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In our two previous articles about getting the most out of Spanish voiceovers and script translation, we focused on the importance of using fully bilingual, native speakers throughout the process, and the practice of using a neutral Spanish dialect versus regional dialects.
In this third installment, we will focus on different ways that timings affect Spanish voice over sessions. read more about producing Spanish voice overs >>
The ability to use proper microphone technique to bring out the best in your voice is indicative of a true voice over professional. Learning and utilizing proper microphone technique is incredibly helpful when it comes to editing, mixing and producing great voice overs. For a voice talent, knowing how to: avoid plosives, adjust for dynamics, and “work” the microphone so that it will enhance the emotion of the delivery are essential skills. Expertly applying these skills helps a recorded voice track fit into a mix almost effortlessly. Read more about proper microphone technique >>>
In our previous article about getting the best out of Spanish voice over and translation, we discussed the importance of using native speakers, and the use of Neutral Spanish as the generally accepted dialect for most projects in the Western Hemisphere.
In this installment, we will delve further into the importance of using fully bilingual, native speakers for translation and voice talent, as well as the importance of using a native-tongue director to get the best out of a Spanish-language voiceover session. read more about producing Spanish voice overs >>
As the Hispanic demographic has grown in the United States, the broadcast advertising industry has taken notice, and more companies are becoming involved in Spanish-language voice overs.
As with English-language advertising and corporate communication, there are many different levels of production and quality control that you may encounter on the way to finishing your Spanish voice over project. Considering a few extra factors before getting into Spanish-language audio production can make the process much more streamlined and economical.
Over the next couple of weeks, we will review some of the basics that will help with achieving the final goal – translating your message for your audience. read more about producing Spanish voice overs >>
As a voiceover artist, it is critical that you choose the right microphone for your voice, your room and your budget. When it comes to determining which microphone is right for you, there is only one good way to go about making this very important decision.
Before buying anything, YOU MUST LISTEN AND COMPARE FOR YOURSELF.
Typically, when voice talent begin their career or begin to invest in a home studio they choose a microphone based on one or more of the following: advice from friends or associates, familiarity with something they’ve used previously (perhaps an Electro-Voice RE20 from a radio station), what the sales person at the music store sells to them, or what they can afford. Although all of these factors should be taken into consideration, they serve as merely a starting point. read more about choosing a voiceover mic...
WC Fields is quoted as saying ‘Never work with children or animals’. While I can’t say I’ve ever worked with an animal in the voice over booth (although Lindsay Ayliffe does a pretty convincing Schnauzer:), I have worked with plenty of young voice talent and child voice actors, and usually with pretty good results. (more…)
As a voice over talent, choosing a microphone is one of the most important career decisions you will ever have to make. After all, you should consider your microphone to be an extension of your voice, personality, character and sound. Many voiceover artists breaking into the industry, as well as those with years of experience call ProComm Studio Services for advice on what equipment to buy for their home studios. When it comes to microphones we prefer the Neumann TLM103. read more about voice over mics...
As an editor of voice overs and a voice over talent, I’ve spent a lot of time listening to voices, and not just the ones in my head. Each and every one has their own unique tonal quality, interpretation style, phrasing patterns, and emotional palettes. But the one thing they all have in common is that they all have to come up for air once in awhile. Shocking, I know – voice talent actually breathe! (more…)
Using testimonials in advertising has long been a tried and true device for creating a relatable and personal message. Hearing a story from the perspective of someone who’s ‘been there’ can be very effective, whether it’s relaying a positive customer service experience, touting how wonderful a product is, or telling a personal story about a company’s merits. If you can bring that true emotion to life you can effectively connect with your audience. However, if you miss the mark, the results can be most uninspiring. In fact, there’s nothing worse than a phony sounding testimonial commercial. (more…)
the following is an article reprinted with permission by Terry Hartzell/JPL Productions www.jplcreative.com
Who wants a movie line?
There’s a line in the movie Jurassic Park that only audio dweebs like me think is funny, or probably even notice. It happens before the wheels fall off the prehistoric cart and the dinosaurs run around eating lawyers. The main characters are about to embark on an automated car tour of the park. Prior to this scene, park creator John Hammond has impressed his guests with top-of-the-line amenities proclaiming, “We spared no expense.” Now, as they climb into the vehicles for the tour, we hear a pre-recorded narrative of the sights they’ll see. Hammond comments, “That’s Richard Kiley. We spared no expense”. (more…)
