Instruction: There are a million different flavors of “mom,” what is the context for this one. Is she the heroine of the spot or a supporting player

Response:
Finally, if you want to take a “different spin” on it then the casting spec, my advice is to save that for a second or third take.
Review the spec. Study the script. Give yourself the best chance to deliver what we’re looking for.
9. Say the words right.
If you do not understand how to pronounce something, ask. Or look it up. Especially the product name. Get that wrong, and it's unlikely your audition will ever make it in front of a client.
Names of cities and countries tend to be mispronounced. Street names or businesses or regions of town (especially for spots in a region where you do not live) often get mangled. Spend a few minutes looking them up if you're unsure.
Beyond pronunciation, search for performance clues in the script itself.
If words are italicized or underlined or bolded or capitalized… the writer might want to inform you to put only a little mustard on 'em. Be smart.
And finally, read the spot as close to time as possible. If you take 31 seconds for a 30-second spot, it’s not the end of the world. But if you take 45 seconds? Then you’re not doing it at the pace, it will need to be done and you’re not going to book it.
10. Lay down two takes.
Honestly, 95 percent of auditions don't allow it to be through the initial take, not as the second.
But if you ARE on the short-list and I love your voice, I may try to find some performance variations to simply help sell you to the client. If there's a second take that is a slight variation (but not in a wildly different voice) I have something to play with.
If I've only got one take, I may not need the options I have to cut your voice together for the scratch track. (For example, you could have read something a split-second faster on the next take and that's what I importance of timing purposes.)
There are many, many cases of “demo love” where an audition track gets put on a rough cut and that actor eventually books the job. Give me some options so that if I like you, I can cut the best audition performance together.
11. Record it well.
We hear a ton of people. Many are great, but only one books the job.
Once you “get past” the ad agency copywriter, then you go on a short-list that’s reviewed by a creative director who thins the field even further.
From there, a few selects are usually put against picture (in the case of TV, film, games, etc.) or perhaps cut together with some effects (in the case of radio.)
Ultimately, a few options (more than one, less than five) are shared with the client who makes the final selection. There are often multiple people on the client-side that have to review and approve your audition.
In other words, there are a bunch of different people who have to agree that you are “the one” before you’re offered a part.
Of course, there’s absolutely NOTHING you can do about all this, so there’s really no reason to worry about it. Do your audition and let it go. If you’re the right person for the job, the creative team will fight for you and work to make sure you’re the one hired.
What to expect in an audition, and a few tips for actors
Auditions really are a nerve-wracking and difficult experience for most actors, but they are a vital area of the job. Here's how an audition process works and several tips on how best to perform your absolute best facing the casting director or producer.
Getting the Audition
For most roles, you (or your agent) must submit a photo and resume to whoever is casting the production. Occasionally, you could hear about an "open call" where anyone may arrive at the audition. These types of auditions are often called "cattle calls" because hundreds of people arrive and are quickly herded through. However, most auditions are invitation only.
In case you are called for an audition, you'll often receive "sides"", which are simply just a couple of pages of the script that you will be anticipated to read. In theater, you may also or instead be anticipated to really have a monologue and/or musical number prepared. Either way, after you have a script at hand, it's time to get down to business.
Preparing for the Part


Instruction: Read the script. Study it. Find each detail about the character you will audition for. Lines aren't important yet... just give attention to who the character is. How old is she? Where's she from? How does she experience another character in the story

Context: Learning resources on media production, voice acting and audio-visual translation, dubbing, subtitling and transcriprion

