VO-BB - 19 YEARS OLD!

[MattDownsVO]

Hello folks -

I'm new to the board and relatively new to the VO world (a little over a year). I just got my commercial demo back from the producer and I'd like an honest industry opinion. I've done one set of demos before this, and decided not to market the first set because I realized they weren't where they needed to be to present as my first impression. I've done coaching with a relatively well-known VO coach, along with some local workshops. I have booked some work based on auditions, but I'm hoping this is the demo that I can really start actively marketing to studios, clients, etc. Please fire away!

https://soundcloud.com/mattdownsvo/commercial-demo

Thanks for the constructive feedback,

Matt

[Fran McClellan]

Hi Matt...and welcome!!

I think it sounds great overall, but I think the first spot could be moved somewhere else (sounds longer, cuts off in a weird spot). Just my 2 cents, but the rest of the demo flows a lot better after that one.
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[Bob Bergen]

Ya know, Matt, it's not bad. But it didn't curl my toes, either. I've listened a few times and I'm trying to figure out what isn't working for me. I do like your voice. The production feels library. There's a sameness throughout that reeks demo. Same music library, same mic, same mic placement, etc. If you listen to a demo from a working vo actor, the spots are not only real, they are produced in different studios. Different sized studios, different mics, different directors, and quite frankly the actor is in different moods. When spliced together into a demo this variety in production gives the audio illusion of the actor's versatility. Now, even a demo made from scratch needs to have the same production variety as a demo consisting of real spots. This is the demo producer's job. It's going the extra mile, which most demo producers do not do. Check out the "men - commercial" demos from this LA producer:
http://www.demosthatrock.com/portfolio.html

As for your delivery, I'd really like to hear you connect with the copy more in personality. I hear you trying to add variety. But at times the reads just don't feel organic. Love to hear more spontaneity and conversational reads. Again, it's not at all what I'd call bad reads. But it's just missing.

Does this help?
B

[yarg28]

Hi Matt,
I'm very new, probably about the same place as you regarding experience. I tried to listen to this as a customer instead of a "talent". I listened to it maybe 6 times before I read any of the comments. I believe Bob hit the nail on the head; "sameness".

In my newbie opinion, it is not a bad demo for somebody that is just starting out. I think the reads are good but the connection is a bit thin. I struggle with this greatly as a newbie so I can empathize.

The microphone literally sounds identical throughout. Also, the first spot and the last spot, in my opinion have a really similar feel because of the backing guitar.

You've got legs though. Good solid reads are far ahead of where many people (including myself about half the time) are and the demo sounds as good or better than many that I've heard that are getting work.

Gary

p.s. Bob, thanks for the link and your insight on sameness, what to watch for, and how to avoid it. It made me listen to and consequently obsess about, my demo! Great wisdom though.

[MattDownsVO]

Thanks for the well thought out responses!

Fran - I totally agree. The demo was 1:11, so I was actually thinking about dropping the first spot completely to get down under 0:60 and starting with what I feel is a stronger and more marketable "conversational" spot.

Bob - That definitely does help, thanks! It confirms my thought that I should do more improv classes to get "inside" the script more. Quick question: if I only have the budget for one right now, do you think I'd benefit more from a top VO coach like Nancy Wolfson or Marc Cashman, or just improv/acting classes? As far as sameness, that was a definite concern going into it, and it shows me the difference between the $500 and $1500-2000 VO demos. I'll keep working and saving my money!

Gary - Thanks for taking the time to really dig in and critique. I'm still not great at spotting the "sameness," but I listened to it a lot and it almost sounds like there were 2 EQ presets or effects stacks that were alternated through the demo. I do appreciate the kind words, too. Those confidence boosts are valuable when starting out!

[Lance Blair]

Drop the first spot, and the twilight zone.

Your voice has such nice resonance, that it works better when your pitch is up and excited.

