Recently found your page and have been really enjoying your information! You're have such a calm presence and delivery that I really appreciate. Looking forward to learning more!
I'd love to see more like this! I love how you're so mellow about it all. I know I talk fast and with the Boston accent it sometimes sounds aggressive (To the Australians I now live amongst. I was once told the way I say "adult" is threatening - weird right?) so finding that calm, slow voice is definitely something that I need more practice.
Thanks for the feedback! I’ll look into making more in this vein 😊 And nothing wrong with talking fast. For years I was told I sounded like the most apathetic SOB anybody had ever heard. Slow. Fast. There’s a place and need for it!
I know recorded this video a few months ago, but I just came across it and I love the way your technique in analyzing, and explaining it as you go, I loved it! ❤ thank you so much for sharing this!
It took me a while to realise that downward inflection is a no, because all you do is give statements, you drop the energy and you lose the audience. But on the other hand, going up, sounds like you’re actually having a conversation, answering, passing the energy to the other end.
Dead on. I would say though, I wouldn’t wholly avoid downward inflection across thru the whole read on principle. Just have the awareness when you’re using it and when it might be less than helpful. 🫡
You should have more views…. The stuff you make is great! I am an old audio engineer and gave it up 15 years ago. Your vids made me hack together a rough studio last night out of an old Shure SM57, my 13-year-old UX2 Guitar interface with scratchy pots, and an old desk lamp (my new mic boom). You'd hate it! But you might like it! Never know. :P
Hey Jay, thanks for the super coaching advice, very nice. I notice you've changed your mic, was the Neumann too sensitive to the reflections, or did you just feel like a change? Have a great one.
Awesome info! Appreciate you doing this. Would you recommend using these to add multiple samples to your VDC profile to help with the algorithm, beyond your professionally produced demos of course?
Hope you can answer this question for me, Jay. Some friends tell me I might be good for voiceover work, but how can I know if I have the right voice for it? Of course, I'm referring to the overall sound and texture, amoung other qualities.
Good question! Success in VO comes down to a lot of different things, but in my opinion, any one person's voice or vocal qualities aren't the deciding factor. Different voices will have different and/or multiple niches that suit them/their voice. Some voices will have specific appeal and some might have broad appeal, meaning some might excel in a specific and narrow range of VO work, whereas others may be more generally 'castable.' The point being, anybody can do it regardless of the voice they've got. The key is that it takes time, good storytelling ability, solid vocal training, and a fair amount of discipline to crack the code so to speak. Hope that helps! and if you'd like to talk more, you can send me a sample via my website: www.jaymyersvoiceover.com/coaching
Is it best to read script all the way through a few times and pick the best parts in your edits or record beat for beat then piece together the best parts?
Great question! I think it ultimately comes down to your personal preference, and what you find works best for you. Personally, I find that in the interest of capturing my distinct and individual flow of thought (and in the interest of saving time auditioning), reading the script all the way through is my preference. Occasionally, I'll cut two different reads together if for example, I liked the beginning of one read and the end of another, but (again for me personally) if I spend too much time "Frankenstein-ing" too many bits together it's just not worth my time. In all, more often than not my initial instincts for a script and my own personal interpretation of it are most spontaneous, clear, and interesting in the first or second read. Which is why I avoid trying to craft the 'perfect' audition. All that said however, often when you're doing a live session with a client, they'll break down the commercial line by line so they have flexibility in editing and can piece together the best of the best. Hope that helps!
I said it before and you keep reminding me
You are Excellent and I thank you for your clear, concise instruction. The Best.
Thanks very much Mitch!
Hi sir
Your video is really amazing. Immensely valuable as a learner. Thank you. Plz keep doing what you are doing. It's greatly helpful for students.
Amazing!
Thank you! Cheers!
Great tips, really helpful 🙂
Glad to hear!
Recently found your page and have been really enjoying your information! You're have such a calm presence and delivery that I really appreciate. Looking forward to learning more!
