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Wanted to share some info on proper acoustic treatment and recording setups by ErikPeabodyVO • last post Oct 7th
Hi everyone! My name is Erik Peabody, and I'm a voice actor and audio engineer based in Pittsburgh, PA. I see a lot of posts here about setting up recording areas and how to get a better sound from your recordings, and wanted to chime in to offer some advice. I spend a LOT of my time mixing audio for clients that have recorded in sub-optimal recording environments, and I also see a LOT of products marketed as "sound absorption" and "acoustic insulation" that have no business being sold as such. Keep in mind that everything I'm about to say doesn't matter IF YOU'RE HAPPY WITH HOW YOUR RECORDINGS SOUND. Every room is different, and you can sometimes stumble into great results in a situation that shouldn't sound nearly as good as it does! So, take everything here I say with a grain of salt. MAKE SURE YOU'RE LISTENING PROPERLY: Before we talk about anything else, you need to make sure that you're listening to your finished recordings properly before you can really diagnose what you should change with your recording setup. If you're only listening over desktop speakers in a reflective room, you won't really be able to hear your recording properly, and can't tell if you need to dampen your recording environment more. If you're listening on casual-listening headphones, you likely won't be getting a full representation of your bottom end, and there could be noise or rumble down there that you'll never know about. In a perfect world, you would have flat(ish) response monitor speakers in an acoustically-treated environment, but that's out of the price range for a lot of folks. My best advice is to invest in a good set of headphones. I use a set of Beyer Dynamic DT-880 open-back phones and love them. Good representation across the EQ spectrum, I get a decent idea of the low end, and they're comfortable to wear. That being said, it's always good practice to high-pass your recordings at a certain point (specifics depends on your voice) to make sure that you're removing any rumble that your headphones might not pick up. Keep in mind that open-back headphones tend to be better for critical listening, but are not good for use during VO recording, as there can be sound bleed out of the open backs and into the mic. FOAM DOES BASICALLY NOTHING: The "acoustic" foam that's widely marketed and that I see a lot on here doesn't do much at all. The goal of acoustic treatment is to absorb the sound and prevent it from bouncing around your room, which will result in an inability to properly hear frequencies during mixing, and will also create echo and reflections during voice recording. To absorb the full spectrum of your voice (or any sound,) any absorption material needs MASS. Foam does practically nothing, since it weighs practically nothing, and is so porous that most sound will cut right through it. You will likely get \*some\* change in sound if you put up a lot of foam, but it will mostly dampen the high frequencies, which require less mass. If anything, this will make your recordings sound boomier, since the low and mid frequencies are still bouncing around. You can spend a ton of money of proper absorption setup if you want, but there are some budget routes that work remarkably well. Booth Junkie (who frequents these subreddits) has a great video on building a budget acoustic panel, and shows you how much of a difference it can really make. I recommend you check out his video (and many of his videos) to help learn more about the acoustics of your room during voice recordings. [https://www.youtube.com/watch?v=z5ApIWbjvcA](https://www.youtube.com/watch?v=z5ApIWbjvcA) To those of you that say, "but I put up a bunch of foam and now my recordings sounds way better," I respond, "do they really?" I would suspect that a great many of you that feel that way are actually lacking the proper listening setup to be able to determine if it really sounds better, or just sounds different. Remember, if you record in an echoing room and then listen back in the same room, how can you tell? Even if you can't tell, you might not be getting gigs because the people deciding who to hire CAN tell. PICK THE BEST AREA TO RECORD IN: Having a super small space (like a closet) will likely give you trouble even if you toss a ton of good absorption material in there. Every space is different, but I'd caution you to be VERY critical when listening to your first recordings, as low-end bass reflections are notorious in closet setups. If you have the option to try a few different areas, it's worth your time to setup your acoustic panels wherever you can and see which room sounds best. Sometimes, a larger room will work better if you're smart about placing the panels. WORK ON BETTER PRACTICES BEFORE BUYING NEW GEAR: Not happy with how your final masters sound? Outside of setting up better acoustic treatment, make sure to learn as much as you can about your software before you decide you need a new mic, preamp, AD converter, or anything else. I did the first year of my VO career with a Behringer B1, which cost less than $100. Proper EQ, compression, etc will have a huge impact on how your final recordings sound. It is much more worth your time to practice