Agent Spotlight: Industry Insight With Lara
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Enjoy an industry insight Q&A with our Lara Freeman-Erbin!
Q: What do you look for in a prospective Voice Actor?
A: There are a range of elements. I’m always looking for unique voices or vocal qualities in terms of texture and tone. I’m always looking for folks with home studios, particularly equipped with patching softwares (Source Connect, ISDN/ipDTL). In general I’m most interested in those who are comfortable in their own skin and can deliver copy in a conversational, real, relatable, no-fuss manner. Advertising has shifted dramatically over the years, and the formal, sell-y, corporate reads are rarely the desired delivery. It’s great to have a range, but I’m always seeking the foundation that can effortlessly deliver the vibe of a best friend, not a sales rep. Lastly, in general, I want to see more diversity in VO. I am always looking to give a platform to and represent more BIPOC & LGBTQ+ voices, which unfortunately I think the industry still lacks.
Q: Let’s say I want to setup a home VO recording studio for the first time, but on a budget. Where should I start?
A: No problem. The nice thing about VO gear is that there are so many options these days, you can really cater your set-up to your budget. Start with a condenser mic (these can range from $50-$250), an attachable pop filter ($10-$100), around-ear headphones ($30-$300), and scout out a cozy place in your home that you can use to isolate sound (free!). If you don’t have a closet available to “convert,” the ole quilt/comforter over your head trick is your friend. My biggest caveat is to note that even if you have a great mic set-up, it’s moot if you’re located in a space that isn’t eliminating barking dogs and honking cars.
Q: While on-camera and theatre submissions rely heavily on headshots, what does casting take into consideration when you submit on VO projects?
A: I’d say #1 is the quality. It’s important to remember, as a talent, the process of VO casting. Imagine sifting thru audio file after audio file -- it’s like skipping thru a music playlist until you land on the song you’re looking for. If a Casing Director is cycling thru submissions back to back, an audition with poor quality is stark and jarring -- & not in a good way! Providing a quality file puts you on a level playing field right out the gate. Then it boils down to the content of the audition. You want to make sure you can make it to “Round 2”, otherwise you’re not competing. Another super important aspect to making it thru “Round 1” is following the instructions. This industry never sleeps, and CD’s work at a very fast pace. Making/asking for corrections is time-consuming, and when they are sorting thru a pool of strong candidates, an easy first cut to make is anyone who requires extra effort that shouldn’t have to be expended to begin with. The good news is, both of these things (quality + following the instructions) are totally within your control!
Q: What is an industry term that you think every aspiring/working VO actor should know?
A: Perpetuity. AKA “forever.” In general, we rarely work on projects with buyouts in perpetuity. You might think, hey, it’s just my voice, what’s the big deal. But not only might a project in perp. affect your ability to submit in a certain category (see Brian’s explanation on Exclusivity), it also eliminates your freedom of choice. Let’s say you record a spot talking about a chicken sandwich, and you later decide to become a vegetarian. Random example, I know, but you simply deserve to have some control over your work. In a more monetary sense, a perp. buyout eliminates any future payments corresponding to that product. Lets say you record a spot for a startup tech company, that later becomes the next Apple. You deserve compensation relative to the product and its scope.
Q: How has the Voiceover industry changed over the last year?
A: COVID-19 had a huge impact on the VO industry, immediately and pervasively. The need for VO talent with home studios during the lockdown created a completely new market. While the VO industry had previously been incredibly democratic, in that there was a very small barrier to entry, the pandemic shifted priority dramatically. Not only did home studios become all the rage out of necessity due to closed local studios and safety precautions, but folks equipped with patching softwares were heavily sought after. This created a new standard that wasn’t nearly as previously prevalent. Softwares such as Source Connect, the most popular, require a financial commitment, so not everyone was able to match the standards that were required. It obviously was a huge benefit to those who have home studios, as their jobs were not jeopardized by the pandemic and in fact opportunities were multiplied. Since the industry has opened back up and studios are now available to book sessions, the playing field has evened out some. But there has definitely been a permanent shift and folks with broadcast-quality home studios with patching capabilities are sought out much more consistently and frequently.
AUTHOR: brian canchola, nora manz, & LARA FREEMAN-ERBIN