Edge Studio VO Tip #1
Carefully consider the audition instructions to be sure you’ve fulfilled all the directives. In this case, the Director’s Notes asked for voice that is fun, friendly, and spirited, yet smooth and soothing. Many people seem to have opted for one or the other. We wanted both. It may seem that “smooth” and “spirited” don’t go together, but of course they can! There are many fun, exciting things in the world that are also smooth and spiritually calming. For example, ice cream, or pudding. An eager puppy. Or a day on the beach at Sandals. So here’s the tip: Start by thinking of things, places, or people that typify the qualities you’re after. Now, imagine you’re introducing them to a friend. It’s all in the mind.
Once you’ve got it, don’t blow it. Three things that will kill that sense of “smoothness” are a rushed read, choppiness, and glottal stops (momentary closing of the throat before an initial vowel). So read at a considered pace, not too fast. Don’t pause unnecessarily – express full thoughts, not phrases. (And remember, this spot is only 15 seconds!) And avoid tension-inducing glottal stops. Learn to relax your throat.
Edge Studio VO Tip #2
Energy. Commercials call for energy. As the Notes indicated, this script is a short TV commercial. Commercials are a very special breed of voiceover – sometimes almost nobody is interested in hearing them. It’s up to you to draw them in. Consider: A workplace explainer or training video is required viewing. An educational audio tour is something the listener has paid for, because they want to know. But who necessarily stops to listen to a commercial? As we know, they’re widely considered an annoyance.
How do you get folks to listen? Much of the “interest factor” comes from the commercial concept, and the message. But much of it comes from you. Even the most exciting news escapes attention if you sound bored by it yourself. So, convey your emotion. The choice of emotion (or a progression of emotions, plural) is up to you. In this case, note that the Director’s Notes stipulate “personality-driven … fun and friendly — like a spirited friend telling you about a super exciting place.” Yet soothing.
It has to be REAL energy, not a “hard sell.” Some of our auditioners were clearly faking it. Real energy calls for real emotion. And it’s even more — real energy is physical. So, before you read, pump up your brain, your emotions, and (if it will help) your body. Before you start, you might clap your hands, smack your fist in your palm, or hop up and down a few times. But in this case, also remember to be soothing and smooth.
Edge Studio VO Tip #3
Pay attention to detail. It’s always important, and can make the difference between landing the audition or not. Some details, you might get away with. For example, should you say “Care-ih-BE-an” or “Care-IH-be-an”? The audition screener might figure they can clue you if you get the job. But why not sound like you already have a clue? The preferred pronunciation is usually the first one shown in the dictionary. Or listen to some existing Sandals commercials online to see which they use.
Oh, and, again … this is a commercial. Value the client’s name: “Sandals.” Along with an experience, that’s what you’re selling. It must be said with pride, heard, and remembered.
Edge Studio VO Tip #4
Sound like a pro. We’ve mentioned the avoidance of glottal stops, avoiding unnecessary pauses, and rushing the read. These are just some of the many clues an experienced audition screener listens for. There are many others, such as stereotypical or repetitive inflections. (One auditioner preceded her extra pauses with “uptalk” – an exaggerated upward inflection that some people do out of habit: like this: “….luxury resorts? that are all-inclusive??)
There are even some amateurish things that you might think suggest just the opposite. For example, adding music and sound effects to your audition. Don’t. Even if you are technically able to select and mix it with professional skill, it’s unprofessional unless requested. As a VO professional, you should realize that, above all, the client wants to hear YOU, not your mixing ability. Added sounds distract from your read, and could cover up aspects that they want to hear.
With one exception: audio quality and volume. In this contest, we allow for the fact that this is a learning experience and some entrants’ recording spaces aren’t yet fully professional quality. And, in a real audition, the client might give you that leeway if the job will be recorded in their studio, not yours. But there’s a limit. If your audio quality is too rough, or if your volume is too low, or it’s really overprocessed or distorted, that could cost you the job.
