[Voice] Super Audition Power

[Fragmaster01]

Not so much of a self pimp, but I couldn't think of a better place to plop this.
Long story short, I'm looking for feedback/critique on a voice acting audition before I mail it in to various companies looking for work. If you wish to help me with this, thanks muchly!
http://www.mediafire.com/?5tafttmjvjl
Audition Guidelines:
*1-3 minutes
*Show your range and style of voice acting
*Show your ability to act and show emotion
*Studio quality recordings preferred, at the very least have it clean(I went for the selfrecorded clean, as studio time is amazingly expensive)
Cookie to anyone who can name where all the lines used come from(the last one isn't from anywhere, but was one I came up with for some sarcasm acting, and uses the Biggs voice from DMFA radio play) And no, the voices don't necessarily match the people saying the lines in the original sources.

[Tapewolf]

The voice-work itself sounds very good.  I'm impressed.
However, the audio quality is very bad.  It sounds very much like you used a noise-reduction filter whacked on full and didn't listen to (or recognise) the side-effects.

I'm sorry if that sounds a bit harsh, but it's not something I would want to send a prospective employer if sound quality is at all important to them.
In my opinion, you want to get that lot re-done, or - assuming you still have the original unprocessed files - try noise-reducing it again, but using the minimum settings and slowly increasing it.

If you do still have the originals, I'd be interested to hear a clip of them - I might be able to suggest ways of improving the recording environment so that NR isn't necessary in the first place.

[Fragmaster01]

I'll try rerecording, as no, I don't have the originals. I'll try your idea of working my way up on the noise reduction. As for recording environment, the only good way I'd have to improve it further would be to buy soundproofing for my computer, which is far too expensive.
Unfortunately, I don't have the power of your analog tape machines for noise reduction, so I had to do it digitally, which is probably the source of the overreduction. I'm not entirely sure on most VA companies guidelines for recording quality, as in general, they don't even advertise the guidelines(it's a matter of interest, if you're interested enough to audition, you should be interested enough to research online what they want, and thus they don't put it in their websites).
Also, the .wav(the one I'm putting on the cd) sounds better, though it's still noticeable at high volumes. I must ask how loud you were listening to it, as while you obviously have a large amount of experience as a soundtech, it's still something I can't pick up at normal volume.
EDIT: It seems to be a problem with the frontend I'm using. It's getting a bit overzealous on the noise reduction, and the reduction I had to put over it in audacity made it all the worse.

[Tapewolf]

As for recording environment, the only good way I'd have to improve it further would be to buy soundproofing for my computer, which is far too expensive.

Are you sure you can't simply record the voice in a different room using a long mic cable?  That's what I do.  The main problem I get with the radio project seems to be people recording in the same room as the computer.

Unfortunately, I don't have the power of your analog tape machines for noise reduction, so I had to do it digitally, which is probably the source of the overreduction.

Actually, I record all Merlitz and DP's lines digitally.  The only time I've done it direct-to-tape was with a few improvised lines in Disasters, e.g. "Bat-in-your hair" and the "Dan...?  Murder...?  Who!?" thing, and the Albanion experiment which used tape varispeed.

Also, the .wav(the one I'm putting on the cd) sounds better, though it's still noticeable at high volumes. I must ask how loud you were listening to it, as while you obviously have a large amount of experience as a soundtech, it's still something I can't pick up at normal volume.

I didn't use a particularly critical listening environment, just the crappy internal speaker on the Mac Mini I usually use for 'net access.  It does tend to emphasise the high-end, which makes USB whine and tape hiss very noticable (I didn't hear either, of course).

Like compression 'pumping', it might well be something you have to learn how to hear.  Basically, you get a lot of digital artifacts.  The line "Consider it a free pass from me to you" has a faint tinkling sound in it towards the end which is typical of NR artifacts, especially at the end, but the main thing I hear is difficult to describe.  It's like a low-pass filter with a constantly-changing cutoff level throughout the recording.  If it helps, I can probably rig a side-by-side demo of my own recordings.

