YOUR GUIDE to This Booklet Has Been Compiled by Experienced AUDIO ARTISTS to Share Information and Contents Knowledge About the Industry, with Members

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YOUR GUIDE TO This booklet has been compiled by experienced AUDIO ARTISTS to share information and Contents knowledge about the industry, with members. There are speciﬁ c sections for each area of this work. Equity rates, where applicable, are detailed at the end of each section. First, there p 3 USEfUL Q & As is some general guidance. P 5 ADR (automated dialogue replacement) 1) Is it necessary to have a studio. One reel is not enough if you wish p 7 ANImATION dedicated voice agent? to demonstrate the full range of your skills. P 8 AUDIOBOOkS If you are intending to work solely in You should have a separate reel for each: the audio industry, it is advisable to fi nd commercials, animation, narration, video p 10 AUDIO DESCRIPTION representation, because some areas games, drama, audiobooks, etc. are more accessible this way, and a p 12 COmmERCIALS good voice agent has legal and fi nancial 3) Is it necessary to (Radio, In Store, TV, Internet) skills. However, some voice work can be have a home studio? accessed via online directories, such as No, it’s not necessary, but increasingly there is p 15 CONTINUITy Spotlight and Voiceovers.co.uk, casting more work available for those with this facility. websites and ‘Pay to Play’ sites. More on Please see the section on Home Studios. P 15 CORPORATES this in the relevant section. p 16 DOCUmENTARy NARRATION 2) Is it necessary to have a professional p 17 E LT (English Language Teaching) voice reel? Yes. If you have the skills p 18 E-LEARNINg to produce your own to a high standard, this would be P 19 hOmE STUDIOS acceptable. Otherwise, it should be produced in a professional studio. p 21 mUSEUm AND OThER AUDIO gUIDES Some studios offer discounts for members, details of which can be found P 22 RADIO DRAmA in the Members Resources section of the Equity website. There are also p 23 TELEPhONE ON hOLD & IvR a number of commercial studios. An agent would insist on a professional P 24 vIDEO gAmES reel and probably advise on choice of

www.equity.org.uk 3 3) what are the rates of pay background chatter and announcements, for audio artists? Audio ADR (Automated sports commentaries and very often battles Audio artists are generally self-employed, artists are Dialogue Replacement) including charges and all types of fi ghts and whether as a freelance, sole trader or generally self- deaths. Very often you will be required to limited company, and so are free to Principal ADR lip read the background artists and decide negotiate their own rates. What fee they employed, whether as There are two main types of ADR. If you what they are saying and then record it. charge will depend on a range of factors: a freelance, sole trader fi nd yourself appearing in a Film or a TV Sometimes a whole performance of a who the client is, word count (for some Drama it is likely that you will be asked to character is revoiced by an ADR actor. In types of work), whether the work is for or Ltd company, and so re-record some of your own dialogue in this case you would be booked in to the broadcast, etc. In some specifi c areas, are free to negotiate the ADR studio. This is often for technical studio for a solo session often with the Equity has been able to negotiate agreed reasons, for example, a plane ﬂ ying over director. Only actors with suffi cient ADR minimum rates. You will fi nd these in the their own rates during the best take, or to add rewrites to experience would be asked to do this. Members’ Resources section of the website your performance. This is often Lip Sync under Agreements & Rates. Where there (synchronisation), which is a skill in itself. All these things and more are recorded in are no Equity agreements in place, we have You have to recreate your performance, the ADR studio so that the sound editor can attempted in this guide to offer an idea of often some months after the shoot, usually mix in the ADR along with the music and the the scale of rates that are common in the with the director present but not always, sound effects to make a fi nal soundtrack. industry. It is important to know your worth issue in this industry. NDAs are particularly at the correct level and with the requisite They need to have everything recorded cleanly and never undersell yourself. common in video games, ADR and some emotion. This is sometimes included in and separately in the ADR studio to be able to corporate work. It is a legal document, the your contract for the job which means that mix it in at the level that they require. 5) what are usage terms of which must be adhered to. there is no extra payment. However, a lot of and buyout? agents are wise to this and have it put in the Usage is an extra payment for use outside 7) what does Equity offer contract that you must be paid for recording the basic contract and is for a fi xed period, Audio Artists? your personal ADR. You can make or ruin after which you would be entitled to In addition to negotiating fees with your performance at this stage of Post negotiate further payment for additional employers, including the BBC (for Radio Production. usage. Buyout means a one-off fee and no and ADR) and some of the larger UK radio entitlement to ongoing payments. However, groups (for commercials), Equity offers the group ADR you can restrict your Buyout to a single type same basic services to all its members, i.e. Group ADR is when a group of actors are of Usage, e.g. on a website, but not as a insurance, legal advice, tax advice, chasing brought in to record all the necessary ADR pre-roll ad (pre-rolls are explained under up late payments and discounted products during Post Production. An ADR group can Radio Commercials). As with other areas and services. The union also offers services range from two actors up to 15 or more of the industry, buyouts are becoming more to members in sorting out grievances, such (rarely). During a group ADR session you frequently offered. as underpayment of agreed rates. are required to record all the atmospheres in a production as well as the individual 6) what is a NDA? ADR for some of the smaller characters. NDA stands for Non-Disclosure Agreement. More information on these and other topics This can be a pub or restaurant scene, You may be asked to sign a NDA before can be found on the Equity website and by somebody talking on a mobile phone, police you are allowed to see a script or work on a searching online. You can also direct any call signals as radio transmission (RT), production, as data privacy is an important questions to the Audio Organiser. train or coach announcements, hospital

