voice acting

How Do I Audition For Voice Acting Jobs?

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Let’s get this out of the way first and foremost: This article is about making the most of your auditions. If you have NO IDEA how to audition for voice acting jobs then you PROBABLY AREN’T READY TO BE AUDITIONING FOR VOICE ACTING JOBS.

I know that sounds harsh, but it’s true. Auditions are a privilege and a first impression. If you aren’t in a position to make a good first impression, you’re going to look unprepared and unskilled. 

That being said, let’s go ahead and assume that you DO have the skills in place to audition and are simply trying to best prepare yourself to start submitting.

Awesome! This article will break down some audition basics and things that you should know when you’re cracking that mic and sending off that audition. It’ll cover “Understanding the Specs”, “What to Record”, “What to Edit Out”, “Making Choices” and more.

Let’s start with…

Understanding the Specs

Most auditions should come with specs (a brief written explanation of the audition) that can include background info on the project (tone, audience, genre etc) as well as submission requirements. 

In these submission requirements, they may give you lots of great info! Or they may leave you asking questions.

Here’s an example of GOOD Submission Requirements:

Audition Due: Monday, 5/27/2024 9:00 AM ET / 6:00 AM PT 

Title mp3 files as shown: FirstLast_CharacterName

Please record lines as ABC ABC if submitting multiple takes.

Email your audition to tyler@tylerhyrchuk.ca with the subject line: Project Francis Audition – Your Name

So what does all that mean?

You know you need to submit before Monday, 5/27/2024 9:00 AM ET / 6:00 AM PT. The sooner the better! Do your best to submit early because sometimes the client will start listening to the auditions before the deadline!

You know how to name your mp3 file. But PAY ATTENTION TO SPACING. FirstLast_CharacterName and First Last_Character Name are TWO DIFFERENT NAMING FORMATS.

FirstLast_CharacterName = TylerHyrchuk_FrancisDragonborne

First Last_Character Name = Tyler Hyrchuk_Francis Dragonborne

It may not seem like a big difference, but casting directors frequently say that if you don’t follow naming formats, they may not even bother listening to your audition! Because if you can’t follow instructions, you may not be the best choice for their project.

ABC ABC is arguably the more common auditioning format. 

A: Stop, thief!

 B: I wanted to thank you.

C: This isn’t over.

If you were reading those three lines for an audition and were recording two takes (which I highly recommend unless you’re told otherwise by the specs), you would read the lines like so:

Take 1: Stop, thief! | I wanted to thank you. | This isn’t over.

1-2 Second Pause.

Take 2: Stop, thief! | I wanted to thank you. | This isn’t over.

This may seem intuitive enough, but some people and projects may ask you to do AABBCC which would look like this:

Take 1: Stop, thief! | Take 2: Stop, thief! | Take 1: I wanted to thank you. | Take 2: I wanted to thank you. | Take 1: This isn’t over.  | Take 2: This isn’t over. 

Finally, the specs told you how to fill out the subject line of your email and who to submit your email to.

So what’s missing?

Well, the specs didn’t tell you what to say in your email. Many people will follow those instructions and put nothing in the body of the email which I would not recommend. The body of the email is another chance for you to sell yourself! Thank them for the opportunity, share your socials or website, tell them about your gear and setup.

Great, so understanding the specs are out of the way, on to…

What to Record

First, there’s a slate.

Slates can be divisive. Some people don’t like them because they feel slates “waste their time”. 

Others love them.

Regardless of your opinion on slates, ALWAYS slate if the audition specs call for it and pay very close attention to the instructions. Some slating instructions will ask you to list your gear or say “I have a home studio”. This is another opportunity to show you can follow instructions.

From a practicality sense I personally would include some sort of slate just because if your file is accidentally renamed then they still know who’s audition they’re listening to because you slated!

The minimum for a slate is your first and last name or your stage name. You can also include the character you’re reading for and if possible the agency you’re represented by. 

There’s also the less utilized “Tail Slate” or “End Slate” where you place the slate at the very end of your file. Chances are that most people won’t hear this, but it’s a nice little surprise for those who listen to the very end.

You can also say “Take 1” before your first take, “Take 2” before your second or “X number of Takes” at the beginning of your file.

Speaking of multiple takes…

If you’re doing two takes (which I recommend) MAKE THEM DIFFERENT. 

