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Saturday, December 26, 2009

How Is Voice Talent Applied To Business? | How Is Voice Talent Applied To Business?

How Is Voice Talent Applied To Business?

By: Ravok Corporation

There are lots and lots of voice overs that we all hear each and every day. They are saturate the media with the messages that make our modern world turn.

A voice-over artist is an actor or actress who lends his or her voice in order to give personality to an animated character or to be utilized in an advertisement to name a few. The voice over can be presented live and in person or by a specialist voice actor someone who the crowd will not see. There are many different ways to use a voice over. These can be used in building character, creative influences in TV, education, or in advertising and marketing.

One of the most common ways to use vocalization is in TV and movies. For instance, cartoon characters (like the kids from the show ‘South Park’) are animated. They require voice talent in order to give them personalities and to make the show work. There are times where well known actors are used as the voice artists, such as Mike Myers and Cameron Diaz, who played key rolls in the ‘Shrek’ movies, or, it is a specialized voice actor, not a screen-actor who portrays the characters. Obviously, using an actor’s voice is critical to building the animated character and making them seem believeable.

In other instances, there are no cartoon characters, but the need for off screen narration is still there. A voice-over can be used to create an ironic counterpoint, or to make a statement in the movie. This is the creative device. It can be a member of the cast narrating, or miss-matched voices narrating and the speaking does not match the characters on screen. This creates a sense of imbalance and lends to the films’ inventiveness, such as the film ‘Fear and Loathing in Las Vegas’, wherein this technique is applied.

Moving away from film usage, voice-overs can also be used for educational or descriptive purposes. Our television news is broadcast with video clips and commentary by the reporters, who are describing and explaining the significance of the
clips being shown. Sports broadcasts also have spoken observations, especially when cast over the radio. There are also narrations that are used as a critique by a historian or critic, possibly even directors about when a new movie or DVD will be released.

Sometimes, instead of just commentary or news programs, voices are also used for advertising and marketing applications. We do not see the artist that is narrating the advertisement, but we hear it on televison, radio, in stores and the mall, to name a few places. Voice-overs were primarily used on radio, but since the development of the TV, this practice has crossed over into television as well.

Some well known and iconic voice-over artists are Hank Azaria, Nancy Cartwright, Hal Douglas, & James Earl Jones. These artists and the utilization of their articulation talents are very useful in many different facets of our daily lives. It is not just for show business. It can be used creatively and commercially, and almost all people come into contact with it daily.

Author Resource:-> Terry Daniel Provides High-Quality Voice Over Talent for Every Kind of Media. Visit His Website for a Demonstration of His Voice Over


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Wednesday, November 04, 2009

Can You Do Something Unique With Your Voice? Get Paid For Voice Over Gigs!

Voices over artists aren’t simply those actors who have great-sounding voices; many of them also have unique abilities. What does this mean for you? Namely, if you can pull off some amazing talent (such as being able to convincingly cluck like a chicken or bark like a dog) you could get paid for voice over gigs!It’s no joke. There are thousands of voices over artists all over the world who make their livings vocalizing for cash. And they aren’t necessarily saying words, either. Some voice over artists gets paid to sing; others get paid to sound like chimps; many get paid to make odd sounds that can’t be easily defined!The secret is to recognize and hone your particular ability, not to mention get yourself noticed. But first things first – you have to name your voice over talent. Maybe you can warble like birds… if that’s the case, and then you could position yourself as a voice over artist who can recreate the sounds of nature. (That sounds like a better description than “guy who whistles like a canary”. ) Or perhaps you can imitate those crazy sounds that are made by a computer. If that’s the case, you could easily portray yourself as a voice over artist with a techno-touch. (Again, this is a much better sales pitch for your voice over prowess than saying you “beep” like the backspace on a laptop!)It’s all a matter of being creative and acknowledging that you have a talent – albeit an usual one – that could be useful to clients who hire voice over artists. Next, you have to get better at your craft before you can fully begin to market yourself to voice over agents and agencies. This will likely involve hours and hours of comprehensive practice – be prepared to really challenge yourself. Think of it this way… a dancer may have an innate ability to move to rhythms, but if he or she doesn’t practice over and over and over again, he or she will never become anything other than mediocre. You may even want to hire a vocal coach who specializes in unique voice over talent (and that’s a true niche market!) to assist you in becoming the best you can be. Whatever you do, don’t simply assume that you’re “the greatest”; always strive to be better. Once you’ve rehearsed and sharpened your voice over skills, it’s time to get a voice over agent interested in you. Not surprisingly, there’s a plethora of voice over agencies out there, especially in the LA and New York areas. Some are reliable, others are questionable. You’ll need to do your homework in order to avoid the not-so-good ones. Ask for references and follow up on any you receive. Also, check the Better Business Bureau to eliminate any worries that a voice over agency may not be what it seems (that’s always a smart practice no matter what industry you’re in. )When you find a voice over agent who is willing to represent you, don’t stop practicing or taking care of yourself! Even if you only do a few voice over gigs a year, you’ll need to stay in tiptop shape. Keep those chords strong and good luck!For more information, visit VoiceOverLA.

Increase Sales And Emotion With A Professional Voice Over Talent

Most TV commercials you see, radio commercials you hear, training films, and more use the voice of a professional announcer. In the media industry, these much sought after voice pros are called Voice Over Talent.
A fine voice over talent can give you a warm, friendly read that not only entices prospects to take an interest in you, but effectively urges them to buy. A good voice can accentuate just the right words, stress the right phrases, and literally create an emotion in the listener.
In the past, many producers both large and small avoided working with top voice over talents because (1) they were hard to contact, (2) took weeks to finish the job, and (3) were very expensive. The usual method was to contact an advertising or talent agency who set up a session with the voice over talent. Not only could this take days, weeks, or even months for some top talents — the fee could range from several hundred to thousands of dollars and more.
Today the old system in still in place, but other top voice over artists are making the experience MUCH easier, quicker, and affordable. As a busy voice over talent, I offer voice services from my web site and often have the client’s job finished in as little as one hour. Fees are low enough for even the solo web site owner to afford a professional voice for their site’s greeting or flash presentation.
Here are a few things to look for in a voice over talent:
(1) The voice should be friendly and personable. A warm, friendly voice immediately creates a warm feeling for most people. That warm feeling can quickly translate into sales, sign-ups, and higher customer satisfaction.
(2) You don’t need a “voice of god. ” That’s the term a lot of people in the media industry use for those super deep voiced announcers you hear at the movies and sometimes on the radio. Studies show customers and prospects are more likely to connect with a voice that sounds more like a regular person.
(3) But unlike an everyday person, professional voices know how to accentuate a word, stress a phrase, and create a mental image for the listener. This ability is probably the number one thing you should look for. Listen closely how the talent reads a script. Is the reading flat or are they bringing the script to life?
(4) Don’t blow your budget on an overly expensive voice over talent. Getting the agency’s top voice may be impressive to your friends, but saving the money and using a high quality but affordable voice over artist will give you as good or better results. You can use the money you save to enhance other aspects of your project, giving you a better shot at success.
Finally, keep in mind most people act on their feelings, not necessarily their logic. Nothing stimulates emotions like a good voice. Using a professional voice over talent makes a lot of sense.

Auditions for voice actors in the new era – the best way to ensure more bookings.

