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Voice Over Life: Building My StudioBricks Booth part 1

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Alright folks, many, many people have been asking for this and it’s finally here: my StudioBricks booth.

Expect quite a few pictures!

You can find another post about why I chose StudioBricks over other sound booth products on my blog.

For this post, I’m discussing the process of putting it together in a two-part series.

Ready?

Warning: I am NOT a sound professional. Everything in this post and the next one are based on lots and lots and LOTS of research as well as input from colleagues and professionals in audio.

Ok, when I ordered my StudioBricks booth I was very careful to choose a triple-wall studio pro. So, to begin, I analyzed the most quiet space in my house or apartment.

Was there lots of traffic outside? Lawnmowers? Planes flying overhead? Those are situations that can’t be controlled, unfortunately, so now and then I’ll just have to wait them out. Thankfully most are distant and occasional; however, it did no good treating my space for recording because of a 60 Hz hum in my walls, which is common in older houses. It interfered heavily with my recordings, and was very difficult to edit. Over time the hum increased and I got tired of seeing my wave files distorted. That led me to the decision to get a sound booth.

While some clients are ok with booths, some are not and have expressed frustration with editing audio from sound booths. I’ve determined that if my space still isn’t good enough for a client then I’ll have to go to a professional studio. So far, I don’t think that’ll be the case.

After choosing my area I had to measure where I’d build the booth and be super precise with what I wanted. The ceiling height is important in this as well when putting the booth together, literally piece by piece. If too low it would be a problem. Thankfully my room has a slanted ceiling which I’ve been told is a good thing. I ordered a 5 x 6 x 7 foot booth in size with the purpose of having a good amount of space to stand, sit, or move. Experts in audio told me NOT to get a booth that was squared, so I went with something more rectangular. When I sought advice from fellow VO talent who also owned a StudioBricks most suggested a triple wall to be safe. As since I can’t predict where I’ll be in the future (new house in the suburbs, new apartment in a busy part of town, etc.) I decided to get the triple wall.

I sent in my order feeling good about my decision and waited 3 months for delivery. Originally it was suggested the time frame would only be 2 months. However, when it came time to ship the goods from Spain, the port dock workers had gone on strike and thus delayed my order for another month.

During a vacation to Lake Tahoe with my boyfriend, I received news that the booth had arrived at my house in a massive crate the size of a van. Here’s a picture to prove it.

I was prepared for this monster of a box and had planned weeks ahead to have the garage cleared out so we could store it in a safe place. After getting home and adjusting back to my routine, it was time to put it together.

My brother and my boyfriend were my helpers in this for the first round (that’s right, I’ll explain later).

My brother determined that my chosen space wasn’t adequate due to the ceiling height. So, we chose a different side where the slanted ceiling went upwards. Boy was that a WISE idea!

Next was the first phase: The floor

I have wooden floors instead of carpet so I had no need for holders. The booth came with adjustable feet to hold the outer frame together. So, we put together the outer layers so as to put the floor boards on top of them. That’s when the excitement came along of how easy it was to place everything together.

The bottom section of the booth was marked with letters and numbers: the A section, the B section, the C section and the D section. We began with putting A1 through A5 on first. There was no need for screws or nails. The pieces fit like giant Legos (but are called bricks) and held together by use of wooden staffs in corners and in between spaces on top so that other pieces could fit on top of them. It took the gentle use of a rubber mallet to ensure the staffs were fitted in place. Then came the B section, which we assembled by repeating the same process for the A section.

After that came the part that everyone owner of a StudioBricks booth warned me about: The dreaded door. Some of my colleagues have glass doors, but I chose to have a wooden door. Whichever one you go with know this: it will be HEAVY! Do NOT handle this piece on your own, mine weighed 175 pounds. It took my brother, my boyfriend, my father and me to get it out of the crate, then carried into the house, to my room, and finally to secure it onto the booth. At that moment, I realized what a blessing it was to live in a one-story house. And if I ever decide to get an apartment, it’ll have to be on the first floor.

With the door in place it was time to add the sections marked with letter C and how many pieces came with it.

