The Art of Voice Acting: the art and business of performing for voice over (15 page)

Your degree of competency with any skill actually falls into the following four distinct levels. Each person works through these levels at his or her own pace and with varying degrees of success.

There are three stages to acquiring a proficient level of skill to become an expert. These must be worked through regardless of the skill that is being learned. Playing the piano, building a table, or performing in a recording studio all require the same three stages of learning and perfecting the skills needed to achieve the end result.

Practice
is the process of learning what is needed to achieve the desired result—acquiring the skills and applying the underlying mechanics and techniques to achieve proficiency. In voiceover work, the practice phase begins with the initial read-through; having any questions answered by the producer; doing a character analysis; doing a script analysis; working on timing, pacing, and delivery; locking in the correct pronunciation of complicated words; and possibly even recording a few takes to determine how the performance is developing. To discover problems in the copy or character, and correct them, practice is an essential step in voiceover.

If problems are not corrected quickly, they will need to be addressed later during the rehearsal phase. In the real world of voiceover, there are two aspects to this phase. The first is when you are practicing on your own or with a coach to learn basic skills and techniques, and the second is the initial practice read-through at a session while woodshedding. Personal practice should be a life long quest to learn new skills and techniques. The practice phase at a recording session generally lasts only a few minutes.

Rehearsal
begins once all the details of the performance are worked out. The choices for character, attitude, voice placement, vocal texture, delivery, and timing are set and committed to during practice. The process of perfecting the performance progresses through a series of takes as the choices are tested and modified. Each take is subject to refinement by direction from the producer, director, or engineer. Every rehearsal, or recorded take, has the potential of being used as the final performance, either in whole or in part.

Once an aspect of the performance is set, it should be rehearsed in the same manner, as much as possible, until adjusted or modified by the director. When the delivery on a line is set, don’t vary it too much in the takes that follow. Set the tone of the delivery in your mind so that you can duplicate it as you polish the rest of the copy.

Eventually, every line of copy will be set to the liking of the producer. In some cases, a producer may actually have the voice actor work line-byline, getting just the right timing and delivery on one line before moving on to the next line. Later, the engineer will assemble each line’s best take to create the final track. This process is considerably different from acting for stage or film

Theatrical and film actors practice their lines as they work on their blocking and staging. The director gives them some instruction, but for the most part, actors are in the practice phase as long as they are working with a script. By the time they are ready to put down their scripts, they are at a point where they know what they are doing on stage—and rehearsal begins.

As they rehearse, the director makes adjustments and polishes the performance, most often in terms of blocking and staging. Finally, there is a dress rehearsal where all the ingredients of the show—music, scenery, props, lighting, special effects, actors, and so on—are brought together. The dress rehearsal is normally the final rehearsal before opening night and is usually considered to be the first complete performance. There is no such thing as a dress practice! Some theatrical directors even consider the entire run of a show as a series of rehearsals with an audience present.

As voice talent, we’re fortunate if we receive the script a day or so prior to recording. Quite often the time we have for practice and rehearsal is very limited. The fact that all three elements may occur simultaneously means that it is essential that our use of technique be instinctive.

Never assume you have perfected a technique. There will always be something new, more, or different that you can learn to expand your knowledge. There will always be new techniques for you to try and use. There will always be a different way you can approach a character or piece of copy. There will always be new trends in performance style that require learning new techniques. To be an effective and versatile voice actor, you need to be aware of the trends and be willing to learn new techniques.

When understood and applied, this simple concept is one of the most powerful things you can do to create believability in your performing, and it works well in just about every aspect of the business from marketing to production.

Just because you love what you do does not necessarily mean you are good at what you do. In voice acting, accuracy with pronunciation or an obvious presentation does not necessarily create the highest level of believability. You will find that you can often create a greater level of truth and honesty in a character by simply holding back a little (or a lot). Some professionals refer to this as “letting go of your voice,” “making it real,” or “being conversational.” It may be that speaking a bit slower, a bit softer, altering the phrasing, or being somewhat more relaxed might be just the thing to make that emotional connection with the listener. If your character has a specific regional sound or accent to his or her voice, you may find that softening the edge makes your performance more effective. If your character is intended to be an exaggeration, the
less is more
philosophy probably won’t apply, and to be effective you may actually have to go overboard on the characterization.

Less is more
is a technique often used by filmmakers to create tension and suspense or as a form of misdirection to set the audience up for a surprise. For example, in the Steven Spielberg film
Jurassic Park
, the initial appearance of the T. Rex was not accompanied by a huge roar. Instead, the tension of the moment was created by ripples in a simple cup of water, implying the approach of something huge and menacing.

