Gustavo Rex began his acting in New York in 1980 in Classical Spanish Theatre. Soon he found himself doing “Sexy voices” for the  Late Night soft porn show “Electric Blue.”  But his full time voice over career began here in LA in 1989 and it’s been his bread and butter ever since.  Thanks to his agents at Cunningham (CESD) he quickly became one of the top Hispanic voice over talents in LA. And even though he did a lot of theatre in New York and  TV and film work her in LA, his love is the voice.  His work ranges from commercial vo to trailers, animation and narration. He was the voice of Captain Crunch in Spanish, the annoncer for Taco Bell with “dat dog,”  launched the Fox Network in Latin America, was nominated for an Emmy for a PBS show called Rock en Espanol and did multiple voices on and directed the animation series Leo the Lion and the Adventures of Honey-Honey. He’s also a Spanish Star Search winner.

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Written Transcript

{Intro Music}

This voice registry podcast is brought to you by Voicebank.net

Tracy: Hi Everyone I am Tracy Pattin and I am here at the Invisible Studios in West Hollywood and we are going talk everything studio, audio, sound with the wonderful Mark Holden audio engineer extraordinaire. (Laughs) I don’t know what do you call yourself?

Mark: (Laughs) Studio Owner

Tracy: Studio Owner (Laughs)

Mark: Studio Engineer

Tracy: You wouldn’t believe how gorgeous this studio is.

Mark: Thank You

Tracy: This is pretty fabulous. He does umm, I have written about the radio plays, I interviewed Michael York here recently and he does a lot of BBC projects so he I think you are the best person to ask about you know what do we as voice talent need to know. Let’s just talk generalities.

Mark: Okay. Sure.

Tracy: Like anything new we need to know.

Mark: Okay.

Tracy: In terms of let’s say in terms of equipment for our home studios.

Mark: Okay, Umm well there’s not, there’s nothing super new other than some new software from the old people pro tools eight is out now and it adds some nice functionalities some things for musicians and possibly some things for voice over talent.

Tracy: Okay and for those that you don’t know about Pro Tools that is the high end audio recording software. Because some of us work in Garage Band and the PC people as well.

Mark: It is the industry standard, it has been for years it has its own avid who have the industry standard video editing software. So its just most studios have Pro Tools.

Tracy: Is it necessary for us though for us to have Pro Tools.

Mark: Absolutely not Pro Tools is basically you know editing and recording software in the quality of the recording doesn’t have anything to do with pro tools it has to do with your microphone your room uh your analog to digital converters and your microphone pre amplifiers.

Tracy: So this uh recording audio to digital Mark what exactly is that for the people that don’t know what that means.

Mark: Right, analog to digital conversion basically your microphone is outputting a signal to a microphone amp and then in turn is outputting an analog signal which is not 1s and 0s it is an analog audio signal a line level signal. Basically the analogs digital converter, what it does is it converts your signal from your microphone or from whatever sound source into the digital domain that you are you know your computers can then deal with and read. So the way that that happens.

Tracy: Mhm

Mark: Is really important on uh in the audio quality.

Tracy: I mean and are you talking about even for auditions, for a lot of my listeners have their home studio most people have home studios but also need to record sometimes projects at home. That seems to be happening more and more.

Mark: Yeah

Tracy: So let’s talk about what we need for the home studio setup for auditions and what do we need for the home studio setup for actual recording.

Mark: Um I mean its kind of one in the same it just depends on if you are actually doing you know recordings that you are sending to clients that they are going to use. I mean I am sure that they would require a little bit more uh sound proofing a little bit deader space. Where as if you’re just doing and audition they are just basically wanting to hear your voice. Um you know you might have traffic going by and things like that and they probably won’t care too much but if you’re actually sending something to them then you need a lot more treatment.

Tracy: But what can you get away with though what can you actually get away with. Let’s say because of the internet and because of there are a lot of internet projects do you need to have the same kind of set up for those kind of projects versus a broadcast project.

Mark: No I mean if your doing internet podcasting things like that, I mean the internet is extremely forgiving for so many reasons because the quality because you are compressing the audio you know before your sending it up and people are listening on computer speakers and headphones and things like that and people on the internet are basically listening for content as opposed to quality most of the time.

