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FaffCon 6 – Voiceover Unconference San Antonio

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Sound4VO's Dan Friedman-097Anyone who follows Sound4VO knows that I’m a huge believer in FaffCon, the voiceover unconference that never fails to inspire, motivate and raise the bar for our industry. Here is my recap and some thoughts.

Thursday – Let the Faffing begin!

Although it hadn’t even officially begun, on Thursday night, “faffing” was already in full force. While I can’t say for sure, I would guess that at least a third of all attendees were in San Antonio and made it out to a bar across the street from the Omni Hotel. Many of us in the group are like family now and while we sometimes go months without talking or seeing each other, we effortlessly pick up as though we just hung out together yesterday. It is nothing less than beautiful.

While I love seeing familiar faces, I’m so grateful to have had the opportunity to also see some new faces. In some instances these are people with whom I’ve worked, but have never met in person. This is always a thrill. Their passion is what brought them to FaffCon and I know they will leave overflowing with new ideas, tools, advice and support that will help them soar to new heights.

Beginning that very first night, I was the beneficiary of some of this advice. Specifically, about protecting my voice. I had been doing “full commitment” exercises in acting classes the prior week and I will admit it had been tough on my voice. My good friend, singer/actor/voice talent Liz Aiello gave me some herbal remedies to help get me back on track more quickly. She has also promised to give me some additional tips and tricks that will help me in the future.

Friday – Now its Official

By opening circle on Friday we were all fired up and ready to go. We began to lay out the agenda and set personal goals for what each of us hoped to get out of the event. After that, we had a festive new meet and greet opportunity with sponsors (and friends) in a trick-or-treat style game where attendees filled their event bags with swag and their heads with tricks and tips. Then it was off to dinner and back to the hotel lounge for… karaoke! Now normally, I’m not a big fan of karaoke. But in this crowd, we have some serious professionals. The singers were outstanding.

IMG_0520 San Antonio Saturday Night

Saturday we were underway with sessions on everything from SEO, performance, ISDN alternatives, marketing, union vs. non-union… truly just about everything that a working VO pro needs in an effort to remain up-to-date and to advance their career. Saturday night we had the opportunity to see the sights at the river walk in San Antonio. I had no idea it would be so spectacular. My hometown, Ft. Lauderdale, Florida has been called the “Venice of the Americas”, but I have to say that the river walk area of San Antonio resembles Venice, Italy much more closely. It was wonderful to cruise the waterway and explore. Of course you can’t go to San Antonio and not visit the Alamo… which we remembered to do. (SORRY!)

Sunday Send Off

Sunday, we were back in sessions. Home studio and recording session topics were where I spent the majority of my time. Improv sessions were also a hot ticket for the day. Business management, marketing and health and wellness were additional session topics. This is a peer lead conference where you get the information you need, simply by asking for it. The truth is, if you can’t find what you want at FaffCon… then you did not ask for it.

Closing circle always seems to arrive way too soon, but Faffers are always left with inspirational ideas and directives to work on over the next several days, weeks and months. While the event must come to a close, the true benefits take place when everyone arrives home and puts their plans into action.

My Summary

As always, the hotel lounge was packed each night until the early morning hours. Many of us did not want to waste a single minute of that time doing anything other than catching up, sharing, laughing with old friends and making new ones. Some of the strongest bonds are formed during these late hours and these are also some of the best networking opportunities.

Sometime in the last several months leading up to FaffCon, I read something that suggested (or perhaps stated… I honestly do not remember) that voiceover conferences were just a big waste of time and money. That what you have to do to succeed in the voiceover business is sit in your booth, practice and get better. Or, if you need information, just call up someone in the industry who knows what they’re talking about and get the answers you need. While this may be true for some conferences and that method may work for some people… FaffCon is not that conference and FaffCon attendees are more ambitious (and fun) people. Yes, you must practice. Yes, you should have a mentor or someone to call for advice. For me… the brain power, talents, and support of the 100 attendees at each FaffCon are the people I call. Two heads are better than one. One-hundred heads… are an unstoppable force.

I have gained so much as a result of my participation and attendance… new connections, agents and work. I’ve learned about the business and learned about myself. Best of all, I’ve made some of the best friends anyone could hope for. Thanks to all of you that I have met, worked and played with at FaffCon’s 2, 3, 4, 5 and 6. You all ROCK! Be well and I’ll see you at FaffCon 7.
THE STARS AT NIGHT, ARE BIG AND BRIGHT…!

