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Article by Tom Gauger

Singing Gigs And Session Work

By Tom Gauger

We’ve all made the comment, “How did so and so ever make it as a singer?” As a former talent booking agent with the William Morris Agency, we were also amazed at times. At best it was a guessing game of who we would sign and wouldn’t – it was more of a speculative stock market approach than a science. Yet that is how the music industry is and remains for a number of reasons.

As a singer, trying to break into the music industry, even as a session singer with no real aspiration of signing an artist deal, it can be tough – But it is doable and with real talent and drive you can make it. One of the most appealing aspects to session singers is that it does in fact take talent if you’re in it for the long haul, making it feasible to break into the market. Think about it – If session singing does in fact take talent, that takes away a lot of individuals who think they have the talent, but really don’t and therefore leaves room for individuals who can deliver the singing goods when called upon. That fact alone is assuring for singers making a real attempt at breaking in. Suddenly most of the, “How did that singer ever make it,” is removed from the playing field leaving room for the real talent in the session singing world, but not the frontline artist record deal signing world..

So how does one go about breaking into session work and singing gigs? That’s a multi-faceted question depending on what angle of the music business you are going after. I can tell you that no matter what genre of singing session work whether jingles, commercial, pop, etc, you will have to have a game plan initiated. Let’s look at a workable game plan.

Your number one business card in the business is your demo reel of your vocal skills. You can not hand out “good” sounding demos, they have to sound great! There is too much competition out there for you to be handing out “fairly good” demos. This is obviously your most costly item if you are not currently doing session work and able to ask for a copy of the session you were singing on. At ReelMusician.com we record a lot of master quality jingle demos for individuals breaking into the jingle singing world. This is a great way to get started, because you can use this demo for virtually any type of session work. With multiple styles of music and vocal range and abilities demonstrated, this is a perfect calling card for the beginning session singer or singer wanting to take a more serious approach at their career. Think seriously about this type of singer demo – It can be added or modified to fit in and around other types of session singing work on your CD and can really make you sound pro like you have already arrived if your jingles sound like national spots.

In general, if money and time are an issue while putting together your demo, than it is better to keep it simple rather than to get the whole big production together without the production sizzle. Get the best players possible. If you can only afford a guitar or piano vocal, then get the best player in town – I guarantee you that an incredible guitar/vocal or piano/vocal far outweighs a full rhythm production if the session players aren’t tight. Some producers would almost rather hear your voice without all of the production elements.

You will want to spend time developing a slimmed down press kit with a picture, bio and session work performed. Don’t go over board, but state the obvious and put your best foot forward. Make the presentation of your CD with a professional, “I’ve already arrived and I’m successful” look to it, but being gracious and kind to everyone you meet. You have to adopt the attitude and presentation that you are solid, knowledgeable, and easy to work with without coping any attitude – Bottom line is that you are dependable and fun to work with and deliver the singing goods every time.

You will want to attend artist showcases, send your CD or email mp3′s to jingle houses, ad agencies, industrial music houses, and producers in your area. You can branch out to major music cities like Chicago, LA, New York, Atlanta, Dallas, etc especially if you have a jingle demo. A 60 second national spot could land you ,000 or more for a 13 week run with possible multiple runs of this campaign earning you even more money.

You will want to follow up with everyone you come in contact with and treat this like a business, because it is. Have a business contact program or rolodex and state conversation, date and any follow up with contact numbers. Be organized and timely.

Creating a website, while not mandatory can certainly help your image as one that is not only professional, but above a lot of the rest. You don’t have to spend a lot of money on a website either. Make sure your picture, music, upcoming events, resume of session work, contact info reside on your website and keep it maintained.

Having multiple demos is a good idea as well. If you have a second or third demo, it helps to remind individuals who you are and keeps your name going across their desk. You might consider sending out cards of thank you or an email to say thanks and to keep you in mind for upcoming session work.

In closing, keep at it, keep a professional image with a great attitude and a fabulous sounding demo, and over time your phone should start ringing for session work and gigs.

Mr. Gauger is a former talent booking agent with the William Morris Agency and can be contacted at tgauger@reelmusician.com or 615-300-5030. Mr. Gauger is the owner of http://www.ReelMusician.com and can be heard as a jingle singer on FOX, UPN, O’Charley’s and many others. As a writer you may hear one of his songs “Who To Love” slotted for upcoming telecast on the CBS Soap The Guiding Light.

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Article by Vicki Amorose

How to Direct and Work with Voice-Over Talent OnlineAdvice for directors, producers, advertising agencies and others who work with free-lance voice-over talent.

By Vicki Amorose, http://www.voiceofvicki.com

When I began in voice-over in 1984, scripts were recorded in professional studios with the sound engineer, the director and the client listening in the control booth. We did take after take until the director got exactly what was needed. The ability to hire and direct voice talent through the Internet has dramatically changed the voice-over industry. Today many talents have a home studio. We record and edit the work ourselves and deliver the recording as mp3 files, frequently under very tight deadlines. We get minimal direction, sometimes from directors we’ve never spoken with. Certain voice-over projects will always be best produced in a full studio with a sound engineer and the presence of a skilled director. But for the crank-it-out, need-it-done-yesterday world of Internet voice-over, producers and directors could benefit from some basic guidelines. Below is a list of suggestions for directing and interacting with long-distance talent. Thoughtful direction is extremely helpful to the voice-over talents striving to do their job well. A voice talent will take responsibility for interpreting a script, but a director’s input greatly assists the process. Following these guidelines should foster good communication, which in turn should keep the costs down and the clients happy.

