BlogCatalog

Fine Tune Your Voiceover Website for Success

Long before I ramped up my voiceover business I became an internet junkie. I went through the process of learning how to develop websites and then how to market them. It was a foundation that has proven very helpful to me in growing my business. In fact, I am an Internet Marketing Consultant for AT&T and Google/Yahoo adword certified. I’m not sharing that to impress you. Just wanted you to know that I am qualified to give you advice on how to market your voiceover biz on the internet.

Back in 2001 if you googled “plumbers” you would have come up with 300,000 results. That same search today will produce over 4 million. A July 2009 web server survey reported over 239,611,111 websites around the world. The number of websites is growing by about 1.5 million per month. The point is that it is growing increasingly difficult to be found on the net. Just having a website is of little to no value. Getting noticed is no small task.

I talk to people all the time who have put up websites and found them to be useless as a vehicle for building business. “Been there. Done that. Didn’t work.” But it doesn’t have to be that way.

Your website should be your top salesman. That’s good news for voice artists. Most of us are going it alone without a sales team. A fine tuned, rightly positioned website will outperform all other marketing efforts. It can do more than an agent, more than websites that represent multiple voice artists, and more than you can do soliciting ad agencies by phone.

You don’t have to spend megabucks to build a successful website. In fact, you can do it yourself. Doing your own website also gives you quick access for important changes and updates. And you don’t have to spend hours learning techno-geek language. There are plenty of user-friendly services and software that can get you on the web at minimal cost. However, stay away from the free sites. There are too many limitations and strings attached to free sites.

Following are crucial elements in building the foundation for all your web marketing through the construction of a website strategically designed for success.

1. Content is king

Research indicates that the average person seeking a product or service on the web will spend no more than 8 seconds on a web page looking for what they need. Ask yourself what your typical customer is looking for and make certain that they can find that info quickly and easily.

Don’t be wordy. Be succinct. Say it in as few words as possible.

What sets you apart from your competitors? Why would somebody want to hire you? What can a client expect when doing business with you? Give very specific information about the services you offer. If a shopper doesn’t see what they’re looking for they will assume you don’t have it.

Make certain that your content is well organized on the page and that your site is easy to understand and navigate.

2. Strategically target your customer

Who is it that want to reach? Remember that you’re not building a website to impress your friends or even the people in your vocation. The object is to create a website that appeals to your preferred clientele.

When targeting my website I aimed at reaching two advertiser groups. The first was made up of creative advertising professionals. Most are well-versed on how voice talent works and they have a pretty clear picture of what it is they are looking for. As a second group I have endeavored to reach small and medium business owners and managers. The voiceover industry is foreign to them and a good website gives them useful information on how the process works and what the talent can do for them. Put yourself in the shoes of your target audience and consider what they will be looking for.

3. Create the right image

The look and feel of your site must capture the image you want to portray. Many voiceover sites miss the mark because they’re too dark or flashy. If you’re going to deal with a variety of business types you don’t want to turn them away by not looking like a serious business professional. Use photos sparingly and stay away from jumping and gyrating images. Keep it classy and clean.

4. Give a call to action

What is it that you want the client to do? Call you? Email you? Get a quote for a project? Get that message prominently displayed to move them toward that important contact. “Call me today!” “Call me for a free consultation!”

5.
Contact information should be big, bold, colorful, and near the top

One quick way to frustrate a potential customer is to send them hunting for your contact info. Make certain that your phone number and email address are a major focus on every page of your site. If your address is important to your voiceover business then also include that information. Use email forms with caution. Potential clients want to be able to interact with you and not a questionnaire. If you have specific hours of operation be sure to also make that information easily accessible and highly visible.

6.
Testimonials from satisfied customers, awards, and certifications

Ask your clients to give you a few words of recommendation and supply that info on your home page. Don’t use phony testimonials. Use only real people with genuine comments. False testimonials will come back to bite you. Be genuine.

Have you received any awards or certifications that validate your work? Use that info and related logos on your home page.

7.
Make use of ALT tags and Meta Tags

You may need to do a little research on these important elements. ALT Tags give key info behind graphics and photos that is picked up by search engine web crawlers. Meta Tags supply the crawlers with important keyword info about your products and services that can not be seen on your site.

8. Keep the main thing the main thing

Your website must have a clear focus. Many of us in the voiceover business have other jobs and backgrounds. Use only that which is pertinent to voice talent. Your potential client doesn’t care if you are or have been a radio superstar or stage actor. The question is “Can you do the work that I need?” What you can do today is far more important than what you did yesterday. Many websites fail because they are all over the road. Stay on point.