Voiceover – The Lost Art of Listening

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Sound4VO's Dan Friedman-097While out on a hiking trip this past weekend, I took the time to simply listen to nature. For several minutes, not a single device of modern technology could be heard. It was truly music to the ears. Listening… truly listening, seems to be a lost art. When was the last time you sat down and listened to an album? I don’t mean casually, with the music playing in the background as you perform other tasks. I mean sitting down in front of some speakers, or putting on headphones, and simply listening.

I’ve been around many younger people lately, high school and college age, and they just don’t listen. I’m not talking about, “hey, pick those clothes up off the floor and put them away”… and they don’t do it, kind of listening (although that is certainly an issue as well). I’m talking about truly using their ears and hearing the world around them.

This isn’t limited to young people. When teaching home studio> classes (mostly to adults), I’m often asked, “how do you know which (whatever piece of gear) sounds better?” The answer is, you have to listen and compare in order to know.

This isn’t entirely the fault of today’s typical listener. Tiny and inefficient earbud, computer and television speakers have become common place. These are all truly terrible devices for critical listening and are barely good enough for enjoyable listening. Then of course, there is the MP3 format. Listening to an MP3 of a song and then listening to that same song on a record or CD (on decent speakers and in a decent environment) is a truly ear-opening experience.

When it comes to voiceovers, I’ve often said that listening is more important than speaking. The best voiceover coach is your ears. But, in order for your ears to guide you properly, you must train them… by using them. Take the time here to open your ears when listening to commercials, audio books and any voiceover you hear. Ask yourself, “what do I hear?” Is the delivery speaking to you? Why? What words are emphasized and how? How does it sound? Harsh and edgy? Dull and muddy?

By the way, want to know what your studio sounds like? Record yourself and play the recording in your car. Mix engineers and musicians have been referencing their mixes in cars for years. It makes perfect sense; the car has traditionally been the place where we do most of our listening. Furthermore, modern cars are well-designed for sound.

Take the time to listen. Notice what you hear. Compare sounds and learn what sounds good to you. It can be like opening a door to a world you barely knew existed. You’ll be surprised to discover the difference between what you think you hear… compared to what you actually hear. You may even benefit from the experience in ways you never thought possible.

Remember: You have two ears and one mouth to remind you to use your ears twice as much.

Voiceover – Opportunity and Preparation

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Sound4VO's Dan Friedman-097Its been awhile since I’ve posted here on Sound4VO. For those of you who are regular readers, I apologize for the silence. Truth is… I’ve been busy!!

Over the last several months, some remarkable opportunities unfolded before me and I owed it to myself to pursue them (and I’ll continue to pursue them). First and foremost, I had the opportunity to co-star in a television pilot… Rockin’ A Hard Place. In a nutshell, the show is similar to Taxi or 30Rock, but it takes place in a rock and roll club. This was BIG! It was fun; a chance to spread my wings and learn some new things.

Television, as an on-camera actor, wasn’t on my radar. I had never even considered it to be a possibility or a direction I would take. But I am glad this path revealed itself to me. After I was encouraged to audition, I got the part and jumped at the opportunity. Although we’ve had the live premiere of the pilot, the show is still undergoing editing, mixing and tweaking. I feel as though I performed well and the producers told me that I had. 🙂 The entire experience has been very exciting and it was a thrill to be a part of it. They’ll begin pitching the show in the next several weeks. As for the future of Rockin’ A Hard Place and my role in it, that remains to be seen. But, before moving on about the future… allow me to jump back in time for a moment.

Nearly twenty years ago, I was working as a photographer, manager and graphic designer for a few local bands. I was in rock and roll clubs that featured live music almost 4 nights a week. One night, at a gig, the house sound engineer told me he had to leave town for a couple of weeks and needed someone to fill in. He asked if I wanted to learn how to run sound and I responded by saying, “HELL YES, I want to learn how to run sound!” Five months later, I was getting complimented regularly for my work. However, I still didn’t feel confident that I really knew what I was doing. So… I went to recording school.

