voice over for like 10 years. And I finally vote my first voice over like one, two, three, four, one, two, three, four, one, two, three, four. There we go. Of course, I can always move the mic too. Seems to be working. All right. Awesome. Clean up. Thank you very much. Yeah. I'm on camera. I have about six hours long camera. Where am I hearing Dan? Oh, do you have a head? Oh, I'm sorry. Do you want to plug in for that? No, just hit the turn off sound. The sound is off on that. It's coming in through. I'm sorry. I just needed an apologize. That's okay. When you're talking. I'll just take it right here. There is paper towel right behind there. Above the sign. I'll be here. They should be here about now. Your water bottle is on the screen. Yeah, because it's green, so it's key and note. Oh, is that? I don't see it. Invisibottle. That's okay. We do it all the time. Yeah. And I need to see the key and notes too. So if I could... I will scooch over a little bit more. You need to see up there? Yeah. I think I can see them from here. Where's your iPad, Dan? That's my fault. Do you need a laptop? You want to use my laptop? No, no, no. Questions from there? I can read those questions from there. Yeah. I can read them a lot easier from here. No, I can see that. Then you and I can just get together like that, like Lenin and McCartney. And you can hear me okay? One, two, three, four. Hello, hello, hello. Hello, hello. Do you want to finish? Uh-huh. I'll put mine in the shot too, and then we can both have green water bottles that key up and we'll be friends. Okay, let's roll unscripted and unrefined. One, two, one, two. I thought you were going to love that camera, Sue. I'm really disappointed in you. This one? Well, it's just too many things to control. Oh, yeah. And then having to learn it five minutes before the show. That one? And that one there, I guess. Is that the logic? No, it is a Logitech, but it's the Logitech for Rio. Rio, that's what I got, too. It keeps cutting out on some mics when I switch from zoom to one and then back. Okay, we've got people watching, so we might as well get going here. 16 people. Alright, I'm updating the website right now. Okay. For those of you waiting, you're just going to have to wait a second. But it'll be totally worth it. Right, Mishka? You've got to go get groomed. What? Yes? No? Maybe? Kind of? Papa, I treat, papa. Papa, we're getting treat, papa. You better do nothing. Marcio, come get it. Come on, give me that movie. I need to stand down. We'll just use Ben. He matches more my sweatsuit. I know! I know! Mishka, get my show tonight. Okay, website is updated. Okay, I'm going to refresh and make sure that it actually took the changes. Okay, it took the changes. There we go. Alright, site is ready. Yeah. Alright. Alright, in five. Hey, it's time for VoiceOver Body Shop. You guys are amazingly patient. Unscripted and unrefined, but we're here. And our guest tonight is Debbie Dairyberry. Hi, it's me. Oh, it's my pleasure to have you. It's our pleasure to have you. And it's Mishka's pleasure to be in your lap. Yes, she matches my sweatsuit, so it's all good. Happy place. Alright. We ready, Mr. Woodham? Let's do this. It's time for VoiceOver Body Shop right now. And now, here's your hosts, Dan and George. And I'm George Woodham. And this is VoiceOver Body Shop, or VOBIN! Entering the studio now. Active VoiceOver artists. She's probably best known for the voice of Jimmy Neutron. And Jimmy Neutron. Got a blast. Got a blast. Okay, there you go. Let's see. Maureen Bridget. Phillip Ken Scott. And Nurse Betrice. Beatrice. Beatrice on Bill Burr's Netflix hit show, F is for Family. Bill Burr. You're also a very talented musician and songwriter, too. Thank you. There's so many things that she does. Welcome back to our show. We've got one of our favorite people to have on here. Thank you for having me, Dan. And George, it's always a pleasure to be here for VOB. Yes! I like that you say it. Yes. And Miska's thrilled to have you here, too. Hi, everybody. It's my show. It's a Miska show. Thanks for being here. Anyway, you are a very busy lady these days. You've been doing a lot of work. Of course, you've been infirming, I guess, for a couple of months. But you've been doing all this stuff. Like, what are you working on now? Are you working at all or still recovering from... Let's see. I am working. Of course, on all the stuff I can't tell you about. But I have a couple of video games recording. And I just released a new kid's song called I'm a Great Recycler. The video is out on my YouTube channel. And it just won the Napa Award, the National Parents' Products Award. Oh, that's good. I'm thrilled about that. So if any of you have little kids or just act like one, you can go to my website and watch I'm a Great Recycler. That's cool. Yeah. Well, we are voice actors, which some people might think is acting like kids. Acting like a kid. But I'm still working and auditioning. And I had a little back surgery. So I sat for a lot of sessions for a couple of months. And now I'm able to stand again for sessions. I also just released a three-part virtual class that follows my book, Voice Over 101. And I know it's green. It probably doesn't show up. But I wanted to have a class so that people could afford my class even though I'm not there in person. It's very affordable and you can take like three hours of me virtually. So that just released, which has really made me feel really good to be able to give that. So the title is Voice Over 101, How to Succeed as a Voice Actor. But the business has been changing a lot. You and I have talked about this. That's the second edition. Second edition. Now it makes total sense. What do you think has changed from when we all started doing this?  So, but what have you seen changes, especially in the very recent past? Well, I think as in any job description across the planet, it's now acceptable to do your B.O. virtually. And I think a lot of Mishka wants to help me out there. I think there was resistance because as in any company that they didn't know if people could really do it virtually and being forced into it. The places that I work with, mostly, you know, cartoon studios have realized they can do it virtually. And I think it's a little more challenging animation wise because there's so many highs and lows.  But with animation, now the voice artist has to be a really good engineer and, you know, hire these guys so that you can set your stack so you don't over modulate all the time and have a decent interface. So I found that things like for the home person, I love the scarlet, but I don't think it works as great for animation just because of the highs and lows. But I have that Apollo twin and of course I like the way it works fine. But that's one of the big changes, of course, is being able to work from home. And it's forced those of us who do work from home into having to be more hands on with the engineering. There's you guys that we can call it. Wouldn't it be cool if there was an audio interface that was made for voiceover actors? Yeah, because it's all designed for making music. Is there one? Is that what we're leading up to? I feel like you're getting ready for the big pitch here, something I don't know about yet. I'm not promising anything. I haven't found one yet. I'm just saying. You know, I like having two inputs because I have my microphone at my console and then I have one in the boot. So if I have a student in the booth, I can still talk to them. I suppose if I had to get by and just a solo, I could. But I like the fact that the Apollo twin has, I know it's not probably Apollo twin because it has two of those holes, but it does. Yeah. No, but yeah, you wear multiple hats.  You're director and coach. So you have to have these different modes of operation, which definitely adds a level of complexity. Yeah, but I think it's really nice that the other end is accepting of it. Yeah. And a lot of the software companies may have had to scramble, but they figured it out so that there's this thing called looping on films. Where like 10 people will come together and you'll do ADR on a film and everybody will have to be, okay, you're all screaming at one time because the walls are falling down. And so... They try to have you do that remotely, but live? Yes. However, I mean, you can't do it on a Zoom because there's all the delay. Right, right. But these companies like, I think it's, I want to say clear feedback, I think it's clean feed, have figured out a way so that an engineer can take all these components, all these inputs. And hear something simultaneous. Yeah. The engineer hears everything they need to hear. You individuals don't necessarily hear the other nine actors while they're screaming. And then the director doesn't always hear it right away. So there's that extra step where the director has to let the engineer line it up. Glue it together. Glue it and line it so that he can see it and say, yes, I approve, yes, I don't. Yeah. But I think it's possible. It is. The bottom line is it's possible. I think it's really crazy, all the things that are possible now. And it's also nice because, you know, that we're going to Cancun tomorrow, all of us, and we're going to be working from there. But we could. Checking my phone right now. We can work from anywhere as long as there's internet. Now, we've only been telling all the producers this for like the last 10 years, you know, you could talk to people all over the country. There are a lot of talented people out there. No, no, no. We have to use this. Well, that's the bad part of all of this is that now our competition pool has grown globally. Right. As long as they can stay up that late. Or get up really early for doing stuff in Indian stuff. Which is really great for everybody who wants to get into voiceover who doesn't have necessarily live in LA. Yeah. But there's always that twist where the audition will say you have to be able to at least come into the studio if we need you to. Hollywood wants to work with Hollywood because it's a giant family. It's a very social thing. It's like the new Netflix series Hollywood Beside, which you should check out. It's very interesting. It's a very familial thing. You know, they want to hire their friends and their family and their neighbors and their community. It's so communal. It's very warm and fuzzy. I think particularly voiceover is I don't nothing against on camera actors. But I do think the voiceover family community is I don't know a little tighter. We are kinder little. At least I just enjoy the voiceover community so much. Well, we're not virtual. We're not actual physical competition, like going into a casting lounge and staring everybody down because it's all anonymous. And so we all figure, look, if we all sound good, we all look good. One person sounds bad. All the home studio voice actors, everybody at home studio, we don't want to hear that. Right. And for a lot of video games, when I audition, there's a common direction that they want to test your studio. So there's no, what do you call it? No explore. But you can't put any doodads on your audition. You can't run your staff on it. Compression. Oh yeah. They want to hear it. Expand your staff. Thank you for that word. Word retrieval skills are not my forte. It's not getting better here either. It's not getting better here. On beep. Yeah, that's what they want. Yeah, so the non-processing of it means that you have to make sure that, I mean, yeah, I won't process it, but I might run in if I had too much coffee and take out my teas. Teas are the little things that show up on your recording that are this noise. That doesn't really travel on the mic, does it? You know what? Zoom can't hear that noise. When I'm zooming students, I'm like, I'm trying to teach them TSK. Yeah. And this is how you TSK. But you can hear me, but the other end of the Zoom can't hear that noise. Yeah, it's because Zoom has this extremely, that noise cancel. I hate to bring up the letters A-I. Let's just say B-J. Um, okay. It has this thing called B-J, and it learns about, no, it's not good either. C-K? That's good. Go with C-K. Okay, C-K. It has this thing called C-K, and it figures out what voice is and what isn't voice. And it tries to figure it out. My daughter is also getting some voice coaching, and she occasionally will do like a creature sound, and it won't send the audio. Zoom goes, that's not human. We're going to take that out. So you have to go into the settings and you have to turn off auto. Animal sounds. Yeah, you have to set it in low reduction, like the lowest setting. Is that what it is? It's not. There's something in the upper corner of Zoom that says adjust for... That's original sound. There's original sound. Do you want that on or off? If everybody's wearing headphones, you can do on. Original sound on. Okay. And that will turn off all the echo cancellation and the noise reduction and all that rock. And then for the... Because I teach animal sounds and they're like, what is that? I see your mouth, but there's no meow. Yeah, I know. Zoom does this. Zoom does this. There's no bark. That's so funny.  