Apr 18, 2023
In this episode, Anne and Gillian stress the importance of
having a high-quality home studio for voice actors. The hosts
discuss the technical aspects of setting up a studio, such as
having a good computer, fast internet, and a reliable microphone.
They also emphasize the need for soundproofing, with Anne sharing
her DIY approach to creating acoustic panels for her studio.
Additionally, the hosts talk about the importance of isolation and
how it can be achieved through building panels or using reflection
filters. Overall, the episode provides valuable insights for anyone
looking to set up a professional-grade voiceover studio.
Transcript
It’s time to take your business to the next level, the BOSS level!
These are the premiere Business Owner Strategies and Successes
being utilized by the industry’s top talent today. Rock your
business like a BOSS, a VO BOSS! Now let’s welcome your host, Anne
Ganguzza.
Anne: Hey everyone, welcome to the VO BOSS podcast. I'm your host
Anne Ganguzza, and I'm excited to welcome back to the show audio
engineer, musician and creative freelancer Gillian Pelkonen for
another episode in our BOSS audio series. Hey
Gillian.
Gillian: Hello Anne. How's it going today?
Anne: I'm doing good. Gillian, I love talking all things audio with
you, especially because for a voice actor, our home studios are so
very important. And I work mostly out of my home studio, and I know
that you kind of do both. You work out of professional studios and
your home studio. So I thought we should discuss the important
aspects of what voice actors really need and how they can fine-tune
their home studio to sound their best,
'cause
that's an important component of today's voice actor. We need to
have great sound.
Gillian: Yeah, I definitely agree. And I'm home. This is like my
working station, but when I'm really working I'm always just
bopping around to different studios. So I understand why your booth
is so important. It's like your second home or
--
Anne: Yeah.
(laughs).
Gillian: You know, you spend all your time in there.
Anne: We spend — oh yeah, we spend a lot of time in our booth. So
first of all we have to be confident that it sounds amazing, that
we can deliver amazing sound to our clients. And then also it's
gotta be someplace where it's comforting for us because we do spend
an awful lot of time in here.
Gillian: I definitely agree with my personal setup that I have
here. I have like all my little mementos that I wanna see, and I
have my mic of course for just meetings and talking. But really
professional studios are so different than a home studio, because
for me I'm always going different places. There's a ton of
different gear, a ton of different stuff that we swap in and out
for different uses, different clients, but really you guys are just
focusing on your voice.
Anne: Yeah.
Gillian: A lot of the work that I do is just to get creative
sounds, different sounds, but with voice acting you want it to be
consistent and you wanna show up in the booth to do, I guess,
revisions for something that you did six months ago and you need to
be the same Anne that you were, which is so crazy to
me.
Anne: Yeah. And even longer than that, actually I had a client just
the other day that I had to provide pickups on something that I had
done close to five years ago. And interestingly enough, I've
actually transitioned from one studio to the next. So having I
think the good bass sound, right, that you can get out of your
studio area and also your mics make a big difference too in terms
of the sound. And so I had to make sure that I could match it
because I literally moved from my studio in Irvine, which was a
different setup, a studio that my father built, to a custom studio
that Tim Tippetts built here right before the pandemic. Oh, and in
between I had a temporary studio, I forgot to mention that set up
at an apartment that we were staying at until our new house was
built and ready. So that was a different studio.
So all through those three different studios, thankfully I had the
same mic, so I at least knew that I could get the same sound as
long as I had a decent environment to record that in. And then also
I will give props to myself because I had the audio files from five
years ago. So I'm a big proponent of backing up your stuff and
keeping an archive of it so you can listen and see what your
performance was like, see what you sounded like and then be able to
match it.
Gillian: Yeah, that's crazy. And so incredible that you have those
files and I think that's one of the most important things for me
personally too, just to keep everything backed up and know what's
going on. But enlighten me, because I really don't know, like did
you spend a lot of time working in studios before the pandemic?
Like what was your experience like?
