Edge Studio

VOICE OVER TODAY

February 6, 2008

This issue contains:

1.) Edge Studio: The Evaluation Placement Program
2.) Audition Recording at Edge Studio NYC
3.) Diction in Voice Over – Part 1 in a 2 Part Series
(An Excerpt from the Industry Guidebook)

4.) Upcoming Class Schedule for Edge Studio

Read this issue and PAST ISSUES at:
www.edgestudio.com/voiceovertoday_past.htm

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Published by EDGE STUDIO
Helping Voice-Talent Build Careers
www.edgestudio.com

New York - 212-868-edge
Washington DC - 202-398-edge
Connecticut - 203-334-edge
Toll Free - 888-321-edge

SINCE: 1988
MEMBER: Better Business Bureau
RECOGNIZED: Voice and Speech Trainers Association
SPONSOR: National Public Radio, Recording For The Blind & Dyslexic

WHAT IS EDGE STUDIO?

1) VOICE OVER CAREER BUILDING
. coaching
. voice and demo evaluations
. demo production
. marketing resources
. audition preparation
. guidance

2) ACCLAIMED PRODUCTION FACILITY
Recent Productions:
. Lee French Toast Uniforms
. King James Bible Audiobook
. Glomobi
. Klaffs
. Brown Shoe Company

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1.) Edge Studio: The Evaluation Placement Program

A $159 Two-Part Program designed to candidly assess the 'Marketability Of Your Voice' and 'Your Talent'. If potential exists, we can help guide you through a personalized training program.

It's also designed to stop those without potential from continuing. (We are candid.)

IF YOU SHOW POTENTIAL, then you're already on your way, since this program is the equivalent of a few private training sessions.

If you do not show potential, then you have wasted little time and money.

OBJECTIVES:

1.) determine if your voice is marketable, and if so, in which sectors of the industry (e.g.: audiobooks, television commercials, documentaries, website narration, educational videos, etc...)
2.) determine if you have talent (a good voice doesn’t mean you can sing, it’s likewise with voice over)

DETAILS:

PART 1 of 2: Participate in our acclaimed 3.5-hour Intensive Technique Workshop. Begin by cutting through all the misconceptions about the voice over industry and gain an understanding of this field - including:
1.) types of work, other than just commercial
2.) realistic salary expectations (most voice-talent do NOT make millions of dollars a year, as many books claim)
3.) the business of voice over production, and how it operates

Then, with numerous scripts, the class moves through a basic foundation of technique:
1.) tone, pitch, tempo, volume
2.) smoothness, variety
3.) learn the basics of voice over delivery

Then have a chance to incorporate all you've learned...in front of the microphone. During this time, your instructor will offer straightforward direction and suggestions for you to practice with before your upcoming Private Training & Assessment session (Part 2).

PART 2 of 2: Complete your evaluation package with a one hour long Private Training & Assessment session. Work one-on-one with one of our casting/directing producers, in front of the microphone, applying techniques learned during your previous workshop. You'll also have time to discuss your most marketable niches, competitiveness, talent ability, potential, and receive direction and guidance. If you show potential, (and we are candid), map out a “plan of action” to begin your voice over career. If you don't show potential, you will receive straightforward advice on what course of action to take to get there, eg. accent reduction, reading exercises, or simply practice.

Workshops are kept small (typically 8 participants). The private session is just you and our producer.
The total cost for Parts I and II is $159.

New York City Schedule:

Wednesday February 13, 9am-12:30pm
Saturday February 16, 2pm-5:30pm
Wednesday February 27, 9am-12:30pm
Saturday March 1, 2pm-5:30pm
Wednesday March 26, 9am-12:30pm

Tele-Class Schedule:

Monday, February 11 6pm-9:30pm
Monday, March 17, from 6pm-9:30pm

To register for any of the above classes, do not hesitate to call our offices at:
New York - 212-868-edge
Connecticut - 203-334-edge
Washington DC - 202-398-edge
Toll Free - 888-321-edge

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2.) Audition Recording at Edge Studio NYC

Have you been getting a lot of requests for custom auditions lately?
Don’t have the time to fulfill all these requests from your home studio?
Edge Studio can help!

We are now offering One Full Hour of audition recording for only $100!
Record as many auditions as you can in that hour, and walk away with mp3’s!

We provide you with a professional quality recording studio and an engineer to record your auditions!
Conveniently located in Manhattan on Seventh Avenue, our recording studio can provide you with the professional sound you need to help land you the job!

Interested in setting up a session? Call us today!
NYC: 212-868-3343
Toll Free – 888-321-3343

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3 Diction in Voice Over – Part 1 in a 2 Part Series
(An Excerpt from the Industry Guidebook)

Every natural conversation requires a different level of articulation. It depends upon our listener, our environment, and our intent. Sometimes we speak formally (enunciate words clearly) – other times we speak informally (colloquially).

