Past Voiceover Script Reading Contests

Here are Winners, Entries, and Analysis of all Past Contests.
Or visit the Current Contest.

February 1, 2022 - February 28, 2022
January 1, 2022 - January 31, 2022
December 1, 2021 - December 31, 2021
November 1, 2021 - November 30, 2021
October 1, 2021 - October 31, 2021
September 1, 2021 - September 30, 2021

Hot Wheels

February 1, 2022 - February 28, 2022

Voice Direction:

This is a simulated audition for a Hot Wheels product: We are looking for a voice talent who can deliver a fun, energized, and friendly read. This spot will be aired on children’s syndicated television networks.


Drivers, start your engines. Gear up for a wild ride around the Hot Wheels Super Loop Speedway. Be the world's best driver! Cars and other sets sold separately.

Winners and All Entries Below

But first, read our free: Analysis: Why the Winners Won ... and Why Others Didn't.

Congratulations to our winners, Terry Briscoe, Kimberly Lomax and Matthew Kerbis.  They took the script in unusual directions, and their entries sound as though they could land this hypothetical job, if they’re careful to avoid some potential mishaps along the way.  Here are tips to help you cross the Finish Line as a winner yourself.

Edge Studio VO Tip #1

Read the direction. Then read it again, point by point.  What do you think they mean?  That is, are the instructions clear? Or do they seem contradictory? If contradictory, how can they go together?  This case, for example – “fun” is probably clear enough, and it can mesh with “energized.” But how does “friendly” fit in? Now consider that the audience is kids. What does a child consider as “friendly”?  There’s no one answer, but apparently a lot of people thought it would be fun and energetic to sound like a track announcer.  In a sense, they “played” with their voice, which may be a sort of “friendly.” But no one played it to the point of extreme parody (for example, a la wrestling promoter/announcer Vince McMahon). And it was not a unique choice, so that approach alone is not what won our contest. In fact, in almost any other VO situation, such a forced, strained “announcer” sound (what’s been euphemistically called an “epiglottal push”) would be a disqualifier.

We would like to have heard more people “have fun” with their delivery, in any number of ways. But whatever your choices, be natural.  Stop “thinking.” (The time to think about your performance is before you perform.  If you second-guess yourself as you speak, people can hear that. While acting, think what you’re saying, not how you say it.) And don’t talk on egg shells. Relax, just say what you mean.


Edge Studio VO Tip #2

The more you “style” your character, the more you need to remember enunciation. By “character” in this case, we mean any voice, affectation, style or other characteristic that is not natural to you. It’s easy to get caught up in it so that you either forget your VO basics (enunciation, consistent volume, etc.), or you think the character has special license to ignore them.  Nope.  Listeners still need to understand you, on the first hearing, even if mixed with music and/or sound effects … and in this case maybe some stadium reverb. We lost count of how many words were confusing or difficult to decipher without seeing the script. For example, you should say: “drivers” not “dryers” or “drawvers”; “Hot Wheels” not “hawills” or “hubmeals”; “engines” not “ejins” or “injuns”; “for a wild ride” not “foeahwhylrigh”.  For more examples, see our winners.


Edge Studio VO Tip #3

Be technically professional.  To win an audition, you need to sound professional. And so does your recording, especially if the job (like many jobs these days) will be self-produced in your home studio and possibly self-directed. That means avoiding the various faux pas that annoy casting professionals and make you seem inexperienced.  Here are some examples from this month’s crop:


* If you have two very different approaches that seem equally valid and win-worthy, and if the directions don’t limit you to one take, you might include a second read. But beware: that situation is rare. If the two takes are very similar, it will suggest that you are unable to hear how much alike they are. Or it may be taken to mean you have limited range.  A better approach, if two similar takes each have a glowing moment, would be to edit the best parts together and submit as a single take. If you can’t do that imperceptibly, you might record a third take with benefit having recognized those moments.


* If you do submit multiple takes, say, “Two takes” at the start of your recording (after your slate, if any).  If you want to clarify how they’re different, make it succinct. For example, “Two takes – take 1 is natural, take 2 is announcer style.” Say nothing more. The point is to alert the screener, not to waste their time.  Why alert them? Because some screeners don’t listen to the full submission.  The only indication that you have a second take would be if the audio player indicates that your recording is twice as long – if the screener notices.  But even that may not save you. See next bullet.


* Trim your recording, before and after. Leave just a half a second or less at the start, and don’t leave silence after.  Note that our Second Place winner had 22 seconds of silence afterward.