9. Potential clients don’t want flash – they want information

Ever go to a website that locks you in and you can’t get out by hitting the back arrow on your browser? You probably didn’t like it. Well, neither do the search engines. You may think that you have trapped the potential client into staying on your web site but what you have actually done is told the search engine web crawlers to leave you alone. Also, all that fancy flash slows your website down and the crawlers ignore it. Don’t hurt your site with too many bells and whistles. Right information strategically placed is essential for success.

10. Keep it fresh

A website left alone will die. Update your site regularly with relevant information. Incorporate changes in your business and give potential clients reasons to come back to your site.

11. Be an expert

Devote a page or two of your site to helpful information to others in your industry and to potential clients. Pertinent information that you may consider commonplace can be valuable to others. Demonstrating a willingness to share free information makes potential customers feel more at ease in doing business with you. Further your image as an expert with a blog that links back to your site.

12. Create special offers

Look for creative ways to offer special incentives for doing business with you. Coupons, discounts, or online specials cost you nothing but can be the extra enticement necessary to gain a new client’s work. Save your blogs and turn them into an ebook that you offer free to new clients. It’s not necessary to give away the farm but remember that “everybody likes a good deal.”

An effective business website is a labor of love. Done right it will serve as your star salesman. But the website alone will not succeed unless you aggressively market your site. In my next article I’ll share a strategy for making use of free and pay web marketing opportunities for driving the right traffic to your website.

If you want me to take a look at your website I’ll be happy to give you a free consultation. Just email me at rw7475@gmail.com .

HZC8ND756HJA

5 Essential Keys to Building a Professional Home Voiceover Studio

How much does it cost to build a professional voiceover studio? What equipment do I need to get started? These questions are at the top of the list of those trying to get started in the voiceover business.

If you’re asking the “how much does it cost” question there is a high likelihood that you’re high on ambition and short on cash. Don’t feel bad. My best educated guess is that 99.9% of the people getting into this business are in the same boat. Maybe a better way to phrase the question is “What’s the least I can spend on a professional voiceover studio?” Also a fair follow-up question, “Can I expect a good return on my investment?”

Assuming you already have a computer you can get started with an investment of as little as $100. Plug a cheap microphone into your pc or laptop and use a free audio program and you can get to work. You can also expect to be a miserable failure as a voiceover artist. Additionally, if you don’t have the voice, talent, and work ethic necessary for success you can spend thousands on audio equipment and still fail. Before you make the investment in a professional home voiceover studio you should be convinced that you have what it takes. Get a working pro in the business to assess your potential.

This article will focus on the “how much” question as well as addressing essential audio equipment needs. As far as a guaranteed return on investment there is none. However, the old expression “you have to spend money to make money” definitely applies here. Your goals should be to showcase your talents and abilities in the best ways possible and to provide your clients with a quality product and superior service.

Here, then, are 5 Essential Keys to Building a Professional Home Voiceover Studio:

1. Don’t Skimp On the Computer

Make certain that you have adequate processor speed and ample hard drive storage for handling a growing library of sound files. The $300 Walmart special will not give you the quality and reliability that you need. Run a Google search for “best CPU for a digital audio workstation.” Do your homework before you buy.

You can purchase a computer designed specifically for audio applications. However, these workstations are costly. If you don’t plan on bringing in the local symphony or rock band for a session and your sole function is for voiceovers then a good quality computer will suffice. You can get the computer that you need for professionally recording voiceovers in the $500 to $700 range. I’ve found some great prices on excellent systems at http://www.tigerdirect.com/ .

Desktop of PC? It doesn’t matter. That’s a personal preference issue. I use a laptop because it’s better suited to my needs. I like the flexibility of being able to lay down my voice tracks where all my sound equipment remains stationary and then moving to a more comfortable setting for the editing process. It also gives me the luxury of taking my studio with me when I’m on the road. Use what makes the most sense for you.

Designate one computer for handling your voiceover business. You’re opening the door for trouble if your audio workstation is also the family computer.

Purchase an external drive and backup your files regularly.

2. Use a Professional Microphone

Select a high-end pro microphone that is best for your voice. You can spend anywhere from $200 up to $7000. Currently I use a Rode NT2-A which can be purchased in the mid to high-$300′s. If you’re really strapped for cash you can get by with a MXL DRK condenser microphone which sells for a few pennies under $100. However, as your business grows you will want to replace the MXL with something better. Shure, Neumann and Sennheiser make superior microphones to name a few. The more you work with your voice the more you’ll be sensitive to the sound quality that you want to achieve.