The voice-talent’s job is to determine how formally or informally the script should be, and then deliver the script accordingly. In other words, pronounce words as they are spoken in genuine conversation, and then tailor them to match the formality of the script.

For example, scripts that will be heard by an international population should generally be more clear, as many of these listeners may not speak your langauge as their “mother tongue.” For example, language tutorials, museum guided tours, international ailrine videos, and so forth. Yet a local bank commercial in a small suburban location, that is advertising to the local population, should generally be more colloquial.

This is more difficult than it appears. Following are some reasons why:

1. Most voice-talent tend to over-enunciate, with the intent of sounding extra clear. This often sounds unnatural and, in many situations, is not preferred by producers.

2. Scriptwriters often write scripts formally – without using contractions, colloquialisms, etc, and yet expect the voice-talent to read the script with contractions and colloquialisms.

3. A producer may ask the voice-talent to get rid of all colloquialisms...yet sound natural.

4. Scripts are often written in the third person, yet we naturally speak in the first person.

Exercises: The following scripts should be read formally, as they need to be clear and/or may be heard by foreigners.

(television commercial) Compassion and trust… qualities you can expect from Aetna Insurance.
(American Airlines video) Your seat may be used as a flotation device in the unlikely even of an in-flight emergency.

These following scripts should be read informally, as the need to be natural and conversational.

(radio commercial) At B.K.’s, we’re all about great taste!
(information-on-hold) Thanks for calling Milford Bank, your hometown bank. We’re glad you’re calling and will pick up shortly.

Regardless of the amount of formality required in your delivery, there are a few general “diction guidelines” that apply for most every script.

a. Pronounce “the” with a soft “e,” and pronounce the word “a” with a soft “a.” This is how we generally say these words in natural conversation. Unfortunately, when reading scripts, we often use hard vowels as we feel over-enunciating is a good thing. Ironically, this is the one of the biggest indicators that we are reading.

Practice reading the following examples incorrectly (with hard vowels), and then correctly (with soft vowels). Notice how much more natural they sound with soft vowels.

(commercial) The deal of a lifetime!
(documentary) The gorilla is a mammal that lives in the forest.

Exception: when the word following “the” begins with a vowel, “the” should be pronounced with a strong “e.”

(commercial) The experts at Miller Ford offer the experience you need!
(documentary) The iguana is found over a large geographic area, from Mexico to southern Brazil, to the islands of the Caribbean.

b. Articulate “wordy” words clearly enough for the listener to understand them. Remember that it is often difficult to notice a slurred word, as the script in front of you… and therefore you know what to expect. Also remember that the listener often hears background music behind your voice over, making it more difficult to distinguish slurred words.

So think about the listener. Ensure that your delivery is clear enough for them.

To pronounce a challenging word, break the word up into separate syllables and pronounce (and concentrate on) each one individually. For example, if “particularly” is difficult to pronounce, pronounce it with a space between each syllable, like this:

par…tic…u…lar…ly

Then, connect the syllables, while still concentrating on each one individually:

particularly

Here are some common words that are difficult to pronounce:

probably, regularly, particularly, digital, citizen, costs, desktop, general, temperature, government, environment, perspective, hospital, nuclear, Internet, espresso

c. Articulate “wordy” phrases (tongue twisters) clearly, as this allows the listener to understand the phrase. Wordy phrases are those in which similar words and sounds are connected.

Wordy phrases often occur because the scriptwriter focuses more on the content than on the voice-talent’s delivery.

Ironically, each word of a wordy phrase can be articulated clearly and easily on its own. The challenge is connecting the words clearly.

To read a wordy phrase clearly, first break the phrase up into separate words and pronounce (and concentrate on) each one individually. For example, if the following sentence is difficult to read, pronounce each word with a space between it, like this:

It’s…the…One…Day…Super…Sale…at…Sears,…starting…this…Saturday…at…7am!

Then, connect the words while still concentrating on each word individually:

It’s the One-Day Super Sale at Sears, starting this Saturday at 7am!

Tongue twisters are great to use for practice. Here are some useful ones:

Which wristwatches are Swiss wristwatches?
Sally sells seashells by the seashore.

We hope you have enjoyed these practice exercises, and that you will be able to improve through practicing what you have read! Read Part 2 in our April issue of Voice Over Today for more practice exercises focusing on improving your diction!

If you want even more information on voice technique, we recommend purchasing Edge Studio’s Industry Guidebook, which has plenty more tips and training techniques like the ones you see above!
You can order the guidebook online at: https://www.edgestudio.com/guidebook.htm

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4.) Upcoming Training at Edge Studio

No matter what your skill level is, dozens of workshops and seminars are being offered for all levels of voiceover experience!

