Are you a nail-biter, a chain-sitter, or an overeater?
We all have bad habits we want to get rid of.
If you’re a serious voice talent, here are a few things I suggest you let go of in 2020.
1. Spending money on new equipment while you’re still in a bad recording space.
Yes, I know you’ve been eyeballing that new microphone for the past six months now, but will it stop the neighbor’s leaf blower from blowing, or the deep rumble of the school bus from making a guest appearance in your auditions? Will it magically tame the flutter echoes in your improvised booth, and make you sound like the next movie trailer man (or woman)?
Not in a million years!
The number one thing that held me back from being successful as a voice-over, was the absence of a dedicated and isolated recording space. Once I built my own booth, I had the freedom and confidence to go after every job I felt I was suitable for. Last year, almost every production I’ve been involved in began in my home studio. It has paid for itself many times over.
Treat the space first. Then treat yourself to some shiny new equipment. If you must.
2. Expecting the keys to the kingdom on a silver platter.
I’m a member of many social media groups dedicated to voice overs. A majority of these groups are supposed to be for professional voice talent. Yet, every single day I see amateur questions that have been asked and answered hundreds of times, coming from people who are too lazy to do their homework. In the age of the Internet no one can claim ignorance, so:
Stop playing dumb, people! It is embarrassing.
It’s not that our community isn’t willing to share. If anything, the VO-universe is very giving to those who demonstrate relentless commitment and extraordinary talent. But I refuse to help people who want to pick my brain out of a false sense of entitlement, and a simplistic idea of what it takes to make it in this business.
So, dear colleagues: Stop giving free rides to those who don’t feel like learning how to drive. If you keep spoon-feeding a child, it will never learn how to eat by itself.
3. Complaining without taking responsibility or action.
“The book I’m narrating is awful. The author is impossible to work with. The deadline for this project is unrealistic. They expect me to record a complete rewrite of the script for free…”
First of all: Stop whining!
Winners aren’t whiners.
You’re a freelancer. You are free to work with anyone you want. Nobody is forcing you to narrate a crap novel about a topic no one’s interested in for a ridiculous royalty share. You don’t have to collaborate with a disrespectful writer who pretends to know more about voice-over narration than you do. If a deadline doesn’t work for you, then don’t agree to it. Never record a complete rewrite at no charge. Your time and your talent are valuable.
If you feel this particular pay-to-play you’re a “member” of, is greedy and unethical, don’t keep it in business by renewing your membership. Don’t tell me your livelihood depends on this one company. It’s bad business to put all your eggs in one rotten basket.
If you want quality clients, start doing the legwork yourself. It’s part of being a pro!
4. Working for less than you deserve.
No matter what freelance business you’re in, there’s a quick and easy way to get rid of clients that treat you like dirt, and pay you accordingly:
Price for profit and raise your rates!
It’s not that complicated. Every time you accept a job for less, you send a signal to the market about your worth, and the worth of your colleagues. Clients aren’t stupid. They love getting more and more for less and less. We all do. But most people also understand that there’s a link between value and price.
Price is an important indicator of professionalism and quality.
I’ve said it before, and I’ll say it again: When it comes to voice-over fees, you’re either part of the problem, or you’re part of the solution. As soon as you start competing on price and out of fear, you’re doing yourself and your community a huge disservice. As soon as you start competing confidently on added value, you’re teaching your clients about the worth of (y)our work.
By the way, here’s something else you should stop doing in the new year:
5. Making assumptions about your clients.
So many colleagues tell me:
“If my quote is too high, I’m afraid the client won’t be able to afford me, and I’ll lose the job.”
Let me ask you this:
“How do you know what a client can or cannot afford? Did you talk to their accountant? Let’s say you didn’t get that job because of your higher bid, what did you lose?” You can’t lose something that wasn’t yours in the first place. Secondly, you’ve actually gained time to pursue or do a job at a respectable rate.”
Last year I’ve said “no” to more offers than in any year of my entire career, and this was one of my best years on record. I’m not saying that to impress you. I’m saying that to empower you.
Don’t ever pretend to know what your client is thinking of, or hoping for. You’re not in the mind reading business. You’re in the script reading business.
Never assume. Always ask.
Having said that, I won’t assume what things you’d like to stop doing this year.
If you like, please share them in the comment section.
Because I’m the son of a minister, people have always assumed that Christmas was my favorite time of year.
To tell you the truth: it wasn’t.
In fact, every year I was glad it was over.
In the weeks leading up to the celebration of the birth of Christ, our home became a very stressful place where kids had to walk on eggshells.
My mom was responsible for Sunday School, and for the inescapable Nativity Play. Every year she had to deal with parents harassing her because their son or daughter was selected to be an ox, an ass, or worse, a tree.
My dad was crazy busy writing too many sermons on the subject of world peace, hoping to make an impression on those who only came to church at the end of December. His calendar was dominated by one social function after another. He was often asked to bring the whole family to singalongs, nursing homes, hospitals, and countless receptions.
During those hectic weeks, my sister and I got an idea of what it must feel like to be part of the First Family. We had to be on our best behavior, as we were getting stuffed with sugary treats from sweet old ladies. It gave us tons of energy, and we had nowhere to put it.
At the end of this grueling marathon, we visited both sets of grandparents in Friesland, all the way in the north of the country. By that time, it became harder and harder for our family to keep up appearances, especially when familial buttons would be pushed. And believe me, around the holidays those buttons only needed to be touched lightly to have maximum effect. It was only a matter of time before one of us would either explode or collapse.
“Thank God Christmas is over,” my dad used to say, and he meant every word of it.
When he left his congregation to become Head of Pastoral Services at a university hospital, Christmas became a bit more relaxed for all involved. I learned to play the cornet, and joined a local band. It was one of those marching bands that -thank goodness- did very little marching. We did have a special Christmas tradition.
In the early hours of Christmas Day, a select group of musicians would go to different street corners, and play a number of carols. We did that for an hour or so, and then all of us would have breakfast at a nursing home. This had been going on for so long that most of the people in my town felt like it wasn’t really Christmas until the caroling band had woken them up at the crack of dawn.
Getting to as many street corners as possible with a bunch of brass players was not as easy as it sounds. We used to arrive in separate cars to do our thing, until two brothers offered to help. One played the tuba and the other French horn, and both drove what was known in Holland as “SRV-vans.” These vans looked like huge motor homes or bookmobiles. They were actually supermarkets on wheels, and miracles of technical ingenuity.
Almost anything a local supermarket would stock, was for sale in these vans. They sold only one brand of peanut butter, coffee, or laundry detergent, but for many customers it was very convenient to have these goods arrive at their doorstep. On top of that, these vans were electrical, and thus very environmentally friendly.
So, imagine a group of musicians arriving on a cold and dark winter morning. The streets were usually slippery, and driving conditions were hazardous. Our lips would nearly freeze to our mouthpieces, but we were determined to fulfill our mission. Moments later, the two SRV-vans would arrive, filled to the brim with all kinds of groceries.
When the whole group was ready, we split up into two teams to cover different parts of town. One by one, you’d see trumpets, trombones, euphoniums, and basses get into the vans. Inside, we tried to find a safe space in between heads of lettuce, orange juice, cheeses, bread flour, milk, and the Holiday edition of Playboy. It was a very tight fit.
Inside the van
From the very beginning, it was clear that these vans were not made for public transportation, especially if the roads were covered in snow and ice. Those inside had to hold on for dear life when these vehicles rounded corners. That wasn’t easy with a brass instrument in one hand. Everything inside would start to shift, and I vividly remember round Edam cheeses falling off the shelves like cannonballs.