Then, we discovered that there weren’t enough wooden beams to keep the C pieces locked in place. That delayed building the rest of the booth for a week in a half.

The folks at StudioBricks were extremely helpful and rushed not one but two extra wooden beams just in case.

When they arrived my brother and my boyfriend added the final section marked as D which was mainly the top walls and ceiling parts. By this time the worst was out of the way, meaning the leftover pieces weren’t as heavy.

So, depending on your strength, expect most pieces to have dense structure. It’s not recommended whatsoever to put this together on your own.

Once done. It looked MARVELOUS! As you can imagine, I couldn’t wait to get in there to record samples and auditions.

However… something was wrong. And because of this detail, we had to take it apart piece by piece and put the entire thing back together again!!!!!!!!

To find out what was wrong and how we fixed it, stay tuned for part 2!

Voice Over Life: Building My StudioBricks Booth part 2

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Continuing from my last post with Part 2 of putting my StudioBricks booth together. If you haven’t read it yet, I suggest doing so to keep up with what I’m sharing here.

I had put my studio together with the help of my brother, my boyfriend and my Dad. It looked amazing and was quite cozy inside. However, after all the unloading, and putting it together one section at a time (which took maybe 3 hours), there was a problem.

The floor was creaking.

Each time I stepped in or moved my feet around, the wooden boards on the outer floor frame made slight scraping sounds that I knew would interfere with recording and be a pain to edit out. After speaking with the great folks at StudioBricks and my good friend Jerry Pelletier, who was instrumental in helping me understand the fine points of how to assemble it, we realized the floor was uneven. Now, foot holders came with the package and were easy to adjust. Unfortunately, we neglected to measure each area to make sure the sides were even. There was only one solution to treat the problem: Taking it apart piece by piece and starting all over again.

For this round, my boyfriend and two of our friends helped. We started from the ceiling, and took the whole thing apart from top to bottom. Once we got to the floor we spent 30-45 minutes making sure the feet were adjusted accordingly, and that each side was even. Then, we added foam beneath the floor boards. It’s not necessary to use expensive Auralex foam. We used cheap bedding foam from Walmart. We had to apply something heavy for the middle board for a while since it kept trying to pop up. But now it no longer needs pressure to keep it down. We walked on it several times to make sure the creaking was gone. I can occasionally hear a tiny scrape when stepping inside, but it doesn’t stick around. Now I can sit, stand and move without worry that noises will interfere with recordings.

We assembled each section yet again, starting from sections label A1 to A5, then B1 to B5, then C1 and C5 and onward.

Despite how exhausting the process was of putting it together, then taking it apart and building it back up, it was totally worth it!! I love going inside to record now. I don’t hear planes flying overhead, I don’t hear the 60 hz hum in the walls and I don’t hear my PC.

Some tidbits worth sharing about my experience thus far:

-I specifically asked the manufacturers not to include the aeropack fan. They assured me that it’s silent. However, it’s really not. Even still, they sent the fan anyway, free of charge. I don’t use it.

-The subject of airflow in the booth is an important discussion. At the moment, I have nothing filtering air outside in. It’s a process still in the works.

-I didn’t use all the foam that the booth came with, not even the bass traps. In fact, most of that stuff is in my closet. Quite a few people said to use the bass traps on the corners, but because they’re solid foam, I worry that they’ll make me sound boxed in with the foam already built on the walls. So, for the time being I have sound panels positioned around me, which I made with compressed fiberglass boards wrapped in calico cloth from a fabric store. I’d like to have one positioned above my head on the ceiling, as I’m not crazy about the egg shell foam above my head.

-I don’t like the desk that came with booth because when I sit to record and brush against the edge of the table it rattles a bit. It’s left in there for now, until I can find something better. I recommend a wooden table with wobble-proof legs.

-The window is left uncovered for the time being, but if I hear too much reflection when I’m shouting for games or animation, I’ll cover it temporarily with some foam or moving blankets.

-If you get a chair, make sure it too doesn’t rattle when you sit or shift in it.

