Voices.com buys Voicebank

The voice over industry is all aflutter as on-line casting company Voices.com has purchased Voicebank, another casting site that provides casting opportunities to talent agencies. Many in the industry are worried about one dominant player potentially controlling so much casting. I am taking more of a wait and see approach.

VoiceOverXtra reached out to me for my thoughts which I am re-printing below:

Two things off the top:

1. PN Agency is exclusively non-union, so I can only speak to that side of things, not how things work on the union end.

2. So that everyone is clear, Voicebank currently charges a monthly membership fee to talent agencies and in return, we receive voice castings.

I met with someone from Voices(dot)com earlier this year and they pitched me the idea of competing with Voicebank by having castings on the site that would only be open to agencies.

The person I met with said they have clients who want to cast through their site but prefer to only deal with agencies, not individual talents. The inference being that they feel they will get higher quality auditions if they know these are talents represented by agents.

So, they were exploring the idea of offering that service to agents on the Voices site. I guess in the end they decided rather than compete, it was easier just to buy the damn thing.

So having had this meeting, my assumption is that Voices will continue to offer the same basic service to agents as Voicebank.

I have heard people say they are worried Voices will try to bypass agents, but I don’t understand that. If they don’t continue to provide talent agencies audition opportunities for worthwhile jobs, we will simply cancel our memberships and they lose all that revenue.

Now, I guess they may try to talk these Voicebank clients into casting on the regular Voices platform rather than through the Voicebank talent agency side, but I’m not sure how successful they would be, given these clients who express a desire to go through agencies.

And again, we would just cancel our memberships if we are not getting regular auditions.

We will have to see how it all plays out. I kind of expect it to be business as usual in the short term.

I should also note that currently, Voicebank is a fairly small part of our revenue. We’ve concluded it’s worth being on the site and getting access to some of those projects, but truthfully, it doesn’t make or break anything for us.

To be clear, I am well aware of the opinion many in the industry have about how Voices chooses to conduct business in a general sense, but for the purposes of this discussion, I am focusing just on the Voicebank acquisition and how it may or may not affect agencies.

Here is the link to the entire VoiceOverXtra piece which includes comments from other industry players:
https://www.voiceoverxtra.com/article.htm?id=I7J1QVL8

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5 things to leave off your voice demo

I receive and listen to a lot of demos. I think the quality of demos and the voices behind them seems to improve every year. That said, there are still some things I’m hearing on demos that really shouldn’t be there. Allow me to present…

THE TOP 5 THINGS YOU SHOULD LEAVE OFF YOUR VOICE DEMO

1. Anything you CAN’T replicate quickly in a real recording session. If it takes you an hour and a half to work up to doing a Barry White type read, leave it off of the demo. If that super fast read about the department store took many takes and many edits and in real life, you would stumble through such a script every five seconds, perhaps it isn’t your strength and it should be on the demo cutting room floor.

2. The bad accents. Having run Ethnic Voice Talent for over a decade now, I can credibly tell you that virtually no client is looking for someone to put on an accent anymore. There are plenty of foreign language talents who also record in English and can deliver an authentic accent for whatever project requires it. So to the white guys who think their Indian accent is alternately hilarious and bang on, stop it now. Get it off the demo.

3. Anything that mentions a specific year. That spot on your demo advertising “the new 2005 Nissan” is a sure fire way to make a client question whether you have voiced anything in the last 10 years or whether your voice still sounds the same. Plus, for those of us too lazy to update our demos every year, if you get rid of anything with a date, it gives your demo many more years of shelf life!

4. Any commercial that has another talent’s voice on it for longer than yours. Dialogue spots are great but only if your voice is the main one in the dialogue. Clients have short attention spans and busy schedules. They don’t want to hear someone else’s voice dominating your demo. Also, watch out for spots where it isn’t obvious which voice is yours. I have gotten a number of demos over the years that have a dialogue between, say, two women who sound sort of the same and are about the same age. Don’t make it a guessing game as to which voice is yours.

