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Another simple idea here, but an important one. Adding a smile to your read brings energy, enthusiasm and warmth. Pay attention next time you’re listening to commercials – in virtually every radio and TV ad you hear, the voice actor is smiling to some degree or another. We’re so used to hearing it that the average listener is probably unaware, at least until their voiceover enthusiast friend (that’d be you) points it out to them.

Other voice acting genres use the smile too: promos & trailers, animation, even corporate work. I do a lot of narration and use a smile to make otherwise boring material palatable and engaging.

Of course, how much smile to use depends on the nature of the material; a PSA for the Red Cross might be fairly serious in tone, so a huge clown-like grin wouldn’t be appropriate. But even these heavier spots tend to have a flavor of hopefulness to them that a slight smile will help bring out.

But the most important thing about the smile is it’s got to be REAL! Just turning up the corners of your mouth mechanically isn’t going to cut it – you have to feel it in your gut. So, until you’ve learned to turn that switch on and off automatically, do whatever works to generate a real smile. Think of something funny or happy; have your friend or classmate make silly faces at you when you’re reading; look at an amusing photo. When you’re getting the hang of it, record your efforts and compare a smiling read to a non-smiling read.

So, just as in everyday life, a smile in the voiceover world will make you more appealing to more people. It’s one of the basic tools in your voice acting toolbox, and you will do well to spend the time learning to summon it and control it at will.

To sum up our lessons so far, then:

1. Get the words out.

2. Add a (real) smile.

That’s all you need to work on for now. Coming up next – ATTITUDE!

Have fun, and remember, PRACTICE.

copyright 2010 John Matthew

Like it or not, having a home studio and being able to record, edit, finish and deliver audio to clients is a big part of your job as a voiceover talent these days. Now, you don’t absolutely HAVE to do these things – you can choose to read only at your agents’ office, or a casting director or client’s location; and only work at recording studios – but your opportunities will be limited, and you won’t be spending your time efficiently.

There is so much competition these days that you need to submit on as many projects as possible, and that takes time. I’m typically turning in about 50-60 auditions a month right now, to 6 different agencies and online casting services. I’m pretty picky about the quality of my submissions (remember, if you don’t nail it, someone else will), and I spend a lot of time recording and editing those reads. It comes close to being a full time job, and if I had to drive to my agents’ every day to read, it would be a lot more hectic than it already is.

Additionally, a lot of clients want to work with talent that have home studios not only to lower their production costs, but to speed up turnaround times. Voice talent tends to be called near the end of the production process when deadlines are looming, and it’s much easier to be able to email copy to the talent and get tracks back in a few hours, than to book a recording studio at the last minute.

A harsh reality of home recording is that you’ll often not be paid for your time as an editor, particularly on short projects. This isn’t necessarily such a bad thing, since working at home saves you time and transportation costs. On longer projects that require lots of editing time, you’ll generally be able to work some compensation into your fee, but there are no guarantees.

If you do decide to pursue a home studio, you’ll need to become a pretty good, fast editor. Editing need not be difficult or complicated (at least not for our purposes), but you have to have an ear for it and be generally comfortable with computers. If you’re hopeless with technology, think twice before investing in a home studio.

In the next installment, we’ll talk about the basics – the recording space, equipment basics and some software options…stay tuned.

copyright 2010 John Matthew