Make different choices emotionally, vocally, tonally, switch up your pace, emphasize different words, change your volume. Doing two takes that are too similar may hinder you in the long run, while doing JUST one take may not show enough of your versatility.

What to Edit Out

Slate, Take 1, Take 2. Easy enough right?

Well, you want your first impression to sound like you belong in the CD’s project; whether that’s on TV, in a movie, on the radio.

If the first thing a casting director hears is mouth noise, too long of a pause or a big breath, chances are you aren’t getting hired.

If the CD has to listen through a long silence or hear excessive mouth noise, clicks and breaths throughout your audition, chances are you aren’t getting hired.

If the CD has to ride their volume knob, turning it up and down throughout your audition, chances are you aren’t getting hired.

Your audition needs to contain everything the CD wants to hear and nothing they don’t want to hear. So editing out extraneous noise, hums, unnecessary breaths (some breaths are okay if they’re not distracting and are part of the performance!) and keeping the silence between takes and lines to a minimum is ideal. Not no spaces in between, just nothing longer than 1-1.5 seconds.

Editing out flubs and errors is important too. If you mess up a line or do a take you didn’t like, re-record the flubbed line and remove the take you didn’t like!

PRO TIP: Listen to your audition back LOUDER than you normally would, to hear for anything you should take out. Looking at a waveform can also be deceiving if there’s an errant noise that you can hear but it’s imperceptibly small on the waveform that you can’t see it.

Making Choices

My mom always said “make good choices”. She still says it, but she used to too.

The difference between the vast majority of auditions are the choices each voice actor makes. 

Perform this line out loud:

“I can’t believe you came back after all these years.”

A lot of VAs will read it just like that. Straight ahead with a period at the end of the sentence. The difference lies in the ones who will not just “read it”.

Now perform this line out loud:

“I… I can’t believe you came back… after all these years…”

Did that line sound sadder? Betrayed? Excited?

Now perform this line out loud:

“I can’t believe YOU came back after all these years!”

Did that emphasis make you sound angry? Did you say the line faster that time? Louder?

Perform this line out loud 3 times in a row:

“I found it sir.”

Did all three takes sound different? Was one louder than the others? Faster than the others? More proud than the others?

So many VAs make the mistake of NOT making choices when they audition. They do the bare minimum, getting the lines out and then throwing on an accent or an affect and reading the lines again almost the same way for take 2 and calling it a day. Make choices and stick to them!

Now, what if there are very minimal directions for the performance? 

“Soldier” is a very broad descriptor compared to “Battle hardened 25 year veteran who is retiring after this mission.”

But here’s the thing… “Soldier” can be “Battle hardened 25 year veteran who is retiring after this mission.” But “Soldier” can also be “Shell shocked 18 year old on their first deployment” or “Hot head and trigger happy ammunitions expert who loves war”.

Now you might be thinking “What if I chose wrong? What if I picked the Hot Head when the CD wanted the Shell Shocked Teen?”

The casting call specs would have told you if they wanted a Shell Shocked Teen. They didn’t. They just said “Soldier.”

So making a strong choice and performing the lines as a Hot Head (even though possibly the wrong choice) will almost always make a better impression than performing the lines like 90% of the other auditioners did. 

Imagine you’re a Casting Director and you had to spend an entire day listening to a hundred people say the same three sentences exactly the same way. Now imagine how much a read would stand out if a few people sounded different from the other 97 (even if they weren’t different in exactly the way you were looking for).

Make strong choices. Take risks.

You already don’t have the job.

And More

Wrapping this up with a few general audition notes for those of you that stuck around.

> Send your audio as an MP3. It’s a relatively compact file format and works in most instances UNLESS OTHERWISE SPECIFIED BY THE CASTING CALL. 

> Some processing and editing is okay so you make your audio sound as good as you can without OVERPROCESSING. You’re not showing the CD that you are an audio engineer so your editing skills aren’t on showcase. But if your edits (or lack of them) are distracting from your performance, it can only work against you.

> Aim to have your audio peak at -3dB to -1dB. Most VAs will probably lean towards -3dB but here’s the thing… Some people actually equate how loud something is with how good it is and may even think “louder is better”. So, dealer’s choice at the end of the day.

> Don’t just normalize everything and call it a day because you’re also normalizing any hum and background noise. Make sure normalizing or volume adjustments happen AFTER noise removal in your Fx chain.