Tray: Okay.Yeah. Good Point.

Mark: Yeah for that kind of stuff I mean if your doing you know voiceovers you know directly to internet, I would think that the requirements you know quite a bit less all though it is nice to have a nice quite room a nice quite dead room if you’re doing voice over type stuff.

Tracy: Yeah you want to sound as good as.

Mark: Yeah

Tracy: Um before we talk microphones.

Mark: Sure

Tracy: What about the recording the room can you do stuff (spooky voice) in the closet.

Mark: Yeah

Tracy: (Laughs)

Mark: Well here’s, well here’s the big

Tracy: Between clothes

Mark: Right, Right

Tracy: Not that I’ve ever done that (Laughs)

Mark: Right and then coming out of the closet and uh breathing

Tracy: So how uh so how so how do you uh

Mark: Basically I mean basically in order to get sound proofing a lot of people mix up sound proofing and acoustics um uh I shouldn’t say sound proofing, sound isolation and acoustics if, in order to get a quite space really the only thing you can do is density you have to have thick walls things that its just more sort of padding sheet rock and dry wall you have the more air space you have

Tracy: Or a cluttered closet like I have

Mark: Yeah. No well cluttered closets are great

Tracy: Cause I actually do admit

Mark: Right, Right

Tracy: Alright everybody I am admitting I have done auditions in the closet between my gazillion amounts of clothes that I need to give away and it sounds pretty darn good.

Mark: Right, but now uh

Tracy: (Laughs)

Mark: Now a cluttered closet is going to be great for sound absorption so its going to sound really nice and dead but your not you don’t have it still doesn’t keep the sound from coming in from trucks and things going by

Tracy: Yeah like if a helicopter comes over

Mark: Exactly a helicopter coming over a truck going by

Tracy: Paparazzi helicopter

Mark: So in the city you know a nice quite closet in a in a internal closet so uh a best thing is to find a closet in your house or apartment that doesn’t uh share a common wall with the exterior wall.

Tracy: Okay

Mark: The best uh isolation is still air, sound travels slower through than it does wood, metal, um your materials sound travels much slower through air. So if you have internal closet in your house or apartment and you can get some doors that seal you are probably going to be pretty good to do auditions and maybe even some performance stuff.

{Outro Music}

Tracy: This has been part one of my interview with sound expert Mark Holden join me next time for Part Two

This Voice Registry podcast was brought to you by Voicebank.net

Right+Click to Download Podcast (6.3 MB)

{Intro Music}

This voice registry podcast is brought to you by Voicebank.net

Tracy: This is part two of my interview with Mark Holden to hear part one go to last weeks podcast. But what about microphones?

Mark: Okay well it really depends on what you are doing, if your doing sort of broadcast type stuff as opposed to you know voice over for animation and things like. Broadcast type stuff, I mean do you want to know what types of microphones or what brands or?

Tracy: Well just, you know if people want to go out and get some equipment what do they need to get? I mean you don’t have to get into to much detail.

Mark: Yeah, well a lot of people really like the RODE NT1A and

Tracy: Is that R O A D?

Mark: Yeah, no its R O D E it is an Australian company. RODE R O D E N T 1 A. It is a great microphone for the price; it doesn’t have a lot of what we call rejection which means that it actually picks up quite a bit. So it’s a very sensitive because it’s a condenser microphone. So it picks up a lot sort of ambient sounds. Like if I said if you are doing something more broadcast oriented and you want to get really tight in and have that big sort of broadcaster sound. You are better with a broadcasting mic which is a HEIL PR40

Tracy: And how do you spell HEIL?

Mark: HEIL is H E I L and it is from a guy named Bob Heil who actually got inducted into the rock and roll hall of fame a couple of years ago, he helped to create the first live sound console for the Who and the Grateful Dead way back.

Tracy: Okay, so he knows sound.