When selecting a microphone you will want one that is unidirectional. That keeps the sound focus on you and not on what’s happening on the other side of the microphone. The Rode NT2-A is omnidirectional but can be set to a unidirectional mode and has additional filters that can be utilized for achieving your desired reproductive sound. Again, do your research and select the product that puts you in the best possible light.

3. Cleanup Sound Card Issues

Generally, factory installed sound cards leave a lot to be desired. Sometimes you’ll encounter speed issues where the soundcard won’t keep up with the computer processor or vice versa. A more troubling issue is that internal cards pick up noise from within the computer. The extraneous sound is barely detectable but a nightmare for generating clean recordings. One solution is to invest in a high-end audio workstation soundcard if you can afford it. Most of us mere mortals aren’t in a position to swing for that kind of cash so I recommend that you go for an external solution. The best that I’ve found in this regard is made by M-Audio which offers a line of USB audio interfaces for multiple applications. The M-Audio Fast Track should be sufficient for your needs. It sells for about $150 and provides phantom power if you use a condenser microphone. The pro model costs about a hundred bucks more and is good if you plan on doing some midi recording. The M-Audio device also solves some issues that cause your headphones to be out of sync with your voice as you record.

4. Use the Right Software

I wish I would have invested in the M-Audio product sooner. It would have saved me a bunch of money on audio software. The Fast Track comes with an introductory version of Sound Pro. I’ve played with it a little and it appears to be and good choice for voice-tracking and multi-track recording and editing.

If you want to pay out some big bucks you can purchase Adobe Audition which sells for $300 to $400. I prefer a product made my Magix called Samplitude Music Studio 15. I like it because it gives me the capacity to do user-friendly multi-track production and it only costs $80. Every function I have needed has been available on Samplitude. Another good basic audio product is the AVS Audio Editor that sells for $35. AVS is good for laying down tracks and simple editing. If you lack experience in audio production and have no interest in developing that skill and providing that service then AVS Audio Editor is an excellent choice.

Sony produces a product called Sound Forge. I know some folks in the biz who use it exclusively and have had good results with it. There are several versions ranging in price from $40 up to the high $200′s.

5. Master Your Sound Environment

In a previous article I addressed this important issue. For more go to Voiceover Home Studio Acoustics for Dummies.

 

Good luck to you as you build your professional voiceover studio. If you need some free advice I’ll be happy to help. Send me an email with your voiceover questions.

Voiceover Home Studio Acoustics for Dummies

About a year ago my wife and I decided it was time to downsize. Our boys were grown and had finally left the nest and both of us were tired of the hassles and responsibilities that go with home ownership. We finally decided that an apartment was our best solution. I can’t tell you how happy it makes me to come home on Friday afternoon and see that my lawn has already been mowed. And when the plumbing leaks I don’t have to crawl under the sink to repair it or pay somebody $50 to give me an estimate on how much it would cost to fix it.

As we went through the process of apartment hunting it was always amusing to watch the responses of apartment managers when my wife told them that her husband needed a big closet so he could do his work. In fact even after we had made a deposit on an apartment I was still unsure as to how I would tackle building a studio in an apartment environment.

On the first night in our new home I was awakened to a very troubling reality. Either the neighbors above us were health nuts who worked out in heavy work boots or they were chopping wood for their fire place in their living room. Nothing in my thought processes had prepared me for dealing with sound issues from above.

The point of this story is that there is no “one-size-fits-all” solution to assembling an in-home voiceover studio. Every situation is unique with numerous challenges.

Since most of us are not acoustical scientists we need a reasonably simple solution to our sound quality issues. What follows then is a simple approach to help you put together a voiceover/home recording studio that meets the technical and competitive requirements of the voice talent industry.

Adjust to Your Environment

If you have an endless supply of cash you can purchase a very nice pre-fab sound booth or purchase costly materials to build your own. I didn’t have that luxury and probably most of us in this business aren’t among the affluent. Consequently, we’re going to have to make some concessions to our sound environment.

Work-around the noise

Here in the apartment I learned that the disturbance from above came at night and on weekends. At our previous residence there were 4-wheelers, motorcycles, pickup trucks, leaf blowers, lawnmowers, a squeaky floor above and kids playing in the neighborhood. Then there’s the issue of air conditioner and heating/furnace noise. You may have to turn the units off while you are recording and then back on while editing. Also you’ll need to remain flexible and realize that something or somebody will inevitably find a way to create noise in times you don’t expect. Mother Nature has a way of sending rain, thunder, and lightning at inopportune moments. Relax, chill, be flexible, and learn not to procrastinate. Strive to work ahead recognizing that there will be times when you just cannot record.