> Auditions are about finding the right person but they’re ALSO about eliminating the wrong people. That’s why some auditions add hurdles, to eliminate people that don’t jump over them. CD’s have ZERO obligation to listen to your whole audition, so if they find a reason to throw it out in the first five seconds, they will.

Now go out there, find an audition and book that job!

 

Thank you as always to my wonderful and talented Voice Actor friend Ed Selvey for always giving me notes on my blogs before they’re posted.

The Hard Truths of Voice Acting

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Voice Acting is one of the BEST jobs you can have. It’s fun, unique and when you book, it (usually) pays well. You can do a lot of it on your own time or at your own pace and there are a TON of free and paid resources all over the place.

But let’s take the rose coloured glasses off for a second.

This post is about some of the hard truths of the industry. If you can accept these then carry on with your VO journey! Keep trucking and the successes will come.

(Note: There ARE exceptions to some of these, but for the vast majority of voice actors, this is the reality of the voiceover industry)

If anything on this list seems insurmountable to you, maybe you need to pivot. Maybe you need to take more time to prepare yourself mentally for voiceover and voice acting. It is not for the faint of heart (ooooohhhhh spooky).

 

You’ll probably lose money your first year.

Starting in voiceover is not cheap. You may get lucky with a great place to record in like a good sized closet in a quiet corner, but gear like a microphone, interface and then training and coaching is not cheap. 

People also often make the mistake of skipping coaching and training and just dive right into auditioning. But think of it this way: If you’ve got a license, would you buy a racecar and start entering races? No, you’d take classes, maybe buy a cheaper beater to practice on and learn how to race!

 

You’ll need a LOT of flexibility to find success. 

Quick turnaround auditions, clients in different time zones, the other people in your household, the construction down the street, the helicopters overhead etc. So many factors come into making VO a career.

Not to mention colds, the flu, strep throat and internet outages!

People also make the mistake of buying a mic, quitting their day job and then praying for success.

Consistently making enough is a challenge. Not to mention once you do book, it can still take months to get paid so you need to be flexible with your bank account and savings. 

Also…

DO NOT QUIT YOUR DAY JOB IN THE FIRST YEAR OF VOICE ACTING*

*Unless you’re consistently making enough from VO/VA to be able to afford to quit and have 3-6 months of rent and expenses saved up.

 

You probably won’t hear back after sending that audition.

Sending an audition is very satisfying. Booking a gig is even MORE satisfying. But guess how often one leads to the other? For the vast majority of voice actors, it’s less than 1%. That means for every 100 auditions you send you MIGHT get one booking.

That’s right, you will audition a TON and will book OCCASIONALLY*.

And guess what? You usually only hear back when you book a job. Sometimes casting will send out a bulk email to those who weren’t cast and occasionally you’ll get a personalized one mentioning you impressed them but weren’t the right fit. But more often than not, it’s radio silence. 

This is especially important because it means if you start auditioning before you’re ready, you’re sending out BAD auditions and you don’t even know they’re bad… That’s why practicing with other voice actors, a coach or in workshops is so important. You want to get to a point where you feel confident that your auditions are consistently good.

*this is regarding paid work as unpaid work has a much lower barrier for entry and people make the mistake of thinking their booking ratio will stay the same or improve when they jump from unpaid to paid work.

 

Voice acting probably won’t pay your bills. 

Roughly 10 percent of voice actors do it full time. The vast majority make less than $10,000 USD a year. That’s not enough to live on. And the amount of time and effort that goes into even getting to that 10k mark is tough. If you’re looking for extra spending money or a “side hustle”, this is not the job for you unfortunately.

I’ll be fully transparent in saying that 2 specific clients of mine make up close to 25% of my yearly income. Which means you bet I’m hanging on to them for dear life.

 

You are a small business owner

It might sound weird but in order to find true success, you need to treat VO as a business. You are your own employee. You need to juggle social media, your online persona, your offline persona, auditions, emails, marketing, bookkeeping, filing taxes, scheduling and more.

I get it. You didn’t sign up to be a business owner. You’re an artsy and creative free spirit right?? 

Well… ya gotta figure out how to do both if you want to make it!

 

You need to be a self starter

No one is going to MAKE you audition or practice or invoice or market. You need to do most of these things on your own otherwise you won’t get very far. That means you don’t need motivation, you need determination. Motivation is fleeting. It comes and goes. You need to be determined to have success in this industry. 

 

So what does all this mean?