Mark: yeah, well he makes the great microphones and they are basically broadcast mics but that they have a lot rejection so they have a lot of side rejection, so they are going to pick up more of you right in front of your microphone then they are of things going around in your apartment or your traffic outside and things like that, so those are two really good

Tracy: Okay so I was just going to ask you price, price range

Mark: Yeah, those are two good options the PR40 is a little pricier I think it is around $329 the NT1A is about $229

Tracy: Okay

Mark: But depending on what you’re doing they’re both great microphones. If you are doing voice over auditions the NT1A is probably just less forgiving mic so if you move your head a little bit you know it will sound like your going off mic where as the PR40 it is more of a broadcast mic so you have seen broadcasters on TV or whatever you notice that they just kind of sit there on their mic. So that is what kind of mic that is, so its more of you have to site there right in front of it and do your thing.

Tracy: And in addition to that what do people need to just the basics, for their setup. So they need the mic obviously and then they need the mixing board if?

Mark: Well not necessarily I mean you know a lot of people just use the interfaces. Like for Pro Tools it would be an M Box, M audio has several that can be used with Logic

Tracy: And are they fairly easy to figure out?

Mark: Well that is kind of the million dollar question (Laughs)

Tracy: I mean what is an easy set up? Because already it is like UH, and do they come with think manuals you know?

Mark: No, I mean you can use garage band software to like I said if you have.

Tracy: But I am talking about in the recording process when you have your mic do you need it hooked in I mean you need it hooked into something

Mark: Well you need a microphone pre amplifier and you know your computers with a built in microphone pre amplifiers, laptops are

Tracy: So you can hook it right into your computer?

Mark: Technically you can, it is not ideal because they are really cheap microphone pre amplifiers so and you can start up that way especially for auditions that are stuff will be fine. And then if you want to upgrade there are so many options, I think the most difficult thing for people to overcome when they do this thing for the first time you know when they want to do a little home set up is just the software issues. If they are not really used to you know non linear editing, if they have never done video or audio editing it is something you have to kind of work through. And basically all of the software programs they run very similarly they are non linear editing so you have a timeline and you know you look at the time line

Tracy: And they look like an AKG for those of you who haven’t seen that

Mark: (Laughs)

Tracy: I am sure most of you people have

Mark: So there non destructive editing and recording which means when you erase things and stuff on your screen it doesn’t actually erase the audio files unless you tell it to do that. So they are forgiving as far as they are not going to erase something that you did but as far as cutting things together I think that is what people find complicated.

Tracy: Right

Mark: So most people who are doing auditions have been in front of a microphone and can kind of hear with their headphones, you know if they are sounding distorted. So yeah I mean a very standard setup is a microphone into a microphone amplifier into your interface or your computer and then it is usually plugged in USB and there is usually a headphone output on the interface.

Tracy: And you recommend using the headphones always?

Mark: Always, because there is now way, I mean if there is no one monitoring you there is no way for you to ever know what you’re getting and what you’re not getting

Tracy: Until you listen it

Mark: Unless you want to just do trial and error, you can hear immediately if headphones if your distorting or if your too far away or if you are hearing something else like in your room that’s. If you have your headphones on you may all of the sudden hear your computer fan going and you may want to try and make that quieter.

Tracy: Okay

Mark: Or you may hear your dishwasher running or something like that.

Tracy: And Mark we know you can hear, I always say Mark can hear dogs barking in Eagle Rock which is about ten miles away from here. (Laughs)

Mark: Easily

Tracy: We don’t all have that kind of hearing but okay so do you recommend any particular software PC and MAC for either one? I mean I personally use garage band and I think it’s great, I have used Pro Tools and I mean that is more complicated.

Mark: Like I said they all work on a very similar basic sort of level. The thing with Pro Tools is that it can be very simple and very complicated all at the same time. Where as Garage Band

Tracy: Right, Okay

Mark: Garage Band is very simple I mean you can do some quite complicated things with it but it doesn’t go to you know the realm where Pro Tools does and Logic and some of the bigger ones. But there all you know all of the projects Logic to Digital Performer there used to be one called Acid Pro but I think it is called something else now. Things like that they all work on the same basic philosophy that it is just you know you record you see your wave file you edit it and you send it off.

