Join professional voice talent Alison Pitman in the first of her "Business Basics for Voice Actors" podcasts. Alison highlights aspects of business processes and implementation from the perspective of a working voice actor in the United Kingdom.

Download Podcast Episode 50 »

Tags:

Alison Pitman, UK Female Voice, Business, Voiceovers, Basics, Voice Overs, Voice Acting

Transcript of Business Basics for Voice Actors

[Opening Music]

Julie-Ann Dean: Welcome to Voiceover Experts brought to you by Voices.com, the number one voiceover marketplace. Voiceover Experts brings you tips, pearls of wisdom and techniques from top instructors, authors and performers in the field of voiceover. Join us each week to discover tricks of the trade that will help you to develop your craft and prosper as a career voiceover talent. It's never been easier to learn, perform, and succeed from the privacy of your own home and your own pace. This is truly an education you won't find anywhere else.

Now for our special guest.

Alison Pitman: Hello, my name is Alison Pitman and welcome to the first of my occasional series of podcast on various business aspects for voiceover talents and businesses.

Firstly, I am assuming that you are in business and voiceover is than just a hobby to you. It's important to get into the professional mindset as it will subconsciously influence your manner of communications and it will give you credibility both in your mind and more importantly, in the minds of other. So you've set yourself up in business as a voiceover artist. Now what?

The voiceover business is no different to any other online or offline business. All need to be concerned and involved with marketing, sales, finance, administration, branding, websites and so on and so on. Auditioning is a process that's really no different to a construction company for example tendering for a building project. The key for any business is closing the deal, making the sale, getting your voice chosen for that project. In all these situations, communication is critical and can mean the difference between getting cast or not.

In the online world, how you communicate and the way you present yourself through these communications especially through the medium of e-mail is really important.

Firstly, speed of response. So what company has found you website, listened to your online demos and likes what they hear. They send you an e-mail, requesting further information, maybe a quote or request for your rate card, they hit send and then what? Put yourself in their shoes. This maybe the first time they have ever outsourced a project before. They have not met you in person before. All the know of you is your online presence. They want to know are you still in business.

A clue to that maybe is whether they see that your website gets updated on a regular basis, maybe you have a last updated date on your website to show visitors. They also need to know has their e-mail got through to you. One possibility is to set up and auto response on your e-mail program, include a message thanking them for their interest and that you'll be in touch as soon as possible. That gives them the reassurance that the e-mail has got through and to the right person.

Once they know you actually exist and their e-mail has arrived, they'll be waiting for your response. Again, a prompt response is really appreciated. Although not so prompt that you forget to include all the information they are after. Make sure the manner of your response is professional but also in keeping with your own branding. Does your voice come through your writing? And also consider the company that you are corresponding to. For example, my voice is often used for corporate training narrations and therefore the branding of my voice leads towards the straightforward, matter-of-fact, authoritative edge and the companies that contact me tend to reflect this. They lean towards a more corporate, conservative structure so they appreciate a correspondence style that is similar to their own whereas if your signature voice is more laid-back and relaxed in nature, maybe your communications should reflect this more.

Obviously, there is a balancing act to follow. It's just something to keep in mind. Don't get too casual or they may not take you as a serious professional and worst-case scenario tried to beat your rates down but on the other hand, don't be so formal as to alienate people.

Remember, people want to do business with people they like and people they like are like them. You want to create relationships with clients and maintain them so they keep coming back for more. Whichever style you correspond, they key is to persuade this company that they want to work with you and your voice. They need to feel and you need to make them feel that they are in the best of hands, that they can trust you to deliver what they're after not just in terms of interpreting the copy but the delivery of the audio file in the format they need, in the time scale you've promised and the budget you've set.

Again, if this is the firs time they've worked with a voiceover artist, through your e-mail communications, you need to hold their hand and walk them through the process so it's as a painless as possible. Believe me, it is really appreciated by your clients. And hopefully if you deliver all that you promise in a manner they relate to, they will not only use your voice again, but also recommend you to other business associates.

Well, thank you for listening and I do hope you found at least some of it interesting. If you would like further information or to contact me, please visit my website at ThePhoneVoice.com. Bye for now.

Julie-Ann Dean: Thank you for joining us. To learn more about the special guest featured in this Voices.com podcast, visit the Voiceover Experts show notes at Podcasts.Voices.com/VoiceoverExperts. Remember to stay subscribed.