Because there were no side windows, we often had no idea where we’d stop, if we’d stop at all. Thanks to the added weight, the vans would slide a couple of extra meters on a frozen road after the driver had stepped on the brake. With so many passengers on board, his windscreen was all fogged up, and it was a miracle that we never collided with anything dead or alive.
If my cornet would survive the Christmas ride without bumps and bruises, I’d be a happy man. If I’d survive the ride, my parents would be extremely relieved.
Looking back, it was a crazy thing we did, and yet I didn’t want to miss it for anything in the world. We knew how many people were counting on us, and we were willing to take the risk.
There still are about three hundred supermarkets on wheels in The Netherlands, serving rural communities and the elderly. They’re long gone from the town I used to live in, but the last time I was there I heard a persistent rumor.
If you happen to wake up early on December 25th, you may hear the faint sound of a brass band playing carols in the cold.
Mark my words: the next decade is going to be BIG!
There will be more opportunities for professional voice actors than ever before. Take a quick look at the trends.
In 2019, video game revenue has again surpassed the total global box office for the film industry. The prediction is that it will increase by about 9.6% to generate 152.1 billion USD.
Streaming services are investing heavily in the production of original content. The audio book market keeps on growing exponentially (audiobook revenue in 2018 grew by 24.5 percent and totaled USD $940 million). The eLearning industry is expected to grow beyond USD 300 billion by 2025.
With the number of self-professed voice-overs increasing year after year, the question is not:
“Will there be enough work for everybody?” The question is: “Who is in the best position to take advantage of the growth in our line of work?”
The answer is simple: those who are best prepared to meet the demands of the market will dominate it. So, the real question becomes: How do you prepare for the future?
Abraham Lincoln, who was a skilled woodcutter before becoming president of the United States, famously said:
“If I had six hours to chop down a tree, I’d spend the first four hours sharpening the axe.”
For VO’s this translates to at least four things:
Continuing education, but not only with the help of voice over coaches. I’m talking about taking acting and improv classes, singing lessons, and even language training. In other words, start improving your skills to make yourself more versatile and marketable. But that’s only the beginning;
On top of that I highly recommend you learn how to properly run a freelance business. This means knowing how to manage your finances, learning how to develop your brand, and coming up with innovative ways to position yourself. It involves making meaningful connections, and presenting yourself as a unique solution to a specific problem;
Third, you must invest in equipment and in a recording environment that will make you look and sound like the pro you profess to be;
And lastly, you need to learn how to manage yourself. If you can’t take the pressure and uncertainty of being a freelancer, the constant stream of rejections, and so-called colleagues trying to undercut you at every corner, please find another job.
FOREVER AND EVER
Looking at this list you may wonder: won’t this take years and years to accomplish? It may, but it depends on your approach, your finances, and on the time you give yourself. The people who make the least progress are those who are trying to figure this out on their own. They kid themselves by believing that you can find everything you need online, and for free.
Why have we never heard of those trying to teach themselves how to drive a car or swim, using distance learning? Because they have crashed and drowned! If you think you can reinvent the wheel, be my guest. I think it’s much faster to learn from those who already are where you want to be. That’s precisely where conferences come in.
A conference is a safe and exciting place where you meet colleagues and experts who have struggled with the same things you are struggling with at the moment. It’s a place where you can help and inspire others who are stuck in their careers. And if you’re looking for a personal coach, you get the opportunity to experience a number of experts and see who might be a good fit for you.
A voice over conference is the perfect place to start sharpening that axe of yours.
BACK TO LONDON
I’ll be going to VO Atlanta in March, and I’m totally tickled to tell you that I am coming to London in May 2020! The ONE VOICE CONFERENCE where I will be speaking, takes place from May 7th – 10th and is put together by the team behind Gravy For The Brain. I spoke with organizer Hugh Edwards, and asked him:
This is the third Voice One Conference. What have you learned since the first gatherings?
“Well, we are very big on customer feedback, each year we’ve done exit surveys and we’ve really listened to what has been fed back to us. We genuinely try and improve the conference in any way we can. One of the key changes we’ve made this year is that we are completely focussing the conference on professional voiceover, pro VO’s and pro VO standards.
Most conferences cater for a spread, i.e., beginner, intermediate and advanced content, but this often leads to a lack of content for the pros – this year we are doing an about face on that. My theory is that if you aim for 100% professional content, everyone is going to learn something useful and new, and you don’t alienate any section of your audience.
The second big change is that this year I’ve dropped the idea of genre-based content. What I mean by that is that with years 1 and 2 we had a genre list – audiobooks, IVR, corporate etc – and we filled all the speaker slots based on fulfilling that list.
You’ve been to VO conferences in the USA like VO Atlanta. What’s the difference in the way Americans and Brits approach these events? In what way is the atmosphere different?
“Well, the heart of the voice artists in both countries, and Canada, Mexico, France, Australia etc are fundamentally the same. They all have the same hopes and dreams, needs and wants. The love of the industry is a common love that runs throughout everyone I meet in the industry. I think the attitudes are a little different though.
The brits tend to say outright and to people’s faces that they don’t think something is right, and the Americans seem slightly more reserved, will make their judgements and just not buy that person’s product, or that companies offering etc.
That isn’t to say that the American audience is in anyway less passionate, just that we all have different ways of expressing it. The Americans are much louder with whooping, hollering and dancing, the brits less so – but again, it’s not any less enthusiasm or passion – just different expressions!”
I sometimes feel that in the US, voice talent suffers from an inferiority complex. Voice-overs are invisible and don’t get the recognition they wish to get, artistically and financially. Is this something you recognize in the UK? If so, how can an event like One Voice help change the perception VO’s have of themselves, and the perception of the public?
“I wouldn’t agree that VO’s have an inferiority complex generally – in fact they often get the best of both worlds in that they get to work with the big productions but can still walk down the street un-hassled! But the public perception of VO around the world is growing daily.
One Voice, and Gravy For The Brain definitely help change the public perception of voiceover, both in education and (with things like the One Voice Awards) in celebration. The more opportunities given to shout about their craft, the more the public takes an interest. Some VO artists are becoming household names in the UK and the USA and the industry is changing at a rapid pace.”
Looking back at the past two events, what has been your most gratifying experience?
“This is actually easier to answer than you might think! One Voice is a little like the analogy of the duck swimming on a lake; calm, serene and in control on the surface (which is what the public sees) and feet paddling like crazy under the surface (which is what our fantastic team is doing behind the scenes to make everything smooth and enjoyable for the delegates).
The amount of work that goes into the conference before the event is absolutely huge, from dress rehearsals, to coding, to awards and submissions, to speaker bookings, you name it, the team does it – and it’s right that the public never needs to know.
So what’s my most gratifying experience? I stand at the bar at the end of the day and I look around at all the VO’s and speakers gathered together – and all I see is smiles, and happiness, community and mutual respect. Seeing everyone being so happy after all the work, all the late nights and all the hours involved makes me as happy as I can be.”
These conferences cost a lot of money to organize and that’s one of the reasons you have corporate sponsors. How do you give your sponsors what they want without exposing the attendees to aggressive sales pitches?
“Yep – it’s a good point, and not all conferences get this right. I think one of the reasons for this is that virtually no other conference owner is also a sponsor at other conferences, whereas Gravy For The Brain has sponsored almost all the VO conference in the world in the last two years. We see what works for us, and when, as sponsors we are disappointed – we know what works for us and when we feel we are getting value, and when we feel neglected.