If you follow the trends, we can say that the Voice Over Casting business is moving from online sources. At least it is becoming an inexpensive way for new talent to enter the market and listened to. Many of these talents have the courage to market home-made everything, demos, packaging, websites, commercial copy, study settings, and the list goes on. They send home-made CD's that have done their study at home, reading the entries in the country of origin and contribute to their sites homemade. Do not frown on this, because that is how almost everyone starts. The problem is now. . . Everyone wants to be a type of voice or a child, which means that the pool of talent, or a little 'of stagnant water, that the matter has gone to the very muddy demo after demo after demo is a market for talent, after talent after talent. . For me, I think.

Many of these boys and girls are filtered through the costs of doing business, and many attempts to discourage the hiring of a few, and even stay on the sidelines. What is a good thing for all of us who choose to stay in the game every day and continue to deal with rejection and other headaches that come with business. What we leave behind is the chaff that have moved from greener pastures. The producer still lined with shelves of demos and CDs.

I have been a lot of agencies and it is almost ridiculous what some people send agents to try to attract businesses. All we have to do is watch the new season of American Idol to see how people spent half of my heart to reach the main companies of alloys. This time, we are all guilty of it. I noticed some time ago that I myself had been "a bit 'lazy' is the experimental process. 10 years, you tend to develop a routine where you have all the same. I came back and took a good look at how I was physically located at the time of the test line. I was there for the mixing console in the studio, I usually use a microphone in front of coaching, Talk Back, ISDN, and Booth, the recording sessions. Mic stand, when the show was set at the bottom, I collapsed in my chair, leaning a bit 'on the right, and do nothing but grumble my way through the test. Then a little concern ', I have some basic things to change the file and send it on. I no longer had time to set the right amount of effort for the test. I was still doing a good job. The question is: should I have done a good job I could. The answer is no. I could certainly do much better. I started to reorganize the MIC so I had to resist using it. No longer sit here and shoot off like it does not matter. I stand by all the other productions that I do, why not put as much effort to test? It is quite easy to answer. . . Hearing is a laborious and tedious. The only thing that makes it tolerable is thought that perhaps something a lot of ground. And your spirit will always be more to do.

Hearing is also one of the things we need to do to get a job, so then, when it comes to remove the garbage. If we do that no one – and until you are watching, we are able to submit the post for a while '. What happens when it is sitting there again? It starts to smell. In much the same way as they do the test, when we begin to see that it works, or something, "which is below us, as we have done this long enough, and we know what we're doing.

What a bad attitude. Each test is a new opportunity to go back. We get up, sit straight, (or in my case, standing) and go after new jobs some of the major real taste. I had some experience in the studio last month, if one can say that the talent not only care, or the idea of work is beneath them for some reason. So why even bother to apply? If you're not going to give your all, because even the time? Hearings were mixed with some of these young talents, who are trying too hard to sound cool.

You can hear every aspect of audio to be sent. Straining and pushing it sound like God knows what. First of all, they sound like no one is working, but himself. But compared with the experienced talent that "plays" their bed, two demos sound strikingly familiar to each other. How do you ask? They were not just right. Observations I have about 100, almost half of them hit the round file (trash), because the sound quality alone. If you send Spam that in trying to get that concert, I would have nightmares about what the deal, if I had the sound they produce in their study? The other 60% or thereabouts, some nail it. Plain old nail it. They have been read, have made their voice, and they got the interpretation. Made it difficult to decide who to ask.

Then it was Shatners is the stack – it is a self-deprecating Shatner'm talking about. They just pushed too hard, or tried to do something that was completely out of their range and experience. Hearings will never be "experimental." This time it was just a little thing that can go unnoticed if no one else can choose, but in this case did not have other talents that have hit the nail on the head. At times, it was surprising that some of the best talent has decided to set their own words of the script, because I do not like the way it is written, then there was the English professor, who took it upon themselves to correct us as we had to sign copy. Not that he really had the time to read, beginning to say, "Oh, and how the ______ does not actually use the word" or "this part of the script really needs some 'work." ; Absolute no-nos. I do not care who you are. . Words on the page with the words you want to hear. You never, ever taken, if you plan to go out of contempt for the people who wrote the screenplay. At least we have a tendency to take you. This does not mean that if someone was up to dial the phone and starts with "I'm worried about the copy." He walked away from us never to hear again.

At least if the producer or the customer may be willing to listen. Sometimes the talent comes out really good stuff, and get thanked for that. But not those who think they can stay on top of a mountain as a kind of Shakespeare and the authority to dictate to customers and producers of what is and is properly Got Another Thing Coming. Hopefully, by the way in which people there are too many. . Needless to say, the demo ended with a round file.

Then there are those who made you laugh. Again, think of American Idol. . . Auditions after Mom in the kitchen of his laptop computer microphone $ 5, and little Johnny to ride his Big Wheel across the linoleum floor and little Jenny is Johnny crying in the background. In the midst of his reading, the mother turns around and shoosh her children, "Can you all calm, the mother is trying to do something .." I'm not kidding, he actually left that part of the experiment.

This would be a chaff "" I mentioned earlier. Only those who have no business even trying, but I am still trying, though. There have been some of these tests. Have been remarkable! And 'the only time I've been a customer of material around the tears in my studio floor, and if you have been in the studio, you know, it is not enough space to roll. (A quick note to all those who made their own demos and Studio last month: This article was not someone who works in the background. It refers to nothing to do with the demos submitted by people actually listen to the work we have done. I just wanted to say thank you .. you know)

I try to make the point is this: There are a lot of competition in voice work there. Some of the best talents of the world subjected to the work for the rest of us. And to make the worst. We must find a way to ensure that there are like them, while we are trying to become the best you can be. Old and new talents are guilty of not putting its best foot for the future in context. E 'in these cases, a good VO bad sound, and in turn makes the VO Bad sound better, or at least not as bad as the worst. Only then can we combat the natural tendency to grow is pleased to move up, how we do things.

Also understand that the only people who survive in this area are those willing to scratch and claw their way up. I'm really hungry, who refuse to accept any answer, are the ones who are going much longer than the denial. The rejection is only part of the game. Voice over quality. And 'what works for themselves. The only difference is in the market today is very rarely the target group a vocal talent. When you had to go into the studio all the time working in the business world has always been a kind of audience. Although it was only a producer and engineer. New York City, almost every test procedure is the audience. This is a trend of beauty that I mentioned at the beginning, slowly but surely, the need to give the house a test is death. I doubt it never disappears completely. Large companies are not known for leaving the natural talent to manage their own projects studies for large advertisers. Again, if the study is quite good, and your reputation is such that the producer has to rely on a product that is intended to offer, you will notice a nice little 'Do it yourself "type productions are possible.

So I can not emphasize enough the need to CRAM for your skills test, and make sure that the product you are sending to customers is the best.

Take a look around, if there are ways to improve our products. You spent a lot of time sitting the test? Well, then get up. You made a series of rapid change, you go up? Then start to spend some 'time to them, or try to read the manuscript three times each, and choose the best platform. Maybe you do not know what is best. . Drop Study note, say the difference.

The family can be a big problem. Except that they are noisy, but you can feel comfortable reading aloud with their earshot. A lot of times the family can be a real murderess. If you do not fully understand the exercise, which are susceptible to bug on it, or give you a hard to make fun of you or ridicule, or to read the tone you were trying to do. They do not realize about you. It 'the same diet. If you start to lose some weight 'and go for the operation of the family in the same breath of the family used to congratulate you on achieving, they say, the words "This is a piece of cake." Or, " ; Anyone for pizza? I heard some people compare to a family member is unconsciously jealous of you, and do things to derail or sabotage your work. Without this change in Dr. Phil episode, I turn to you or a family, just know this:

Why, family members or people at home must be used in a vacuum, or decide to re-tile the kitchen after 2 minutes to sit and read. I'm just going to do it and do it again and again. Until understand. You need to sit down and talk with them. You get your point across, though, that you try to do one of the most difficult, most of the United Nations natural things in the world, and you try to live it. You need to understand how these interruptions, or indifference to what you're trying to make it impossible for you to do so. Once understood, with a little 'practice and a few reminders, most of the family members begin to get a little' more understanding, and even become your biggest supporters.