using these tools than it is to just go out and upgrade gear. Along those lines, find a professional voice over site that will let you download a demo from another VO artist. Toss that into your recording software alongside your own recording and do everything you can to make your recording sound like the demo recording. With some practice (and a proper listening environment!) you'll be surprised at how much closer you can get it without spending hundreds or thousands of dollars on new gear. Keep in mind that mixing and mastering are totally separate disciplines that people spend years developing, so don't expect miracles, but you will likely get more mileage from this than purchasing new equipment. DON'T BE AFRAID TO GET HELP: There is frequent advice about hiring voice coaches or acting coaches, but I'm not here to talk about that. If you're not happy with how your recordings sound, don't be afraid to reach out to a mixing engineer for help. There are tons of people online (myself included) that offer professional services to VO artists and are happy to work for a reasonable cost. Additionally, I've had a number of situations where I've helped clients setup their room to work better for them. If you're doing this for fun or for little CCC gigs, do NOT spend any more that you don't need to. However, if you're frustrated with your progress and want some help in getting better recordings, there's nothing wrong with reaching out to a professional instead of wading through the dozens of charlatan blog posts and youtube vids online. That's it! I hope that this helps you setup a better recording environment and avoid spending money on foam and other things that you don't need to. I'm happy to answer any questions here, and you can also email me at [erik.peabody.voice@gmail.com](mailto:erik.peabody.voice@gmail.com).
When to follow up with representation? by FunneyBonez • last post Oct 6th
This past Wednesday I had a stellar “audition” aka pay to play meet with a manager. Performance went smooth, which they enjoyed but the conversation following is really what me feel we’re a perfect match. We spoke about everything under the sun acting related, they even called me a “star” (no I’m not letting it get to my head) amongst other kind things said. They seemed incredibly interested in representing me, I got the email and left with a big smile. The next day I sent over an email with most of my headshots, my resume, reel clips with a thoughtfully worded email thanking them.......alas to no response. Now I know most of you may be thinking “But Bonez, this is still *very* early in terms of communication and contact” and I completely understand that. But for us actors when our eyes light up and we have interactions like these, it’s hard to not feel uneasy when things suddenly go blank. I made the mistake of sending it with an email tracker on, which shows they opened it, clicked my reel, watched 30 seconds and that was that! (I promise I’m not crazy). With all of this being said, should I reach out next week? Never again? I’m currently doing a solid amount of work so I feel it would be great to rattle their memory, but part of me believes how could they possibly forget the wonderful conversation we had! The other part of me is thinking “they’re also probably just busy” which may just be the case. Reddit, what would you do here? When’s the time to follow up?
What happens if I don't submit a requested self-tape on actors access?? by totallytubular11 • last post Oct 6th
I really really really dislike the project and the script, and trust me I know that I should take any given opportunity but I just know I'm not the right person for this part, and wouldn't be serving the story. It's from a fairly small casting director and director that haven't really seen me, so I don't think there's too much to lose. I just don't know how to go about it with my agent because it's not like there's nudity or anything crazy that I could easily say I didn't want to do.... and I'm obviously not in a position where I can pick what projects to do. I also don't have the equipment etc., so I'd have to dish out a bit of money for the self tape as well, and it just feels like a waste. so... what would happen if I just don't submit at all?? or... what are some good excuses to give my agent for not wanting to submit?? I have an in person audition the day before the tape is due, so the "I'm sick" excuse won't seem realistic. Also... I really want to reiterate that in my 5 years going out to audition I've rarely ever turned anything down, and if I have I've been legitimately sick, or out of the country, etc. I know opportunities are important and I will go out for basically anything, but this project is just not it.
Technique to get you cast in more roles by launchmystar • last post Oct 6th
I have created a custom technique to help you raise your IMDB score which, regardless of what anyone else tells you, is extremely important in landing roles. Many people in the industry (actors, directors, producers) will confirm this. If you are an aspiring actor, reach out to me and we can set up a completely free consultation. NO payment until you start seeing improvements on your score AND decide that you want continue working together. PM me and we can have an intelligent conversation. Looking forward to hearing from you guys!