4 www.equity.org.uk www.equity.org.uk 5 asked back. If you’re from Lancashire and confi dence. These are run by ADR Casting series or a one-off feature fi lm, animation Often in ADR you can do a good Yorkshire accent then Companies so they will see your potential requires voice artists to ﬂ ex their skills with tell them that, not that you’re from Yorkshire. during the workshop and this has led characters, accents, and different types you will need to They’ll decide if they want to employ you or to many new actors being employed in of voices. The key skill with animation is improvise while not. Similarly if you are asked if you are an ADR. However, these workshops should versatility. Although you will often be hired experienced ADR actor and you’re not…. be seen as an educational opportunity for one main voice, you are almost always watching the scene & tell the truth. If you get yourself in the studio and not an audition. asked to provide several others, so it’s only speak when the and you are with a group of experienced important to have a consistent range of character you are actors you will be caught out. Sometimes There are several Equity agreements in accents and character voices you can call experience is necessary but also sometimes place for ADR recording. These cover on. Sometimes they will ask you to come up voicing is speaking. they’ll be looking for new voices. cinema and television through the Pact/ with suggestions yourself, so be ready to Cinema agreement and the Pact/ITV think on your feet. Improvisation is another Getting Hired and BBC agreements. Check the Equity great skill to have, as well as good timing. website for the most up-to-date rates. This is what everybody wants to know and Scripts can usually be obtained in advance, there is no easy answer. If you become especially if you have particular needs, known for being a good ADR actor you will ANImATION such as dyslexia, but sight reading remains On an ADR session it is very important to be hired again and again. The diffi culty is important. Ways of working differ from be able to improvise. Often you will need getting the fi rst job and being good enough Animation is one of the classic areas in studio to studio and project to project. to improvise while watching the scene and to be asked back. People are always looking which voice artists work, and has been Sometimes you will be in a single studio only speak when the character you are for new, young voices but there are so many around for nearly a century. Whether it’s a with the entire cast, and record together; voicing is speaking. excellent experienced older voices who are other times, each voice will be recorded well established that it can be diffi cult to get in separate sessions. You might be fed When a good knowledge of a particular an opportunity. previously recorded cue lines, but this subject is required then you will usually be does not always happen, so you have asked if you have the requisite knowledge You are most likely to be given an to be prepared to react to imaginary before you are booked. If you are asked opportunity if your agent suggests you, conversations. You will also often be asked if you have good knowledge about any although many voice agents can’t be to provide a ‘library’ of sounds for each specifi c subject don’t say you have if you bothered with ADR. A few voice agents character – laughing, crying, reaction haven’t! Many a keen actor has been really work at it and if they suggest a new noises, etc. – that can be used at different caught out trying to improvise on a subject voice then the Casting Director will often moments in the project. that they don’t know about, only to be take their recommendation. Alternatively, embarrassed in front of everybody in the if an experienced ADR actor recommends Other important skills for animation are lip studio. The ADR Casting Companies must you for a job and is willing to vouch for you synching and voicing to picture. Sometimes be able to trust your word. Equally these then that can lead to an opportunity. a project is recorded wild (i.e. not to days a Dialogue Editor (the person who picture) but at other times, if the animation directs the session) will often ask for a There are workshops in ADR available is available, you may be required to voice genuine accent. If that’s what they ask for which can really help you learn the to picture. This is often the case when then that’s what they want. Don’t lie your techniques required and also give you providing a different language or accent for way into the studio; you may never be the opportunity to practice and gain a project that has already been recorded

6 www.equity.org.uk www.equity.org.uk 7 for another country. Lip synching isn’t between 100 and150 pages a day. Fluency is more relaxed. In many cases, there will always easy, as you have to speak exactly is essential if the job is to be done in be only the engineer and in that event, you when the character’s mouth is moving, and It is the allotted time. The time you spend on should not expect artistic or specialist help not when it’s not. This can be made even essential to preparation is up to you – you are paid with the text. more diffi cult if you are hearing the original only for the fi nished recorded hour and that language in your headphones, so don’t be prepare in advance payment will, in most cases, be a buyout. Some Tips for Preparation afraid to ask for it to be removed. of the studio session, Some companies require you to return to 1) The number of times a book should be do pick-ups. If this is so, try and establish read before going into the studio is up A good animation showreel should be because there is no beforehand when this will be and whether to the individual and is often determined short, but show a contrasting range rehearsal period this time is included in your fi nal fee. The by how long there is between receiving of accents and voices. Often with time needed for preparation will vary from the script and the date of the recording. animation, a more heightened and book to book. The more prepared you are, Hopefully, there will be a minimum of a exaggerated performance is required. the easier the recording sessions will be. fortnight. Twice is probably essential and However, make sure only to include It is fair to say that a whole day spent three ideal. the voices and accents you are recording is exhausting. There will be best at and confi dent in; better to have breaks, some short and some longer, 2) Read No.1 A fi rst read without making just a few strong accents, than a muddle such as that for lunch, which is sometimes notes gives you a feel of the style and the of mediocre ones, or ones you can only provided and sometimes not. Depending author’s intention. sustain for a sentence. Remember that AUDIOBOOkS on the company you are working for, these you don’t have to include full scenes breaks can be at predetermined times or 3) Read No.2 The second read will on your reel; a line or two spoken in the Breaking into the market left to you and your producer to determine. be more technical. Make notes on the voice or accent is usually suffi cient. Most publishing companies – audio or print If you need a break you should take one. characters, the type of person they are and – are prepared to listen to voice reels and the voice you consider appropriate. Keep A fi nal note