If you're a first time listener, you can subscribe for free to this podcast in the Apple iTunes Podcast Directory or by visiting Podcasts.Voices.com. To start your voiceover career online, go to Voices.com and register for a voice talent membership today.

[Closing Music]

Links from today's show:

Alison Pitman
Alison Pitman on Voices.com

Your Instructor this week:

Voice Over Talent Alison Pitman

Based in Bristol, voice actor Alison Pitman has voiced various projects for clients based all over the world recording professionally from her home studio in the UK. Known as "The Phone Voice", Alison specializes in recordings for voicemail, on-hold messages, IVR and corporate narrations. Alison has worked for over 10 years in the film and television industries and played a role in the Oscar nominated "Little Voice". In addition to her performance experience Alison Pitman has a degree in Broadcast Journalism.

Did you enjoy Alison's episode? Leave a comment with your thoughts!

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Join Voice Over Experts Nancy Wolfson and Anna Vocino as they discuss "Voice Over Demo Don'ts", a podcast that identifies common mistakes made in voice over demo production and how you can avoid them. Your demo plays a significant role on game day so make sure your demo is polished and presents a clear portrait of yourself.

Download Podcast Episode 49 »

Tags:

Nancy Wolfson, Anna Vocino, Voice Over Demos, Work, Break Into VoiceOver, Voice Overs, Voice Acting

Transcript of Voice Over Demo Don'ts

[Opening Music]

Julie-Ann Dean: Welcome to Voiceover Experts brought to you by Voices.com, the number one voiceover marketplace. Voiceover Experts brings you tips, pearls of wisdom and techniques from top instructors, authors and performers in the field of voiceover. Join us each week to discover tricks of the trade that will help you to develop your craft and prosper as a career voiceover talent. It's never been easier to learn, perform, and succeed from the privacy of your own home and your own pace. This is truly an education you won't find anywhere else.

This week, Voices.com is pleased to present Nancy Wolfson.

Nancy Wolfson: There are three sources of problem. When I'm hearing problem on a demo, one, problem is not your fault and I say your when I'm talking to talent, not your fault. Poor production quality, you have to have a production team, a writer, producer - I can only speak for myself but in the Braintrack scenario, that would be me. And an engineer who together really know the reality for what real spot sound like.

A lot of times when we produce spots, if it's a TV spot, the music level was kind of high and I often times have my students coming back at me going, "You know, I feel like my voice is a little obscured on that spot. You know, I was listening to the spot with my cousin, mother, husband, boyfriend and they said I can't quite hear you on that spot?" You know what? Ironically, that's not a bad production problem. That actually sounds like a real spot. You don't want to have your voice too far forward underneath the TV spot because that's not how a real TV spot sounds so I can go on for a few days but I'm going to shut up on that about now.

Female: What about - I want to hear some other like dos and don'ts.

Nancy Wolfson: The two other - well, the two other thing ...

Female: A lot of the other, yes ...

Nancy Wolfson: So one possible source of a problem on a bad demo is things that are not your fault, production issues basically written and produced improperly. Another - and it needs to be narrowly branded, a commercial demo that's too versatile, it doesn't paint a clear portrait of who you are and that's not useful. That's not your fault either. That's a producer-writer's issue.

Second issue is kind of rolled in with the third but it's a performance thing. When I hear poor performance things popping up on a demo, I can tell when I'm listening to a demo of somebody who hasn't had proper training because they're doing things that are chapters 4 and 11 in my notebook that I teach people to never do and then I hear it on your demo like which is game day and I think, "Oh my goodness, that person never learned not to do that in their education, the thing above you on the flow chart?"

Solid education should make sure that that stuff is not showing up like in bad performances on your demo. However, everybody gets nervous on game day and things happen but that's why you've got a director there so - oh, I'm at lost but it's one of the things that drives me nuts in terms of performance that's a very elementary thing and it really makes somebody look like a beginner is when I hear the nervousness of their primary reality bleeding through on how they deliver lines in their secondary reality. It's a little obscure and that's sort of something I cover in the education but it's a matter of chuckling on your own lines, once, twice, repeatedly - it's like the biggest thing that makes me cringe because when you're nervous, a lot of times you chuckle self-consciously or sometimes people try to make their performance non-announcery by kind of chuckling their way through a line. All I hear as a former agent and as a judge of performances is, "Wow, that person is nervous." I don't think the girl who is supposed to be talking about 7/11 is nervous. She's confident about her experience at 7/11, this girl you're pretending to be. But I'm hearing Mary-Anne chuckling as she does each line repeatedly and oh my gosh, I hear it over and over like a broken record. That's an acting example. That's an example of some - of an acting mistake that just screams, "I haven't finished all my skills yet because I'm still nervous when I perform."

