Tag Archives: audiobook narration

ACX Studio Gear Series Part 3: Headphones

Posted on October 1, 2013 by | 60 comments

Welcome to the third part of our popular Studio Gear series. Part 1 focused on microphones and preamps, and part 2 laid out many popular options for the recording and editing software known as DAWs. Today, we’ll discuss the finer points of headphones, and the importance of a sold pair (or pairs!) to the finished sound of your ACX audiobook productions.

Headphones, Not Speakers

It is imperative that you use headphones when editing and mastering your audiobooks. Your studio may have excellent speakers, but you’ll need a decent set of headphones to pick up on the small noises and and finer points of your production that may need editing.

Before we get into the specifics, we’ll offer the technical definition of headphones courtesy of Sweetwater:

A headphone is an electromagnetic transducer designed to be worn on the human head for the purpose of audio listening/monitoring, and as distinct from an earphone, or system worn in the ear. They are usually based on the principle of electromagnetic induction used to convert the electrical energy output of a headphone amplifier into acoustic energy, or sound.

Two Types of ‘Phones

When it comes to recording and editing audiobooks, there are two main uses for headphones. When narrating, it is ideal for narrators to use open or semi-open headphones, so the actor can hear themselves well. When editing, however, isolation is key so that clicks and other unwanted noises can be heard. If your budget allows, you may want to invest in a pair of open headphones for recording and a pair of in-ear monitors for editing and mastering. But don’t worry, we’ve got suggestions for those not ready to make that kind of investment below.

The Recommendations

ACX Production Coordinator Andrew Grathwohl joins us to offer his headphone recommendations for audiobook production newbies and those looking for a top of the line setup.

Sen HD-202

Senheiser HD 202 II – These are great headphones for editing and narrating on a budget.

AKGK240

AKG K 240 – The most beloved vocal monitor headphones in the industry. The K 240 headphones by AKG are the standard headphones used by vocalists in professional studios. You can’t go wrong with these for editing nor for narrating!

MDR7506

Sony MDR7506 – Another reasonable choice for recording and editing, these headphones are the standard here at Audible.

ATH-M50

Audio-Technica ATH-M50 – An excellent closed-cup headphone that excels in vocal editing scenarios.

Shure SE535

Shure SE535-V – Achieve the highest quality sound and isolation possible with these Shure in-ear-monitor​s. Though the price tag is high, these headphones are durable and will last a lifetime.

Now that you’ve got some options, picking the right headphones for your budget should be easy. Your ears, and the ears of your listeners, will be thankful!

Which headphones are you using in your studio?

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This Week in Links: September 23 – 27

Posted on September 27, 2013 by | 1 comment

This week, we’ve got food for mouths big and small. First up is 37 bite-sized pieces of advice for authors and rights holders. Actors and producers, on the other hand, can chew on in-depth info on studio gear and the craft of narration.

Enjoy this week’s main course, and come back for next week’s menu of delicious audiobook information.

For Rights Holders:

5 Ways For Authors to Handle Bad Reviews – via DBW – Bad reviews can happen to good authors. Here’s what to do about them.

5 Mistakes That Will Doom Any Self-Published Book – via Blue Ink Review – Advice on making sure your self-published book looks and feels professional.

5 Focal Points For Writers Reading Books – via Blood-Red Pencil – “We can all learn from the pitfalls and brilliance of other writers—learn what not to do, what didn’t work, and what did.”

Pixar’s 22 Rules of Storytelling – via The BookBaby Blog – Easily digestible tips from the masters of animated stories.

For Producers

How Lee Daniels’ The Butler Serves Audiobook Narrators – via Paul Alan Ruben’s “Audio Book Narrators” – Grammy winning audiobook producer/director offers his in-depth take on the movie’s lessons for narrators.

SomeAudioGuy on EWABS Podcast with George Whittam and Dan Lenard! – via East-West Audio Body Shop – Industry experts talk studios, microphones, and voiceover business.

E.G. Daily’s Voice Impresses, As Does Her Other Career As A Voice Actor – via The Huffington Post – Voice actor of Rugrats and The Powerpuff Girls excels as a singer on The Voice.

Did you see any great links this week? Tell us below!

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This Week in Links: September 16 – 20

Posted on September 20, 2013 by | Leave a comment

This week’s link will appeal to all 5 of your senses. See the faces behind your favorite carton voices. Get a taste of a professional audiobook recording studio. Feel the paradox of the modern writer. Hear how an action star can help you pump up your social media pages. And don’t forget to stop and smell the roses as you follow your career path.