{Outro Music}

Tracy: This is Part Two of my interview with Mark Holden join me next time for Part Three

This Voice Registry podcast was brought to you by Voicebank.net

Right+Click to Download Podcast (8.7 MB)

Click below for the previous episodes of this podcast:

Podcast part 1 Home Studio Set up

Podcast part 2 Microphones

-Tracy Pattin

{Intro Music}

This voice registry podcast is brought to you by Voicebank.net

Tracy: This is Part Three of my interview with Mark Holden. To hear parts one and two go the previous week’s podcast. Well let’s switch over as we kind of wrap up here. There is so much ISDN going on now.

Mark: Well we are ISDN ready here.

Tracy: Oh yes, okay you are ready for everything here.

Mark: We have an ISDN box.

Tracy: You don’t rent out for auditions but for actual projects.

Mark: Yeah, well I mean you know voice over demo’s things like that, professionally done voice over demos or ISDN sessions if you book a client and you need ISDN that kind of stuff.

Tracy: Well you have got a great studio. Well let’s talk about home ISDN setups because I know people have those now. Are they necessary, in the phone patch and all these and Skype and I also want to talk to you about Skype. So let’s start with the ISDN and phone patch and just briefly explain to people if they don’t know the difference what is the difference?

Mark: Well, I mean an ISDN is basically a way to, its sort of old technology but it still works really well and people use it all the time it has been around for several years. But basically it’s a way to connect to a studio directly or a client directly. So what’s needed for that ISDN is very expensive thing to get into for home studios because the boxes the ISDN boxes I believe start at around $3000. And then of course if your or whoever your client is or the studio your working with needs to have a similar ISDN box and then they have to be able to link to each other. It’s kind of cool it sort of like you just appear in the studio even though you’re not in the studio you are just at home doing your ISDN in the studio. As long as you have a nice room and stuff to the studio it sounds to them like you are in their studio. So it is just a way to do that. ISDN’s only something that people who are very working do in a home studio because it is very costly and I think it is about $100 a month for the service as well.

Tracy: Wow, Okay

Mark: It might be like $50 for the home service.

Tracy: So ideally its better to pretty much use a studio to have a client and work out something.

Mark: Yeah, to my knowledge the only people who have a home ISDN box are people who have been working in VO for years and years.

Tracy: Well like the late Don LaFontane who makes millions and millions and millions.

Mark: Yeah, I did several sessions with him while he was at home but he sort of had it down to a science. It is a little more complicated than the average person and expensive than the average person.

Tracy: And did he operate it from his home? Or did he have somebody there?

Mark: From what I understand, I never met him in person when I work with him you would just talk back to him like he was in your studio but from what I understand he had a uh, correct me if I am wrong I think he had a nice booth in his basement area or his downstairs area and he had he used a really nice microphone he used a Manly Reference microphone which is about a $2500 microphone and that was sort of and that was the Don LaFontane sound you know.

Tracy: And then did he operate the ISDN box himself?

Mark: Yeah once you get it installed and somebody comes in and shows you how to do it its fairly simple. But actually you always called in to Don he didn’t call your studio you called his studio. So he basically, if he were to open up the door at 10 o’clock and that was his booking you would already be online talking to him. And he would walk in and say “hello” and that was it, it would be one take and then we were done.

Tracy: Okay and so phone patch just give us an explanation of what that is if you could.

Mark: A phone patch is just a way that radio stations and studios do interviews via the phone and all it really does is it connects a phone line into your audio system so um, the only you wouldn’t ever use that to do auditions or things like that because it is phone fidelity and phone quality.

Tracy: And you can tell.

Mark: Yeah, but it patches that in, if you are doing a lot of interviews and things like that it can be very helpful.

Tracy: So essentially it is for the director, so that they are in the studio recording and you are listening to their direction or they can be on the phone not in a studio you can be recording in a studio.

Mark: Oh that type of phone patch.

Tracy: You could do that as well.

Mark: Yeah that is another aspect of phone patch. When you are not recording an interview, if you have a phone patch let’s say you have a client who is Seattle, Washington or something and you are down here. And they don’t need to hear full fidelity they just want to hear your performance and your takes you just call them from your phone patch box or they can call in to and they can hear your performance via their cell phone.

Tracy: But you still have to be in an actual studio, recording actual work.

