VO 101

Written by Johnny George Thursday, 14 March 2013 16:36

     The month of March has started out uniquely this year. I received a request from Scott Uecker, who heads the Broadcasting program at The university of Indianapolis, to be a guest speaker at the annual Indiana Association of School Broadcasters conference last week.  Several media leaders in the community spoke about software, TV news, sports broadcasting, journalism, video production, radio promo's, morning drive radio.  I was asked to walk the high school attendees through my career with it's ups & downs and how I went from radio to morph into a full time voice actor.

     I love to share my experiences with others and if I can tell a story to guide them around a few pitfalls, the better it will be for us all.  I've been a sponge all my life and I drove home that concept, along with networking and dealing with the world of clients in a global market.  The students asked good questions and since they weren't sleeping through my presentation, I felt it went well.  The turnout was great.  Earlier in the morning, had been the finals for the IASB live judging.  I had been a judge with many other local broadcasters the week before and we heard a bunch of very good production & imaging entries that the students produced for the competition that would be announced at the finals the day of the presentations.  One of my TV news anchor "hero's" even attended my session and we traded glances when referring to times in the earlier days that happened way before these kids were even a twinkle in their parents eyes. (Thanks Phil Bremen - you made my day)

     Many thanks to Scott and his staff for making me feel at home and giving me the tools in my designated classroom to educate these students.  The following day I gave a Skype presentation, live from my home studio, to the college students at Anderson University, which is just up the road from Indianapolis.  They too had some good questions regarding character development, networking, the expansion of the Internet today compared to my earlier broadcast days.  Many thanks to Matt Rust, the Director of their broadcast division at the University, for making me feel comfortable and setting up this Skype session with those eager minds.

     Jay Burke, the Grand Poopah at Vincennes University, in southwestern Indiana, where I attended my first two years of college, also has invited me to teach a two-hour workshop on Radio Production and the world of Voiceover work too next week.  I'm looking forward to teaching this workshop after having had the privilage of learning from some of the best.  Dick Orkin, Christina Coyle, Marice Tobias, Dan O'Day and Nancy Wolfson.  Over your career, you learn so much and so many have their own way of doing things, so it's your job to figure out what works for you.  What direction and instruction makes your voice and psychie work the best.  How your own personal experiences jive with the dedicated instruction you've received.  So it will be a day of teaching, sharing, reading scripts, citing examples and hopefully enlightening these college students who have a very new world to deal with that my generation never did. 

     The world of radio has changed drastically.  How are the new broadcasters going to deal with corporate deregulation, voice tracking, smaller staffs and very lean budgets and still enjoy going to work each day?  I honestly don't know.  But I'll arm them with the facts and explain that the world of voiceovers is not a path of easy and simple work.  Do you have a studio?  A demo?  A voice coach?  Do you have a good business sense?  How about marketing, accounting, promotion, psychology and don't forget that tough skin you better have from all the auditions you'll be doing and getting rejected time after time.  So much to discuss and so little time to do so.  This will be different from my first classes at the front of the month.  This is will be an education for both of us.

Faffcon 5 - Charlotte

Written by Johnny George Friday, 11 January 2013 17:16

Dateline: Charlotte, NC October 12 - 15, 2012

     Another Faffcon is in the history books and yes, it was a great as the rest.  Charlotte is a beautiful city and their hospitality was as good as we have seen. 

     Starting our weekend at the NASCAR Museum with an interactive tour, we raced, challenged each other in the Pit Stop contest, and saw some of the most fantastic memorabilia in this road racing world.  This is a must see if you are ever near Charlotte.   Be sure to walk the track and feel the degree of slant the cars deal with to make it around their never-ending tracks.

     Organizing our thoughts and desires of what topics were important to each of us individually was next on the agenda.  Planning out Saturday & Sunday was fun, because you found out what everyone wanted to discuss and what was to be taught.  That's what Faffcon is all about.  Our evening included a get together dinner in the Emporium Food Court across from the Omni.  The rooms at the hotel were 5 star.  And the view was fabulous.  Dinner was fun and gave us a chance to meet and greet and catch up with VO friends we had met earlier in the year from the last Faffcon in Ventura, CA. 