Help me out here! by haya_mohsin1 • last post Oct 6th
I wanna be an actor, I’m studying acting and practicing, and I honestly think I have a chance. I dunno if I’m pretty enough though. I’m 5’3 122 pounds, flat (ish) stomach and big thighs. I have black wavy hair and tan skin. I have some tiny scars on my face but they aren’t that noticeable with makeup on. I have big lips and an average nose, along with what people like to call “anime eyes” I also wear glasses. Ok now that I described myself, try to imagine how I look like. Do you think I’m pretty enough? If you still don’t know then message me and I’ll give u my snap or ig. Help me out here people :(
Acting by PraizmarC • last post Oct 6th
As a growing actor, how do I memorise my lines effectively in order for me not to forget any of them?
Looking for 2 Adult Male Voice-Actors for Vikings of the Interstate animation fight-scene short by Fleckogold • last post Oct 6th
Howdy! I'm Trever Barger, an underground multimedia animator creating cartoons; I'm looking for two male voice actors to fill the roles for my upcoming animation short to a series from writer, Doug Atkinson, called Vikings of the Interstate. You can watch the pilot and follow the storyline from here: [https://www.youtube.com/watch?v=RJb-INOCYk0](https://www.youtube.com/watch?v=RJb-INOCYk0) We're offering a bounty for each of the parts listed below to the VA selected. In this scene, a ninja-viking is facing off against a detective from a small police precinct. A fight scene ensues. **Role#1: ($75) Higgins** is the detective. Southern US accent. Mid-pitch. He's the scapegoat among his compatriots, but excels as a member of the force. After a frustrating set of events when emotions are at full throttle, Higgins gives up trying to contact the rest of his team over his dispatch at HQ. He then makes his way to the back of the station to find the ninja-viking from the pilot episode lurking around the munitions storage. Higgins draws his gun. (sample line 1) : (yelling into an a radio): "Is anyone there?! ... ... .... HEY!" (sample line 2): (walking to the back of the station, talking to himself) "I swear I'm the only competent one in this precinct..." (sample line 3): (seeing the viking, making the distinct connection between what witnesses had warned him about, and what is in front of him. Disbelief disappearing) "Vikings!" (sample line3): (committing to make an arrest on a suspect) "FREEZE!" This is a fight scene so the role demands a few grunts, sighs, and yells to fit the action going on. ​ **Role#2: ($40) Ninja-Viking** won't say much, or even make any grunts; has two lines, but will be speaking Russian. Low-pitch. Calm, cool, collected, balanced, zen-like. (sample line 1) : (after trapping the detective, and making his escape) Это для лучших - "Eto dlya luchshikh" (This is for the best) (sample line 2): (before leaving) Ты увидишь - "Ty uvidis'" (You will see.) ​ Send your sample lines to Doug ([doug@industrialzen.us](mailto:doug@industrialzen.us)) . Those chosen will be sent a copy of the short to sync the final recordings over. ​ Thank you!
Advanced question for the experts out there, regarding being verbatim with lines. by Signifying--Nothing • last post Oct 6th
I understand in well established plays in theater and Shakespeare you want to be 100% verbatim, but at what point in a film and tv can you just chuck out the idea of being word for word and just naturally let the character shine by making the lines your own and not placing them so neatly in order as it was written? I’ve gotten mixed responses for both positions. On one hand I can see how the writers want to see their work performed and on the other I can see how the lines are means to help the actor convey the underlying thoughts. So at what point can the professional actor take what’s written and make it their own without being word for word? Does this happen more often than not?
Actor's Fast Track by ActorBoi80 • last post Oct 5th
Has anyone used the Actor's Fast Track service? Curious about their various plans, what I'd be getting for my money, what anyone's thoughts are on Valerie, etc. Thanks!
Need to be casted (M13 can do a lot of voices) by DragonHost • last post Oct 5th
Hey so I'm a 13 M looking to start in the voice acting business and I was told to come here. Is anyone looking for voice actors in games or animations?
Reading people by stile03 • last post Oct 5th
Hey guys, so I’m very very new to acting, like I’ve never taking a class or been in any plays but I’m at the stage where I like to analyse acting in film and identify what good actors are doing and what bad actors are doing. Anyways I work in a kiosk where I serve like 5 people an hour so I have a lot of time to analyse the people walking past (nothing better to do and it gives me some acting practice). So my main question is what should I be looking for? Their motive? Their body language/movements? The way they interact with the environment/individuals around them? I’m basically asking for a check list on what to look for. Thanks in advance.