So that's something that's an acting mistake that should have been fixed back up in education or it should have been cut by the director during the performance because I don't mean to be mean. People get nervous on game day but that's what your director is there to catch.

So usually the problems I hear on demos source out of one of those three bins.

Female: But - and I have to say two, yes, when you're in game day or demo day, it is really important to have a good director. I mean, it's important no matter when you're acting to have a good director. However where - once you do have your own home studio equipment, you are sending auditions from home. You also need to be able to self-direct and you can't self-direct without having learned it correctly in the first place because you're not going to book jobs and again, I come back to that's the point. We all want to book jobs to make money.

Julie-Ann Dean: Thank you for joining us. To learn more about the special guest featured in this Voices.com podcast, visit the Voiceover Experts show notes at Podcasts.Voices.com/VoiceoverExperts. Remember to stay subscribed.

If you're a first time listener, you can subscribe for free to this podcast in the Apple iTunes Podcast Directory or by visiting Podcasts.Voices.com. To start your voiceover career online, go to Voices.com and register for a voice talent membership today.

[Closing Music]

Links from today's show:

Braintracks Audio
Break Into Voiceover

Your Instructor this week:

Voice Over Experts Nancy Wolfson and Anna Vocino

Nancy Wolfson

Based in Los Angeles, CA Nancy Wolfson is a private voice over consultant and freelance casting director for commercials, animation, narration, and audio books. She writes, produces, and directs demos for her clients and has been the leading coach in the top market(s) over a decade. Her coursework has been accredited at the university level in private and group classes throughout North America and Europe. For over 15 years, she has worked with beginners, working pros, and celebrities as a producer and talent agent.

Anna Vocino

Anna Vocino is an on-camera and voice over actress based in Los Angeles. You can see her work as a series regular on Vh1's improvised comedy series "Free Radio." Anna's voice over work can be heard in "Dawn of War 2," "Splinter Cell: Double Agent," "MTV's Celebrity Death Match," "The Young and The Restless," recent campaigns for Canada Dry, Ford, AT&T, Southern Linc Wireless, and hundreds of narrations for Toyota, Capital One, Saks Fifth Avenue, Adobe, GotVMail, Disney DVDs, and numerous others. Check out Anna's website at www.annavocino.com.

This podcast is a mini excerpt from Nancy and Anna's best selling mp3, "YOUR VOICE OVER BUSINESS."

Student Testimonials

The full Your Voiceover Business teleseminar is a gem and a must-have for anyone approaching VO at this moment in history.

Just the hard fact up front that you should be prepared to invest $3,000 to $5,000 is sobering and puts it all into the right context.

Your timeline/flowchart is priceless and keeps a student on course.

Being told that "getting an agent" is not the be-all, end-all goal is enlightening.

And the whole concept of branding and how you casting people think was a real "a ha" for me as an actor.
Your Meryl Streep example is one I always quote -- she can DO or ACT anything, but you wouldn't just automatically CHOOSE her as "Little Miss Annoying" in the animated series you just cast; instead you'd cast the person who IS Little Miss Annoying in her sleep and not the person who CAN do it.

--J.G.

When you talk about how you need to create a business plan and how you need to invest in your business to be able to reap the benefits of your business...that whole thing was really eye opening...

--A. K.

The first teleseminar I listened in on was the first time I realized how important branding and overall image are to a business such as voice over. You both critiqued my demo as well as a few others, and it really opened my eyes!

That was the teleseminar that made me want to study with you, Nancy. I just had to learn more after that!

--K. E.

I recommend every student buy the teleseminar before their private lesson!

--M. W.

Did you enjoy Nancy and Anna's episode? Leave a comment with your thoughts!

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Join Voice Over Expert Pat Fraley as he divulges some "Shameless Tricks" smuggled straight out of Hollywood from some Tinseltown's greatest citizens. Learn how to make your auditions stand out, be more creative, and give the impression that you're working from a world-class facility with your own engineer.

Download Podcast Episode 48 »

Tags:

Pat Fraley, Pat Fraley Teaches, PatFraley.com, Hollywood, Auditioning Tips, Slating, Auditions, Voice Overs, Voice Acting

Transcript of Shameless Hollywood Auditioning Tricks!