[Fragmaster01]

I'm already recording at a good distance from the computer, the main problem is the utilities in my apartment being audible, so there's no good way to get away from it(just turn off the AC and hope for the best).
I know what you're talking about with the noise, I just have to turn it up quite a ways to be able to hear it. In any case, the auditions manager would be the one listening to the reel, not the soundtech, so most likely they'd have the same issue.
In any case, I'll prolly rerecord the setup later just in case, so give your like/dislike towards the voice acting part more(as that's what the reel is being judged on; the main point of quality is to make sure it doesn't detract from that, as I'm sure people have tried sending in auditions on headset mics before, which doesn't work)

[Tapewolf]

I'm already recording at a good distance from the computer, the main problem is the utilities in my apartment being audible, so there's no good way to get away from it(just turn off the AC and hope for the best).

Yeah.  I usually have to turn off the heating system myself.  Sometimes I forget to turn it on again and have a cold shower in the morning...

In any case, I'll prolly rerecord the setup later just in case, so give your like/dislike towards the voice acting part more(as that's what the reel is being judged on; the main point of quality is to make sure it doesn't detract from that, as I'm sure people have tried sending in auditions on headset mics before, which doesn't work)

Yeah, the sound quality is the only bit which struck me as requiring critique.  I can't suggest any way to improve the acting etc, though you might want to PM Tezkat since I believe he's done a bit professionally.

[James StarRunner]

I had one of those before I got my new mic. Now I'll have to redo it. XD

I would try for some more unique voices. It's sometimes hard to tell when one character begins and the other stops.

[Tezkat]

What are you auditioning for? Animation? ADR? Video games? Audiobooks? Is it a casting agency or a production studio? A specific role or show? You need a different kind of demo to target each audience.

Also keep in mind that companies don't like to work remotely with actors. And if they do, they want you hooked up via ISDN in a proper studio. They're unlikely to pay travel costs for an unknown and usually need you on very short notice, so you need to live close to the studio(s) for pro work to be financially viable. The vast majority of animation studios are in LA, for instance. There are also a bunch in Vancouver, New York, and Toronto. The rest are scattered around. (Several of the major ADR companies for anime are in Texas.)


Producers have hundreds of these things to sort through. They're going to listen to the first 10 seconds. If they like what they hear, they might stay for the next 50 seconds. Don't believe anyone who tells you that a 3 minute demo is a good idea.

Your demo as it stands is too long for what you're presenting. You're not using the time to showcase your range effectively. The first half of the demo in particular sounds like the same thing over and over again. Assuming this is a character demo, you don't want to just read off a bunch of lines for different characters. Try to compress as much information about your talent into each character. For instance, you have an annoyed evil guy with an English accent. That tells the producer three things: You can do annoyed, you can do evil, and you can do English. So including those characteristics in other lines is just wasting their time. Pick only a handful of your most distinctive characters/expressions, starting with your "normal" voice. Your natural voice is a fairly strong selling feature. It has a youthful wiseass quality often seen in characters for children's animation.

The lack of obvious transition points between themes weakens the demo. Put the most different voices back to back. Adding background tracks would help a lot. Change tunes or environmental effects with each new character. It's best to stick with royalty-free/public domain stuff, though.


The recording quality needs work. As Tapewolf mentioned, the DNR artifacts are painfully obvious. If you can't afford proper studio time (and realistically, you're unlikely to get paid work without studio quality recordings), look for alternatives. (e.g. Ask a local campus radio station if you can borrow one of their recording booths.)

Physical presentation counts too, incidentally. Use those nice, professional-looking CD labels and case covers. Otherwise they might not even bother listening to it in the first place.

[Fragmaster01]

Auditioning for ADR, and I'm doing it among the Texas companies because I'm in Texas(specifically within 130 miles of every major town they're in. Seems like a lot, but really isn't in Texas, as people are more used to the distance).

Perhaps you could describe more on how they tend to work with VA's? Most companies tend to have a silent policy on the subject, and most of what I've found out so far is from hours of online research. Hell, only company I've ever seen actively say how they want voice actors to apply is Funimation, with directions for applying for permanent in-house work buried in their website(found through google).