-If you get a booth of any kind, I recommend going with a rectangular space, not square. If you have doubts, contact home studio professionals like George Whittam, Dan Lenard, or Dan Friedman. If you Google their names, you’ll get great info.

It’s still a process to make it just right, but the booth is finished and I love it!

If you decide to specifically go with a StudioBricks booth consider the following:

-Know the exact size you want, and the space in your apartment or house for it. Measure out how much feet it’ll take and keep in mind the booth will weigh over 2,000 pounds. Be sure your floor can hold that amount of weight!

-Don’t rely on foam alone to fix all your problems acoustically. The booth will need more treatment no matter what. Some complain that the booths are too much of a pain to treat, but others say it’s great. I like mine so far.

-There are single-wall, double-wall and triple-wall booths. Don’t just consider the space you have now, especially if you plan to relocate. It’s more expensive, but I went with a triple wall so as to not worry about potential problems at future locations when I move to. Remember, this is an investment.

-A wooden door or a glass door? I don’t suffer from claustrophobia so I went with a wooden door so that I could mount a panel or foam on it if necessary. A glass door would cause too much reflection and I can’t hang a panel or glue foam on it since the surface would be damaged.

-Do NOT assemble the booth by yourself. Find friends or if need be, hire help.

-MAKE SURE THE FLOOR IS EVEN before assembling the whole thing!!

That’s my journey. So far no one has complained about my recordings. As I said earlier, I’m still going to make tweaks and changes here and there. It’ll never be perfect, but so far it’s helped a lot!

If anyone has questions, please feel free to ask them and I’ll do my best to answer.

Beware of the Generic Voice Over Email

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Funny title for today’s blog post right? Well, there’s a reason for that. Last November, I received an email with the subject line “CASTINGS / BARN TALENT/ SEEKING MGMT REP”. For this post, I used fake names for the agency and the owner’s name, as well as marked them out on the email screenshot as I don’t wish to slander. I sensed this email was blasted to many people all at once and upon reading the note, I was right!

The first sentence as you can see, says: Hope all is well. This email is only being used for submissions of new talent. Then someone who called themselves Barney’s Assistant (not the actual name) wrote a poorly fashioned letter asking if I was seeking representation, talent management, or more opportunities.

Next, there was a super short description of the agency being around for 10 years and working with top casting directors, producers, etc, a request to visit the company website for more information, and an invitation to submit my demos. Oh, they also included the phrase “We are freelancing with talent and understand what that entails.”

Unsolicited emails are nothing new and I get them often. But I decided not to respond to this particular one for quite a few reasons:

As I mentioned above, I could tell the email was blasted out to lots of people. It started with “Hello” instead of “Hello Mary”, or “Hello Ms. Morgan”. It wasn’t directed solely to me.

Barney’s Assistant didn’t give their real name or even explain who Barney was.

Why was I specifically being contacted? Yes, I’m a voice over but there’s no mention of what genres they work most with or where I’d fit best in the agency’s VO department (if they have one): commercials, animation, video games, promos, etc.

Something told me I needed to find out if other colleagues received a similar email. So, I went on social media to visit a few voice-over groups and lo and behold, almost every talent and colleague I knew as well as many, many others had received the EXACT same email! Everyone questioned the legitimacy of the agency and who was Barney’s Assistant? But alas, there were no answers, just memes, and jokes.

A friend and colleague discussed some very interesting points as to why this email backfired the way it did, and I got his permission to share them:

The email was impersonal/generic. They didn’t address their message to anyone in particular and therefore had no idea who they were contacting.

The message felt arrogant, as though the receiver was expected to know who exactly Barney was and expected me to trust that they really know the business.

The proposal seemed fake and much like a scam. With no name from the sender, “Barney” was either acting as his own assistant or he had hired someone inexperienced at writing emails. The note felt like a “jump in the bandwagon while it’s hot” scheme or a “let’s make lots of money together in this new venture” propaganda completely ignorant to the nuances of what a successful voice acting career would entail.