Engage your senses with our weekly links roundup, and check back with us next week for more audiobook goodness!

For Producers:

The Art of Seeing Things Differently – via Voice of Wisdom – Advice on staying interested & motivated in your career.

Breaking Into Audiobooks – via Brick Shop Audiobooks – Voice actors in the NY area should check out this audiobook seminar from this Audible Approved studio

ACX Studio Gear Series Part 2: DAWs – via The ACX Blog – Check out our rundown of the most popular DAWs on the market, as well as the discuccion in the comments.

I Know That Voice! – Here’s another great looking movie about the voiceover industry. This documentary looks at the unseen actors behind your favorite animated characters.

For Rights Holders:

The Vin Diesel School of Facebook – via Duolit – The SelfPub Team tells us how to grow your Facebook page as big as the action star’s muscles.

Hugh Howey’s ‘DUST’: The Cleverest Book Promotion I’ve Seen In Years – via Bestseller Labs – Draw marketing inspiration from the ACX authors successful strategies.

In Conversation With Neil Gaiman – via Book Riot – An in-depth interview with one of our favorite authors and the curator of the Neil Gaiman Presents audiobook label.

The Great Paradoxes of Writing – via Creative Writing with the Crimson League – Musings on the contradictory life of a writer.

Share your favorite links from this week below!

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ACX Studio Gear Series Part 2: DAWs

Posted on September 18, 2013 by | 109 comments

We’re back with the next entry in our ACX Studio Gear series! We covered microphones and preamps in part 1, and today we’ll get into the recording software that you’ll use in conjunction with that hardware, as well as provide the pros and cons of some of the most popular options.

DAW Things Considered

DAW stands for Digital Audio Workstation, and we like the definition and history provided by Sweetwater:

[DAWs] are typically defined as having some ability to record, manipulate, and play back audio recordings or samples. In their early days DAWs were primarily considered editing stations. Material was taken from the primary recording media (usually tape) and dumped into one of these systems for editing, and then returned to the original media for the remainder of the project. Nowadays DAW’s can act as an entire recording studio with all mixing, processing, and mastering on one computer.

What To Buy

There are many DAWs available for purchase, and choosing the right one can feel overwhelming. It’s important to remember that many of these programs are created with music recording in mind, and you likely won’t need all the bells and whistles for your voiceover work.

Andrew Grathwohl, ACX‘s newest Audio Production Coordinator, has some advice on what to keep in mind when choosing a DAW:

The most important aspect of a DAW is that it is easy and efficient to use. It is wise to avoid any software that will eat away at your productivity. It’s also important to pick software with your workflow in mind. Some programs offer a lot of flexibility at the expense of ease of use, and others offer a straight-forward user experience at the expense of customization. If you’re the kind of person that likes to learn all of the shortcut keys to your programs and customize the layout of the various windows, you will likely prefer a different DAW than a person who likes a more intuitive experience.

With that in mind, lets go over the pros and cons of some of the more popular DAWs:

GarageBand by Apple

GarageBand_Logo

The Good

The Bad
  • Free to those who own Mac.
  • The interface is easy to learn and use.
  • Mac only.
  • Doesn’t include any of the tools you’ll need to master your recordings (a requirement for ACX).
  • Unlike some of the other DAWs we cover below, you can’t download any plugins to get around this.
The Verdict: Skip it.

Audacity (Open Source)

audacity_logo_r_450wide_whitebg

The Good

The Bad
  • Free.
  • Available for Mac OS X and Windows.
  • Open source, so any software programmer can modify and improve the program for future versions.
  • Easy to lean and use (here’s a free, comprehensive online tutorial).
  • Doesn’t come with the ability to master your audio, though you can download VST plugins to get around this (see the bottom of this post for recommended plugins).
  • Does not have the ability to measure RMS values or peaks.
  • Saves files in .aup format, so you’ll need an encoder (like LAME) to convert to .mp3 format (another ACX requirement).
The Verdict: Decent basic software that will get the job done. Good for those on a very tight budget who are willing to do a little more work to get results.