Anne: Oh, good question. So I started, gosh, I started back in the
early 2000s doing voiceover, and that was when a home studio was
like just a thought. It was not a requirement, it was just a
thought. And you used to go to local studios to record things, and
you would get your jobs based upon auditioning with either studios,
or you could audition and then you would select a studio and you
would rent space there, or you might be on a roster for a studio.
So it's very interesting because as technology evolved and online
became a thing and online casting became a thing, then all of a
sudden home studios became a thing. Actually back in the day with
Don LaFontaine, right, having to travel LA traffic all the time, he
became, I think one of the first proponents of doing things
remotely in a studio using ISDN technology.
So that I think really spurred everybody else on to start to get
home studios because there's so many variables when you record in a
studio. But the good thing about recording in a studio is that you
go there and everything is beautiful, everything is sound
--
everything is, well maybe not sound proof, but everything is
optimized for recording so you didn't have to worry about it. And
so for me, all of a sudden having to create a home studio or a
space for me to record and sound good
--
I'm not an audio engineer by trade, I didn't really study it in
school. So for me that was a big hurdle in the beginning of my
voiceover career. And I know it still is for voice talent that are
coming up through the ranks, because that's not necessarily what we
studied. We didn't study audio engineering. And of course it's a
whole field.
So
(laughs),
it's not an easy field. And to set up a space in your home so that
it can sound as good as a professional studio is really tough. So
in the beginning when I went to studios to record and do my jobs,
it was great, except for there was always the stress. Can I book
the time in the studio? And if I had the time booked for me in the
studio, that was great. All I had to do was make sure I got there
on time. And then that became a stressful thing for me because of
possible traffic. And back in the day, I didn't live in the LA
area, but I did live in the New York area. And so traffic anywhere,
just the stress of getting to the studio on time,
'cause
that's the last thing. You know, that was the one piece of advice
that everybody gave to starting voice talent was that don't be
late, don't be late to your studio time. You wanna make sure that
you show up and you're professional.
But you certainly didn't have to stress about anything other than
just performing in front of the mic. And I think that was a big
plus for going into studios. And people still go into studios
today. And I know I love it when, even if I'm remotely connecting
to a studio, I have the engineer taking care of all the sounds and
levels and the files, and there's just so much to think about when
you are at your home studio. And I'm rambling on here, but it's
also a thing that when we are in our home studios, we have to think
about things like, okay, well, it's our time to open those files,
save the files, upload the files, send the files to our client,
edit those files. And so that's something that when you don't go to
a studio is now the responsibility of the voice
actor.
Gillian: Well, that's crazy
(laughs).
I mean obviously a lot of these things I know to some extent and it
seems like there's so many pros and cons for both. I mean, just
hearing you talk about it, obviously we know showing up to record
and not having to record yourself, it takes a burden off of
it.
Anne: Yeah.
Gillian: Because I record myself. I mean, I'm not a voice actor by
any means, not at all. But I've been working on my music for my
whole life, and I think when I was like 12 or 13 I got a little
ProTools CD and like a tiny interface and that was what started it
and the convenience of being at home. But really it is such a treat
to go into a studio.
Anne: It's a luxury. I think I consider it a
luxury.
Gillian: But also hearing you talk about it, I feel
performance-wise, it's gotta be easier to deliver when you're not
stressed about getting there on time, you're not stressed about,
you know, needing to be in front of other people. I know for
myself, I love recording myself, especially when I'm doing singing
or vocals because it's super vulnerable and sometimes I don't wanna
have to do that in front of somebody else, especially someone I
don't know, a stranger. Like, it's a little bit more difficult. But
it is interesting because I work at a lot of music studios, so we
don't do a ton of voiceover, but whenever we do, we always
apologize to the voice talent,
'cause
we have this entire gigantic beautiful studio, and we're like,
okay, we're gonna give you one mic, we're gonna stick you in the
corner
'cause
it has the best isolation and close the door, and that's where
you're gonna get to go.
