TANYA RICH

BRITISH VOICE ACTOR

tanyarich
tanya@tanyarichvo.com
ISDN +44 1225 330208
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My Guest Slot on the Talking Creative Podcast

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Another Podcast Appearance

Talking Creative podcast host and voice-over Samantha Boffin

After appearing on the VO Boss podcast in 2018, I was recently asked to be a guest on Samantha Boffin’s podcast, Talking Creative – the Art of Voiceover Directing.

The show is aimed at helping clients, creatives, producers – and in fact, anyone working with professional voice-over talent – find, brief and direct their chosen VO, so that they get their ideal read and a great result.

A while back, Samantha and I worked together as voice coaching tutor and student – and today she is one of my Rich List of professional UK voiceover talent, who I know will deliver the goods.

You can listen to our interview here.

But if you’d prefer to have a quick read of the main points, here’s a slightly truncated text version. Enjoy!

Talking Creative interview with Tanya Rich 

How did you get started as a professional voice-over?

I was very lucky, actually. I took myself off – on the advice of my mother who had done voiceover when commercial radio first started – to my local radio station Signal in Stoke-on-Trent (in central England) and said: “Can I have an audition to be a voiceover, please?”

A guy emerged and it was the writer Les Scott, who knew me when I’d managed the punk band Discharge. And he said, “Hello Tanya, what are you doing?” I said, “Well, you know, my mom thinks I should be voiceover. What do you reckon?” And he said, “Come on through do an audition, meet Les Woollam, the producer”. So Les was very kind of sombre compared to Les. “This is Tanya, she’ll be great”. “Have you ever done this before? No. But I’ve done loads of drama, and I am a professional session singer.”

They sat me down, gave me a script. I read it. And they said, ”You’ve done this before -you’re a hustler.” I said, “No, no, I haven’t.” They said, “Well, that was bang on 30 seconds. Let’s give her a harder one”. So they gave me 20 seconds – I did that. Now obviously, the VO style wasn’t perfect, but they saw enough in me. And the greatest thing of all was, I got trained on the job. They had a female voice that they use regularly. And I spent two years being the second voice.

Can you explain the second voice? 

Mentor hard at work: my first producer, Les Woollam, at Signal Radio

I’d just be the voice echoing back. So for example, I’d go “new kitchen, Sam?” and she’d go, “Yes, that’s right. I got it from blah, blah, kitchens”. Then I’d go, “Wow, that’s great. What was that number?”

So that was going up and down the country?

That was just in Stoke-on-Trent. And then what happened was, after two years doing that, I got enough stuff together to make a reel and I send it off to JMS and Harewood radio, who then took me under their respective wings and taught me even more about being a VO. And from there, I got more reels, sent them off. And that’s when the real fabulous time of being a jobbing VO was because that’s when we got our bookings a year in advance and drove around the country and worked with everybody and did everything and anything.

 

That’s how you really learned how to be the voice that you are now?

Yes, absolutely. When you got to a station, you didn’t know what to expect. So you could have had 10 scripts, or you could have had 50 scripts. And you had to literally go from hard sell soft sell – mother, grandma, child, witch, fairy – you never knew. And you were expected to do it quickly. Because of course, in those days, it was all done to tape. It had to be cut with a razor blade, you know, which is why we all have this fantastic breathing method. We all know intonation, and we can all voice to time.

Was it helpful that you were a singer as well? 

Swapping mics: Tanya Rich sings on stage

Yes, I think so. Because if you can hear the music and the copy, that really does help because it is a rhythm. There are rhythms in copy. That’s why you know, thinking about real inflection and how we actually bring things to life is really important. Yeah.

Did you spend a long time working that circuit? 

I did. That’s why I know all the cracking old-school voices. And when I say old-school, I don’t mean their voice age, I mean them as in their values and their skill set. We had to deliver. Whatever we felt like, we always had to be fine. And we always had to be on. Especially as a female voice, you needed to be super versatile. And you just need to be able to change from one script to the next.

So voiceovers don’t work in the same way anymore? 

No, they have it a lot easier. And that’s why, you know, it’s one of the things that I have a real problem with. Because it’s a very tough industry even now. In fact, it’s so overcrowded now, it’s probably even tougher in some respects for new voices. But yeah, I mean, you had to have that discipline. And you had to have the thickest of skins.

How has it all changed?

