Eminent music critics asked themselves that same question at the end of 2008. They narrowed the list down to twenty. A year later, the renowned British music magazine “the Gramophone” published the results.
The famous Berlin Philharmonic Orchestra ended up in second place, but who came first? The New York Philharmonic? The Wiener Philharmoniker? The Chicago Symphony?
I just spent a few hours on-line listening to YOU… my colleagues, my competition, my inspiration. It was both frightening and enlightening. As I was clicking away part of my day, I was amazed by a number of things, going from Pay-to-Play to Pay-to-Play. This is what I found:
1. Anyone can sign up for a voice-over site these days, on three conditions:
a. you have to have a voice
b. you have to have a credit card
c. you have to have a computer and a microphone
2. Fifty percent of the advertised ‘talent’ can’t interpret a simple script;
3. The same people don’t seem to know the first thing about recording either;
4. Amateurs who put themselves out there as voice-over pros, have a lot of guts, coupled with a deadly mix of unrealistic expectations, a lack of experience and the funds to invest in a pipe dream;
5. As I wrote in another article, foreign voices are often not as advertised. We still have Flemish speakers posing as Dutch talents, German speakers who are really from Austria, and Australians pretending to be Americans. Whatever happened to quality control?
6. Don LaFontaine is still very much alive, but he goes by many different names these days. Or is just every other American male voice-over talent riding on his coattails as they are trying to emulate the master?
PAYING THE PRICE
I must say that I don’t envy the voice-seekers who have to sift through over one hundred auditions to find the perfect voice for their low- or no-budget project.
Then again: they asked for it, so we shouldn’t feel too sorry for them. It’s the price you pay when you’re asking every Tom, Dick or Harry to tape a custom demo for that cheap frying pan you’re trying to sell on late-night cable television. You often get what you pay for… frying pan, voice-over talent, it doesn’t make a difference.
What do I make of all this, you may ask? Well, here’s what I think.
Having a microphone, a MasterCard, a laptop and a fantasy doesn’t mean one should be allowed to join a professional site, no questions asked. We have websites for amateur dog breeders, amateur sports people, amateur musicians… why not design a site dedicated to amateur voice-over artists? I bet you’ll make a lot of money in the Odesk-market segment. It could be a kind of Bargain-Bodalgo.
Don’t get me wrong. Hobbies are wonderful things. My neighbor takes great pictures, but he wouldn’t dare to advertise himself as a professional photographer, nor should he. National Geographic would immediately show him the door.
A friend of mine is not a bad trumpet player, but if he were to audition for a real job in the music industry, he would never make the first cut (and he knows it). Apparently, those stringent standards don’t seem to be in place in certain segments of the voice-over industry. Why not?
THE PROBLEM BEHIND THE PROBLEM
As long as some sites make most of their money through subscriptions, more members means more money. It’s a business model, not a charity. It’s a model that essentially values quantity over quality. The only way to go, is to grow.
Let’s be honest. The voice-over market is pretty much saturated at this moment. You don’t need a degree in economics to realize that a greater supply in a weakened market can only mean one thing: tumbling prices.
The best way to speed this process up, is to have suppliers engage in a furious bidding war. Darwin would have named it: “Survival of the Cheapest”. Isn’t that exactly what is happening? And if you don’t believe me, why is it so hard to buy products that are not “made in China”? Before we know it, all of us will be replaced by IVONA speech synthesis technology. It’s almost as good as the real thing and I bet it’s a lot cheaper.
NO CURE NO P(L)AY
If it were up to me, I’d rather have a performance-based No Cure No Pay-system in place. Out with the premium, platinum and titanium memberships. From now on, voice-over sites should get paid when I get paid. And the only way I get paid, is when voice-over sites do their job and connect me to reputable voice-seekers that are ready to pay reasonable rates.
Perhaps that will make the Pay-to-Play’s more accountable and selective in terms of whom they’re willing to represent. Perhaps that’s the way to separate the wheat from the chaff. Let the dabblers do their thing. As long as they stay in their own league and stop messing with my market.
Secondly, I’d like to see these websites publish and uphold certain professional standards. Accreditation comes from the word ‘credo’, which means “I believe“. Although related, ‘credo’ is not the same as ‘credit’.
Our belief in someone’s talent should be based on professional principles, instead of on the spending limit on their credit card. So, let me ask you this:
1.In your experience, are you aware of any professional standards that are promoted and actively upheld by Pay-to-Play sites?
2. If the answer is “yes”, are you happy with these standards, and are they well-advertised and implemented?
3. If the answer to the 1st question is “no”, do you think that voice-over sites should adopt, publish, promote and maintain certain standards?
4. Should talents be denied membership, if they don’t meet certain basic criteria of professionalism?
5. Would it make sense to create a special category for amateur voice actors, or even a dedicated website? Or do dilettantes have no business being in our business?
6. What’s the best and most fair way to compensate P2P’s for their services? A subscription fee? A percentage of what you’re making for a particular job? A combination of both?
AND THE WINNER IS…
One question remains. For that, we return to the quest for the best symphony orchestra in the world. The votes have been counted. The sealed envelope is opened as the audience collectively holds their breath. And the winner is….
The Royal Concertgebouw Orchestra from Amsterdam
Why? Because their standards are higher. After a grueling audition process, the Concertgebouw only hires the cream of the crop; well-trained people playing the very best instruments. No amateur fiddlers. The Gramophone’s editor James Inverne, put it this way:
“It is hardly possible any more to recognize particular orchestras by their individual sound. I think that with some orchestras, and the Berlin Philharmonic amongst them, that’s a bit of a worry. Whereas with the Concertgebouw you always know it’s the Concertgebouw. And I think that’s what has given them the edge amongst our critics.
Maybe it’s occasionally very slightly rougher than what the Berliner Philharmonic can produce, but it doesn’t matter, because they’re like a great actor bringing their own charisma and their own personality to every work, and always giving you the sense of the spirit of the work.”
Now, that’s what I call music to my ears! I’ll gladly pay to hear them play any day!
Paul Strikwerda ©nethervoice
My next blog is a little more lighthearted, and I’ve invited Steve Martin, Peter Cook and Cyril Ritchard to add some fun to the pirate party!