It's... I don't know if it's going to pick it up. Zoom doesn't want nothing to do with that noise at all. No, it doesn't. Fortunately, we're not on Zoom. So it's... Yeah, we're not on Zoom, thankfully. I will attack whatever it is. We need more animal sounds in the studio. Yeah, really. At least she's not barking. She doesn't like that. One of the things that a lot of people who want to get into animation... What does it take to get in?  And it was never easy in the first place. I think you know what's the hardest, at least I think so, is... Given it's voice acting, you have to be a good actor. Right. So I'm assuming that anyone wanting to get into voice acting, especially animation, is a good actor. And that you have studied voice over and you know mic technique. Because I think in animation mic technique is more important than in any other facet of VO. Because there's so many highs and lows. Yeah. And I think one of the hardest things is... I'm just having a little brain fart right now. Because I had a really good thought about this. Hardest things. Is getting the auditions. Yeah. So a lot of people who want to get in animation... The first thing is I want to book a Nickelodeon series or a Disney princess. Well, there's just some major obstacles in the way. One of them is that these days the A-list on camera celebrities are the ones getting the lead roles. Not always, but for the most part. And secondly, to get those auditions, you have to have a great agent. For animation, there's probably only 10 to 12 agents that actually receive these. And to get with one of those 10 to 12 agents, you have to be someone that they don't have yet. Like, do they have a Debbie Dairy Berry? Do they have... How many guys between 40 and 50 do they have? How many teens? How many... So you want to find the agent... Yeah. You want to find that fishbowl that has room for you. Right. So the question is, can people still break in? Yes. Because a lot of people want to do it, but what does it take to push yourself to that level? I have seen people succeed by writing their own series and putting themselves in it. And releasing it on... I'm looking at you. There is a loophole in the Screen Actors Guild where you can create a project and make it for new media. And put yourself in it, tapped hardly yourself, which means get yourself in SAG. And whether you make it or not, or whether it airs or not, or whether it's successful or not, boom, you're in SAG. But maybe it is successful, you know. Maybe you have something like that little snail. What's your name? The one on YouTube. Snail on YouTube. You know, the movie that... Oh, come on. The Kyoto Brothers just did this. Oh my gosh. I know what it is. Yeah, I haven't watched it yet. Our demographic is not enough today. You guys all know what I'm talking about. Many of you watching know, they're all yelling at the camera. They're yelling at their computer. Put it in the chat. Put it in the chat. Please put it in the chat. But that started out as just somebody's baby. Yeah, right. And these little things can succeed. So that's one way of making your own project. Also, a lot of people feel bad about approaching family members or the uncle of a family member who you knew. Or the brother of someone you went to college with. That's kind of the way it happens. It's called Hollywood Nepotism. And it's a real thing. It's a family thing. Or you meet people who are repped by an agent that you want to be with. Well, that agent might not... Look at your demo, no matter how great it is, unless you have a referral. So you're right, Dan. It is very hard, but there are ways in, but you have to find the place that needs you. And be able to step up to the skill. There are a lot of people who want back in VO now, and they never learn the technical end of it. And so if they say, I want to sign with this agent, are you able, if that agent sends you auditions, are you able to record them quickly and turn them around, edit them and get them back to that agent? No, but my boyfriend has a studio. The boyfriend may not be available. You have to do it yourself. You can't depend on anybody else. But you have to have their home phone numbers. About our home phone numbers? We have websites. You have to be able to get a hold of these guys. I mean, I can't tell you the times I've called Dan or George, and I'm screaming out of my mind, Hello, how are you doing? Calm down, Debbie. Just push this button on the left. Push that button there.  Anyway, if you're just joining us, our guest is the one and only Debbie Derryberry. And we're talking about animation and voiceover in general. If you have a question for her, throw it in the chat room. Because Jeff Holman is actually here in the studio with us taking down all your questions and making sure that we get to ask them in our next segment. And I'm so happy to answer any animation, voiceover, any kind of questions you guys have. Anything, anything yet, Jeff? Because there's some questions actually we got before the show, too. Good to know. Those get first in line. This is a golden opportunity, you guys. Yeah, it's free right now. There's four questions already. Okay, excellent. Good to hear that. So what can people do if they want to get into this? What do they need to improve to increase their chances? Let me guess, it's not imitating other characters that already exist. Because that seems to me, I do a really good... That is, people will say, you know, I want to get into voiceover. I can do a really good imitation of, well, that is a part of voiceover. And it's called impersonations. But it's not coming up with organic characters. It's a really amazing skill that I am not privy to. I can't do it, but so many people are and things come up where they need that. So you'll get an agent, maybe that's your shoe in. Maybe you let the agent know, I can do these characters spot on. That doesn't mean you can steal one of the lines from the movie and duplicate that line. But you can take a fresh line that that actor has never done before and you can say it in that person's voice. And act in that person's voice. And act in it. So a couple of things an agent might look for on your resume that might get you in either the door or in some of these workshops is improv training. It has become so important and something that they look for and it can put you above other people who don't have this improv training and you can get improv training in any city in the world. I mean, here in LA, there's the biggies. You know, there was their second city or there's the groundlings and there's all kinds of offshoots of any of these that you can take improv from. And it's a certain set of skills and it's formula and you learn it and it helps you in auditions where they have the key word, make it your own. Make it your own means you can add words that aren't in the script and be funny and fluff it up. If it doesn't say make it your own, you stick to the script. Except in animation, you add sound, which is a lot of what I teach because people may do a very nice audition, but they do the same audition that 90 other people do and it's those 10 people that do those little extra things. Yeah, the surprises, yeah. Like if the line is, I've got a surprise for you and it's a little kid, I've got a surprise for you. They're going to get a bunch of auditions that sound just like that, but they're going to get some auditions that look at the stage direction before and after that says she's running in and talking at her dad who's across the room and she's laughing. That sounds like, which is a lot different then. I've got a surprise for you, right? Yeah. So being able to know how to read a script, read the stage direction and incorporate that and make your audition stand out.  Are you getting like a page? Are you getting a scene? That is a great question. All of the above, usually just your lines with maybe the attitude or with sarcasm or sad. And so it's up to the actor who has taken acting classes and knows what scene study is and knows how to come up with a character and a backstory and to say, why am I saying this? You know, you may have to make it up. It's usually there. It's usually pretty clear. So sometimes they don't give you anything. Sometimes if it's a video game, we never get the script. Not even until you get to this session. It's like it's extremely secretive. That's why you have to really love your director because they set it up for you. But for some shows, they will give you a scene, which is awesome because you actually know what's happening. But then a lot of actors don't read the scene. They're like, blah, blah, blah, my line, blah, blah, blah, my line, blah, blah, blah, my line. They may not say, blah, blah, they say that other BS. Well, some of them do, but I've been known to do that myself. BS, BS, my line. Does it help to sometimes read the line that's feeding yours, at least in your head so you... Absolutely. I would say sometimes I read it out loud, but then you, in your editing, you go and clip it out. Oh, yeah, yeah, yeah. And there's a lot of tricks to springboarding off the previous line. For instance, if somebody said, what are you wearing in the party tonight? And my line was the red dress. A trick is to steal that word from the line just before yours. Oh, the party? I'm wearing the red dress. See how I stole the word, the party? It wasn't in my line, but it's there and it's for everyone to see. And you can leave that in your line and it lets the director know, the casting director, that you've done your homework.  So there's just so much to take into account. So it's a simple question. How do you excel and get the video jobs? Yeah, well, I mean, just generally. Things like that. Generally, you make a tape, you get an agent, you audition a book. Boom, boom, boom, boom. It's that easy. You need the book. Yeah. Practice, practice, practice. Well, that's, practice is always. You've got to be constantly learning and constantly practicing. And practicing how to do the edits, too. And being good at knocking it out and not being afraid of it. Because honestly, you guys, if I can edit my own auditions, anybody can do this. Not as well as these guys. But good enough to get by. Coming on the show and asking questions is another great way to do it. Some people are much better at doing that. We see you guys in this chat every week. Some of you literally every week. And you're absolutely students of everybody that comes on this show, like Debbie. And you have a leg up because you're learning this stuff. You have to ask the same question twice. Yep. Because, you know, you don't remember everything. But if you're asking the question, you have a big, better chance, for sure. So we have a pile of questions, right, Jeff? Right. All right. Well, we're going to take a break and we're going to get to those questions. So stay tuned. We'll be right back with Debbie Dairyberry and your questions right after this.  So protect it from boom, stand, disaster. It's the ABS, the adjustable boom stop. It's simple, ingenious, and infinitely adjustable. The padded non-slip pouch fits almost any size boom arm. It has a unique double loop wedding system for an unlimited angle of the downstrap. It works with tripod and solid round bases. A strong articulated strap keeps your boom where you want it without weights, sandbags, or a knuckle-busting tightening of the boom clutch. The light gray webbing lets you mark and repeat stand settings for just the right spot for you or anyone else who uses your microphone, saving time and guesswork. This is the simple solution that simply works. You'll kick yourself for not having thought of it. Lock it in place with our ABS, the adjustable boom stop. Get it now at voiceoveressentials.com. If you hear something wrong with the show, let us know because we do pay attention to the quality, so it's important to us. Anyway, George the Tech here to tell you about our sponsor, Source Elements, the creators of Source Connect and a lot of other tools that are used in big-time productions every single day to remotely record talent all over the world and integrate that into the production process. Because really, why Source Connect is still so incredibly popular is that it works in the production workflow seamlessly. That's one key reason they love it. When they record that voice talent into Pro Tools, which most of the producers are going to be using, that audio is already in the production and now the client, who's almost always going to be listening to that session, gets to hear you in context in the edit. They get to hear you with the music, everything else and very quickly, the client can hear the way you will sound in the finished product. They get instant sort of approval as a war of how the audio is going to sound. This is why, and just one of many reasons why it's so successful and why you should probably be familiar with it, start learning how it works. You can get a free demo. Head over to Source-Elements.com and just get familiar. They have so much great learning content over there as