Actor, voice-over artist and inspiration, Ian Swann

Watching people on the job, that’s really how I learned. I mean, the first time I realised I could actually move when voicing was watching the amazing voice talent Ian Swann. I’d been taught everything about how to move my face, but not my body. And then Ian – coming from an acting background – showed how the two can connect. But now, people are voicing with computers. They get endless times to do takes – they can cut out every breath. I once had somebody say to me, a new producer who didn’t know me: “Don’t worry if you can’t do it to time, we can do it line by line.” My flabber was truly ghasted. It’s like the death of spontaneous beautiful performances!

I think a lot of people see voiceovers being quite rigid actually. They’re so terrified about going off mic. But that’s something that you’re really passionate about, aren’t you?

Yes, I am. We have to give so much more behind the mic sometimes to make it really stand out in the listener’s ear. You know, the amount of people I personally work with that have had coaching and still don’t know they’re supposed to move their face or shoulders or hands or anything. It’s appalling really.

So, what do you think about the industry now?

I have to say that there is a saying amongst really experienced professional, great voiceovers that a lot of voiceovers or people claiming to be voiceovers in today’s market would never have survived in our day. I think people haven’t got a thick enough skin. There are so many people saying they can be voiceovers and you can just go and buy yourself a website. Everybody thinks it’s just talking and reading. I’ve got a voice, my nan says I’ve got a nice voice, I can be a voiceover – and I’m afraid it’s not true.

How would you describe your approach to coaching? 

I’m firm but fair. I encourage but I don’t give people false hope. I don’t lie to them about their ability. They have to do the homework. They have to record and they have to improve and get it. People say to me, how long will it take me? I don’t know. But what I can say is that you will know when you’re ready because you’ll get that lightbulb moment and switch on. They have to jump through a lot of hoops before they get to make a reel. But when they do, every voice style on that reel is genuine. They can reproduce that at the drop of a phone call. And they can self-direct, they can take direction and they are formed voiceovers. The only thing then they need to get is more and more experience and learn even more things.

Do you teach mic technique too? 

Mic technique matters. Photo: spoiu23 from Pixabay

Yes, I teach them about staying on-mic, how to work the mic as in if they’re going to be shouting or projecting. I also do teach them they don’t need to project because unless it is a shouty part of the script, of course, because that’s what we have microphones for. Right? They do all that work for us. That’s one of the things that a lot of people think they have to do, especially if they perhaps come from a stage background. That’s one of the hardest things to get them to back down a bit.

Being able to empathise with your audience – what are your techniques around that?

Think about who you’re talking to. But don’t just stop there. Think about how the person that you’re talking to is reacting to what you are saying. So you’re actually in a conversation with a person that we can’t see or hear. And using your face and your natural facial movements. Using your head position really changes the way a line can be delivered.

Why is it important for voice directors to be looking for voices who have the right sort of training?

Richcraft voice coaching

I think voice directors should look for either a voiceover that’s established with their current reels, or get them to just do you a very short audition. You know, my company’s called Rich Craft. On there are some of the voices that I’ve trained that have made reels that I think are outstanding. Any producer that came to look at that list, I would hope would know, actually, if they’ve been trained by Tanya, they must be bloody good.

Is it easy to spot the trained voice from the untrained voice?

It depends on how experienced the director is, doesn’t it? Because if they’re not experienced themselves, they won’t know. You see. I don’t want to go off piste here. But a showreel is not always a real reel. If you hear a voice that you’ve never heard of before, and there reel is peppered with spots for top brands, like Andrex and Persil and things, that’s usually a good indication that actually that reel is fake.

What attributes do you think a good voice director needs?

As I say, it would help if they understood the language of VO. So if they say to a voiceover, I want it to sound more ‘warm’, that’s fine to an established voice, they know exactly what to do. But an inexperienced voice doesn’t know.

Could you tell me a bit about the Rich List that you’ve got, because that’s something that’s relatively new, and it’s part of RichCraft, isn’t it?

Tanya’s personally endorsed list of voice-over students

Basically, I decided I should showcase some of my students on another platform. And because they have to be the best of the best to be on that list – they are people that have really put the time in and worked. And I know and I can put my faith and trust in them, that they will not let either themselves or me down, or a director or producer down if they get a gig based on something on their reel. That’s why I did it.

I know that you’re very, very hot on the fact that if you’ve got it on your reel, you need to be able to reproduce that in a session. 