     After a good nights sleep, we were up and at 'em for breakfast before we headed into our first session.  The various sessions we scurried to were enlightening and encourage participation, discussion and opinions.  I just loved it!  Saturday and Sunday were a whirlwind of info and insightful experiences that was almost overwhelming.  It always feels that way and when you get home, you have to disect your time and put it all into perspective.  But the networking, the friendships made and the knowledge that is shared with respect to no egos or whatever level of learning you pocess or the quality of your craft are totally invaluable and hard to expalin to someone who has not attended.

     Amy Snivley, who organizes the Faffcon extravaganza each time with a highly qualified staff of equally gifted VO folks, announced in Charlotte that Faffcon would be an annual event now that it has established itself.  However, no sooner did she tell us that next years Faffcon 6 would be in San Antonio, Texas,  low and behold, Faffy, the mascot, announced Faff Camp!  Faffcamp will be open to all working VO pro's with no total cutoff as with the regular Faffcon groups that are capped at 100 vetted people.  If you've never been to a Faffcon UNconference and you want a taste of what I've been rambling on about - you should make plans to go to Faff Camp, May 3-5 in Charlotte.  This is to become another annual event if the interest is strong.  And I can take a wild guess and tell ya, you better sign up as soon as you can.  Check it out on Facebook or go to www.faffcamp.com for more details.  Faff Camp is a peer conference for working VO pros.

So you STILL want to be a Voice talent?

Written by Johnny George Monday, 02 July 2012 10:10

     I continue to get people commenting to me that I must have the best job in the world.  We'll kinda yes, kinda no.  But the best answer to that question I've heard lately, is best summed up by a fellow Voice Talent, Paul Strikwerda.

     http://www.youtube.com/watch?v=UHWMHJVnSMs

     After listening to Paul's, The Troublesome Truth about a Voice-Over Career, see if you are ready to jump into the pool with those of us that have been doing this for many years.

     Good luck!  Break a Lip!

Faffcon 4 - Ventura, CA

Written by Johnny George Saturday, 31 March 2012 16:47

     Another Faffcon is now history.  But the information, bonding, mastering of the art of voicing and the comaradary will live on forever.  However, so many of you out there who have never attended Faffcon or even know what it's all about are scratching your collective heads saying, "what the heck is a Faffcon"?

     "Faff" is defined simply as this:

     Example 1: "I didn't do anything on Sunday; I just faffed around the house."

     "Con" is the opposite of "pro".  Thus, Faffcon means NOT screwing around.  Faffcon is where a multitude of like-minded people come together and organize their time in such a way as to NOT waste time and learn from each other.  The #Faffcon Unconference is where anyone skilled in the craft of voiceover can teach others or learn from others.  Think of the last time you went to a convention or seminar or workshop and the agenda had already been decided by a few and the rest of you are supposed to sit there and be taught off a strict agenda by supposedly qualified people.  Perhaps that works for you.  However, on a coffee break, when you are standing around in the hall asking each other, "So what did you learn?  " or "Man, I wish they had covered XYZ", don't you feel left out without any input?  You purpose there is not to ask questions, it's to listen and learn.  Indeed.

     At Faffcon, we all write down what we would like to teach or learn and then we organize those requests on a grid that pairs the teachers with the students.  And everyone has input into the agenda and with the questions that come up in a learning circle like this.  It's brilliant, it's insightful, it works!

     With #Faffcon 4 complete, plans are underway for Faffcon 5 in Charlotte, NC.  this fall.  If you are interested in attending and finding out what all the talk is about - watch for registration to open in the days ahead.  The beauty of Faffcon is not to make this into a personal money-maker.  It's limited to 100 qualified, professional Voice Actors/Talents so we do not turn it into an unmanagable crowd.  100 seems to work just right. 

     Successful voice talents today know they need great equipment, great demos, great talent and certainly - the desire to grow and learn as we progress in our careers.  You must invest in yourself - or no one else will.

2011 is coming to a close. Are you ready?

Written by Johnny George Tuesday, 22 November 2011 18:02

     The end of November is coming to a close and then we will be trying to keep up with voice work, family celebrations, church, company parties and...oh yes - closing out our 2011 tax year.

     If you are a serious, full time, voice actor, I certainly hope you are itemizing.  In fact, I hope you have a CPA who is collecting all the right pieces of paperwork and advising you to spend whatever profit you made on your business to increase your deductions.  You do have a lot of deductions, right?  You saved all your receipts and categorized every legal deduction, correct? Boy, I hope so.