well. They've really upped the training and content to become more familiar with it. So anyway, thank you Source-Elements. Source Connect, everybody check it out and let's get back to more great questions with David H. Lawrence, the 17th, with the ACX Masterclass. We're coming up on a full decade, just a few months shy of the training that we've been offering on how to make ACX a place where you can build a business as an audiobook narrator. And all this week and all next week we're celebrating with a series of free video training sessions on how to set up your business, what it takes to be an audiobook narrator, what you can expect in terms of the equipment and the production process and working with rights holders, the authors and publishers who have books that they want you to read. Just go to ACXMasterclass.com and you'll get all the details. There's a link right there for you to see the videos. And we'd love to be part of the reason that you end up creating an audiobook narration production practice. That you become an audiobook narrator. Join us. Absolutely free, great information. ACXMasterclass.com That's ACXMasterclass.com This is Bill Radner and you're enjoying Voice Over Body Shop with Dan Leonard and George Wittem. VOBS.TV Good morning. Well, I suppose any actor always hopes for that one job that people know you buy. And that, of course, would be Jimmy Neutron. There's no audio according to the audience. Oh, you guys can't hear this. Okay, hold on. Just a second. We're gonna fix it. One, two, three, one, two, three. Hello, are you hearing it? Is it going over? Can you guys hear me? No, it's working. Okay. Somebody else doesn't know what they're doing. It's bad. Because we do. Okay. Okay. Pick that up. So. Pick up. And action. I said, what do you mean by rewarding? Is it financially or emotionally? But I said this before. I'm just gonna say it again. That you all, as an actor, you always hope for that one job that launches you, that people know you buy. And for me, that is Jimmy Neutron. Because it seems like everybody around the world seems to know who Jimmy Neutron is. So that would be that answer. But I just forgot about little dogs on the prairie until you said that. Wow, that brought back memories. Yeah, that was a question. That was just to reiterate, because we lost some audio. That was a question from Catherine J. Jarvie. Hi, Catherine. Thanks for watching that. She mentioned that little dogs in the prairie. Yeah. What's the decade for that one? Oh, I gotta say it was the 90s? Around the early 2000s? Yeah. No, in the 90s. Before time began. That's right. We didn't have cell phones then. Yeah. And it came out on VHS. OMG. Sarah Switek asks, how many takes should you do in an animation audition? I mean, this question always comes up. Should I do one? Should I do two? Should I do five? And then how do you differentiate? It's a really, really good question. And I struggle with that sometimes too. I do one take if I'm giving one character. If they say, give me two takes, and you can come up with another character, then you do a second character. I think if you're going to do just a similar take, then you're wasting everybody's time. Just do one take unless you have a different accent, a totally different attitude, age, mouth, speech impediment, unless it's a real different character. Just one. And do they ever say we want two takes? Does that ever happen? Not usually in an animation audition. Yeah. Sometimes they will say they want numerous takes, but they'll give you the parameters for it. Gotcha, gotcha. They want it in America. Just do it three different ways. They don't say that, really. They give you direction. I mean, I imagine that it's out there, and it does happen. I'm not saying it doesn't happen. Just for the most part, you figure a casting director has probably five parts to cast for a show. Yeah. You hear this all the time. There's 20 agents out there. How many auditions are they going to get? They're going to get through five seconds of your audition. So that's why when I coach people, I always work on the first line more than anything else, because really, that's all they're going to hear, honestly. Yeah. Unless it's really stellar, then they might hear you to the end. If I'm giving two takes and they're both brilliant, I will slate Debbie Dairyberry two takes, as opposed to Debbie Dairyberry take one. Yeah, they'll know the second takes coming, but I'd rather say two takes. My little trick, because I think they know coming from me, it's going to be a different take, a different character. But yeah, you just don't want to bombard these poor casting directors, poor things. Their ears turn to jelly after a while. Every day, day after day, except when they're actually casting something. Our very own Jeff Holman right here in the studio.  In animation, I always work standing up if I can. As I said, I had this little back injury, so I had to sit for a lot of my auditions. And it was difficult for me, because so many of my jobs are, you know, animation requires all this energy to get it out, the sound out. I have this one job, I just bark. And it's hard to bark sitting down. And I get really hot and flustered. So that's a good thing about having a home booth, you can take your clothes off, so it's in your cammy and your chimney top. If it's a not so demanding animation job, I will sit. But I think for the most part, I find that I get that exuberance and that bigger sound if I can stand up. Well, physicality is a really important part of doing animation voices, or any acting for that matter on Mike. I think some people tend to forget that they're acting and they just think they have to talk loud to the Mike. Because George and I get stuff all the time. It's like, I gotta be loud. But if you're physical and with what you're doing, maybe even acting it out, that also adds to the expression of what you're doing. It really does, Dan. And that's another reason why when and if you build your booth, know what you're building for and accommodate it. Because you want to be able to at least get this big in your booth for animation. And you want to do a lot of Mike training with your Mike. Because you need to know where it is.  And then my take will be ruined because I've been physical. We all did. Yeah. Whack a Mike. This one's been Gracie. Yeah, she's asking, what's the difference between doing animation acting and then doing the voice acting for gaming? Nothing. Nothing at all. It's all digging deep and being able to jump from one emotion to the next and being able to have it be organic. I think for me, the biggest difference is that usually in animation, I get the script. So I get to know what's happening. But in video games, you don't get a script and you have to rely solely on your director to set up the scene for you. I do this one video game that I've been doing for a long time called Guild Wars 2. I do The Voice of Timing. And there's... You know how each video game has their own world and the names of their dragons and the names of their cities. And they're all made up and they're very difficult to say and learn. And so the director will... I should say the writer for that section because of course in video games there's writers for each section, each expansion, each chapter. They will give you the set up. And so I always have a piece of paper. I always tell my students have a piece of paper and a pencil. Not digital, do not depend on digital when you're doing an animation or video game session because it takes a little extra time and there's no time to waste.  It's not working. My digital pencils out of battery just have a pencil and paper. And I write down the whole set up and I write down the names and I write down the people who are telling me this. And so for video games you have to be able to process all that pretty quickly and to depend on your director to say what's just happening in this scene. And then I use my acting chops and I incorporate all of that and I give them a few different takes. And in animation you should have done your homework. You read the script. Sometimes they even give you access to the storyboard so you should do your homework and know what's going on. It moves even quicker in animation because the director doesn't have to lay it out for you so hard. That's why I found the biggest variation. How about the length of the sessions? Are they the same length of session? For me, if you're doing a knit cartoon, if it's only two minutes then they record you all separate now so my sessions will be anywhere from 15 minutes to maybe half an hour maybe 45 minutes for that session. So you don't look at it like you're going to be with us for two hours whether you're done or not. The contract gives you four hours. Four hours, yeah. But it doesn't take that long because you go from your line to the next line. Video games, they can book you for an 8-hour day. It's usually a four-hour session.  In video games there's always the screaming and it takes a while and then there's always the library with your character. There's always the library of all the sounds that this character is going to do and then they'll lay it out for you and that takes time to do. Once again we're talking about Debbie Derryberry. We've still got time for a few more questions here so let's keep moving on here. Eddie Furrier, who has a lot of kids, has a question. He wanted to be here. I know this for a fact and he's just this point he couldn't be here. But he says I'm a huge fan and how often do you coach child actors, kids? All the time. Yeah, you can go to my website or go to Calendly.com and just schedule a session. I really would love for everybody before they coach with me to read my book Voice Over 101, How to Succeed as a Voice Actor because then you'll know my language. Good idea. But I do coach kids and adults and I find that sometimes if the kid is already an old hat at VO although I charge by the hour I will charge by the half hour if that audition only takes a half hour. I have a lot of kids all over the world who coach with me and they're all set to go. They just need that little help to get from reading it plain to reading it like the script wants it and it goes pretty quickly. Are they looking for a lot of kids? A lot of the cartoons that I used to watch when I used to watch cartoons with somebody it was adult actors usually playing kids. Are they starting to use more children in these types of productions? It's a good mixture Dan. I would say that companies like Disney, Disney Junior they will hire kids more often than they ever have. However, directors who have directed kids and know that there are adults who can do it and maybe it's easier for that director to work with adults if they can hire an adult they will but I will say there's so much work out there for kids. They want to carry that voice season by season year after year after year. If you're looking at year after year well I know they do a lot of recasting at Disney so they'll recast that Disney voice. For something that's an adult swim they'd much rather well they need an adult because there's foul language even if it's a kid. But if it goes on for many seasons you're better off I think getting an adult who can sound like a kid who's not going to enter puberty. Good to know. Aaron S on YouTube says do you help with animation demos? Do you coach someone through a demo? I do. Sometimes I take people from nothing to a full demo. I help people with demos. My schedule is kind of full but there's always room on Calendly and it's not something that we do in one session. It depends on where you are as an actor. You can contact me if you want on that but it's a many-stepped process to get an animation demo made. And second part this is a quicker answer I'm sure is it normal to slate for animation demos for the actor to slate? For an animation demo? No? Oh I'm sorry animation audition. I said demo sorry. Slating is an interesting one. Some people say no don't slate anymore. Yes I slate for animation auditions but if I know that they're looking for a kid and they know who I am sometimes I'll slate afterwards just because I want to say I fooled you. I fooled you. But yeah we slate for animation auditions unless specifically told not to. Alrighty let's see here. Terry Brisco asks thank you so much for being here Debbie because you're welcome Terry Brisco. Terry is always here so we're glad he's always here too. Are there any types of characters that you won't do like drug addicts or political dictators or something like that? It certainly depends. There are some auditions that I just don't do because I don't stand a chance in hell of booking it if I know who else is going to be auditioning for that. They'll send me these auditions for gravelly deep British actors with gravitas. I could do this if I had to but there's so many other people who do it better that if I have a whole slew of auditions to do I might select that one last.  