Absolutely. Anybody can sound good on half a sheet of A4. Try doing 20 pages and having the same energy from the top to the bottom, the same connectedness, the same commitment to the script. You can tell a good voice doing e-Learning because they’re not patronising, they don’t sound bored. It’s really important that you get good voices that can really deliver the goods. There is no ‘get rich quick’ scheme with voiceover.

And directors need to know that they’re the real deal…they need to be able to step up to it.

If you’ve got somebody off the strength of their reel and you know that you’re going to have to spoon-feed them baby food the whole way through the session, then they are not a fully formed voiceover. And most directors don’t have the time for that. The only time they ever find the time is if that person is famous, you know, always the bridesmaid is a professional voiceover never the bride.

And on that note…

As I go to put my wedding dress on…

We couldn’t do that in the booth – lots of rustle! But thank you so much, Tanya.

You’re so welcome! And I’m very honoured to be asked.

 

 

Tanya Rich is a UK voiceover talent and voiceover coach with more than 30 years’ experience in the industry. 

To find out more about how to hire her for your project, or for vocal coaching, please click on the links above. 

Filed Under: Blog Tagged With: British female voice-over artist, British female voice-over talent, British female voiceover artist, British female voiceover talent, British FVO, FVO, professional voice-over, professional voiceover, showreels, UK female voice-over talent, UK female voiceover talent, UK FVO, voice acting lessons, voice coaching, Voice over, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover demos, voiceover training

Personal vs. Professional 

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Personal vs. Professional

Why at work, we should always be the latter.

 

Professionalism tie
It’s important to keep professional ties. Image: Free Photos via Pixabay.

There’s a saying in the professional world, which is:

”It’s nothing personal. It’s just business”.

It’s one of those phrases, which can either make or break your day.

Great if you’re the firer, who’s getting rid of someone useless. Not so great if you needed that job to pay your bills.

It’s debatable whether employing such a cutting phrase in your daily business life is appropriate or moral, but when you think about it, it does actually contain an awful lot of truth.

You see, when you look carefully at the expression (”it’s nothing personal, it’s just business”), you gradually realise that, yes, the personal has nothing to do with business.

Let’s unpack that idea a little.

A voice-over talent is booked to do a job. The talent arrives late, because their car wouldn’t start, because it was overdue to go into the shop, because they let their friend use it last weekend while they were sick in bed, because they had been out partying until 6am last Tuesday…

Ok, stop.

I think we can all agree, having read all that, that the personal should have nothing to do with business.

But despite that, we often tell ourselves soothing stories that things weren’t our fault; that circumstances, events and people conspired against us.

Yet we can alter our reality – even in the professional voice-over world.

What if the copy was not ready when you arrived? Out of your control.

What if the text was poorly written? Read it beautifully.

What if the client doesn’t know what they want? Give them three wonderful takes and let them choose one.

The truth of the matter is that as a professional, there are no excuses.  Hence the standard professional reply to ”how are you?” should be ”I’m really great, thanks. And you?” Nobody cares about any other response. When the light goes on, you’re on. But if you make your personal life the arbiter of your professional life (by making excuses, or by responding in a way that aims to get the sympathy vote), you will just come across as unprofessional.

I learned about business and professionalism the hard way. When I was young and still learning my craft, I naively thought regular contact with fellow professionals meant that we existed in a friendly, respectful, co-working bubble. But I soon realised that trust is earned and personal matters should be left out of the professional environment. And that being the case, I can’t say any more than that.

But learning the value of professionalism (at the expense of the personal) was an important lesson for me. Years later, I teach it (and preach it) to my Richcraft students. ”The reality”, I tell them, ”is that you’re just gobs on sticks” (as my friend and colleague Stephen Lyons would say – gobs meaning mouths). ”Turn up on time. Be prepared. Deliver the copy. Do the job. Be professional.”

And if you can be personable too – as opposed to personal – that’s a bonus.

 

Tanya Rich is a UK voice-over artist and voice-over coach with more than 30 years’ experience in the industry, who works with clients worldwide. 

To find out more about how to hire her for your project, or for vocal coaching, click the links above.  

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, FVO, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice coaching, Voice over, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

Beware the Casting Catfish

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Beware the Casting Catfish

 

If you’re in the business of hiring British voice over talent, whether you need a corporate presentation, a commercial, or a classy delivery at an awards ceremony, there’s something I feel I should make you aware of. So, if you’ve got time, could we have a quiet word?

No need to be alarmed. But recently, it’s been pointed out to me that there’s something not quite right in the UK voice over world.