I gathered the 3 minutes was not nice, as I've generally not liked the overly long ones myself. Still, I'll keep the "listen as long as I still like it" thing in mind.

I notice in your work you tend to go for overly expressive, rather out there voices(like your Jyrass voice or the silly "wizard voice" as you called it in the Backwards Pg.666 strip). Do you think that auditions managers tend to like this type in auditions? Or do they prefer more down to earth voices?
Thanks on the normal voice comment!

I had heard many auditions online that used music, though I decided to avoid that for now. I'll try it out though, and see how it goes.

Yeah, recording quality needs work. Right now I'm looking for just upgrading my mic setup, as it's rather good quality except that I'm missing part of the usual noise reduction equipment(at the moment, I'm just running the raw mic, no cover or pop-filter, as the only store in town that sold that stuff went out of buisness). I'll see about that college radio booth idea, though given the setup of the station, I have my doubts.

I definitely go with labels(printed, not written on) and minicases for the CDs. A CD in an envelope is just kinda tacky.

[Tezkat]

Auditioning for ADR, and I'm doing it among the Texas companies because I'm in Texas(specifically within 130 miles of every major town they're in. Seems like a lot, but really isn't in Texas, as people are more used to the distance).

Meh. It still sounds like a lot. A large chunk of your paychecks will be going to gas bills...

Perhaps you could describe more on how they tend to work with VA's? Most companies tend to have a silent policy on the subject, and most of what I've found out so far is from hours of online research. Hell, only company I've ever seen actively say how they want voice actors to apply is Funimation, with directions for applying for permanent in-house work buried in their website(found through google).

You're talking about FUNimation's audition page? I don't think they have "permanent in-house" positions for voice actors. Even the top name VAs are essentially freelancers.

These companies hold auditions every so often. If they like your demo, they might give you an invite. Sometimes they'll just do cattle calls, in which case it helps to know people on the inside who can tell you when they are. Either way, you're auditioning for a role the same way you would for a TV show or movie. Actually, the audition is more a way for them to get to know you and your voice. They'll frequently ask you to play parts other than the one(s) you read at the audition.

It works something like this: The auditions allow the company to develop a stable of voice talent. Every week (or whatever), they work on another episode or batch of episodes. They figure out what voices they need for those sessions and then call in the required actors. The notice is often quite short, which is why they only want local talent. You book a time, go in, and read your lines. They cut you a cheque, and you go home and wait for the next call. I think a lot of the major dubbers still prefer non-union talent.

I notice in your work you tend to go for overly expressive, rather out there voices(like your Jyrass voice or the silly "wizard voice" as you called it in the Backwards Pg.666 strip). Do you think that auditions managers tend to like this type in auditions? Or do they prefer more down to earth voices?

I've never actually been paid for animation work, so I'm only repeating what other VAs/producers tell me about that field. My personal experience in the industry is limited to commercial and corporate stuff. That usually demands more serious voices. And getting work without an agent is a lot more word-of-mouthy.

Also, specifically for the DMFA Radio Project, I go for very distinctive voices because I'm voicing a lot of characters and need them to sound different. Regardless, acting is acting. I create a voice that I think fits the character. Jyrras is jumpy rodent prone to wild extremes of emotion, so I play that up. It's wacky because the source material is wacky.

The silly wizard was just me goofing off. There are a lot of fun voices (old guys, foreigners, regional British accents...) that make their way into my outtakes because I'd never get a chance to use them here otherwise.


The easiest way to answer your question is to look at the voices they already cast for their productions. What does FUNimation like? Go watch DBZ, Naruto, FMA, etc. You can do the same for ADV licenses. The kiddie shows tend to have voices that are way over the top. The adult shows demand more serious voices. In any event, directors will tell you what they want when you audition.


ADR requires different skillsets from regular animation acting, mind you. In the latter, the voice tracks are recorded first, and the characters are animated to match your performance. In ADR, you're sitting inside a cramped box with a screen in front of you trying to match your performance and delivery to the video.