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JossiRossi posted:At one point I think CuddleChunks? Visited the thread but didn't get too much response, I think there was a pretty active discussion at the time that swamped the posts. That was me. I cross-linked the threads and posted something along the lines of "I see you're talking about spending $600 per studio visit but come to the voiceover megathread and somebody might be willing to do it for  ".Not one single person responded, I figured it's just because I am a gigantic douche and / or they actually listened to something on my tindeck account. E: Let me ask about gear / setup. I'm using a Yeti on a boom stand. I decided to build a sort of foam enclosure that would fit on the boom and let me continue to use it. I have some thin, adhesive-backed foam that I originally intended to adhere to moving blankets for some soundproofing on the cheap. I cut panels and made a cube with cutouts for the mic's USB port and the boom arm, with the idea being that it would use the shock mount for support, hang off the boom, and help keep ambient noise away from the mic. I didn't have any glue or anything to assemble it, I just used the adhesive backs. That means that the sound-dampening side of the panels faces out. I thought that might be good (keep outside noise out), but I'm a little worried that the glossy adhesive side that faces the mic will create an echo-chamber effect. I haven't been able to test it because it keeps falling apart. Once I piece it together with sewing pins and duct tape (high technology up in here) I can try it out. Does anyone have experience with anything like this? Will it just plain not work with the sticky side in? I don't know if I have enough foam left to change the dimensions and make it double-sided. titties fucked around with this message at 02:08 on Nov 19, 2012 |
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Nov 19, 2012 01:58
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Hrm, from the sounds of it you might benefit from forgoing attaching something to your mic stand. You'll tear your hair out trying to get it to be sturdy and usable I feel, while also removing the benefit of the shaped cuts of the foam. A flat wall will reflect sound, a textured wall will diffuse more of it. Flat foam will absorb sound yes but still reflect it, while a textured foam will absorb and diffuse it (not perfectly but you already shelled out for the foam, might as well use it to it's greatest.) I'd suggest looking into a desk mic stand, something short and stubby, or taking say a Milk Crate, mounting a shock mount inside the crate and lining the inside with your foam. Or if you feel extra crafty make a box with it's internal dimensions equal to your foam squares so you don't need to cut them and then you can have a bit more control on how the mic is mounted within it. What are the outside noises you are wanting to reduce? Also what kind and style of foam do you have as that can make a huge difference. Thicker foams might do little for what you want, and even diffusing side in might stick create a small echoey chamber. You'll want something that's made to absorb sound, they tend to me a bit lighter and fluffier I believe. (I need to review my studio set up information as I'm considering some redesigns of the huge closet I use personally.) Depending on your needs you might not even need to do a full enclosure but instead do a 3 sided hinged panel that can wrap around your mic. I found some Computer Packing foam that has been PERFECT for placing behind my mic and keeping reflections from the back wall, laptop, or speakers from muddling things up.
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Nov 19, 2012 02:49
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This question is a bit off-topic but it does have to do with sound acoustics and whatnot, so I'm hoping I can get some insight from you guys on this. They pertain to this sound clip: http://soundcloud.com/adibm/noureddine-sabet-imani-reading 1. Is there a specific "name" for the little echo/reverb effect that can be heard throughout? 2. What kind of setup would you need to produce that effect? Any special sort of mic or environment? The only reason I ask is because I want to do straight readings for a group of people like in the clip above. I think I'm somewhere between a bass and a baritone, so I think this kind of effect would help with dramatization and giving the piece an overall more "powerful" quality. Appreciate any advice I can get on this. 
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Nov 19, 2012 04:46
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So the podcast fell through. sorry guys. But now I'm looking for a voice tag for some lovely electronic music we're making. need some variations on "midwest communism".