JUST GETTING STARTED?

Try our Evaluation Placement Workshop, for a wealth of information on the
voiceover industry, as well as a private, 1-on-1 evaluation with one of
our experienced voice coaches!

NEED AUDITION EXPERIENCE?

Our Act-Up and Ringer Classes offer training and confidence building for a
variety of different types of scripts, as well as actual audition experience!

NEED MARKETING INFORMATION?

Do you have, or are about to finish recording a demo?
Don't know what to do next? You need the Marketing Foundation Seminar: a realistic and straightforward approach on how to market your voice and get work!

INTERESTED IN AUDIOBOOK NARRATION?

Gain a wealth of experience in workshops which deal exclusively in this
specialized field of the voice over industry! This is a fast growing industry which you can be a part of!

EDGE STUDIO VOICE OVER TRAINING SCHEDULE THROUGH MARCH 2008

_______________TELE-TRAINING_______________

--------------Call 888-321-edge for details-------------

*Intensive Foundation Technique Evaluation Workshop: $159
February 11, 6pm-9:30pm ET with Kerry Miller

*Marketing Foundation: $79
February 18, 7pm-9pm ET with Kristin Price

*Intensive Foundation Technique Evaluation Workshop: $159
March 10, 6pm-9:30pm ET with Kerry Miller

*Marketing Foundation: $79
March 17, 7pm-9pm ET with Kristin Price

_______________CONNECTICUT STUDIO_______________

--------------Call 203-334-edge for details--------------

*The Ringer Workshop: $35
February 9, 10am-12pm with Bruce Bayley Johnson

*The Ringer Workshop: $35
March 29, 10am-12pm with Bruce Bayley Johnson

______________NEW YORK CITY STUDIO________________

--------------Call 212-868-edge for details--------------

*Intensive Foundation Technique Evaluation Workshop: $159
February 16, 2-5:30pm with Kristin Price

*ACT-UP Workshop: "Silent Warm Ups" $35
February 23, 1:30pm-3:30pm with Eric Rath

*The Ringer Workshop: $35
February 23, 4pm-6pm with Eric Rath

*Intensive Foundation Technique Evaluation Workshop: $159
February 27, 9am-12:30pm with Kristin Price

*Intensive Foundation Technique Evaluation Workshop: $159
March 1, 2pm-5:30pm with Kristin Price

*ACT-UP Workshop: "Narration Technique" $35
March 22, 1:30pm-3:30pm with Eric Rath

*The Ringer Workshop: $35
March 22, 4pm-6pm, with Eric Rath

*Intensive Foundation Technique Evaluation Workshop: $159
March 26, 9am-12:30pm with Kristin Price

***Audiobook Intensive Workshop: $99
March 29, 10am-2pm with Alan Sklar

***Audiobook Advanced Workshop: $99
March 29, 3pm-7pm with Alan Sklar

***SPECIAL – PURCHASE BOTH AUDIOBOOK WORKSHOPS FOR $179***

_______________WASHINGTON DC STUDIO_______________

--------------Call 202-398-edge for details--------------

*Intensive Foundation Technique Evaluation Workshop: $159
February 11, 6pm-9:30pm ET with Kerry Miller

*Intensive Foundation Technique Evaluation Workshop: $159
March 10, 6pm-9:30pm with Kerry Miller

To register for any of the above classes, do not hesitate to call our offices at:
New York - 212-868-edge
Connecticut - 203-334-edge
Washington DC - 202-398-edge
Toll Free - 888-321-edge

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VOICEOVER ARTISTS WITH ABILITY TO RECORD MP3 OR WAV FILES WANTED TO READ ALOUD SCREENPLAYS

NYU-trained screenwriter-director seeks voiceover artists with the ability to record MP3 (preferred) or wav files. Read aloud the best professional screenplays--The Shawshank Redemption, The Color Purple, Brokeback Mountain, etc.--as well as my own screenplays, so that I may listen to your recordings as I read and analyze the screenplays. No pay, but good practice for Books-on-Tape and other voiceover work.

For phone audition, please email bob@bobslaymaker.net with "Reader" in subject. (P.S. If you have a computer--laptop or desktop--you can buy an inexpensive microphone from Radio Shack and obtain freeware (Audacity) from the internet to record
MP3 files on to your computer.)

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HAVE A WEBSITE?
Adding active links on your website can expand your profile while
increasing your search-engine results. Take this opportunity to add a link
to Edge Studio. Visit www.edgestudio.com/link.htm

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WANT TO ADVERTISE in Voice Over Today?
Results have been great!
Email info@edgestudio.com or call us weekdays 9-5 EST at 888-321-edge

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