5. Your radio air check. Naturally, thousands of people on-air in radio also do freelance voice work but we want to hear commercials and narration, not two minutes from your morning show. If you are the voice of the radio station, by all means include a clip of an imaging promo but otherwise, what happens in the voice over world is different than an on-air DJ shift or newscast.

I will keep an eye on the comments section and tweet out other suggestions on the topic of what should be left off a voice demo. Will also take this discussion up on Twitter so…

To keep up with the furious pace of the Voice Over industry and get a side order of radio tidbits as well, Follow Voice Over Canada on Twitter: https://twitter.com/voiceovercanada

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Cast Away 2: It’s okay to ignore Casting Directors (sorry Casting Directors!)

Some thoughts on voiceover auditions…

I have always thought that talents should let the copy dictate their audition. That essentially means more or less ignoring directions they get either in writing or in person, though I realize an in person audition necessitates you walk that fine line between giving the read you think best reflects the writing but also showing that you can take direction from a director.

Too many times though whoever is putting together the Casting either doesn’t know what he or she wants or isn’t always the most articulate about communicating it. Or their directions/descriptions are just flat out confusing.

Casting notes I have received within the last year:

We are looking for a female voice who is kind of sarcastic and is between 20 and 30 years old. Voice reference given is Kathleen Turner. She will be 63 this June.

One casting recently asked for a fairly young male voice and the reference given was Wilfrid Brimley who may have had a long career dating back to his youth but is widely known for being in the movie Cocoon, which had a cast largely made up of senior citizens.

Our guy is between 25 and 35. His voice is familiar. Young, but with a deeper tone. This guy knows his shit. Wise beyond his years. He’s confident but casual. He’s the kind of guy that you listen to because he always has something interesting to say. And when he talks, you don’t feel like he’s preaching to you, you feel like he’s been around the block a few times and he’s speaking from experience. He’s not the usual ad guy VO, he’s fresh. He has gravitas. He sounds accessible and approachable, but also is an authority in his field. If he ever gave a TED talk, you’d definitely want to find a way to get tickets.

The above was for a 6 line corporate video – completely generic script.

Even if there is no voice reference, the age range is either too broad -20-40 – or absurdly narrow. 35-40. Does a 33-year-old sound that much different than a 41-year-old?

Even when they reference famous performers, it’s still isn’t that obvious. Many customer requests come in looking for someone who sounds like Tina Fey. I’m not sure many people would even recognize Tina’s voice unless she was imitating Sarah Palin or something. I think what they really mean is the female part calls for a funny/sarcastic/feisty read. Then they should just say that.

The unfortunate fact is that a lot of casting these days is like a game of broken telephone. There is the actual end client who then hires an ad agency who then hires a producer who then hires the casting director who then reaches out to agents to get home studio auditions. It’s amazing with that chain of command (and so many people involved) that by the time the auditions are turned around, that anyone has the correct language, let alone any other details right about the casting.

So, I always default to the idea that a talent should lead with the read they think best reflects the script. In other words, the read you want to do. Make that your first take on the audition you are submitting remotely or even in person. Then in subsequent takes you can try and interpret whatever direction you have been given but at least you will have led with the one that most likely feels/sounds best.

Oh, and of course I’m sure you already know that if you think you nailed the audition, odds are you’re not getting the gig. If you think it wasn’t your best, you will be probably be the client’s choice. Best to think of auditions as “batting practice”. Just another chance to get behind a mic and keep the chops warm. Try not to think about it the moment you leave the studio or press send on that audio file.

P.S. To clients: No, you’re not getting a Morgan Freeman read.

To keep up with the furious pace of the Voice Over industry and get a side order of radio tidbits as well, Follow Voice Over Canada on Twitter: https://twitter.com/voiceovercanada

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Live from Toronto…it’s New York City!

I’m very pleased to announce that PN Agency has launched a roster of New York-based voice talents. The PN Agency business model continues to be representing talents in their own city, servicing clients in that same city. I wrote about this on the blog before which you can read here

Here is the promo email we sent to clients:

Dearest client:

PN Agency is excited to announce that we now represent a fine roster of non-union voice talents in The Big Apple.  That’s right – PNA New York City is live!