'Cause it really is true. You need a good mic, you need a good
setup. But voice actors don't need that whole setup. And so I guess
the question or conversation is gonna be about how do you take the
pros of a pro studio and incorporate them into your home studio
setup and make it so that you don't wish you were at the studio.
You have everything you need right there.
Anne: Yeah, yeah. It's a journey, for sure, for a voice actor,
because again, I don't have the audio engineering education that
you do. I know how to perform behind the mic. And so I just
remember for me setting up my initial home studios
--and
I didn't have an ear either for it. I think when you first begin,
you just don't have an ear for what good sound sounds like, and I
would record and I didn't think anything of it and sent my file off
to someone and they're like, mm, yeah, no Anne, that's not gonna
do, that's not acceptable. And I was mortified and then it was
like, wow. So what do I have to do to make my studio produce sound
that is viable for my client?
Gillian: Yes, definitely an interesting conversation and thought
just because it's true, like voice actors, they do have to fill the
role of the audio engineer. I do believe that. But I also don't
think that all voice actors need to be audio
engineers.
Anne: Yes. Yeah. Yeah. I agree.
Gillian: You need to know how to record yourself. You need to know
how to see if you're clipping, if you're too quiet to hear, a
little bit of distortion or hear if your voice just isn't sounding
right. And obviously, you know, with auditions you have to edit,
you have to make it sound comparable to the other auditions and
maybe a final product. But really I feel like if you tell someone
who's not an audio engineer, or if you told me five years ago
before I was really an audio engineer, you have to do this, it's so
overwhelming. So I feel like talking about what people actually
need to know, versus what you hire a professional for, or what you
just kind of say, okay, this is a setting within my DAW that does
not pertain to me. I don't need to be using this to get proper file
delivery
--
I feel like that's really important for people to just, I think
make peace with. Because if you spent all your time trying to learn
how to be an audio engineer, you would have no time to be a voice
talent or to be doing what you actually wanna be
doing.
Anne: So true, so true. So then I think maybe starting from square
one, if BOSSes out there are just getting started, and I know I
work with people who are just getting started in the industry, and
they'll connect to me for their sessions in an office with a
headset, and there will be no studio whatsoever, and they will be
okay, I'm building my studio. So for me, I will always say to them,
well, I certainly have a ton of people that I can recommend to you
that can help you build that studio.
But there are certain principles that I know, like I can now hear
if they have good sound or not. And I think the first thing to
consider is, in your home, like where is a quiet area? And I know
that's such a lofty question to ask, but in reality what I've
learned is that if you can go somewhere inside your home that's
maybe on an inside wall, maybe something that's not necessarily
externally connected or near windows or near doorways or near
sounds that can turn on — I mean I thought I was really great in
the beginning going into my office closet, but unfortunately I
found that it was very close to where I would hear water when the
toilet flushed upstairs. So it was like one of those things I kept
hearing noises. And so I think the first thing is to find that spot
in your home that is quiet and also yet convenient to a place where
you can put a microphone and also your computer,
'cause
you do need your interface, your computer and your
microphone.
So where can you put that and set that down so that you can record
in a space and also have the functionality of being able to record
into your computer, and then obviously hit the start record, stop,
record, and all that stuff. And also wear a pair of headphones in
the beginning so that you can kind of find out what your sound is
like. All those things that people don't think about, they're like,
well, I'm gonna put my studio here in my closet, but then all of a
sudden their desk is like at the other side of the room, and they
don't have a long enough cable.
It could be that simple, right?
(laughs)
They don't have a long enough cable for their headphones, and then
they're like, well what do I do? Or they don't have a long enough
cable for their interface is sitting on desk completely across the
room, and then well do they bring the interface into the room? So
it becomes all these different questions. But I think understanding
that your spot in your home I think needs to be in a quiet area
first. Maybe not near a window or not near anything that's within a
wall that could be making noise like a heater or air conditioning
or a generator, that kind of thing. What are your thoughts on that,
Gillian?