Something fishy.

The Casting Catfish. Picture by Denise H.

I’ve read recently, from a number of voice over industry influencers around the world, that now is a great time to be a professional voice over artist.

To some extent, I think that’s true.

Just look at the rise of audiobooks versus traditional ones, the proliferation of professional networks and conferences, and the wider availability of voice over training and voice over coaches (including me).

Yes, it seems that deciding that you’re going to be a professional UK voice over talent working freely from home, is now a life goal that is within easy reach.

But as I’ve tentatively suggested, there’s something not quite right about all this.

Something fishy.

You might also think, particularly if you’re someone who casts voices, that you’ve never had so much choice. You might think the market is throwing up some wonderful bargains. You might think it’s full of stars being born. You might think, like some voices do, that the world is your oyster.

But are you right in your thinking?

It would certainly appear that the voice-over talent pool has never been more plentiful.

But it’s important to ask yourself: is the voice you’ve netted the ‘reel deal’? And are you sure you haven’t cast a catfish?

Your chosen talent might claim to be wild Scottish salmon on their demo, but when you get them in the studio, can they actually swim up river and leap over rocks? That is, can they deliver everything demanded by the script, along with everything else demanded by the director?

For any professional voiceover hirer, it’s worth asking these questions, especially where money is involved. Casting mistakes cost money.

(I should make it clear at this stage that my Richcraft voice coaching students are only allowed to make a demo with me, when I decide they are genuinely ready to be professionals).

To return to my previous point, yes, it seems that viewed from the sky, the sonic seas have never been more plentiful.

But for the inexperienced hirer casting their net to find the right voice, there is a risk that you get a loss less than you bargained for.

So, just a quiet word between me, this professional British voice over artist, and you, the casting professional: trust your instincts. Be patient. Choose wisely. Check credentials.

In time, you’ll hook and book a prize catch – not only one who’s been swimming these waters for decades – but also one who promises a whale of a time at the end of the line!

 

Tanya Rich is a UK voice-over artist and voice-over coach with more than 30 years’ experience in the industry, who works with clients worldwide. 

To find out more about how to hire her for your project, or for vocal coaching, click the links above.  

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, FVO, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice coaching, Voice over, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

How I Became a Special Guest Podcast Host

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Photo credit: VOBoss.com

How I became a Special Guest Podcast Host

Tanya Rich: VO Boss and special guest podcast host. 

As titles go, it’s a pretty prestigious one.

It’s almost like the Queen has granted me a special status for my services to voice-over. Alas not (yet!).

But I was actually granted the title not by one fine lady, but two, as I joined Anne Ganguzza and Gabby Nistico to chat about my voice-over career in the UK – a journey which began more than 30 years ago and continues to this day out of my personal studio.

I must say that being on the podcast made for a jolly nice early Christmas present, so thank you for having me, girls. Next time, we’ll bring wine and chocolates!

The VO Boss podcast is produced in the US and is designed to help voice-over talent develop their careers through Business Owner Strategies and Success (BOSS). 

Click the link above to listen to the show and find out more.

And if you like what you hear in the podcast, then of course I’d love to hear from you, now or in 2019. Feel free to email me here.

Happy holidays and see you in the new year!

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, casting, typecasting, voice acting, Voice Actor, Voice over, voice talent

The Trouble With Typecasting Voice-Over Talent

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The Trouble With Typecasting Voice-Over Talent

Why versatile VOs are MVPs

It’s not often that a British person falls in love with basketball. And it’s even less often that it happens to a British female voice-over talent.

But as another NBA season dawns, I’ve recently learned what makes LeBron James the best basketball player in the world today (and we’re not just talking about his stunning, Herculean shoulders).

LeBron can shoot from close, mid and long range (twisting, turning and fading away); he can stop and pop, kiss the ball off the glass, hammer home dunks like an assassin, rebound like a debt collector on commission, pin failed lay-ups against the backboard, slice past defenders off the dribble, pass as though blindfolded, and fire home the game-winning shot. He’s also a 3-time NBA champion and a 4-time league MVP (most valuable player).

You see, the thing that makes ‘King James’ today’s greatest player isn’t just one thing.

It’s everything.

Lightning LeBron as a Cleveland Cavalier. Photo by Erik Drost

Admittedly, we’re different types of performers. But I think it’s fair to say that LeBron and I have a bit in common. The fact that he’s now wearing purple (my favorite color) for the LA Lakers is obviously a bonus! But more seriously, isn’t it great that we both do a lot of things well?