pertaining to money. Often, sometimes will audition new readers. The Establish a good rapport with your producer those notes with you, because you will not when working on a cartoon series, you reel should consist solely of short extracts if you have one – that way the atmosphere always remember, especially if a character will be recording more than one episode demonstrating your skill as a narrator and appears early on and not again for a in a single session. While this is common your versatility with character depiction. hundred pages. Make sure you have read practice, do make sure you know before Note that material used for other voice work to the end of the book before deciding going in whether you are being paid per reels would not be suitable. The charity that on the voice because authors can, episode, or per hour. This can make a big records for people with impaired vision - say, omit to tell you until you are some difference to your take home pay, so it’s RNIB – might be a good, though low paid, way into the story that better to have that kind of detail sorted out starting point for the inexperienced reader. although the character is in advance. Also, for any type of animation Welsh, and speaks with project, there may be “extras” you are Preparation of an Audiobook a lisp, he has a Northern asked to do alongside it – adverts, voices It is essential to prepare in advance of accent. During Read No. for toys, promotions, etc. Be sure that the studio session, because there is no 2, make a note of any any extra payments you are entitled to are rehearsal period. You will be booked for word you do not know clear in advance and get in touch with the the number of days the company believe or cannot pronounce. Organiser for Audio Artists at Equity if you will be needed for that particular book and Annotate your paper have any questions or concerns. you will probably be expected to record script or iPad, (there

8 www.equity.org.uk 9 are apps for this), and make sure you have information in dialogue gaps so that people a clear pleasant speaking voice checked on these before reaching the studio. Public with a sight problem can follow the plot. It good sight and hearing (whether Lending Right is delivered via a headset or earpiece using aided or unaided) There are three helpful websites for radio or infrared transmitters. A touch tour the ability to work as part of a team pronunciations, Forvo, IDEA (the payments have of the set and costumes beforehand, plus a International Dialects of English Archive) and recently been pre-show introduction describing the visual An audio describer should also have a howjsay.com. If a book contains complicated elements of the production, can further commitment to access for disabled people, foreign speech or technological expertise, introduced. Readers enhance the performance. and the provision of quality audio description consult the producer if you have been given should register each to blind and partially sighted people. a contact number, or the employing company title that they Similarly, in film, DVDs or on television, the – you may be able to ask for extra payment visual aspects of the action are described. Fees paid within the industry vary, for this or for any additional preparation record depending on the nature of the work, the or research. Keep all your notes in case Audio description is also offered in a variety organisation, the venue and the location. you are asked to record a sequel to the of ways in many museums, galleries and Screen describers are all paid professionals, original book. heritage sites and is now available at some but in theatres, museums and galleries, architectural sites, football grounds and the workforce is a mixture of freelance 4) When using a paper script and a sentence other live events. professionals, volunteers and venue staff, is split between pages, transfer from the depending on local policy and practice. bottom of one page to the top of the other, or While Equity does not have a collective An audio describer should have: vice versa, to ensure a smooth read. agreement for audiobooks, there are the ability to summarise information There is advice and guidance available some agreed minimum rates with some accurately and objectively from The Audio Description Association 5) Read No 3 Reading the book aloud publishers. For more information, contact a good command of language (ADA), which is a registered charity, set helps to highlight things like convoluted the Audio Organiser. up in 1999 to meet the growing demand sentences, where a passage may require for a national organisation to promote and attention to breathing. It identifies difficulties support audio description. in switching from narration to dialogue or AUDIO DESCRIPTION interchanges between characters who may Audio ADA works to raise the standard and be speaking a foreign language or a dialect. Audio description provides an additional profile of audio description nationwide by: It also enables you to sort out how you will commentary for blind and partially sighted description is supporting audio describers and pace the reading, ensuring that you will keep people who have difficulty seeing a screen, offered in a variety facilitating a quality service for blind the listener’s attention. stage, exhibition or live event. and partially sighted people of ways such as advising venues PLR (Public Lending Right) In theatre, the audio describer helps patrons museums, galleries liaising with users PLR payments have recently been to follow what is going on by describing and heritage sites offering training and guidance introduced. Readers should be sure the essential action, the characters and for describers to register each title that they record. their body language, facial expressions and This refers specifically to physical copies costumes, lighting effects, scenery and There is no actual Equity agreement but lent by libraries, who so far, do not offer props and choreographed fights, chases guidelines for the use of audio describers downloadable versions. For more on this and dances. Audio description does not have recently been agreed by them. The go to www.plruk.com. interfere with a performance, but conveys accredited courses for stage and screen