And pretty much I think there's only been one job that I've left because I was very unhappy with the way it was going and hardly any auditions I haven't done. I think they're all pretty I don't know unsighted and not too salacious. I'll try anything. And if they book me for the kid and they get you for three roles anyway in the SAG contract it's good to be able to have a lot of roles in your wheelhouse. Yes I can do the old grandma and yes I could do that gravitas British woman. No it's not. The dog's growling. I can do the dog. So slow for the dogs. Speaking of gravitas. I do it for a living. I'm a professional. This one's from Craig Davis on YouTube. Talking character development. How do you know a character voice is good to go before an audition? I guess how do you practice it?  So falling into that character is a really great way of knowing when you're ready. But I would say you need to be able to span the gamut of emotions with that character and be in that same voice for laughing, crying, anger, love and not leave character. And it's hard. Sing. That's a good one. Catherine Jade Jarvie asks for let's say is there a genre of animation or gaming that you like doing more than another? No. I like it all. I love to work. I love my job. And I... I like it all. So I wish... I'm not keen on having to scream the whole time. But... And I think when a show is every line is frenetic and at the top of the range where it's like migraine inducing that can be difficult. But I just like voice over work. I like auditioning. You have to like to audition. If you don't like auditioning and aren't good at it, get good at it and get to where you like it because that's... I'd say 90% of my job. That's what I do. I just audition and edit mostly. Have you been doing much commercial work? I mean aside from all the animation stuff that you've been doing? No. I audition a lot for commercials. But most of my work is in animation. And if I do book commercials my successful ones have been animated commercials. Of which there are many. Couple more we can squeeze in real quick if we're fast. Julie Ahoet or Ayotte Do you do an audition for a product political part you don't agree with? And do you sell your soul? You kind of covered that. You said there's going to be candidates that you might not be working for. But I mean that's in anything. Right. You know you... I'm just losing all my words but you want to gravitate towards that but you agree with and makes you feel good and you can make a better world from it. Vaping commercials. And be authentic. Probably not. Be authentic. Wishbone asks... Wishbone that's... That's a friend of mine. Jacob's friend Wishbone. What inspired you guys to get into voice acting and makes it... How do you make it into a career? Well... How many hours you got there at Wishbone Zero? You got to make a choice but if you love acting I would say try everything and see where you start booking. Right. You know I do on camera stuff I do theatrical I do commercial on camera and I do commercial voiceover and... But where I book is I think where I should be because the goal is to make a living doing this. So don't... I always say not to be afraid of your pigeonhole and embrace it and... You know kind of... Don't beat yourself up that you just sound that one way. I've had students that cannot get out of their sound and they have this very specific unique weird sound. Weird I mean that in a good way and that's what they book. And yeah it's always worth it to try and get out of your...  Yeah you might end up being the voice of Marge Simpson. Talk about a unique sound. And her sisters. Little adjustment with that. Oh we got two more... How much time do we have? So this one's from Patricia Andrea. How do you organize to remember the voices of characters? I guess this is if you have multiple roles in one thing. Is this a mental thing? Or is it just... I don't know if she's talking about like a sort of a cartoon where I do a lot of voices or where I have a lot of voices characters that live in my wheelhouse. When people make their demos they usually put their strongest characters on their animation demos. And those... It's like learning a song. You know you listen to the Beatles album or your favorite album and you know what song comes next.  Well when you hear your animation demo you memorize your animation demo and so that if the audition comes up that it's for the old lady. You have the old lady on your demo and you know the words that go with it. Well those few words are what boots you into her voice. And the same with any character. So hopefully you'll be able to use that as your springboard to launch right into that character and remain in that character. If you come to a job... And they said it's a little boy. You're going in to read a little boy. And it was a gig so I went in and I got behind the mic and I'm ready to read this part as a little boy and they said oh by the way it's British. Okay.  So it took me a minute but you you learn how to layer these things like like if this was my teenage voice this is the one I always go back to. Okay. So here's my normal teenage voice but then she say say no she has braces. Okay. So this teenage voice has braces. Create. But wait. She's from the sale. Okay. So I had this teenage voice with braces from the sale. I just layered three things to create a different character and you can do that with any age speech impediment accent attitude voice placement but you have to be able to grab hold of that character you create and live in it like I said. Right. Well Debbie if someone wants to get a hold of you and perhaps study with you how would they do so? You can go to my website www.dereberry.com Make sure you spell it right. D-E-B-I www.dereberry.com You can contact me there and there's a lot of tabs on that website and you can also book with me at calendly.com slash debbiedereberry I'm happy to answer your questions on my website if I can read the book first though. She said it. Yeah it's not too expensive and really it's got everything I know I poured it in here for you guys for you guys and I also have the virtual class that goes with this it's a three one hour segments and you can get them all at once or you can get them one at a time as your budget affords but hopefully it will give you an insight into how I think it works in the voiceover business just from my viewpoint Great, well thanks for being with us Thank you for having me Dan That's always a pleasure having you on I was coming in I know I was going to play my new song go to my youtube channel and play I'm a great recycler for your kids Thanks for having me guys George and I will be right back to wrap things up and rack it up for tech talk right after these in these modern times every business needs a website when you need a website for your voice acting business there's only one place to go like the name says voiceactorwebsites.com their experience in this niche webmaster market gives them the ability to quickly and easily get you from concept to live online in a much shorter time when you contact voiceactorwebsites.com their team of experts really get to know you and what your needs are they work with you to highlight what you do then they create an easily navigable website for your potential clients to get the big picture of who you are and how your voice is the one for them plus voiceactorwebsites.com has other great resources like their practice script library and other resources to help your voiceover career flourish don't try it yourself go with the pros voiceactorwebsites.com where your VO website shouldn't be a pain in the you know what your dynamic voiceover career requires extra resources to keep moving ahead there's one place where you can explore everything the voiceover industry has to offer that place is voiceoverextra.com whether you're just exploring a voiceover career or a seasoned veteran ready to reach that next professional level stay in touch with market trends coaching products and services avoiding scams and other pitfalls voiceoverextra has hundreds of articles free resources and training that will save you time and help you succeed learn from the most respected talents, coaches and industry insiders when you join the online sessions bringing you the most current information on topics like audio books auditioning, home studio setup and equipment, marketing, performance techniques and much more it's time to hit your one stop daily resource for voiceover success sign up for a free subscription to newsletters and reports it's all here at voiceoverextra.com that's voiceoverextra.com yeah hi this is Carlos Ellis Rocky the voice of Rocco and you're watching voiceover body shop and now we're back it's always great having Debbie on this show because she is the business she really is the business and that's why we have her on let's see next week on this show we have Tech Talk number 95 which you're about to do so you guys watch it live hang out and watch the show live and you can ask your questions and then the week after that Jason Lanier White has promised he will be here on January 23rd February 23rd we're going to chain him to the door just in case exactly no it's January 6th February 6th check the calendar might be on a Wednesday he's going to show up on the wrong day who are our donors of the week yeah we got a few donors Grace Newton, Robert Liedem, Stephen Chandler Casey Clack Jonathan Grant, Tom Pentel Greg Thomas, A Doctor Voice Ant-Land Productions Martha Kahn, 949 Designs Christopher Epperson, Sarah Borges Phillip Sapir, Brian Page Patty Gibbons, Rob Ryder Shauna Pentington Baird, Don Griffith Trey Mosley Dinerbird Saul and Sandra Mann-Willard thanks guys we appreciate you donating to the show it makes it technologically perfect at least it allows us to try to make it perfect we give it our all we have a VOBS thing a George the Tech Webinar coming up it was supposed to be tomorrow it got pushed a week because of we don't need to get into that but it's got pushed a week but we're going to have Michael Pearson Adams from Waves Audio ask me anything it's totally free so just go to georgethe.tech and sign up to be there we're taking 100 seats 60 year booked again it's free but we want to make sure everybody can ask at least one question so come on in and ask them anything you want to know about this audio processing stuff and you can join our mailing list too just go to our website and click on join our mailing list it makes it really easy we need to thank our sponsors too like Harlan Hogan's Voiceover Essentials Voiceover Extra Soros Elements VoysactorWebsites.com and World Voices the Industry Association of freelance voice talent go join today we need you there and we have lots of great benefits for you there anyway we're going to re-rack it for tech talk here and so if you've got a question for us we're going to have a lot of great questions tonight and we've got lots of good stuff to cover so before we go we've got to thank our very special in-studio oh well we have to thank Jeff Holman for being here for doing our chat room monitoring and of course Sumerlino for putting up with us we gave it to her tonight hey here's a new camera try this anyway we handled it thank you so much you know this is this is a difficult business which is why we bring on people who really know how to do it like Debbie Dairyberry and of course we like to bring you all the good technical stuff because we've decided that if it sounds good it is good I'm Dan Leonard and I'm George Woodham and this is Voiceover Body Shop or VOBS take care everybody the only time I took the headphones off were during the breaks because the breaks are about 10 dB higher yeah stream yard is amazing but it really really does need a kind of auto level so that the spots can be auto level down because it's so hard to mix how long we've been doing this it's very hard to get them right it cut the audio right yeah stream yard and multi cam is still not super I do I still don't know which one it is so this camera looks like it's aged a little bit pull on the front leg there you go perfect that's good that's okay now we'll level all right you guys are all ready for some tech talks we've got some great stuff of course I haven't seen what you've come up with tonight because I haven't either I'm just kidding I came up with a couple of things of course Apple has a new computer Apple has a new computer guess what are we ready to do some tech talking here I believe he'll be back in a second you can walk in 10 10 10 okay sounds good okay that's fine hey it's time for voiceover body shop tech talk tech talk I forgot to echo you know we do it every other week you're gonna forget it's disorienting being in the same place at the same time sometimes I know you gotta study your lines even though that was the norm right well we're here to help you with your home voiceover studio and we've got lots of great stuff that George is going to talk about a new Mac mini or something like that so stay tuned right now we want your questions on voiceover body shop there go my glasses I'm gonna be a pain in the butt voiceover extra your daily resource for voiceover success and world voices the industry association of freelance voice talent and now here's your