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Nov 19, 2012 08:42
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JossiRossi posted:As a male Homosexual Werewolf I feel I am uniquely qualified to apply for the position of reading such a novel. The gay werewolf one is actually just a short story. Approximately 4,400 words, so nothing massive or anything. ACX estimater thing says it would be ~30 minutes or so, though I'm not sure how accurate that is. I generally do a second edit with all my stories by listening to them through the Natural Reader program, and they tend to last closer to an hour, but I think some/a lot of that might be when I pause to fix stuff. Hard to tell. As far as my experience with ACX, I'm newer to trying it out and don't have an actual audio book available as of yet. I'm trying to branch out from just eBooks, since audio books and print books are generally their own market(and I already have the "book" done, so why not?). Everything I've heard from other erotica writers has been good, though. Here's some random examples of goon erotica writers stuff if you want to check them out(can listen to samples, etc.). Content is obviously uh.. not child/work safe. http://www.amazon.com/Bred-by-My-Daddy/dp/B0097G7W04/ref=sr_1_6?ie=UTF8&qid=1353353824&sr=8-6&keywords=Francis+Ashe http://www.amazon.com/Teenage-Shave-Party/dp/B0083F6B3Y/ref=sr_1_1_title_1_audd?s=books&ie=UTF8&qid=1353353920&sr=1-1&keywords=shave+party ACX is basically run by Amazon, though, so similar to their KDP eBook program and CreateSpace for print books. I like the fact that they manage the royalty share stuff for you and help set everything up, and they also get your stuff onto the iTunes store which is notoriously difficult/annoying for eBooks. And, icing on the cake, if someone uses one of their 3 free "buys" as a new Audible member, you get a flat $25 instead of royalties(split if there's a share), which is cool. Not sure how often that happens, but it's a neat little bonus when it does. Mostly, it's just simple and they distribute your stuff(can distribute it further, but it lowers your total royalties for everything, so I don't know how useful that is). Also, as far as ACX and reading stuff, you can have a pseudonym for it, so likely no one would ever know it's you, unless they buy it and listen to it, in which case they can't really judge you, now can they? =P The Joe Man posted:I'll record anything for money. Already signed up/approved on ACX so if you'd like to send a small audition script (with a brief summary of the "vibe" of voice you'd like) to mixnmojo@hotmail.com, I'll email a spec clip back and if you're game, we'll go through the process officially on ACX (unless there's a better way for you to do it). I'll definitely email you soon. This week is a bit hectic(Black Friday, etc. and trying to set up "deals" to lure people in) and I need to fine tune some stuff for the script I have in mind, but I should be able to do it soon. titties posted:That was me. I cross-linked the threads and posted something along the lines of "I see you're talking about spending $600 per studio visit but come to the voiceover megathread and somebody might be willing to do it for The thing is, it's still kind of new for a lot of us writer people, so it sounds/seems kind of difficult sometimes. Personally, I feel like if I've already got the story written, then the audio book part(for me) isn't -too- much more work. But you have to consider that a lot of the writers in that thread are still working full time jobs and everything, too(or at least have a lot of other obligations), so anything that detracts from writing and adds to "work" seems rough. I can totally understand from that point of view, but for me I like to do fun side stuff sometimes, just to see how it goes. Also, most erotica is written from the female PoV, so high preference towards female narrators. I don't know if that would have anything to do with it for anyone(don't know everyone's gender here, etc.), but because of that there's a much higher demand for females than males, for this particular thing. So if you're a guy, you could sound amazing, but you probably won't fit the role of a female explaining how "her inner goddess is dancing the merengue." (Random hiliarious example of Gilbert Gottfried reading 50 Shades, probably not safe for listening to around anyone ever: http://youtu.be/5K1RcKJVbHA ) Cerys du Lys fucked around with this message at 20:57 on Nov 19, 2012 |
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Nov 19, 2012 20:44
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invision posted:So the podcast fell through. sorry guys. But now I'm looking for a voice tag for some lovely electronic music we're making. need some variations on "midwest communism". You just want that phrase or do you have more text?
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Nov 19, 2012 23:52
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CuddleChunks posted:You just want that phrase or do you have more text? It's the name of the "band". So something like how DJ Khaled has that "DEEE JAYYYY KHALED" and then whatever else you want to throw in there. It's all up to you.