10 www.equity.org.uk www.equity.org.uk 11 describers have led to the establishment of by) are a great advantage in general, but a script, per station, not per session. the Certifi cate in Audio Description Skills, Strict necessity for those wishing to grow their If a voice artist is contracted for a which is the nationally recognised qualifi cation timing is radio commercial client base. commercial or campaign through an for describers in the United Kingdom. essential, as agency, additional fees apply, as detailed on In-Store Radio Commercials the rate card. ADA believes that all describers working for commercial breaks Commercials for in-store radio stations are professionally-run venues and companies are scheduled charged based on the number of stores If an ad is to be transmitted on more than should be trained to a professional in which the ad will be played, with the one station, the fee is multiplied accordingly. standard, regardless of whether, or how, uniformly and the modest basic fee applying for up to 149 Sometimes this will mean a straightforward they are paid for their services, although, airtime sold stores, increasing for 150-299 stores and doubling or tripling of the basic fee, whilst recognising the value of volunteer again for 300+ stores. sometimes a second or third station will be input, it is ADA’s policy to encourage accordingly charged at a percentage of the basic fee. venues to pay their describers. Consumers Rates of Pay are entitled to the same professional With broadcast now being common on standard that would be applied to all other Rates of pay for ads on commercial radio more than one media platform - for example, areas of the venue’s work. stations are calculated according to the on DAB and the Internet, as well as FM licence held, the area covered by the - the way VOs charge for commercials for more details about training and a script for a VO to record, edit and return station and the number of listeners tuning is changing, too. In addition, there is a any other queries please contact ADA as a WAV fi le or MP3 fi le, (see the Home in, and can vary from less than £20 for a growing use of app pre-rolls. A pre-roll is an by email at: ofﬁ [email protected] Studio section). community station to three fi gures for a ad that plays when you download or click national radio station. Additional fees may on an app, before you get to the content via the website at: Strict timing is essential, as commercial apply if a station is also on DAB (Digital you actually want. www.audiodescription.co.uk breaks are scheduled uniformly and the Audio Broadcasting). The fee is per voice airtime sold accordingly. More often than If that all sounds complicated, that’s for information about audio not, an ad will be 30 seconds in length, or because it is. description provision in Scotland another multiple of 10. Voices are expected please refer to the Audio Description to read a script to time, which can often As an individual artist, you are free to Association (Scotland) website at: mean adjusting the pace of the read during negotiate your own rates with clients. As a www.adascotland.com a session to shave/stretch the duration by union, Equity cannot unilaterally set rates, but one or two seconds. it can work with employers and with agencies COmmERCIALS to agree recommended minimum rates. (Radio, In -Store, TV, Internet) As a voice artist, you need to be available. Given the number of ads being produced At the time of writing, Equity is looking at new Radio Commercials on a daily basis for the hundreds of ways to approach this sector. In the meantime, Radio commercials are sometimes commercial and community stations it has negotiated with several of the largest produced in-house by radio stations, broadcasting across the UK, turnaround commercial radio groups in the UK and there but often by independent production tends to be fast. Expect to be asked if is an agreed rate card for these available companies. Some prefer to direct and you can record in an hour’s time. For this on the website. Go to the Members’ Area record VOs using ISDN or other remote reason, ﬂ exibility and access to a studio > Members Resources > Agreements and recording methods, while others will email (your own home studio or another close Rates > Independent Radio.

12 www.equity.org.uk www.equity.org.uk 13 When using the rate card, make sure you know the TVRs. There is an online calculator have to react to breaking news or technical read the “small print” at the top of the page. at www.usefee.tv into which you can enter diffi culties. They need to be able to produce It includes details like additional charges your BSF (Basic Studio/Session Fee) and Continuity a script to time, accommodate last-minute for tags (usually a single line of additional the TVRs to arrive at an appropriate fee. This is a specialist scheduling changes and keep unsociable information that can run on more than one is useful whether you are being asked to hours. Nothing says “live broadcasting” ad), remakes, and duration of usage (usually quote for a job or want to ensure the fee ﬁ eld that utilises more than fi nding yourself in the studio at one year, after which time an ad should be you have been offered is fair. a very diff erent quarter to midnight on Christmas Day. relicensed and an additional fee paid if it is to continue to air). Internet Tv Commercials skillset from most It is worth considering that Continuity is a Advertisers buy TV airtime for a limited other types of specialist fi eld that utilises a very different A list of commercial and community period, whereas a commercial posted on a skillset from most other types of voice radio stations and contact details can website could, in theory, stay there forever. voice work work, including the need for good editorial be found at: If a TV commercial will also be used online, judgement and the ability to write punchy http://licensing.ofcom.org.uk/radio- then this should be clear in any discussion scripts to strict deadlines. broadcast-licensing/ about usage and/or buyout, so you can consider what additional charge may apply. Continuity announcers tend to be Radio listening is monitored and employed directly by the broadcaster, or measured by RAJAR (Radio Joint Some ads are made specifi cally for Internet- the associated transmission company Audience Research). for more only use. For these, artists should ask where regularly enjoys millions of views will attract tendered to provide transmission services. information, go to: http://rajar.co.uk and how they will be used. A pre-roll ad a higher fee than a low-budget ad on a Some broadcasters deal with the broadcast for a YouTube channel or programme that niche channel or site with much lower virtual technology union BECTU, while others Tv Commercials footfall. It can be helpful to start with your recognise no union at all. There is currently Voiceovers for TV commercials may BSF and negotiate accordingly. no established relationship between be recorded using home studios, with these employers and Equity and no rates producers - and often the commercial client CONTINUITy agreement in place. - directing via ISDN, phone patch, Skype, etc, (see Home Studios) or in professional The principle role of a continuity CORPORATES recording studios, usually with clients in announcer is to act as a navigational attendance. As with radio, TV ads will be guide. Announcers write and read multiple Corporate work covers a host of different tightly timed. Scripts often need to be scripts, with the aim of enticing the viewer types of jobs. It might be providing the delivered to match visuals precisely. to continue watching the channel. They voiceover for a video that a company will also introduce off-air support messages, use on the Internet, or perhaps only on You can download the Equity Guide to TV commercial messages and legally required their own internal Intranet. It might be Commercials from the Member Resources on-air content warnings, as well as e-learning for employees (see e-learning section of the Website. promoting content across other channels section), narrating a business-to-business and platforms. All of this is done with presentation or being the ‘Voice of Fees are calculated based on TVRs a tone and delivery appropriate to the God’ for a company awards ceremony. (Television Viewer Ratings). Airtime is sold channel, often live and normally within the Explainer videos - short web videos that based on TVRs, so a client who engages space of fi fteen seconds. explain products, services or ideas - are you to record for a TV commercial should If broadcasting live, an announcer may also booming and many require voiceovers.