The email was poorly planned with terrible use of phrases, typos, and little to no knowledge of voice-over other than starting up a department for it. If this is how they communicate with voice actors, what does their communication with casting directors, ad agencies, producers, and directors look like?

The sender didn’t do proper research on whom they were emailing. They more than likely found a list of names somewhere and sent their email to anyone with an address.

Instead of curating a roster that fills a need for the agency or their existing talent, they just wanted to add as many names as possible, which means they didn’t value the people they were contacting.

Lastly, the so-called owner of the agency, Barney himself, made a video on Instagram defending the email blast by explaining it was legitimate, how much he wanted to build the VO department at his agency, and finally mentioning that his Instagram page was in fact verified.

What’s more unfortunate is that new and unsuspecting voice-over talent are likely to fall for this gimmick which is why I wanted to blog about it. Always do your research! Legitimate agents/agencies DO NOT mass solicit talent. It’s also been reported by various sources that “Barney” shares jobs on social media that are supposed to be confidential, thus violating NDAs!

All in all, it’s not unusual to hear from an agent interested in representing you. It can be rare for certain due to agents being incredibly busy. Nonetheless, beware of generic emails that don’t address you by your name or mention how they found you.

Do your research, ask questions, and be careful out there!

Warning Signs

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Not everyone approves of the #metoo movement, but the fact is, it’s real and it’s happening. What does this have to do with voice over? A sad fact is that predators also prey on voice over talent. A recent story has come to light about a highly respected coach by the name of Peter Rofé. I’ve been fortunate to work with TRUE coaches who are masters at the craft and helped me get where I am. However, I know that only so many other VO talent can claim the same thing. It really made me angry when I learned a horror story that happened to my friend Heather Costa, an amazingly talented voice. And because I’ve been a victim of sexual harassment twice I my life, I felt compelled to make sure this story was shared everywhere, especially to new potential talent reading my blog.

NEVER do anything that makes you uncomfortable! You’re going to hear that a lot. Think about this: A new, inexperienced voice over talent versus a respected, well-known professional voice over talent and coach. Which side are the top pros in voice over likely to take? The new talent not only risk being humiliated and taunted by top professionals, they risk getting blacklisted or sabotaged like my friend. As a result, so many innocent women have been forced to abandon their dreams of working in voice over.

My friend fought back and is now a super-respected, admired and successful voice over. Not only that, she’s working to make sure this won’t happen to others:

“We know there are more victims out there. The dates we know of go back to 1999. We are working with a detective and a lawyer.” she says. ”

I’m so very, very proud of Heather for being brave and fighting back. But it hurts to learn that lots of other women were forced to walk away from their dreams and that no one came to their defense. We all know this happens everywhere in all professions, at schools, etc. And yes, it doesn’t just happen to women, it happens to men, too.

Rather than continue ranting about the situation as a whole I’m going to list things that a true coach has taught me and warning signs to run not walk from a bad coach/predator.

TRUE COACHES

-kept a respectable distance while directing me.

-the only touching allowed and respected is a handshake or a hug (which I reserve for people I know well after various workshops). Some prefer a fist bump, and some don’t want contact at all for health reasons.

-if a script required a ‘sexy’ read I was given references to voices from characters like Jessica Rabbit as just one example. I was never told to sound like I wanted to $&#^*€> someone’s brains out.

-if I didn’t want to be all alone I was allowed to bring someone with me. I have worked with producers alone when it came to demos, but they NEVER made passes or such. Always ask if you can bring someone with you if you’re uncertain.

BAD COACHES/PREDATORS

-encouraging you to remove clothing for a “convincing” read.

-exposing themselves!

-touching without permission!

-suggesting only sexy reads.

-Saying VO acting is no different from real acting and real actors have to get naked in movies for their art.

-telling you how sexy you look or how your voice turns them on.

-Tells you that if you “aren’t selling sex” you’ll never be a respected voice over talent.

-stays with you in a tiny booth when no one else is in the studio and tries to touch or assault you. Booths are sound proof and your screams won’t be heard.

-turns the lights out when it’s only the two of you.

-gets angry when you don’t follow their directions even when they make you uncomfortable or threatens to “ruin” you.

