And, in reference to J.S. Gilbert’s response here – some wonderful points. I’ve often suggested to writers that they should read their scripts into their voicemail and listen back – they will then have a sense for timing, rhythm and feel that a simple piece of paper can’t reveal. I imagine if VO talent did the same just to practice, it might be wise.

As it pertains to the many (the far too many) who think they can do VO Work simply because they were blessed with great pipes, etc. I have a an expression -“Just because you own a Stradivarius doesn’t mean you have an idea of how to play it.”

I hope we cross paths again soon.

André Bergeron
Babble-On Recording

It was great to get a better perspective of what took place “on the other side of the glass”, as in those days the actors only worked at professional studios. Nowadays this type of perspective becomes even more important as talent tend to be more isolated than ever before.

I would suggest that talent work on various aspects of role playing to become more comfortable taking direction and working in various environments. Talent should be comfortable working with phone patch and should practice auditioning to voice mail. This comes up more often than one might think.

One thing that makes things slightly less complicated today is that the bulk of jobs seem to hinge upon a successful audition. In my particular case, 90% of my work comes from auditioning. Even when I am responding to a referral, it appears that an audition is De rigueur. This may not be the case for talent that work the penny ante circuit, but I find it is almost always the case. In other instances, I am hired on the basis of something they might have heard in a demo. Simply referring to that piece in the demo can usually be enough. On rare instances, there isn’t a “baseline” or true reference and I am hired because I have demonstrated range or the client is in a rush or… Other instances may have the directing by committee thing going or may have someone enter the picture who wants to go wildly from the direction that may have been originally established. In one case, they didn’t so much like my audition, but they “loved” my slate.

Which once again brings up the big question of slate or no slate.

But I digress. Here’s where the analogy of taking apart the toaster to see how it works comes in. I have recorded in almost every type of environment imaginable by every type of client you can conceive. Being as prepared as possible for varying circumstances and differing directing styles is a big part of what makes a professional actor professional.

Preparing for this is a two-fold operation.

1. Improv workshops are invaluable. I simply can’t stress enough that of all the training that a person can receive for voice over, improv is singularly the most important. In my neck of the woods, there are 30 – 40 actors who have virtually no experience taking v.o. classes and instead have backgrounds steeped in improv and this group are firmly among the top 5 – 10% of earners.

2. Practice daily with changes in effect. Practice auditioning over a telephone line reading into voice mail box. Practice holding your scripts in your hand and on a music stand. Practice sitting and standing and hopping on one leg. Move your scripts so that you have to look at them out of the corner of your eye in order to stay on mic. Pretend you have to share the microphone with 3 people and develop a sense for how you might do that. Practice holding the mic in your hand. Write down action weorsds that directors use and practice reading scripts where you change your intent on each line or paragraph to match a different form of direction. Practice your mic technique. How do you shout properly? How do you whisper? Zdo you know what proximity effect is and how to use it or not use it? If you get hired to do characters or accents, live in the character for a day – BE the character.

Preparation and practice will get you to the place where you will be able to survive even the most absurd v.o. session. Try recording in a garage in California in the summer under an army blanket reading a script on the floor, while crouched down holding a flashlight in one hand and the microphone in the other. (True Story)

I certainly made a few mistakes early in my career. WE all do. Today however, it seems that mroe and more people hang up that v.o. shingle well in advance of developing any true skills set. I also think that today, depending upon the actual job, there is more at stake. The competitive nature of this business, coupled with the changes in how we audition and work, hiring proactices, scope of work, rate structures and so forth mean that talent have a much tougher job of becomeing prepared and increasing their skills.