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#1
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Anyone willing to critique voice?
I've recorded some various samples with different (written)
direction and emailed them off to a pro (I won't mention names), but I'd rather get a variety of impressions/opinions/advice. I've never done this type of thing before and have only recently conceded to my wife and many others who always harp on me about "using my voice" for yada, yada, yada. I know it's RAW and I don't have a fragile ego about my potential -- or lack thereof. Anyway, I have a 7Mb MP3 that I'd love to email (or snail mail a WAV CD) to anyone with experience and the ability to offer reasonably professional critique, outside of "you suck, go home loser." I'd ask Ty, but he seems like he has a FULL plate. If there seems to be any deeply hidden talent I don't mind investing the effort and money necessary to extract it. The samples were recorded on my low-end "studio" gear and it's the first time I've used it (no pop screen) so I'm not sure of mic quality, off-axis, distance, and just about everything else there is to know. Basically I'm an idiot, so keep that in mind. The world is full of stupid people and I am proud to be their leader. If interested just email me and I'll either email or snail mail the files. I apologize if this breaks any etiquette barriers. Brendan bgetchel [at] gmail [dot] youknowwhat |
#2
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The Horta wrote:
I've recorded some various samples with different (written) direction and emailed them off to a pro (I won't mention names), but I'd rather get a variety of impressions/opinions/advice. [snip] If interested just email me and I'll either email or snail mail the files. I apologize if this breaks any etiquette barriers. I'd recommend putting them on a web site if you have one, and posting the URL. Then you're not imposing on anyone; whoever's interested can download at their leisure and comment if they feel like doing so. Anahata |
#3
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On Mon, 20 Jun 2005 18:08:48 -0400, The Horta wrote
(in article ): I've recorded some various samples with different (written) direction and emailed them off to a pro (I won't mention names), but I'd rather get a variety of impressions/opinions/advice. I've never done this type of thing before and have only recently conceded to my wife and many others who always harp on me about "using my voice" for yada, yada, yada. I know it's RAW and I don't have a fragile ego about my potential -- or lack thereof. Anyway, I have a 7Mb MP3 that I'd love to email (or snail mail a WAV CD) to anyone with experience and the ability to offer reasonably professional critique, outside of "you suck, go home loser." I'd ask Ty, but he seems like he has a FULL plate. If there seems to be any deeply hidden talent I don't mind investing the effort and money necessary to extract it. The samples were recorded on my low-end "studio" gear and it's the first time I've used it (no pop screen) so I'm not sure of mic quality, off-axis, distance, and just about everything else there is to know. Basically I'm an idiot, so keep that in mind. The world is full of stupid people and I am proud to be their leader. If interested just email me and I'll either email or snail mail the files. I apologize if this breaks any etiquette barriers. Brendan bgetchel [at] gmail [dot] youknowwhat Brenden, 1. Where are you? 2. Have you read my cautions concerning getting into VO? (on my site) 3. Being passably good at the art and craft of VO is one thing. Being good at marketing your service is absolutely required. It's 80% looking for work, 20% doing the work. Unless you're prepared to spend about $1k on a demo, more on it's replication and a LOT of time marketing yourself, save the money for a nice vacation. The competition for "real life" work is stiff. These days, even AFTRA/SAG people are cutting each others throats to get gigs. I had a situation recently in which a long-time narrator decided to give away his studio fee just to get the voice fee (and to get the account away from me). There's a special place in Hell for folks like that. In New York, I hear there are AFTRA/SAG talent quite willing to work for below scale. AFTRA/SAG have done it to themselves, in my opinion. They have been arrogantly pushing scale up without being mindful of the market. The votes on contracts are based on membership. NY and LA have the most, so, pretty much, what they say goes. NY and LA have no sense of what life is like in the rest of the country and they just don't care. I'm already seeing breakdown in the lesser locals. It's really sad. An entire way of working is melting down because those who could make a difference don't have a clue. Regards, Ty Ford -- Ty Ford's equipment reviews, audio samples, rates and other audiocentric stuff are at www.tyford.com |