Response:
After you know everything there is to know about the character, then it's time to learn your lines. Use whatever technique is most effective for you. Although you shouldn't be likely to know all of your lines at the audition, it's safer to be safe than sorry.
Before the Audition
When dressing for an audition, it's far better to dress in accordance with the sort of character you're testing out for. For instance, if auditioning for the role of a cowboy, you wouldn't want to wear a small business suit or old shorts and a sweatshirt. On the other hand, there isn't to go out and rent chaps and spurs. Just dress to imply the part, perhaps in casual jeans and boots.exercisesYou need to loosen up for an audition just as an athlete warms up for competition. Execute a few stretches and vocal exercises and take one more chance to review your lines. Then relax. It's very easy to get overly nervous before an audition, and that nervousness will show.
When you arrive at the audition and register, you'll probably have time and energy to wait for a couple of minutes until it's your turn to read. There will be other actors waiting with you, but it's far better to steer clear of the temptation to talk and gossip with them. Stay focused... you can always socialize later.
Reading for the Casting Director
The Casting Director is the one who you will probably be auditioning for. Depending on how busy he or she is, the CD might take a couple of minutes to speak with you or might say "hello" and ask you to begin.
Now's your responsibility to shine. Forget that it's an audition and do the scene as you would in the specific production. Keep your energy up and tell yourself that you're this character. And remember that the Casting Director isn't your enemy. They desire you to be the best person for the role because it shows that their job is done.
Here are a few things to avoid when performing for or speaking with the Casting Director.
Don't suck up. Casting Directors appreciate compliments as much as anyone, but they'll know when you're just butt-kissing and will probably be very annoyed by it.
Never touch the Casting Director. Aside from a friendly handshake, it's best to avoid physical contact. If the scene calls for you to kiss or hit someone, just mime it.Don't wreck the office. As stupid as it sounds, some overzealous actors will throw or break things during a scene. If you do this, the CD will remember your performance, but not in a good way.
After you finish your reading, the Casting Director will thank you and maybe give a couple of comments. Then it's time to move on. Don't waste time worrying or criticizing your own performance. I just look forward to the next one...
Callbacks
If the Casting Director likes your performance, you will undoubtedly be given another audition, a "callback "".only  at this audition, you will see fewer actors trying for the role. There may also be more people there to see your performance, usually the Director of the production and possibly Producers, Writers, or studio executives.You must wear the same clothing to the callback as you did to the first audition. Also, you need to accomplish the same performance as you did the first time. Whatever you did, the CD liked it. Don't blow your chances by second-guessing yourself and trying something different.
However, even when everybody loves your reading, they might ask you to " try it another way"". This doesn't imply that they didn't like your performance. They should just observe how well you may take direction.Treat a callback like any other audition. Do your best, then go home and forget about it. Either you'll receive the job, you'll receive another callback, or they will go with someone else.
Keep Records.
Whether or not you get the part, or possibly a callback, keep an archive of when and where you went along to the audition, the Casting Director's name, that which you wore, and every other information that could be important.
Film and theater auditioning, like every other performance, requires careful planning and preparation. It is, therefore, necessary for every aspiring actor to be ready for their audition. As the old saying goes, failing to prepare is preparing to fail.Before you attend your very first acting audition, have a strong understanding of the auditioning process and what's expected of you when you arrive at your first audition. The following tips will make auditioning much easier for you. They are meant to give you some background on what you may face during your audition.
The Audition Fundamentals
Be courteous.Arrive on time.Have a neat appearance.Be prepared.Have a professional attitude
What is an acting audition? It's essential that you realize that auditions are primarily interviews or trial acting performances that have been organized to discover and even test your acting talents (hidden or obvious). Perhaps the role being cast requires an actor, singer or dancer, then you will take part in an audition. These auditions could be arranged and moderated by any amount of people, from directors, talent agents, casting directors or producers - anybody seeking actors and talent. Usually, acting auditions involve a board of casting associates who judge your performance. They ask you to perform before them as a way to gauge your acting skills and to seek your abilities, view your range, and see if your other attributes match those talents they are looking for.
There's no specific uniform or way to dress, but an average experienced actor will wear something that doesn't take the shine far from your talent. Dress casual and comfortable. Provided that you appear groomed, clean, and neat, you ought to have no trouble wearing your favorite outfit.
One of the basic purposes of auditioning is to showcase your professionalism. It is, therefore, necessary that you get ready as a professional who knows what he or she's doing. When you appear at your casting audition, you need to have a standard and professional 8 x 10-inch headshot and resume with you. A professional is also an individual who knows the importance of time and who understands the necessity of being punctual. Casting calls and auditions are all set by appointment. It is recommended to arrive on time or even better, arrive fifteen or twenty minutes early. It is also advisable to cancel other appointments for that day as auditioning generally takes time. You should be patient until your turn comes. Being late not merely looks terrible and may mean you are excluded from this audition, but it will mean that you're not relaxed and could hinder your odds of success.
Your audition may be held in someone's personal office or studio. For this reason, only a little respect goes a long way. Respect your surroundings. You need to also be respectful to the other actors attending the audition. Don't consider the other actors around you as your competition and become discourteous or rude. These actors may well turn out to be your co-stars. Often be friendly, cordial and most of all, professional.
Don't forget to sign-in once you arrive at your audition. Mostly major casting auditions, you will be asked to fill some kind of "sign-up" sheet. You should easily find a sign-up sheet at each audition you attend. This sign-up sheet will vary with regards to the kind of casting call. If the casting call is for union actors, the sheet may include social security information, union affiliation information, and information regarding your actual age and gender. If the audition is for non-union members and extras, there may not be much information that requires to be furnished. You'd be asked to sign in to permit the organizers of the audition to arrange the participants in order according to their arrivals.
Before your audition begins, you'll no doubt have to wait for your audition in a holding area or waiting room. While waiting for your audition, make an effort to concentrate on your performance rather than chatting with other people there. Your concentration and preparedness are what will influence your performance.
Sometimes you are likely to be asked to organize 1 or 2 monologues in advance. Typically, there would be a time limit of generally of several minutes for these. Sometimes, they may ask you to organize two contrasting monologues like one comedy monologue and one serious or dramatic monologue. Or, you may be told to organize a combination of a classical and a modern monologue.
In other instances, you may be asked to do what is called "cold reading."" That is where you go into the audition without knowing the script you will be reading beforehand. You could be reading from the play commercial or perhaps a movie script. At some places, you may be given what they call "sides" which will be simply a tiny element of a script that may vary from one to even ten pages.
Auditioning Tips
As the word goes, it is about attitude. Be a professional. Charm can't solve everything. And the casting directors, casting associates, producers, and directors are not the ones who are likely to be bowled over by your charm. The only thing that matters is your work and your professional attitude.Your audition is generally conducted in someone's office, theatre or studio. Whenever you enter there, you must politely acknowledge everyone present in the room but remembers one thing. You have to be focused on your work.Sometimes the audition will be videotaped. And then you could be asked to "slate."" Well, it's nothing. What it indicates is that you ought to look straight into the camera lens and state your name and if you should be there courtesy of some talent agency and then name that agency. Whenever you finish the "slate" you need to begin your performance.We're only human, so mistakes may be expected. If you lose your concentration or cannot perform as per your potential or should you feel like showing another interpretation of the piece, you may always ask to be allowed to try it again. But if you shouldn't be given a second chance, thank them politely and wish them all the best with the project and politely leave the room.The only thing that matters ultimately is performance. So, when you have performed your very best depending on your expectations, it is always recommended to chill out and ignore audition. Worrying would get you nowhere. It's not advisable to call anybody and enquire about your performance. What matters ultimately is your own performance, and that is everything you should concentrate on. Try to help keep improving and learning and await the next opportunity.
Being Courteous to Your Judges
I'm not telling you to be over-nice, but you need to show respect for the person or people conducting your audition. Always say hello, smile, and be friendly and confident.
So there you have it, a brief look at what to expect at your next audition and a few tips to help you prepare. Implement these tips to make a strong first impression and you should have no trouble at your next acting audition or casting call.