Locate your sweet spot

Your sweet spot is that place where the right sound and the right comfort level come together. I’m certain you’ve seen how a dog lays down. He circles until he gets into that “just right” comfortable spot. You’ll need that “just-right” spot for your recording studio. I thought my sweet spot was going to be in a closet. As it turned out, I was wrong. Sure enough I was able to get the sound stability that I wanted but I hadn’t counted on 100+ temps during the summer and sub-freezing temps in winter. All it took was one audio book for me to realize that the closet wasn’t going to work. Sound is not the only issue in building a studio. Comfort is essential to good performance. Unfortunately, every location in your home will have unique sound and comfort issues that you will have to solve. If you’re recording/work environment isn’t right then the quality of your voice talent production will be diminished.

Control your environment

Don’t let the sound environment control you. You must take charge! Once you have worked out the location issue then you must solve the sound issues. There are three critical steps that will make it possible for you to control your sound environment.

(1) Assess electronic noise- It has been my experience that electronic noise is easier to eliminate than room noise. Through trial and error you can usually get to the source of the problem. It can be as simple as a cord touching a metal surface. Other causes can be bad connections, incompatible devices, substandard equipment, or improper wiring.

(2) Assess room noise and echo- Set you microphone at a normal record level and hit the record button. Record several minutes of room noise. On playback turn up the volume and listen for room noise. Listen for low-level buzz or hum. Whatever noise you discover must be eliminated. Once again turn on your microphone and read some copy at different voice levels and intensity. Playback the recording and listen for room echo. If there is echo then that also must be eliminated.

(3) Correct your sound issues- Assessment is easy. Correction is considerably more complex. The Electronic noise issues can be solved by good equipment, the right software, and proper wiring. However, room noise issues are more complex. I often come across articles on this subject touting the wonders of recording inside your car. Yeah, good acoustics, but I’m just not up to setting up shop on an isolated country road. And quite frankly, the sound of a sheriff’s siren is just a little too unnerving for my taste. The quickest and least expensive solution is to go with a simple device developed by Harlan Hogan called the Porta-Booth. Actually, you can build it yourself. My wife is pretty handy with arts and crafts, assembling it in less than an hour after a quick trip to a music store (pyramid acoustical foam) and Target (folding box). The Porta-Booth is not a complete fix. I’ve still had some echo issues which I ultimately controlled by attaching pyramid foam to a simple room divider screen which sits behind me while recording. The setup is not aesthetically pleasing but it is very functional. There are plenty of resources on the web that should give you workable solutions to fixing sound quality issues. Most importantly keep at it until you have a clean sound. You may have premium sound equipment but if you don’t get the room acoustics right then your voiceover production will always be substandard.

In this article I have not addressed sound equipment. That will be addressed in another writing. Rather the focus has been on the often neglected issue of sound environment. I have given you a simple approach to tackling the complex science of acoustics as it relates to the voice talent business and in particular to home voiceover studios. Your good voice deserves to be showcased in the best way possible. A clean sound environment is crucial in achieving that objective.

Low “Voice” Self Esteem

It’s in there somewhere. You came into the world with it. No question, some were blessed more than others. Nonetheless, it is uniquely yours. I’m talking about your voice.

The ideal voice today is…..well, to be honest, just about every voice. Once upon a time, not so very long ago, voice work was primarily a man’s field. Deep, resonant, bass and baritone, “manly!” But not anymore.

The name of the game today is “natural” which is something I’ve preached for years. Unfortunately some folks just don’t seem to grasp that message.

Most of us don’t really want to sound like ourselves. We prefer to sound like old “what’s-his/her-name.” And so we begin to manipulate the instrument. Back in the day we called them “puke jocks” as they pumped more than just a smile into their voices. When you go messing with what God gave you you’re most likely going to end up sounding phony.

I’ve known friends in the biz who smoked and drank excessively so their voices would be changed. Before tummy tucks, facelifts, and breast implants there were those in our profession who had their larynxes scraped to somehow improve voice quality. (Not recommended….unless you want to risk sounding like Minnie Mouse.) All of these folks were suffering from low “voice” self esteem.