If you have doubts or uncertainties, ask for opinions on voice over social media groups. Please read this entire article from CNN and if any of this has happened to you, don’t be silent, because you’re not alone.

https://www.cnn.com/2018/02/08/us/metoo-voice-coach-peter-rofe/index.html

Voice Over and the importance of Marketing, Marketing, Marketing!

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This is a topic that goes on and on and on and on because there’s just too much information and commitment involved. Thus, it’s the reason why every year new books are published on the subject of marketing with hundreds of pages of new data collected.

Few people want to hear about it because it’s a lot of work. Finding names, emails, or phone numbers is one thing, but these days it’s not enough. With the internet you have a plethora of options to help in your quest of building a good client database. This means finding a company by name, and finding who’s the creative director, production director, casting director, audio director or producers in audio production. Then it’s finding a contact number or email for the specific name associated with one of the titles above, and putting together a clever introduction by phone or letter. If you choose the latter DO NOT use “Dear Sir or Madam”. That’s long gone and guarantees your note to the trash before the potential client can bother reading the next sentence. Remember folks, time is money in this industry. And don’t make your letter all about you:

“I’m a voice over. I’m the voice of this brand. I’m known for this and that, but I’ve also done this, this, this, this..”

Things have changed now and the absolute best way to get notice is to show you care about the client as a human being, not a prospective paycheck. Here’s where the research starts.

Let’s say you want to work in commercials; start by googling advertising companies in your area. Don’t search all over the country, start simple, the nearest city (even if its more than 150 miles away). You might start a search like this, for example: “advertising agencies” + Houston

As you can tell from the screenshot, you have some places to start, and that’s just one page. I experimented further by finding a company name: Adhere Creative.

Next, I want to find who’s in charge of creative direction or production. You can try googling such as: Adhere Creative, Creative Director; see what happens. You can also use LinkedIn which is a great way to find direct names to contact. Here’s another snip shot to show what I mean. I type the name of the company, then search under people associated with it. The first that comes up is a name with the profession of Executive Partner/Director of Marketing. Perfect! Alas, here’s where it’ll get tricky.

Here are your options:

Attempt to connect with the name on LinkedIn. Chances are they may not accept but you can try.
Call Adhere Creative and ask what’s the best way to get in touch with the name you’re looking to get in touch with. You might get a phone number, you might get an email, and you’ll more than likely get an answering machine. Either way, prepare how you want to present yourself and be sure to get to the point.
If you find an email address and prefer to use that instead of calling them then pay attention to all the info below before you send an email.

Try to find out what you can about the person you’re emailing. Don’t look at it as stalking, this is research. Let’s go back to the example on LinkedIn.

The name associated with Adhere Creative is Matt Lee (I don’t know this person. It’s just an example). I click on his page seeing there’s a summary of who he is, what he’s done, his knowledge and work experience. Browse the whole page, don’t skim. Is he part of any groups on LinkedIn? Yes: Social Media Marketing. Continue down the page and you notice he’s got an impressive resume of who he’s worked with in the past and present. He’s been a PR intern, a Digital Strategist, an Artist Manager, a Marketing Manager and now a Partner. This guy knows what he’s doing and has the background to prove it. What kind of skills have people endorsed him with? He’s a many of many talents! Contact information is usually only visible if you’ve managed to connect with the individual. But you can sometimes find websites, social media pages or birthdays. Lastly, does he care about anything outside advertising? Yes, he cares about arts and culture, children, poverty, and alleviation. Here’s a clue. He’s not just a busy executive, he’s a human being who cares about important causes.

Now, all that was a ton of work but it’ll do you wonders in the long run. When you email this person, you start with your introduction (this is an example only, NOT a template):

Dear Matt Lee,

Greetings (or Hello), my name is (insert your name here). I found your information through google and wanted to get in touch with you because I’m a voice over and I’d like to help with any upcoming projects that need a voice.