hosts Dan and George well hello there I'm Dan Leonard and I'm George Wittem and this is voiceover body shop or V.O.B.S tech talk tech talk tech talk so if you guys only knew how much fun we have doing this show oh man we do and each time we do a different set which just makes it even more exciting I know it's amazing we've been doing it in March which is not that far away it will have been 12 years since we started doing this show 12 years you would think that we would have run out of stuff no technology moves on thankfully everybody keeps making new stuff people keep buying them even though they don't need them and then we get to tell them how to use them and the fact of the matter is when you think about it trying to keep up to date with the latest technology or the latest dogs um thank you trying to keep up with the latest technology requires people who are constantly looking at this stuff and you and I are like I mean you're a total geek when it comes to going on the internet you got to try this piece of equipment I'm a little bit more keep it simple traditional you could say traditional and so I'm usually like yeah this microphone might be good once in a while though you get a surprise if something comes along you get a mic once in a while I'm like this one I like this mic would it be the difference between me booking a job and not it still goes on what's going on in your head but you still have to know how to record competently you do not have to be a recording engineer but you do have to learn some basics you have to know whistle what it's supposed to sound like you have to know that that is so incredibly important especially a lot of agents that don't know what it's supposed to sound like of course when I talk to people and they say what do you mean by what it's supposed to sound like or is it broadcast quality it means it doesn't sound bad there's nothing distracting there's nothing that's distracting the mouth noises aren't so mouth noisy that they try to distract the listener the breaths aren't so gaspy that nothing is distracting out of the ordinary or in any way distorting your voice there's no background noise or there's no reflection all those sorts of things if you want to learn how to do this right or have somebody set up your studio properly look there's only two places you can go and generally when you go to one the other one's going to hear about it anyway one way or another if you want to work with us it's really easy just go to our websites like if you want to work with George you go to we've got a lot of resources on there from the soundcheck all the way up to design your dream studio to making an audio processing preset so that your auditions are a little bit more polished or just troubleshooting all your gear and figuring out why that one mic buzzes all the time so that's what we do over at georgev.tech go check it out and take a look and see what we have to offer as well as Dan over at homevoiceoverstudio.com yeah go on over there I've been getting a lot of people throwing their specimens in the specimen collection it's the most valuable thing for $25 and ask anybody that's done that with me and it's like wow you gave me a whole lot more than $25 worth because I can listen to an audio George can listen to it within a very short period of time of listening and looking at various different graphic representations of your audio we can determine whether it's up to snuff or if it needs to some little adjustment is needed so go on over to homevoiceoverstudio.com and check that out alrighty it's time to get to George's weekly or once twice a month tech update take it away we'll get the Apple stuff out of the way Apple was going to say quietly announced they don't do anything quietly but they didn't schedule this they didn't promote that they were going to announce it they didn't have a press conference they just dropped a video and they dropped a video and said by the way we have new M2 Mac minis and MacBook Pros I just bought a Mac we all just bought new Macs right so this is obviously the next iteration or generation of the silicon chip processor M2 and now they're offering it in the Mac mini many thought this was going to happen in the fall but because of COVID and supply chain all this crap they had to delay it so now it comes out and what you're getting now is a $599 Mac mini it's actually less than the last Mac mini amazingly they dropped the price you could literally trade one in and get more computer back kind of I mean like it's kind of nuts like if you've got desktop PC or that gaming laptop that makes tons of fan noise and drives you crazy this is a golden opportunity to step into an Apple computer I sound like a sales guy here I know I'm sorry but $599 it's a base model but you gotta keep in mind what is a base model Apple computer is like a mid to upper mid tier PC right they just don't even start at there's no low end anymore and that's a $599 it'll do everything a voice actor would need but then that's just the base model then they have the M2 Pro and the M2 Macs and this is where they start just adding more everything right who is that for it's for people that really do know they're going to be doing a lot more video production they want to run three 4K displays you know because you can do that on the Mac mini pro it has more just more everything you can put more memory in it all kinds of stuff I personally think that the sweet spot would be the Mac mini M2 pro base model I think that's a $1299 computer so if you were getting ready to spend that kind of money that's where I would put my money because that's going to make you future-proofed another three or four years longer than maybe the base model and I'm saying that not even really knowing what's going to happen in the future they'll come up with something new for sure they say that if you pay more up front the computer has longer life I guess that's kind of true the thing is the low end Mac mini the performance is so bonkers it is so fast and they last for five or six years I had my 2011 Mac mini still running as a server and just a video server you can watch movies on my TV they're on that hard drive so they do so that's new from Apple you're probably wondering if you're really looking at spending big money you're probably thinking well shouldn't what about that Mac studio what about that Mac studio it's basically a Mac mini that has a double stack and the top part is basically fans well the fans are what let you eke out that last bit of horsepower over a longer period of time export video for longer periods of time it lets you do photogrammetry and things like that at maximum performance which is obviously not what we're doing by the way and the other problem is those fans come at a cost and that is noise I've seen many little people saying Apple studio computer there's a whistle kind of a whiny whistle sound from those fans so you can't put it in the boost so the Mac mini again quite cool and great performance Dan and I both used the mini M1s for years the M1s we just bought last year we've had minis for years we've both got the 2020 and it's been a very good experience going into software Bertam DeNoiser which you guys maybe have heard me talk about on the show or not it's a noise reduction plugin and they've always had this freemium version or what do you call it Honorware it's free but you can kick me some money if you look shareware maybe that's what we call it so a long time ago when I discovered it I thought it was so cool I kicked the guy 42 bucks he said hey by the way here's a license to the new pro version I'm just giving it to you because you're one of the top donors okay that's 42 bucks but anyway he released a pro version do you need the pro version I don't know I just installed it today I didn't have much time to play with it it had five more fader things to play around with so it definitely adds complexity but it also supposedly has this adaptive mode which could actually be worth the 25 bucks that he's charging for it so you can demo it you don't have to buy it but give it a try and see if the auto mode is kind of magical for removing some of the background noise and see what you think think about background noise there are some things you have to work very hard to remove them and somehow it's going to leave some residue of something the real key to using a lot of these denoising products is to get your noise floor at least down to minus 60 if you can these really great pieces of software transparent the lower your noise to begin with is the far better these tools can do the better they can do the job and then better they can do the job without creating any distractions without being noticed transparent it's not distracting the listener it's one of those things like a good tool is great when you turn it off and you miss it but when it was on you didn't know like if it's on you're going okay that's good I can't tell it's processing but it sounds fine I like it and then you go well let me just hit bypass it's kind of rumbling in here now I hear lots of that's a good tool when it's on you don't even know it when it's off it's like I'm missing something Bertom does that really well I like that one Bertom.com Bertom the actual website BertomAudio.com Bertom I think it's like two names slammed together his name's Tom or Bert and Um exactly now another one is and this one I'll just throw up on the screen because this is an interesting company can you throw that on actually Sue it's easier there we go there's the Bertom tab let me go ahead and share this tab instead there we go and that's cool I like that they added that little button this is a company called Angry Audio and they definitely market to the radio broadcast or kind of segment right but they make problem solvers I love problem solving things right they make the audio gizmo and it doesn't look like much and you're thinking why does it have network connections I was going to say why does it look like just a router what it actually is it's just a very compact and simple line in line out audio interface so if you are if you're looking for that thing which just takes the audio from your mixer or your preamp or whatever and just injects it into the computer nothing else it does that and it does it without noise because it has isolated galvanically isolated everything so everything inside the unit has electrical isolation so you're not going to get hum or whining sounds from the computer and at those RJ45 connectors that has become a radio broadcast standardization now where they connect things this way because it's using it because it'll use telco and that's they have those cables already so they do have these little breakout cables that give you XLR so anyway it's kind of cool but he also is doing this other project which very few of you need but those that need it will go oh thank you so that is the let's see if I can find it it is in the smart there it is the bluetooth gadget so he made what I believe really is the only really like pro quality bluetooth audio to adapter so this not only is a very high quality bluetooth playback so like playing music from your phone and having it come into your system and it's audio also digital which none of us really use but broadcasters do it does that but it also it also has the input mode so it'll be a phone patch of sorts so if you have say an Apollo or a mixer and you've got that extra line in line out where you can inject something else this now can become your phone patch has it work there are some folks I work with who are like listen I still get dialed in on a telephone pots, plain old telephone everyday but I don't have a telephone who does so I'm using Skype or I'm using something else and Skype is kind of wonky and doesn't sound very good and there's just a lot of reasons to just use this familiar thing and so this is a way to connect this to your studio anyway that's the it's the bluetooth gadget probably get one to play around with at some point but it's a cool company he makes these really neat little problem solver things and that's and that's angry audio the very last thing I have was oh well that was actually it one other thing this chameleon what it is is his way of creating a hardware box and you guys know we have our own trouble on the show getting audio levels all exactly like between the mics and the commercials for example right this is a hardware box that does that that's literally what it does it's hard for us because software we have we do everything in software but this would be something you put between your mixer and your broadcast your radio or transmitter whatever your streamer I guess and you can set the output on the box so you say I want to now put an average level of minus 20 minus 18 whatever and the box just automatically calibrates the levels for you all the time not only that they make one for headphones which you know we all talk about this in VO you don't use headphones to to create this fake version of what you sound like you know because it's coloring you but in radio well radio the whole point is to be in love