When I first started in voice-over, traveling up and down the UK to voice dozens of radio commercials in a single session, being versatile was a highly prized skill. Today, it still can be, but sometimes isn’t always, and it depends who you’re reading for.

Values seem to be changing. These days, we’re told by some marketing experts that you should choose three words to describe your voice and put that on your business card, website, and email signature. But that’s a bit tricky when you’re a versatile, old school voice talent, who’s rich in experience, expertise and excellence, whose skills fit with dozens of adjectives, and who’s performed for all manner of voice-over genres for 30+ years. I mean, where’s the room on the page for all that?

Maybe having enough room is part of the problem. Maybe today’s voice-over market is so busy that the job is becoming less and less about having a broad skillset built on natural talent and years of experience. Maybe now it’s about doing a couple of things well (or dare I say it, just ok).

When the first ISDN lines were connected in the UK, casting experts thought it was a producer’s dream; that they could choose the right voice every time. And yet 30 years on, I don’t think things have worked out that way. As I understand it, some British radio stations have a roster of voice talent who are used for everything. Yet they’re not often right for everything, because they’re not versatile.

Lakers Showtime: Tiny Tanya dunks one home

In a competitive, perhaps overpopulated industry, typecasting, or picking someone based on the first five seconds of their demo, might make casting directors’ lives easier. But unfortunately, it discriminates against versatility. It prevents an artist from demonstrating real value by showcasing their wide variety of skills. It also means that clients have less leeway when they change their minds about a project’s sound. This is no problem for the experienced, versatile artist. But for others, it can mean recording sessions that drag, being spoonfed lines, and never getting called again.

Casting based on someone’s age, or their appearance – whether you mean to or not – is another issue. When you bear in mind that voiceover is the theatre of the mind, listening with your eyes simply can’t be done. Relying on photos and ages is biased and has nothing to do with someone’s voice. Vocal ages vary. So if you can sound millennial when you’re 40+, you should be getting work.

And last but not least, there’s suspension of disbelief. Imagination is all part of the act. Just click on my C Beebies demo on my TV & Radio Promos reel. If you think you can hear a woman with a university-age daughter there, then I will buy us floor seats to the Lakers!

So how has this trouble with typecasting come about? Have personal websites and image-conscious social media got something to do with it? Maybe. After all, once upon a time, nobody knew or cared about what their favourite radio presenter looked like. They just liked their voice and what they did with it.

Love for LeBron

Maybe values have changed.

But for me, versatility is still value.

That’s why a versatile voice will always be – like LeBron – king.

And that’s why from now on, I’ll always cheer for LeBron and why he’ll always be my MVP.

Let’s go, Lakers!

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, casting, typecasting, voice acting, Voice Actor, Voice over, voice talent

Old School Voiceover Talent

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I’m called an old school voiceover talent, you know.

Don’t worry, it’s a good thing. I’ll explain why shortly. But first, a personal history lesson.

The voiceover industry has undergone enormous change since I began my career, performing radio commercials in the north-west of England in the mid 1980s.

My first producer, Les Woollam, now based at Take 2 Studios

Back then, an aspiring British voiceover actress like me would be taken under the wing of a radio commercial producer, to be slowly developed into a trained, polished professional.

When I first started out, there were very few FVOs (female voiceovers) compared to men. And of that group, there were barely any voice actors in general. Fast forward to today, and there are thousands upon thousands of people announcing their presence on multiple internet platforms.

The way you booked work was also vastly different. It was possible to schedule several months of jobs on the strength of a few phone bookings. When producers would call, you’d get your diary out  and scribble down your slot. Once that was done, you could then call neighbouring stations and fit in other work around it.

Many UK voiceover actors were like travelling salesmen, living in hotels during the week and returning home on Fridays. There was no email on the move and no (decent) mobile phones; you would have to find a red telephone box, put coins in it, call home and check your messages.

For the contemporary voiceover actor who’s grown accustomed to a spot of light voicing in their pajamas, such a life might sound like too much hard work. Well, guess what, kiddo? Anything in life that’s worthwhile is. My formative years, travelling the length and breadth of the United Kingdom, were an integral part of my development as a professional UK voiceover talent.

I put in the miles; I put in the hours; I put in the time; I put my heart and soul into whatever I was reading aloud, whenever and wherever it was. When I arrived at a studio, I never knew what scripts I would face. Some of my male colleagues could get up to 60 scripts in a session. We all learnt how to breathe silently, to become one-take wonders, to produce perfect audio on unblemished, uncut tape.