Mark: I mean if you are recording actual takes and you would either be in your nice home studio or at a studio recording they are just listening and giving you direction and things like that via the phone patch. So lets a really cool way to work if they don’t really care about hearing your full sort of fidelity voice.

Tracy: Yeah

Mark: And they just want to hear your performance

Tracy: It makes it convenient for them.

Mark: Yeah, I have just done so many of those, I mean I have done phone patches when they are literally on their cell phone driving home and they are listening to takes “Oh yeah that was good”

Tracy: Yeah that’s great (Laughs)

Mark: Or they direct from their cell phone driving home you know, so that’s a neat thing.

Tracy: So and finally about all of what do you call these things these devices, Skype. Explain Skype and how it is useful for voice talent.

Mark: You know I am not actually, I am not super familiar with Skype I have used it a few times basically to call people for free but I am not sure you know what voice talent uses it for or if they use it.

Tracy: Because it does sound well I just know that it sounds like they are on the phone so the quality is really not good.

Mark: Yeah it is definitely low quality. I don’t know what it is but it is probably 64 KVS or you know maybe 96 or something but its definitely not full fidelity at all.

Tracy: Okay, well this has been so great Mark. So basically, what changes have happened I mean we talked about a year and a half a ago we did our last interview you and I. What changes have you seen, do you see any changes coming up?

Mark: Um

Tracy: Any advice for us?

Mark: You know I think its just so interesting to me because one might think it is counter productive for me to give people advice on how to set up home studios because I want them to come to my studio but really its technology you don’t ever want to curve technology its just times they are a changing. So, basically I just feel like we are getting better and better communicating high speed internet and things like that. And you know we should all sort of embrace this type of thing and then when pretty soon we will be able to do sort of full fidelity Skype. Our bandwidths will be so much larger and we will be able to do all of this stuff with great fidelity.

Tracy: Which means great quality sound.

Mark: Yeah a much higher quality sound because it is going to be much less compressed. So as we move through this whatever age we are in and the technology its just sort of embracing something that comes next to be able to communicate better quality faster you know easier. So specifics as far as what I’ve seen, I mean from a professional stand point there is a lot of changes going on right now in studios and things like that. But from a home studio stand point it is really about sort of creating your nice dead quiet space and getting some software that you can familiarize yourself with and just continuing to embrace the changing technology and you know it may seem annoying that you have to upgrade your software and things like that but we all as a professional studio owner we have to do that and it is much more expensive for us to do that.

Tracy: (Laughs)

Mark: So just keep your stuff updated, put a little money into to put the quality up and keep embracing the new technology.

Tracy: And come to you

Mark: Yeah

Tracy: (Laughs)

Mark: I mean if you have serious auditions and questions come over here and check us out.

Tracy: And they can check you out at Theinvisiblestudios.com

Mark: Yeah

Tracy: Well Mark Holden thank you for your great great insights. We will do another one of these with the next round of new technology.

Mark: Alright, Thanks

{Outro Music}

This Voice Registry podcast was brought to you by Voicebank.net join us next time.

Amy Stoller is an award-winning dialect coach based in New York City. She teaches accents and dialects to performers, and American English speech and diction to non-performers.

She has been literary manager of an Off-Off-Broadway theatre company, casting director for a Brooklyn Shakespeare company and an American musical-in-progress, director of New York workshops and readings, and production manager of two one-acts that journeyed from the US to Scotland.

Amy Stoller is an award-winning dialect coach based in New York City. She teaches accents and dialects to performers, and American English speech and diction to non-performers.

She has been literary manager of an Off-Off-Broadway theatre company, casting director for a Brooklyn Shakespeare company and an American musical-in-progress, director of New York workshops and readings, and production manager of two one-acts that journeyed from the US to Scotland.

Amy Stoller is an award-winning dialect coach based in New York City. She teaches accents and dialects to performers, and American English speech and diction to non-performers.

She has been literary manager of an Off-Off-Broadway theatre company, casting director for a Brooklyn Shakespeare company and an American musical-in-progress, director of New York workshops and readings, and production manager of two one-acts that journeyed from the US to Scotland.

Click below to listen to the previous Chris Allport podcasts.