#4
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Ty Ford wrote in
: Hey Ty, thanks for taking the time. 1. Where are you? I'm in Connecticut, about 1.5 hours from downtown NYC. 2. Have you read my cautions concerning getting into VO? (on my site) I've looked over your site but I must've missed that, so I'll do that now. I've been scouring the web for information. Don't worry, I don't have any delusions of grandeur or hitting it big as the next Kasey Kasem or James Earl Jones. I have a (reasonably) successful career that gives me plenty of time to indulge in alternative pursuits ;-) 3. Being passably good at the art and craft of VO is one thing. Being good at marketing your service is absolutely required. It's 80% looking for work, 20% doing the work. Unless you're prepared to spend about $1k on a demo, more on it's replication and a LOT of time marketing yourself, save the money for a nice vacation. The competition for "real life" work is stiff. Yea, I've "discovered" that it's not the panacea that uninformed minds might think at first. I don't mind the small monetary expense, but we'll see about the time. We do a lot of traveling (~3-4 months of the year) on various excursions around the planet. I don't want to sacrifice too much of that time, but we'll see... These days, even AFTRA/SAG people are cutting each others throats to get gigs. I had a situation recently in which a long-time narrator decided to give away his studio fee just to get the voice fee (and to get the account away from me). There's a special place in Hell for folks like that. I value my time, as my profession is time-based. From the looks of most hourly and day rates I've seen on may VO pros' web sites this will be a considerable step down in income. I won't give my time away. I'd MUCH rather lose a "gig" (gotta get used to that term) or not compete for one at all then wholesale my time. In New York, I hear there are AFTRA/SAG talent quite willing to work for below scale. AFTRA/SAG have done it to themselves, in my opinion. They have been arrogantly pushing scale up without being mindful of the market. The votes on contracts are based on membership. NY and LA have the most, so, pretty much, what they say goes. NY and LA have no sense of what life is like in the rest of the country and they just don't care. I'm already seeing breakdown in the lesser locals. Is it worthwhile to be a member? I've read some varying opinions on the matter. The pro I've been in contact with is mildly anti- union, but says whatever works best for the individual, etc. It's really sad. An entire way of working is melting down because those who could make a difference don't have a clue. Well, it's far from the only business that is coming apart at the seams. I have pro photographer friends that are bemoaning the advent of stock and royalty-free business models and the dilution of the market by AP and others. I'll scour your site some more now. Thanks again, Ty! Brendan |
#5
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"Ty Ford" wrote in message
... SNIP Brenden, 1. Where are you? 2. Have you read my cautions concerning getting into VO? (on my site) 3. Being passably good at the art and craft of VO is one thing. Being good at marketing your service is absolutely required. It's 80% looking for work, 20% doing the work. Unless you're prepared to spend about $1k on a demo, more on it's replication and a LOT of time marketing yourself, save the money for a nice vacation. The competition for "real life" work is stiff. These days, even AFTRA/SAG people are cutting each others throats to get gigs. I had a situation recently in which a long-time narrator decided to give away his studio fee just to get the voice fee (and to get the account away from me). There's a special place in Hell for folks like that. In New York, I hear there are AFTRA/SAG talent quite willing to work for below scale. AFTRA/SAG have done it to themselves, in my opinion. They have been arrogantly pushing scale up without being mindful of the market. The votes on contracts are based on membership. NY and LA have the most, so, pretty much, what they say goes. NY and LA have no sense of what life is like in the rest of the country and they just don't care. I'm already seeing breakdown in the lesser locals. It's really sad. An entire way of working is melting down because those who could make a difference don't have a clue. Regards, Ty Ford The union stuff is right on, particularly for so-called industrial/corporate work. That segment of the market has been seriously compromised for union performers by the large and quite talented non-union pool in Chicago. The cost difference is really fairly small, but the perception of cost and the bureaucratic payrolling requirements imposed by the unions and state and US labor laws are even more serious difficulities. Steve King |