     Do you need any new equipment for your studio?  New mic, headphones, software or a new comfy chair?  Have you been keeping all those receipts when you took a client or business-associate out to lunch or dinner?  Saturday, December 31st is the last day of the year and your deadline for spending any monies off the top before you declare what you made in 2011.  Granted, my company is incorporated for tax and liability reasons and that is why I need a CPA to keep all those thousands of new IRS rules in check and have full knowledge of what you can and cannot deduct.  In fact, since I started a promotion business in 1978, I've had a CPA guiding me and keeping me honest.   I declare all $$$ I make. And no, I  don't take cash.  It makes it so much easier to keep my record straight and honest.

     This is the time to be reminding clients that their outstanding balances need to be paid for before years end.  Blame it on your CPA if they give you any grief.  So many of today's voice actors are making sure their clients pay before they receive their audio to keep THEM honest and you not holding the bag.  However, in a practical world, many agencies are at 90 days or the "I can't pay you, until they pay me" syndrome.  You go with the flow and they in turn slow down your income collecting machine.  But, the end of the year push is understood by all. If it's on the books, it's income.  You might as well spend it on something within your business to re-invest and shelter your income.

     It only makes cents...uh, sense.  <G>

Plug that Window Noise!

Written by Johnny George Wednesday, 27 July 2011 12:45

     Seems many voice talents have been experiencing those “neighborhood noises” we have so little control over and shouting their anguish from the top of their lungs.  Stop that!  You’ll hurt yourself.  There are some solutions.

     I too had issues with the landscaping people mowing the grass around our condos and stopping me from the ability to record or do an ISDN session in peace.  This can really be a pain-in-the-a** for our clients and our professionalism.  If you are able, move your studio to the basement if you have an in-ground basement.  Those cute little windows can be stuffed with insulation, old coats, unwanted neighbors, etc. to cut out that peripheral noise.  Aim for a corner of the basement that is closest to the deadest area of your outside lawn.  Perhaps a rock garden or pool - wait a minute – now you have to worry about the pool pump.  Oh, never mind.  And don’t forget the sump pump if you have one. AND…if you’re in a flood plain, you might re-think the basement idea altogether.

     My home studio is on our second floor in the front. Believe me, it’s not a moveable item.  (see studio picture)  I have two windows that face the north & west.  They’re the standard  35” x 60” sized bedroom window.  When the landscaping company we hired mow the grass, edge and blow the grass clippings, that noise is definitely a problem for me for the grass below my window, across our street and around our retention pond, “Lake Eller”, on any given grass day each week during the summer.

     So I contacted the folks at AURALEX and they suggested I should measure my window openings for their Window Plugs (my term and I think theirs now too).  I received two 2½ inch thick blocks of dense Auralex with a quarter-inch piece of what appears to masonite on the outer window side.  They fit perfectly to my window due to the custom measurements I gave them.   When all is good, they sit off to the side in my studio absorbing extra noise in my room.  However, on Grass Day, as soon as I hear them coming, I simply close my blinds and take the window plugs and push it into the window opening that sits flush with my walls.  The lowest frequencies from the mowers still are audible to my ears, but clients on the other end don’t seem to hear it as well as I.  However, the general noise is cut out well enough to proceed and make the investment worthwhile. (see pictures) Call them and speak to one of their engineers and explain what you need.  They are very willing and quite capable to handle this situation.  I love how they embraced my situation and came up with this answer.

     As you can see by the pictures of my studio, I believe in the Auralex product line.  I don’t own any stock, just a happy customer who has had great luck with the sound of my room compared to the DIY baffles I used to use that hung on the walls of my first studio.  They kinda worked.  When you walk into my studio now, you know immediately that you are in a acoustically dampened room that sounds like it was made just for me.  I love it!

 Simple installation into window openings

Window Plugs installed

2.5 inches thick with masonite backing for heat

reflection (faces towards window)

     In an effort to get some specific information that's above my knowledge, I contacted Auralex to get this info to legitamize this blog and its information for the benefit of our readers.

Johnny,

     Thank you for giving me the opportunity to contribute.  Numerous famous voice talents, alive and deceased, cut their tracks in rooms with Auralex products.  We're heard daily on virtually all media.

