“Where’s The Clicky Thing?” or A Guide Doing VO Records.

Production is one of the most rewarding parts of being a creative. Bringing an idea to life can take you to places all over the world where you’ll go on shoots, stay in fancy hotels and pretend to know everything about anamorphic lenses.

For most creatives, especially copywriters, much of your production/post-production time will be spent in the humble confines of a recording studio. Words are cheaper than images, especially in advertising.

Fancy hotel. Not for recording VO.

I’ve done countless VO records in my 16-year career—for radio, case study videos, TVC, experiential and more. Along the way I’ve learned a few things, including some that you may find helpful. We’ll use radio as example.

Before you go in

Casting is key. In the casting specs, it helps to mention what you’re going for—if it’s comedy, ask for someone with a background in improv or standup, if it’s AVO, offer details on who you think personifies the brand.

When you start listening to auditions, ask yourself “Do they get it? Do they understand the script, the brand, the joke on 50 ways to spell Kaylee?”?Usually about half the people drop off here. Sorry Caleigh.

If casting’s going well, find out more about your top selects. Listen to work they’ve done for other brands, and what their professional experience is. This will give you some insight on what to expect when it’s time to record. Theater folks have a brilliant way of bringing range and inflection to their deliveries, while those with comedic backgrounds?will build on your script through subtly and timing.

And if you’re not finding what you want, don’t be shy about asking for more auditions.

Next, think about sound design. This is really about setting up a scenario and creating theater of the mind. If the script is about an $8 family meal, think about how big the family is, how old the kids are, and what kind of flooring they’re stomping across to reach a greasy cardboard bucket. Building on these audio details will create a richer overall spot.

Kaylee, Caleigh, Kailey, Kaleigh or Kailei?        

And music…this deserves a whole separate article, but here’s the gist—find something that supports the VO, like a background instrumental or “bed.” A nice melody will bring energy while a groove sets the pace.

Also, make sure to discuss this all with the sound engineer before you record, so they understand your vision from the very start.

Timing is Everything.

30 seconds is never 30 seconds. You need time at the beginning of the spot to set things up with sound design/music before getting into the read. It also helps to have a beat of no copy at the back end. Throw in any legal, and your core VO time can easily drop to 25 seconds or less.?

Sit down beforehand and time out your script on your phone. Read it aloud at least 3x at a normal speaking pace. Rushing through sections about unlimited data plans or lease deals during “Minivan Month” can make the copy sound disingenuous.?

If there’s pressure to pack in more copy, be vigilant and remind the client how finite the time you have is. Everything comes to an end—weekends, pets, VO.

Actually, Talent is Everything

When it’s time to record, go through the script with the talent and remind them what you’re going for. Your first take should be a read of the entire script. Beyond checking timing, this gives you a sense of how the read and delivery is going, specific areas to focus on, and if you need to break things up across different takes.

If you start going by line or section, note the takes you like.?

To get the delivery you want, try “Tell it to me like.” An actor friend suggested this, and it’s been a big help. Ask the talent to “Tell me that line like we’re friends catching up, like you’re my cool older cousin, like I’m a boomer who writes in cursive and still has a landline.”

When you get the read you want, capture one more for safety and then move on. As you go through, look for how the talent can build on things. Ask them to “go big” on a read and you’ll be surprised by what you get. Also, as you record, check with the sound engineer on timing to make sure you’re good.

Tell me like I'm a boomer who writes in cursive and still has a landline.        

Finally, be supportive. Standing in a small, padded booth through multiple takes can be exhausting. Offer kind words and enthusiasm, ask regularly if they need anything. If you're in person, post-production facilities usually have tons of drinks and snacks, pretend like they're yours to offer and do so generously.

The Afterparty

With the record done, it’s time to mix. This is when VO is put together with music, sound design and picture (if you’re doing video). It’s a good place to fix up any rough patches in the VO and to get rid of things like breaths. You can also add some depth to it, so the read doesn’t sound like it’s coming directly from the perfection of a recording booth.?

Mixing is when music, sound design and VO all come together.        

When the mix is in a good place, have a listen on a pair of laptop speakers. Your audience won’t be listening on a pair of $5900 audio monitors, they’ll be listening on the radio of an ’10 Toyota while struggling to get out of a strip mall parking lot. Always think about context.?

One More Thing…Lunch

If you’re recording in person, get lunch. I once had an ECD look at me with disbelief when I came back to the office around noon. The record went great but he asked “How could you not get lunch?” Besides a free meal, or me dealing with the childhood trauma of public-school lunches, there are some good reasons for having a midday meal together.

Lunch. In a bowl.

Professional VO folks and sound engineers have their hands in many things, they’re interesting. If you’re on a brand, chances are you’ll work with them more than once, so get to know them. Besides, it’s production, you’re supposed to have some fun.