#6
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I'd be happy to offer my opinion on your voice talents...being, I guess,
somewhat qualified to do so. Also, I'm sometimes in the market for new voices, so email the file to me. cheers Rick Hollett "The Horta" wrote in message . .. I've recorded some various samples with different (written) direction and emailed them off to a pro (I won't mention names), but I'd rather get a variety of impressions/opinions/advice. I've never done this type of thing before and have only recently conceded to my wife and many others who always harp on me about "using my voice" for yada, yada, yada. I know it's RAW and I don't have a fragile ego about my potential -- or lack thereof. Anyway, I have a 7Mb MP3 that I'd love to email (or snail mail a WAV CD) to anyone with experience and the ability to offer reasonably professional critique, outside of "you suck, go home loser." I'd ask Ty, but he seems like he has a FULL plate. If there seems to be any deeply hidden talent I don't mind investing the effort and money necessary to extract it. The samples were recorded on my low-end "studio" gear and it's the first time I've used it (no pop screen) so I'm not sure of mic quality, off-axis, distance, and just about everything else there is to know. Basically I'm an idiot, so keep that in mind. The world is full of stupid people and I am proud to be their leader. If interested just email me and I'll either email or snail mail the files. I apologize if this breaks any etiquette barriers. Brendan bgetchel [at] gmail [dot] youknowwhat |
#7
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You know, I finally found a group dedicated to "voiceover" work - and
no one ever seems to post to it. Go figure. Glad to see this thread pop up. Aside from playing music, v/o and on-camera work is pertty much my only source of income. And right now, it isn't much - but I'm one of those in the (unfortunate?) position of jockeying for gigs as a non-union talent in the midwest (so I've got THAT going for me....ugh!) Wish I had ANY money to devote to "other" interests... But I am certainly looking for critiques and work myself... Just never thought of posting here! I am on the voice123.com website (http://petescalia.voice123.com/), and have photos, etc. on my personal website (www.petescalia.com) Any and all constructive criticism is welcome (no random, dickheaded hurtful comments, though, please - I get enough of those from "friends" - haha) I was starting to do a lot of work for Acclaim Entertainment, which had one of their bigger studios here in Cincinnati - then, poof. Bankruptcy. Just as I was about to voice a new mobster-style game for them. Nice. Anyway - love to hear about some of your experiences, and get some advice on getting my voice "out there." Thanks! Pete Rick Hollett wrote: I'd be happy to offer my opinion on your voice talents...being, I guess, somewhat qualified to do so. Also, I'm sometimes in the market for new voices, so email the file to me. cheers Rick Hollett "The Horta" wrote in message . .. I've recorded some various samples with different (written) direction and emailed them off to a pro (I won't mention names), but I'd rather get a variety of impressions/opinions/advice. I've never done this type of thing before and have only recently conceded to my wife and many others who always harp on me about "using my voice" for yada, yada, yada. I know it's RAW and I don't have a fragile ego about my potential -- or lack thereof. Anyway, I have a 7Mb MP3 that I'd love to email (or snail mail a WAV CD) to anyone with experience and the ability to offer reasonably professional critique, outside of "you suck, go home loser." I'd ask Ty, but he seems like he has a FULL plate. If there seems to be any deeply hidden talent I don't mind investing the effort and money necessary to extract it. The samples were recorded on my low-end "studio" gear and it's the first time I've used it (no pop screen) so I'm not sure of mic quality, off-axis, distance, and just about everything else there is to know. Basically I'm an idiot, so keep that in mind. The world is full of stupid people and I am proud to be their leader. If interested just email me and I'll either email or snail mail the files. I apologize if this breaks any etiquette barriers. Brendan bgetchel [at] gmail [dot] youknowwhat |