On #2, it's great up until the 'unpleasant experience' it doesn't transition enough and just makes one think about bad things rather than your dynamic range.

Otherwise, I'm liking a lot of this!
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[Philip Banks]

I'll tell what it is, it's 1980's.

Read this in your VO voice, up beat and smiley.

Swallow one of these every day for a different kind of feel to your day, the all new Volvo C90 SUV.

Bob said it best, connect with the copy. Most people know the tune to the commercial VO song but it's 1980's. Your demo needs to be YOU first and needs to show how you fit in 2014.

You'll get it, you're a natural. Learn to feel and to listen.

Bon chance.

[MattDownsVO]

Thanks for the additional comments Philip and Lance! The honest critique from everyone has really helped me start thinking about my next steps to really improve on my craft. I'm going to work with my budget to try to afford a top coach and get rolling with an improv class as well.

Thanks again, y'all.

-Matt

[Bob Bergen]

1980s! Brilliant, Philip! That's the sound I'm hearing!!!

Matt, the answer to your budget/where to spend it question is, in my humble opinion, acting and improv. You want to become the best actor you can possibly be and THEN study vo. This is probably one of the most common mistake people make. This is all about acting. It's relatively cheap to pursue vo these days, and because of the availability of audition opportunities online, more than ever people are diving in prematurely just because they can. Then they wonder why they aren't getting the results they'd hoped for.

I see so many out there buying a $100 mic, use their free or cheap recording program, have that plain wrap website and sub par demo, just spinning their wheels. No study, no proper preparation, etc. But they are still trying to pursue prematurely without being ready.

It's like competing in a body building competition without ever going to the gym.

You want to stand out in front the herd, not be amongst them. You stand out by being willing to do more and work harder than anyone else. You study and prepare more than anyone else. You market more than anyone else. Yup, it's expensive and takes a lot of time and strategy. So what??!! Everything worth having is. This is a business, not a hobby. 99% don't work or have the career they want. Two reasons for this: 1) 99% aren't brilliant. 2) 99% are not willing to go the extra mile to do more than everyone else. This is true in every business, not just show business.

Just to give you some perspective, I studied for 2 years at an acting conservatory, 3 years of improv at The Groundlings, and 4 years studying with every vo instructor LA had to offer. THEN, I made the demo. But during all this time I networked and rubbed elbows with the best of the best. So I not only prepared as an actor, I had a network to market my goods to when I was ready. I was able to secure a top agent out of the gate. Now, it took me another 5 more years before I was able to quite the day job(s) and work as a full time actor. But I was more than ready when I put myself out there. I knew exactly what I wanted out of my career and was focused and driven. I never wavered, I never settled.

I'm not saying anyone needs to mirror my journey and investment. But if you want this, you really cannot pick and choose the most economical route. Don't go cheap with the demo. Go with the best demo producer, one who has made demos for today's working actors. One whose clients got representation from the demo. Study with a variety of coaches. I'm in the business for over 30 years. I teach animation vo. And I still study with coaches. Every once in a while I'll dive back into an acting class. You need to keep the engine in check.

It's not about the voice. Every face has a voice. It's about the acting, and the personality behind the voice. No one needs another voice. They need a brilliant talent. Surf Voicebank.
http://www.voicebank.net/app/promoList.do?CLR=-1
There you can listen to the demos of every represented actor in the business. It's a good education. You can research what they don't need, which is what they already represent. You can fine tune your research and just check out the agents in your market to see what they expect from talent. If your goal is to move or market in LA/NYC/CHI, you can do the same with those agents, research what you need to take take your demo up a notch to reflect what they demand.

But the most important thing to know is, you need to be ready. You need to be brilliant. And, you will get one shot per listener. Rarely if ever do we get second chances. You get about 4 seconds to wow em with your demo. If the wow factor isn't there, well, you got a shot. Onward!