Describe Your AudienceStart by providing a brief description of who will be listening to the finished recording. Whose attention do you hope to attract? It helps the talent form a mental picture of the audience they are speaking to.

Provide Descriptive Words You should strive to be as descriptive as possible when conveying how you want the finished product to sound. Sometimes voice talents get a script and just one word of direction, like “upbeat.” Maybe you’re not that picky, and “upbeat” will do the trick. But if you’re striving for something more, here’s a list of words you can use to describe to the talent how you want them to sound: Warm, friendly, compassionate, soothing, confident, light hearted, concerned, dry, emotionless, authoritative, comic, serious, straight-forward, sultry, not sultry, quirky, believable, engaging, clear, bright, mature, young, hip, upscale, classy, brassy, sassy, movie-trailer big, good diction, excited. (“Excited” is commonly used. Try using a one-to-five scale or an example to convey how excited you want the voice to be.)Or tell them you want them to sound like a role: a story-teller, corporate professional, mom-next-door, best friend, announcer, attorney, doctor, a trusted teacher, a bored receptionist.The list of descriptions is endless.

Provide Specific Examples It doesn’t help the talent to hear that you want them to sound “just like Roz on ‘Frazier’” or someone on a certain commercial unless they can hear those references. Provide a sound clip of the voice you are seeking. Some talents can mimic voices, and if they hear an example of what you want, they can do what is possible for their range.

Choose the Right Talent for Your JobThis business is highly subjective. Two hundred talents can describe their voice as “warm”, but only you can say which voice is the right temperature for your project. When casting, ask for a short custom demo using excerpts from your script. Ask about the talent’s background and experience. Many talents are versatile and have several different sounds, but no one can do it all. Ask talents what they think they don’t do well. Be willing to pay extra for character voices; that is an industry standard. And remember, for narration or long recording projects, it is risky to hire a beginner. Pacing, sustained energy and script interpretation are learned skills.Provide an Easy-to-Read ScriptSometimes scripts are cluttered with multiple parts, editing notes, and revisions. Talents will appreciate a neat script in a 12-point font. Make it very clear what part you want recorded for the job. The script you send is the main tool for interpretation, and often it’s all the talent has to work with.Most talents will charge extra if they are asked to re-record due to script changes. Changes include copy errors, so proofreading pays.

Spell it Out Numbers and PronunciationsYour script could say “1300 Broadway”. Do you want to hear “thirteen hundred”, “one three oh oh”, or “one three zero zero”? Always spell out the pronunciation next to the numeral. The same is helpful for proper names, especially regional pronunciations. You may have heard “Willamette” your whole life, but please spell out “will- AM- met”.Match Timing to Word CountReady for the number one voice talent pet peeve? It’s receiving a script for a 30 second commercial with 45 seconds worth of copy, along with direction like “caring and compassionate.” This commercial can only sound one way–fast.There is not a standard word count for a 30 second commercial because voices come in all speeds. Try reading your script aloud and timing it before sending it to the talent. Editing the script before recording saves a lot of wasted time. Most important, giving the voice-over talent an extra few seconds can make all the difference in getting the sound you want.Some producers want the voice talent to record all the lines in a script even if they know it will go over time. They like to hear and then edit sentences. If this is how you work, tell the talent that it’s acceptable to go over time. If this is not made clear, the reading sounds rushed or the talent feels frustrated because the timing is impossible.

Be Clear about Post-Production ExpectationsThese post production instructions are in regard to “dry reads.” If you want to hire full production from the voice-talent, make sure they provide those services. Let the talent know what you are willing to do in post-production. Do you need them to edit out all the breaths, or will you take care of that? Do you want three different takes on the closing line so you can choose your favorite?For commercials, I normally provide two takes for the agreed upon fee. This is not true for every talent, so don’t make assumptions. A second trip into the studio can increase your costs. If you are planning to add music, send a sample of the background song. Producers have occasionally sent me previous commercials or narrations in a series. All of this is very helpful. Remember, talents are often working without benefit of images, sounds or context.

My fellow voice talents will surely have their own thoughts to add to this article. I’ve tried to make these guidelines easy to follow and applicable to most every job. Following these simple guidelines should improve Internet communications, keep costs down, and allow everyone to enjoy exceptional results. www.voiceofvicki.com

About the Author

Vicki Amorose is a veteran Voice Over Talent and award winning copywriter.

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Article by Tom Whitely

If you have a good voice then maybe you have considered finding some voice over work. Usually it’s not very easy, but with the steps outlined here you will quickly and effortlessly find some great voice over work.

The first and most important thing is to know where you’re going. How do you see yourselfŅ or 10 years from now in the voice over industry? Do you want to be a VO agent or perhaps do VO for cartoons? No matter what your dream is, big or small, you have to believe in it and know what you want.

After you’ve got that covered, you have to know where you start from. If your voice is not that great, you can get some voice over training. This will help you greatly. You need to start small and let others know about your voice. For example, record yourself on a demo CD recreating existing radio commercials.

After that you’ll have to find some work. You can search the internet for voice over work and you’ll find many sites that connect voice over agents with people that need a voice. It’s not that hard, and if you’re really good you will achieve your goal in no time. In addition, finding work over the internet is easier because you can get connected with any part of the world…as opposed to offline work where you’re limited to your city.

There is also lots of good advice on the internet on how to get started in this industry. Tons of tips, useful advice and lessons from people with years of experience in the voice industry, all available for free.

As a last tip I want to say this: There are not many people doing VOs… but those who do, get hired repeatedly. And that’s because they are good at what they do. To be a good voice over agent you need to work hard on your voice.

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