* Slate professionally. When slating instructions are not given, whether or not to slate depends on the situation. With some audition software, the listener can see your name or username, so slating might not be needed. On the other hand, if you’re doing a character, they might want to hear what you sound like naturally. On the other other hand, if your natural slate is not in character, they might bail before your read begins (that’s rare, but in the busy world of casting, it happens). To cover yourself and all these bases, you might put your slate at the end.  In any case, slate confidently, and just slate your name, nothing more. (If slating instruction is given, always slate as directed.) Unless you’ve been given a choice of scripts or are reading a bunch of them in one audio file, the casting pro already knows what you’re voicing.

1st place winner: Terry Briscoe

Judge's Comments

Terry Briscoe

He gave two reads.  Parts are similar, parts are a bit different.  We prefer elements from both. If this were a real job, we’d use lines from both takes  He’s loose, expressive, and has exciting variety, without sounding theatrical.  However he should attend to some voicing issues.  Take One’s first word sounds like “Nnnn-drivers” with a click sound.  The words “for a wild” sound like “foe-ah-while.” “Gear up” is hard to grasp, as it sounds like “Gearp.”  We noticed these – and we know what the words are supposed to be – consider a first-time listener who hasn’t a script, has no context, and hears this mixed with music and sound effects. Parts of this read will be indecipherable.  Also the very opening of Take One is a bit stilted … that’s our first impression. The tag is voiced in-character (or maybe he always sounds like this?), whereas some people who used a similar character reverted to a relaxed natural voice in the tag. Neither practice is in itself good or bad.   Recording quality is good.

Recording submitted by Terry Briscoe on 9 Feb 2022 - 18:26

2nd place winner: Kimberly Lomax

Judge's Comments

Kimberly Lomax

A fun, fluid voice, with nice variety.  But she speaks a bit too quickly. (Note that the Director’s Notes did not specify a time limit.)  And in addition to being harder to follow, her speech was slurred throughout.  As for recording quality, well, it was a fun idea to EQ the opening to sound like a PA system.  But the downside is that it hurt more than helped – it makes her sound nasal, which would likely cost her the job.  The audio volume is too low. And, as we’ve noted in the Tips above, there’s “dead air” at the start and more than 20 seconds of silence after.

Recording submitted by Kimberly Lomax on 14 Feb 2022 - 19:19

3rd place winner: Mathew Kerbis

Judge's Comments

Mathew Kerbis

Good voice, and his delivery rests on a good foundation. So he would be in the running for this job if he fixed the following:  The first syllable of the first word (“Drivers”) is too fast.  Then we thought he said, “Dear up.” Or did he say “Dare up”?  Aha, the script shows it’s “Gear up.”  “Cars and other sets” sounds like “cars another sets.” And some of his hits (emphasized words) might be better chosen. In particular, he could have hit “wild” (“…..for a WILD ride around the…”). And in “best driver,” isn’t the most important word “best” rather than “driver”?    The recording quality is good and the audio is clear.  But on headphones popping is easily heard (e.g., “superloop,” “be,” and “best”), as are mouth clicks, (e.g., after “speedway”).  The recording would also benefit from audio compression to make the volume more consistent.

Recording submitted by Mathew Kerbis on 8 Feb 2022 - 04:14

All Entries: Contest ending February 28, 2022

To Find A Specific Entry:

On a PC, click “control” and “f” to search for a username

On a MAC, click “command” and “f” to search for a username

Tim Sansone's recording

Recording submitted by Tim Sansone on 26 Feb 2022 - 00:29

April Scott's recording

Recording submitted by April Scott on 25 Feb 2022 - 17:53

Tamar Ballard's recording

Recording submitted by Tamar Ballard on 25 Feb 2022 - 17:01

Paula Patton's recording

Recording submitted by Paula Patton on 25 Feb 2022 - 16:41

Gene Manning's recording

Recording submitted by Gene Manning on 25 Feb 2022 - 16:23

Tony Beltran's recording

Recording submitted by Tony Beltran on 25 Feb 2022 - 16:05

Nicholaus Williams's recording

Recording submitted by Nicholaus Williams on 25 Feb 2022 - 13:58

Shmuel Goldstein's recording

Recording submitted by Shmuel Goldstein on 25 Feb 2022 - 13:08

Niki Samnani's recording

Recording submitted by Niki Samnani on 25 Feb 2022 - 10:30

Justin Lui's recording

Recording submitted by Justin Lui on 25 Feb 2022 - 02:25

Ryan Benes's recording

Recording submitted by Ryan Benes on 24 Feb 2022 - 20:34

Laurie Pastor's recording

Recording submitted by Laurie Pastor on 24 Feb 2022 - 15:41

La Di Da's recording

Recording submitted by La Di Da on 24 Feb 2022 - 05:22

La Di Da's recording

Recording submitted by La Di Da on 24 Feb 2022 - 02:19

Beckett Arnold's recording

Recording submitted by Beckett Arnold on 24 Feb 2022 - 01:55

Brady Jordan's recording

Recording submitted by Brady Jordan on 23 Feb 2022 - 21:07

Felicia Guess's recording

Recording submitted by Felicia Guess on 23 Feb 2022 - 18:21

George McPherson's recording

Recording submitted by George McPherson on 23 Feb 2022 - 04:55

Amy Brugmann's recording

Recording submitted by Amy Brugmann on 23 Feb 2022 - 03:27

Arin Chapman's recording

Recording submitted by Arin Chapman on 22 Feb 2022 - 21:10

Steven Blair's recording

Recording submitted by Steven Blair on 22 Feb 2022 - 02:35

Kendall McClintock's recording

Recording submitted by Kendall McClintock on 21 Feb 2022 - 23:38

Tiffany Taylor's recording

Recording submitted by Tiffany Taylor on 21 Feb 2022 - 23:29

Daniel LaRiviere's recording

Recording submitted by Daniel LaRiviere on 21 Feb 2022 - 18:49

Heather Lyn Watt's recording

Recording submitted by Heather Lyn Watt on 21 Feb 2022 - 17:59

Jonathan Lanser's recording

Recording submitted by Jonathan Lanser on 20 Feb 2022 - 20:21

Evan Steele's recording

Recording submitted by Evan Steele on 20 Feb 2022 - 19:25

Renita Ezell's recording

Recording submitted by Renita Ezell on 20 Feb 2022 - 04:41

C.C. Jones's recording

Recording submitted by C.C. Jones on 20 Feb 2022 - 02:27

DONALD GEDDIS's recording

Recording submitted by DONALD GEDDIS on 19 Feb 2022 - 20:13

DONALD GEDDIS's recording

Recording submitted by DONALD GEDDIS on 19 Feb 2022 - 20:11

Steve Nelson's recording

Recording submitted by Steve Nelson on 19 Feb 2022 - 19:55

Slavina Mihaylova's recording

Recording submitted by Slavina Mihaylova on 18 Feb 2022 - 09:21

Adam Thatcher's recording

Recording submitted by Adam Thatcher on 18 Feb 2022 - 01:06

Elizabeth Petersen's recording

Recording submitted by Elizabeth Petersen on 17 Feb 2022 - 16:20

Eric Heaps's recording

Recording submitted by Eric Heaps on 16 Feb 2022 - 21:23

Christine Glenn's recording

Recording submitted by Christine Glenn on 16 Feb 2022 - 15:20

Benjamin Burrows's recording

Recording submitted by Benjamin Burrows on 16 Feb 2022 - 14:33

Benjamin Burrows's recording

Recording submitted by Benjamin Burrows on 16 Feb 2022 - 14:33

Tim Kulish's recording

Recording submitted by Tim Kulish on 15 Feb 2022 - 16:21

Mark Gallegos's recording

Recording submitted by Mark Gallegos on 15 Feb 2022 - 15:39

Mason Price's recording

Recording submitted by Mason Price on 15 Feb 2022 - 05:47

Brady Jordan's recording

Recording submitted by Brady Jordan on 15 Feb 2022 - 05:40


Recording submitted by JAKE KUEBLER/KEEBLER on 15 Feb 2022 - 03:45

gillian butler's recording

Recording submitted by gillian butler on 14 Feb 2022 - 22:08

Kimberly Lomax's recording

Recording submitted by Kimberly Lomax on 14 Feb 2022 - 19:19

Marissa Christie's recording

Recording submitted by Marissa Christie on 14 Feb 2022 - 17:21

Michael Fleming's recording

Recording submitted by Michael Fleming on 14 Feb 2022 - 07:49

Shelly Marckini's recording

Recording submitted by Shelly Marckini on 13 Feb 2022 - 14:41

Terry Briscoe's recording

Recording submitted by Terry Briscoe on 9 Feb 2022 - 18:26

Mel Rose's recording

Recording submitted by Mel Rose on 9 Feb 2022 - 11:08

Christalynn Hamer's recording

Recording submitted by Christalynn Hamer on 9 Feb 2022 - 01:02

Mathew Kerbis's recording

Recording submitted by Mathew Kerbis on 8 Feb 2022 - 04:14