The internet is a wonderful tool. You are able to do things online that I could never do when I was starting out. If I wanted to listen to agent's demos, I'd call them and pretend I was a producer so they could mail me their talent's demos. (yes, I did this!!) It was the only way I could learn what was expected of me and my talents. Today, just surf Voicebank. I used to spend 6-10 grand a year in mailings of demos. Today, it's all done electronically, costing me nada but time.

But here is where the internet can damage. In my day the only ones who heard my demo where those I mailed them to. So if I made a lousy demo and realized it after sending it out to 50 buyers, well, all I've done was blown it with 50 buyers. Today, people post online. Good or bad, that's where we market. If the demo isn't up to par, it's there for the entire world to scrutinize. Even if it's taken down, it might have been heard by 1000s or even kept in a "reject" file for future reference. Agents rely on that reject file so when they get submissions they can refer to that reject rile to see if they've already listened to this actor's demo. And even if the demo is new, and the actor improved, well, time is money. Again, you get one shot! Make it count!!!

And even if you do everything right, there may still be a bump in the road. I have a dear friend, a superb actress, who just spent $1500 on a crappy demo. She went with the cheapest of the producers she'd met with. She didn't love his work as much as the others, but it took her so long to save up for this demo she JUST wanted to get it done. I am always honest if someone asks me my opinion of their work. So when I gave her my assessment of her demo, the tears began flowing. She asked me if I thought the demo could be salvaged. I told her that no one wants a salvaged demo. They want a brilliant demo. I gave her a hug and I told her to get over it. Onward! My advice was to play the demo for her agent. If they loved it, there you have it! My opinion is just that, my opinion. But if the agent doesn't love it, well, I told her to talk to the producer and let him know that both her agent and a top animation coach did not like the demo and to see if he could either start from scratch or refund all or some of her money. The demo producer's reputation is on the line as well. So if he's smart, he'll make the actress happy. One of the reasons I like Chuck's demos is, he will not do a demo for anyone he doesn't think is ready. And, he works with you until you are happy.

Aaaaand, now I need to get more coffee!! B

[MattDownsVO]

Bob, if you were in Nashville right now, I'd bring you a 5 pound bag of coffee. Thanks for the generous response. I'm going to print it out to read any time I get tempted to make another demo before I'm ready! Message absolutely received.

[Scott Pollak]

Matt, I'm close enough to Nashville that I'll pick up that 5 lb. Bag of coffee and make SURE Bob gets it. I promise. No, really I will. No, really. Really. No.
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Scott R. Pollak
Clients include Pandora, NPR Atlanta, Wells Fargo, Cisco, Humana, Publix, UPS, AT&T, HP, Xerox and more.

www.voicebyscott.com

[Philip Banks]

Acting. Watch and listen carefully to both clips in the order they have been posted.

Great script?
Awesome pipes?
Best mic and preamp combo?
Example of the most expensive coaching?

https://www.youtube.com/watch?v=1Cwyq3XWeHE

https://www.youtube.com/watch?v=MlQ9KLrC4Us

[Fran McClellan]

_________________
Back into the murky lurk from whence I came
--
"Life is what happens to you while you're busy making other plans." - John Lennon

[captain54]

The "sameness" that I'm hearing is coming from the fact that I think you're stuck in a meter and rhythm, that probably sounds great to you in your head as you're doing it, but comes across stiff and unnatural. It's as if every sentence has the same pause within it at the same spot.

The reason I believe this is happening is because you are not speaking to someone, for a specific reason, and it's coming across as if there is no "life" in the copy. It sounds professional and crisp, "announcery", but that's not enough. If I were there sitting next to you I would like to hear you read the spots in your natural voice, because I'll bet you have a really cool natural voice.

Even the Twilight Zone spot might work if you approached it more from the actor perspective, which is, speaking with an organic human purpose

You're good.. You're okay. But you need to stand out because the competition is crazy, and you won't stand out if you're only using a small portion of your talent
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