#8
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If your time matters to you, your going to love the cattle calls, and if you
want to work in NYC, I think you're going to need an agent. If you make a good living already, it might be more of a pain in the ass, then it's worth. It was for me. Good luck, Tom "The Horta" wrote in message . .. Ty Ford wrote in : Hey Ty, thanks for taking the time. 1. Where are you? I'm in Connecticut, about 1.5 hours from downtown NYC. 2. Have you read my cautions concerning getting into VO? (on my site) I've looked over your site but I must've missed that, so I'll do that now. I've been scouring the web for information. Don't worry, I don't have any delusions of grandeur or hitting it big as the next Kasey Kasem or James Earl Jones. I have a (reasonably) successful career that gives me plenty of time to indulge in alternative pursuits ;-) 3. Being passably good at the art and craft of VO is one thing. Being good at marketing your service is absolutely required. It's 80% looking for work, 20% doing the work. Unless you're prepared to spend about $1k on a demo, more on it's replication and a LOT of time marketing yourself, save the money for a nice vacation. The competition for "real life" work is stiff. Yea, I've "discovered" that it's not the panacea that uninformed minds might think at first. I don't mind the small monetary expense, but we'll see about the time. We do a lot of traveling (~3-4 months of the year) on various excursions around the planet. I don't want to sacrifice too much of that time, but we'll see... These days, even AFTRA/SAG people are cutting each others throats to get gigs. I had a situation recently in which a long-time narrator decided to give away his studio fee just to get the voice fee (and to get the account away from me). There's a special place in Hell for folks like that. I value my time, as my profession is time-based. From the looks of most hourly and day rates I've seen on may VO pros' web sites this will be a considerable step down in income. I won't give my time away. I'd MUCH rather lose a "gig" (gotta get used to that term) or not compete for one at all then wholesale my time. In New York, I hear there are AFTRA/SAG talent quite willing to work for below scale. AFTRA/SAG have done it to themselves, in my opinion. They have been arrogantly pushing scale up without being mindful of the market. The votes on contracts are based on membership. NY and LA have the most, so, pretty much, what they say goes. NY and LA have no sense of what life is like in the rest of the country and they just don't care. I'm already seeing breakdown in the lesser locals. Is it worthwhile to be a member? I've read some varying opinions on the matter. The pro I've been in contact with is mildly anti- union, but says whatever works best for the individual, etc. It's really sad. An entire way of working is melting down because those who could make a difference don't have a clue. Well, it's far from the only business that is coming apart at the seams. I have pro photographer friends that are bemoaning the advent of stock and royalty-free business models and the dilution of the market by AP and others. I'll scour your site some more now. Thanks again, Ty! Brendan |
#9
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"Tommy B" wrote in
ink.net: If your time matters to you, your going to love the cattle calls, and if you want to work in NYC, I think you're going to need an agent. If you make a good living already, it might be more of a pain in the ass, then it's worth. It was for me. Good luck, Tom Cattle calls, huh? I can just picture that. I don't moo. I will make a bunch of calls to see if I can't get at least a feel for this business. Thanks for the feedback. Brendan |
#10
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On Wed, 22 Jun 2005 15:32:26 -0400, The Horta wrote
(in article ): "Tommy B" wrote in ink.net: If your time matters to you, your going to love the cattle calls, and if you want to work in NYC, I think you're going to need an agent. If you make a good living already, it might be more of a pain in the ass, then it's worth. It was for me. Good luck, Tom Cattle calls, huh? I can just picture that. I don't moo. I will make a bunch of calls to see if I can't get at least a feel for this business. Thanks for the feedback. Brendan Last time I heard.. 1. You need at least one agent. 2. Even if you get the gig this time, you'll have to reaudition the next time for the same client. Ty Ford -- Ty Ford's equipment reviews, audio samples, rates and other audiocentric stuff are at www.tyford.com |