Chris Allport part 1

Chris Allport part 2

Chris Allport part 3

Chris Allport part 4

Chris Allport is voice talent, coach and director. Known for the role of �Tootles� in Fox�s cult classic, Peter Pan & the Pirates, Casper the Ghost� and various Disney character voices such as Edsel the Dinosaur�, Chris has also voice-matched many celebrities in feature films including Robin Williams, Leonardo DiCaprio, Elijah Wood and Andy Dick. In part 3, Chris continues talking about his directing and performing and what advertising executives look for in voice talent.

On September 1, 2002, Trev Broudy and friend Edward Ulett were attacked after embracing outside Broudy�s West Hollywood, California home by three assailants, Larry Walker, Torwin Sessions and Vincent Dotson. Broudy was beaten with a baseball bat and left in a coma for 10 days. Broudy has appeared in a number of guest roles in a variety of television series and has started a career as a voice actor, performing in television and radio commercials and playing Cole Yeager in Tom Clancy�s Splinter Cell: Double Agent and Captain America in Marvel Ultimate. In this podcast, Trev talks about how he is able to do voice overs in spite of having only peripheral vision.

-Tracy Pattin

Click here for Trev Broudy podcast part 1

On September 1, 2002, Trev Broudy and friend Edward Ulett were attacked after embracing outside Broudy’s West Hollywood, California home by three assailants, Larry Walker, Torwin Sessions and Vincent Dotson. Broudy was beaten with a baseball bat and left in a coma for 10 days. Broudy has appeared in a number of guest roles in a variety of television series and has started a career as a voice actor, performing in television and radio commercials and playing Cole Yeager in Tom Clancy’s Splinter Cell: Double Agent and Captain America in Marvel Ultimate. In this podcast, Trev talks about how he is able to do voice overs in spite of having only peripheral vision.

On September 1, 2002, Trev Broudy and friend Edward Ulett were attacked after embracing outside Broudy’s West Hollywood, California home by three assailants, Larry Walker, Torwin Sessions and Vincent Dotson. Broudy was beaten with a baseball bat and left in a coma for 10 days. Broudy has appeared in a number of guest roles in a variety of television series and has started a career as a voice actor, performing in television and radio commercials and playing Cole Yeager in Tom Clancy’s Splinter Cell: Double Agent and Captain America in Marvel Ultimate. In this podcast, Trev talks about how he is able to do voice overs in spite of having only peripheral vision.

As a child, Robbie Rist played Cousin Oliver in the final season of The Brady Bunch. In 1976 and 1977, Rist played David Baxter (Ted Baxter�s son), on the television program Mary Tyler Moore. As an adult, Rist has worked as a voice actor, such as in the Teenage Mutant Ninja Turtles film series (as Michelangelo); from 1984 to 1986, he starred in the Saturday morning cartoon Kidd Video, playing the character Whiz both in live-action music videos and animated sequences. And his VO credit list goes on. In this podcast Robbie shares his insights on voice over adults and kids (he�s got advice for parents) in discussion with Bill Holmes and Tracy Pattin, recorded at Compost Productions.

Click here for Part 1 Robbie Rist Podcast

Click here for Part 2 Robbie Rist Podcast

As a child, Robbie Rist played Cousin Oliver in the final season of The Brady Bunch. In 1976 and 1977, Rist played David Baxter (Ted Baxter�s son), on the television program Mary Tyler Moore. As an adult, Rist has worked as a voice actor, such as in the Teenage Mutant Ninja Turtles film series (as Michelangelo); from 1984 to 1986, he starred in the Saturday morning cartoon Kidd Video, playing the character Whiz both in live-action music videos and animated sequences. And his VO credit list goes on. In this podcast Robbie shares his insights on voice over adults and kids (he’s got advice for parents) in discussion with Bill Holmes and Tracy Pattin, recorded at Compost Productions.

Click here for Part 1 of the Robbie Rist podcast

With an impressive body of work over the past 45 years on screen, stage, television, and with audio recording, Michael York is still passionate about his craft.