Gillian: It's so funny
'cause
the like doing vocals in a closet or whatever, it's a cliche
because it works. Having the padding of the clothing and typically
that ends up being a quiet spot in your house, but it's not
sustainable to work in your closet forever. And all those things
that you mentioned are totally important. You have to have a
computer, all of those things. And don't take me for an example if
anyone's watching the video; I'm in my office. I don't do recording
in here, but I'm like by a window by a ton of noise. It's terrible.
But I think finding the right spot to get set up in is totally
important.
But the most important thing I think, and you can let me know what
you think, but for the most part for doing voiceover work,
obviously you need a microphone, but your computer, your internet
connection, those are like hugely important things because how fast
your computer is, how good it is at processing audio speeds, how
well it connects to your interface — like all of those super
technical things within — I know I have like a brand new MacBook —
those are gonna really matter for how your audio sounds when you
deliver it to clients. And you can have the nicest setup in the
world, but if you don't have internet, or I know a lot of people
also do like ethernet connections, you're not gonna make it to the
job. Obviously if you're just auditioning and sending it later,
that's a different scenario. But I mean, how important is it to you
to obviously be able to connect to clients? That's like the number
one.
Anne: Well, I think that's probably one of the most overlooked
aspects of being a successful voice actor is your internet. And
especially now with needing to have high capacity audio recording
features like Source Connect or ipDTL or whatever connection you
might be using to get to a studio — that's if you're connecting to
a studio
--
you need to have a reliable internet connection. And I remember I
very much was adamant when I came to my new place here, because it
was being built, I specified that there were three specific
ethernet jacks placed on the wall, on each wall. So literally I
made sure that I had ethernet hardwired, connected before I moved
in because I knew it was gonna be easiest to do it
then.
Because the people who move into homes, and they don't have
ethernet connections, then they usually have to hire an electrician
or somebody that can find out that they can run the wire through
the wall to get to their modem or their router, or they have to
move the router into their office and then other things become a
problem. So ethernet and your hardwire connections are so
important. And I don't see the technologies advancing anytime soon.
Like wireless technology is great and convenient, but it's still
not as great as a straight wired connection. I mean you cannot beat
an ethernet connection or a fiber connection to your router that
gets your data there fast.
Gillian: I think it's just sturdiness. It's true, wifi goes out or
it's finicky sometimes. So those are are really important things.
And obviously having the foresight to know that you need to have
ethernet and all those things installed is really important. But
for the people that didn't think about this, are already living
somewhere, don't know what to do, find a spot where you feel
comfortable, find a spot that's kind of away from extraneous noise.
And I personally don't think, if you're just starting out in
voiceover, you need to splurge on a booth or anything right away. I
think there's a ton of DIY options that we can talk about, but I
think that's also a lot of pressure, or at least from what I'm
hearing. I'm also like half in the voiceover world, half out of it.
So there's a lot of questions that I'm probably gonna have for you
about like why people say certain things. And I know kind of random
but kind of on the conversation is a lot of audio people that I
know are very adamant about not updating your computer or having
really, really old hardware. I understand the processes
--
Anne: To support the equipment, right?
Gillian:
--
behind it. Yeah. But I personally don't live that way. I update my
computer. I have new stuff and there are times, like when I, I
updated to a newer version of ProTools or a new version of Mac,
like the Mac OS that was not supportive of ProTools, and I had a
couple weeks where it was having a little bit of bugs, which is
frustrating. But definitely for security of myself and all of the
other things going on in my life, I don't think that you need to be
using a 2010 computer.
Anne: Well, I agree. Normally I would agree with you
'cause
I worked in technology for like 20 years. I would always say
--
Gillian: No, no, tell me.
Anne: Update. Update.
Gillian: I'm not saying that right. This is just the way that I
work.