[Opening Music]

Julie-Ann Dean: Welcome to Voiceover Experts brought to you by Voices.com, the number one voiceover marketplace. Voiceover Experts brings you tips, pearls of wisdom and techniques from top instructors, authors and performers in the field of voiceover. Join us each week to discover tricks of the trade that will help you to develop your craft and prosper as a career voiceover talent. It's never been easier to learn, perform, and succeed from the privacy of your own home and your own pace. This is truly an education you won't find anywhere else.

This week, Voices.com is pleased to present Pat Fraley.

Male: And rolling on, take one, Pat.

Pat Fraley: Hi. This is Pat Fraley with a five-minute lesson on shameless voiceover tricks. Over the years, I've collected from mentors and brilliant colleagues' mindsets, agenda, skills, techniques, methods and downright shameless dirty tricks. It's a way I can carry my mentors around in my hip pocket. Some of these advanced my abilities to deliver the goods, others give me a slight edge over the bone-crunching competition and address my audition to booking ratio. So what do you want to hear? Methods, mindsets - I'm thinking downright dirty tricks.

So here goes. How about the Oscar-winning pause? This is a shameless trick. If you bump into an unusual or powerful or even just plain weird key verb or noun, don't gloss over it. Take a pause before you say it. This gives the listening audience the impression that it was your choice and you thought of it in the moment. Now, this one is called the "busting thyself" trick and it comes in reaction to getting the note from a director to flatten it out. Chances are you're being busted for sounding phony and sounding over expressive. When the director wants you to flatten it out, what they really mean is, "I'll take flat of what he's giving me." What you must do is bust yourself. Let them you felt really phony with the take in question and ask if you can solve it in a different way. Lower your energy a bit, commit to the action and then you better hold for an Oscar-winning take or you're back to flattening. At least you have one more shot.

Now here's a trick on slating. Personally, I slate different ways for different auditions. There are no rules, just notions. If you slate in character, the producer is less aware that you're using a pretend voice or being a different person but here's the trick. Don't slate in character without playing an action or without intent. In other words, don't slate in a character that's an empty shell. Fill up the way you say your name and the name of your character with a good solid acting choice. If you are to audition for an old grumpy guy, be grumpy from the moment you open your mouth to slate. Let me demonstrate.

Say I've chosen a voice like this. Don't slate with just a voice like Pat Fraley is grumpy old man. Do it playing an action like to intimidate, like this.

Pat Fraley is a grumpy old man.

Here's another slating trick. This is called the opposite character slating trick. This comes from famed director Robert Altman via voiceover talent (Pamela Shelley). Altman's advice is to slate or come in to an audition with an emotional state the exact opposite of the characters. That way, when you begin your line, the producers and casting people are blown away by your ability to perform character. For example, if I'm auditioning for a character who is described as a large, gruff, bully with a little voice, in a higher, clear and almost hesitant or shy tone, I slate my name in character. I take a beat and blast them with the character - maximum impact.

All right, here's another slating trick. This one I call the "mother country speaks". Now don't ask me why but it sounds really cool to have a Brit or a performer doing a Brit accent slate your demo. With all kinds of demos flying around the internet, it's important to have your name at the top of the demo and perhaps, a tail slate as well.

Why not have a classy voice? Of the opposite gender, introduce your efforts. My agent Pat Brady loves this and mentioned that it gives the impression that the talent has an agent or did have an agent. In the past, this slating of the talent at the top of each demo was only done for agency house reels. I have a Brit slating me on my character in commercial demos. Now, here's Anthony Hansen's demo and he had DB Cooper do her stellar British accent to introduce him.

Female: Anthony Hansen.

Anthony Hansen: It's amazing, you know. This is the closest I've ever been to earth.

Pat Fraley: Also, make sure that the audio file of your demo is titled with your name. When casting people and producers download it from your website or receive it directly from you or your agent, they need this reference. Unless your name is short, I suggest you title it with the initial of your first name and last name with no spaces. Don't bother including the word "demo" in the title. You need to keep it short.

Now this next one is called the virtual studio slate trick. I use this trick early on when I was producing commercials out of my apartment bedroom. In order to give the impression that I was working out of a proper studio, I had a friend record the phrase, "Rolling on, take one, Pat." Listen to this.

Male: And rolling on, take one, Pat.