Glad to hear! Welcome!
I'd love to see more like this! I love how you're so mellow about it all. I know I talk fast and with the Boston accent it sometimes sounds aggressive (To the Australians I now live amongst. I was once told the way I say "adult" is threatening - weird right?) so finding that calm, slow voice is definitely something that I need more practice.
Thanks for the feedback! I’ll look into making more in this vein 😊
And nothing wrong with talking fast. For years I was told I sounded like the most apathetic SOB anybody had ever heard. Slow. Fast. There’s a place and need for it!
I know recorded this video a few months ago, but I just came across it and I love the way your technique in analyzing, and explaining it as you go, I loved it! ❤ thank you so much for sharing this!
Glad you enjoyed it! Thanks for sharing that it was helpful for you. Always very helpful and uplifting to hear. :)
love it thiis is what i was looking for
You should have more subs! SO helpful.
Glad you think so! On both counts ;)
It took me a while to realise that downward inflection is a no, because all you do is give statements, you drop the energy and you lose the audience. But on the other hand, going up, sounds like you’re actually having a conversation, answering, passing the energy to the other end.
Dead on. I would say though, I wouldn’t wholly avoid downward inflection across thru the whole read on principle. Just have the awareness when you’re using it and when it might be less than helpful. 🫡
You should have more views…. The stuff you make is great! I am an old audio engineer and gave it up 15 years ago. Your vids made me hack together a rough studio last night out of an old Shure SM57, my 13-year-old UX2 Guitar interface with scratchy pots, and an old desk lamp (my new mic boom). You'd hate it! But you might like it! Never know. :P
Well thank you very much! So glad to hear a spark was rekindled :)
Hey Jay, thanks for the super coaching advice, very nice. I notice you've changed your mic, was the Neumann too sensitive to the reflections, or did you just feel like a change? Have a great one.
Thanks ray! Nope just switching for fun. 😊
Awesome info! Appreciate you doing this. Would you recommend using these to add multiple samples to your VDC profile to help with the algorithm, beyond your professionally produced demos of course?
Yes, absolutely. I have another video on precisely that linked below if you’re interested in more details.
th-cam.com/video/BIYMLlDcuns/w-d-xo.html
Hope you can answer this question for me, Jay. Some friends tell me I might be good for voiceover work, but how can I know if I have the right voice for it? Of course, I'm referring to the overall sound and texture, amoung other qualities.
Good question! Success in VO comes down to a lot of different things, but in my opinion, any one person's voice or vocal qualities aren't the deciding factor. Different voices will have different and/or multiple niches that suit them/their voice. Some voices will have specific appeal and some might have broad appeal, meaning some might excel in a specific and narrow range of VO work, whereas others may be more generally 'castable.' The point being, anybody can do it regardless of the voice they've got. The key is that it takes time, good storytelling ability, solid vocal training, and a fair amount of discipline to crack the code so to speak. Hope that helps! and if you'd like to talk more, you can send me a sample via my website: www.jaymyersvoiceover.com/coaching
Is it best to read script all the way through a few times and pick the best parts in your edits or record beat for beat then piece together the best parts?
Great question! I think it ultimately comes down to your personal preference, and what you find works best for you. Personally, I find that in the interest of capturing my distinct and individual flow of thought (and in the interest of saving time auditioning), reading the script all the way through is my preference. Occasionally, I'll cut two different reads together if for example, I liked the beginning of one read and the end of another, but (again for me personally) if I spend too much time "Frankenstein-ing" too many bits together it's just not worth my time.
In all, more often than not my initial instincts for a script and my own personal interpretation of it are most spontaneous, clear, and interesting in the first or second read. Which is why I avoid trying to craft the 'perfect' audition.
All that said however, often when you're doing a live session with a client, they'll break down the commercial line by line so they have flexibility in editing and can piece together the best of the best.
Hope that helps!
Jay - you should totally get a dog.
Ah! Haha. I've actually got a cat. :) Maybe someday though.