with the way you sound exactly so this box c3 I think it's called does this job but just for your headphones so it gives you that perfectly leveled audio loud and clear when the commercials come in it's everything comes in at that same full level all the time and so you can make yourself sound beautiful to yourself and not screw up the recording with processing you shouldn't have been using in the first place anyway that's a weird little product right but I just thought it was interesting maybe I'll get my hands on one to play around with it I know some voice actors who could probably use this I know one that turns his headphone knob up and down and I know who you're talking about and you know who I'm talking about I might get it for him he'll break that one the beauty of it is you don't have to touch it that's a good news it's automatic anyway there's a few new fun things to check out cool so here's what I wanted to talk about this one because I get this all the time people who are beginners people have been doing it for a while maybe you know a lot of people use audacity as their software that's really what I want to talk about is you know we always get that question what's the best microphone for voice over what's the best software for now I've been doing this a long time I have been recording digitally for over 20 years it's changed a lot it's been a lot better and it's gotten a lot easier but the thing that there's two elements that allow you to do digitally record one is your digital interface whether you've got an interface or a USB mic that takes your analog audio and turns it into the ones and zeros that your computer understands and turns it into the graphic representation of audio whether it's a waveform or a spectrogram all those weird things that you see in isotope that looks like a model for global warming the thing is what really is best when it comes to software I am convinced that all software in the aggregate all sounds exactly the same digital audio is digital audio it's what the software can do to either enhance which of course you know what I think about enhancing audio or clean it up or has what I like to call the proper workflow for doing voice over right because when you're doing auditions all the time you want to get it out the door or if you've got a project give us three takes of something you want to get it out the door and of course you want it to sound right of course you and I agree that the best way to sound right is to have the best environment to record in proper microphone technique and learn how to set proper levels those are the three basics get those out of the way as long as you do that any software is going to work we know there are a lot of professional audio book narrators still using audacity because it's got the right workflow for what they do I personally been using Adobe Audition since before it was Adobe Audition when it was sound studio sound booth and I've been using that for well over 15 years and it's amongst software it has a workflow for voice over because it's designed to be for voice not for music because all of this stuff is designed for music we never recommend people use Pro Tools now some people learn down Pro Tools they started a long time ago and they know how to use it we know a lot of people who do voice over who do a lot of multi level things where it's like lots of different files and they're like well I know how to do it on Pro Tools therefore I will do it on Pro Tools they learn that workflow they learn like how the clips work and the regions how to deal with multi track and the file their whole system is built around it that's true especially if they were musicians because then they will or if they were trained by studio owners or producers that know Pro Tools that's how they were trained the thing is Pro Tools is not going to make you a better voice actor it will make you maybe a better recording engineer but again if you go for those three basics who cares when you get confused because you changed the modes of the operation of the editor and now the play head doesn't start at the beginning and it does this and you're like why did that happen Pro Tools has a lot of complexity too Adobe Audition has some complexity it's kind of a sweet spot it is because you can do multi tracking if I'm producing podcasts it's fabulous balance the levels and each individual track but as voice actors your primary thing is one mono file and you don't need as I like to say a control one for a nuclear reactor to control a hamster running in a wheel I'm glad that Audacity maybe was it a year or two ago adopted the oh it should just be one track mode that's not the default now that they've done that it feels and works more like a track recorder editor the latest version has lots of features to it which is really cool and of course a lot of people who are sending me audio how do I fix this in Audacity or how do I make this oh I haven't used this for it oh they changed that and now I have to go figure that out it's like 3.2.3 3.2.2 I just updated yesterday because I updated the 3.2.1 last week but Audacity is great stuff I mean and the best part about it it's free it's free you use Twisted Wave as well I do use Twisted Wave that's kind of the one that I I have kind of hitched my wagon to if you want to call it that well we bought that, I mean ever since Bowweaver told us about it which was long time ago 2007-2008 I remember when I first met you and you were showing people this remote system you had there was Twisted Wave on it and that was in 2008 it's been a long time and it's proven itself to be a very stable, reliable super-duper simple he hasn't mucked with the user interface it pretty much looks and works the same year after and I think professional tools don't muck with that thing that makes it familiar that really bugged me about Apple with GarageBand when they give it a makeover and you had to really go back to school and learn how to use it again you had to watch all their training videos I'm speaking for myself it drove me crazy this is 7, 6, 7 years ago but still that kind of thing where a company will just arbitrarily change things because somebody decided it needs a new look you don't want software that has that Adobe doesn't do that either Audition has not changed at all it adds features it adds features I like that you can hide everything you don't need to see in Audition you can hide a million different features I know people also like Reaper and I think Reaper speaks to computer geeks more because it's more like Legos there's a lot of pieces that you have to build correctly for it to do a good job for voiceover you can use it out of the box but you'll be banging your head against the wall so you completely customize it but once you've done that it does its job really well one that I just can't wrap my head around is Studio One it's for making music I know Don Barnes is an absolute pro and he has a whole system for teaching it every time I open it and I've seen some of his videos and all this stuff I still wonder why do they take that weird security route to get to the end product it just doesn't jive for me and the interface is so noisy meaning lots of things going on a million different things it's just a little overwhelming that's why I like Twisted Wave it gets out of the way you turn it on you boot it up you hit record and you go it has everything you need to do voiceover it's got all the any filters you want to use and how many filters do I use high pass filters and I've really stopped using a lot of compression the more experience you have you'll find the less compressor if you know how to use your mic if you set your levels right compression is not that important the thing is if you give somebody your audio that is going to manipulate the audio after you give it to them and put it into a mix give them as we used to say in education a tabalo rosa a blank slate something that they can play with it's like okay there's a little spike here but I can calm that down as long as it sounds good to start with that's all they worry about I'm not a big fan of Reaper because Reapered has a green to darker green VU meter oh yeah they don't have what I would call a properly it needs to go green, yellow, red that's kind of universal but Reaper doesn't do that so when you're trying to explain that to somebody what? it's like it's just green okay well software that will give you green, green, yellow orange and red which Audacity does and Audition does and Twisted Wave does anyway that's my take on software take it for whatever it's worth but Audition, Twisted Wave Audition works across platforms we understand that Thomas is making a beta for PC for Twisted Wave oh yeah you can go download it right now in fact he's even supporting stacking in the Windows version in fact I wish I mentioned it earlier but now you mentioned it there is cross compatibility I can make a stack as long as the plugins are Windows compatible so they have to be VST but as long as I'm using those plugins and you have the same plugins I can make a stack on the Mac and it will load on PC and it will be happening in the Windows Twisted Wave so that's encouraging to see you know you know sorry anyway we're going to take a break we got lots of questions Jeff all right we'll be right back with your questions right after this so don't go away we'll be right back with VoiceOver Body Shop this is Ariana Ratner and you're enjoying VoiceOver Body Shop with Dan Leonard VoiceOverEssentials.com has the ultimate answer for mic safety look your mic is the most valuable part of your audio chain so protect it from boom stand disaster it's the ABS the adjustable boom stop it's simple ingenious and infinitely adjustable the padded non-slip pouch fits almost any size boom arm it has a unique double loop webbing system for an unlimited angle of the downstrap it works with tripod and solid round bases a strong articulated strap keeps your boom where you want it without weights, sandbags, or knuckle-busting tightening of the boom clutch the light gray webbing lets you mark and repeat stand settings for just the right spot for you or anyone else who uses your microphone saving time and guesswork this is the simple solution that simply works you'll kick yourself for not having thought of it lock it in place with our ABS adjustable boom stop get it now at voiceoveressentials.com to talk about source elements the creators of source connect and a whole slew of tools we mentioned the word workflow earlier today and that's really the name of the game source connect I mean there's a lot of tools now that stream audio over the internet that allow for multiple people to collaborate there's so many things out there now source connect has a very well embedded workflow into the studios that love to use it and that is why it is really the tool of choice for the pros it has its downside which is well as an actor you also have to own it and that is something that not everybody likes but the good news about it is first of all you can demo it for free secondly you can subscribe and get a monthly subscription for the software and if you find you're not going to be using it in the long term maybe things have gone a different direction your careers changed whatever you can stop paying for the subscription and you end up investing far less than actually buying the software license outright others of you hate subscriptions and will end up buying the license outright and that's fine too but whatever you choose to do go over to source-elements.com to learn more about it how source connect can work in your studio yes it's Windows and Mac compatible yes it's a little bit more Mac friendly but it absolutely will work on both so give it a try and let us know if you need anything because we can help you anyway let's get back to your questions right after this thanks source elements hey there it's David H. Lawrence the 17th with the ACX master class we're coming up on a full decade just a few months and I'm just a little bit shy of the training that we've been offering on how to make ACX a place where you can build a business as an audiobook narrator and all this week and all next week we're celebrating with a series of free video training sessions on how to set up your business what it takes to be an audiobook narrator what you can expect in terms of the equipment and the production process and working with rights-holders the authors and publishers the books that they want you to read just go to ACXmasterclass.com and you'll get all the details there'll be a link right there for you to see the videos and we'd love to be part of the reason that you end up creating an audiobook narration production practice that you become an audiobook narrator join us absolutely free great information ACXmasterclass.com that's ACXmasterclass.com I'm Neil Farmer and you are watching voiceover body shop it's great and we are back talking tech we got lots of questions today but people have written in their questions because we keep telling you guys I'm repressed write your questions in because then