Q: Can you share your journey into the world of voiceover? What initially attracted you to this career path?
A: To be frank, I was in the middle of an early-mid-life crisis. I’d left my music career after my divorce and gone to work as the creative director of a small toy manufacturing company. I was burnt out and depressed, suffering anxiety attacks regularly and I realized I was completely out of alignment. I quit my job with no backup plan other than to take some music courses online to see if there was a way to boost my previous career without getting back into the limelight (I didn’t want to tour). Out of sheer curiosity, I had taken a voiceover masterclass from Peter Baker, a British voiceover legend. Within two months of submitting auditions, I started making a better living than when I worked in the corporate world. I couldn’t believe it! I do credit my background in music for a lot of my success, because had I not worked with my voice for years or known how to record it, stepping into this industry would have been much more difficult.
Q: What were some of the biggest challenges you faced when starting out as a voiceover artist, and how did you overcome them?
A: Some of the biggest challenges I faced dealt with setting up a proper studio. In the beginning, I didn’t have a custom-built studio in my various apartments and it was too far away to drive to my old studio at my ex-husband’s house. So I would buy old Ikea cabinets off Marketplace and transform them into a recording space, which worked fairly well! I would line them with yoga mats and blankets and even though they were small, they were cheap and pretty efficient so long as my kids weren’t running around screaming.
Eventually, I had a booth custom-built and that’s what I use today. It’s so quiet inside you can hear your brain cells dividing. I stole that line from a movie with Hugh Grant and Sarah Jessica Parker - the one where they go to my home state of Wyoming to work on their marriage. Haha!
Q: How did you develop your unique vocal style or range? Were there specific techniques or training programs that were particularly helpful?
A: I didn’t train specifically for different vocal ranges. I used all the knowledge I had from my previous career as a recording artist and my ability to mimic and impersonate (something my father and I enjoyed doing since I was a kid. He does a great Homer Simpson impersonation).
I’ve spent my entire life listening and observing. As a teenager, I was always finding patterns in commercials which enabled me to identify what kind of voice works with what type of script, tone and music bed, etc. I did this with music as well, although I didn’t have the language for it back then.
This skill is helpful for coaching! Sometimes during a directed session, even, I might suggest doing a take with a certain type of delivery different from what the director or the client asking - but only in the instances where the director and I have a good report and we trust each other.
Q: Can you describe a memorable project or role that helped shape your career as a voiceover artist? What made it stand out to you?
A: Of course! My first big role happened in the third month of my career, if I’m not mistaken. I was hired by the ASPCA to voice one of their commercials. I was blown away - I couldn’t believe I was chosen.
My career sort of took off afterward. Since then, I’ve had the fortune to work with some of the biggest brands in the world: Toyota, L’Oréal, Nestlé, etc. I really love working with small brands, too, though. In my experience, the smaller brands are a little more daring and fun with their scripts. Some of my absolute favourite auditions have been for small companies that use humour to make their product stand out. I could do those auditions all day long!
Q: What advice would you give to someone looking to break into the voiceover industry today? Are there any crucial steps or strategies they should consider?
A: For anyone trying to get into the industry today, I’d say do your homework. Make sure your editing skills are on point and you can edit quickly. That has been a massive help and one of the reasons I’m able to kick out as much material as I do daily. You don’t have to know how to edit songs - just vocal files.
Also, make sure you feel comfortable using a program like Logic Pro, ProTools, or Audacity, etc. I prefer Logic Pro, but that’s because I used it in my music career. I did some work with Audacity as well.
I’d also say “know your style”. Try out a handful of random scripts (you can download free ones here https://www.voices.com/blog/voice-over-sample-scripts/), and listen back.
Here’s what I learned about my own voice:
Traditional commercial projects are almost always a yes. Selling a product/idea to people aged 21+? I got you.
My voice also happens to work well for traditional infomercials
I naturally want to read every explainer video like an episode of How It’s Made (which remains my favourite TV show)
I get hired the most for eLearning videos, medical explainers, humorous social media spots, anything in tech, serious documentaries, guided meditations, and scripts requiring a “mom” voice.
Anything requiring a voice that resonates with college age and younger (unless it’s a character voice) does not seem to resonate with my voice as it is now. I have tried, lord how I have tried.
Final bit of advice, take a course from Peter Baker. He doesn't just walk you through the how-tos of figuring out your voice. He walks you through setting up and running your business. His course was the best investment I've made to date.
Q: How do you approach preparing for a voiceover session? Are there rituals or routines you follow to ensure a successful recording?
A: I like to review the scripts I need to record before a directed session. Not many times because I don’t want to have a set idea before I hit record. I want to be as open as possible to what the client wants/needs - so I do a quick review of the script to check for difficult words or pronunciations. Typically, the client and I then decide that I will do one full read-through first, just to get a lay of the land and set a starting point. After that, the client will give me feedback on tone and direction and I will start making adjustments on each take thereafter during the session.
One thing I am very strict about is getting enough sleep before a directed session. If I’m tired, I have a more difficult time reading. My voice also sounds worse. For this reason, I also don’t drink much alcohol.
Finally, I don’t like to record past 2:00 or 3:00 in the afternoon. I am happy to do it for clients once in a while, but typically there are two big reasons I don’t offer directed sessions in the evenings: the first is that I read better in the mornings and make far fewer mistakes. This makes for a much smoother session. The second is that I need to limit how much I’m using my voice on a daily basis to avoid injury or burnout.
Q: Have you ever had to voice a character or style that was challenging or outside your comfort zone? How did you tackle that experience?
A: Oh gosh, yes. I’ve had to record in accents and languages that are not my own - and I’m terribly self-conscious about it. The directors in those instances assured me that what I was recording was exactly what they were looking for so that eased my mind…ish.
Q: In your opinion, what are some of the key differences between voiceover acting and other forms of performance, such as stage or screen acting?
A: Well, as someone who has acted on both stage and film, I would say the biggest difference is the lack of real-time engagement with others on the stage or set. When you’re in a studio all by yourself, you’re in your own world. It’s like the difference between working in an office and working from home.
In my case, I miss working with other humans in person from time to time, but for some of the projects I do, it’s much easier for me to explore characters in my own studio environment where I feel safe and comfortable. I have everything I need, and in some ways that allows me to free myself up a little bit more, creatively speaking.
Q: What role has networking and building relationships played in your career as a voiceover artist? Any tips for aspiring artists on how to effectively network in this industry?
A: I am terrible at networking at this point in my life. It’s something I’m working on and studying because this industry has changed a lot in the matter of a couple of years - thanks to AI, TTS, etc.
Relationships are so important!
My only advice is to consistently provide quality products and services (and communication!) to your clients so you can develop a solid relationship. I’m so lucky to have the client base I do. We work so well together and we trust each other.
Q: Looking back on your career so far, what are you most proud of achieving as a voiceover artist? Are there any goals or ambitions you still hope to accomplish in the future?
A: I’m most proud of the connections I’ve made through this career. I reached out to my mentor a year and a half ago, Peter Baker (the voiceover legend mentioned above), to thank him for putting together his online course. I mentioned how this career allowed me to afford a house and the ability to help others. Since then, we started working together! Last year, I launched the first of two online singing courses An Introduction To Singing By Ear, and this spring launched the accessory course, Mastering Vocal Licks!
I’ve gone on to make friends with other voice actors in the industry and we help each other out. It's lovely to have such a warm little community that understands the ups and downs of the industry.
As for the future, I dream of voicing a character in a video game or a series. If anyone has any connections they’d like to share, I’m all ears! Heehee.