Instruction: What May Be The Possible Reasons For Your Rejection

Response:
Rejection irrespective of where you stand at in life as a performer, either at the peak of one's career or at low ebb professionally, learning how to manage rejection after an audition is crucial. As individuals who remain true facing others and take risks creatively, we're susceptible to being moved by rejection.
Rejection is part of being a performer. Period. It is a reality. It is time that you have a wholesome relationship with rejection starting now.
The truth is, a lot of times the rejection you are experiencing as a performer is not personal. You do not understand what rules or parameters the directors or judging panel have to meet that they are projecting onto you when you walk into an audition room.
There are many reasons that you may not get a part that you check out for - and none of these have to do with your acting ability. Take heart and take a peek at some of the following:
1. The Wrong Look
Roles often call for a general type of look and if that you do not fit you're out—just like that. Sometimes you may know this information ahead of time, but sometimes you might not. There are also situations where a director may have certain ideas about a character but doesn't verbalize them to anyone else. The type they are looking for is in their head, and you may or may not fit that idea.
2. Surprises
Did you realize that you had been going to have to sing for that part? Ever been asked to complete an unplanned waltz? Does your character have to yodel? Sometimes you can be caught off-guard by an audition, ensure that you've to draw from several skills. Most times they're spelled out in advance, but not always. You can only prepare for an audition with the information that you've been given--the rest is improv.
3. Bad Timing
Even the best of directors can have an off day—or a negative phone call. Sometimes you might wind up being the one to suffer. After all, they are only human, right? On the flip side, the same could happen to you before an audition—either way, it's no reflection on your acting talent. Real-life sometimes gets in the way.
4. The Experience Factor
Nobody likes to consider this, but it will happen. You are clearly the best option for the role, however; it goes to the person with more experience than you—the girl that starred in the director's last film. Or the guy that knows the casting director's mother. In most cases, professionals in the field will choose the best people for the project, but occasionally someone slips by on things other than acting merit alone. Sometimes a manager may feel more comfortable working together with someone that they have worked with before, or perhaps a casting director just doesn't desire to take a chance on an unknown.
The very next time you're tempted to stop and throw in the towel after having a frustrating audition, understand that some things are not in your control. Sometimes you just can't land the role—no matter how you read for it. Don't take every rejection as a reflection on your own ability, because sometimes skill just has nothing to do with it!