So, how about you? Does your voice cause you to feel like you just don’t measure up? A little dissatisfaction is healthy as long as it keeps you striving for perfection. Just make sure that you’re not striving for destruction.

The best tools you have for your voice instrument are your eyes and ears. Many of us probably didn’t care much for the music and art appreciation classes we had to take in college. If you got anything out of those classes I hope it was the ability to listen to music with a “critical” ear and to look at art with a “critical” eye. Our eyes enable us to embrace the words on a page as we seek mood and meaning. Our ears help us to ascertain if we successfully attained our goal.

Most often the problem is not with the voice. So don’t beat up on yourself because you weren’t blessed with incredible pipes. Instead, focus your attention on communicating the message on the page. Learn to incorporate your personality, your passion, your heart. Want more than anything to move your listener.

Learn to listen to yourself with a critical ear. Does the recorded product match the intent of your effort? What sounds best? Use it again. What sounds out of place? Throw it away. Are you speaking in your comfortable range or are you straining for pitches that just aren’t there? Do you sound strained or relaxed and in your element? Are you into yourself or into your audience?

Fine tune those things that you can control and give your voice a break. There is nothing wrong with your voice. Accept it as it is and put your emphasis on communication. What can you do to be compelling enough to capture attention and move your listener to action?

There’s a word that’s been lost in our craft. At least, I’m not hearing it much anymore. We use titles like “voice talent” and “voice artist.” Note the emphasis on “voice.” Maybe therein is the problem. More precisely we are “communicators.”

Q & A on Voiceover Studio Sessions

When you work out of your own audio studio you can cut yourself a lot of slack. Work in your underwear if you want. But on those days when you’re not going it alone and in the presence of your client, ad rep, and a producer then life changes. How will you handle working an audience in a new environment? You’re used to calling the shots. Now somebody will be scrutinizing every word you read and making suggestions that just might be unsettling. Following is a Q&A to help you make the most of your voiceover studio sessions:

How do you handle negative criticism during a session?

When it’s negative or corrective then you must learn to not take it personally. That’s easier said than done since most of us take great pride in our work. Make negative criticism work for you. Immediately take the posture of working with and not against the person directing the session. The harder you work at giving them what they want the more you will earn their respect. Be courteous, smile a lot, relax, don’t get rattled, be cooperative, and don’t lose control. Don’t be a prima donna. Be professional.

How do you mark copy for reading?

If it helps you to make notes, highlight, draw circles, underline, or whatever, do it. There is no established system for marking copy. Develop your own if it helps to strengthen your performance. Personally I seldom, if ever, mark copy unless the copy has typos, is poorly written, or requires difficult pronunciations.

How much preparation time should I use before reading copy?

As much as you need. I almost never pre-read and generally my first read is my best and most natural. This comes from my days as a musician when I learned the art of site-reading. The exception is in a studio environment when the copywriter, ad creative type, or client is in the room. In this case I just think that it’s good etiquette to study the copy and ask questions about the read they’re looking for. More important than pre-reading is getting a feel for the client’s expectations. If the client offers to email the copy to you prior to the session then gladly accept the offer. Find something good about the copy and share that with the copywriter or ad rep during the session. I can’t emphasize this enough. You must always represent yourself well. Good PR will do much to make sessions go better and lead to future projects with your clients.

How can I find proper pronunciations for technical or unfamiliar words?

Generally a simple Google search will get you what you need. Contact the copywriter or author. In fictional writings authors frequently create words. In this case go directly to the source. Occasionally I call on my friends. For example, I was recently narrating a theology book with numerous Greek, Hebrew, and Aramaic terms. I called my pastor, a former seminary professor, for help. Usually there is somebody you know who can help. You can also use your social network to dig out a pronunciation. There will be some words to which nobody can give you a concrete answer. In that case, wing it.

How do you handle “know-it-all” sound engineers and producers?

I’m not sure what you mean by this question. Some producers/sound engineers seem oblivious to what’s going on. They pre-set a level and go about doing other things while you’re laying down your track. Then there are those who don’t capture the voice quality that you want. The answer in both of these scenarios is the same. “Suck up.” We have a tendency to focus our attention on the client. However when you’re working with a new producer then take time to build a working relationship. I have a soft voice that requires more level and a touch of processing. Yes, processing. Not heavy compression, just a touch. I make that point known before we get started. Get him or her working with you from the beginning. Always do research on the people you work with and for. Sound studios almost always have a website where you can find audio samples of their work. Take time to listen, make mental notes, and use what you’ve learned to compliment. “Hey, man. I heard that spot you did for Adamson Ford. I really liked it.” Don’t just turn on the charm for your clients. Give a little extra love to the guy running the controls.