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Nov 20, 2012 00:26
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My voice is wrecked but I might be able to use it to my advantage with this, I'll put something up later once the house quiets down and I can record. Do you need some kind of sound effects / background audio for these, or will someone else handle that? I ask because I haven't learned to do it myself. Jossi: It's listed on the packing sheet as 1/2" sound dampening foam. One side is coated with adhesive, the other is stippled(?) but it's a pretty mild texturing. I'm trying to limit the screaming fan on my laptop, it's moved as far away from the mic as possible but audacity is showing a baseline of like 20db. That sounds really high to me, but maybe I'm reading the indicator wrong or something. Also, since my space moved to the basement when we moved house, I have to battle the hot water heater, furnace, and water trickling through the pipes. I had originally intended to partition off the space underneath where the stairs make their 180, but it turned out not to be big enough so I thought the next best thing is to isolate the mic itself. I have the stand that the Yeti came with, but I don't have a usable place to put it and I can't really reconfigure my space right now.
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Nov 20, 2012 01:06
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Nope, no background music. Gonna throw them on the intros to our songs.
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Nov 20, 2012 04:38
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So no big rush on them? I don't think I'm getting to it tonight.
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Nov 20, 2012 07:24
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titties posted:Jossi: It's listed on the packing sheet as 1/2" sound dampening foam. One side is coated with adhesive, the other is stippled(?) but it's a pretty mild texturing. 1/2" foam is rather thin, so you'll want to take advantage of the shape of the foam as much as possible. I'd seriously consider building a vocal isolation box using the Yeti stand to keep the mic in place. Considering your other rather unfortunate list of noise sources it would be your absolute best bet. If you build a box you can also increase the sound isolation by placing the whole thing on a pillow and putting blankets around it. Hackey as all get out, but would be pretty effective. Also if you build the box you can design it to have things like an open side or top if it sounds too closed in with 8 walls. Also you could later mount the shock mount inside the box as well. You could make the box with just about any sturdy material and it should be pretty cheap, or you might even be able to find a premade box of the right dimensions. I really feel that's your best bet, and that it will save you a lot of headaches, as well as improving the sound. titties posted:I'm trying to limit the screaming fan on my laptop, it's moved as far away from the mic as possible but audacity is showing a baseline of like 20db. That sounds really high to me, but maybe I'm reading the indicator wrong or something. I'm at work so I can't write my spiel yet, but when I get home I'll write up about db, SPL, Metering etc. It's not as straight forward as you may think. A quick note that goes for EVERYTHING we will deal with in recording is: Trust what you hear, not what you see. That 20 dB may or may not be as big an issue as you think, but the important thing is what it sounds like. @Cerys du Lys Thanks for the thoughts on ACX, I'll probably check it out in a more meaningful manner soon. Right now our Female to Male ratio is pretty swayed, I think we lost a whole mess of talented folks when we were moved here to CC unfortunately. Still trying to let people know that this thread exists at all. And that we are friendly. I think we are friendly? Also, that Gottfried video is amazing and I would 100% listen to it, if it were real. Course he makes most anything better. JossiRossi fucked around with this message at 16:48 on Nov 20, 2012 |
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Nov 20, 2012 16:39
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This thread seems like it'd know what to do about this, but I'm sorry if it's completely the wrong place to ask. I don't really think I'm cut out for voice work, but do any of you have tips on getting rid of a lisp? I've got this really harsh, almost whistle-like lisp that, paired with my high-pitched voice, makes me sound aggressively ditsy. If you guys need a sample to divine what I'm doing wrong, I can read one of the scripts here. I can't promise the acting will be any good, though.
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Nov 21, 2012 03:44
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I'm going to Thanksgiving with an Aunt who does Speech Therapy, so I'll ask her when I see her on Thursday for some more info. While this is not an informed opinion on the specific issue, you might be able to think of it not as a lisp, but as a really ingrained accent. Voices are incredibly muscle dependent. Not 100%, but you may be able to do a lot by strengthening/retraining some of your natural muscle movements when you talk. I'd probably liken it to learning how to whistle. Try a lot of things out, try to recall what you do for certain sounds and what you are looking for. Then try to roll that silly labored action into your talking, and try to supplant what might be causing the lisp. There are a ton of factors that alter or change how one would approach this, and how effective it might be. If it's a physical structure of the mouth thing to a very large degree surgery may be required, but that's probably not the case. That's all pretty generalized, and perhaps someone else here can have an actually informed opinion. As long as I remember though I'll bring it up with my family and see if I can't get something concrete for you.