Reaper by Cockos

reaper

The Good

The Bad
  • Low price ($60-$225, depending on which license you qualify for).
  • Free, “no risk” evaluation period.
  • Known for having a robust user community to support newbies and those who run into trouble.
  • Comprehensive program with many options that can be overwhelming for beginners.
  • Lack of dedicated audio editing window.
  • Some design choices have been omitted, requiring users to try out the interface customization process whether they want to or not.
The Verdict: Reaper is a good, powerful, well priced option for audiobook recording. Their forums can be a great help for those new to self recording, editing and post production.

Audition by AdobeAudition

The Good

The Bad
  • Fully capable DAW available for both Windows and Mac OS X.
  • The newest version is now a 64-bit application, which can mean faster processing.
  • Much lower upfront cost ($19.99/month for the software and the Creative Cloud membership)
  • Ability to pay for the software only when needed
  • Includes 20GB of cloud based storage.
  • You do not own a copy of Audition; $19.99/month only buys you a license to use the software for that month.
  • Your monthly payments will eventually eclipse the one time fee you would pay for other software on this list.
  • You have to depend on Adobe’s pricing policy; with other software you can choose not to upgrade if the cost is too high – you can work with your older version for many years. Creative Cloud requires you to pay for the subscription no matter how high the price rises.
The Verdict: The software itself will surely meet your audiobook production needs. The way you feel about Adobe Creative Cloud will determine if this DAW is right for you.

SoundForge by Sony

Soundforge

The Good

The Bad
  • Has all of the tools needed to master your audio, as well as perhaps the best noise reduction tool of any DAW on this list.
  • Allows for batch processing of files, which will save you time and effort when mastering.
  • Allows you to set custom keyboard commands.
  • User friendly and easy to learn (includes numerous “show me how” tutorials).
  • Mac version doesn’t include some of the most useful feature of the PC version (batch processing, customizable commands).
  • Uses a large amount of system resources.
  • At $400, it’s one of the most expensive DAWs on this list.
The Verdict: This software is user friendly and powerful, as long as you’re not on a Mac. Many of Audible Studios’ in-house editors use this to edit and master audiobooks. A good choice, if you can afford it.

WaveLab by Steinberg

5ac718c632

The Good

The Bad
  • Available for Mac OS X and Windows.
  • Among the most stable DAWs available.
  • Versatile license (can be installed on any number of different computers with only one license).
  • Capable of batch processing.
  • High learning curve.
  • Fairly complicated to use and not recommended for newbies.
  • Uses a large amount of system resources, so a powerful computer is required.
  • Tends to work best when paired with other high end audio hardware.
  • Expensive – new licenses cost $500.
The Verdict: A very powerful piece of software that, due to the price and learning curve, is best suited for seasoned pros.

ProTools by Avid

ProTools EX

The Good

The Bad
  • A powerful DAW that will work with Windows and Mac OS X.
  • Capable of meeting all of your audiobook recording, editing and post production needs.
  • Comes bundled with an Mbox, which will act as your preamp and audio interface.
  • Includes nearly all of the plugins needed to master your recordings.
  • ProTools Express doesn’t come with all the plugins you’ll need, specifically a brick wall limiter and noise reduction (though the full, more expensive version does).
  • One of the more expensive options on this list, though it does include the Mbox.
  • The availability of many different versions of ProTools may confuse users when making a purchase.
The Verdict: The linked Mbox and ProTools Express is, at $499, a good deal for someone setting up a studio who is in need of both a DAW and a preamp/interface.

Bonus Plugin Recommendations

Should you decide to go with one of the DAWs listed above as not coming bundled with some of the plugins needed to master your audiobooks, we’ve got  links to free plugins you can download, courtesy of Audible Studios Post Production Associate Darren Vermaas:

Acoustica Kjaerhus Classics Bundle – Includes a great EQ and Compressor for the low cost of nothing.  PC only.  (Note that the limiter included with this bundle is not good for your audiobook needs, as it doesn’t have output ceiling control.)

Audio Damage Rough Rider Compressor – Has everything you need in a compressor, and it’s free! Mac and PC versions available.

4Front Technologies W1 Limiter – Capable brick wall limiter for Mac and PC (Note – not compatible with ProTools/AAX)

Now that we’ve provided a roundup of some of the most popular options, you can make an informed decision as to which best fits your budget and needs. Keep your eyes peeled for part 3 in our series, which will cover home studio setup, coming soon!

What’s your DAW of choice? Why?