In 2000, I began working as a studio manager for a voiceover studio. I had just left radio and voiceover, as a career, was new to me. Voiceover seemed like fun and I was very interested in learning more about it. I took a two month long workshop and learned skills that every voice talent should know. While I had the desire to be a talent, my focus wasn’t quite there yet. At the time, the greatest benefit to me was that the workshop taught me how to speak the language and how to direct voice actors. As a result, I became a much better producer. Years later (after engineering, directing and producing hundreds of VO sessions, listening, and practicing on my own), I was finally able to put that knowledge I had gained in the workshop (coupled with years of experience as a director, producer and engineer) into practice as a voice talent myself.

While I’ve just shared some of my personal journey, this post is not about me or my history. It is really about the relationship between opportunity and preparation.

For the past several years we’ve seen a dramatic increase in the number of people interested in getting into voiceover. I’m guessing with the release of In A World and also of I Know That Voice, interest is going to explode over the next year. Sadly, many voice demo factories are going to capitalize on this and start cranking out demos for people who aren’t ready. Additionally, many people are going to put a profile up on a P2P site and offer their services as a “voice talent” without any knowledge, training or experience. Both practices are shameful.

For those VO demo factories and so-called coaches who offer “get rich quick” promises and have plans to seize this “opportunity” by taking advantage of those wanting to pursue this career, those of us us who have been around awhile… know who you are.

If you are an individual who is inspired and truly interested in working and building a career in voiceover, here are some things you need to know. I understand that you may do a great Ronald Reagan or Fran Drescher impression or can imitate a commercial or preview you heard while watching TV or waiting for the movie to start. While imitation is flattering, it is not a truly necessary element to achieving success in voiceover. No matter what you’ve been told, this business is not right for everyone. Furthermore, it is a business. It requires time and ongoing effort applied to developing relationships, marketing, advertising, accounting and… training.

Training is by far one of the most important elements to success in nearly any career, including voiceover. If you truly want to make the most out of an opportunity and position yourself for more and possibly greater opportunities, you must seek the wisdom of reputable people and organizations who can help you achieve your goals and prepare you for that next big thing. Don’t forget about the hours, days, weeks, months and possibly years of unrelenting effort that you must also put in on your own. As I have written in past articles, a voiceover career “cooks” as though it were a meal in a crock pot, not a microwave.

For those of you who are thinking about getting into voiceover… go for it! But as the saying goes, luck favors the prepared. Prepare yourself for every step of the journey. In the beginning, find reputable people and organizations to help you and get training before offering your services. Attempting to build a sustainable and successful career on a weak foundation (or none at all) is difficult, if not impossible. Also, quality training will provide you with confidence so that you don’t feel as though you need to work for peanuts… unless of course you enjoy being paid like a monkey (I mean no offense to monkeys or peanuts… I like both). And, once you’re working, expect to continually invest in your training, your studio and your business.

For those of you who are already working in this industry, I encourage you to seize new opportunities when they present themselves. It can be terrifying at first, but ultimately, you may have some fun while learning something new. Acting on camera seemed like a reasonable extension of what I’ve already been doing as a voice actor so I thought it was well worth taking the chance and auditioning for the role. By the way, my role in the pilot… live sound engineer. Funny, you just never know how your past experience will help prepare you for your present or your future.

Which brings me back to today…

I’m “seizing the day” with this on-camera opportunity, just as I did in 1995 and again in 2000, by getting educated. I am now enrolled in acting classes and loving every minute of it. I’m certain that acting classes will not only allow me to pursue opportunities in a new arena, but will also benefit my career as a voiceover artist. Preparation leads to opportunity and seizing an opportunity, in my experience, has meant more preparation so that I am ready for the next bigger and better opportunity.

Each opportunity I’ve been offered along my career path was merely a seed. The training… growth. My career… the harvest.

What is your experience?

Choosing a Voiceover Microphone

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By Dan Friedman Choosing a Voiceover Microphone.

As a voiceover artist, it is critical that you choose the right microphone for your voice, your room and your budget. When it comes to determining which microphone is right for you, there is only one good way to go about making this very important decision.

Before buying anything, YOU MUST LISTEN AND COMPARE FOR YOURSELF.

Typically, when voice talent begin their career or begin to invest in a home studio they choose a microphone based on one or more of the following: advice from friends or associates, familiarity with something they’ve used previously (perhaps an Electro-Voice RE20 from a radio station), what the sales person at the music store sells to them, or what they can afford. Although all of these factors should be taken into consideration, they serve as merely a starting point.