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Nov 21, 2012 04:00
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Hey guys, I don't know if any of you are in the NYC area but this thing is happening next weekend and I'm going to it.quote:VO Event Announcement: The 5th Annual New York Voiceover Mixer If you're going let me know so we can try to meet up.
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Nov 21, 2012 19:47
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King Lou posted:Hey guys, I don't know if any of you are in the NYC area but this thing is happening next weekend and I'm going to it. I'm going! Would be interesting to put some faces to names (and voices) from here.
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Nov 23, 2012 02:31
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blinkeve1826 posted:I'm going! Would be interesting to put some faces to names (and voices) from here. I actually sent an RSVP but haven't heard back... any suggestions?
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Nov 23, 2012 07:26
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When they got back to me (eleven days later) it was an automated reply. I thought I saw your name on the list on the site, though, so as long as you're there you're good to go.
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Nov 23, 2012 17:39
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I guess my name is there. Weird.... Well thanks for saying that. I wouldn't have looked.
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Nov 23, 2012 18:47
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Apropos of nothing, that Blue Yeti microphone everyone loves is on sale at Woot for $99 until Nov. 27. http://www.woot.com/plus/i-got-dem-blue-microphone-blues
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Nov 23, 2012 19:08
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The Aphasian posted:Apropos of nothing, that Blue Yeti microphone everyone loves is on sale at Woot for $99 until Nov. 27. Here's something I've been wondering about regarding the Yeti: Traditionally USB devices have not been considered of the same quality as analog (or whatever the right term is). If I were to begin doing "professional" work can I continue using the Yeti? Are there decent pre-amps that work through USB? E: JossiRossi posted:Also if you build the box you can design it to have things like an open side or top if it sounds too closed in with 8 walls. Also you could later mount the shock mount inside the box as well. You could make the box with just about any sturdy material and it should be pretty cheap, or you might even be able to find a premade box of the right dimensions. I really feel that's your best bet, and that it will save you a lot of headaches, as well as improving the sound. I didn't do a very good job of describing the thing I made. It has an open side for talking into, it's similar to the portable booth that King Lou has but without the outer fabric layer. It's designed (and I use the term loosely) to fit on a boom arm instead of sitting on a table or desk. The shock mount won't work with the default Yeti stand, there's no way to attach it. After thinking about it for a while I think it will work if I make it double-sided - 1" thick with the texturing on both the inside and outside. I need to order more foam. titties fucked around with this message at 20:53 on Nov 23, 2012 |
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Nov 23, 2012 20:20
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USB mics just have sound cards inside them. Unless you are recording directly to magnetic tapes, the signal gets converted to digital at some point anyway. So a usb mic really isn't inferior based on that metric alone. The difference comes from timing, like if you have a computer as a mixer and some digital and analog mics, the digital mics might have a little latency. Also, the mic might have an inferior digital converter to your pro sound card... but I doubt that you need 192khz from your mic for voice.
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Nov 24, 2012 03:43
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Thank you again for your responses, everyone, and my apologies again for my delay. I now have the website with the VO box construction and review bookmarked for future reference, but I suppose the question now is whether or not there's a cheaper foam I could use? The Auralex Studiofoam mentioned in the linked site is over $100 on most of the sites I've visited.
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Nov 27, 2012 18:32
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Did anyone happen to record those voice tags?
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Nov 28, 2012 04:46
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invision posted:Did anyone happen to record those voice tags? I'll record something tomorrow evening if you're still looking.
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Nov 28, 2012 07:17
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invision posted:Did anyone happen to record those voice tags? I'm probably not going to do it but to be clear, you just want recordings of the words "Midwest Communism"???