If you still obstructionists when you tried to talk to them, so I think that gives something to the interest of all jealousy. If you find that having the family of the house makes it difficult to really what you're doing, you're not alone. What disturbs me. Therefore, most private place you can find the best. If there is no privacy, and we are afraid that someone might hear, just to get over it. This is an artistic performance, and the actor has never really known for his acting shower. You have to learn this stuff off the belt, although some might be time to listen.

Although we are a theme of family: Have you started reading the scripts, and Johnny and Jenny to pretend to be a WWF cage match in the background? If so, use the demons of the book to read, providing them with the other side of the house, or something like that. Oh. . One more thing. . Please turn off the baby monitor if you maintain a "Studio". We had a couple of these too. Do not believe some of the stuff people send. . . American Idol again.

Take a look at your environment in the studio. Something that makes noise is a sensitive place your ears when you send it. People who are listening to your work in general session of less than four meters from the dollar $ 1000 monitors (speakers to all of you American Idol and WWF fans) and you can hear the nails grow. Sound insulation is a good hobby to study, or at least get some information, if you want to extract more work.

Seriously review the audio chain. What is (or not) the signal path? Have the more modest and still life, or have any known device man linked to the microphone. The equipment rack towers burning behind his study and postpone ton of heat and noise. Locate them in another room, or better yet remove and put them on eBay. Most of the time, producers are looking for a good voice, clean and dry. No effect, no processing, no nothing. Now I know, "Of Radio ', it is clear that, and you have a valid point. Many producers are looking for images for rent sounds produced entirely in sound, and you have what it takes to do your job. Many of the talents to produce their own sound, which in turn will not make them good providers. Production capacities are learned, either the pilot or the hard way (to try to obtain directly from them).

Beware the views of fans and the world. Although they have many advantages when it comes to true fidelity of the music, which apply to commercial display, a lot of sound that produces the settings for $ 20,000 U.S. dollars is driven by a $ 2 Chinese speakers did. Knowing the difference is the real trick. Which brings me to one of the ways you can polish the product. Know the half, he left. If you are employed and produces voice to read the pages, there is not much in creating a better fit Masterwork THX and Skywalker Sound. The file does not play the movie theater, someone will come out from computer speakers at work. I saw people healthy Rumble pathetic little speakers off the desktop first. . Not need it.

I met a couple of SP who want to think for himself (and the right amount of time) because of "audiophile". Some of them are not so far in the past. They were people of great talent in the production of very good ears. Unfortunately, only the shadow of their own powers, arrogance, what might be considered a good "sound-voice". Many of them paint a little 'esoteric corners of production only if they are doing is a Boss Jock has a litter of AM and FM dial. Sure, it's a good job, though never enough. But it makes you a voice talent? Maybe. . But what a voice talent? That is a trick pony, and almost any good? More than likely.

I'm sorry the news to you, not the voice imaging radio. E 'part of it. But it is a bargain. E 'on the radio. The possibility of saying 'Hit Music all the best of Barbados "is not the same thing as a 2-drive now, with the narration and The History Channel, the U. S. Army, A & E or Discovery. Producers who work with those companies who focus is clear that "Radio" or "voice" announcer and the last time I checked, imaging costs about $ 150 dollars a sheet, even though the narration and the talents Top commercial shelf can make $ 750 $ 1500 10 seconds of their entry. Or you want to grow up to be? Auditions posted daily for direction, not as "Please not present" and "seeking Guy radio, but a real person."

This shows that many people do not like the "Guys Radio" real people. If you have already worked in radio, which I did for four years, we know that in many cases it is the truth. Many will remember the radio than any other people. Perhaps some part of the body of a person, but not people. OK, I'll stop Editorial. Wait a minute, that's my opinion. I do not own it. That's why I do what I like. How are the views, such as the Radio Boys Everybody's got one.

The trick is landing more gigs in your ability to satisfy the masses. Let the weaker companies in the world to get a similar experiment, the guys are great. They provide not only a lame duck because that guy has a small customer. Give him the same product you try to give Pepsi or McDonald's and leave the bad experience of poor people in PA. We try our best that there is every chance you get. If you need advice or do not know if you make a right. I am always ready to discuss.

Look at the time of the day the hearings and see if there is something capable of doing so in the past. You can test first thing in the morning, four hours to get up. It is high time that the head is clear, your voice is most rested and very little else in the world over. If you work at night, or just for a test during the night, try a nice hot tea, you sit (or stand) to read. Do not do it as a strong black tea, try something a little 'lighter, such as green tea. If you only test at mid-day, be sure to remove all the remaining Big Mac explanations of his throat, drink hot green tea, and try not to demand payment of the first days of your voice. If anyone's list right elixir and throat, please share here. I'll post to my site.

When I was on the radio, I'm working on a change of Split, which was the door at 3:30 and not return until 10:30. Then I had to turn around and leave at 1:30 and not return home until 8:30 at night. I was always tired, I had a test, and overall I felt like I was losing touch with VO biz. . Solution: Leave the radio. . This is what I did. I never looked back.

The radio is not what it is. I do not think ever the same, because the spoliation and Janet Jackson. Howard Stern is no longer, no more freedom to rattle off the mouth for as long as you are not a curse. These are all dying, only a small part of what it was before. I have also been encouraged to abandon ship when I received a letter in their own companies (large-scale corporate Big), said that Congress and / or Congress Jr. (FCC) had passed "Emergency Bill", which actually said that if I were a little 'ol' me, as much as anything deemed inappropriate given that I could be fined $ 14,000, or some insane amount of money. The company I worked for made it clear that the letter would soon launch a line in front of me, if such a situation occurred. That's all I needed. I do not even clean my pod, I'm just sharing. I left on the wall posters and pictures of my family console. . I was away. . I do not need it so bad, and the radio was not what he came for the radio. I had the radio to get the job longer free.

I set a big mistake, because there was a lot of benefit from the work of moving air for some time. Get in touch with a lot of different techniques and you can spend a lot of time learning the MIC and it is really beautiful. After a while ', should be a friend, you can conserve, protect and speak. . . . Ok. . This is starting to weird. . What I'm trying to say that there was nothing wrong with experience. It 'just that, very rarely has the experience to apply to work freelance radio voice when it comes to getting something. Yes, you will have the opportunity to express their material to the local dealer or the hairdresser arrives. These opportunities are only because post. Leave the station and see if any of these customers will call you when they are no longer linked to it.

These are kids who were in the station in my town for over twenty years, and I think I heard them, maybe 20 points each. And that is generous. I am sure there are many people are gearing up to enforce their days in radio career started SP. Allow me to save a minute. . Save. Keep it for you. The last thing I or anyone else will benefit from is someone to come, which should be dusty and their stories of success. If you are a work of talent and you think you owe it to the radio, good for you. . Your anecdotes are welcome, if it is obvious that someone may benefit.