I’m stopping there because after that, it’s your job to put together a short paragraph acknowledging the person as a human being. “You have an impressive resume on LinkedIn”, or “I really enjoyed how thorough your summary is on LinkedIn” or “It’s mighty impressive that you’re a Partner at one of the coolest ad agencies in (insert city name)”.

(Continue praising their accomplishments for 2-3 more sentences, then get to the point of why you’re contacting him. What can you offer that would help him on future projects. Do you have a website? Referrals? Demos? A home studio? Don’t ask for a job, explain that you’re interested in being a service to them).

(Then end with how you’d love to discuss more of how you can help them as a Voice Over by including a good email address, or phone number and that look forward to hearing from them.)

Sincerely,
(Your name)

I know what you’re thinking. Good heavens that’s soooooo much work for one person and there are potentially hundreds of thousands of names in this ocean of advertising. Well guess what, that’s just one market. Do you want to work in animation? Audiobooks? Narration? Political ads? Video Games? Automotive? Radio Imaging? Promos? Elearning?

Pick the markets you want to be part of and spend 3-4 hours (or at the very least 1-2) a day finding companies associated with them. Create a LinkedIn page, try making connections there. Don’t treat it like Facebook or Twitter. I’m very, very strict with whom I accept as a connection on LinkedIn because it includes my contact info which is for business only. I only connect with Voice Over talent who share a certain list of names that I trust above all else. The rest are people who work in the markets that I’m interested in. Do you have a Facebook business page? If not, make one. But don’t turn it into a personal page. YouTube? Make a page there too. You never know when you may have a commercial, video game footage, narration clips, animation clips, or other samples to share (remember to get permission first unless the client has already posted on YouTube already). Twitter is an absolute must.

Social media is where it’s at my friends. You can find people easily and they can find you. If you don’t want to be on social media then clients can’t find you and they won’t be interested in hiring you.
I don’t advise posting anything political, judgmental or negative of any kind on your pages. It WILL come back on you. I’ve seen it happen more than enough times and it’s not pretty or pleasant. Look at what’s happened recently to actors like Kevin Spacey. He completed a movie that was scheduled to open in a month and after misbehaving was revealed online he was replaced by another actor who filmed all his scenes in less than 6 weeks. Years ago that would cost too much money and seem impossible. Now it’s not. Don’t jeopardize future opportunities!

Get to know potential clients as people first. Acknowledge and show respect for them and all they’ve done. Make it about them, not all about you. Be open to ideas and discussions. If they’re not interested, be courteous and wish them well.

Make 2018 your best year!

VO Negotiations

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It’s a new year now! This means more info, lots of upgrades to software, new bookings and a plethora of experiences to share, so let’s get started.

As a talent you always have rights. Having a talent agent negotiate on your behalf is terrific, but not everyone has an agent and a growing number of clients prefer to work with talent one-on-one instead since most have home studios to work from.

I encountered a new client who was GREAT to work with. But at first I was a little wary. Here’s why. She was inexperienced at hiring Voice Over talent and in the beginning wanted me to sign a highly unusual contract. Non-Disclosure Agreements are more than totally normal and even I admit that in the super early stages of my career I didn’t understand them very well. Since then I have matured significantly with quite a few clients able to vouch for my loyalty as well as professionalism. But this situation proved a bit freaky. It occurred to me that anyone new to VO reading my blog would need to know a few things before signing away their freedom.

My new client was a woman who self-published a book for young readers and wanted a narrator. By all means I was excited and honored. However, she said I had to sign an NDA that would include the following:

-Keeping quiet about the project and not sharing info about it on Social Media without permission.

-Committing to a 4-year warranty of re-recording the project in case the author faced legal issues of my voice sounding too much like a famous person (I’ll explain this below.)

-Agreeing to multiple retakes free of charge across a minimum of 90 days.

Now, I had major issues with 2 out of 3 of the rules above. Can you guess which ones?

Again, this person was new to hiring professional VO talent, so it was important to show patience as well as respect when it came to explaining of why I refused to sign the NDA.