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Nov 28, 2012 07:24
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invision posted:Did anyone happen to record those voice tags? I would like to / had intended to but I haven't been able to think of anything that is good or funny.
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Nov 28, 2012 08:34
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This is an unapaid, for fun gig: http://www.pendantaudio.com/ccbill.html In a rare occurance there's a pretty big need for male voices in a Pendant Productions work. Shakespeare's Much Ado About Nothing. I worked on MacBeth as Fleance (I had 3 lines! Woo!), and it's essentially using the base scripts, no strange updates or adaptations. So if this appeals to you, go for it, trust me, you guys have better set ups than many Pendant regulars, and I'm not sure how active the competition will be but I'd be surprised if any of you tried that you'd NOT get a role. If you want some tips for auditioning let me know I can write up a few quick basics.
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Nov 29, 2012 21:17
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The chickencheese thread was visited upon CC so that it might be peeped by those therein, and the chickenchee noire began to spill forth.LordVonEarlDuke posted:John chickenscheese walked on the streets which were like the blood vessels of the city in that they were wet with the glistening rain which was like the tears he had cried when his wife had been killed right in front of him on a dark and wicked night much like this one, and also because they were clogged but instead of clogged with normal clogging agents that would do that like lard, they were clogged with injustice. The same injustice that killed his wife, right in front of him. I then dubbed it J. Chickenscheese in "Peep dat Private Dick" by LordVonEarlDuke. titties posted:I made something that is bad and shameful. You put those on the internet, right? The chickencheese thread seemed pleased. E: Jossi, I would like some tips about auditioning. You make good effortposts. titties fucked around with this message at 22:26 on Nov 29, 2012 |
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Nov 29, 2012 22:22
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Amateur Auditions In my experience these are some pretty important things to keep in mind when you are participating in an audition process. I have zero experience with professional auditioning so perhaps someone can give some more specific advice pertaining to that, but I imagine there will be at least some crossover. I've managed to land a few "for fun" roles, but I'm not some Auditioning God either. However, when I sit down and do the work as I should I will more often than not get at least some recognition for a good audition (not canned responses fortunately. At least I think... I hope anyway), being in the running, or the role itself. It might just be really nice Listeners though. Additionally, having casted a few things, this is what I personally look for in an Audition. Know Your Strengths/Weaknesses There is a time and a place to stretch your ability, skill, and comfort zone. During an audition recording is not the best circumstance. Being uncomfortable with an accent, shooting for a voice too deep or too high, or performing outside of your ability will almost always come through in your audition. Casters can hear when someone is not confident with the script or lines, when someone stumbles over how to accent a particular line, or when you stretch into an emotion you've not practiced. You'll want to iron all these problems out with practice, or at least some development before you record. Many problems can be solved with reading the content a few times, saying them aloud, and just general practice. For bigger things such as entire accents, unless your accent is ready for showtime, I'd avoid using them. Nothing bothers me more than a bad accent. Always Try Despite the above, ALWAYS try. Even if you don't send the audition, it is worth the experience of creating the audition. What someone asks for may be something you never thought of trying. So, it can expand the ways you stretch your limits. It is important to keep in mind though that if the Audition sucks, don't send it. A horrible recording in your hands is a fantastic tool to improve. A horrible recording in a caster's hands may tarnish your reputation and make it harder the next time around if they are a repeat caster. So, if you find a role you want to try for, give it a go, and then assess it objectively later. Know Your Audience Keep in mind just what your voice will be used for. If a particular production team has previous or ongoing works, give them a listen for a benchmark. Context will change your performance a lot. Voicing for a cartoon, video game, or audio play will have differences in how you should treat the audition. Even within those examples there is a massive variety. As a result it is often