14 www.equity.org.uk www.equity.org.uk 15 The variables for corporates are similarly case, a VO might choose to charge their You will often see documentaries with broad: you may be asked for straightforward BSF as an hourly rate, or perhaps charge Most people speaking in a foreign language with RP delivery or for several accents and for half an hour. If the same script were to documentaries their voices replaced by actors’ voices in voices for situational role play; you may be be used online and in shops around the English. This is a slightly different technique expected to record at a studio or to record country for a large, well-known company, require a fairly as you may be required to replicate the and edit the audio yourself and return as potentially reaching millions of customers, low-key read, as the original delivery. You will hear the original one or multiple fi les. You might be asked to then the artist might wish to charge their voice and be asked to work strictly to time. record to picture - that is, time your read BSF, plus usage, with an agreed licensing priority of a narrator Once again a cue system is used. to a video that has already been produced, period of 12 months. is to enable the viewer matching the words to the visuals. Some to listen to the The payment for narration depends on many clients, particularly once you have worked DOCUmENTARy factors. If you are a well-known face or voice with them, are happy to send scripts for you NARRATION words the payment would be higher. It is generally to record and return. Others will want to negotiable depending on your experience listen in and direct the session, or to Actors are often required to record but a lot depends on the usage. A basic attend in person. Documentary Narration. More often than studio fee for a voice artist to record a not producers are looking for a well-known narration would generally be between £200 Before quoting for a corporate - as with or familiar voice, however this depends on and £300 an hour. On top of the Basic any job - it is important to know where and the budget. Generally it’s a certain quality Studio Fee (BSF), any added buyout would how the audio will be used, as well as how in the voice that a producer will look for, Voice Agents or Theatrical Agents who are depend entirely on the usage. A UK or US long the script will be, whether you will be e.g. warm, friendly and down to earth or approached by the Production Company with wide buyout would be much bigger than a expected to edit it and whether or not a client educated, confi dent RP. Usually the description of the kind of voice they require. regional or internet only showing. wants to direct, in which case many this work comes through If they want a particularly well-known actor VOs will charge an additional fee. and don’t have the budget, they will often use E LT (English Language the well known actor as a reference and cast Teaching) Most voice artists have a BSF somebody with a similar sounding voice. (Basic Session Fee), that’s likely There are many publishing companies that to be somewhere between When recording a narration you will work use drama as a way of teaching English. £125 - £300. It’s common to to a screen with the script. The timings There are courses specifi cally designed for use that as an hourly rate and have usually been worked out so there will countries all over the world where there is a charge depending on how long it be visual cues on the screen for when to hunger for the English Language. These can is likely to take you to record - or to begin and sometimes when to fi nish. Your be classroom materials, recordings for CD record and edit, if editing is required. delivery will depend on the subject matter or downloadable fi les. Actors are required There may also be an additional charge and the style of the documentary. Most to present and perform these courses. for usage, depending on the size and documentaries require a fairly straight, low nature of the company, as well as what key read, as the main priority of a narrator is The main technique required is the ability its ultimate use will be. to enable the viewer to listen to the words, to speak slower than normal but sound For example, a small local business although at times a more dramatic or high as natural as possible particularly for the might want a script of 250 words energy delivery is required. The best way to drama sections. Clarity is also of paramount recorded for a video that will only play research documentary narration is to watch importance along with versatility. Often on a loop inside their shop. In which a lot of documentaries. on an ELT session you can be required to

16 www.equity.org.uk www.equity.org.uk 17 use various accents. These can be British E-LEARNINg might be charged as a simple BSF. Some accents or International accents. The more You’re large companies will require one voice for genuine accents you can deliver, the more E-learning (electronic learning) is another a series of e-learning programmes. In this opportunities for work will come along. area of growth for voices. The term as likely to case, an artist might quote 15p-30p per describes courses that are delivered via a ﬁ nd yourself as the word up to 1,000 words, with a sliding For beginners courses an actor is required computer, either in part or in their entirety. voice of a red squirrel scale, which gradually reduces as the word to speak extremely slowly while injecting E-learning is used by schools and other count rises. Some jobs can run to hundreds energy and sounding as natural as possible. educational institutions, by businesses, as you are the of thousands of words. As the level of the courses improve then the public organisations - anywhere that has authoritative narrator speed of delivery increases. On an advanced a need for teaching and training. It might If you are expected to edit as individual fi les, course you will be asked to work at natural be accessible on the internet, or it might of the history of you should be able to negotiate a separate speed and sometimes improvisation is used be confi ned to a company’s own intranet, nuclear power fee for this, depending on the number of for the really advanced courses. or even just a few workstations. fi les requested.