     These are custom solutions, as no one size fits all windows, nor solves all specific problems.  The backing boards we put on yours lend rigidity, which helps keep the plugs from sagging, but also increases the low-frequency absorption of the system, turning the system + air gap + window into a more-effective bass trap than would be achieved if Studiofoam® or PlatFoam™ alone were utilized.  ALL small rooms need additional bass trapping (to a much larger degree than almost anyone realizes, which is why I often lecture on this topic at universities); window plugs are a way to gain bonus bass trapping, not to mention additional, general acoustical control in the room.  Window plugs can be considered, based on their typical size and construction, to be more broadband absorbers than typical acoustical treatments that might be thinner and boundary-mounted, thus offering less low-frequency absorption.

     We can provide our proprietary PlatFoam in variable thicknesses to suit customers' space and sonic requirements.  PlatFoam is more dense and uses different cell structure than our world-famous Studiofoam®.  Backing boards, and even intermediate boards of various materials and densities, are available; these can improve sound isolation and absorption, specifically at low frequencies.  Cloth-covered panels utilizing different substrates, including layered and varying ones, are available; window plugs can coordinate visually with Auralex ProPanels™.  Auralex SheetBlok™ sound barrier can be included; its STC (Sound Transmission Class) of 27 is more effective than a sheet of lead of the same thickness...and a lot safer to be around, yet the product is only 1/8" thick.  It is highly recommended for inclusion in window plugs.

     Both PlatFoam and Studiofoam feature our proprietary chemistry that exhibits incredible longevity.  This can be especially important when used in direct sunlight in a window opening, with or without a backing board.

     Plugs can be custom fabricated using acrylic and transparent SheetBlok™ sound barrier material for those who desire to retain as much light infiltration as possible.

     Panels can be designed per customer guidelines and can include handles if desired, so as to facilitate installation and removal.

     The sky is truly the limit.  That's why we don't offer a one-size-fits-all solution for window plugs.

     Unless studio use-specific windows were included in construction, windows are typically the weak link in the sound isolation chain.  Improving their seals can help, but window plugs are more effective.  Another thing some customers might consider is mounting another window, or piece of laminated glass, in front of their existing window.  Auralex products can also be used to construct DIY solutions that mount around the entire existing window and can be removed when desired.  Options abound.

     Speaking of laminated glass, we fully outline the correct way to build your own sound-occlusive window in our free publication and website www.Acoustics101.com.  (Acoustics101™ is a trademark and is property of Auralex Acoustics, Inc.  Others have tried to use it, but our attorneys had a field day with them.)  Most people, even some studio designers, make mistakes when choosing the glass from which to construct their windows.  Get it wrong and the system will be a virtual "open window" to sound.

     We're always happy to discuss custom solutions with people.  They can fax, mail or e-mail their ideas, requirements, budgets and photos to us.  We're good at figuring out the best way to solve individual problems, and have been bending the laws of physics and finance worldwide for 34 years.

     If I can contribute any additional info to this article, or any future articles about studio acoustics for V/O, let me know.

Eric Smith

Founder & President

Auralex Acoustics, Inc.

Cell 317-440-2992

www.auralex.com

www.acoustics101.com

www.auralexuniversity.com

www.auralexELiTE.com

Editors Note:   This blog article has been reprinted with permission in VoiceoverXtra.com.

© 2011 Johnny George Communications, inc  All rights reserved

So You Want To Be A Voiceover Talent?

Written by Johnny George Wednesday, 22 June 2011 15:34

     For some time now, I've been asked some very interesting questions by people who desire to get into our voice business because they either have been told, "My oh my, you have the perfect voice for voiceover work." Or... they think the voiceover business is cool and they want a piece of the pie because it looks like fun!... Or...they lost their gig in radio and since they spoke on the radio reading liner cards, they feel they are qualified to do voiceovers... Or finally...they have lost the will to live and think Voiceover work is easy and they want you to do their home work for them and tell them how easy it is and how to make gobs of money!

       Sound familiar?  Is that why you are reading this blog today?

