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.

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
www.auralexELiTE.com

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

© 2011 Johnny George Communications, inc All rights reserved

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

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?