you go to the farm the queue and your question gets asked first I'm really impressed with how many came in yes now this particular question look at this week this is does your name all over it Josh Smith writes I recently had a voiceover instructor call me out in a group class setting in a group class setting for having my Neumann TNM103 right side up as opposed to upside down right so like that they went on to say some mics are designed to deliver a warmer temperature sound when positioned upside down which is essentially BS is there any truth to this statement no it's BS whoever was instructing you had no idea what they were talking about now he says I've experimented with lots of different positions and I find when it's upside down I tend to stay a little too far back from it so I like the right side up position as it's easier to orient myself too I recommend and I think you recommend as well why you have the mic like this upside down suspended like that at the height of the bridge of your nose and anywhere from 5 to 7 or 8 inches away so your copy is down and underneath and you can see it clearly you can gesticulate without banging the mic so there's a lot of advantages why don't you kick the stand exactly and it's out of the way but here's the big psychological thing I tell people this and they go oh and then they right back and go you freed me because you're supposed to sound like you and sometimes when people get on mic they think they have to talk louder because they're on a microphone if it's up here that's the upper periphery of your vision it's still picking you up just fine like you're hearing me right this moment your copy is down here and it's unobstructed and that's because you want to concentrate on that not on being on a microphone you're not talking at the mic the mic isn't a 1940s dramatic radio ad where you're talking at the mic that's right the mic is listening in on you and you'll also notice by having it there it is at the same the same height as your ears the same height as your ears which is how other people perceive you if it's right side up you have to be a little off axis to see your copy it's going to be like one side of the other and that's not good but the statement about it's warmer if it's upside the only reason it would get warmer is if you start using proximity effect and I'm not changing the tonality of my voice at all and you can hear it gets deeper don't use the microphone to do that let it pick you up as you exist to other people I think it's a lot easier to pop the mic too when it's down below because I can go Peter Piper picked a peck of pickled peppers and there are no plosives so why have this big black screen in front of your mic that's going to distract you and remind you that you're on a microphone it's going to start sagging down exactly so hopefully Josh that answers your question I think that might have been something that got that notion got sort of convoluted with tube microphones that they needed to be upside down or right side up because the heat of the tube there was some really old school old fashioned notions about this just do it this way it's oriented literally all 360 directions it's the capsule facing you that would be like going to this mic and saying well if I twist it this way does that sound better now no it doesn't the capsule is round it doesn't matter anyway big case says I'm a renter looking for a relatively quiet rental location and I'm considering getting a vocal booth to go acoustic booth including in an interior room or walk-in closet my attraction to this particular booth is that it doesn't weigh anything like a regular booth I guess you mean like an ISO booth and thus would be acceptable to the landlord because the landlord weighs everything he brings into his apartment apparently would it need acoustic fine tuning like bass traps etc like some other booths and is there an optimal size for acoustic the problem with putting these blanket booths into a closet is now the closet is the defining factor of how it's going to sound because now you're in this chamber and so if you stick it in a small closet it's going to sound like you're in a small closet but a little better if you stick it in a large room now the room isn't as much of a factor because there's a lot more space around you and it will sound much better you don't want to have it up against a wall putting it flat up against a wall that's usually a good idea and it depends on how heavy the blankets are and what product it's made out of he was talking about a vocal booth to go and those are the producers choice blankets which are good heavy blankets they're very very good and they make a bunch of different sizes of booths too yeah they do so what kind of room does Vic have in order to have a booth on that so he mentioned bass traps I'm going to speak now to my own product because I'm the most knowledgeable about it I helped Rick Wasserman design something called Try Booth and this is our take on this type of concept and what we have found is that it does sound best when it is not up against any surface not right up against a wall or in a small room because when you're in those small spaces there's bass reflex and that's where that bass trapping notion really becomes an issue because that chamber is resonating with your voice, it's booming with your voice and those blankets while they're nice and heavy they still can't stop that resonant low frequency stuff right so you really don't want to get into those chambers but when the booth is free standing it sounds amazing I've also found that if you're talking towards a wall it's going to bounce too because these booths, the blanket booths are not sound proof how many times over the 12 years we've been doing this show have we told people there is a difference between sound damping diffusion and absorption and sound proofing they are two totally different things so if you want to put up, you can put up all the sound proofing foam you want it's not going to stop any sound from coming in your booth but the thing is when you use a booth like that it's got to be in a very quiet room which is why closets are good I can see why someone would pick a closet if that's the quietest place they can find and it also depends on where you position your mic because if you're talking towards the wall it's going to bounce back so why not have the mic facing out towards the room which will also, depending on the mic you have will also prevent noise from coming directly into your mic out of a window or something like that mic orientation can do a whole lot with your noise score so think about that so I think you're going to have to go with what's comfortable for you you need a space where you can put your hands up like this so whatever it is if you're going to be acting and hit things all the time then it's probably too small so in terms of size it really comes down to what is going to fit your body and your body size and type and how you like to work let's do a very good job of dampening the sound no question about it the sound goes great to it they do that really really well Aaron Goodson you get getting worthy because this is your department okay let's do it first Aaron says hey fellas thanks for all that you do and providing guidance and resources for all those VORs out there love your podcasts and the useful information you provide so I'm having an issue with my Xfinity service provider and port forwarding I have been using Source Connect for a while now initially I had no problems setting up my port forward I recently bought a new route computer and now when trying to delete the port forward from the old computer IP address and transfer to the new one it keeps giving me an error message and won't go through I've reached out to Xfinity tech support and they couldn't help me it's not a surprise logging into the router the port forward section is disabled and tells you to use the Xfinity app that's correct but the app continuously gives an error message when looking through some posts online it looks like this is a recurring issue for many people short of cancelling my service and choosing a new inner provider good luck with that because if you could you would have by now I'm wondering if there is another work around to get this port forward set up on my new computer IP address is there another port other than the 6000 one that I can use I use source connect on an almost daily basis and I want to have the strongest connection thanks for your help go first, why have you not done a session with source element support yet A, because if they don't know nobody does B, I ran into this very recently with a client of mine and she had this exact same problem and it turned out in her studio she also had eros you know those internet network Wi-Fi extender and I realized that the Eero is also a router so she had the Xfinity modem the Xfinity router and the Eero what did I do I deep six the Xfinity router I just got rid of it I plugged the Xfinity modem into the Eero and made the Eero the router and then you do your port forwarding on the little app on your phone the only thing that bugs me about the Eero you got to do everything on a mobile phone I guess for security or something but anyway, once you do that it works beautifully it gets sort of all the Xfinity pain in the neck limitations so my other than talking to source elements and getting their help don't use Xfinity's router, period don't use it just use their modem and use whatever router you want those are really good Synology, I have a Synology router myself, we have a Synology router here, Netgear there's a ton of companies that make good routers nowadays but just ditch the Xfinity router get rid of it, take it out of your life if you can get Fios fiber you should have by now if you can't you're stuck with Xfinity cable modem, you get what you can get in your neighborhood but you can use any cable modem well yeah, you don't technically have to use Xfinity's own cable modem either I don't think there's anything wrong with it if there's anything that maybe you want them to provide is maybe the modem because it's provision for them and if it burns out they know what's going on they can communicate with it from their end, blah blah blah but it's much better to eliminate the equipment because it is definitely a head scratcher and it does happen when you get a new computer because it remembers the old computer, it knows the MAC address of that computer on the network and as long as that computer still exists in your house it will always be wanting to talk to the old computer, the new one will conflict with it and you'll get errors where are you anyway it's annoying, really annoying it's already said too much moving on Jay Horace Black has a question about VPNs now as far as I know about VPNs it's what people in Russia use to make sure that Putin isn't listening in on them what is a virtual private network because he says what's your opinion on VPNs yeah, so a VPN virtual private network and the way they are marketed mostly I've noticed for privacy so that you can connect to your office computer from anywhere in the world and not have to worry about somebody snooping on you and it's also marketed as a way to watch let's say your favorite Netflix shows from the BBC that are only on in England so you log into a VPN server in England and all of a sudden you are in England and you can watch all the BBC that would explain why I can't watch Netflix in Spain right, so when you're in Spain you need to log into your VPN and connect to a US VPN and then you can watch all your stuff unless you're watching a lot of YouTube TV and Google is just too smart for that so they will still shut you off because Google is they are the internet at this point so that's what a VPN is really for I haven't really used one on any consistent basis call me the lacking caution I haven't done it the other thing is VPNs will slow down the network because you're going literally through another network connection somewhere else in the world before it goes to somewhere else so obviously there's going to be additional latency and a little more slowing down it's not as high performance but if you just want to watch a Netflix when you travel the VPN is the way to go alright I have this little thing here for our next question oh he had a second part what's your opinion on Clean My Mac X-Max Clean Air Pro App I do have Clean My Mac I've had it for years I have installed it on some systems I find it works fine most Apple enthusiasts will say you don't need them because they say Apple knows how to properly manage its own system but it is helpful if you're a little bit zealous with installing crap like me it really helps uninstall things that are loading at start up why is that thing always in the menu part no matter how it helps you get rid of those apps it does have a good malware scanner if it doesn't have any in it itself yeah so I do own and use Clean My Mac X I think that's what they call it and I think it's fine but I don't think it's necessary I think it's just a helpful set of tools it