Ghetto Recording Booth by Sam__Seed • last post Oct 5th
Hi all, Not a voice actor here, just a dad looking to do something nice for his daughter. Story time is our thing but I’ve started working away from home more than I would like to so haven’t been able to hold up my end of the bargain. Sooo I’ve decided to record some stories. I have a mic that isn’t designed for this purpose (Zoom H1) but it’s the best thing I’ve got and I’ve no cash to fork out on one that is. The “booth” however is an issue. All I have are household items, again with no budget for anything else. What could I throw together to get the best possible recording out of this mic?
"Too crazy" for acting hair colors? by throwawaynosejobxoxo • last post Oct 5th
Do you think that a very cool toned, wine-ish red hair color like [this](https://www.styleinterest.com/wp-content/uploads/2018/02/49150218-red-hair-with-highlights-.jpg) one or [this](https://cdn.westkiss.com/media/catalog/product/cache/1/image/9df78eab33525d08d6e5fb8d27136e95/9/9/99j-stw-3pcs_5_.jpg) one is "too much"/"too crazy" for acting? I've been thinking about dying my hair that color since i have a veeery pale skin with cool undertones and the only colors that truly suit my skin are very dark brown (almost black), platinum ash blonde and the red color that i'm talking about. Everything else makes me look sick/off. The very dark brown hair looks too harsh on my facial features sometimes, whereas platinum blonde looks waay too cookie cutter on me. I have an attractive face with distinctive features but the blonde hair really makes me look like 1000s of other female actresses in LA. The red compliments both my skin and facial features a lot and makes me look even more interesting and marketable (very Jessica Rabbit-y) but I'm not sure whether dying it that color would be a bad idea. HONESTLY speaking - is one of said two colors natural enough to book gigs? Because at the end of the day most movies/shows' characters need to have a bit more natural hair colors (with a very few exceptions). Krysten Ritter had no problem getting roles with her extremely pale skin and unnaturally jet black hair but i feel like these red colors are even crazier than her skin color+hair color combo.
Is actor’s access down for anyone else? by asyouwish17 • last post Oct 4th
Acting-life balance by finnegan7 • last post Oct 4th
I recently started studying acting full time at Vancouver Film School and somewhat have struggled with striking a good balance between personal life and actor training. I am very happy being 100% immersed in the craft but I can see how it may be unhealthy in the long run. Any advice?
Audition with no sides given, but needed to improv? by momthinksimpurdy • last post Oct 4th
I’m pretty decent with improv. I had classes and everything, and do improv shows. I was like, “ I can do this” I auditioned for a TV show, but they brought in 4 actors at a time, and they wanted us to improv some scenes. This girl did scenes with the others, while I observed. Then it was my turn to improv with her. I could tell she didn’t know how to improv, because it started with a question first, then started offering a lot of information lightning fast, still in question form (how am I supposed to process all her offers, and add on to it?) I paused, tried to process it, then offered more. I guess she didn’t like the silence, so she started answering all HER questions/offers. She started getting really loud (to the point it’s overacting and yelling), and hogged all the potential lines we could’ve said, because she was not letting us speak. Not to mention, everytime I tried to answer, she would not let me (or any of us) finish.
Had my first play last week, need a bit of help. by StevieSF • last post Oct 4th
Title pretty much. Had my first stage play last week and I loved it! Bit of background: I’m a 20 year old male from Belgium. I’m a Communication student and don’t have an immense amount of time. I got into acting one year ago, when I joined an amateur theatre group. I never acted before and was supposed to play a small role, but the actor for the main role quit. The stage director then asked me to play the main role and I said yes. Back to the play, it was a success and the people enjoyed it a lot, which was the most important thing to me. People congratulated me with my performance and I must say that I felt very proud of myself at that moment. I met a lot of great people during the past year and made a lot of new friends, something I’m very grateful for. The stage director also told me I’m talented and that he will definitely consider me in the future. Now comes the problem: our theatre group consists of a couple of hobbyists mixed with film/theatre school students. A lot of these students don’t have the time for future plays and are gonna leave the group. As it stands now there are only three people staying in the group. That’s not enough for the future so I’m afraid the group just ceases to exist. My question: what the hell do I do now? I loved theatre, but I’m playing with the idea of trying TV/film. I know that for that I would need (a lot) more experience so I’m thinking more theatre first? I’d already love it if I could be an extra in a series, and then maybe I can build from there? I have no clue how the industry works so any info would be greatly appreciated. Just to be clear: I don’t have the ambition to become a Hollywood star, I just want to continue my hobby and see what I’m capable of. And meeting a lot of people along the way would be really nice too. All answers are appreciated! Thanks in advance.