Always remember that the whole point of The form that e-learning takes will vary. As with any quote, it is wise to ensure the recording is for the listeners to learn the A voiceover might be required to narrate that all parties are clear in advance what language so never let your characterisation a slide presentation covering detailed is expected in terms of delivery, editing, get in the way of the clarity of your delivery. lesson information, or to narrate a video deadline, script revisions and pick-ups. depicting a typical workplace scenario, courses require different voices, accents There are a number of publishers and then voice questions (often multiple or acting skills. You are just as likely to hOmE STUDIOS producers that specialise in ELT recordings choice) which users will answer using fi nd yourself as the voice of a red squirrel and the best way to get that fi rst job is their keyboard or touchscreen. Often, it discussing Health and Safety information A good home studio is a big investment, through recommendation, either through will be a straightforward read, but some as you are to be an authoritative narrator but the cost should be covered eventually your agent or an experienced ELT actor. of the history of nuclear power generation. through the work you get. Sending reels and emails directly to the producers is less likely to work unless you The e-learning sector is huge and there Studios range from an alcove built into a have a reel of some previous ELT work or a is no single way to charge for this kind corner of a room (a cellar is ideal) and lined recording in an ELT style. of work. There is no Equity-negotiated with acoustic foam, to a fully professional minimum rate, or indeed, one industry vocal booth, installed in a room or There is a recommended Equity rate for ELT body with which negotiations could be outbuilding in the garden. work which has been agreed between the conducted. Fees will depend on the size of publishers and Equity that can be found on the job, the word count, whether or not the For a minimum of noise, you will need a the Equity website. Actors offered work in ELT VO is expected to edit as well as record computer operating your software outside should work at these rates and never below as and what is the fi nal destination of the your booth and a monitor with a computer it would undermine the Equity agreed rates. recording. A voice might then choose to keyboard and/or mouse inside the booth. charge an hourly rate, or might - particularly It may be useful to employ a sound with larger jobs - quote per word. engineer to set this up, but make sure you understand how it works and know how As an example, an intranet-only library to adjust settings and trouble shoot when induction for students at a local college things go wrong.

18 www.equity.org.uk www.equity.org.uk 19 Some degree of sound-proofi ng is also a will negotiate rates with clients, others will production companies do still use ISDN, enthusiastic and informative manner as if must. A client whose session is interrupted leave voices to negotiate for themselves. it is rapidly being replaced by browser- very familiar with what you describe (even by the sound of your neighbour mowing the based alternatives, like ipDTL and Source- though it’s extremely unlikely you’ll have lawn is unlikely to hire you again. It’s worth noting that many of these P2P Connect, which run on Google Chrome. seen a picture of anything you’re talking sites will accept anyone prepared to pay a Be aware that both of these require a about, let alone the real thing). Some Other expenses would include: subscription. They can vary greatly in terms stable, high-speed Internet connection. guides will share this job between two A very good quality microphone. of cost and what they offer, so make sure And, while there is no fi nancial outlay for voices, usually one male, one female. These vary in price, from around £150 you research the company before signing digital lines and codecs, there may still be a upwards, and will also require a pop up and defi nitely before paying any fees. charge for monthly subscription. 2) To be an expert … or at least pretend to shield and stand, as well as cables; Read the fi ne print carefully, and check be. Often audio guides will be an English software for recording and editing, how they treat Usage - you may fi nd you’re version of a native language guide, for such as Audition, Pro Tools or SADiE signing for any usage, “in perpetuity”. Also mUSEUm AND OThER example in a museum in Italy. The original (you can search for software online); treat with caution any site that encourages AUDIO gUIDES recording may feature a local expert bargain basement rates or advertises (perhaps the museum/exhibition curator) headphones. “cheap” voices. we are asked to do one of three things talking about what the visitor is looking Bee Audio and ACX ( an Audible platform when working on an audio guide. at. Our job here is to re-voice them (not website) both cast audiobooks to be read in To ISDN or Not To ISDN? that you get to hear them), a bit like when home studios and have different recording 1) To narrate it - i.e. be the main an actor/voiceover speaks over someone specifi cations and different pay structures. ISDN stands for Integrated Services for ‘presenting’ voice or host telling the speaking in another language on the radio/ Be wary of being paid only by shared Digital Network. It allows data to be sent visitor to the museum, stately home, TV news. There may be more than one royalties. over a range of media, including using the etc, how to use the guide, fi nd their way expert, although it’s unlikely they would use telephone network. It means that users can about, and often talking about the pieces, the same voice for more than one. Various online companies cast voice work send and receive studio quality audio, using artworks, etc, in a conversational, friendly, for which you can audition. Some charge a dedicated telephone