Studio 3 at Signal Radio, scene of my first voiceover audition.

With every single script – all of them as demanding as they were different – we perfected our timing, pitch, inflection and phrasing. We became masters of our art – and pioneers. That is why my generation of artists are all versatile and excellent sight readers. And that’s also why I still work every day.

Yesterday’s voiceover learning curve was fast, steep, intensive and industrious. Learning the perfect read and developing my vocal muscle memory took patience and time. So maybe you’d be surprised to learn that my first physical showreel actually took two years to make. It still sits on the shelf of my office to this day.

Today’s global voiceover community could not look (or sound) more different. Can you speak? Yes! Well, then you can be a voiceover! Say goodbye to real professionalism. Say hello to ”I’m a Pro VO, because I say so”.

It’s a startlingly sad picture. 21st century technology – and the narcissistic, instant gratification era – have encouraged a generation of have-a-go ”pro” VOs. Wanna make a demo? Just plug a cheap microphone into your laptop, talk under a quilt with copy you downloaded for free from the internet and well, just string the bits together yourself using some open source editing software. Hey, presto! Now you’re a pro!

Signal Radio Studio 3 dismantled

It’s the kind of false logic that says that just because I can draw water from the faucet, I can be a professional plumber. In my head, sure. But in reality? Come on, that’s Super Mario, magic mushroom madness.

The hard truth is that, in my era, it would have been ‘game over’ for many of today’s self-proclaimed, professional voices.

The novelist L.P. Hartley once wrote: ”The past is a foreign country. They do things differently there.”

My past might be like a foreign country to today’s voices. But I’m fluent in the language, which taught me everything I know.

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, FVO, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice coaching, Voice over, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

The Perfect British VO Vacation!

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 A British VO on Vacation:

It’s June, the time of year when my gorgeous, patient Husband and I whisk ourselves away to somewhere sunny, sandy and sultry. And because of all of those things, it’s certainly one of the highlights of my #VO year. We take the usual: sunglasses, big hats, suncream, aftersun, sun this, sun that. You get the drift! And we also take the typical: sun microphone, sun Portabooth, sun headphones and sun Mac.

I know, you think I’m being funny. You think I’ve got heatstroke. I’ve been catching too many rays. Too much fun in the sun.
Actually, no – because guess what? #ILOVEVO

Some hotel guests’ brows furrow when they see my married man ‘servant’ lugging my #Kaotica Eyeball, portable studio and other *vocal gubbins* through reception while I strut ahead, twirling our suite key around my finger, sunhat donned over a pair of large, oval, tortoiseshell sunglasses, with my Kimono swirling flirtatiously around my ankles.

I say ‘let them stare’ Because guess what? #ILOVEVO

When your job is your life (some 30+ years of it), there is no ‘off switch’ I’m always ‘on.’ Just like the sun never stops shining, I never stop voicing. Flexing my voice is not a choice. It is my calling. And even on vacation, under the powerful midday sun, clients call on me to make their campaigns shine.

#ILOVEVO

I love getting to our hotel or holiday villa; absorbing the plush choice we have made for ‘my voice.’ And as much as my Husband needs my company for 2 weeks, I know that companies need me too. We’ve got a naughty little arrangement, them and me.

Picture the scene: ‘’Darling, I’m just popping inside to get a fancy drink. Would you like one?’’
‘’Yes, please lovely. Shall we say something shaken, not stirred?’’
‘’Ooh, rather! Of course, Mr. Rich!’’
The ruse is on. In the time it takes for me to slice some fruit, crush some ice, whack it around in a silver tumbler like some crazed exercise guru, and pour it through a sieve, topping it off with a sun brolly, well… I’ve also managed to bang out a few lines for say, a Champagne company. Or a luxury car brand. Or a major high street retailer. This can happen several times a day, if I’m lucky;)

So…Yes, I love to drink cocktails.

I love to tell stories.
I love my Husband.
And I love my clients. #VOICINGISMYDRUGOFCHOICE #ILOVEVO #BRITISHVO

*Kayotica Eyeball

*www.centrance.com/products/mp

*https://en-de.neumann.com

*https://www.beyerdynamic.com

*Define: Gubbins

Filed Under: Blog Tagged With: British, Female, Vacation Working, VO, Voice over

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