First, I don’t know anyone in VO who has EVER signed a warranty of any kind that held them responsible for fixing recording files if their voice sounded like a celebrity. To see how I politely explained why it wasn’t necessary, fair warning; it’s long:

“There are many, many Voice Over talent who are hired to sound like famous people. Some make a great living off it. No voice no matter how alike they sound can be trademarked and no one can be sued. Please view the following from this website: https://secureyourtrademark.com/can-you-trademark/trademark-a-voice/

“If an impersonation misleads the listener to think they are hearing a real celebrity ‘endorsement’ (commercials, political ads) then the real celebrity can take legal action. Theories include appropriation of personality, and passing off to advertise a commercial product like a weight loss product, skincare, or jewelry. So, anything that suggests a celebrity endorsement, and/or derives some commercial advantage for it, should not be done. If the voice is clearly an imitation or parody, and not the actual celebrity, it doesn’t apply to legal worries. Nobody has a right to a specific voice, otherwise many people would have to go mute for their entire lives. Also, impersonators would be banned legally and there are more than enough who make a living doing so in Voice Over, in film, on TV (Saturday Night Live), on stage, or in person at carnivals, fairs or theme parks (Elvis Presley, Marilyn Monroe, etc.). I know hundreds of clients who look for voice overs who can sound like Morgan Freemen, Sigourney Weaver, Scarlett Johansson and others because they can’t afford to pay 6 or 7 figures to hire the celebrities themselves. In some movies voice overs are hired to come in to record a few lines or vocal reactions if the producers can’t arrange for the lead actor to come back for retakes. In animated movies there are some occasions when celebrities don’t want to make exertion noises (screams, sighs, dialogue while running, funny sounds, and so on), because they were unable to make them sound authentic. And don’t forget about characters who sing. Few celebrities can hold a tune in an animated show or movie, so they hire singers who have the same vocal quality to sing for the character instead. Need examples? Look up the singing voices for Aladdin and Jasmine, then look up the voice actors who spoke the dialogue. That’s just one example out of hundreds. Here’s another, remember classic film versions of musicals like The King and I, My Fair Lady, or West Side Story? Believe it or not, the lead actresses in those films didn’t do their own singing for the musical numbers. Producers hired a “Ghost Singer” to perform the songs and the actors lip synced them. I kid you not. Google Marni Nixon and you’ll learn more about this amazing woman who many never knew was the singing voice for a number of leading ladies in musicals and as well as dubbing their voices occasionally on film.

“As long as they don’t say ‘I’m Morgan Freeman and I endorse this movie/message/product’ then they’re safe. There is not copyright or trademark right to a voice.

Having said that, phrases associated with characters, real or fictional, may be legally protected such as ‘Hasta La Vista Baby’ (Arnold Schwarzenegger), or ‘Let’s Get Ready to Rumble!’ (Michael Buffer, wrestling and boxing announcer). But if your dialogue is your own for a product or your story, you’re safe.”

The client read my email, was fully impressed and agreed to remove the warranty part out.

Then, instead of the 90-day agreement to record retakes of lines as needed, I agreed to a specific time frame. The product was scheduled for release near the end of January, so between now and then I offered retakes free of charge but only for a couple of times. If the client goes over the limit of 5-10 (depends of length of project) then I’ll have to charge for my time. Remember it’s not just the voice over, it’s the editing too. I’m not sharing the price I negotiated because that’s a personal matter that’s going to be different for everyone. The factors that weigh in are my experience, my use of equipment, my time, and the use of my voice for a paid product.

It all worked out and the client was very happy.

So ALWAYS ask questions when it comes to contracts and NDAs. Know your rights as a VO talent. Research all you can. Study blogs, visit forums, browse message boards, look at social media pages on voice overs (FB groups, LinkedIn groups, etc.) and ask for advice from other talent you find. If you have more questions, consider this book by attorney/voice artist Robert Sciglimpaglia: https://www.amazon.com/Voice-Over-LEGAL-Robert-Sciglimpaglia-ebook/dp/B00998J7JO

Happy 2018!!

©2023 Mary Morgan // Voice Over Site by Voice Actor Websites

marymorganvoice@gmail.com
817-845-7862