The advice of others is helpful, but how good something sounds to one person (or on one person’s voice) may not be as good for someone else. The best way to use the advice of others is to list all of the microphones they mention as possible options. For those who have had experience in broadcast, it is important to note that although those RE20’s and Shure SM7’s are great in radio stations for their sound and their durability, they are not necessarily the best choice for voice overs.

Of course the advice of a salesperson should always be “taken with a grain of salt”. They may be very knowledgeable, but they may also be getting incentives to sell you something that just isn’t right for your needs or your voice. Lastly, it is understandable that everyone wants to save money, but consider two things:

  1. Since this is your career, you want to sound your absolute best, and sounding your best should help you pay for your investment.
  2. If you do the research, you can still find the best microphone for you and your current situation.

The best advice will most likely come from the engineers you work most closely with. Engineers in the voice over industry often have the benefit of hearing many different microphones on many different voices. Not only do they know what they like, but they may also know your voice and the sound of your room well enough to know which microphones will work best for you.  Also, if you are working with them closely already it may mean that you are already earning money with them and that is the best reason to seek their advice and make a decision that will help keep them happy with your sound. But even with all of that being said…

Nothing can replace the experience of actually testing several microphones and listening to the myriad of choices and sounds that different microphones offer. It is truly an ear opening experience.

It should be noted that there are several microphones that are considered voice over industry standards and the only reasons to not choose one of them are: 1) if you absolutely can not afford them or 2) if they do not sound as good on your voice as something else. For voiceovers or voice acting, the Neumann U87, TLM 103 and Sennheiser 416 are industry standards because of their well known characteristics and sound quality. Therefore, engineers and producers generally prefer to work with these microphones.

If you either can not afford one of these microphones or they are just not working well for you, here is a plan that should help you find the best microphone for you and your situation. As a general rule, a large diaphragm condenser microphone will likely be the most appropriate choice as a voice over microphone. There is an enormous selection of LDC microphones available and they range in price from below $100 to up into the thousands of dollars.

Begin by making a list of microphones, and noting which ones fit your budget. Include at least one industry standard microphone (you will use this to compare others against). Start your list with all of the microphones that have been suggested to you. Read through descriptions of other microphones in music store catalogs, websites, industry blogs and forums. If you are serious about your career, you will not limit yourself to just the cheap ones. Remember, the idea is to find the best microphone for you and although you may not be able to afford “the best one” now, you will at least know what that is and may be able to get it later. Make no mistake, among inexpensive microphones there are some great values available and one may even be perfect for you.

If you are reading the specifications for microphones (and you should be) look for words and phrases such as: high signal to noise ratio or low noise, capable of withstanding high sound pressure levels or SPL, wide dynamic range, sonic clarity and transparent signal.

Note whether a particular model is generally used for vocals or instruments. Also pay attention to what accessories may be included in the price.

I strongly suggest using a shockmount. A shockmount is a “basket” that holds a microphone. It is designed to help eliminate vibrations that can reach the microphone through the microphone stand. Some microphones include a shockmount, for others it must be purchased separately.

After you’ve done your research, have made a list of microphones that interest you and that fit your budget, it is time to visit a music store with a pro audio department. Even if the nearest one is far away, it would be worth making the trip. This is your sound and your career we are talking about!

Bring along at least 3 scripts. Bring a high energy script that requires you to push your voice a bit, bring a script that matches the style you perform the most and bring a script that requires a close and intimate read. You may also consider including a script that contains several hard consonants such as “t” or “p”. When you get to the store let a salesperson know that you would like to test and compare some microphones. You will need to be setup with a mixer, a microphone cable and some headphones. Of course if you already have headphones that you are familiar with you should bring your own. If you can find a quiet area within the store, it would be best if you can use that space for your tests.

Ask for one of the industry standard microphones – you will want to keep this around to refer back to as you try others. Using the same exact audio chain and settings begin testing your reads through each of the microphones on your list (remember to turn the phantom power off and back on as needed when switching microphones). For this test you will want to have your headphones reasonably loud, but not so loud that they damage your ears. The idea is to listen closely to the nuances in the microphone. Do not worry about your read.

