Bob starts off:

“There are lots of folks who think that voiceover work is all about the voice. Sure, there’s an element of truth in that idea. When we audition, many times the final choice the client makes is based on whose voice most closely matches what they’re looking for; but be careful how far you carry this idea.”  Read More.

www.youtube.com/watch?v=CO7Qrt9QzbE

It’s something I really enjoy doing and I am pretty good at it if I may say so myself.  If you would like to discuss producing your next demo please contact me.

Samples of Demos produced by Brian Hart

Russ McLamb Rock Imaging

Russ McLamb Country Imaging

Caryn Clark Radio Imaging

I produce all my own demos so you may listen to them also.  Read more after the jump if you are interested in learning about the demo production process.

Evaluation:

Now this subject is a bit tricky and I’m going to try to write it without being rude or arrogant.  I’ve recently implemented an evaluation process before I produce any demos and I may ask you to send me a copy of your current demos or samples of your work before I agree to produce anything.

Why?  Well, here’s the deal:  I love producing great demos. On the other hand it really drains my enthusiasm and saps my creative energy if I feel you aren’t ready for me to produce a demo for you yet.  I hate the idea of wasting your time and mine by creating a demo that isn’t going to bring you work.  My wife says I should just shut up and take the money but I can’t do that.  Producing a good demo is a very time intensive process and it’s expensive.  I need the satisfaction – and since you’re paying for my expertise you deserve the peace of mind – that comes with knowing it’s the best work it can be from your delivery and my production.

How much does it cost?

Well that depends.  Do you already have pieces you wish me to put together and re-master as a coherent demo or are you asking me to provide sample copy for you to voice?  Do you want me to direct a session or two via phone patch (I like to do this with newer talent)?  Do you want your demo to have a huge production value or should it be more minimalist?  There are a lot of variables that I customize for each individual’s style and type of demo so discussing your needs with me while asking me for a quote is best.

Right now my base rate for a commercial demo is $500.00 if you provide the workparts.  Imaging demos start at $750.00 each.  Expect to pay a bit more if I provide the copy or if you want a sound that is very labor intensive.  I have literally thousands of royalty free music beds and sound effects I include in my rates but if there’s a particular bed you want to purchase from a music source that might cost a little extra.  If you want me to produce more than one demo I have discounted rates available depending on how many and what type of demos you need.

I’ll ask for a deposit up front, with the remaining balance due upon completion of your demos (when you are satisfied with them of course!)

How many demos do I need?

Good question.  For starting talent I generally recommend one commercial demo along with one or two other styles such as narration, audiobook, IVR/telephony etc depending on your interests and where you think you might find work.  If you are interested in radio imaging you should count on at least three different specialized imaging demos.  Imaging and promo work are very tough nuts to crack so I highly recommend you explore the field and realistically analyze your commitment and chances for success fully before committing to making demos.

What files do I get?

When you are satisfied with your demos I will provide you with the produced version in your choice of .wav, .mp3, or .aiff files as well as providing you with a copy of the session files you may use for future revisions.  I also archive all my projects locally so if you wish for me to revise your demo in the future (add a new commercial for example) it’s easy for me to do so at a very reasonable rate.

Do you have more questions or would you like to discuss your demo with Brian Hart?  Contact Brian Hart for further information.

photo credit: re_birf

How do you write good copy for voice over?

Writing for the spoken word can be dramatically different than composing a piece that is meant to be read.  Take a magazine article or newspaper and read it out loud and you will quickly see what I mean.  You have to think about the context, the target audience, the speaker’s point of view… and on and on.  A lot goes into good VO copy.

I referenced good copy in my article “How to Hire A Voice Over” to some extent with the intention of addressing copy later in a separate post.  Digital Newsgathering has beaten me to the punch with a great  piece called “Say What? Best Practices for Writing Voice Over Copy” that you should read before sending that script off for the VO.

Its all good stuff but pay particular attention to the section on timing.  It can be very hard to condense your message into 30 seconds and keep the pacing at a good speed but it’s critcal to having a great voiceover read.

It is also good practice to read your script out loud after you have written it.  You’ll find things that may seem clear on paper but don’t translate well in speech.  We also tend to write rather formally and your VO may call for a more informal approach.  For example I might write  “We are all going to the store”.  However you might not say we are in casual conversation, you might say we’re.  It’s those little details that can really bring out the character and enhance your message in great copy.

In addition to being a professional voice actor Brian Hart also offers copywriting consults and services.

photo credit: Calil Souza

Dan O’Day emailed to let me know he is hosting a live teleseminar on how to develop a website for voice actors on February 24th at 9pm Eastern time.  It really caught my attention since I am currently creating Hart Voice Overs.  According to Dan the teleseminar will be 100 % Non-Technical and discuss why “your website isn’t working for you and how and why you need to fix it immediately.”  I subscribe to some of Dan’s newsletters and check his site often.  He is always full of great information.

Registration is $79 and a download of the teleseminar will be available to those who register.

For more information go to Web Sites For Voice Actors

photo by Brian Hart 2010

Ah, the weekend.  Time to practice  my sheetrocking skills.  This morning I’m sanding the first skimcoat of joint compound and applying the second coat in my new voice over booth.  Ultimately there will be three coats of joint compound before I’m ready to prime and paint.

The basic application of joint compound is the same in a studio as it is in a home and there’s plenty of information available on the web for you to read.  But there are some other considerations you need to keep in mind for a studio project. Whether you’re working on a studio or a sound booth it’s important to make it as airtight as possible (air proof is more sound proof if you will).  Without giving away my whole process I will tell you I’ve been through a case of Green Glue in the small VO booth.  It goes in between two layers of 5/8″ sheetrock.  In addition I’ve gone through a LOT of a quality silicone caulking making sure all the joints are nice and sealed up.  Foam backer is your friend here.  It saves a lot of caulk and therefore saves a bit of money.

One day I might write a series on booth construction but what I know is limited compared to some of the acoustic geniuses that have been nice enough to lend their expertise to my studio builds over the years.

If you’d like to read more about home studio construction I highly recommend Home Recording Studio: Build It Like the Pros, by Rod Gervais.  It’s full of valuable information and Rod makes it easy to understand the concepts.  I’ve been lucky enough that he’s offered advice on a couple of my projects now.

For more information online I recommend reading all available information at the following websites.  All three have forums you can join and talk to both home recording enthusiasts as well as experts in the field.

www.johnlsayers.com

www.recording.org

www.homerecording.com

If you’ve found this information helpful please leave a comment and let me know.  For that matter if you have another great resource you’d like to share I’m always looking for more information.

www.youtube.com/watch?v=MtOX_O_NKHY

If you don’t know the story: read the origins on the Axe Cop site.  Dave D’Andrea plays Axe Cop.  Lee Gordon and Bob Souer are also in it.  Leave a comment if I need to add someone’s name to the list.

Creative Commons License photo credit: myuibe

Dave Courvoisier made an interesting post on his blog the other day about how to record decent quality audio on your iPhone.  It’s a good read and short.  Check it out.

So now you can find auditions, record an audio sample and submit it all from an iPhone.  Pretty cool.  My biggest suggestion would be to find a nice quiet spot to record though.  One option?  Believe it or not – your car.  Automotive engineers work hard to make today’s car interiors quiet and acoustically pleasing.  So take advantage of their hard work and go record an audition on your lunch break behind the wheel, just don’t drive while you do it.