(laughs)
Anne: Update, and I love being updated to the latest and the
greatest
'cause
I figure it's getting rid of a lot of bugs. However, sometimes when
Apple doesn't update, because I work with Apples, it's not
conducive to working with my hardware for my studio. So my Apollo,
which is my interface, and I have backup interfaces, but right now
the latest release of Mac OS is not compatible with it. And I can't
afford to struggle for two weeks. I need to have something that
allows me to connect and record. And so I will wait on the update
until I find out
--
I usually check all the
--
there's a lot of great groups out there on the internet that talk
about should you update your hardware for this new release? Is it
compatible with the latest release for the Apollo? And I think it's
wise to keep your eyes on that.
I don't think you should be 10 releases behind for sure. But
(laughs),
I do think that before you upgrade, to just take a look and ask
around to see if things are compatible. That's important,
especially if you're required to record every day in your studio,
and you don't wanna have to go to your backup recording. And that's
the other thing too is that I'm very much into having a backup
recording setup, because I've had things happen to me enough times.
But people just starting off getting into voice acting, they
probably don't even have their first setup
(laughs)
set up, let alone a backup set of equipment.
Gillian: So let me just talk to you on that for a second. I
personally don't have any Apollo, Apollo or UAD stuff for that
reason because I'm so nervous to be stuck without it. And I totally
agree with you, because when I updated my computer without
realizing that ProTools
--
I mean I'm fortunate enough that I have five or six other places
that I can go use ProTools. It wasn't like
--
and it was working. It just, there were certain plug-ins that
weren't working. But that's not the end of the
world.
Anne: Right.
Gillian: But the lesson that I learned from that was, oh my gosh,
never update without checking because it's true all the programs
that you're using
--
and I think within Apple they will say what is compatible and
what's not compatible with these new releases, and that is totally
smart person way to do it. And you get burned to realize that you
can't do it, which is what happened to me and I'm sure has happened
to you.
Anne: You only have to get burned once. Right?
Gillian: You get burned once and then you're like, this sucks. I'm
so dumb, I have my features and now I can't do my
job.
Anne: Yeah.
Gillian: Which is sucky.
Anne: Exactly.
Gillian: So learn from our mistakes, don't make your own. But there
are some people, and I've met them, people that I work with
too
--
I mean one of these studios, we had a 10 years old ProTools rig,
and when you get into the large professional studios, they are
upwards of like $10-, $20-, $30,000 for new ProTools rig like
expensive.
Anne: Oh yeah. And I'm sure that's why they don't upgrade to the
latest and greatest all the time.
Gillian: Well, the old system was super sturdy, was working really
well. And then we upgraded and there were some glitches and bugs
and things that come with updating. I don't know why. I just heard
people that I work with grumbling like, ah, you know, the old
system was so great, now we have the new system and it keeps
crashing. And so the, there is this conversation about not
upgrading for like 10 years. I don't know if you've heard that
within audio engineers.
Anne: That's a long time. Yeah.
Gillian: So if anyone is giving you that advice, I'm just gonna
give you the counter-advice so that you can take both of them and
make an educated choice about what you wanna be doing. You don't
need to be doing what I'm doing and have the newest stuff. If you
have an Apollo, you definitely can't always have the most updated,
because it's a little bit behind and everything that's not within
Apple will always be a little bit behind. But just make your own
choices, people.
(laughs)
Listen to us, gather the info and make a good
choice.
Anne: Yeah. Make an educated choice. And I, and I agree like
there's always that fine line of when do you update your
technology, like when does that happen? And I'm very used to just
from my previous jobs
--
I mean I was always living on the edge. I was always trying the new
stuff. And so I'm very bold when it comes to trying new stuff. But
I'm also smart enough, I've been burned enough times to know that I
need backups of everything and then backups of the backups. And so
I'm actually really thankful for that experience. And BOSSes out
there, I say backups of backups, backups of your files, backups of
your equipment, backups of your internet connection, because the
one time will come when you really need it, and you won't have that
backup. And that only has to happen once. I'm so old, it's happened
to me multiple times.
So I feel good that I've learned from it. And so while I feel as
though I'm really close to the edge on everything I possibly can
be, I'm also smart about when to get on that edge with equipment
and stuff that I need on a day-to-day basis. So yeah, absolutely.