     Let me get right to the point... I really do not want to listen to your demo because all I am going to be able to give you is MY opinion of what I hear on your demo.  I'm flattered if you think my opinion is worthy enough to ask me.  However, it is only MY opinion and mileage may vary.  I can't guarantee you will get any jobs from your demo, nor can I explain what and why you should do it a better way.  And during this entire period, I may be missing out on some viable work that could be making me a better Voice Actor and that doesn't help you or me.

     It's always wonderful to hear from someone who is interested in something you are passionate about.  However, it’s not as easy as one may think.  Just because you have an interest in doing voice work, remember, everyone has a voice, but only a limited few have the ability to make it work better than most everyone else and make any money with it.  Voicing commercials is a skill.  I've been doing voiceovers for over 30+ years.  And I would have to admit I didn't start making any serious money until after I had been doing it for about 15 years. As an example, of the 40,000 registered AFTRA/SAG union members in Los Angeles alone, about 400 of them make a living out of doing voiceovers.  That’s 1%.  Now multiply that by every city in the country.  Are you sure you want a piece of this competitive pie? If you do, be prepared to invest a lot of time & money into it, because success will not come quickly or easily.  It’s a hard road, so be sure you want this badly enough before you proceed.  It’s not all glamour and luxurious as you may have thought.  BTW… out of that 1% there are about a dozen that do the majority of all the BIG paying gigs that Don Lafontaine used to command.

      Today, one would have to start locally and develop their talent/skill and reputation before expanding. Putting together a demo that can demonstrate what you CAN do and not necessarily what you HAVE done is the key. One minute up to two minutes at the very most total. A Commercial Demo should be :60.  A Narrative Demo can run 1:30 -2:00.

      What are your strengths? Networking.....developing connections...etc..... Build a relationship through your radio station with local media, production houses and advertising agencies is very helpful.  Right place - right time is the key. Besides the obvious - You must have TALENT. Not just the ability to speak on the air. Don't be misled by well meaning friends that say, "Oh you have such a wonderful voice - you should do commercials!" It's not that easy. In fact, I guess you could say I'm an overnight success!  It only took me 30 years!  Remember, this is a developed SKILL we’re discussing here.  I know many people that have wonderful speaking voices that have no idea how to use them when it comes to voicing a radio or TV voiceover.

       Do you have an original delivery, sound, twist, quirk, etc.? Why would someone what YOU over someone else? These are the questions that will assist you in "finding yourself".... I wish you all the luck and success - we all need it.

      Workshops are a worthwhile way to find out if you are cut out to do voiceovers.  Do a simple search in one of the bigger search engines on the Internet.  Yahoo, Google, Ask, Excite, etc..  Use the keywords “voice” + “workshop”.  Then look for one that is right for you and your interests.  If you are looking for a voice coach, I can suggest Nancy Wolfson’s BrainTracks website to give you a plethoria of information: http://braintracksaudio.com/   Also, David Goldberg’s Edge Studios are quite abundant with info:  http://www.edgestudio.com/careerbuilding.htm  (#Nancy Wolfson, #David Goldberg, #edge studios)

      Additionally, stop by Amazon for the most popular voiceover books available through them. Read the reviews and choose for yourself who best fits your needs of development. Additionally, in the appendices of both the Susan Blu book, "Word of Mouth" and Terri Apple's, "Making Money in Voice-overs", you'll find listings of agencies & agents with addresses, phone numbers etc.. I strongly recommend reading at least two of these books to get the proper perspective. Other professional coaches of consideration: Rodney Saulsberry, Deb Munroe, Randy Thomas/Peter Rofe, to name a few.

       By the way, just as a point of interest concerning "agents"...I wouldn't worry about getting an agent until you ARE making some money and you are building experience with your local production studios, radio stations, etc. Experience is still the best calling card. And you want to start a positive "buzz" on your ability. So move slowly and deliberately. You don't have a second chance to make a first and lasting impression.  And don't forget, YOU are the best agent you could have because YOU believe in you more than anyone else does.  Right?   Market yourself to anyone who can utilize your talents.

      One very important thing to consider upfront…IF you really want to get into voiceovers, you have to be ready to accept auditions from websites and/or local production houses.  I get anywhere from 2 - 10+ auditions each day of the week.  They want me to have the ability to record that audition as a quality audio file that represents what I can do and how I sound.  If they like what they hear, you have to be ready to complete the project from your studio.  They will not pay for you to go to a studio unless the agent or studio that is hiring you is in your same city and you can go to them.  Over 90% of the voice talents today have spent anywhere from $1000 to $25,000 to build their own studio to show they are really in the business with both feet.  I don't mean to scare you.  These are just the facts.    