York�s distinctive voice can be heard in more than 90 audio book and film narrations as varied as The Book of Psalms, Memories, Dreams, Reflections, The Vampire Lestat, and his own children�s book, The Magic Paw Paw. Grammy-nominated for Treasure Island, he won awards for The Fencing Master, Creating True Peace, Goodbye to Berlin, and The Lion, the Witch and the Wardrobe. Recent recordings include How Do I Love Thee?, Peter and the Wolf, and The Carnival of the Animals. Currently the narrator of The Word of Promise audio Bible, York�s latest recordings are Cry, The Beloved Country and Alice in Wonderland. He just finished recording �The Man in the Wooden Hat� for Jarvis/Ayres productions (at The Invisible Studios, West Hollywood, CA) airing on BBC Radio 4, September 21, 2009.

Right+Click to Download Podcast (8.2 MB)

York�s distinctive voice can be heard in more than 90 audio book and film narrations as varied as The Book of Psalms, Memories, Dreams, Reflections, The Vampire Lestat, and his own children�s book, The Magic Paw Paw. Grammy-nominated for Treasure Island, he won awards for The Fencing Master, Creating True Peace, Goodbye to Berlin, and The Lion, the Witch and the Wardrobe. Recent recordings include How Do I Love Thee?, Peter and the Wolf, and The Carnival of the Animals. Currently the narrator of The Word of Promise audio Bible, York�s latest recordings are Cry, The Beloved Country and Alice in Wonderland. He just finished recording “The Man in the Wooden Hat” for Jarvis/Ayres productions (at The Invisible Studios, West Hollywood, CA) airing on BBC Radio 4, September 21, 2009.

Right+Click to Download Podcast (7.1 MB)

“Japanese Anime has become more popular because subtitles have been replaced by dubbing” says Animation Voice Director, Rene Veilleux.� To hear more from Rene Veilleux, listen to our previously posted Podcast – enjoy!

Have a safe and fun Labor Day weekend!

- Amber at Voicebank.net, Inc.

Peter Rofe is a top New York Voice Over Coach, demo producer, director, teacher, voice over artist and co-author of Voice For Hire, Launch and Maintain a Career in Voice Overs (with Randy Thomas). Peter says �voice-over artists benefit greatly from studying with a coach who has a good ear, a wealth of knowledge and plenty of industry experience.� He offers a wide range of services from teaching clients privately to conducting group workshops, producing high-end demo reels and offering introductory classes and marketing seminars.

Peter shares in this podcast, his insights, tips and advice on how voice actors can be competitive, marketing advice and what it takes to get that National voice over commercial and much more.

Right+Click to Download podcast (8.3MB)

Peter Rofe is a top New York Voice Over Coach, demo producer, director, teacher, voice over artist and co-author of Voice For Hire, Launch and Maintain a Career in Voice Overs (with Randy Thomas). Peter says �voice-over artists benefit greatly from studying with a coach who has a good ear, a wealth of knowledge and plenty of industry experience.� He offers a wide range of services from teaching clients privately to conducting group workshops, producing high-end demo reels and offering introductory classes and marketing seminars.

Peter shares in this podcast, his insights, tips and advice on how voice actors can be competitive, what it takes to get that National voice over commercial and much more.

Right+Click to Download Podcast (9.9 MB)

Peter Rofe is a top New York Voice Over Coach, demo producer, director, teacher, voice over artist and co-author of Voice For Hire, Launch and Maintain a Career in Voice Overs (with Randy Thomas). Peter says “voice-over artists benefit greatly from studying with a coach who has a good ear, a wealth of knowledge and plenty of industry experience.” He offers a wide range of services from teaching clients privately to conducting group workshops, producing high-end demo reels and offering introductory classes and marketing seminars.

Peter shares in this podcast, his insights, tips and advice on how voice actors can be competitive, what it takes to get that National voice over commercial and much more.

Right+Click to Download Podcast (7.5 MB)

Jeff Jones started out at Abrams Artists working as the assistant to the head of commercials and voiceover and was eventually promoted to a voiceover agent.� He then moved over to Vox Talent Agency to head the promo/trailer/narration department.

Right+Click to Download Podcast (7.8 MB)

Jeff Jones out at Abrams Artists working as the assistant to the head of commercials and voiceover and was eventually promoted to a voiceover agent.� He thne moved over to Vox Talent Agency to head the promo/trailer/narration department.

Right+Click to download podcast (10.8 MB)