Use your ears and ask yourself the following questions as you listen. Listen to the high end. Is it crisp and clean or is it smeared?  A “smeared” high end has the sound of being distorted, where “s” seems harsh, brittle and possibly almost painful.  It sounds as though there is just too much of it and the sound doesn’t end cleanly. Is there not enough in the high end? Does your “s” seem to disappear or sound dull? Listen to the midrange. Is your voice coming through clearly as you know it, or does it sound affected? Does it sound a bit like it is coming through a telephone or a megaphone? Is the midrange seemingly harsh or is it seemingly dull or distant. Ideally, it should sound…the way you really sound. Listen to the low end. Particularly if you are a deep baritone, pay attention to how the deepest part of your voice is translating. The low end can be distorted in much the same way “s” can be distorted in the highs, except the lows will sound too thick or “muddy”.

How are the “t” and “p” consonants coming out? Is the microphone popping easily on these consonants? How does the microphone react when you change your proximity to it? Listen closely for all of the details and ask yourself each of those questions. Compare your favorites to each other and to the standards (remember that it is perfectly fine if one of the standards is your favorite). Ask a friend or someone in the store for their thoughts on the sound. Choose the one that sounds best. If you can’t decide which one sounds best, go with the one that sounds the most similar to one of the industry standards.

Once you make your choice, bring it home and try it out in your own studio. Be sure that it still sounds as good to you at home as it did in the store. Remember that your microphone captures the sound of your environment as well as your voice and it may become evident that some changes to your room are necessary… but that is for another article.

Whether you are just starting out or are a seasoned voice over professional this process should be fun as well as informative. Best of all, after you’ve gone through the process and made your decision you will have confidence knowing that you made the best choice for you, your voice and your budget.

FaffCamp Is Just Around The Corner!

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faffcamp-patch-logo-faffcon_225x200From the creators of FaffCon… coming this May to the Omni Hotel in Charlotte. An event like no other in the voiceover industry… FAFFCAMP! Three days of what will prove to be the most educational experience available to both new and experienced voice actors and industry professionals.

You won’t have to look very far to find people who say that FaffCon has changed their life. In fact, look to some of my past blog posts and you’ll see that I have nothing but love for the event and everyone involved. I have no doubt that FaffCamp will prove to be as educational, fun and life changing as FaffCon has been. But, what is the difference between the two?

Those who have experienced FaffCon know that when you arrive for the opening circle presentation, there is an empty grid posted upon on a wall as you enter the room. That grid is then filled with session topics by the participants on the first night. With FaffCamp, that grid has been completed for you. No more tape and index cards. Session topics have already been planned, organized and scheduled. This preplanned format is essential for FaffCamp. It ensures that voice actors at all levels can gain maximum benefit from the event and not miss a single opportunity to learn or share their own experiences.

Another new feature is the Expo stage. For those familiar with the breakout sessions at FaffCon, where specific topics (as decided by the attendees) are discussed. The Expo will provide that same experience. However, and here is the best part, you won’t have to sacrifice one experience for another or be forced to choose between two equally appealing sessions. The expo will make every experience available to you, and within whatever time frame works best for you.

Each expo speaker will have a time slot on the expo stage, but they will also be available throughout the weekend to offer their time and expertise from the expo area.

Have you been looking for information on getting ongoing voiceover training? Joey Schaljo will be available to discuss opportunities with Edge Studios. Do you want to treat your recording space for better acoustics? Details about Dan Lenard’s Studio Suit will be available. Maybe you need a better way to get your demos up on your website? Voicezam to the rescue!

Speaking of demos, Cliff Zellman will have some exciting news about a great new way to create the best voiceover demo you’ve ever had. Representatives from the new organization WoVo (World Voices) will be there. I will also be there to offer assistance in all things voiceover, from studio to performance. Need a copy of “Sound Advice – Voiceover From an Audio Engineer’s Perspective”? I’ll have them. I will also be there representing Voicebank. Their Weekend Workout and Premium programs are great ways to get heard… by some very important people.

Also at the expo, audio editor Eric Souer, Rob Sciglimpaglia’s book “Voiceover Legal” and John Florian from the voiceover industry’s most popular website, Voice-OverXtra. Need a very cool timer for your studio? Of course you do! Bowman Technologies has large screen timers that are perfect for ensuring your deliveries make it in :30 or :60. Bowman Technologies will be at the expo!

There are a number of other new and exciting things planned for FaffCamp, and I don’t want to give it all away here, so you’ll have to be there to experience it all.

