These are such great tips for people who are preparing to go to a studio for their first time. I really liked your list of things to remember to take! It's helpful to have a list so that you don't accidentally forget something important. I totally agree that it's important to remember to bring water. Especially if you're going to be singing, you'll want to be prepared with something to drink!
Brook | http://www.Burnrecording.com

Good advice here, Maxine. I think a lot of us who have been at VO for a while tend to forget that many of the newer folks have never been to a live session. Of course, this is mainly because so many sessions now are conducted from home studios. Often with little or no direction at all. Even when compared to being directed via phone patch or ISDN, there's nothing like a live session.

I love it when I get the chance to work in live sessions. Usually for me it's every several weeks or so in one of 3 studios I work in around Nashville.

When I started out about 1993, I took the "look, listen and learn approach" since my studio experience had been as a singer working with Nashville musicians, producers and songwriters. They were a much more casual group of people than the ad folks in the VO sessions! So I just kept cool and conservative as I learned.

What Paul had said is good to know, but I have to agree with Maxine that only as you relax into doing more and more live sessions, those things Paul mentioned become more valuable. At this point, all of what Maxine has suggested I routinely do as second nature. I've since added those things Paul suggested and continue to do these days. It's a great feeling knowing that you are treated like a professional at the session and the project you just voiced is a winner!

I was just re-reading the article here and the comments again before posting a link to this article on a couple of Facebook voice-over groups, and I wanted to add an additional comment.

In the comment below, Paul Strikwerda made a number of suggestions. These include speaking with the engineer before the session and before the client arrives, making script suggestions to the client during the session or offering “something they might want to consider,” and, asking for retakes if you’re not happy with the way you’re sounding.

As my article is specifically written about a voice actor’s FIRST session in a pro recording studio, I personally do not recommend asking to go back to visit with the engineer before the client arrives, making script suggestions, or subjectively critiquing your performance and asking for a retake if you don’t like the way something sounds. The client will let you know if they don’t like what you’re doing.

At your first session, in fact in your first several sessions, just listen, watch, and learn. Don’t try to do more than you know how. You’re just getting your feet wet and learning pro studio etiquette, so I suggest taking the steps that Paul outlined in his comment at a later date when you have much more experience and are more familiar with the whole process.

Don't rush your learning process or take liberties you're unsure of. Take your time and absorb all the information you can, but don't presume to know more than you do or you could come across as looking very foolish.

Re-read the section “Client Arrival” to see the best time to ask questions, and always ask questions during the session if you’re unsure of how a word or line should be delivered.

Thanks for your reply, Maxine! It's very helpful to hear from experienced folks such as yourself.

I've subscribed to your newsletter and will look forward to reading it, as well as finding out more about how to access the archives. I'm sure there will be lots of good food for thought there.

Kind regards,
Jen

Hi Jen,

I find that approaching that question at the end of the session is best, when you’re back in the control room with the client & the engineer. Prior to the session the client may have mentioned when/where the spot or piece will be running, so after the session I normally say, “Would it be possible for me to get a copy of the spot? Perhaps Ed (engineer’s name here) could just email me an Mp3?” I find that the client is usually happy to say yes and may also offer to send you a DVD or CD once the spot's finished. (Having a business card to offer with your contact information on it is important, so they know where to send it.)

However, you may not always be able to get copies of your work. For example, the industrial/narration work I do for P & G is never made available. It depends upon the company/client … but always ask.

If your client is conducting the session remotely (via phone patch or ISDN), you can ask about obtaining the spot while you’re still in the booth & communicating with them with your headphones on. It’s perfectly fine to ask, so don’t be shy.

In my opinion, thank you notes should only be used for saying thank you. (As opposed to containing other information or making a request.) I’ve written a very informative article on “thank you note etiquette” that’s in my newsletter archives. You might find that helpful as well.

As you start working, try to gather as much of your work as you can so you can slowly start splicing real jobs into the spots on your demo. And before you know it, your demo will be all real spots!

Best of luck!
Maxine

I appreciate this advice, Maxine - these are good, solid, basic things to be aware of that a newbie would not necessarily think about. I always feel that the more I can prepare beforehand when going into a new situation where I want to be at my best, the better! Thanks!

Also, thanks to Paul S. for his helpful comments below.

One question I have is, at what point would it be considered appropriate to ask for a copy of the work you have done? I assume that typically you would get a recording of the finished product (for example, a commercial spot fully produced)? Is it best to ask for this with your thank you note, directly after the session, or some other time? I'd love to hear opinions on this from those who have been there.

Great article, Maxine! It's a keeper!

How fun! I got to hear from Maxine and Paul in the same day. I've learned so much from you two. Thanks for investing in the careers of others who are trying to make a go of it in this industry.

Cheers and Doei,
Carl
Strasburg, CO

Excellent article, Maxine. Well Dunn!

May I add a few pointers?

Apart from the fact that it's professional to arrive early, you don't want to burst in all sweaty and out of breath because you've been running to the studio. Studio time is very expensive and there's no need for you to be the one holding up the entire production process.

When the receptionist tells you: "No one's there yet," it often means that the client/producer/director hasn't arrived. However, the sound engineer is usually getting ready (or bored, waiting for the crew to arrive). If it's okay, I always go in and chat with the engineer. I can't tell you how much I have learned from them.

Clients come and clients go, but I often run into the same engineers. In my experience, most of them are the nicest, most qualified people you'll ever have the pleasure of working with, and they don't always get the credit they deserve.

There's another side to that coin. Engineers make you sound good. Engineers see a lot of talent. Most engineers do other recording work on the side and - if you're any good - they can and will introduce you to the people in their network.

I've also learned that it's fine to speak up before and during a session. Intimidated beginners are often too terrified to ask questions or comment on something. Especially in foreign language productions, I have had to correct translation errors and educate producers on the right pronunciation. However, if you're running into big egos, it's even more important to do this tactfully.

I always package my comments as "suggestions" or as "something you might want to consider." Nine out of 10 times, the client is appreciative of the feedback and it has lead to return business. Sometimes they think they know better and I bite my tongue (not a good thing for a voice-over artist).

Secondly, I have learned that it's okay to ask for a retake if I am not happy with the way my mouth was behaving behind the mic. Think of it this way: out of all the people present, only you truly know what you're capable of, and you want to perform to the best of your abilities. So, if you really feel that you can do better, ask for another take.

And - just between you and me - some producers don't seem to have a clue, and their standards might not be as high as yours. They book a studio for two hours but they just want to get in and get out. Remember: at every production you're involved in, your reputation is on the line. It is in your best professional interest to make sure you nail it each and every time!

Last but not least: if you're working with other actors, be nice to them! Don't share all your horror stories or act like a Diva or Divo. They don't need to know the last thing that the great Don LaFontaine said to you in his limo. Focus on the job. Make your colleagues feel comfortable. You're all in it for the same purpose. And most of all: have fun!

Maxine,
Thank you very much foe the primer!
Paul