So when you're looking for that space in your home, that quiet
space, that space that's comfortable for you and also hopefully
quiet for you, right, for that home studio, then you start
preparing it, right, acoustically. So Gillian, what can people do
to prepare their home studios acoustically? What sorts of things
can they do to have sound absorption? Like if they're in a closet,
obviously they can have their clothing which is a great absorber of
sound. What other things can they use?
Gillian: There are a ton of things that you can use. I know there's
a few DIY boots in the sense that they're not thousands and
thousands of dollars. They're like some PVC pipe and some packing
blankets that will kind of isolate you, which is
great.
Anne: Sure.
Gillian: I think the issue with the way that homes are built versus
how sound works is you get the windows, you get all the boxy walls,
and you have all these parallel surfaces, and you talk, and all the
sound just bounces from side to side to side. So the whole point of
having treatment on the walls and treatment around you is to stop
all of that reverberation
--
Anne: Reflection.
Gillian: Yeah. And the reflections. And just capture it. And really
a lot of studios will be built with like diagonal walls and all of
these things to just go against it. I have never built a studio, so
I can't say that I've done it, but I've been in a lot of places
where I'm like, that wall's really weird. Why is it like
that?
Anne: Yeah.
Gillian: And of course it's not for aesthetic, it's for sound. So
just making, making sure that you are blocking yourself from any
windows are really reflective, just any sort of padding on the
walls would be really
--
I mean I see yours, all of your stuff in the background. For anyone
who's watching, Anne has all those nice little
--
Anne: Panels.
Gillian: Yeah. The sound panels that just absorb everything. And
there's also these things that we use in studios that I haven't
seen any voice actors use, so I'm gonna have to ask you about it.
They're like reflection filters. Have you ever heard of
them?
Anne: Does that go on a mic?
Gillian: It goes on a mic stand.
Anne: Yes, I have. I have.
Gillian: Have you seen I them?
Anne: Yeah, I have seen them and I have not had good success with
them, and I actually hate them. I hate them with a
passion.
Gillian: Okay, tell me about it because I'm just
curious.
Anne: I think that they can work nicely in a studio that already
has some acoustic absorption built into it. And then if it's in a
large area, if it's in a large space and you need a little bit
more, I think that they can work nicely. However, what most voice
actors try to do is use it for their studio and then it just
becomes the only thing that is used, and it becomes very close to
the mic. And first of all, they're really bulky on the stands. I
had something called a reflection filter and I paid a good amount
of money for it. And like 300 some odd dollars and that was 10
years ago.
Gillian: Wow.
Anne: And it was very bulky. It weighted my microphone stand in a
way that kept falling over. And then also it did not create the
kind of sound absorption that I liked because it wasn't enough. It
just wasn't enough. And then it became inhibitive in a way because
I felt like I had something like right here in front of my face. It
was very close, and I feel like it just didn't do a good enough
job
'cause
I think your absorption material needs to be
thick.
Gillian: Yeah.
Anne: And so when they make the reflection filters, it's either
thick or even if it's not thick, then it's not enough absorption, I
don't believe. One thing that I learned through the years of going
through, I'm gonna say, three or four different versions of a home
studio is
--
and by the way, the window, believe it or not, my studio right now
is built in an office. It's a room within a room and right in in
front of me.
Gillian: Great.
Anne: A room in a room is great.
Gillian: Yeah.
Anne: Right in front of me is a wall that had a side window on it.
And we actually, before we built the studio, we frosted the window
so it wouldn't look silly because we had a studio in front of it,
and people would just look at a piece of plywood or
(laughs),
you know, so it wasn't attractive. So we frosted the window and
then we actually put Rockwool insulation and then a drywall on the
out. So we created a whole encasement for the
window.
Gillian: Wow.
Anne: So that that blocked any potential sound that could
potentially get in. And then we put the studio right up against it.