It means I’ve been in this industry long enough to achieve jaded status.

But seriously, all of what you just read about needs to be taken into account when you’re starting in this industry.

Voice Acting and Voiceover is very competitive. It requires a lot of drive and determination and honestly some luck. You need to know the right people and learn the right things and make the right choices to succeed. And even after all that, you can still “fail”.

Like Patrick Stewart famously said as Jean Luc-Picard in Star Trek TNG: 

“It is possible to commit no mistakes and still lose. That is not a weakness. That is life.”

You know what I say? Make mistakes. Make a LOT of mistakes. Learn from them. Grow. Make more mistakes. Learn from THEM.

And then go out there and kill that next audition.

Break a lung!

 

(And of course, thank you to the incredible Ed Selvey for giving this blog a second set of eyes before I posted it! Check him out if you have a second)

When Are Homemade Demos Okay?

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Demos.

They can be a touchy, divisive and expensive topic. 

When should I get mine done? Should I pay to have it done professionally? Should I do it on my own? How long should it be? How many spots? What should I include in it?

Let’s start with professionally produced demos. 

They can be expensive (like thousands of dollars expensive). But if you can afford it, going the professionally made demo route is almost always the best decision for your career. Assuming you go with a renowned, trusted demo producer like J Michael Collins or Eric Romanowski. I personally have not worked with either, but their accolades speak for themselves. 

When you’re working with this caliber of producer, they have their “ears” on the pulse of the industry. You’ll get a high quality product, unique and custom scripts, insight into what’s hot and booking and live direction (among other things). 

With a homemade demo you get pretty much none of that. Again, some of these pro demos are pricey, but there’s a level of prestige working with these producers and they take pride in their work and will likely even share your finished demo with their network. 

But there are a number of other demo producers that are great that you DON’T have to shell out massive amounts of cash for. I’ve worked with Erik Solarski on a few of my demos that turned out really well and I know there are other producers that churn out great demos for a mid-tier price. 

You should be wary of producers that promise demos “at the end of a 4 hour workshop” or “after 3 classes with me!” These demos are usually just slapped together and there likely isn’t very much quality control. You’ve just been introduced to the copy the same day, the copy PROBABLY has been used for someone else’s demo too AND in some extreme cases, some of these producers will put THEIR AUDIO WATERMARK ON YOUR DEMO. 

Yeah, you read that right. There are producers out there that will use the first 5 seconds of YOUR demo to market themselves. “Bob Bobberson, demos that make your head bob!” or something stupid like that.

Okay so I’m 350+ words into this thing and still haven’t explained when home-made demos are okay. I’m getting there!

Demos have a few different purposes, but mainly give potential clients a snapshot of what you can do. Most of the jobs that you will end up doing (outside of the odd low paying/indie jobs) won’t require you to add music or edit too much, but a demo is expected to be pretty polished, almost like “if I did a commercial for McDonalds it would sound like this if you heard it on the radio”. Basically as if that spot in your demo was lifted from a commercial or game or tv show. 

Here’s the juicy part that you’ve been waiting for… When I think homemade demos are fine (this may not be the industry wide opinion, just my own):

When you are NOT submitting to an agency. 

That’s pretty much it honestly. Agent’s have sharp ears and will likely be able to spot the difference between homemade and professionally made. Agents want to know you’ve invested in yourself, that you’re willing to spend money to make money and that you will make THEM money. That’s why you have to put your best foot forward with them.

Plus, if you send an agent a BAD demo, they might temporarily blacklist you and just assume that you’re not ready for representation for another year or two. 

There is another important factor here: your editing skills/background. 

I went to school for Radio Broadcasting and worked as a producer/copywriter for a few years so I can edit and produce reasonably well. And I have produced a handful of my own demos myself. But even still, my commercial and animation demos were done professionally by others, with one of my coaches directing me live during the session.

So if you ARE going the homemade demo route (you want a demo that you are NOT sending to an agent but may just post on your Soundcloud/Online VO profiles/Website), follow this checklist:

1- Research the type of demo you want to do (commercial, animation, video game or others)

2- Write/source unique copy that has not appeared in other people’s demos

3- Get a friend/colleague/coach to listen in on your recording session to provide feedback (you can always just send the recorded audio AFTER the fact, but having someone listen live saves you time)

4- Have a decent handle on editing/sound design in order to produce your demo

Alternatively, this is a much shorter checklist:

1- Be a seasoned veteran of voiceover/audio production and understand demo production AND have the skills to write/edit/produce your own demo.