touch and go with what you may want to strive for. Some games have decidedly cartooney acting, others have very serious and dark work. An Audio Play may like a really close and present voice, a cartoon may want something less intimate and more ready to be dropped into a location, a video game would be more of a neutral ground if it involves information to be presented. I'm coming up a bit blank on really good tips for this other than research as best you can what the casters will be listening for. Don't, for example, send a really goofy light hearted voice if you are auditioning for a game staring Space Marines. Variance of Performance When you audition, you may be afforded the oppourtunity to provide more than one take per line. If it is unstated, ask first. I've not run into a situation where I was not allowed to send more than one take per line, but do not assume anything. I find that 3 takes per line is ideal. When utilized to it's fullest this will allow you to achieve a few things. First, the most basic, is if a caster dislikes your initial take on a voice, they have 2 more versions to taste. Second, is you can show that you have a performance range the audition lines may not normally convey. If you have to read a very angry set of lines, having some lines be gentler than others will let the caster at least know you are capable of it. I wouldn't force lines into an out of context emotion, but if a line's instruction is simply "anger" well that can be taken in many ways. One seething contempt, one screaming outburst, and a final take of pissed off covers an appropriate range. Let's the caster know you have that range, and that you can take a basic line and give it several different lives. I do want to stress, again though to try not and over do it. Keep It Clean When I ask for auditions I don't want to know what music or ambient noise an actor feels is appropriate to the recording. Just your voice is all that's needed. Don't try to get fancy. It's the equivalent of Tobias sending headshots with pounds of glitter in the envelopes. Final Product Quality Send an Audition that is as good a quality as what you plan to send if you get the part. Don't take shortcuts in your signal chain. Don't skip a pass to remove clicks or pops. Before you save your files, listen to the whole Audition from beginning to end. If ANYTHING stands out to you, it WILL stand out to the caster. Even if you need to scrap an entire recording, do so. Technical problems in an Audition will signify to a caster that those problems (even if solvable) may exist in what they receive later. Breathing, rumbles, car noise, computer noise, sybillance (sssss noises), pops, clicks, chair squeaks, processing artifacts, that sound you can pick up if your cell phone is sending signal, ANYTHING. If it is not your voice and performance, get rid of it. If you don't take the Audition seriously, the caster can not just assume you'll start taking things seriously if you are given a part. Follow Directions THIS. IS. THE. MOST. IMPORTANT. RULE. There will almost always be a submission procedure when you audition. This procedure may be as simple as: E-mail auditions to blahblah@email.com Or you may be given a list such as this: Auditions must be in .mp3 format. Please .zip up your files and e-mail them to blahblah@email.com Or if you have an anal bastard like me: Record your files as 44.1khz Save files as .ogg Name your file "Role_Show_FirstinitialLastname" Example: Jack_DistantStars_JRossi.ogg Compress your files Title your email "James is the best, and I want to Audition for _Role_" In the body of your email please provide details about your recording setup Send Email to blahblah@email.com I have in the past known people who add little caveats to their rules just to see if people are actually paying attention. This is your first impression. Before your voice is even heard, it will already be apparent if you are capable of following basic instructions. When you are assembling a 500 line audio play, it is vital that your cast can follow guidelines. If all 30 cast members send their audio in different formats, with different naming conventions, it will be a nightmare to assemble the project. All it takes if a few minutes to read and double check that you have followed all the given submission instructions properly. While following directions will not get you a role on it's own, failing to follow directions can absolutely disqualify you from a role on it's own. Particularly in amateur projects you can get a lot of flakes. A lot of trust is given by casting someone to a role. You need to trust that they will send in lines when you need them, and in the proper method. Being incapable, or unwilling to follow provided directions is essentially the worst way to start building that trust. I think that's a pretty decent summary. A lot will come down to practice as with so many things. There are plenty of rejections in our futures as we Audition, but each one is a chance to identify how we can do better next time.