But it’s also worth saying that it’s a little sycophantic to presume that it’s an us (VO’s) and them (sponsors) scenario – in fact, it’s a completely symbiotic relationship; the sponsors are generally providing products or services that we love and need as a community, and although it’s a business, we’re all in this together.
When it comes to sponsor talks, we’re quite strict on not allowing sponsors to do sales pitches – that’s not the best use of their time at all – and instead we fixed the whole ‘expo area’ idea, which is done so wrong in so many other conferences – if you have to have a ‘room’ for the sponsors, by default delegates have to make a conscious effort to visit so attendance is always low.
At One Voice the expo area is the connection space between all the presentation rooms, so we have a constant flow of traffic for the exhibitors. Because of this the sponsors have no need to use their talk to be the only time they can pitch to the voices – they’re just integrated into the conference as a whole.”
Talent that’s on the fence about going, usually has a few questions about the conference:
– Is this suitable for beginners?
“Yes, all levels. As I mentioned earlier, we’re now presenting content for the professional, which means that all levels are going to learn as much as we can provide for them.”
– Will I get lost in the crowd?
“No. The fire limit for One Voice is 350 people, which in reality means 300 voice artists. It’s a lovely intimate space and has a real family feel to it!”
– Will it get me more work?
“Well, anyone – conference owners, trainers, coaches, whoever who says that their product is going to get you more work, is a liar, or at best misguided. What we are doing is helping you make connections and network, and giving you education and tools for you to be able to do this for yourself…and in that way, yes absolutely!
VO is a long game and no one is going to do this for you – it takes hard work and dedication, but One Voice is the best networking opportunity, an amazing centre of excellence in education and the most value-for-money conference you can attend in the UK.”
meeting Mark Graue
– Will I have the opportunity to meet face to face with presenters?
“Absolutely. it’s such a social event, and most of the presenters are there for the whole weekend. We’ve consistently found that our presenters are extremely generous with their time and their advice – they’re a great spirited and friendly bunch! The overriding word that comes back to me here is community – they are as much a part of it as you are, and their expertise and experience is arguably the most valuable part of the weekend.”
What’s new in 2020? Why should people who already have attended a conference come back?
“So I previously mentioned the refocusing on professional standards, education, and tuition. This extends through to all the areas of the conference, from talks, to workshops, the networking to the community and our sponsors. Almost all of our speakers this year were not speakers last year which is part of our ongoing commitment to provide value for money, freshness, and diversity in the content we are providing.
At the end of last year’s One Voice I polled the audience about our workshops and what people thought – we had a pretty polar split with those who loved them, and those who thought the content was great but that they were too short. So we listened, and this year we will be providing the one-hour workshops which are still free with your ticket, and also three-hour specialised workshops which will have an additional fee. It’s only fair that we pay the experts who are imparting their knowledge for a 3-hour period.
The One Voice Boat Party is back, because it was so hugely successful and fun last year – we just couldn’t resist doing it again!”
As I was conducting my interview, Hugh broke the news that Alexander Armstrong had agreed to become the second keynote speaker (Kate Robbins being the other one). Alexander is a well-know British voice actor, comedian, game show host, and singer. He also plays the title character in the new edition of Danger Mouse.
Back to my interview with Hugh. I wanted to know: Will you still have the Awards Gala?
“I’m glad you asked! Yes the One Voice Awards is growing from strength to strength and is becoming a genuine force for good in the VO community. Because of our ethical values and the truly locked nature of the judging system proving 100% absolute integrity, the One Voice Awards are seen as a wholly trusted and worthwhile thing. It’s also one heck of a fun night!
We have some very cool surprises up our sleeve this year too! Submissions will open in January – and for anyone who isn’t on our mailing list just head over to www.onevoiceconference.com and sign up to the newsletter – and further details will follow!
Bodalgo’s Armin Hierstetter
We’re running a super early bird at the moment which is 30% off the ticket price and lasts only up until Christmas Day. The price for the entire 4-day event (excluding the awards) at this discount is only £229 +tax (that’s about 300 USD) – which represents incredible value for money. Then we go into the Early bird for a few weeks in January and then normal ticket pricing after that.
We have negotiated an amazing hotel rate which includes breakfast, and of course lunches are included within the ticket price. One Voice Conference is the UK’s biggest and best VO conference for a reason – we really care about each and every one of our attendees – and we’d love to see everyone there for our third year!”
Many thanks to Hugh for taking the time to answer my questions, and frankly, for having me at One Voice.
From the many responses I get, I know there are quite a few fans of this blog in the UK as well as in the rest of Europe. I’d love to meet you at the One Voice Conference where I will be doing a one-hour presentation on how to increase your visibility, SEO, and professional reputation by blogging, followed by a thee-hour interactive workshop where we will dig in a lot deeper.
As you may know, my blog has propelled this website to becoming the number one individual VO website on the interweb. If you play your cards right, you could very well follow in my footsteps, and I’ll do whatever I can to get you there.
For some it’s the month of office parties, end of the year bonuses, and family visits. It’s the month of togetherness, opening presents, and chestnuts roasting over an open fire.
As a minister’s son, I quickly learned that December had another side. I barely saw my father who was off to lead a million services, feed the hungry, and comfort the sick.
My mom was always in the kitchen baking for the congregation, nursing homes, and homeless shelters. She collected coats for those in need, and knitted shawls for the elderly.
To the community, my mom and dad were practically saints with an ideal marriage. My sister and I missed seeing them in the holiday season, and we hated the heated arguments of two people with too much on their plates.
Growing up, I quickly Iearned that, in spite of what Hallmark tells you, many people are dreading December.
While the rest of the world is exchanging expensive gifts, some people are figuring out how to get to the end of the month on a minimum wage.
Will there be money left to buy the kids some presents at the Dollar Tree? Is there enough gas in the tank to drive to work? What happens when the water heater finally gives up?
Being poor is expensive and stressful. Add to that the judgment of ignorant folks who blame you for being on food stamps as a single parent working two jobs while raising children.
Some people have enough money in the bank, but they have other problems. As everyone gathers around the Christmas tree, they feel the loss of a loved one. The tragic unfairness of life is that the older you get, the more people you’ll lose.
After my stroke, I mourned the loss of part of myself. In the beginning, I felt I was living in a permanent state of brain fog where I couldn’t remember words, let alone form cogent thoughts. And when the thoughts finally came back, my mouth had trouble expressing them.
I asked myself: “Is this normal?” “Will I ever get back to the Paul I used to be?” “Will I be able to start working again?”
Emotionally, I was all over the place. As someone who was used to being proactive and independent, I had to learn to lean on people and ask for help. I still can’t get over the fact that it’s not safe for me to drive a car. I can’t drive to the supermarket to pick up groceries. I can’t pick up my daughter from school, and I can’t even drive my wife to the hospital in case of an emergency.
Frustration, anger, and disappointment are emotions I’ve become very familiar with. When triggered, I can go from zero to eleven in a heartbeat. When that happens, I’m like a toddler throwing a temper tantrum. My blood begins to boil, my heart starts racing, raising the risk of another stroke.
Now, add to that my newly acquired misophonia(an extreme sensitivity to certain sounds), and you’ve got yourself a recipe for trouble. Some doctors would have started prescribing anti-depressants, but I’ve never been a proponent of numbing symptoms while ignoring the cause. Instead of pills, I opted to see a psychologist. A neuropsychologist, to be exact.