So you can say, "Hey Mike, you have quite a difficult radio guys do not ya?" Well, yes. . . I am. Just as your parents were told not to touch the stove or play in matches was dangerous, I tried to keep thinking every SP that radio is a quest to become a boy name. Since it is not. Let me clear delineation. If you want to be a radio, going to send to school. Praise of Connecticut schools of broadcasting, as it is when I did, and when I graduated, I sent 2 emails and had to rent 45 minutes to send them away. If you want to be a voice in the boy or girl, do not go on the radio. Do not sign to send to school, and another thing. . . No radio. . These are two different entities and should be treated as such. If you do not log on to send to school, you can spend as much as you try to enter the voice over. In this case, both are the same thing. That point forward, each of them take the streets completely different.

So you might say, "Hey, Mike, (if you do not already called me a few things now), do not think you are alienating people who are in radio, and reduces the incentive to learn more about voice over?" ; I had to get this.

If you have a radio, and you think you want to get SP as a freelance, do not despair just for me. I'm sure that at some point someone said, 'Hey, you have a beautiful voice, you have the radio. 'What did you say, when slid closer to the little lady and ordered a drink, "Why yes, I would .. and I .. "This case is a boy radio. Voice over talent would have said "Thanks, I'm glad you noticed. I made a sound business four years. "You may have heard of me, Betty Flower Shop commercial that ran last month, cable channel 26. "(It is expected that 10,000 years.) to which he nods" Yes "and then proceeds to tell him about every other job he has done, he nods Uh-huh. Then you go from machine to obtain a copy of the demo tape. When he gets back on the other hand on him and ask if the company is working to recruit voice talent, is sitting hunched in his Bar Stool, I looked at, because SIPS who buy his drink? Radio Guy.

I admit, this story is a decoration at all, but not too far from it, as desperate young vocal talent can play in situations where an advantage again. And 'even in the same way aspiring radio guy or girl can work if you wanted to get on the radio and they have just met someone who worked at the local station. It does not matter even if all the boy did not wash the floors, the idea would cross their minds. The feeling is the same, the desire for success and feelings of both is the same, even if you must take to do either are completely different. The radio is very much "to learn than to go to." You get a check, you will learn the ropes, even if it is a very fine control, you pay when you learn.

When you start trying to express the work, you pay as you learn. You can pay a lot. . . and you can pay much more than one way. After a few hours on the Internet, should demonstrate that there is no shortage of people out of their hands, offering to help for free. I am one of them. You are best advised to carefully stage, when it comes to imposing anything on any of these hands. Who want to work, or are desperate to make a voice a lot when they are hungry. There are a lot of people, "Internet-land", as well as everything else, waiting to take the right path that desperate. Makes a lot of hungry people, if they consider bringing food, or the one who can satisfy the palette of this stuff. Lots of gifts will take place along the road, and woe. Their fault or the fault of people offered to help them? Most often, human nature, when they are not to blame others around them. It takes very little sign someone to turn inwards and the goal of seeing how they could contribute their own death. In the case of who is to blame for the vocal talent does not exist, is a mixture of both teachers and students is a lot of levels.

What students must do in any case is to keep their end of negotiations with the practice and follow the instructions. When a coach on the other hand seems to be what they have failed. The line is to sit and wonder why he never took a first student. Excuse me while I "Star break Warsian" here, but Obi-Wan tried to teach Anakin the power of their own, without guidance, and Yoda. Makes his students and Anakin turned to the dark side. Although Obi-Wan and Anakin, still in the final analysis, I think Obi-Wan at the end of the movie and I thought it was a good man. This is a place, now back to reality.

VoiceOver Yoda and the force is not the only force that you want the person who took the money, when you find you do not get any work and you stink. When a coach does for you, or anyone you give money to you, not the real world, you're not going to like him, and you're really not thinking that it's a good man. In most cases, is a student who declares himself that the person has failed, because they have managed the project. What does the fact that the student does not understand that many times took a few precautions at the time of delivery of money to someone who stood for "voice talent."

Many times I had to appear on the eve of talent, you want me to do for them, you want me to do the vocal talent. I will try my greatest during the assessment to scare away. I tell them how difficult it is. I tell them how expensive it becomes. I tell them how long it lasts. I tell them that even if education does not guarantee getting hired. They also told of talent, that probably will never be able to work in the commercial market, and makes only the phone and cable locations at the end of his life. And still wanted to continue. They throw their money on the table and say, 'OK, you think you can make me a boy voice? "No matter how I tried, I just do not understand. It is at this stage, no coach should ever take a student. Why are doomed to failure, and on top of a bus and spend the rest of their lives to do is say bad things about them. You can not do this activity. You have to do yourself.

Young talent, whether from a radio or Radio Shack, the most advisable to search for and collect any information that can be patient and not jump into something at once. Decisions that make a more stable base of information you can gather, after an exhausting search. Every talent, who never walked in my office with the stars in their eyes were heard to say the same things you see here.

Many people have made this type of advice. I made a lot of information for people at no cost, for two reasons: 1 so that every SP have more arrows in their quiver as they come out to learn to look for the "Voodoo What we are doing so well." (Thanks to Harvey Korman and Mel Brooks) 2 Therefore, considering that someone will pay the studio or demo producer piece of money to think about my study and provides information and decide for themselves who you can trust.

Look around. . Caveat emptor. . Go with your gut in everything you do. . I hope you'll come to your conclusions. I just hope they are correct. Is in doubt – ask. I have been honest here. Are just more private.

Incidentally, when I was writing this experiment came from the large national advertisers. By the time I had received, 70 a part of the experimental work already. E 'was certainly one of those where you say "Ahh, there's then get this. Look at how many people have posted about this. "Those who do not cross my mind. Almost eliminated and moved. But I went ahead and did the same. The next day he contacted me and said that there are some people who "kind of got it, but I took a spot. I got the concert, recorded on site and was paid twice my share of talent, because I worked in their study, and were so pleased with the result. I found a week later, the guests were blown away to read. I'm not here in Tooting your own Horn. This really happened. There is also my website www. michaelminetree. com in different readings. This is the first. Only shows what little faith the practical skills and work to do to you this business. It 'a great year for everyone. I'll see you on the air.