     Be prepared to work long & hard and spend hundreds and thousands of dollars putting together your studio, find a voice coach who is willing to work with you, produce a demo and then be able to audition a spot right when the request comes to you.  And then be able to do the job as well IF you get the nod to do it.  There are many “IFS”.  Be prepared for rejection.  Lots of rejection. If you are thin-skinned - this is NOT a business for you.  I may audition 30-60 auditions for various products and clients before I get one of them.  Thank God I have been doing this for a long time and have just been making a full time living at voice work alone for just over 5 years.  Before that, it was on a part time basis while I worked at a radio station as a Production Director or Creative Services Director.  That gave me the freedom to do those auditions as they came across my email.  If you have a full time job, you can’t always stop what you are doing and run to a studio to do an audition and expect it not to hamper your job security. 

       But wait, there's more!  If you need to be sure you have made up your mind - please take the time to read The Voiceover Entrance Exam by Peter K. O'Connell.  Peter is a wonderful voice talent and has written this insightful book for interested people like you. He tells it like it is.

      In closing, may I say the competition is getting heavier each and every day. I probably get a request like yours several times each week. You can imagine what that must translate to worldwide. But if you are really good, you might have a chance. But honestly, you are looking at a very long road of good hard work and dedication. Are you ready to jump in?

    The only thing I request of you, for this information, is to please return to my facebook page and make any appropriate comments. Was my website helpful to you?  Did the information you have obtained make a difference? Will you return and post a follow-up?  I would appreciate any feedback.

Search: "Johnny George Communications” on facebook.

Thanks in advance.

JG

 #voice, #voiceover, #voice-overs, #voice talent

Male Voice Actors Do It With Their Mouths

Written by Guest author Monday, 20 June 2011 15:16

      The name Billy Crudup is not a name most people would instantly recognize, but they know his voice. He is the voice behind the  "Priceless" Master Card ad campaign. Mr. Crudup and thousands of actors like him— who live out their acting dreams in relative anonymity— are male voice actors.

      Moreover, the male voice actor must be able to modify his voice inflections in such a way as to create actual personalities for characters by fiat. Which is to say, voice actors must possess (in their heads) a variegated palette of a half dozen unique emotional colors and attitudes in order to create believable characters. In addition, the male voice actor also has to be extremely directable and flexible with an almost supernatural ability to switch in and out of created characters seamlessly.

      Perhaps one of the best-known male voice actors was the late great Mel Blanc, who for decades breathed life into such legendary animated characters like Bugs Bunny, Porky Pig, Sylvester the Cat, Tweety Bird, Woody Woodpecker, Elmer Fudd, and many others.

 Inside the Voice Box

      The craft of voice acting is a complex mixture of dramatic acting, comedy, dancing, singing and mime. Yet the “casual observer” often perceives male voice acting as something failing actors will do only when there is no other available work, or until they get a “real job.” However, nothing can be further from the truth.  

      In today’s social media world, voice acting is serious show business. There are skills to learn and proverbial dues to pay. Just having a nice voice is not enough. Serious male voice actors are students who are required to master many of the same techniques, i.e., “method acting,” that other actors must study in order to have success in professional acting.  

      In fact, there are five times as many people doing voiceover acting than there are actors trying to break into film or television. Yet there was a time when advertisers and Hollywood looked for more of an announcer type voice.

      However, in today’s social media market the talent buyers are looking for real people. In fact, today’s radio and television commercials require voice actors to sound like real people in believable situations.

      And with today’s technology, the voice over business is international. Male voice actors now compete with voice actors from around the world, even if the job is posted in the United States.

 They Do It Better With Their Mouths

      In her book, "The Female Brain," Dr. Louann Brizendine asserts that while women use about 20,000 words per day men use only a paltry 7,000 words. Her hypothesis has since been challenged by numerous other studies, but even if her assertions are correct— she is still only describing the average male.

      Male voice actors are not average. In fact, live scripted readings or "cold readings" particularly for animated characters may require the actors to improvise dozens of ideas in several different vocal registers.  For the most part this is true for all actors; however, in the case of vocal actors it can be even more daunting. Animated characters are essentially chimeras and therefore are always more vocally challenging.