My bi-weekly meetings began in May of 2018, and have continued ever since. My therapist is a sounding board as I struggle, rebel, and grasp to make sense of my situation. He never tells me what to think or what to do, but he helps me come up with coping strategies. Implicitly, he encourages me to be the source of my solutions. Talking to him, I identify my pitfalls and I own my progress, one step at a time.
I’ve now come to a point where those who don’t know me can’t tell I’ve had a stroke. That’s pretty amazing considering the fact that the stroke team waiting for me in the ER had plenty of reason to fear for my life. But just because you can’t notice anything on the surface, doesn’t mean all is well. I am still in recovery, and I have to remind myself of that, time and again.
I believe there’s a reason why I’m still around. It’s one of the things that keeps me going. I feel I’ve been given an opportunity to show the world that you can overcome adversity and lead a purposeful life. My wake up call came in the form of a stroke. For you it might be cancer, the onset of a chronic disease, the loss of a job, or the loss of someone you loved.
Life is fragile, and tragedy can be a teacher, albeit a cruel one.
In the end, what happens to you is not always something you can control, but how you respond to it is critical. So, if this December turns out to be particularly challenging for you, please do not isolate yourself. Don’t wait until someone knocks on your door.
Reach out. Seek help. You are not alone.
Look around you. This is the time of year where we celebrate that light overcame darkness. Hope triumphed over despair.
If you happen to be in a dark place, closing all the curtains and withdrawing from the world isn’t going to help. You may not feel like it, but stepping out of your bubble to find ways to be there for others, is a proven way to get out of a funk.
Call an animal shelter and see if you can help. Read to people in nursing homes. Hospitals always need volunteers around the holidays. Help prepare meals for the homeless. Be nice to your elderly neighbors. Bake them some cookies and shovel their snow. It beats sitting in front of the TV, feeling sorry for yourself.
It comes down to this:
Be the light you wish to see, and make this a December to remember!
Sick of building unstable pillow forts in your hotel room?
Done doing auditions under duvet covers?
When (voice) actor Rick Wasserman needed to record on the road, he wanted a portable booth that would travel on a plane without incurring overweight fees.
Such a booth didn’t exist, so he designed one himself. He ordered PVC piping and moving blankets from eBay, and with a bit of DIY, the prototype for the Tri Booth was born. It wasn’t perfect, but it was a start.
Wasserman had no intention of ever selling his contraption to colleagues, until a well-know voice talent saw his booth and made him a surprise offer.
“Perhaps I’m on to something,” said Rick, realizing that his design would need some serious fine-tuning before it was a marketable product. To that end, he teamed up with master audio engineer George Whittam, and together they obsessed over every detail (their words, not mine).
A few weeks ago, Rick and George launched their perfected product, and I got to try it out.
BUILDING A BOOTH
In essence, the Tri Booth consists of a triangular PVC frame that’s covered by moving blankets. It’s super easy to set up because the plastic poles arrive already connected like tent poles. All you need to do is fit the color coded pieces together, hang up the blankets, and add the optional accessories. Here’s how the Tri Booth arrives:
Inside you’ll find a rolling suitcase with everything you need (click on each photo to enlarge). The premium version weighs 45 pounds (about 20 kilograms), and you won’t incur any overage penalties at the airport check-in.
Here are some of the accessories: an LCD light, a small table, a copy holder, and an extension cord (Premium version only).
It took me less than ten minutes to put the frame together. Click here for a demonstration. Note that the connected straps give the structure strength and increased stability.
Next up: the moving blankets. There are three of them. Two “walls” and a “ceiling.” Candlelight recording sessions are out of the question.
The moving blankets are in place. You’re looking at the booth with the “door” open, so you can see the interior. Note that the cloth does not reach the floor. At the level of your microphone, the moving blankets are folded in half to double the thickness.
Here’s my recording set up. Note that the main pole has a microphone boom arm that will accommodate shotgun mics as well as large diaphragm condensers.
By now you must be eager to know what it’s like to record in the Tri Booth. Let me take you inside.
After I recorded this video, the Tri Booth team decided to take the Standard model off the market and just sell the Premium version as THE Tri Booth.
Until now I already had a recording solution for the road, the perfectly portable Harlan Hogan Porta Booth Plus. It’s basically a foldable box, lined with Auralex® foam. How would this travel booth stack up to the Tri Booth?
Here’s a quick and dirty recording to demonstrate the difference. It was made with an iPhone and a Shure MV88+ microphone. First, you’ll hear my voice as recorded in the basement. Then I talk into Harlan’s Booth, and finally I step into the Tri Booth.
As you can tell, the recording in the Porta Booth sounds very muffled, and I wouldn’t be happy sending it to a client. The Tri Booth, on the other hand, sounds surprisingly good. The enclosure manages to tame the reverberations and flutter echoes to leave you with audio as dry as a top-notch Martini.
Keep in mind that booths like these only dampen the sound. They offer little or no isolation, so you’ll still hear leaf blowers blowing, twelve mad dogs barking, and a partridge in a pear tree. The Tri Booth wasn’t designed to be soundproof, but created to be used in a space that already is relatively quiet (like a hotel room).
Now, when I first saw the Tri Booth, it reminded me of another product, the VocalBoothToGo. It also consists of a frame and tailored moving blankets. From the outside the designs look quite similar, although the Tri Booth has three walls and the VocalBoothToGo has a larger footprint with four.
The VocalBoothToGo company offers many options, including double-walled booths they claim can offer up to 45dB of noise reduction. I say “claim,” because I didn’t see any substantiating data from an accredited lab. That noise reduction comes at a hefty price and considerable weight. These double-walled booths are too heavy to comfortably take on a plane.
Their single-walled Mobile Acoustic Vocal booths have a lower price tag, and it would be lovely to be able to do a side-by-side comparison with the Tri Booth. Instead of a PVC frame, the VocalBoothsToGo have an expandable metal frame that for the AVB66 model weighs 23 pounds (a little over 10 kilograms, just for the tubing). Even the smaller version, the AVB4, comes in over 50 pounds or 22 kilograms. For transportation, the company recommends buying their $160 rolling duffle bag.
Colleagues who have assembled both booths say that the Tri-Booth is much easier to put together. The AVB4 has a metal tube frame that feels like you’re assembling a canvas Army tent from the 60’s. It also doesn’t include all the accessories the Premium Tri Booth offers. That’s why it’s also cheaper.
The Tri Booth comes with a service no competitor is offering: having the audio processing for your booth and microphone be fine-tuned by George Whittam. When you buy the Tri Booth, George will take a sample from your existing studio, and he’ll have you record on the fly in the Tri Booth. He will then create a processing preset for the software you’re using to match that sound as closely as possible. It’s like a magical filter.
Rick Wasserman says that when his producers listened to the promos he taped in the Tri Booth, they couldn’t believe they were recorded on the road.
To round up this review, here’s the ultimate question:
Should you put this booth on your Christmas wish list?
As I said in my video, I see two markets for the Tri Booth. Number one: the road warriors. If your life as an international voice over star takes you from hotel room to hotel room, and your clients can’t live a day without you, spending $1500 on PVC pipes, moving blankets, and some accessories is a no-brainer. You’ll probably make your money back in one session.
The second group that could benefit from this booth consists of beginners who need a dry recording space but don’t want to spend thousands of dollars on a WhisperRoom. The Tri Booth is a more affordable solution that delivers as promised.
DO IT YOURSELF?