Overview of the Voice Over Industry

The voice is very clear to a niche industry, and audio recording.
Similar to the ecosystem is the natural order of things and relationships that are different, many of which are symbiotic, or mutually beneficial to the related parties.
Take for example people and trees.
Trees produce oxygen that we breathe. When we breathe, breathing, or leave our bodies, carbon dioxide, produced a result. After our exhalations, the trees, then we need to breathe CO2, which is their source of air, and the spiral continues, then, instinctively produce more oxygen rich, out of breath we breathe. Then we breathe carbon dioxide, and the wood is fed. . . you get the picture.
Like many of the natural relationships within the voice over are complementary, and there is very little self-serving relationships. For those who do not, are a necessary part of the voice over ecosystem, and without them it would not be in equilibrium.
This is just nature.
We see the tasks we will be profiling this week, a brief overview of each, starting from the bottom of 'ecosystem.
Voice Actors
Voice acting is a producer of creative work that voice is recorded and used for various purposes, including commercials for radio, television, phone, podcasts, video games and much more. Voiced to use the natural gifts, especially in the management of his voice and the fact that infuse life into the written word. Voice acting is the creator of voice overs and audio voice is part of the application of media commissioned by a client. Voice actors are also known as voice talent, audio transfers, voice over artists, VO, VA, narrators, presenters, speakers, and so on.
Voice Over Coaches and Advisors
Voice over coach or teacher is a person who is either a teacher of voice, voice acting, or have a long experience as a professional voice actor. These people are trained to educate, and often the beginning of the voice actors or voice actors who want to enrich and expand the voice over talents through private lessons and seminars. The voice is over the cars have less voice actors and their profession is often associated with the theory of publish or perish. Voice over the nature of the machine is to teach, but this person may also perform or printed (Pick) against other projects.
Audio engineers and producers
The engineer is a person who is highly specialized in the production of audio, such as recording, editing, mixing and mastering. As the engineer, this person is usually employed by larger recording studio or can also be a freelance writer who works independently, using their studio. There are schools where people can be trained to acquire skills in technical aspects of voice over business. For voice actors who do not understand the technology, so wise, sound engineers and record producers have relied heavily, so that they produce voice over demo, or save to send to customers willing to work.
Voice Over Agents and Agencies entertainment
Voice over agent is a person who promotes and represents the voice actress, to make their voice at work as consideration when the work, a suitable voice actor will be available. He may be independent or part of the talent agency, which works the same way as the talent agency or company that employs several people for authors to build a brand and manage a wide range of skills, not just actors voice. Agents usually represent voice actors who are either union or non-EU agreement, according to the agent, and if they are linked to the Union. Staff to continue work buying their customers a voice, usually 10% – 15% range of their services, this would be on top of what the voice actor does or taken directly from the profit. Fee Finder is a term that applies to some agents and agencies.
Casting Directors
Casting director, in particular, the voice casting director, is a person who is taking the better ear for a particular job. It includes casting director "throwing" the right person the importance of the customer, which is usually of little interest, ability, or lack of confidence "to choose" the right voice to represent their company, project or brand. Casting director wants to get the best possible performance of talent auditions. And 'their objective, namely, calling the actor to worry, because they have to evaluate all options against the best to choose the item most appropriate support for their client or project. Casting directors will charge the customer for their time and expertise.
Professional Organizations
The Union is a government body that regulates the terms for their clients. Trade unions may act on behalf of their clients, if the agreements were violated. Voiced to pay union dues or fees are linked to the Union, in particular, in order to obtain the services, benefits or opportunities to an exclusive Union. While some unions have an open door policy, anyone can subscribe to the extent that they meet the requirements of membership, there are other unions, which are "by invitation only, or other criteria. It is part of the European Union 'is not mandatory, and there are more voice actors in the world as it is unionized voice actors.
Voice Over Marketplaces
Voice over market is a place, usually a network in which actors voice can feature their voices and experiences of job opportunities to acquire voice over work. Since the term "market" means, portals that perform this task to connect buyers and sellers of that article, buyers and sellers of voice over services. Voice over marketplaces serve both the buyer and the seller, and in some cases, facilitate communication and / or activities. As the market combines voice over talent and jobs is an essential part of any voice actors marketing efforts as well as the most convenient and efficient source of our clients to find voice actors and purchase of services.
Customers who purchase voice over
Customers who purchase voice over services can be of any sector, country, and speak different languages. The need for sound production in general and the need to transfer voice, global markets and customers, creating strong demand for voice actors who provide high quality voice discs to represent the company, organization or event. Clients hire voice over talent for saving the television, radio, podcasts, video games, audio books, films, animation, telephony, business presentations, and for other purposes.

Friday, June 26, 2009

Agent Billy Serow: Show Your Strengths On Demo Right Away

Agent Billy Serow: Show Your
Strengths On Demo Right Away
Voice acting in New York City is the specialty of Billy Serow, the gifted talent agent at Abrams Artists.
"It's such an exciting thing to find the next great voice," he says in the recent Episode #4 of the Erik & Ember Show podcast.
Yes, the Big Apple is a union town, with most hiring done by casting directors. But Serow listens to demos from both union and non-union talent. That's because a non-union talent can obtain a waiver to perform the first union job. The second union job requires union membership.
Of course, there's plenty of competition.
In the podcast, Serow tells hosts Erik Sheppard and September Day Leach that out of a hundred or more demos he receives each week from people seeking his representation as an agent, he'll pick just three or five to listen to a second time.
The hook?
"You've got to grab somebody in the first 15 to 20 seconds" of the demo, he explains. "Show your strengths and then reinforce them."
Serow says that it's often "hard to determine what they're best at" when reviewing demos.
This and many more nuggets of career advice are heard on the podcast, produced by Sheppard's Voice Talent Productions. To listen, click on Episode #4 in the right column of Sheppard's blog page, under the Erik And Ember Show logo.
You'll be enticed to hear other episodes, too, including interviews with Joan Baker, Heather Halley and Ann DeWig.

Wednesday, June 24, 2009



Voice actors make good money making the right noises

By Miguel R. Camus

In the Philippines, a name that has become synonymous with voice-overs is CreatiVoices Productions. It is a four-year old company cofounded by Pocholo “Voicemaster” Gonzales himself, a long time voice actor.

Doing voice-overs has grown into a lucrative part-time industry due to the continuing expansion of the electronic media. “Before, voice acting was just for radio,” says Gonzales. “Now there’s also the internet, PodCasts, video games, and cartoons and TV show dubbings.”

The most popular of these voice-over applications, he says, are audio book recordings, animations or TV show dubbings, original content (pre-voice recording), and radio and TV advertisements. Voice-over talents who are paid on a per project basis, can actually earn some P30,000 to P50,000 for doing audio books alone which are mostly textbook translation; about P10,000 to P20,000 for radio and television advertisements; P500 to P1,000 per episode for anime and soap opera dubbings, and up to P30,000 for original content creation.

So how does one get into the Voice-over business?

Gonzales says that voice-over training is a prerequisite no matter how good the aspiring voice talent is, and he emphasizes that doing voice-overs is not just a hobby but an art and a profession. Indeed, this was why Gonzales decided in 2007 to put up the Philippine Center for Voice Acting, the first and only professional voice acting school in the Philippines. He established CreatiVoices himself with an initial capital of only P20,000 but it has become almost an industry by itself.

As the training arm of CreatiVoices, the center conducts a two-month voice acting program for a selected number of students using modules imported from the United States. The P8,000-program consists of once-a-week classes and runs four times a year, with classes that starts in January, April, July and October. The center has five instructors, all respected voice-over industry veterans. “When you train with us, in one day I can make you create 20 voices,” says Gonzales.

He says that although the center does not guarantee voice-over jobs to students who finish the program, it gives them support in landing voice-over contracts. In fact, almost a quarter of his stable 400 local voice-over talents, graduates of the program and a lot of his talents find work in other voice-over companies.

He explains the industry practice, “Even among my talents, there are no exclusive contracts. In my own case, I’m not exclusive to my own company; I work with different recording studios as well.” Considering that projects don’t come regularly, he also cautions voice-over talents to treat doing voice-overs strictly as a “sideline” profession.

Active in the industry for over 15 years now, Gonzales has done voice-over projects for hundreds of radio and TV commercials for practically all of the telecommunication companies, fast food chains, beverage companies, financial institutions, and government agencies as well as politicians on the campaign trail.

Some of his students at CreatiVoices have done very well themselves upon finishing its voice-over training program.

For instance, Jo Carol Fernandez, 18, communications sophomore at the Miriam College in Quezon City, has done many voice-over projects for anime shows since finishing the training. She says she dubbed voices for major characters in the shows Bokura Ga Ita (26 episodes) and Negima as well as for other projects outside CreatiVoices.

On the other hand, Mark B. Aragona, 30, writer and financial consultant, received an offer todo three advertisements for a large telecom company barely a month after finishing his voice-over training. “Let’s just say I made five times my investment for those ads,” he says.

Aragona likes the fact that doing voice-overs is very flexible in terms time. Although some projects can take up to an hour, he says, doing 15 minutes of voice-over work for an advertisement is already long.