Pat Fraley: Sound familiar? Beginning of this lesson? Think about it. Think I was in a proper studio? No. I'm in my bunk house in my robe. This can be handy even when delivering auditions. It's just the trick to give you a bit more profile especially if you're recording out of your closet.

This is called the "first read audition trick". It's a sneaky little trick that gives the listener the impression you are working off the cuff and incredibly (fazzle) at picking up a piece of copy for the first time and pulling the words right off the page. Here's how you do it. When you record your slate for an audition, say your name, then say the word "for", take a pause, rattle the piece of paper, your copy or script is printed on and then say the character for which your are auditioning. Let me demonstrate.

Pat Fraley for Commando Vortec.

This comes from an old trick that actor Marlon Brando and later John Malkovich used to pull. They'd memorize their lines but read with the other actors as if they were totally unfamiliar with the part. When the time was right, they'd launch into the scene and blow their fellow actors away, very sneaky.

If I piqued your interest about tricks, I'll be in Chicago in May for a workshop called 56 Slick Tricks for Voiceover where we explore the many ways of advancing your abilities to get the edge. If you can't make it to Chicago, I have a CD and companion workbook interestingly entitled 56 Slick Tricks for Voiceover. The information on both is available at my website, PatFraley.com. Thanks for listening.

Can I take that once more? Can we call that take one?

Male: And rolling on, take one, Pat.

What?

Male: And rolling on, take one, Pat.

Can you say that again?

Male: And rolling on, take one, Pat.

Julie-Ann Dean: Thank you for joining us. To learn more about the special guest featured in this Voices.com podcast, visit the Voiceover Experts show notes at Podcasts.Voices.com/VoiceoverExperts. Remember to stay subscribed.

If you're a first time listener, you can subscribe for free to this podcast in the Apple iTunes Podcast Directory or by visiting Podcasts.Voices.com. To start your voiceover career online, go to Voices.com and register for a voice talent membership today.

[Closing Music]

Links from today's show:

Pat Fraley

Your Instructor this week:

Voice Over Expert Pat Fraley

Patrick Fraley has created voices for over 4,000 characters, placing him among the top ten performers of all time to be cast in animation. He has produced dozens of award-winning audiobooks, such as, Adventures of Tom Sawyer, A Very Easy Death, and The Light in The Piazza. Pat produced and performed all 100 voices on the award winning audiobook, The Adventures of Huckleberry Finn, which People Magazine hailed as, "The best yet of this evergreen." Patrick teaches events, workshops, and seminars on various aspects of voice over across the country, and has created a variety of instructional books and CDs, all available at PatFraley.com. He is a member of The Voice and Speech Trainers of America, and holds a Master of Fine Arts degree in Professional Acting from Cornell University.

Did you enjoy Pat's episode? Leave a comment with your thoughts!

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Join Voice Over Expert Marc Cashman as he teaches you about "5 Areas of Active Listening". A critical skill to hone, listening can help you to become objective about your performances and will also assist you in meeting goals to achieve the nuance and deftness that great voice actors possess.

Download Podcast Episode 47 »

Tags:

Marc Cashman, Listening, Active Listening, 5 Areas of Active Listening, Voice Acting, Voice Overs, Cashman Commercials, The Cashman Cache of Voice-Acting Techniques

Transcript of 5 Areas of Active Listening

[Opening Music]

Julie-Ann Dean: Welcome to Voiceover Experts brought to you by Voices.com, the number one voiceover marketplace. Voiceover Experts brings you tips, pearls of wisdom and techniques from top instructors, authors and performers in the field of voiceover. Join us each week to discover tricks of the trade that will help you to develop your craft and prosper as a career voiceover talent. It's never been easier to learn, perform, and succeed from the privacy of your own home and your own pace. This is truly an education you won't find anywhere else.

This week, Voices.com is pleased to present Marc Cashman.

Marc Cashman: The art and skill of voice acting is an intricate exercise in interpretation and voice control. All the skill sets that comprise great voice acting, articulation, projection, intonation, dynamics, timing, acting and a myriad of other talents are absolutely necessary to be successful in this field but one skill that I ask my students to develop in classes and in one on one coaching and through this podcast is listening.

Many times you can learn more by listening than you can by actually doing. Listening is a critical skill to hone because it cannot only help you be objective about your performance, it can help you achieve the nuance and deftness that great voice actors possess. I've come up with five areas of active listening. You need to one, listen to yourself but don't yourself. What? Sounds like a contradiction.