And so that's how we blocked our window. So we made sure there was
absolutely no way that sound could get in from the outside on these
walls. So it's a room within a room. And so my acoustic panels are
four inches thick. And they have Rockwool insulation and that's
something you can get at Home Depot. It's awesome. It's really cost
effective. It's not expensive. And these were all DIY panels that
were made. And I'm gonna give a big shout out to Tim Tippetts. He's
got a great YouTube video on how to make them. They're all four
inches thick and they sit just slightly off the
wall.
Gillian: Yeah.
Anne: So that way you have a little bit of spacing in between the
panels and the wall for the sound to kind of just
--
if it bounces on that wall, it'll come back in through the panel,
which is four inches thick. So that you get I think the highest
amount of sound absorption that you can using the panels. And if
they aren't using the panels and they're using blankets, again,
those blankets are giving you a certain level of absorption. Not
quite as much I think as the four inch thick panels with Rockwool
in there, but again, it's your choice. And I hang them everywhere.
I have a ton of them in here. I also have clouds that are up above
me with the same kind of thing. And then outside of my studio,
because I want the outside of my studio to be quiet as well, I also
have panels hung out there as well.
Gillian: See, that is just like an impressive setup, and thank you,
Tim Tippetts. I know he was the previous BOSS audio guest, and
that's awesome that he did all of those things for your studio. And
that's just what I would say the difference between a Pro VO setup
and a beginner VO setup. You gotta start somewhere, and I think
that isolation is really important. And obviously, any advice we
give, and this will be what I keep saying on the series, is just
take what we say and apply it to your situation. Because unless
we're working one-on-one, like either Anne or I working with you,
there's no way to know exactly what your situation
is.
But when you're starting out, I think that — I mean even if a few
people built those things that Tim has a video on it and built
those panels and just had them in your home office, behind you,
around you, it'll help. You don't need to start with a room within
a room, even though that's an amazing setup and it sounds great.
And all studios are built with rooms within rooms and floating
floors so that there's no sound coming from the outside world. But
yeah, I think we got a really good foundation of home studio verse
pro studio, how to get your space set up. And I think on the next
episode, we should really dive in for the BOSSes on like what you
need for a beginner home studio setup. What do you
think?
Anne: Absolutely. So guys, when you are thinking about getting into
voice acting, you must also think about where in your home is a
good place for that studio, because you can have an amazing voice,
but if you can't deliver the audio, a good quality audio to your
client, you're not gonna be a very successful voice actor. So
absolutely very important. But one thing I will say to give you all
hope, in case you're overwhelmed at this point, is that once you
get a home studio setup, like I have a home studio setup, you're
pretty much good to go. I mean, your stress is over. You don't have
to worry about it much after that, outside of your equipment
failing, but your space, if your space is set up, it's set up,
right?
Gillian: The investment is forever.
Anne: Right? Yeah. Foregoing any kind of natural disaster, right,
or emergency, it stands and it will absorb your sound
appropriately, and you won't have to worry about it again. So
that's what I love
(laughs).
Gillian: Yeah. And I love, Anne, all you shared with me because
obviously I work in all these big studios, but I can't say that
I've been given a tour of anyone's booth yet
(laughs).
So you know, hearing how you set it up and all of those things, I
think it'd be great for BOSSes to know, and you taught me a little
bit today too.
Anne: Awesome. Well, Gillian, thank you so much. I'm looking
forward to our next episode. BOSSes, simple mission, big impact,
100 voices, one hour, $10,000 four times a year. BOSSes, visit
100Voiceswhocare.org to join in. All right. Also, a big shout-out
to our sponsor, ipDTL. You too can connect and network like BOSSes,
like Gillian and I; find out more at ipdtl.com. Thanks so much,
guys. We'll see you next week. Bye.
Gillian: Bye.
Join us next week for another edition of VO BOSS with your host
Anne Ganguzza. And take your business to the next level. Sign up
for our mailing list at voBOSS.com and receive exclusive content,
industry revolutionizing tips and strategies, and new ways to rock
your business like a BOSS. Redistribution with permission. Coast to
coast connectivity via ipDTL.