Voice actors like Fernandez and Aragona are able to cultivate and hone their talent for professional voice-over work through CreatiVoices, which has since grown into an agency with 10 fulltime staff and some 500 local and international on-call voice actors. The company has not only given the voice-over industry a common face but now also enjoys instant recognition as the industry leader.

Says Gonzales of people wanting to go into doing voice-overs: “If you have a job, and if you’re really good and I want you to take the character, I will wait for you.” And he tells aspiring talents to see doing voice-overs not just as another job but also as a way of having fun, like what he himself does. “I just doing what I want to do,” he says. “This is not work; I’m just playing.”

Saturday, May 23, 2009

How Not to Be Scammed by Fraud Voice Over Workshops

How Not to Be Scammed by Fraud Voice Over Workshops

How Not to Be Scammed by Fraud Voice Over Workshops
By Industry veterans:

Brian “Dj BigBrian” Ligsay and Pocholo “The Voicemaster”Gonzales

Voice acting and voice overs is a fun and enjoyable environment for many. But for the most part, it is considered as a business by those who take it seriously.. Just like any business practice, it is important to make wise decisions in choosing and investing your money on seminars and workshops pertaining to the industry. Unsubstantiated information may do you more harm than good. Here are some indicators of what to look for in false and often misleading voice acting seminars:

1. Number of Attendees. (Check out pictures on voice acting)

- Voice acting involves interaction and reaction from both the instructors and the participants. A good methodology involves one-on-one training and close attention to performances in a group. However, the more the attendees, the poorer the quality of learning. Look for a class that involves mic handling and actual coaching. The rule of the thumb is, any class that involves more than 10 participants is a scam.

2. Reputation (Listen to what people say)

- How many times have they offered their classes? Have they been producing able and active voice talents? Are they a company of good standing in the industry?.. Do some research. A good seminar will immediately tell you their success stories involving their attendees and instructors. It will always tell you who will be handling the seminar.. Who will be teaching who? Otherwise, they could have just gotten anyone (perhaps an entry level producer or an amateur), to teach you subjects not even related to voice acting.

3. Join to Earn (Click here for Industry VO Legends)

- Sounds more like a pyramiding scam than a seminar. Nobody becomes a voice actor overnight, it takes dedication, passion and long days of labor and constant practice to be one. So if somebody is trying to entice you that you can earn big through voice acting if you join them, chances are they just want to earn big from you instead.. A good seminar will focus on teaching you the art of voice acting, the techniques involved in learning the art form. Yes there is monetary gratification in voice overs… you do get paid to have fun.. But go ask any professional voice talent and they will tell you the real side of the entertainment industry.

4. Too much of too less (Available seminars on voice acting)

- If you have been doing voice overs or researching on trying to break into the business, you should be aware by now that voice acting itself is a broad terminology on different acting areas of the art form. Some professional seminars will focus on one aspect of the seminar at a time (like narrations, audio books, commercials, etc..) You cannot combine two unrelated fields of voice acting in one sitting (like dubbing for telenovela and commercials for radio), because each field requires a different set of skills and discipline. Unless the seminar clearly states the details of the workshop, and what happens when, be on the look out for self-proclaimed voice artists who will do more talking than teaching.

5. Location is key (See our studio setup and graduation pics)

- Voice acting seminars should always feature a competent environment to work your skills on. It should mention that the seminar will be held in a proper setup, involving studio microphones and recording sessions. If they are not willing to record your voice for evaluation, then be on alert for money-making individuals. A good seminar will involve you testing and trying your skills on actual recording sessions. Here’s a good formula.. Let’s say you will be asked to read a 5 minute script. In a normal recording setup it will at least take 15 minutes for a good voice actor to finish a 5 minute material. Let alone the editing and the recording preparation involved. So normally, you will spend about 20-30 mins in a studio for a recording session.. 20 in a group you say? Are you willing to wait for 9.5 hours for your turn? Or will they even record you by then?

Whatever your purpose may be in joining a workshop, whether it is for self-improvement or overcoming anxieties behind the microphone, always be sure on who you trust to work with your talent. Professional voice directors will always be there to offer their assistance on your improvement, would have at least 10 years of industry background and experience and has done and produced an extensive lineup of projects here and abroad. Don’t be mislead by “money-for-their-cause” voice acting workshops. Let the professionals help you join their ranks, call CreatiVoices Productions at 7297274 or 9700971 and they will be there to assist you in discovering your potential in the world of voice acting. You can also check out their websites at: and Email: creativoices@gmail.comor

Monday, March 16, 2009


If you cannot read this properly, please go to this site:
This email was sent by, or on behalf of, CreatiVoices® . Thank you for your interest in CreatiVoices® products and services.

Learn how you can make your voice as an art and career

Do you love voice acting? Can you do voices for a living or as an art? Or are you are actively involved in preparing materials for speaking, or your work requires you to meet people and carry conversations well? Then read along. Creativoices Productions, the creator of 7 seasons of the premier Voice Acting and Dubbing workshop in the Philippines - VoiceWorx!, announces their newest activities this summer.


Basic Voice Acting for Radio Advertising Workshop - 1 April 1,2 and 3 / 8 am to 6 pm
Advance Voice Acting for Radio Drama Workshop - 1 April 15, 16 and 17/ 8 am to 6 pm
Children's Voice Acting Workshop - 1 April 27, 28 and 29/ 8 am to 6 pm
Basic Voice Acting for Radio Advertising Workshop - 2 May 4, 5 and 6/ 8 am to 6 pm
Advance Voice Acting for Radio Drama Workshop - 2 May 11, 12 and 13/ 8 am to 6 pm
Children's Voice Acting Workshop - 2 May 18, 19 and 20/ 8 am to 6 pm

April - May 2009

Alert of the Week
VoiceWorx! 8 Basic Voice Acting and Dubbing
ONLY 2 SLOTS LEFT- - Classes will start on April 4, 2009 at the Philippine Center for Voice Acting

4 April 2009

Join VoiceWorx and be part of the most prestigious Voice Artist group in the Philippines, The Society of Young Voice Artists of the Philippines (SYVAP)

VoiceWorx! 7 Graduation
VoiceWorx 7 Graduation at RedBox, Greenbelt 3, Ayala Center, Makati City 14 March 2009
Join VoiceWorx! 9 this July! 1 July 2009


PHILIPPINE CENTER FOR VOICE ACTING 3/f, 1745 Dian St., Palanan, Makati City 1235 PHILIPPINES

Call - 729-27274 or 970-0971

Visit this for all your voice recording needs!

If you want to know more about the Art of Pinoy Voice Acting visit


The Art of Pinoy Voice Acting

The best Filipino Voice Over Talent and Artist

Visit this group
For any enquiries, send us an email to and
© 2008 CreatiVoices Productions. All rights reserved.

Wednesday, February 18, 2009

The Invisible Actors

The Invisible Actors

Suzanne Smiley

English 151
Dr. Cubbage
October 8, 1998

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The Invisible Actors

Thesis: Voice acting offers little recognition in the area that we would commonly refer to as fame and is a challenging, often frustrating business to get into, but in the end, the benefits in many ways are actually better than those of on-screen actors.