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This Week In Links: September 9 – 13

Posted on September 13, 2013 by | Leave a comment

Today, we’ve rounded up both informative and entertaining links for audiobook writers and actors. Newbies and seasoned pros alike can learn about audiobook marketing, the business of voiceovers, and what happens when you narrate a stranger’s life like a movie trailer.

Use these links to have a fun and productive weekend, and check back with us next week for more on audiobooks and ACX!

For Rights Holders:

The Justin Timberlake School of Rocking Your Book Launch – via Duolit – The release of this pop star’s latest album can guide you as you launch your next title.

5 Rules Every New Author Should Follow – via BookBaby – Newbies can avoid classic mistakes by following these five tips.

The Short Story: A Way for a Writer to Experiment? –
via Creative Writing with the Crimson League – “All authors need to stretch themselves and leave their comfort zone to develop new skills.”

Know Which Critics To Listen To and Which To Ignore – via The Alliance of Independent Authors – make sure to consider the source before you get all worked up over that negative review.

For Producers:

via J. Christopher Dunn’s Voiceover Blog – Reading is your business, so here’s seven books you can read to improve your business.

Voiceover Business Profitability – via Bobbin’s Voiceover Sampler – An in depth look at the business side of being a voice actor.

Voiceover Actor Pranks Public By Giving Them Epic Movie Trailers – via Simply Zesty – Honest Trailers voice actor Jon Bailey constructs hilarious movie trailers for ordinary people.

Are You A Gear Slut? – via Voiceover Garden – How to know if you have too much studio gear – and what to do about it.

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ACX Sneak Peek: Hugh Howey’s Dust

Posted on September 11, 2013 by | Leave a comment

If you’re a regular reader of the blog, you know we’re huge fans of ACX author Hugh Howey. Hugh epitomizes the new breed of “hybrid” authors who combine traditional publication with “indie publishing,” and who work hard to maintain creative and financial independence as well as control over all of all of their formats. This entrepreneurial spirit has paid off for Hugh, who has become one of the most successful and respected indie authors in the business.

61-jMmuyfkL._SL175_Of course, none of this would be possible without some incredible books. Books that have been optioned for a movie. Books that have become highly successful audiobooks. Hugh’s books have flourished in audio, with ACX producers such as Minnie Goode, and Max Miller giving voice to the characters of Wool, and Half Way Home.

Today, we bring you an exclusive interview for Hugh’s next title in the Wool series, Dust. Recorded at Brick Shop Audiobooks and voiced by Tim Gerard Reynolds, Dust completes Hugh’s Silo saga in a thrilling and satisfying fashion. Watch as Hugh and Tim discuss their thoughts on writing and voicing these stories, then head over to Audible to pre-order your copy of Dust, which will be available from Audible/ACX on October 1st!

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ACX Guest Post: Andi Ackerman

Posted on September 10, 2013 by | 4 comments

Last month, ACX met new talent Andi Ackerman while we where out in LA for That’s Voiceover 2013, and she joins us today to help ACX producers learn from her experience. Read on, and let Andi help you avoid some of the mistakes she made in her early in her audiobook career.

Four Things I Learned About Audiobook Production The Hard Way

Most people think of themselves as reasonably astute, myself included.  I may not be genius material, but I like to fancy myself perhaps just a bit smarter than the average bear, or at least smart enough to not have to read instructions. But in truth I always need to read the instructions.

Going against my usual habit, I did actually read the ACX web site pretty thoroughly before accepting my first title.  But that only began to prepare me for my ultimately wonderful, but initially torturous audiobook journey.  Below is a brief summary of four things I’ve learned about audiobook production over the past year.

Andi

ACX Producer Andi Ackerman

1. Amazon reviews only tell part of the story.

Believe it or not, it took me three tries to learn what should be a pretty obvious concept. Everybody has different tastes, and some wonderful books have never been reviewed on Amazon. To make an informed decision when choosing titles to audition for or produce, read as much of the book as you can yourself before you accept the project. (Editor’s Note: ACX producers should feel comfortable politely asking the rights holder for a full script before agreeing to produce the title.)

2. Don’t take on a project that makes you uncomfortable.

Some nonfiction titles that seem innocuous can turn out to espouse points of view with which you may strongly disagree. And in the words of the brilliant Richard Horvitz, the voice is the work of the spirit, or in other words, our true selves.  Your feelings can be heard in your voice.