The same technique of minimalizing in your voiceover performance can create a moment of dramatic tension, or wild laughter. It often has to do with the character’s attitude, the twist of a word, the phrasing of a sentence, the pace of the delivery, or simply a carefully placed pause.

Understanding and applying
less is more
is an acquired skill, much like comedic timing. It requires a mastery of the craft of voice acting to a point where you are not thinking about what you are doing, and your delivery comes from someplace inside you. Although some people seem to have a natural instinct for interpretation and using the
less is more
concept to create a believable performance, most acquire this skill through experience.

As powerful as the
less is more
concept is, there are times when a script simply calls for taking your performance a bit “over the top.” To create a believable illusion of reality, you may occasionally need to present an attitude or emotion that feels slightly exaggerated. This
more is more
idea is common in dialogue commercials and character voice work for animation, cartoons, and video games, but will also be heard in single voice work.

More is more
works in voiceover because the only thing the listener has for creating a scene in their imagination is the sound of the voice. They don’t have the benefit of any visuals. Because of this, giving the performance a slight bit more that “real life” will often create a stronger, and more visual, sense of reality than if the words were spoken from a completely realistic perspective. The trick to using
more is more
effectively is to be careful that you don’t take it too far over the top or you stand the chance of breaking the illusion of reality with a delivery that sounds forced.

Performance dynamics are the fundamental elements of vocal variety and lay at the heart of any voiceover performance. It is the dynamics of your performance that makes
less is more
a powerful technique. When you understand and apply the dynamics of
pacing, volume,
and
range,
you will be able to make any vocal presentation interesting and captivating.

Pacing
refers to the variations of speed in your delivery. It is closely related to the rhythm and timing of the copy and to the tempo of your delivery.
Pacing
is how fast or how slow you are speaking at any given moment. I’m sure you’ve heard commercials or other voiceover that is delivered at the same pace throughout. There is no phrasing, no pausing for impact, absolutely nothing that makes an emotional connection. Only intellectual information being delivered often at a rapid-fire pace. Or you’ve heard people who… seem… to… take… for… ever… to… say… what’s… on… their… mind. Does either of these styles of delivery get and keep your interest? No! In most cases a steady pace is boring and uninteresting, if not downright hard to listen to. There are some exceptions in projects for which a steady or slow pace may be critical and necessary to the effective delivery of information, as in an educational or training program. However, in most cases, slowing down or speeding up your pacing to give importance to certain words, phrases, or ideas will make a big difference in your
presentation. Create interesting phrasing by varying your pace or tempo. Within two or three read-throughs, you should be able to find the pace and phrasing that will allow you to read a script within the allotted time and in an interesting manner. Some directing cues that relate to pace are: “pick it up” (speed up), “stretch” (slow down), “fill” (you have extra time), and “tighten” (take out breaths or pauses between words).

Volume,
or
dynamic range,
refers the variations in the loudness of your delivery, and is how soft or how loud you speak at any given moment. Just as volume changes in a piece of classical music keep things interesting, dynamic range in voiceover directly relates to the believability of a performance. Performing a script at the same volume throughout is much like speaking at the same pace throughout. Both result in loss of credibility in the mind of the listener, because real people change how fast and how loud they speak depending on how they feel about what they are saying. The dynamic range of a performance is directly related to attitude and tone—from soft and intimate to loud and aggressive.

Vocal range
, or
vocal variety,
refers to a performer’s ability to put variety into the performance by adjusting the pitch and placement of the voice to maintain interest. You’ve, no doubt, experienced a seminar or lecture at which the speaker spoke in a monotone, resulting in the audience tuning out and losing interest. Vocal
range
covers the spectrum from your lowest pitch to your highest pitch. Voice actors for animation have developed a wide range from which to create many characters. You have a normal vocal range for speaking in everyday conversation, and you can speak at a lower or higher pitch when necessary or when you are expressing an emotion. Practice speaking at a slightly lower or higher pitch and notice how a small change in vocal range can result in a big shift in interpretation.

Listen to the way people talk to each other and you will notice a wide range of speaking styles. Excitement, enthusiasm, awe, sarcasm, pity, wonder, sorrow, cynicism, and sadness are all expressed in different ways by different people. The variations in the way a person expresses herself or himself reflect that individual’s
vocal range
.

Observe how you instinctively adjust your
pacing, volume,
and
range
in your everyday conversations. Practice altering your dynamics as you speak to your friends or at work, and notice how they pay more attention to what you have to say.