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Nov 30, 2012 03:04
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^ Thanks for this. To me, that sort of thing is harder to learn than the reading and how to use audacity and poo poo. Through the advice from JossiRossi, The Joe Man, and everyone else in this thread, you guys have already made such a huge improvement in my recording in the few months I've been here. Thank you all! It's a little funny that it takes the chickencheese thread to spur me to make my first recordings in months. Xpost again: Kleptobot posted:gently caress it, I am giving this one a shot for my Thunderdome bretheren. Chickencheese fajita style. Canadian Surf Club posted:How's it going David Hayter Still, did I get close? E: After listening to it some more, I don't think I really hit my stride until about halfway through. I'm also hearing a lot more mush mouth than I noticed before. E2: Is anyone familiar with Edge Studio's weekly script contest? The prizes for placing in the top 3 are vouchers for evaluations and coaching. Originally it looks like they took pains to mention that these were not for real campaigns, and were stock scripts. The recent contests, though, all include director's notes, specific requests, and seem to be actual campaigns for big-name companies. What I want to know is are they actually using your submissions? The website didn't have any terms and conditions that I could find regarding those submissions and who retains the rights to them. I would not be pleased to find out that a practice audition I did had been used in a regional campaign and all I got was a free evaluation to see if I have the potential for voice work. titties fucked around with this message at 02:36 on Dec 3, 2012 |
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Dec 1, 2012 22:24
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invision posted:It's the name of the "band". So something like how DJ Khaled has that "DEEE JAYYYY KHALED" and then whatever else you want to throw in there. It's all up to you. Man, I have no idea what you were looking for here. Still, throw these in front of your mixes and you're guaranteed to have ALL the fine ladies all up in your grill. That's the power of radio! 
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Dec 3, 2012 07:19
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CuddleChunks posted:Man, I have no idea what you were looking for here. Still, throw these in front of your mixes and you're guaranteed to have ALL the fine ladies all up in your grill. That's the power of radio! Hahaha. The last one killed me. Definitely gonna use it. I'm going for something like how he yells DEEE JAYYY KHALLEEEDDDD in the intro to this https://www.youtube.com/watch?v=1AoJUwL2FGE
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Dec 3, 2012 22:13
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I just recorded these for the hell of it while I have garage band open. I tried on a couple to sound like that song example but its hard to say that inflection without laughing. I am also ill. In more tales from VO work I just got some bad news. Well, not great news. I was picked to do some VO for a client for Spotify. They agreed to pay me a certain amount for recording 2x a week for 12 weeks. Then at the last minute they decided they wanted me to read 5 things in one sitting, instead of 1, and then lowball me on the per session price. The way this place operates is they pay one price for doing one spot per client. But is that client want more than 1 spot in a session then every spot recorded after that is 1/2 off. So they applied those rules to what was once a killer deal for me. Now I'm going to get around a 25% pay cut for the work. We just started today and I was getting my invoice ready to send in when I got the call. Its a drag! King Lou fucked around with this message at 23:26 on Dec 3, 2012 |
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Dec 3, 2012 23:19
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^ Yeah, that's not cool. Are you going ahead with it anyway? Also, would you be willing to talk a little about what it's like to record in a studio? I know I'm not ready to work professionally yet, but still the idea of actually stepping into the studio is terrifying since I don't know what to do or how to act and they'll all know I'm a poser and oh god E: Also, I was totally expecting a "BOYEEEEEEEEEEEEE" after that first Midwest Communism.
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Dec 4, 2012 02:54
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titties posted:^ Yeah, that's not cool. Are you going ahead with it anyway? There really isn't that much to getting into a VO booth. Usually there is an engineer who will get you set up. They are responsible for putting the mic where it needs to be, getting you a water, etc. There usually place to put your copy. There are headphones where the people in the studio can talk to you through. Besides that the best thing you can do is be prepared to read the copy and be ready to take direction, no matter how stupid. Also don't be afraid to step out if you need to. Sometimes you just need to clear your head. Especially when someone tells you something crazy like "Can make it sound like you're sad that your happy?" or "You need to sound like you're just talking to me about how much you like bank rates but without selling them to me but also hitting those key points. Also speed it up." The most annoying thing is there is an unspoken rule in the booth which is "never apologize." I personally hate that rule because its a natural reaction to a flub but I've been told over and over that if you apologize at an audition or session that subconsciously people remember you as unskilled/unsure. I'm sure that isn't the case for EVERYONE but I've been told by 3 separate VO agents/casting directors that when someone apologizes they write them off then & there. So now when I gently caress up I say "This script is poo poo!"  Actually, as everyone should know, when you flub, just start again at the beginning of the last sentence. Whatever you do, for God's sake, don't apologize! EDIT: Yes I will probably work with the pay cut just because I can use $3500. We'll see if it even happens now, though. King Lou fucked around with this message at 03:35 on Dec 4, 2012 |
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Dec 4, 2012 03:21
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titties posted:Also, would you be willing to talk a little about what it's like to record in a studio? I know I'm not ready to work professionally yet, but still the idea of actually stepping into the studio is terrifying since I don't know what to do or how to act and they'll all know I'm a poser and oh god One nice thing about recording in a studio is that you don't have to worry about watching your levels or babysitting the mix - that's the recording engineers job. You kick back, say your lines and let them handle all the gory details of getting the right sound. Another nice thing is you get a chance to talk and warm your voice up without worrying about every dumb little thing you say making it onto someone's outtake reel. We're all professionals in this biz and no one bothers to sit and record a live mic just for the hell of it. 