But that checklist isn’t exactly as accessible for most voiceover artists and voice actors…

There is also the possibility of doing SOME of the work but not ALL of the work in producing a demo. You can write/source the scripts and record in your own space and then send the audio off to be mastered and mixed with sfx. Producers like Erik at Soles Sounds (as mentioned earlier) can do the post production for you, no matter where you are in the world. 

Recap

I’ll keep the recap simple this time.

Homemade demos are okay to showcase your skills/versatility/home recording setup to possible clients. 

They are discouraged when you’re submitting to a new agent. 

Take steps to ensure your scripts are unique and play to your strengths.

Have fun doing your demo! The more fun you have, the better it’ll turn out.

To find at how to go about making your own demo, check out this post

Please keep in mind, this is my personal opinion drawn from nearly a decade of experience in the industry. Always question people’s opinions and take them with a grain of salt because that’s only one point of view.

What to Expect in a Remote Live Directed Session

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You just booked your first remote live directed session, congratulations!

It’s weird, isn’t it? You’ve spent so much time recording by yourself in your closet or booth and now someone will be directing you LIVE while you’re doing it? It’s exciting! And nerve wracking.

Having done a ton of remote live directed sessions from my home studio(s) over the years, I’ve compiled a few things to help ease your mind and prepare you for your remote live direct.

 

Be Prepared (cue Scar singing)

Whether you’re throwing your king brother to the wildebeests or voicing a new commercial or character, be prepared! 

That means warming up your voice, practicing, marking up the script and doing whatever else you need for your call time. The first read or two on a live direct is almost always a “warm up” read and is thrown out, but if you nail it the director and engineer will be especially impressed. Plus your preparedness will probably cut down the length of the session which will make EVERYONE happy.

My quickest ever session was 8 minutes. Was it a short script? Yes. Was I prepared? Also yes.

Also, think about what you can do if disaster strikes. What if you have a power outage during the session? Or your internet cuts out?

Some may consider it over-kill, but having a back up generator or ideally a UPS (Uninterruptible Power Supply) will protect you if your power suddenly goes out during a session.

Knowing how to turn your phone into a hot spot for your laptop or desktop may save you if your internet cuts out as well.

 

Understanding Industry Terminology

Here are a few terms I think are especially important to know for a remote live direct.

Slate: Though often used at the beginning of an audition (slating your name, sometimes agency or character you’re auditioning for), slating in a session typically occurs when you’re recording on your end and the client wants you to identify each take before performing. So for example, “Take 2” before starting your second take.

Lead in: Can refer to something you say or do prior to a take OR (more likely) when you or the engineer plays part of a take to prepare you for your next take. “I’m going to lead you in with take 2. You’ll hear take 2 and then we’ll be in record.”

DAW: Digital Audio Workstation (AKA the software you’re using to record the session)

Adjusting your gain: Turning the knob on your interface (or via your interface’s software on your computer) to raise or lower your audio levels.

ABC / 3 wild / 3 in the air / 3 on a stick: Doing three DIFFERENT takes of a line one after the other, outside of the context of the script.

Levels: The volume level of your audio. You may be asked “what are your levels?” if the director/engineer can’t see your DAW. Level expectations differ depending on the type of record so ask before you start recording what they would like the levels to average at and if there’s a top and bottom end ie: averaging between -10dB and -20dB with peaks at -6dB.

Processed: When effects are added to the audio to improve the sound quality. Clients who are just dropping your audio into their projects without doing much mixing/mastering will likely prefer you do some processing on your end. 

Raw: No effects added at all. Clients typically prefer receiving files raw if they have their own engineer or plan on processing/mastering themselves.

Clip/Clipping: When your level is too high/hot and you “clip” the audio, so it is so loud it becomes unusable. 

Pick Ups: Sometimes used interchangeably with “revisions”, a pick up is typically when you’ve made a mistake that wasn’t caught, there’s a technical glitch with the audio or any other instance that means something needs to be recorded again (excluding script changes).

Revisions: Typically refers to a script change or direction change. Something that was initiated by the client or producer and usually isn’t a result of something you’ve done.

There are a lot more industry terms to familiarize yourself with, but these ones I feel are some of the more important ones!