LA acting Class recommendations for a UK trained actor by baylor4 • last post Oct 4th
I've recently graduated from a top drama school in the UK and I'm now moving to LA (I'm an american). I know that there are so many BS classes over there and culty teachers to avoid. I was wondering if anyone knows of any really good on camera or scene study acting classes. I 'm looking for a continuation of training rather than beginner level. (also if anyone has any recs for Voice and Speech teachers out there as well)
My manager's reaction after I left him. by CuspChaser111 • last post Oct 4th
Hello, I had a manager of a year that got me into one room (I know it's not a manager's job to get you into rooms but still.) He found me after I got 9 credits on a Netflix show as a recurring guest star and I feel like I lost a lot of momentum this past year since I booked it unfortunately because I trusted him and I am now kicking myself (20/20 hindsight lesson learned) - he would call me before auditions to make sure I was prepared, if I learned my lines, how I was feeling, but the anxiety and tension in his voice did not help and I let him know I like to chill and meditate before auditions to go in and throw down and yet he kept calling - look I booked the show without him and I am by nature a pretty studious and hardworking person - my local agent is awesome and got me into many rooms and I got to network for a Greenberg pilot last year. When we didn't get pilot my manager called me up freaking out like "WE DIDN'T GET IT THIS FUCKING SUCKS!" I was like aren't you the one that is supposed to be talking me off a ledge? I felt it was the other way around. The fact that I got that far and caught the office's eye off a tape means I am on the right track and they will remember me. Though I may look 'dramatic' and can do it comedy is the calling and that tape proved it. Anyway I made the move to LA recently. I let him know that I wanted to explore LA agents here and he kept saying he'd be reaching out but never seemed to. Last week I let him know that it's probably best for a fresh start as I leave for LA for both parties and thanked him for his help and work but I am thinking it's best to move on. He was usually very responsive and always expected me to respond immediately but after that e-mail I sent I have heard nothing from him. When I called my agent she said he e-mailed her (he didn't cc me or anything) and is really upset. Can I just say when I was a youngin' in this industry and my first mgr dropped me I had the courtesy to get on the phone with them, stay classy, and wish them luck? Of course I was disappointed but I did not ghost like an insecure child. This is your reputation we are talking about. I'm talking to my actor friends and it's like if WE treated our rep. that way WE would be seen as the 'crazy' one. It upsets me greatly and I find it wildly unprofessional and very much man-baby. Anyway the positive for this is that I did learn my lesson and I got a direct ref. from the casting director that booked me on the show for a new mgr that she loves. Anyway thanks for reading. I guess I wanted to vent and if you have ANY advice for me from mistakes you've made or seen others make I'd love to hear it so I can prevent more like this because I feel stupid, stupid, stupid. Thanks.
Crazy "fired/blacklisted for no good reason" stories? by Butfartter420 • last post Oct 4th
Why does it seem so INCREDIBLY easy to get fired for the most minor mistake? It feels like everyone has a story in which they were fired from a set basically because the director was having a bad day. Stories I know of: - A friend from gradschool was doing an animated porn voiceover. They asked to know more about the character's history and was immediately fired and told to leave. He wanted moans and "yes senpai", not some annoying artist trying to feel their character, and replaced him with someone else in minutes. - Half-way into rehearsals of an Off-Broadway show I was in, a fellow actor accidentally exited stage right instead of left. Fired. - I used a shitty printing company to print left minute headshots. They were great quality, but weren't 8x10's like I asked, but maybe an inch too big. I was told I wasn't going to get a call back because of how unprofessional the print looked and that I better get the right 8x10 prints because it makes you look unprofessional. But at least they were honest.