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Dec 4, 2012 05:00
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One more:
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Dec 4, 2012 08:04
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So I've always kind of had an on-again, off-again relationship with voice acting (I tried it once stupidly several years ago and basically cut myself off with crippling lack of self esteem issues once I realized how awful I was). When it comes to actually talking, I stutter and stammer a ton(something I need to eventually get looked at or manage to shrug off), but I've got experience with script reading(being a rookie stage actor at our community playhouse) and can parse Shakespeare like an amateur champ. I want to train my voice so that I'm not embarrassed of it every time I hear it played back to me, and maybe even get it to the point where I wouldn't be opposed to doing voice work. Is there anything anyone suggests aside from reading everything aloud every day in order to get my voice to sound less awful? I can read off a script or two if need be if someone needs to hear how awful I am to identify what sort of voice practice I should focus on to make me sound less like a dweeb. If this is the wrong thread for this, I'm sorry. Monathin fucked around with this message at 17:48 on Dec 4, 2012 |
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Dec 4, 2012 17:44
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 FOR ANYONE NEW THAT NEEDS SOMETHING TO READ FOR CRITIQUES --------------------------------------- Summerset Hills Getting that promotion at work must feel good. Why not celebrate moving up by moving to Summerset Hills? The neighborhoods of Summerset Hills are now entering into their third phase of building! Choose from dozens of single-family homes on pie shaped lots tucked away on Lilies Fair Court, perfect for young families and parents who want a safe and secluded street on which to raise their kids. With homes selling quickly, you’d better act now so that you can move into your dream home before the first snowfall! Open houses are being held every Saturday and Sunday from 12 until 4. To learn more about the Summerset community, visit our website online or call 555-3125. Summerset Hills: move in today and stay for a lifetime. ---------------------------------------  Starship Arcadia posted:This thread seems like it'd know what to do about this, but I'm sorry if it's completely the wrong place to ask. I don't really think I'm cut out for voice work, but do any of you have tips on getting rid of a lisp? I've got this really harsh, almost whistle-like lisp that, paired with my high-pitched voice, makes me sound aggressively ditsy. Monathin posted:So I've always kind of had an on-again, off-again relationship with voice acting (I tried it once stupidly several years ago and basically cut myself off with crippling lack of self esteem issues once I realized how awful I was). When it comes to actually talking, I stutter and stammer a ton(something I need to eventually get looked at or manage to shrug off), but I've got experience with script reading(being a rookie stage actor at our community playhouse) and can parse Shakespeare like an amateur champ. I want to train my voice so that I'm not embarrassed of it every time I hear it played back to me, and maybe even get it to the point where I wouldn't be opposed to doing voice work. Is there anything anyone suggests aside from reading everything aloud every day in order to get my voice to sound less awful? I can read off a script or two if need be if someone needs to hear how awful I am to identify what sort of voice practice I should focus on to make me sound less like a dweeb. You & you, hop to it. The Joe Man fucked around with this message at 20:00 on Dec 4, 2012 |
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Dec 4, 2012 19:50
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This is all a ploy for free advertisement by the Summerset Hills consortium!
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Dec 4, 2012 19:53
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