Voiceover Horror Story

There should have been something to tip me off to what I was about to get myself into. I always get excited when a new voice gig comes my way. This one was no exception. So I set aside some time and went to work. I voiced, edited, processed, mastered, zipped, and proudly sent it to the client.

I’ve been around the block for quite a few years and I know the importance of good sound recording equipment. I’ve taken the time and the money to do it right. But, then again, my clients aren’t normally sound scientists. (That would be the guys who invent, test, and make the high end audio components we lust after.)

Clients frequently want changes to the read. A different emphasis on a word, a wrong technical pronunciation, or a different style or pace. And I live by the old adage, “the customer is always right.” Although, you and I both know, nothing could be further from the truth. But, hey, they’re picking up the tab.

Within a few hours of shipping off the completed audio file I received a reply. “We appreciate your professionalism.” (Uh, oh.) “But, we have a few changes we want you to make. See attached file.”

So, I open the attached file. At the top there were 4 different color codes. Red- for the words that I emphasized the way they wanted. Blue- for the words that I emphasized wrong. Green- for the words that needed to be pronounced more slowly. Yellow- for the words that needed to be read more rapidly. Mind you, all the copy, every single word was highlighted.

Did you ever see the Howard Stern movie when he was struggling with how he was supposed to emphasize WNBC? Well, that’s what I encountered for every word in a 10 minute documentary.

“The customer is always right, right??” So, back at it I went reading it over and over trying to get it just right. Back goes the edited file as I await the response.

In less than an hour, back it comes. “We want you to change the way you Americanize some of the pronunciations. Those words and the correct pronunciations are color coded in pink.” OK. I’ll buy that. I’m working for foreign scientists and they hear North American English differently.

More reading, more editing….and off goes the file. Soon after comes another response. “Your file has a 30 db noise level.”

Back into the booth, air conditioner turned off (just in case that was the source of the newly discovered noise level), and now fighting a new battle. I feel some sort of sickness coming on. The dreaded cold…which can damage the voice…that makes you sound like yuck.

100 degree heat, growing sicker by the minute, all those colored markers, and my voice is growing weaker and weaker. Three hours I emerge from the studio, feverish, and sweating profusely. Back to editing because, I have an audio book to finish. Emerging from my speakers, a horrible distortion of the voice of which I was once so proud. Broken, shaky, faint, just plain awful. But I wasn’t about to give up. Kept on editing. Pieced together something that was nowhere as good as the original file (in my opinion) and shipped it off to the audio gurus on the other side of the world.

This time, no response. I noticed on my FTP site that the file had been downloaded. However, still no response. I was pretty confident that all the changes and my bad physical condition had produced something that they could never accept.

Got up the next morning, feeling awful, and soon discovering that what I had feared most had actually happened. My voice was gone. Checked my email and still no response from the client.

Well, that’s it! Professional pride and all kicked in and I did what I knew I had to do. I sent the client a note, told him to get one of the other 90 people who had auditioned for the gig to handle his project, and that he didn’t owe me anything.

Then comes the response. “What, are you kidding? We loved it.”

“Love it.” The worst, most embarrassing work of my life, and they love it?”

So is the client always right? No. I think not. But as long as he pays I suppose I’ll continue to jump through as many hoops as needed for customer satisfaction.

Now….I just need my voice back.

Voice Talent Vocal Exercise Basics

“I have a good voice and I am a good reader. Vocal exercise is a waste of my time.” You are certainly entitled to that opinion. Without question, in every field, there are those who are naturally blessed with extraordinary talent. However if you truly want to master your craft then you need to do all possible to reach your maximum potential and develop a competitive edge that will result in a successful voice talent career.

There are people who make music and then there are musicians. There are those who can draw or paint a pretty picture and then there are artists. And there are many people who can read commercials and narrations but only a handful who are truly voice artists.

The point here is that artists at the top of their craft get the majority of the work. The crumbs go to everybody else. If your desire is to rise to the top of your profession then you must build on good fundamentals. Vocal exercises help you to develop, fine-tune, and maintain your voice and vocal abilities. It comes down to this: “How good do you want to be?”

Here then are some of the basics upon which you can build your craft:

Breathe Properly

The quickest way to learn how to breathe correctly is to lie flat on your back on the floor. As you lay there focus on your breathing. As you breathe in and out notice how you exhale. You naturally push air with your diaphragm. This is the way you should process air when you speak.