I. What is Voice Acting?
A. Definition
B. Many voice acting mediums
C. How I became interested in voice acting

II. The job
A. The fun
B. The hard work

III. Voice acting versatility
A. Voice actors vs. on-screen actors
B. The voice director
C. Music in cartoons

IV. A voice actor's blessing and curse
A. Maurice LaMarche's example
B. Jess Harnell's example

V. The fan/actor relationship
A. Jess Harnell's example
B. Maurice LaMarche's example
C. Rob Paulsen's example

VI. Other voice actor's work
A. Jess Harnell's example
1. Song in movie

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2. Album
3. Stage work
B. Maurice LaMarche's example
1. Dubbed voice in movie
2. Off-screen announcer
C. Rob Paulsen's example
1. Commercials
2. Re-voicing a movie
3. Promotional spots

VII. Conclusion

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The Invisible Actors

Voice-over actor, voice actor, voice talent, and voice artist. These are all words that describe an actor who uses only his or her voice as a performance tool. I would tell people that the topic of my research paper was "cartoon voice acting", and the typical response was, "What's that?" I would then say, "You know, the actors who put the voices to cartoon characters." They would respond with an, "Oh," and nod their head.

Cartoons are only one voice-over medium. Some others are radio and television commercials, audio books, documentary narration, training films, corporate videos, point of purchase displays, CD-ROM programs and games, telephone voice prompt systems, and many others (Shaughnessy 1). Voice acting offers little recognition in the area that we would commonly refer to as fame and is a challenging, often frustrating business to get into, but in the end, the benefits in many ways are actually better than those of on-screen actors.

My interest in voice acting stems from my love of the Warner Bros. cartoon, Steven Spielberg Presents Animaniacs. I have been a fan of the show off and on since 1993, but it wasn't until 1997 that I became very interested in what went on behind the scenes of my favorite cartoon show. With the help of the internet, I started learning about the extremely talented voice actors of Animaniacs. Rob Paulsen, Jess Harnell, and Tress MacNeille supply, among many others, the voices for the show's main characters, a trio of cute, zany species-less creatures named Yakko and Wakko, the Warner Brothers, and their sister, Dot.

Animaniacs is not your typical kid's cartoon. Its humor and style is right up there with the classic Warner Bros. characters like Bugs Bunny and Daffy Duck. After all, today's voice artists are the next generation of the infamous Looney Tunes voice actor Mel Blanc. When I started searching the internet for information on Animaniacs, I
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learned that there was a whole online Animaniacs community of fans just like me. People of all ages, ranging from the low teens up through their thirties and even forties were all crazy for Animaniacs!

Jess Harnell provides the voice of Wakko Warner, my all time favorite cartoon character, whose accent was inspired by the Beatles' Ringo Starr. Harnell has always loved doing voices, but he never dreamed that he could make any money at it. He feels that the people who thrive in life are those who take something they really enjoy and turn it into their career. Says Harnell, "If you love what you do, you are so far ahead of the game, man, 'cause everybody hates their job" ("Interview of Jess Harnell" 6). An sense of humor seems to come with the occupation. When Rob Paulsen, the voice of Yakko Warner, was once asked how it feels to hear himself on TV, he replied, "It feels like hearing yourself on radio, but with pictures" ("Animaniacs Voice Artists Live Kids' WB!" 5).

Simply providing voices for cartoon characters may sound like fun, and it is, but that doesn't mean the job is an easy one. The business is very fast paced. Voice actors need to be available from 10am to 6pm everyday because unlike on-camera auditions, casting calls are often last minute, and the actors may have to be there within the hour ("Fast-Paced Business" 1). Which means that voice actors must be willing to live where the jobs are. In North America, Los Angeles is where the majority of cartoon voice work is cast and recorded. No matter how talented, a cartoon voice actor will never get hired if they live somewhere such as New Jersey or Texas (Bevilacqua 2). "Voice-over is much more than reading words off a page. It is really an aspect of acting, with all the techniques, subtleties, and more" (Alburger 1). It takes true talent to act with only your voice ("Fast-Paced Business" 1). True talent is indeed what these actors have.

What does true talent look like? Voice artists, unlike on-screen actors, can be in many, many, programs and projects at once. Yes, occasionally a popular television star
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will do commercials for telephone services or credit cards or star in a movie. Voice actors can do commercials and lend their voices to movies as well, but how many TV series is the "10-10-321" man, John Lithgow, currently in other than Third Rock From the Sun? In addition, John Lithgow, as many on-screen actors, is always John Lithgow. As far as the voices he can do, he is basically limited to one: his own. However, at any given time, a voice actor may be on as many as five or six cartoon series, doing twice as many different voices in addition to commercials and other projects. Rob Paulsen pointed out that "there are a million average-looking white guys in Los Angeles" like him and with one faltering audition after another, he realized that he could do things with his voice that he would never be considered for on-camera ("I Could Do That" 34). For example just on Animaniacs alone Paulsen voices Yakko Warner, a wisecracking Groucho Marx type character, Dr. Scratchansniff, a slightly neurotic German "p-sychiatrist", and Pinky, an absolutely goofy white lab mouse with a British accent. All three are major characters with three very distinct voices. Many of the minor roles in a cartoon are divided up among the actors who are playing the major characters. However, often these minor roles go un-credited and only someone with a good ear for the actor's many different character voices will be able to pick them out.

Recording voices for a show such as Animaniacs takes around three hours for each half hour episode. The actors gather in a recording studio and the voice director guides them through the script ("Animaniacs Voice Artists Live Kids' WB!" 3) . However, keep in mind that since many voice actors are involved in more than one series at a time, they may have to do three or four recording sessions like this each day, all for different shows. Then add the fact that a voice actor may be dealing with several different voice directors in one day. "The style of every director is completely unique and it's a real challenge to understand and fulfill each approach as closely as possible"
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(Soucie 2). For a more humorous yet crude description of how voice directors work, I think the Warners put it best during the end credits of Animaniacs, episode #84:

"Voice director?" asks Wakko, "Who's that?"
"Oh, you know," Yakko explains, "She's the person that tells you to redo every line, like, fifty times."
"Yeah," Dot adds, "and faster!"
"Her?" yells Wakko with sudden realization, "I hate her!"

One key element to cartoons today, especially Animaniacs, is the music. "You'll find that everybody in animation can sing because it's become a musical industry" ("Interview of Jess Harnell" 6). Voice-over agent Allen Duncan believes that actors with talents in music often do better in voice-over because there is more of an awareness of time, tempo, and timbre. In that case, music study gives voice acting talent an advantage (McBride 1). With that in mind, it's not a surprise that Jess Harnell and Rob Paulsen both originally trained as singers ("Animaniacs Voice Artists Live Kids' WB!" 2).

Since a voice actor's primary performance tool is his or her voice, it is quite obvious that fans of their work are more likely to recognize the actor for their voice rather than their face. Therefore, unlike on-camera actors, voice actors often enjoy a simple low-profile lifestyle (Fischer 1) which can be a blessing for those in the profession. However, the non-recognition from the fans can also be a voice actor's "curse". Maurice LaMarche of Steven Spielberg Presents Pinky and the Brain likes the fact that he can sit in any Los Angeles restaurant and eat in peace, but there are other times when he just wants to say to people, "Oh by the way, I'm the Brain" ("Voices on the Road" 2).

Jess Harnell knows the frustration of non-recognition first hand. Harnell and his mother were once at Disney World where they saw an eight year old boy with an Animaniacs shirt on. In the hopes of getting a positive response, Harnell told the boy that he did the voice of Wakko Warner. The boy only replied, "So? I do it too." Harnell clarified that he actually did the voice for the show, but the boy was not convinced, explaining that Animaniacs was taped in California. Harnell then took out his driver's
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license to prove that he was from California. The boy only remarked sarcastically, "Oh yeah, if you live California then you must do his voice." Harnell was eventually forced to do his Wakko impression for the boy and at that the eight year old merely laughed and said, "You don't even sound like him" (O'Dell 1).