Be aware, however, that performance dynamics can be easily misused, forced, or overdone. The secret to understanding these dynamics is in the interpretation of a script. What is the writer’s objective? Who is the intended audience? How should the words be spoken to achieve the maximum emotional and dramatic effect? How should the intellectual content be delivered so the listener can understand and use it?

When combined, the dynamics of voice acting serve to help create drama, humor, and tension in a performance. When effectively used, they go hand-in-hand to result in a performance that inspires, motivates, and is believable.

Complex sentences are an everyday occurrence that every voice actor must deal with. Words must be spoken clearly and concepts communicated in a way that can be understood. Voice acting, and effective communication in general, is a blend of intellectual and emotional information delivered in an interesting and understandable manner. Unless a specific speech affectation is called for in a script, it is generally unacceptable to stumble through words or slur through a piece of copy.
Articulation
refers to the clarity with which words are spoken. Most common problems with articulation are the result of
lazy mouth
, or the tendency to not fully use the muscles of the tongue, jaw, and mouth when speaking. Good articulation, or enunciation, can be especially tricky when copy must be read quickly.

The script we worked with earlier works well as an articulation warm-up exercise. Read the following copy, this time making sure that your articulation is crisp and clear. Don’t worry about getting it in “on-time,” just focus on making every word clear and distinct. For the purpose of the warm-up exercise, you’ll want to force yourself to over-articulate —and don’t forget to speak the ends of every word. (See “The Cork” exercise on page 48 and CD/5.) After doing this exercise, your conversational articulation will sound natural, but will actually be more clear because your vocal instrument is warmed-up.

When the same letter is back-to-back in adjacent words such as the “s” in “hammer
s, s
hovel
s
” and “plu
s s
uper,” it’s easy to slide through the words sounding the letter only once. In a conversational delivery, it’s fine to tie those letters together, but for this exercise speak the end of each word clearly. It is also easy to drop the letter “d” from words like “and” and “need,” especially when the next word begins with a “t,” “d,” “g,” or “b.” The letter “g” on words, such as “big,” can sometimes be swallowed resulting in the phrase “big discounts” sounding like “bih discounts.” The suffix “ing” can often be modified when in a hurry, causing words, such as “lighting” and “everything,” to sound like “lightin” and “everythin.” With good articulation, the ends of words are clearly heard, but not overenunciated and suffixes are properly pronounced.

The “s” and “z” sounds should be clearly distinct. The “s” in “door bell
s
” should have a different sound from the “z” in “bu
zz
ers.” The consonant “s” should sound like the end of the word “yes,” which is primarily a nonvocalized release of air over the tongue. To properly pronounce the more complex “z” sound, the tip of the tongue starts in the “es” position and a vocalization is added. Say the word “buzz” and hold the “z.” You should feel a distinct vibration of your tongue and teeth.

Plosives
are another articulation problem area. Plosives are caused by excessive air rushing out of the mouth when speaking letters such as “P,” “B,” “G,” “K,” and “T.” When this sudden rush of air hits a microphone’s diaphragm, the result is a loud “pop.” Plosives can be corrected by turning slightly off-axis of the microphone, by using a foam windscreen, or placing a nylon “pop filter” in front of the mic. To feel the effect of plosives, place your hand directly in front of your mouth and say “Puh, Puh, Puh” several times. Turning your hand to the side will show you how the blast of air is reduced when turning off-mic.

To achieve a conversational and believable delivery, it is often necessary to violate some of the basic rules of crisp articulation. However, it is important to understand and to master the correct way to do something before you can effectively do that thing incorrectly and make it believable. In other words, you’ve got to be good before you can do bad, believably. When speaking in a conversational style, be careful NOT to over-articulate.

An important aspect of articulation is the ends of words. It is common in every-day conversation to drop the ends of words, and we instinctively fill in the missing sounds as we listen. But in voiceover, those ends of words are important and need to be heard. As you begin to work with copy, learn to listen to yourself to hear if you are dropping the ends of words. The technique of
Linking
on page 96 is a good way of correcting this problem.

Diction
is defined as the accent, inflection, intonation, and speaking style dependent on the choice of words. Diction is directly related to articulation, the clarity of your delivery, the correct pronunciation of words, and the sound of a character’s voice. One of the best ways to improve your diction is simply to slow down as you speak and focus on your enunciation and clarity. Diction is important in all voiceover performances—you really do want to say the client’s name correctly and clearly.

If you are creating a character voice, your diction becomes even more important. A character voice may be a dialect or specific speaking style, and it is vital that your words be understood. Listen to yourself closely to make sure you are speaking clearly and at the correct pace for the character. As with articulation, Exercise 9: “The Cork” on page 48, can help with diction.