Voice Acting Studio Performance Tips

It’s amazing how a microphone can transform a person. For some people, myself included, it brings out the goofy, over the top entertainer; for others it can turn even the simplest of lines and phrases into insurmountable feats of frustration. There are pros and cons to both of these but both are easy to correct and/or accentuate with a few simple steps.

For those of us who view the microphone as a magic wand that makes us the ultimate actor and comedian, we have to really focus on the task and hand and consider what we are recording. It is essential to stay on task and channel the energy into delivering a controlled performance that is appropriate for the material. I have found that I often have to provide much more production guidance to the client when this is the case. For those not working with a producer, spend an extra few minutes reviewing the recording and looking at it from many different perspectives. It’s often helpful to begin the reads from a much more subdued standpoint and work up the intensity from there. Also, pulling the volume down in the headphones can prove helpful in taming down an overactive read. It’s important not to loose the inhibition in the recording session as this has produced some of the best voiceover sessions I’ve ever had, but too much of just about anything is not a good thing.

For those that struggle with intensity in front of a microphone, it can get complicated. I have found that often people are just concerned about making fools out of themselves. From a producer’s standpoint, it’s especially important to convey exactly what they are looking for in the performance. When producing, I will often read the line myself very much over the top and follow up with, “that’s probably a bit much, but you get the point”. Usually this helps put them at ease as they have gotten a good laugh at my expense. Also, it may help to increase the headphone volume in their case as it makes them more aware that they are portraying a character or playing a specific role in the studio. This group of performers typically takes direction very well and can be easily molded into creating the perfect performance. For those of you who fall into this category and are working without a producer, start your recordings out with an intensity that you think is over the top and dial it back from there. Also, sit back and really listen to the recording after the fact and take the role of producer, if you think it is acceptable for the topic and would give it the green light as a producer, send it on for review. If not, don’t be afraid to go back to the drawing board and really develop the character.

Spending time working on your general delivery in front of a microphone is just like practicing anything; the more you do it, the better you become at it. Remember that you are your own worst critic in many cases and don’t be afraid to experiment within your environment. Turn off your lights, close your eyes, turn your headphones up, turn your headphones down, use hand gestures, make funny faces and don’t forget that what you are doing should be enjoyable.