in back). Unless two people are being recorded simultaneously, do not use this pattern.
- omni-directional — An omni pick-up pattern picks up sound waves emanating from every direction. Since this is how humans naturally hear, this pattern produces a very realistic, “open” sound. However, since the microphone picks up sound from every direction, any noise in the room will be recorded. Therefore, this pattern should only be used when recording in a totally sound-proofed room. This pattern is often used when recording a group of people standing around a microphone, for example, a choir recording.
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voiceoverPaul@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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in Voice Over Today?
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