Now sit or stand and practice taking air into the stomach and forcing the air out with your diaphragm. Use your lungs for extra storage. Once the air has been depleted from the stomach then continue with the reserve air in your lungs.

Again take a deep breath. If you catch yourself filling just the lungs then start over. If you can’t get it right then lay back down on the floor to again study the natural process.

Now, take in air correctly while pushing a steady stream of air from the diaphragm and humming a single comfortable tone. HHHHHHHMMMMMMMMMMMMMMMMMMMMMMMMMMM.

Repeat the process each time seeking to sustain the tone longer.

Find something to read and apply the breathing technique. Read as many words and sentences as possible without taking a breath.

Mastering proper breathing technique for vocal performance takes discipline, dedication, and hard work. It is the foundation for voice talent excellence. Without fail use proper breathing technique for all vocal exercises and for all vocal performances.

Warm Up

Before a voice or practice session you should always warm up. These exercises will serve to loosen the vocal cords and tune them to where they are most productive. Your voice naturally changes pitch during the day. In the mornings it will be deeper and raspy or hoarse. By evening your voice may grow weak and lose range. Proper warm-up and exercise will help you overcome these difficulties.

• Hum
  

  In your most comfortable sound zone, with proper breathing technique, hold out a monotone hum for as long as possible. Repeat several times until your voice feels more relaxed, natural, and comfortable.

• B – O
  

  Think fog horn. Slowly hold out a comfortable low tone – BBBBBBBBBBBBBBBBBBBBBBBBBBBBBB – followed by a lower comfortable tone – OOOOOOOOOOOOOOOOOOOOOO – Repeat frequently

• Yeow (“ow” as in “wow”)
  

  Roll and stretch your mouth and facial muscles. Still in a comfortable low tone, slowly, and relaxed. – YY-EEEEE-OW- Repeat frequently. Watch your breathing.

Vocal Sound Improvement Exercises

Personally, since I have a background in music, I use arpeggios and scales when working with vowel sounds. If you’re not musically inclined there are still some ways that you can apply this exercise.

• First speak the vowels drawing out each letter in a monotone phrase. “AAAAA – EEEEE – IIIII – OOOOO – UUUUU.” Repeat several times.
• Now employ different sounds, still in monotone, related to each letter. “AHHHH – EHHHH – IHHHH – OOOOO – UHHHH.” Repeat several times.
• Now apply music. Everybody knows the children’s song “Three Blind Mice.” Using just the first 3 notes sing each of the vowels in a comfortable range for your voice. “AAAAA – EEEEE – IIIII – OOOOO – UUUUU.” Again, repeat several times.
• Still with “Three Blind Mice” employ the related sounds. “AHHHH – EHHHH – IHHHH – OOOOO – UHHHH.”
• Remember the song “Do-Re-Me” from the Sound of Music. Use just the first three notes and repeat the exercises.
• Now, use some of the songs that you know. All you need is the first few notes.
• Next, change your range. Start on higher and lower tones.

What you’re doing here is loosening your vocal cords and strengthening your quality vocal range. Singers have ranges in which they sing their best. You, as a voice artist, must learn where to pitch your voice. Find the zone where you sound best. These exercises will strengthen your sound zone and enable you to expand your usable range.

Articulation Exercises

You’ve worked on the sounds produced by your voice. Now, let’s work on articulation.

As a kid you may have played around with Tongue Twisters. In regard to voice talent development they are invaluable. You will likely find your favorites but here are some of mine. I use these because they deal with some of the challenges often encountered in reading copy. Use a half dozen of these at a time and repeat them 5 times each.

• Six sick slick slim sycamore saplings.
• A box of biscuits, a batch of mixed biscuits
• Six thick thistle sticks. Six thick thistles stick.
• Toy boat. Toy boat. Toy boat.
• Mrs. Smith’s Fish Sauce Shop.
• Three free throws.
• Knapsack straps.
• A noisy noise annoys an oyster.
• The myth of Miss Muffet.
• Friendly Frank flips fine flapjacks.
• Vincent vowed vengeance very vehemently.
• Cheap ship trip.
• Lovely lemon liniment.
• Moose noshing much mush.
• Twelve twins twirled twelve twigs.
• Peggy Babcock.
• Six sticky sucker sticks.
• Crisp crusts crackle crunchily.
• Thieves seize skis.
• Truly rural.
• Ed had edited it.
• Preshrunk silk shirts
• The epitome of femininity.
• Please pay promptly.
• Strange strategic statistics.
• Complex Multiples

Take Good Care of Your Voice

• Watch when and what you eat
  

  Some things just should be eaten before a performance. If you’re serious about raising the voice talent bar on your career then you’ll learn what you can and can’t eat. Greasy foods, acidic foods, sweets, and dairy products are a no-no for me. Also, don’t eat late. Acid reflux can be very damaging to your voice.