FaffCamp is just around the corner and it is an event you will not want to miss. Join us on May 3rd, 4th and 5th in Charlotte and discover why FaffCamp is the one event that is unlike any other in the voiceover industry.

The Anatomy of Three Voiceover Home Studios Part 3

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SOUND4VOStudio It is as simple as this… if you want to work in voiceover, you need a home studio. I know it seems hard to believe, but it is true; the days of being chauffeured around from studio to studio where you talk for a few minutes and line your pockets with cash are long gone… and have been for years. More recently, the need for racks filled with expensive magic audio boxes has also become unnecessary. Today, with nothing more than a USB microphone and an iPad, you can be recording high quality audio in no time. Well… sort of.

In this final installment, of the three part series(part 1) (part 2), I’ll discuss a third type of voiceover recording setup. In this setup… the sky is the limit! Keep in mind, that in any recording setup, there are at least two common denominators that will remain constant. They are, and always will be, the two most important factors in your sound and your success… you and the space in which you record. The cheapest setup can sound great (or at the very least… useable) with an amazing talent, performing in a great sounding space. A great performance on expensive equipment can be useless in a noisy or terrible sounding space.

With that in mind, let’s checkout setup number three.

Voiceover Recording Setup 3

While setup 1 and setup 2 are portable, portability was never the goal. Consistency from one session to the next is a critical element to success in voiceover. Therefore, remaining in one space is preferred. Recording setup 3 is stationary, and there are other big changes that will have you prepared for anything. One of the biggest changes is incorporating a mixer into the setup, which will allow you to include phone patch and (when you are ready and if the technology is available where you are geographically) an ISDN codec.

I could very easily have added them to the other two setups but with setup 3, the other big change is the necessity for studio monitors (speakers). Nobody should be listening critically to audio on headphones alone. Headphones, by design, do not give you a true picture of how we hear sound in the real world. We hear with both of our ears in combination, not with the left and right sides in isolation. Studio monitors are a personal preference. Whichever monitors you choose, you should give yourself some time to get familiar with their characteristics. More importantly, they should be comfortable for you to listen on over long periods of time.

Most components listed in setup 2 will remain the same for this setup. Instead of a laptop, a desktop computer will serve as the focal point for this studio. This will likely increase your storage capacity and speed. It will also give you more visual real estate due to a bigger computer monitor (the screen) and you can get even more real estate by adding an additional monitor.

With this setup, the sky is the limit when it comes to options, components and prices. Upgrades are possible in all areas of your audio chain. While the $300 microphone may still be perfect for you, it may be worthwhile to explore more expensive options. The same is true for your preamp, interface, cables and… well… everything. The price ranges I’ve listed below, now reflect the cost of higher priced equipment that can be found in many home voiceover studios.

Overall estimated cost:

High quality desktop computer w/OS and basic software – $1500 – $3000
DAW – $0 – $1800 (Audacity and “lite” DAW software = $0, full versions = $1800)
Separate Preamp – $500 – $2500
USB/Firewire Preamp or standalone AD/DA Converter – $150 – $2500
Mixer – $100 – $1000
Standard (XLR) LDC microphone – $300 – $1200
ISDN Codec or Source Connect Pro Software – $1000 – $3000
Phone patch – $175 – $500
Headphones – $100
Studio Monitors – $300 – $1600
Cables/adaptors – $50 – $200
Heavy duty microphone stand w/boom – $150

Setup 3 cost = aprox. $4325 – $17,550

Your home studio. For just over $1000, which was discussed in part one of this series, all the way up to over $17,000 (and beyond) you can be recording, editing and producing voiceovers. Note that these costs don’t take into consideration acoustic treatment or sound proofing (the prices for Whisper Rooms, for example, begin at just over $3000). Furthermore, if you’re interested in doing full production and mixing, you’ll need music, sound effects and audio processing plugins to go along with your DAW software.

Some of the items listed can be combined and many of the items are transferable from setup to setup, allowing your studio to build upon itself and grow with your career. Also, it is more likely that setup 1 could be the last setup you buy rather than your first. The portable studio is far more useful to voice talent who’ve been working at this awhile and are in higher demand.

So, now that you’ve gotten your studio budget figured out… start working on your budget for coaching, marketing materials, website, travel to industry events and your very own… chauffeured limousine. 😉

Dan Friedman Voice Over Coach & Demo Producer Tiktok

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