also has a really good way of scanning your hard drive to find those hidden ginormous files duplicate files like a lot of people that if you plug your iPhone into your computer to back it up people don't realize that it's kept backups of every version of iOS you've ever owned and all of a sudden you've got like 60 gigs of backups on your computer you don't even know so it helps you find stuff like that that's happening to me Grace Newton who always has a great question but I have nowhere to plug it in is there a hub for a MacBook Air that has more than two USB ports but of course there is I mean you get one of these which has USB-C on it and it's got three more ports so out of one you get two extra ones what else is on this little guy here it's got USB one two three and another USB-C connector over here this has another little surprise it's got a power in jack here's the camera it's also got a power in jack so you can plug your Apple charger into this and your other devices into these and then you only have to plug one thing in and this is USB only but they have some that are Thunderbolt they have some that have five USB ports and a microSD card reader and an Ethernet yeah in terms of brand J5 is kind of like the house brand at Best Buy sometimes okay, sometimes not these work fine I like Anker brand I find they've been doing a very good job with making the level better the 10-1 I have is an Anker they're one of those like they were an off-Chinese brand and now they're so well established they're totally mainline kind of like TCL TVs companies that came from nowhere and now they're like amazing products anyway, yeah, that's the way to go it's just get an adapter it solves that problem real quickly get these at Best Buy you probably thought nobody makes it because Apple doesn't make one I still don't to this day understand why Apple leaves that money on the table they can make yeah, the Apple can make a badass $200 USB I would maybe buy it I don't know a lot of people would they don't I still don't get that it's a very weird thing and they can make billions of dollars selling hubs anyway, there you go Jeff has a question which one is going to read it when they ask for auditions Jeff Holman our social media star when they ask for auditions without post-processing is it cool to still use inline filters George has set one up for me in Persona's Revelator George, can you demonstrate how to bring video into Twisted Wave for audio editing it's drag it and put it in there as I recall so the first one if they know that you're doing it you have to turn it off that's the rule if they can hear that you're processing you can't use it I know that's a very nebulous answer if they say no don't it kind of lends into what I was saying before if and it's on you don't know it's on but when you turn it off it sounds a lot worse then you might need it if nobody knows you're using it and it's doing some very very minimal things like applying a high-pass filter and then maybe a DSR or Sibilance Control if that's what you're using it for whatever it is in your user case if it just takes what you do and makes it I don't know polishes it up without distracting or sounding processed and it's probably okay but but yeah like if there's a gate and there's this gate cutting it out they're gonna know it, they're gonna hear it it's gonna drive them crazy probably not but I don't remember yeah high-pass filter can do an amazing amount of stuff for you it's inaudible mostly but it's on the meter and an engineer's gonna see it yeah high-pass filter is nice because it keeps that junk from getting through down the line especially on Source Connect because imagine you're connecting to a $10,000 set of speakers right and your microphone's picking up all this rumble right well when you record yourself who cares you just filter you just EQ it or high-pass filter plug and whatever but when you connect to that studio live real-time they're gonna see it on their waveform worse off they're gonna see it there are speakers going like sense around that's not good so for live record sessions having that high-pass filter is a really good idea exactly question number two can you demonstrate how to bring video into twisted wave for audio editing please so if you're talking about editing the audio on a video track versus editing a video what is the context in which you would use it so like you've got a video it's got audio on it it's like you're doing a self-tape you wanna clean up a self-tape the beautiful thing is it will work exactly like a wave file you won't even notice the difference except there'll be a little video window that's floating there but you just work and do everything in the exact same way you normally do if it's stacked or whatever and then you save it and as long as you've paid for that you have to pay for the video license but as long as you have that video license it will save the video back out again with your changes so the beauty of it is it works exactly the same how do you think I turn this into a podcast every week are you using that now I just take the mp4 file throw it into twisted wave there you go use any you know any compression we use for podcasting because it's podcasting and no twisted wave is great it's just drag and drop now if you don't have the video license when you do the same exact thing when you save the audio from the video you only get the audio still gotta sync it back up there's no video but when you have the video add on then you're gonna get the full video output so that's how that works and the final question tonight is from Patricia no information on Luna is it any good I meant Luna the software that comes with the Apollo digital audio workstation it's very good for music producers full stop and again most of this stuff was never designed for voice over they're not sitting in corporate board rooms going you know we need to make a voice over mic we need to have voice over software we need to have nobody's gotten it quite yet no but because we're a small niche market compared to say podcasting which is why they're making podcasting mics podcasting interfaces according to v.com there's a small niche market of 2 million voices on their website small niche market yeah there's a lot of voice actors so yeah no Luna is definitely a multi-track mixing recording production it's designed to emulate a real analog traditional recording studio where you've got a huge analog desk 92 tracks yeah and then you have a 24 track tape machine that has its own sound and that's what Luna does it emulates all the whole signal flow of an old school traditional recording studio but I think I installed it the day it came out and I looked at it and said this isn't for us and that's the last time I opened it maybe there's something new I haven't looked at in a couple of years but Patricia forget about it I wouldn't bug bug bug well that's a lot of great questions it was yeah thanks for all of those and thanks for all the pre show questions too we appreciate it just write to us at are you ready Sue the guys at vobs.tv it's right there if you write to us during the week I get them in my little you know e-wab shop inbox I wish we could change that but it comes into my inbox I'm like there's a great question can we use it on the air or on the internet what's on the air these days except flies and it goes to the front of the queue so keep them coming write those questions out we love you to watch the show live and ask interactively otherwise Jeff would just be sitting here going we like interaction well actually what would happen is Jeff would just have all his own questions answered and we don't want that down there all righty well we're going to wrap things up in just a minute here so don't go away we'll be right back after these incredibly important messages this is the Latin Lover narrator from Jane the Virgin Anthony Mendez and you're enjoying Dan and George on their buddy shop in these modern times every business needs a website when you need a website for your voice acting business there's only one place to go like the name says voiceactorwebsites.com their experience in this niche webmaster market gives them the ability to quickly and easily get you from concept to live online in a much shorter time when you contact voiceactorwebsites.com their team of experts designers really get to know you and what your needs are they work with you to highlight what you do then they create an easily navigable website for your potential clients to get the big picture of who you are and how your voice is the one for them plus voiceactorwebsites.com has other great resources like their practice script library and other resources to help your voice over career flourish don't try it yourself go with the pros voiceactorwebsites.com where your via website shouldn't be a pain in the you know what your dynamic voice over career requires extra resources to keep moving ahead there's one place where you can explore everything the voice over industry has to offer that place is voiceoverextra.com whether you're just exploring a voice over career or a seasoned veteran ready to reach that next professional level stay in touch with market trends coaching products and services while avoiding scams and other pitfalls voice overextra has hundreds of articles free resources and training that will save you time and help you succeed learn from the most respected talents coaches and industry insiders when you join the online sessions bringing you the most current information on topics like audio books auditioning home studio setup and equipment marketing performance techniques and much more it's time to hit your one stop daily resource for voice over success sign up for a free subscription to newsletters and reports it's all here at voiceoverextra.com that's voiceoverextra.com this is bill radner and you're enjoying voice over body shop with dan Leonard and George widham v obs dot tv thanks bill which camera is it here that one there okay we need to have tally lights on we always wanted to do that we need more stuff let's just have Jeff have a flag there alright that's the camera wave a flag over this and helps looking at the monitor anyway by the way that was a great session of tech talk yes it was that's the way tech talk is supposed to be we had a great time we answered a lot of questions right made up a few things you just have to figure out which ones we made up just kidding totally unscripted here kids just kidding next week Jason linear white promises to be here yay he's a great guy he has a great group called the boxer knots maybe he can demonstrate some of his some of his mocap stuff in the middle of the room now you've cleaned out the space he can start doing acrobatics in here there we go he's the most physically active voice actor I've ever met he's amazing and he's got a big booth so anyway who are our donors of the week we have Robert Liedem, Steve Chandler Casey Clack, Jonathan Grant Thomas Pinto, Shelley Avalino Greg Thomas, A Doctor's Voice Ant-Land Productions Martha Conne, Martha 949 Designs Christopher Epperson, Sarah Borges Phillip Sapir, Brian Page Patty Gibbons, Rob Ryder Shawna Pettington Baird, Don Griffith Trey Mosley and Sandra Mandelower we appreciate that everybody you can donate by just going to our website and there's a button that says donate now and you can set it up and pay monthly a dollar a month it helps we're going to read your name no matter what well yes and we get to read your name so do that you never know well let's see by the time you watch this if you watch it on the release day then on Tuesday this week we're going to have that free webinar ask me anything Michael Pearson Adams from Waves Audio who has interviewed and worked with all the top engineers in the business knows audio left right front-way sideways knows audio plugins he's extremely knowledgeable and a very nice guy from Australia so he'll be coming in from Brisbane which is in its own time zone and it's right north of Melbourne it's an hour late earlier it's so weird anyway it's on the international date line so who cares it's all messed up it's Wednesday morning Australia time Tuesday evening hour time and we know people are watching in Australia we need to thank the people who also made this show possible that's Jeff Holman who's monitoring the chat room doing a great job with that and Sue Merlino who just continues to just succumb to every whim that we throw at our director who does a great job with that let's see what else we got going on here you know that's pretty much it put a fork in it exactly but look voiceover is not an easy business it's a very niche thing and you have to learn how to be a good voice actor there are many niches in this niche of voiceover there are and there are some people that are better niches than others but when it comes to your audio if you do it right, if you set it up right and you talk to us it'll sound great because if it sounds good it is good I'm Dan Leonard and I'm George Whitton and this is voiceover for VOBS Tech Talk Tech Talk Tech Talk see you next week everybody