• Keep the weight off
  

  Excessive weight hampers good breath control and even changes the sound quality of the voice.

• Watch what you drink
  

  Coffee, alcohol, and carbonated beverages are bad for the voice. Coffee? Yes, that’s been hard for me too. Coffee is very acidic and can, over time, adversely affect the voice.

• Don’t smoke
  

  That’s a no-brainer.

• Don’t scream
  

  Screaming can do serious damage to the vocal cords.

• Don’t take on too much
  

  I learned the hard way. Audio books pay well but they can wreak havoc on the vocal cords. Recently I was trying to finish an audio book while taking on several other projects. In the process, I lost my voice, not once but twice in a 3 week period.

• Get plenty of voice rest
  

  Rest between sessions. Resist the temptation to handle long projects in one sitting. Don’t talk so much.

• Stay Away from Sick People
  

  Now more than ever. Practice good hygiene.
  

 

Breathe correctly, warm-up, exercise, and practice every day for as long as you want a voice talent career. Drive + Determination + Discipline = Success!
Become more than a voice talent. Become a voice artist.

Two Voices

Got talent? Have a dream to do something with it? Are you driven to succeed? Then you probably are well acquainted with the two voices. The one voice says “you’ve got what it takes” and the other shouts “no you don’t.” So which one do you listen to?

Now, the obvious answer is to listen to the positive voice. In reality we often give far too much credence to the negative. But why?

As you go through your day you may get numerous compliments. On that same day you may have had just one complaint. Which do you remember? Which sticks with you longer and really has an effect on your attitude? In most cases it’s the complaint, the negative.

What kind of gossip peaks your interest? Good or bad? Actually, we’re attracted to scandals and misfortune more than positive accomplishments and victories. By in large, it seems that most of us actually enjoy watching others fail. The more sensational the better.

Possibly the reason we’re so enamored with failure in others is because we’re happy to see that we’re not the only ones wrestling with negative circumstances and people. That negative voice has been hard at work since we came into the world telling us we can’t, we won’t, and we’re foolish to try.

How do you tune out the negative voice and only give heed to the positive? For one thing, you have to learn to quickly identify which voice is speaking. And then you have to make a choice. You must choose to reject the negative and accept the positive.

To make it in any area that requires talent and hard work you’re going to have to learn, not only to be your best critic, but also your greatest encourager. You’ll find very few people in life who are really unselfishly pulling for you. Cheer for yourself. Encourage yourself. Believe in yourself.

 

Play by Play Power

I learned a practice a long time ago that has helped me develop and refine my voiceover capabilities. All you need for this exercise is a car and a long drive.

In the early days of career development before marriage, family, and livable income I lived with my grandparents. (I’m OK with that now since I am a grandparent.) My daily drive to work was 100 miles round-trip. To make the best use of the time I used it for honing my voice and adlib skills. It’s a practice I still use whenever I am alone in my vehicle for an extended period of time.

Here’s how it works. Describe aloud everything you see. Since you will, in most cases, be traveling the same roads everyday you will be challenged to come up with new ways of describing the same things. Stretch yourself to come up with new word-pictures that convey new meaning and feel to your surroundings.

Make application based on your senses. What does it look like, feel like, sound like, smell like, and taste like? How do the things you see relate to your life experiences? Are there people or personalities represented here? What’s funny? What’s sad? What makes you angry? What’s changed?

Make a recording of different kinds of instrumental music representing different moods. With the soundtrack playing in the background repeat the exercise. Note how movement of people, animals, vehicles, and other animate objects take on new meaning with your chosen accompaniment. Let your creativity abound.

Put yourself into other characters. How would other people you know sound describing these objects? How would famous personalities react to these surroundings? Get into character and try it. You may find some new uses for your voice, some impersonations or characters, that will help expand your repertoire.

Admittedly, occasionally you’ll notice somebody watching you. Don’t let the pointing and staring bother you. That’s show business. Just smile, wave, and go about your business.

The benefits of this exercise will be noticeable over time. You will expand your abilities in adlibbing, voice range, capturing moods and feelings in picture-words, and creativity. As a result your confidence and competence as a voice talent will grow.