      Finally, one seemingly obvious skill male voice actors must possess is excellent reading skills, because unlike dramatic actors, voice actors never memorize scripts-- they read them verbatim.  However, gone are the days of male voice actors who need the “golden voice” in order to break into the business. A love for the art of listening and a penchant to effectively communicate regardless of a script requiring less than 7,000 words may be all that’s really necessary.

     With permission of JGC inc., this article was written by TiAja Ellis, an expert in the Talk Shows category at www.yoexpert.com

So Now It's Race Month...

Written by Johnny George Tuesday, 10 May 2011 13:01

     Yep, me again.  And late getting back here to write up my latest updates from my DigiStudio.  I could say that I've been so busy with clients standing in line for my services, but that would be an exaggeration.  I'm doing fine, but have had some slow days that don't reflect much vocal output that I'd prefer to be producing.

     As far as auditioning - this is the perfect time to practice - practice - practice!  Never hurts.  Only makes you better and increases your odds of getting those elusive gigs.  All of the audition requests I get from my main agents are done as soon as possible.  Sometimes late, but always done.  I do pick & choose what auditions I do from any P2P sites. (i.e., Voices.com)  Here is just a quick sample of the calibur of auditons I'm proud to say I've had the privilage to go for from my people:  Land Rover... Chevy... ESPN Radio... eLanco... Comcast... Procter & Gamble... Verizon... B&H Photo... DC Lottery... Subway... Farmville... Elmers Glue All... Lilly... Food Lion... The North Face... Busch Gardens... Avon... Nexas... Hershey's... Cutter Bug Spray... Budweiser... Florida Lottery... Iron Man... Thor... Wendy's... Sade... Captain Morgan... Mediacom... 1-800-FLOWERS... U.S. Bank... Fisher-Price... HH Gregg... Ohio Lottery... BASF... Dow Chemical... Meijer... Best Buy... US Cellular... and hundreds more...

     You'll notice that there are some pretty big names listed above.  Yes, my agents DO get some real great gigs and quite frankly, I did get about 10 of those.  Sweeeeet!  One of the funny things about these big clients, many of these are showing up on Voices.com too.  Meaning, they are trolling the waters of the non-union "anyone" professional/novice pools too.  Kind of makes you wonder WHY are they looking there too?  Many budgets have been cut and the agents and clients are not leaving any stones unturned to find talent today.  Whether you agree or disagree with their tactics is not in question.  It's just something that our economy has caused that never would have been heard of in years past.

     As always - please feel free to share your comments and opinions.  Do you see this trend in your arena?

FaffCon2 - Atlanta

Written by Johnny George Wednesday, 16 March 2011 13:25

Stop right there.  Yes, I have not been writing in my blog as regularly as I should and I confess - I've been busy!  However, before you assume that I have had so much work that I just couldn't pulll myself away from the studio long enough to write in my blog - don't believe it.

I have had a great January - a mild February and a great March.  During my slower February, I used that extra time to work on my marketing, catching up on office & studio maintenance and the like.  The end of February was dedicated to FaffCon2 in Atlanta, where about 80+ voice talents from all over the country assembled for a full weekend of intense meetings, inspired by our questions, our agenda and our schedules.  FaffCon is a voiceovers UNconvention and is a MUST-DO weekend that I am still reeling over.  I have over 13 pages of notes, ideas, comments, re-organized thoughts and the like.  I want to commit them to index cards with Object & Solution agenda and placed in a pile to attack one at a time.

Friday, Feb. 25th we got in mid-afternoon in time to take the MARTA from the airport to downtown Atlanta and to our hotel, The Weston Peachtree Plaza.  A very regal looking hotel tower that took up 72 floors of the skyline in Atlanta.  Beatiful place and also our homebase of our UNconventional workshop.  We shuttled over to the CNN Center to take a guided tour of the facility.  Fabulous spot and a lot of information about the first cable news channel and it's spinoffs from under the Turner banner.  Well worth the time. 

From there, we shuttloed over to Max Yager's.  An opportunity to break bread with all the new faces and personalities that were attending FaffCon2, headed by Amy Snivley, our hostess with the mostest