I agreed to narrate a nonfiction title about holistic health by a credentialed, reputable author.  I love health!  I want people to be healthy!  What could possibly go wrong?  Well, a few pages into the second chapter I discovered the author held opinions about childhood vaccinations that I vehemently opposed.  I could not in good conscience produce that book.  The author deserved a narrator who would help them realize their vision, not undermine it.  And if I had followed my own advice in point number one, I wouldn’t have made this mistake!

There are certain things you have to know about yourself, and I know that I can’t do erotica because I get the giggles. If you don’t care for violence you probably want to stay away from mysteries and police procedurals. You’re going to be spending a good chunk of time with a work so choose a project you like.

3. Editing will always take you longer than you think.

When I first signed on to ACX I had been editing short project voiceover work comfortably, and naively believed an audiobook couldn’t really be that different. It really is that different.  I had a pretty darn steep learning curve with the production end.  Allow yourself more time than you think you’ll need.  Watch the videos on ACX and check out tutorials on YouTube before you start your first book.

4. Don’t get so caught up in the technical end that you forget to enjoy your time with the words.

You’ve been entrusted with someone’s “baby.”  It really is a gift and a joy to be able to create a landscape, a universe, a story with your voice.

Now that I’m wiser and more experienced (but not yet a master!), the work of audiobook production is a joy.  I am grateful to be able to do what I love.  If you’re just starting out on your ACX journey, I hope you can learn from my experience and forge a successful voiceover career.

Help others learn from your mistakes by leaving your best piece of audiobook production advice in the comments!

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This Week In Links: September 2 – 6

Posted on September 6, 2013 by | 3 comments

We’ve got some top tier advice for ACX producers and rights holders this week. Producers can learn about studio gear and software, and how to keep morale up. Rights holders can learn how to reach readers and what to say once they do. Have a well informed weekend, and make sure to check back in with us next week for more audiobook info!

For producers:

Free ProTools 101 Classes – via Sam Ash – Let the experts teach you the basics of this popular software

How To Prevent Voiceover Burnout – via Bodalgo – Career and lifestyle advice to keep you happy and productive.

Do Voiceover Actors Suffer From an Inferiority Complex? – via NetherVoice – “Just because we don’t necessarily get recognized for our work, doesn’t mean we shouldn’t take professional pride in what we do.”

ACX Studio Gear Series Part 1:  Microphones and Preamps – via The ACX Blog – Earlier this week we tackled the first step in outfitting your studio with recording equipment, and provided options for all price ranges.

For rights holders:

10 Ways to Fake a Professional Edit: – via The Creative Penn – Self editing is not a replacement for professional copyediting, but if you must go it alone, here are 10 tips to get the most out of your efforts.

9 Different Channels for Reaching Readers – via Chameleon Ink – Online and in the real world, here’s a list of ways to connect with your audience.

What NOT to Post When Marketing Your Book: 8 Common Mistakes to Avoid – via The Future of Ink – Now that you’ve reached your readers, here’s a few tips on what not to say to them.

Position Yourself For Audiobook Success This Holiday Season – via The ACX Blog – Now is the time to start audiobook productions you want on sale this holiday season. We’ll tell you why, and give you some holiday marketing tips to boot.

Did you read any audiobook articles worth sharing? Tell us in the comments!

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ACX Studio Gear Series Part 1: Microphones and Preamps

Posted on September 5, 2013 by | 70 comments

Today kicks off a new series for the ACX blog: studio gear. Over the next few posts, we’ll cover one of your most discussed topics and provide some guidance for the audio recording newbie, those with some experience, and the seasoned pro. Let’s kick things off where the magic starts – microphones and mic preamps.

Microphones & Preamps

Mics and preamps are the first pieces of equipment that will pick up and process the sound of your voice. Remember, any piece of studio equipment you buy is meant to capture the true sound of your voice in your recording space, so don’t buy an expensive microphone to improve or compensate for the sound quality in the room. We’ll cover how to get great room sound in a future post.

For a a brief overview of how a microphone and preamp work,  we turn to Sweetwater:

A microphone is a transducer, or instrument whereby sound waves are caused to generate or modulate an electric current, usually for the purpose of transmitting or recording sound. In all microphones, sound waves are translated into mechanical vibrations in a thin, flexible diaphragm. These vibrations are then converted by various methods into an electrical signal.