At this point you might be wondering: “Couldn’t I just go to Home Depot and build my own PVC booth?” You absolutely can, but you should realize that Rick and George have agonized over every detail of the Tri Booth, and it definitely shows. Why reinvent the wheel?
$1500 (excluding tax and shipping) may seem a hefty price tag, but as with all products, you’re paying for the concept, the design, the materials, and the convenience. And don’t forget George’s preset! What you’re also getting is lightning fast, hands-on customer service from the inventor himself. I just emailed Rick a few questions, and literally three minutes later I had my answers! Two minutes later, George chimed in!
So, think about it. How long would it take you to create a portable, lightweight booth that is easy to set up, break down, and transport in a suitcase? If you know your way around the tool shed, it might take you anywhere between six to ten hours to come up with something that might resemble a Tri Booth. If your average hourly voice over rate is around $400, you could make between $2400 and $4000 in the time you’d be piecing together your own booth. I’d say: spare yourself the grief and make some real money!
One last question: Would I buy a Tri Booth?
The honest answer: Not in a million years, but that has nothing to do with the product. The Tri Booth is a solution to a problem I don’t have. My clients do not need me every day, and I’m not a frequent flyer either. When I travel, it’s usually for pleasure.
Yes, I’m one of those silly Europeans who believes that vacation equals preventative healthcare. I don’t want to be always available. It’s stressful and unhealthy. My friends and family need me more than my clients do.
If, however, you’re an average American workaholic living life in the fast lane, by all means, get a Premium Tri Booth and knock yourself out! It’s got my seal of approval.
At this very moment, the retail powers that be, are working you left and right.
They’re preying on you, like a lion lures a lamb.
Unlike the lion (who will do his best to stay undetected until he makes his deadly move), retailers come at you in plain sight. They have no desire to rip you to pieces. They want you alive, so they can bleed you year after year.
Retailers won’t jump you either. Instead, they play a game of not so subtle seduction, with one or two pieces of masterful bait, the first one being (drum roll):
Yes, Black Friday and Cyber Monday are around the corner, and credit card companies are already drooling over your looming debt increase.
We may all believe that we’re independent thinkers that cannot be manipulated, but psychologists know better. They know that one of the strongest human fears is the fear of missing out.
That’s why the time ticker at QVC and the Home Shopping Network is such an effective sales tool. It tells you how much time is left to get this incredible gadget you suddenly cannot live without. That’s why they throw in all these “but wait, there’s more” extras to sweeten the deal, but only if you BUY NOW.
Limited time offers and low prices are classic incentives to get weak and impressionable people to buy stuff. Black Friday and Cyber Monday are the ultimate examples of these incentives, because they only come once a year, and some of the deals are truly incredible.
You and I know that those heavily discounted doorbusters are meant to give you a shopping high, so you’ll buy more once you’re in the door. Besides, these deals will often come back in slower seasons.
If you’re still tempted to empty your wallet around Thanksgiving, I can’t stop you. But allow me to give you a few pointers, if I may.
1. Distinguish between a WANT and a NEED
Every time you’re tempted to make a major purchase, ask yourself:
“Do I really need it right now, or is it just something I want?” “Is it a necessity, or a luxury?”
If you wish to experience sustained success as a for-profit freelancer, there’s one simple formula you must stick to:
Keep your revenue stream high, and your expenses low.
So, if you really, really want to buy this nice, new, shiny piece of equipment, ask yourself:
– Will it make me more professional, productive, and profitable?
– Will my clients experience an undeniable difference as a result of this purchase?
– Will this investment pay for itself within a reasonable period of time?
For instance, a few of my voice-over colleagues are already salivating over a new microphone this season. But a recording will only sound as good as the space it’s recorded in. So, rather than spending cash on a new mic, it’s often much wiser to invest in creating a better acoustic environment.
Most clients won’t hear the difference between a $300 microphone and a $1000 mic. They will hire you because you’re able to deliver clean and crisp audio, without the sound of the neighbor’s leaf blower in the background.
2. Choose High Quality over Low Price
If you must make an investment, do your research before you make that impulse buy. This means you have to overcome one of humanity’s eternal weaknesses: the need for immediate gratification when buying something that’s on sale.
As a freelancer, competing on price is a losing strategy. You want people to pick you because of your added value, and that value is worth something. If you truly subscribe to this idea, you can’t just apply it to your own business. You have to “live it” in all areas of your life. So, stop buying things just because they’re cheap.
Only yesterday, I threw out all the heavy catalogues of the major pro audio retailers without even looking at them. Apart from being a waste of tropical rain forest, I have everything I need to run my business. I’ve carefully collected my equipment over time. I gave myself an opportunity to save up, to gather info, and to invest some of my profits in quality gear that will last for many years.
I’ve said it before, and I will say it again: Buying cheap can be expensive. Buying quality saves you money in the long run, and a whole lot more.
3. Choose the Planet over Price
I already mentioned the catalogues I had to throw away. But that’s not the only thing that concerns me.
In the past few decades, there’s a growing tendency among manufacturers to make things that only last a few years, and cannot be fixed. As a result, we end up with landfills of trash, gradually leaking toxins into the environment. Nature’s resources are depleted, and people in low-wage countries are exploited as they make the shiny trinkets we end up throwing away.
This process will go on for two reasons. One: because the environmental and societal impact of a product is hardly ever a part of the price. Two: because people like you and me keep buying them.
I’m a strong believer in creating change through spending. If I want local businesses to grow; local farmers to go organic, and make a decent living, that’s where I’ll have to spend my money. If I want manufacturers to create products that are environmentally-friendly, that last, and can be repaired, I have to show them there’s a market for those products.
Now, if you believe that you alone can’t make a difference, talk to Tara Button. Tara is Founder and CEO of BuyMeOnce.com. She was so frustrated with our throw-away culture, that she went on a global quest to find things that are built to last, and that are made in an ethical, green way. Her website features kitchenware, furniture, clothes, shoes, beauty products, and other things. Yes, you’ll pay more upfront, but you’ll save money over time.
4. Don’t spend all your money on objects
If you’re still itching to spend (or borrow) Black Friday money, do you really have to spend it on “stuff”? How fulfilling is that, ultimately? Once the rush of owning something shiny is over, there’ll be a new void, waiting to be filled. And what void are you filling anyway, and for what reason? Do you want to impress your colleagues?
To borrow a phrase from a weight-loss coach:
“Until you know what you’re truly hungry for, you’ll never be satisfied.”
We’ve been shoving waste under the carpet for decades. Is that a legacy you can be proud of? You don’t have to agree with me, but I think mother earth would be better off if we’d shift from an economy of “more and more,” to an economy of “enough is enough.”
As we’re celebratingThanksgiving, can we just stop for a moment, and be grateful for what we already have? Can we also spend some time giving, instead of getting? For so many charities, your (tax-deductible) donation is not a want, but a need.
If you insist on giving yourself a gift, why not buy a gym membership (and actually use it)? Why not enroll in a cooking class that teaches you to make healthy meals?
Treat your family to a trip abroad, allowing everyone to broaden their horizons, and to recharge those batteries that have been going non-stop.
Gift yourself to your community by volunteering! Science has proven that it is better to give than to receive. So, be selfish, and share your time and talent with those who need it. It will truly transform your life!
I’ll tell you one thing:
It will beat leaving Thanksgiving dinner early, so you can stand in a stupid line for Best Buy.
And if Black Friday shopping is a cherished family tradition you want to break with, you know there’s only one way to do it:
The older I get, the harder it is to give me something for the holidays.