We are launching the roster with 25 New York-based talents – all with industry experience and all exclusive to PN Agency.    Why not crack open a tasty beverage and listen here:

Male
http://www.pnagency.com/talent/new-york/male/

Female
http://www.pnagency.com/talent/new-york/female/

As with our Toronto & Montreal rosters in those cities, our aim is to provide talented local voices to the New York advertising, broadcasting and multi-media communities.  Of course, if you are casting a voice and are not based in Toronto, Montreal or New York, you can choose any of our talents on any of the rosters.

We will be selectively adding to the New York roster in the coming months so please remember to drop in often.   Dress is casual.  

And of course, don’t forget about our talented voice over specialists in Toronto and Montreal as well.  We are always adding selectively to those rosters too.

Look forward to working with you soon!

With affection,

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Classic Videos: No Other Way To Say It

This is a fun video from writer/director Tim Mason about a voice over session that goes horribly wrong. According to Adweek Magazine, “The film was made by Hog Butcher, a content creation company made up of improvisers, comedians and writers from Chicago institutions including Second City, IO and the Annoyance Theater. Hog Butcher is led by veteran Chicago adman Ron Lazzeretti.”

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Why do most animation demos suck?

Some thoughts on animation demos…

90% of animation/character demos are pretty much flat out terrible. There, I said it. Let’s take a minute to let that sink in.

Okay…
I think my number one problem with a lot of character demos is most of the characters are totally out of context, if you can even recognize them as characters at all. A lot of these demos sound like someone just trying to make funny noises or voices in their bedroom. I don’t mean the quality of the audio recording as much as the difficulty for someone listening in terms of placing these “character voices” in anything that would resemble broadcast material. It’s like the demo clips are taken from some kind of animation workshop where participants were encouraged to explore potential voices/characters but the listener wasn’t present during those workshops so is at a total loss to understand what the voice talent is even trying to do.

Another issue is the temptation to include impersonations of famous people or even well-known animation characters. A little of this can work in a demo if the talent has already shown a nice range but if you were hoping to land regular character/animation work by just impersonating people, it’s likely not going to work. If you listen to commercials or cartoons, the character voices you hear are still rooted in reality. They are more likely to sound like everyday people, just exaggerated a bit for comedic or dramatic effect. I have probably heard 100 voice demos with Sean Connery impersonations but have only gotten the request once in 15 years of running the voice agency. Ditto for Simpsons or Family Guy characters.

Another problem with a lot of character demos-and maybe I’ve buried the lead here-the talents often just aren’t very good at voicing unique characters. There is this mistaken impression that in order to do character work, you must be a master of all trades: funny characters, accents, impressions, age ranges etc. In fact, some of the most successful character voice actors are one or two trick ponies. As long as the trick is really good, you can find work. The woman on my roster who sounds like a 12-year-old girl doesn’t work every week but whenever that’s the casting call, she has a good shot at landing it. Same with the guy with the deep booming voice who is really good for villains or powerful leaders of fictitious planets. He couldn’t do an accent or play a wacky, stoned out surfer dude if his life depended on it, nor does he attempt to do so.

The general rule for voice demos certainly applies to characters too: do what you do well and don’t bother with stuff that is not in your wheelhouse.

A character demo is not like a commercial or narration demo. It is simply meant to show that you can do a few things and that there is some kind of actor there. Almost all character-based voice projects will require auditions. It is rare that a character project is cast just off voice demos. So, there is no reason to stress about having 100 different voices on your demo or worrying because you can’t do a character type. What characters you do choose to put on your demo should be easily identified in terms of type and/or situation and also remember that comedic commercials qualify as character reads too. No reason to put on some really wacky voice when you can just add a clip of a well-written commercial script that shows character.

To keep up with the furious pace of the Voice Over industry and get a side order of radio tidbits as well, Follow Voice Over Canada on Twitter:
https://twitter.com/voiceovercanada

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