A preamp is a type of amplifier specifically designed to amplify very weak signals before they are fed to subsequent gain stages or devices. Preamps are commonly used to bring things like the output of microphones up to a level where more equipment can work with the signal. Preamps are called upon to deliver extremely high amounts of gain while introducing very low amounts of noise and distortion.

What to buy:

Now that you have a good understanding of what a microphone and preamp do, it’s time to figure out which equipment is right for you. The first factor you’ll consider will likely be price, so we’ll start with the cheapest options and work our way up to the most expensive. But first, a quick word on USB mics: we recommend you steer clear. They are often the cheapest option, but there’s a reason for that. By and large, USB mics will not offer the sound quality you need to deliver professional sounding, retail ready audiobooks. These types of mics can introduce hum and delay into your recording chain, necessitating various “fixes” during post production.

With that out of the way, let’s get to our first category:

nt1-a_accessoriesGetting the job done.

Microphone: Shure PG27 ($149), Studio Projects B3 ($159), sE Electronics X1, ($199), or AT2050 ($229), Rode NT1-A ($229 – this option is a great starter kit, as it comes with the microphone, cable, shock mount and pop screen.)

Preamp: M-Audio Firewire Solo/M-Track  ($149)  or Studio Projects VTB1 ($180)

According to Audible Studios Post Production Associate Darren Vermaas, these are all viable options for beginners looking to get into audiobook production, however

They are less expensive because they are manufactured with cheaper parts.  Cheaper parts are more prone to breaking. They will also generally be noisier, especially when combining a cheaper microphone with a cheaper preamp.  On the plus side, these preamps both have I/O connectivity to a computer and serve as an interface with a DAW as well as preamp.

On the other hand, all of the preamps below will require a seperate audio interface (such as an Avid Mbox or M-Audio M-Track) in order to communicate with your DAW.

Hey, that doesn’t sound half bad.

Microphone: AT 4040 ($299) or Rode NT1000 ($329) or Sennheiser MK4 ($399) or AT 4033 ($399)

B12A-Front_zd-e1369340204745-604x205

Preamp: Black Lion Audio B12A ($360)

Wow, impressive!

Microphone: Mojave Audio MA 201fet ($695) or Neumann TLM 102 ($699)

Preamp: Focusrite ISA One ($500) or Grace Design m101 ($685)

SUPER impressive!

Microphone: Neumann TLM 103 ($1,100) Neumann U87 ($3,600)

Preamp: Universal Audio Solo610 ($1,000) or Great River ME-1NV ($1,150)

Now that you have a variety of products to choose from, all that remains is to select the price range that best fits your budget and experience level. When comparing equipment, read users reviews and get the opinions of your peers. Whichever you choose, all of these options should set you up for success in your audiobook recording career.

Which microphone/preamp combo do you use in your studio?

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This Week In Links: August 19 – 23

Posted on August 23, 2013 by | Leave a comment

Summer is cooling off, but our weekly links roundup is still hot as ever! Whether you’re sunning in the park with your Kindle or workin’ indoors for the weekend, enjoy the links below, and stay tuned to the blog for more great posts next week!

For rights holders:

The Unexpected Agony of Recording Your Own Audiobook – via The Atlantic – Author Katie Hafner found narrating her own book to be tiring, fascinating and taxing. Yet, she’d do it all again.

5 Android Apps for Indie Publishers – via AllIndiePublishing – You never know when inspiration will strike. These apps are great for writers on the go.

Blogging for Authors: How to Spend Less Time Coming Up w/ Your Next Article Idea – via BookBaby – “Even if you’re blogging from a passionate commitment to your subject, there are times when creativity just fails.”

Macker, Hacker, Writer – via Hugh Howey –  Hugh discusses why he chose to self publish, even after becoming a literary success.

For producers:

Voiceover Business Explored in ‘In A World…’ – via ABC News – Upcoming movie shines a spotlight on the voiceover industry (and looks very funny).

Seven Other Outrage-Inducing Words We’re Literally Misusing – via QuirkBooks – You talk for a living,  but are you misusing any of these words?

Buying Twitter Ads: A Real-Life VO Story – via Voice Acting In Vegas – Are Twitter ads the right way to advertise your voiceover services? Here’s one actor’s story.

The Simpsons Character To Voice Actor Infographics – via Uproxx – Nancy Cartwright voices eight boys and zero  girls?!?

Thanks for reading. See you next week!

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