 

Understanding Your Gear

Understanding your gear seems like a no brainer, but there’s an immediacy to a remote live directed sessions. 

If the client/director asks you to “raise your gain”, you need to know how to do that quickly. Having your interface/preamp in your booth or easily accessible to do so is important!

If they say “you’re popping your p’s and b’s” you need to know how to rectify that behaviour.

If they simply say “you’re coming in too quiet” you need to know how to fix that.

Get super familiar with your microphone, DAW, interface and any other accessories you use so you can smash the session!

 

What to Ask/Mention Before a Session

It’s always important to communicate with your clients so everyone is on the same page when a session takes place. Here are a few things you may want to communicate beforehand.

1: Are they recording the session on their end or are you recording it on your end? The worst thing is when you nail a session only to find that WHOOPS nobody recorded it.

2: What file format do they want? WAV? MP3? FLAC?

3: How do they want the audio? Stereo or Mono? Processed or Raw? What Sample Rate?

4: Are you expecting any interruptions like a delivery? Is there the possibility of unexpected interruptions like a crying baby or barking dog?

5: Do you have a hard out (a time when you need to be done the session)? For example, if the session starts at 2 PM and you have to leave to pick up your kids at 4 PM tell the client! If at 3:55 you say “Oh, I have to leave in five minutes” that is a TERRIBLE look. Knowing your hard out, the client can plan accordingly.

Remember, you are providing a service. You’re basically a sentient instrument! How would you want to be treated if you were in the client’s shoes?


Understanding How a Session Works

There’s no EXACT science to how a session works (and it depends on the genre of sessions ie: commercial, animation, ADR), but most have the same rough blueprint. 

Log on AT LEAST FIVE MINUTES EARLY to the software being used for the session. Zoom, Microsoft Teams, Google Meet, Webex, Riverside.FM, Source Connect Standard (you don’t need to spring for Pro!) or Source Connect Now seem to be the most common. With both Source Connects and Riverside.FM, you can rest easy as the software allows the engineer on the other end to monitor and record your audio for you during the call. Source Connect Standard seems to be the most popular in my experience, but it also comes with a one time licensing fee or a monthly subscription cost. Last I checked, paying monthly for 2 years will effectively pay for the full out right license so if you mean business and you’re seeing auditions and booking sessions that require Source Connect Standard, just bite the bullet and pay for the outright license.

Once you’ve connected with everyone, you’ve entered the THUNDERDOME.

No but seriously, once the session is live, you should be on your best, most customer servicey behaviour. Ask questions early and frequently if you think they will help the session flow smoothly. Take direction well. At the end of the session, confirm again what their expectations are from you after everyone hangs up. Are you sending them the audio you recorded? An invoice? Asking if they need pick ups? Make sure you know what comes next!

(Also, with anything voiceover there is usually no expectation that you appear on webcam but some clients may prefer to see you perform or need your camera on for other reasons. Know ahead of time if they want you on camera!)

 

Working with the Engineer

(This section was requested by my very talented VO friend Ed Selvey)

Ed brought up the point of working with the engineer (in situations where you’re connected via Source Connect or other software that let’s the Engineer on the other end edit on the fly).

In these situations, you have the great opportunity to ask the engineer to play things back for you. That means if the client likes take 3 and wants you to do “another take like that” you can ask the engineer “Hey, do you mind leading me in with Take 3 please?”

Some engineers may give you a bit of gruff because you’re asking them to do a bit of work, but this method of recording almost always leads to a better result so all engineers should be open to doing this for you!

Engineers may also slate the takes for you, so be aware of that as well. “Okay, this is take 7 aaaaaand we’re recording”. If they don’t slate the recording on their end, it doesn’t hurt to ask if they’re recording or if you’re good to do your read.

 

Responsibilities and Recap

You’re responsible for being easy to work with, providing a great product and troubleshooting any issues that may arise in your space or on your end of the call. If you did everything I’ve mentioned, you’ll be in a great spot!

Live Directed Sessions are not a walk in the park, so don’t be afraid to be afraid. Something may happen that’s out of your control. Something may happen that you weren’t prepared for. That’s why it’s best to know the script, know your gear and be prepared for as much as you possibly can.

Please keep in mind, this is my personal opinion drawn from nearly a decade of experience in the industry. Always question people’s opinions and take them with a grain of salt because that’s only one point of view.

©2023 Tyler Hyrchuk // Voice Over Site by Voice Actor Websites