Actually, this takes a bit of getting used to. When I say don't listen to yourself, I mean don't fall in love with the sound of your voice. Otherwise, you're favoring form over substance. Unless you're doing a phone patch session or need to hear another actor who is in an isolation booth, don't listen to yourself with headphones but when I talk about listening to your voice, I'm referring to your acting, your conversationality if directed to do so, your believability. You have to develop the ability to listen to yourself objectively and ask yourself, "Do I believe this person?" It's a bit schizophrenic but you need to step outside yourself to determine whether you're connecting with the copy or performing in a class, submitting us an audition or delivering in an actual session.

Two, listen to your fellow students. Whenever you're in a voice acting class with actors who are performing the same script you are, if you hear anything you like, make note of it and incorporate all the good stuff every one does into your performance. If you hear something you think is wrong or don't like the way a particular word or phrase was interpreted, make sure you avoid repeating it when your turn comes behind the microphone and most importantly, listen intently to the instructor as he or she directs the other students. Make specific notes so that when it's your turn to bat, you'll hit the ball out of the park.

Three, listen to the director whether it's a class, an audition or an actual session, it's crucial that you listen to the director in between takes and incorporate that direction into the next take. If a director asks you to emphasize a specific word or phrase and you don't follow their explicit direction, the director might think that they didn't make themselves clear and hopefully give you the benefit of the doubt and repeat their direction. However, if you don't incorporate their direction on the following take, the director will then realize it wasn't them. It was you and that you were listening.

Four, listen to the engineer. What? Is an engineer as important as a director? Sometimes an engineer can be crucial to your performance so anything they instruct you to do in the booth, whether it's adjusting your microphone, working with your headphones, shouting off mic, working with the monitor, whatever. Listen carefully to what they're saying. They're there to help you give your best performance possible and they usually know what they're talking about.

Five, listen to your competition and who are they? They're on the air and there's a reason why they're on the air. They've got all the skill sets a director wants in a voice actor and they are people you should listen to intently and emulate. Now, is everybody on the air great? No. But there sure are a lot. Sure you'll hear a performance from time to time that will make you say to yourself, "Whoa, how did that person get that job? They were terrible." But that's usually about one percent of the time and they don't count.

When you listen to voice actors on the radio, listen to their delivery, their energy, their articulation, their acting and mimic them literally. Repeat what they're saying and how they're saying it. Listen to their cadence, their conversationality, their believability and when you're watching TV and a commercial comes on, close your eyes and listen to the voices. Listen to commercials, narrations on documentaries, acting on animated programs. The people who are getting work are on the air and we need to hear their delivery as models as to what ours should and could sound like.

This is Marc Cashman. Thanks for listening.

Julie-Ann Dean: Thank you for joining us. To learn more about the special guest featured in this Voices.com podcast, visit the Voiceover Experts show notes at Podcasts.Voices.com/VoiceoverExperts. Remember to stay subscribed.

If you're a first time listener, you can subscribe for free to this podcast in the Apple iTunes Podcast Directory or by visiting Podcasts.Voices.com. To start your voiceover career online, go to Voices.com and register for a voice talent membership today.

[Closing Music]

Links from today's show:

Cashman Commercials
The Cashman Cache of Voice-Acting Techniques
Ask The Voice Cat Blog
Marc Cashman Voices.com Website

Your Instructor this week:

Voice Over Expert Marc Cashman

MARC CASHMAN creates and produces copy and music advertising for radio and television. Winner of over 150 advertising awards, he also instructs voice acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA. Enjoying the distinction of being one of the few voice-acting instructors in the U.S. who is on "both sides of the glass"-- he creates, casts and produces copy and music advertising for radio and television clients such as Kroger, Charles Schwab, Quizno's, Pella Windows and Pabst Blue Ribbon Beer among many, many others.

In addition to his production schedule, he's been an instructor at USC Graduate School and does pro bono work for numerous charitable and public service organizations. He instructs voice-acting of all levels through his online and tele-coaching programs, his V-O classes, The Cashman Cache of Voice-Acting Techniques in state-of-the-art studios in Los Angeles, CA, and produces voice demos. He also has a monthly online column, Ask the VoiceCat, plus blogs and podcasts through Voices.com, VoiceOverXtra.com and NowCasting.com.

Cashman Commercials © 2008

Did you enjoy Marc's episode? Leave a comment with your thoughts!

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