For one, I have pretty much everything my heart desires and I don’t need to accumulate more stuff. Instead, I’d like to invest in memories, in people, and in experiences that enrich my life and the lives of others.
Those are the things that cannot be bought on Amazon or sold on eBay.
Yet, I don’t blame you if you keep a secret wish list under your pillow as you dream of new microphones, preamplifiers, and the latest and greatest headphones. At the same time, your friends and family members may be looking for some smaller ticket items to put under the Christmas tree or Hanukkah bush.
That’s where I come in!
For the past couple of weeks I’ve been collecting some voice-over gift ideas for people like me, who aren’t so easy to shop for.
Before I show you my list, you should know that by clicking on the images you will be transported to the virtual warehouse that is Amazon. This means a small portion of your purchase will go towards supporting this blog, since I am an Amazon affiliate.
I also encourage you to shop locally as much as you can, but you won’t find many of the items below on the shelves of your downtown retailers.
Let’s start by finding something for our noses!
I have mixed feelings about fragrances. On one hand, I’m no fan of natural body odor. On the other, an increasing number of people are allergic to perfumes and after-shaves. At my doctor’s office, there’s a sign asking patients not to wear any perfume when they come in for a visit.
I clearly remember a nauseating recording session in a booth that appeared to be sprayed with Old Spice from the previous VO. Please do your colleagues a favor and use an odorless deodorant before you come in to record.
If, in your private life, you’d like to be a bit more fragrant, here are two options to consider. I haven’t tested them, but I think the bottles look pretty cool!
The next package is more impressive and expensive. There’s even an unboxing video if you’re really interested.
The following fragrance is not for your body. This microphone-shaped contraption is meant to freshen up your car.
Coming back to personal hygiene, how about some soap on a rope? You can warm up your pipes as you take a long, hot shower.
Here’s one thing I’ve never understood. When you buy a nice microphone, it usually comes in a fancy box or case you’ll rarely use. However, there’s nothing to protect your mic once it’s in your studio. Dust and humidity are major enemies, so my $1750 microphone is hanging in an old sunglasses bag filled with Silica gel packets. There’s a more high-end solution, though.
My next item is a universal microphone protector and dust cover. It’s made from double-sided quilted nylon.
Another company offers a two-pack with custom embroidery included.
My recording studio is in the basement, and my wife’s office is on the first floor. She always knows when I’m in session because of my Harlan Hogan remote controlled recording sign.
Here’s another light for you. An “On The Air” night light. The plug can be rotated to accommodate outlets in any direction.
Then there’s fun voice-over attire. Here are a few examples of what you can find on Amazon.
Most VO’s are avid readers, and some of us -me included- also take up the pen. If you’d like to add to your collection of voice over books, I recommend you send your friends and family to my Concise (and Incomplete) Voice Over Book List on this blog.
If you’re a Manga fan, you’ll be delighted to know that Maki Minami has written a whole series about young voice-over artists. Here’s the cover of volume 1.
If your vocal folds are in need of some TLC, these Voice Lessons To Go by Ariella Vaccarino might be the thing you need.
GIFTS TO YOURSELF
Then there are gifts that aren’t really physical. They tend to be a bit more expensive, but they will definitely help you move your business forward.
For $120 per year you can upgrade your WeTransfer account to a Pro version. This gets you your own WeTransfer URL and artwork, email transfers to up to 50 people, and you’ll receive 1TB of storage. This allows you to keep your transfers available for as long as you want. In the free version they get deleted after 7 days.
Why not make this the year year you finally become a member of the World Voices Organization? The new member application fee is $99 USD. You’ll get access to educational materials, WoVO mentors, and VoiceOver.biz, a site where you can post your profile and voice seekers can hire you. Those seekers are serious clients looking for vetted professionals. When you land a job, there’s no commission or agent fee.
Besides, you’ll be a member of an organization that develops and promotes best practices, as well as standards for ethical conduct and professional expertise as it relates to the voiceover industry, run by voice over talent for voice over talent.
Have you thought of giving yourself a ticket to VO Atlanta (March 26 – 29, 2020)? Join colleagues from over 44 states and 20 countries, and enjoy a selection of 200 scheduled session hours by the best in the business. Plus, you get to meet me!
For those who are wondering if VO Atlanta is worth attending, here’s a quick recap of this year’s conference.
Well, there you have it! My list of voice over inspired holiday gifts. There’s one thing you should know, though.
Nothing on this list comes even close to the gift you have given me throughout the years: your continued support for this blog and for me.
I am beyond grateful for your kindness and your willingness to spend some time with me, week after week.
It is truly something I am immensely thankful for.
Until now, I’ve used a service called Feedburner to enable people to subscribe to this blog. Google stopped supporting this service quite some time ago, but it was still operational.
As of today I have retired Feedburner, and replaced it with a simple subscription system provided by Jetpack.
What I did not do is automatically transfer thousands of Feedburner subscribers to the new system. That may not seem such a smart move, because I’d stand to lose many subscribers. However, I feel I cannot just move your private information over from one system to another without your permission. That choice has to be yours, not mine.
If you feel this blog offers enough value, I ask you to please go to the top right-hand part of this page and resubscribe using the new system. You will receive a short email asking you to confirm your choice. Mind you: you can always unsubscribe if my musings are no longer relevant or interesting to you.
I will weep in silence, but eventually I’ll get over it.
LOSING YOUR INTELLECTUAL PROPERTY RIGHTS
With that said, let’s move on to my friends at voices dot com (VDC). Every member past and present has received an email notification saying:
“As part of our regular updates, we’re making a few changes to our Terms of Service to reflect new features, clarify our policies related to file ownership and improve your experience on Voices.com.”
As I reported on Monday (a day before VDC made the announcement) CEO David Ciccarelli had decided that, in order to “improve your experiences on Voices.com,” it would be best to hand complete ownership of your finished work over to VDC.
As soon as your audio has been uploaded, VDC can do with it whatever it wants. Once the client has paid in full, that ownership is transferred to the client.
6. Non-Union Work Product: With respect to non-union voice work produced by Talent for a Client in connection with a Services Agreement or an accepted Job Posting (“Non-Union Work Product”), immediately upon the transfer, transmission, submission or upload of Non-Union Work Product through the Site, or otherwise through a Service, Talent: (i) transfers, assigns and conveys to Voices.com, all right, title and interest (including without limitation copyright) in and to such Non-Union Work Product (including without limitation sound recordings, performances, compositions, musical works and other copyrighted content included therein) that Talent has agreed to provide the Client (via Voices.com) in the applicable Job Posting, Services Agreement or other agreement between Talent and Client; (ii) waives all moral rights (and all other rights of a like nature) that Talent may have in such Non-Union Work Product in favour of the applicable Client (and any third party authorized by the Client to use such Non-Union Work Product); and (iii) agrees to execute any and all such further documents as Voices.com may request to confirm and/or give full effect to Voices.com and/or the applicable Client’s rights hereunder.
Without limiting the generality of the foregoing, Voices.com (including its assignees or licensees) may use Non-Union Work Product in accordance with the applicable Job Posting, Services Agreement or other agreement between Talent and Client without restriction and without any rights of approval by Talent. Upon payment in full by the Client, Voices.com grants to Client all right, title and interest (including without limitation copyright) that Talent has agreed to provide the Client (via Voices.com) in and to the applicable Non-Union Work in the applicable Job Posting, Services Agreement or other agreement between Talent and Client, which for greater certainty will be limited and subject to any purposes, intent, scope and restrictions (including, if applicable, category of use, market size and time period) set out in the applicable Job Posting, Services Agreement or other agreement between Talent and Client. In the event the applicable Services or Job Posting does not specify such limits nor usage restrictions, a full buy-out of the Non-Union Work Product is assigned.