line. It also requires 3) To play a character – more common you a yearly fee to be on their site. Some an ISDN codec that encodes/decodes on ‘Family’ or kids guides, one gets to be operate as an online directory, charging an the stream of data. Codecs come either in the voice of perhaps a statue, person in a annual subscription for a limited number of hardware form - a box that is connected painting, servant who worked in the home, voices, who are vetted and approved before directly to the ISDN phone line - or as a etc. This is an acting job and it’s common appearing on site. piece of software, loaded onto a computer, to have to play a number of different which will then be connected. characters, so versatility is a boon. Some The last few years have seen a guides will have a character narrating. proliferation in the number of ‘Pay to Play’ Codecs can be expensive, and you will sites. Companies wishing to hire a voice need to add to that the cost of ISDN line Generally audio guides are quite ‘close artist can enter descriptions of the type of installation and rental. to the wire’, we don’t get the script voice they would like, (age range, gender, very far in advance, the night vocal style, etc). Artists pay to have their Many VOs fi nd they no longer have a need before is common, and sometimes details and demos displayed on the for an ISDN line for a connection to clients; one is sight reading. Fortunately website. These sites are not agents and others, however, will tell you that they still there is a producer to help with how they operate varies, but most take a use it on a daily basis. diffi cult/alien pronunciations commission on any jobs booked; some Although some radio stations and (which are common).

20 www.equity.org.uk www.equity.org.uk 21 Not for the faint-hearted, recordings can be to fi t in with how the other actors play their Don’t hold the script in such a way that bacon! You will be provided with something quite intensive, especially if working against parts. During rehearsal, mark the script 6 it gets between you and the mic or, to drink or chew but some actors prefer to the clock. Fortunately the fee reﬂ ects the level carefully, so that you know exactly where you indeed, between other actors and the mic. make the necessary vocal sounds without of expertise needed, and is usually undertaken should be in relation to the mic. The writer’s actually eating or drinking. You would also be for an hourly rate not below £220. stage directions, though not always helpful, The old axiom that you are speaking expected to provide the sound of action or often give important clues to the character. 7 to an audience of one is good advice, reaction while, for example, the spot technician Search online for the range of companies Make particular note of places where but don’t let this make your performance provides the sound of chopping wood or that produce audioguides. you speak at the top of a page which will so internal that your fellow actors have punching. Kissing can be done by kissing necessitate a smart turn over. It sometimes diffi culty in hearing their cues. The same your own hand, but it has become common RADIO DRAmA helps to write the beginning of your speech goes for read-throughs. Everyone needs practice for the actors playing a love scene to at the bottom of the preceding page. to hear you. actually kiss. Careful with the scripts! Casting for BBC Radio Drama is in the gift of directors - producers as they are called Always face the microphone unless When an ‘approach’ to or ‘retreat’ from in radio - for each play. These will either specifi cally directed to do otherwise to the mic is indicated, remember it only 2 8 TELEPhONE ON be made in-house or through Independent achieve a particular effect for distance etc. works if you move forwards or backwards hOLD & IvR Companies. For information on Independent while speaking. Companies see their website Make sure you can see the cue light On hold messages range from a single, www.radioindies.org where all the 3 clearly and pick it up promptly if it is There is no hard and fast rule for the simple answer-phone greeting to more members of RIG (Radio Independents for you. A prompt pick-up on verbal cues 9 distance one should stand from the complex IVR (Interactive Voice Response) - Group) are listed. is essential… which doesn’t mean that you mic. It will vary according to the mood of the the system that enables callers to respond should never pause. Writers often use the piece and the way the recording engineer using their voice or telephone keypad The BBC offers some excellent advice on expression “BEAT” between speeches, chooses to balance the microphone. He or and so be ushered though to the desired how to get started in Radio Drama at: indicating that they think there should she will tell you where to stand and from information or call centre. http://www.bbc.co.uk/programmes/articles/2R be a momentary pause in the ﬂ ow of the where to start any approach. You can rely SmkTlT319KR9yd9DmzBb6/acting-for-radio dialogue. But, as in the theatre, don’t on the expertise of the technician. overdo them so that the audience (and the Students at Drama School should be aware rest of the cast) think you have died or lost Sound effects. These will be indicated that awards are made each year for places on your place! 10 by FX in your script. They may be the Radio Drama Company (Carleton Hobbs pre-recorded background played in behind and Norman Beaton). If you are lucky enough Avoid the temptation to deliver your the dialogue which you may hear played back to achieve one of these, it is a good way to 4 lines to the actor beside you, or even into the studio or which you may have to break into radio, because you will become a behind you. imagine and pitch your voice accordingly. If member of the Company for a few months. you have to react precisely to such an effect, It is vital when using a script that there make sure that you can hear it. If not, ask to Advice from a Seasoned 5 is no noise when you turn the page. be given a green light cue. Spot effects Radio Actor Nothing is more annoying than having such as pouring a cup of tea or using a Always read the script thoroughly before to re-record an otherwise perfect scene knife and fork will be done for you by a 1the fi rst read-through, bearing in mind because of script rustle. Everyone discovers technician standing beside you – but that rehearsal time is limited and that you for themselves how best to use a script to you will be expected to provide the may have to change some of your ideas avoid making noise. sound of drinking the tea or chewing the

