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Past Script Reading Contests!

For the current contest, click here

There’s a lot to learn with past contests:

  • Hear all entries
  • Hear the winners’ entries
  • See their prizes
  • Read our breakdown article Why Some Voice Actors Won … And Other’s Didn’t
  • And watch our Contest Video-Reviews of David Goldberg selecting winners

Select a past contest
David Lynch: June 1, 2022 - June 30, 2022
LaCroix: May 1, 2022 - May 31, 2022
The Roaring Twenties: April 1, 2022 - April 30, 2022

David Lynch

June 1, 2022 - June 30, 2022
Contest

Voice Direction:

This is a simulated audition for an upcoming documentary piece about the filmmaker David Lynch. Tone should feel warm and knowledgeable, and the actor should be able to communicate information clearly to the listener.

Script:

By incorporating this 16 millimeter film strip into his “motion painting” titled Six Men Getting Sick (Six Times), artist David Lynch discovered his love for film making. After three Academy Award Nominations, Lynch still considers his first full length feature, Eraserhead, to be his most “spiritual” film.

Analysis: Why the Winners Won ... and Why Others Didn't.

Congratulations to our winners, Debbie Randall, Shmuel Goldstein, and Ari Reardon. They showed the ability to help this hypothetical documentary paint a personal picture of artist David Lynch. Here are some tips on how you can make your own reads more real and personal, improving your shot at audition awards.

Edge Studio VO Tip #1
Take your read off autopilot. A lot of reads were very robotic. By that, we mean that they sounded memorized, or had a repetitive pattern of tempo, pitch, and other vocal characteristics. Or they lacked variation in those characteristics at all.
To get past this, don’t treat the script as a memorization process. (Even though – lucky us – as voice actors we have the script right there in front of us!) In fact, don’t even “read” it. Instead review the script just enough to familiarize yourself with it, then when you record, look up, as you would when speaking to a person who is actually there in front of you. Refer to the script out of the corner of your eye. Once you get the feel for this, you should be able to look more directly at the script, yet still have that natural demeanor. And, of course, however you choose to use a script, before you send off your take, always listen to it while reading along in the script, to be sure you caught every word and didn’t add or change anything.

Edge Studio VO Tip #2
Keep Calm and Carry On.  Or, to put it another way, be smooooth.  Whatzat mean?  Avoid glottal stops and unnecessary pauses. (A glottal stop is a momentary closing of the throat, usually before an initial vowel.) A character might have lots of pauses as a personal characteristic, but when you’re a narrator, that’s not the character you want to be – especially in an audition.
Why is it bad? Excessive pauses make you sound tense, which then creates tension in the ear or mind of your listener.  Some people paused so often, you’d think there was a comma between every word! If this is you, refer to Tip #1.  You probably don’t talk to a friend in such a halting manner. Smooth it out, be calm, and carry on.

Edge Studio VO Tip #3
But do pause at times. Of course, you’re allowed to breathe – even if you delete some or all of your breaths later, or minimize their volume. But when you’re narrating, there’s another reason for pausing. Occasional pauses, at logical places, give your listener a chance to absorb the visual and relate to what you say. Running-on can be really tiring, whether recorded or in conversation. In person, it’s also impolite.
So, how often should you pause, and how long? One way is to mark the script into logical thoughts. Another good learning exercise is to listen to narrations by well-known narrators. You can even record a bit of a narrated program, write out the script, and read along with the recording. In addition to giving you a sense of how often to pause, it will help ingrain a sense of narration tempo.

Edge Studio VO Tip #4
Watch your final submission’s volume. Clients of various types may specify the volume parameters for your recording, but unless otherwise instructed, in an audition, give yourself your best shot.  That means your loudest moments should peak at -3 dB. That will give your reads the most “psychological” energy (yes, audition screeners are human and respond to a healthy volume), while allowing a bit of “headroom” to be sure you don’t mistakenly go over 0 dB. (Going into positive numbers, also known as going “into the red,” creates distortion.) Some entries came in with volume averaging around -20 dB.  In comparison with a “normal” volume, -20 dB is so low that it requires the listener to adjust their volume control. It suggests you are not fully professional, and is annoying – especially if the listener forgets to reset their volume before the next clip.
Winners

1st place winner: Debbie Randall

Judge's Comments

She nailed two out of three characteristics the client requested:  One, she sounds knowledgeable. Two, she speaks very clearly. But she’s missing #3: “warm.” This caused a slightly robotic, stilted sound. To avoid sounding like this, she should smile. Smiles can be heard, and since it’s usually a fairly easy fix, she topped our list. There are a few awkward moments, though. She left the T sound out of “painting.” And a bit of emphasis on “this” would be nice.  By the way, she smartly included a brief, confident-sounding slate at the end – just her name – which reinforces her brand and is a precaution in case the file name isn’t handy someday. Putting it at the end avoids distracting from her read, and doesn’t waste the audition screener’s time. Recording quality is very good.

Recording submitted by Debbie Randall on 15 Jun 2022 - 20:12

2nd place winner: Shmuel Goldstein

Judge's Comments

Very good, exactly what was asked for: warm, knowledgeable, and clear. But there are two things we’d want to improve: 1) Emphasize the third word (“this”), because the viewer is likely seeing it at this moment in the video. And, 2) work on spacing. Usually, a period calls for a slightly longer pause than a comma does.  In this case, there’s barely any break after the period. Was it a choice, a reading error, or an editing error? No matter; the effect on the listener is the same: potential confusion. At the other extreme, some comma breaks were too long, the word “considers” sounds like “considihs,” and there are some vocal eccentricities (e.g., a very long “M” on “motion). The technical quality of the recording is good, with just a tiny bit of “room” hollowness in his voice. His space may need additional acoustic treatment (padding) in at least a couple areas.

Recording submitted by Shmuel Goldstein on 24 Jun 2022 - 15:43

3rd place winner: Ari Reardon

Judge's Comments

Like our First Place winner, he hit the target on two of the three mandatories, but a different two. He sounds warm, and knowledgeable, but his speech lacks sufficient clarity. He slurs a few words, most notably “titled” (which sounds like “title-n”), “full length” (which sounds a bit like “folay”), “Eraserhead” (which sounds like “eraserheh”), and “award” (which sounds like “a war”). A bit of emphasis on “this” would also be nice. There’s a tiny bit of vocal shakiness on the first syllable of “millimeter.” And in “film making” there is a vocal click at the end. And finally, the last word of the audition doesn’t resolve. (It sounds like a question or the first part of a sentence). Recording quality is clean, but the volume is rather low.

Recording submitted by Ari Reardon on 23 Jun 2022 - 19:13
All Entries

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Logan Graham's recording

Recording submitted by Logan Graham on 29 Jun 2022 - 18:22

Cary Kawamoto's recording

Recording submitted by Cary Kawamoto on 27 Jun 2022 - 05:05

Kevin Scott's recording

Recording submitted by Kevin Scott on 27 Jun 2022 - 01:44