A BIG DEAL
Why is this even an issue? Our colleague Chris Thorn comments:
“If Burt’s Bagel Shop (of course I am making this up) wishes to pay me X number of dollars to voice an advertisement for them, frankly, I’m all for it. I’ve done him a service, he has compensated me, and we both live happily ever after. That I do or do not own the intellectual property rights to that 30 seconds of Emmy quality audio troubles me not. What on earth am I going to do with the property other than sell it to Burt who has already purchased it.
Most of us don’t play with the “big boys”. Here is where we carve out our niche and put food in our belly’s, that I don’t have the intellectual property rights to Burt’s Bagels ad, Sally’s Fine Nails Internet Explainer Video voice over, or Junk City’s benefits presentation audio troubles me very, very little. Signed, An Unconcerned Voice Actor”
First of all, the right to ownership of your intellectual property is in the US Constitution. Apparently, you need a Dutch voice talent to point that out. Just because a third party is paying for your voice over recording, doesn’t mean they own those rights, UNLESS you agree to signing those rights over in a work for hire agreement made prior to you starting the job. That’s how it’s done.
It’s not for a company like VDC to automatically give that right away using a Terms of Service Agreement most members won’t even read.
Secondly, if a company wants exclusivity, THEY PAY FOR IT.
UK Colleague Marcus Hutton explains:
“The level of exposure matters. And in your fee there should always be an exclusivity element built in. Heavy association with one product will naturally take similar products off the table (who wants to use the same voice that a rival uses?). If you go and work for Betty’s Bagel shop then Bert won’t be using you again and bang goes you client relationship.
Even if your job is is officially non exclusively licensed, a rival client would be very peed off if they made the connection. Unofficially, radio stations ( as an example) who do not pay exclusivity fees just won’t use you for a competing product. And how on earth can you negotiate a fee with Bert’s Bagel Shop in the first place if you don’t know what the usage will be ? In Europe that’s now illegal under the new copyright directive. Clients can be fined for providing insufficient information.”
“A study by the IP department of a major UK university on voice overs licensing, and unfair practises by P2P platforms is underway, and the first part of their research was published earlier in the year. There is more to come specifically on the legality of P2P licensing and how it varies between the US and Europe and what part the WIPO (World Intellectual Property Organization)can play in making things fairer. Jurisdiction will be a hot topic.”
Click here to access this study. Here’s one of the conclusions:
“In a two-part analysis, this study demonstrates that online peer-to-peer recruitment platforms defeat the framework of intellectual property (copyright and performers’ rights) on a global scale.
The results of the survey show that: online peer-to-peer recruitment platforms are perceived very negatively by voice-over performers; the use of written contracts, summarizing the key aspects of a transaction is extremely rare; and, there is a critical lack of awareness of intellectual property rights within voice-over performers paired with a perceived lack of representation by unions or organizations to defend and advance their rights.”
“Talent should think long and hard about waiving their intellectual property rights through a buried term in a terms of service agreement on a website. The end client may ask the talent to sign a work for hire, but it’s an open question for me whether TOS is an enforceable work for hire.”
And by the way, what would you, Chris Thorn, do when VDC uses the explainer video for Sally’s Fine Nails as a national commercial, or uses it for years past what you contracted for? How are you going to stop them from doing that if you have no more ownership of your work?
Unlike you, I did not make these examples up. These are actual cases that were litigated and reported by VDC members. Or how about when they use your work to create an AI database to do who knows how many jobs that you could have done to put food in your belly? It’s no secret that VDC has a partnership with AI company VocaliD.
Ciccarelli explains how this change in TOS came about:
“We listened to your feedback via online forums and our customer advisory group. We consulted industry experts, our board of directors and finally, our legal counsel.”
If you’re a VDC member, were you asked to weigh in on this decision that impacts your livelihood? Did you give VDC feedback, begging them to please take away your intellectual property rights to make the poor clients happy?
Only a fool or an extremely naive beginner would do that.
I have many connections in the voice over world, and as far as I can tell, no voice talent was ever consulted.
Once again, VDC is pulling a fast one, screwing the talent it depends on to make millions.
What else is new?
Voiceoverist extraordinaire Philip Banks has this to say to VDC:
“Dear Dave, Steph and all you lovely Voice Devils Canada. A client, not you, will pay me for the reasonable use of my work. My performance was, is and will remain my property. YOU, dearest Dave, Steph and the lovely Voice Devils Canada take an annual fee from me and an undetermined percentage of my income, MY INCOME, derived from your site. That’s it.
“In order to improve service” as used in your T&Cs is like greasing my wallet in order to improve the service I get from Quentin the local pickpocket.”
I just received an email from Michelle Melski, the new communications manager at Voices Dot Com (VDC).
“After conversations with customers and industry stakeholders it became obvious that we needed to clarify our Terms of Service, particularly around the ownership of files.
Our terms of service will be updated tomorrow (11/12/’19 PS) to reflect that voice talent own the demos they are uploading to the website and that the clients own the finished work. Our CEO will blog about it in more detail on our website tomorrow, but I wanted to give you a heads up because I know that it matters to you.”
“As always, voice talent are the owners of their demo materials. Voices.com holds ‘non-exclusive’ rights to host and promote these files through our website and mobile applications.
Additionally, clients own the final files for the work that they have paid to have completed on Voices.com. Ownership and usage of final files is determined by what’s written in the job posting, service agreement or other agreement between the talent and the clients.”
“I trust that you’ll see our commitment to providing a valuable service that is governed by policies designed to protect our community.”
To some this may not seem like a big deal, but in my understanding an independent contractor owns the intellectual property (IP) rights to his or her creation, in this case an audio recording.
Unless the talent explicitly waives those rights, the client does not own the finished voice recording. The client only pays for limited usage of the work. It’s very much like a professional photographer keeping ownership of the negatives while the client pays for limited use of those negatives.
Only if you have a written contract in place (a so-called work for hire agreement) that was agreed upon before the job began, stating that the intellectual property belongs to the client, the freelancer loses his or her rights. If there’s no written agreement, the IP remains with the voice talent.
Mind you: just because the client paid you for your work does not mean he or she automatically owns the intellectual property rights.
The big question is: are the VDC Terms of Service (TOS) the same as a work for hire agreement?
“This issue will need to be tested by the Courts, and talent should think long and hard about waiving their intellectual property rights through a buried term in a terms of service agreement on a website.” Rob continues:
“The talent owns the recording unless they sign a work for hire agreement. Does the TOS meet the terms for a valid work for hire agreement? In order for it to be challenged properly I would recommend talent register the work as a sound recording with the US Copyright office just prior to submitting to VDC. The end client may ask the talent to sign a work for hire, but it’s an open question for me whether TOS is an enforceable work for hire.”
Rob writes in his book:
“Voice talent are most certainly hired to do most voice over jobs as “work for hire,” meaning that whoever hires the voice talent is retaining the right to copyright the finished product with the talent’s voice on it. This is normal and customary in the business.”
Here’s my take on it.
As freelancer, I am free to set my own terms and conditions when working with my clients. I can negotiate my rate, in part based on intended usage of the audio, precisely because I own the intellectual property rights to my recordings. Why would I want to give those rights away?