22 www.equity.org.uk www.equity.org.uk 23 The individual messages or information VIDEO GAMES understand; games are often recorded out of A couple of the main producers of audio paragraphs are generally called “prompts”. sequence and it can sometimes be confusing content for video games in the UK have Simple prompts are different from longer, Video Games are a huge worldwide industry as you rapidly skip from one scene to another. central London recording studios. There are more complicated IVR menus that require and one in which actors are increasingly also a number of other smaller producers in a caller to go through a sequence of called upon to lend their voices to. Many Sometimes you will be asked to record the capital and beyond. responses. These conventionally attract games have incredibly in-depth worlds with ‘soundscapes’, which tend to consist of battle different pricing structures. hundreds of different characters brought to sounds (punches/battle sequences/being hit/ In terms of casting for video games, life by a sizeable cast of audio actors. Some dying etc.). These will generally be left towards it’s important to be able to display your You may be approached directly by the may also require voices such as narrators or the end of a session as they are vocally vocal dexterity and range. Your video company who wishes to use your voice for commentators, depending on the genre. demanding. Drink plenty of water and have games (or character/animation) reel should their system, or it may be through a production a warm up before you go in, so that you are have a good variety of your strongest company that specialises in making prompts. As with other voiceover disciplines, the first ready for your most blood-curdling ‘death cry’. believable characters and accents, The rates for the latter are likely to be lower time you see the script will often be in the This will reduce the risk of straining your voice. which show your versatility. (often around £5 per prompt), with the studio when you are recording, so keeping end client paying the On Hold company your sight reading skills at their best is really significantly more for the final product. important. That being said, it’s always worth finally, some general thoughts that apply asking for the script beforehand. Do mention Most voice artists will have a ‘per prompt’ if you are dyslexic and need some time with to the areas of voice work covered rate, with a minimum fee and, perhaps, a the script ahead of the recording session, Sound like you know what you’re Stay fully hydrated. A litre of water sliding scale for bulk recordings. So, for producers are generally very accommodating. talking about before recording will not be sufficient. example, you might quote £5-£10 per Preventing a dry mouth starts in the prompt for a minimum of 10 or 20 prompts, While you will mostly be cast in one Sound like you care what you’re hours - and days - before a session. with a lower per prompt rate for 50+ main role, you will regularly be asked to talking about Monitor and avoid what foods or messages, or perhaps an hourly rate above voice minor characters with a few lines Make sense of the script 40 prompts. It can also be helpful to be throughout the session, so be ready to drinks give you indigestion causing Don’t expect a rehearsal clear from the start with clients about word think on your feet. These will either have mouth or throat noises. count, too, to ensure individual prompts a different vocal quality / accent or both, Give a performance, not a reading Hot water, herbal teas and don’t become too lengthy. so versatility is highly valued. Keep your Keep it conversational, and (usually) indigestion tablets can help. accents well-honed, but also be prepared warm Clutching a cushion can muffle For the IVR menus, it’s particularly important to try something out of your comfort zone. Fulfil the brief given (even if you stomach rumbles. to understand a little more about the client. don’t like it) Avoid shirts or jackets that rustle. As with other types of corporate work, what The nature of video games means that you can Remove noisy jewellery. voices charge may depend on the size of frequently find yourself playing a character in LISTEN to, but don’t expect, direction the company, as well as the scale of the very bizarre, non-naturalistic circumstances, Be flexible, friendly & focused. Performing a physical action, like work. So, for a simple menu for a smaller with the use of fictional language extremely raising an arm, can help with an Be open, optimistic & ON TIME. company, it may be appropriate to charge common. Whenever scanning through a script, inability to say a word. a BSF or a percentage of your BSF. For a look out for any words with which you are not Be polite, positive & persuasive. When you stumble, rumble or bigger company, who may have thousands familiar. If in doubt, always ask the director Give ‘level’ at the appropriate pitch otherwise “fluff”, ALWAYS GO BACK of callers in one or more countries, you for the correct pronunciation. The same goes from the script until told to stop (with minimal fuss) might consider charging BSF + usage. for any plot point or line that you don’t quite

24 www.equity.org.uk www.equity.org.uk 25 Equity. Guild House. Upper St Martin’s Lane. London WC2H 9EG Tel: 020 7379 6000 www.equity.org.uk