#11
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Ty Ford wrote in
: Last time I heard.. 1. You need at least one agent. 2. Even if you get the gig this time, you'll have to reaudition the next time for the same client. I'll take that as coming from the horse's mouth. I guess you have a little experience in these matters ;-) Brendan |
#12
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"The Horta" wrote in message
.. . Ty Ford wrote in : Last time I heard.. 1. You need at least one agent. 2. Even if you get the gig this time, you'll have to reaudition the next time for the same client. I'll take that as coming from the horse's mouth. I guess you have a little experience in these matters ;-) Brendan Ty may have Voice Over credentials, but he was one hell of a DJ on WHFS 30 years ago. Excellent show day after day. I daresay the DJs of today would wonder how a single DJ could do such a great job without a corporate playlist. -- Roger W. Norman SirMusic Studio |
#13
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"Roger W. Norman" wrote in message ... Ty may have Voice Over credentials, but he was one hell of a DJ on WHFS 30 years ago. Excellent show day after day. And even earlier than that on an AM station in Baltimore (I think the call letters were WAYE, but that was a long time ago and I've lost a lot of brain cells since then. :-)) I daresay the DJs of today would wonder how a single DJ could do such a great job without a corporate playlist. I'd bet the DJs of today wish they could work without a corporate playlist. Hal Laurent Baltimore |
#14
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On Mon, 27 Jun 2005 19:56:20 -0400, Roger W. Norman wrote
(in article ): "The Horta" wrote in message .. . Ty Ford wrote in : Last time I heard.. 1. You need at least one agent. 2. Even if you get the gig this time, you'll have to reaudition the next time for the same client. I'll take that as coming from the horse's mouth. I guess you have a little experience in these matters ;-) Brendan Ty may have Voice Over credentials, but he was one hell of a DJ on WHFS 30 years ago. Excellent show day after day. I daresay the DJs of today would wonder how a single DJ could do such a great job without a corporate playlist. -- Roger W. Norman SirMusic Studio Why thanks Roger! It was a different time. Nobody today gives a ****. It was one of those once in a lifetime opportunities. Right place, right time. We had much magic there in the early 1970s. A staff of devoted musicologists; Josh, Cerphe, David, Damian, Weasel, John Grooms. I sort of chuckled when I heard the last iteration of tag line the evolved station was using..."The Legendary HFS" Nice to be known for something creative. I'm looking at a college station Wed up here in Baltimore. They netcast..... I still have 39 feet of vinyl. Regards, Ty Ford -- Ty Ford's equipment reviews, audio samples, rates and other audiocentric stuff are at www.tyford.com |
#15
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On Mon, 27 Jun 2005 20:44:30 -0400, Hal Laurent wrote
(in article ): "Roger W. Norman" wrote in message ... Ty may have Voice Over credentials, but he was one hell of a DJ on WHFS 30 years ago. Excellent show day after day. And even earlier than that on an AM station in Baltimore (I think the call letters were WAYE, but that was a long time ago and I've lost a lot of brain cells since then. :-)) I daresay the DJs of today would wonder how a single DJ could do such a great job without a corporate playlist. I'd bet the DJs of today wish they could work without a corporate playlist. Hal Laurent Baltimore Hal, Yes it was WAYE; just before I went to WHFS and then a stop at WLMD (Laurel, MD) in 1976 after WHFS where Bob Showacre (Bob Here) and Lopez and I worked. It was a progressive country format. I seem to have finally gotten the radio bug out of my system, but you never know about flashbacks. Being able to play ANYTHING you wanted didn't come without a responsibility. "To live outside the law you must be honest. I know you say that you agree. But where are you tonight sweet Marie"...Bob Dylan. Regards, Ty Ford -- Ty Ford's equipment reviews, audio samples, rates and other audiocentric stuff are at www.tyford.com |
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