Has VDC asked any of their talents if they agree that content created by the talent for a third party belongs to that party, simply because VDC claims their Terms of Service trump intellectual property laws?
And if you’re giving something away, shouldn’t you get something in return?
I asked VDC’s Michelle Melski:
“Does this mean that all VDC members effectively agree to a full buyout in perpetuity? If so, how will this be reflected in the rates?”
“As always, clients are only able to use the files for the specifications laid out in the Job Posting, Services Agreement, or other agreement between Talent and Client. Our CEO will outline this in more detail on our blog tomorrow (11/12/’19 PS).”
What guarantees does the talent have that clients owning the finished work will stick to those agreements? How is VDC going to monitor and enforce that? And will VDC rates go up in exchange for talent giving up up their intellectual property rights? And should you really have to register your work with the US copyrights office at $35 a pop, every time you land a job on VDC? Is the client really willing to wait until your voice over is officially registered?
As Rob Sciglimpaglia notes in Voice Over Legal:
“The copyright is effective on receipt by the Copyright Office, and you will receive your registration certificate in four to five months. Because of this time delay, it’s advisable to send the material by either certified mail (return receipt requested), or courier (such as FedEx or UPS).”
The following screenshot provided by VDC outlines the specifications a client must list when posting a job for a voice talent at VDC. Michelle Melski says the rate is adjusted based on the parameters of the job.
Just remember that transparency has always been lacking at VDC, and since I’m no longer a member I cannot tell you if rates have actually gone up.
This whole relinquishing your rights thing is clearly a move that benefits clients and not the talent VDC says it represents. What community is VDC actually protecting?
It’s no wonder why so many smart voice actors have left this company, and why VDC is no longer welcome at conferences like VO Atlanta.
So, will this be the final straw for you, or are you okay with VDC giving away your rights to please their cheap clients?
Do you want to hear my formula for voice over success?
Number one: There is no formula. Just talent and hard work.
Number two: It’s getting the basics right. Consistently.
Number three: Learn from the best and distinguish yourself from the rest.
Number four: Make it easy to hire you and easy to work with you.
I was reminded of those last points as I got involved in the casting of a project for a Spanish client. He asked if I could help him find a few Dutch female voices for an hour-long museum tour.
But where to start?
With so much talent, I had to find a way to separate the wheat from the chaff, knowing that my recommendations would also reflect on me. In my role as voice seeker I came up with a couple of principles that are so obvious that they’re often overlooked. Here’s number one:
People are more likely to suggest and hire people they know and can relate to
The longer I am in this business, the more I’m reminded that connections are the key to a sustainable career. If you don’t have a long-term strategy to cultivate these connections, you’re going to have a hard time.
Why are connections so important? It comes down to the most valuable commodity in our volatile line of work: trust.
“But I don’t know anyone in the business,” said a newcomer. “I’ll never be able to break in.”
“Then make some friends!” I said. “With social media it’s never been easier. Don’t wait for others to take the initiative. Start reaching out!”
A year or so ago, I became more active in a Facebook group for Dutch talent. I rekindled old connections, and began making new ones. I received friend requests, and asked people to befriend me.
Some colleagues were predominantly interested in how I could help them land big American clients, and I understand that. Others were also interested in me as a person, and they offered their help.
From the moment I started my life as a freelancer, I’ve learned to pick out the ME-people from the WE-people.
The ME-people ask: “What can you do for ME?” They are mainly interested in getting.
The WE- people ask: “What can I do for YOU?” They are mainly interested in giving.
You’ll notice the same thing when people discuss the merits of going to voice over conferences. Some want to know: “What’s in it for me? Will I get my money’s worth?” Others ask: “How can I contribute? What can I do to help?”
I’m very much drawn to the WE-crowd. The ones who want to cooperate. Those are the people I am likely to recommend.
So, if you want me to put in a good word for you, become a go-giver instead of a go-getter!
Here’s the second thing I value when recommending fellow voice talent:
Make it easy to find you, and to get relevant information about you
When I started searching among the members of the Dutch voice over group, I noticed that many still use a personal profile instead of a professional Facebook page to highlight their voice over work.
If you do this too, this means that I, as a voice seeker am looking at your family photos where you pose in a tiny bikini holding a beer stein looking tipsy. I see your political postings, and the slightly weird way you interact with your friends.
Like it or not, I form an opinion which may or may not be favorable. If it comes down to you and another talent, and I don’t happen to like your political affiliation or your love of lager, you’re out.
What also surprised me was that a good number of talents didn’t have any contact info in the About-section. Not even a link to their website! You want me to recommend you for a job, but you won’t tell me how to reach you or check out your demos? I’m a busy guy and I don’t have time to track you down.
Your most critical information has to be one click away.
Your demos need to reflect the totality of your talent
You can have the most amazing art work on your website and a wonderful bio, but if you post three demos and they all sound the same, you are selling yourself short. Very few voice overs can make a living being a one-trick pony. No one wants to come to a restaurant where the cook can only make three dishes.
So, if you wish to be a working voice talent, I want to hear you narrate some audio books, teach me a lesson through eLearning, sell me a product or a service, give me a guided tour of a museum, and act out a few video game characters. Show me your range.
Don’t only post your overproduced, expensive demos with all the bells and whistles. Clients want to know how you sound in your home studio with your own equipment. Unsweetened. In heavenly mono.
Eighty percent of the website demos I listened to for my Spanish client could not be downloaded. That’s another stumbling block. First I had to find the website. Then I couldn’t find a demo that didn’t sound salesy. On top of that there was nothing to download and send to the client.
Who is playing hard to get?
Eventually, I did get my demos, but most of them didn’t have the talent name in the audio file. They just said something like “Audio tour 2019.” Why is that a problem?
Imagine having to cast this job, and out of twenty to thirty samples you find your top three. The problem is, you don’t know which talent recorded which demo because it’s not listed in the title. Now you have to spend more time finding the name that goes with the voice.
Let’s move on to number four:
Be responsive, ask the right questions, and follow the instructions
If you’ve ever had to hire voices, you know that you can weed out seventy percent of talent because:
the audio quality is terrible
deadlines are ignored
talent makes the wrong assumptions
talent can’t follow simple directions, and is
unable to interpret the script
So, which talent gets hired? The talent that’s capable, available, and affordable. If you can’t deliver on all three fronts, you’re gone.
At the beginning of my day I approached ten voice talents. By the end of the afternoon seven got back to me. Out of those seven, five asked questions about the job. Three offered to record a custom demo.
In order to put in an educated quote for this audio guide, you need to know:
the length of the script
does the client want finished, fully edited audio that is separated, or is it okay to send in one file
what’s the budget
does that include retakes
Since the script was still being translated, I couldn’t give the talent a text, but at the end of the day, four sent me a sample of audio tours they had recorded in the past. The remaining three had found a few paragraphs of a real audio tour and sent that in.
Full marks for everyone!
The quotes I received for an hour of finished audio were between €850 and €2500. The cheaper talent sounded just as professional as the more expensive talent.
Now, it took me a few hours of communicating with my colleagues and my client to get the right information to the right people. I was only helping out, remember?
Do I have any idea who will get hired?
Call me cynical, but based on my experience, here’s what I predict.
The client will thank me for my efforts and post the job on Voice123 or on that other online casting auction house, the one in Canada…
…where they will find some sucker who is willing to do the job for $250 or less, claiming he has to “feed his family.”
No questions asked.
And thus, our business will slowly go to pieces. One lousy job at a time.
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