The fan/actor relationship regarding voice actors is on a far more personal level than it is with movie or television actors and their fans. In a live Animaniacs voice actor chat hosted on America Online, Jess Harnell even remarked that for him, one of the best things he had done in relation to Animaniacs, was going out on tour and meeting all of the fans in person (6).

I recall a certain post on the Animaniacs internet newsgroup, Two fans had made Pinky and the Brain stars Maurice LaMarche and Rob Paulsen really nice Pinky and the Brain t-shirts. LaMarche had lost the fans' return mailing addresses and was trying desperately to get in contact with the talented artists simply because he wanted to send the fans personal, handwritten thank you notes ("A Message From Maurice LaMarche" 1) .

There are also times, however, when things do not run quite so smoothly. I sent an email to Rob Paulsen asking if he would answer a few questions about voice acting that I could use in my paper. Exactly one week later, I received a reply from Rob who said, "Sure, I'll help you!" Voice actors recognize the importance of their fans who play a big part in helping the actors become as well known as they are. By treating the fans on a personal level, the voice actors can perhaps give a little back as a way of saying "thank you". After that final email from Rob Paulsen, I never got another email that answered my questions. Nor did I receive any kind of message explaining why. I sent another email two weeks later re-submitting a revised list of questions, asking what had happened. Still nothing. Why? Had I done something wrong? I suppose Paulsen himself puts it best in a July 1997 interview where he says that he is very flattered by the attention that anyone pays him and he appreciates the support that fans give him. He wants people to know that if he
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doesn't get back to them when they email or write, it isn't out of arrogance or that he doesn't want to. It is because he is lucky enough to have the work that keeps him busy these days. Often, he is just too busy to respond ("Rob Paulsen Interview" 7). That may be true Mr. Paulsen, but it still does not mean that it doesn't hurt. (author's note: The day after I turned in this report, I found a reply from Rob when I checked my email! It was too late to include here, but I will be using the information for a speech in another class about V/As on 11/5/98. I put up a page with the interview here! Thanks Rob!)

Animated character voices are not the only thing that cartoon voice actors do. The 1996 comedy film Mother, starring Albert Brooks and Debbie Reynolds, featured Jess Harnell singing in a rendition of the Simon and Garfunkel tune, Mrs. Robinson, that was written just for that movie (Fink 37). In 1996, under a small record label, Harnell even released his very own album called, The Sound of Your Voice. Also, just this past summer, Harnell played the part of the Cowardly Lion in a small live Californian stage production of The Wizard of Oz ("Interview of Jess Harnell" 5).

Maurice LaMarche's Orson Welles impression was made famous in recent times through his character the Brain, a white lab mouse bent on world domination, in Pinky and the Brain. That same voice was also used to dub over the actor who played Welles in the 1994 movie Ed Wood (Ranbom, Cremeans, and Leung 4). LaMarche can also be heard as the off-screen announcer on the syndicated talk show, The Howie Mandel Show ("Message From Moe (PATB V/A)" 1).

Rob Paulsen, LaMarche and Harnell's co-star from Pinky and the Brain and Animaniacs, can heard as the voice of a goldfish and a hyperactive paint roller in most recent television commercials. When the Jim Carrey film Liar, Liar goes on network television and Carrey's character uses a naughty word, it will be Rob Paulsen's voice that is dubbed in with a nicer, kid-friendly word. Paulsen re-voiced some twenty to thirty lines for the film. Since Paulsen wonderfully voiced the cartoon version of Jim Carrey's The Mask, Carrey and his manager could think of no better person qualified for the job ("I Could Do That" 34). Paulsen also did at least one promotional spot this season for the NBC comedy, Friends. Promotional spots are simply the commercials that tell people
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about upcoming shows. Paulsen, says he can get about $200 per promo and can do ten to twenty of them in an hour and a half. He also notes that although it pays well, "it's not very creative stuff" ("I Could Do That" 34).

Voice Acting is one of today's fastest growing industries so the business has never been more open to new performers. It's not the "closed circle" that it was twenty years ago when only a select few actors could be heard in every cartoon. Agents are always looking for the "next great voice" for they would be bored if they weren't able to search for something new. Voice acting today is an "ever increasing circle", always looking for new people ("Know Your Limitations" 2).

Voice acting may have its ups and downs, but those who make a career out of it do indeed believe that voice acting is the greatest job in the world. Jess Harnell notes, "What we do isn't brain surgery and we're not saving the world, but on the other hand, if in the course of what we do we make somebody smile, it's been a worthwhile day at the 'office', even if you were playing a dog" ("Interview of Jess Harnell" 7) . The profession, as all acting careers, may be difficult to break into, but the benefits from such a job are deeply rewarding, satisfying and well worth the struggle. I hope that the next time you turn on the television or listen to the radio, you will think twice about all of the talented "invisible actors" who are so much a part of our lives... and we didn't even know it.
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Works Cited

Animaniacs Episode #84. Perf. Rob Paulsen, Jess Harnell, Tress MacNielle, 1996.

"Animaniacs Voice Artists Live Kids' WB!" 17 May 1996. Online. Available Accessed Mar. 1997.

Alburger, James R. "The Art of Voice Acting: The Craft and the Business of Performing Voice-Over" Review. 30 August 1998. Online. Available Accessed 16 Sept. 1998.

Bevilacqua, Joe. "Voice Acting 101." Animation World Magazine April 1997: 1-6. Available Accessed 16 Sept. 1998.

David, Amelia. "Fast-Paced Business." Back Stage. 17 July 1998: 28. Available Accessed 15 Sept. 1998.

David, Amelia. "Know Your Limitations." Back Stage. 17 July 1998: 32. Available Accessed 15 Sept. 1998.

Fink, Mitchell. "Hey, Hey, Mrs. Robinson." People Weekly. 23 Dec. 1996: 37. Available Accessed 12 Sept. 1998.

Fischer, Rachel. "Off-Camera Oasis." Back Stage West. 23 July 1998: 10. Available Accessed 15 Sept. 1998.

"I Could Do That." FHM Magazine October 1997: 34. "[ARTICLE] Rob Paulsen interview in FHM (text) (fwd)" Online posting. 7 Oct 1997. Deja News.

LaMarche, Maurice. "A Message From Maurice LaMarche." Online posting. 08 Aug. 1996. Deja News.

LaMarche, Maurice. "Message From Moe (PATB V/A)." Online posting. 10 July 1998. Deja News.

McBride, Murdoch. "Taking the Action a Step Further." Back Stage. 17 July 1998: 30. Available Accessed 15 Sept. 1998.
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O'Dell, Ron. "Jess Harnell Meets Young Wakko Fan." Radio interview transcription. Online. Available Accessed 19 Jan. 1998.

Ranbom, Larissa, and Lee Cremeans, and Kane Leung. The Nifty Animaniacs Reference File. 11 Aug. 1998: 4. Online. Available Accessed 6 October 1998.

Shaughnessy, Peter. "Non-Union? No Problem!" Back Stage. 17 July 1998: 36. Available Accessed 15 Sept. 1998.

Soucie, Kath. "And I Get Paid!?!: The Life of a Voice Actor." Animation World Magazine March 1998: 1-5. Online. Available Accessed 23 Sept. 1998.

Tindall, Linda. "Rob Paulsen Interview." Toon Talk. 9 May 1998 5-7. Online. Available Accessed 14 Sept. 1998.

Tindall, Linda. "Interview of Jess Harnell." Toon Talk. 11 June 1998 5-7. Online. Available Accessed 14 Sept. 1998.

Tindall, Linda. "Voices on the Road." Toon Talk. 15 July 1998 2-5. Online. Available Accessed 14 Sept. 1998.