Instruction: How To Deal With The Rejection, Or What Is The Next Road

Response:
The one thing? Do a killer audition. If you walk out of an audition and can say truthfully, "That's the best I can do,"" then leave it in the lap of Zeus and announce NEXT. Just be sure that "the best I can do" is not self-delusion. To say it's the best you can do, you must be PREPARED. To say it's your best, you must be in the top PRESENTATION form.
And then you go into the audition room to take over, to knock 'em dead, to walk out with pride, and on to NEXT. And never wonder for whom the call-back telephone bell will ring.
Forget the audition.
So when you burst into inconsolable sobs, look in the mirror. Preparation? Yes? Presentation? Yes? Audition savvy? Yes? Then you definitely have earned the right to proclaim NEXT. If one, two or all three are "No,"" then back again to the drawing board. It's a great deal more comforting to learn that you yourself have blown the audition than to be told you're spectacular and never hear from their website again. If you yourself created the rejection, then you can correct it.


Instruction: What precisely is NEXT? What exactly are the steps to NEXT

Response:
NEXT is forgetting about the audition. Do not find innuendoes from the audition committee. Only "Thanks"", as well as silence, is as reliable as "You're great, superb, exactly what we want."" Do not search for hidden indications of how they liked you or your work. Do not assume you have the role when they laugh in the right places or gasp when you're finished. Do not glow inside their praise (that gives them a lot of power). Glow in pride at your own personal job well done—more than well done—your own job done the most effective you can do. Review, repair, then start the three P's all over again (preparation, presentation, pride). Work, grow, learn, watch, listen, experiment—maybe even do something as basic as picking a more interesting monologue. Be too busy growing to give rejection room to grow into bitterness. Then in you go and on to NEXT.There are ways of handling rejection, which I strongly do not suggest. You understand them all. But you can find healthy approaches to cope with the hurt inherent in this profession: workout your feelings in the gym, jog, clean your apartment, visit a movie, take an extra dance class or singing lesson or coaching session.  One famous film star fired her manager because she felt she was being rejected in favor of another superstar. When you reach that level, you won't need NEXT. Money buys lots of alligator hide.For the time being, the most effective net underneath the high wire we constantly walk is preparation, presentation, pride, and NEXT. And then another NEXT. Until preparation, presentation, and pride lead to CAST!Foremost, being pragmatic should force one to identify a Plan B—an even more reliable and equally fulfilling life pursuit that you keep in the trunk of one's mind. Besides this being prudent, understanding that you'll be fine even though you aren't an actor means you're not desperate about each audition, each meeting. Since nothing is less attractive than desperation, that could make you a much more appealing person to hire. Understanding the arbitrary nature of casting also helps with constant rejection. You will see times you just know you nailed the audition, but that you do not even get called back. Were you fooling yourself? Maybe. Or even you just sound just like the director's nasty ex-wife. Or maybe even you're too attractive to play the insecure lead role.  Or one of a thousand other factors having nothing to do with your talent. You can brush it off and move on, remembering that the only person you know you can please is yourself. The fact that life as an actor is largely a Crapshoot shouldn't imply, so it doesn't matter how hard you work on it. On the contrary, it needs that you maximize your odds. A thorough, honest self-assessment is important, so you can capitalize on strengths and work with weaknesses. And that can't happen without input from objective professionals. Find out where your chosen actors have trained and get that training. Insist on feedback from every audition—and pay attention to it! See the reviews and see if there's anything you can glean, positive or negative. Don't take it personally, take it professionally. Use it to help you grow. If you want to act, then go for it. They always need new talent. But as you do, you ought to never forget its fickle nature. Treat acting just like the grand experiment that it really is. With luck—and I mean luck—acting will provide you what you want with this life. But when and if in the pursuit of this bizarre career, you lose a sense of your value as a person, it’s time to find a life pursuit that brings you the rewards you deserve.Rejection feels deeply personal, especially as you begin auditioning for companies. But don't let disappointments take the wind out of your sails. The audition process is the very first of many challenges, such as casting and contract renewals you will face as a professional dancer. But by looking at the big picture, making an ideal plan and trusting the system, you can learn to take rejections less personally and keep moving forward.
An editor is a person having managerial and sometimes policy-making responsibility related to the writing, compilation, and revision of content for a publishing firm and for a newspaper, magazine, and other publication:
Translation Editors
Most people are unacquainted with what translation means. We may define translation as the conversion of one language to another. In the translation process, editing is an important aspect. Many people do entry-level editing throughout their lives when writing reports, papers, articles, emails, etc. A refined editor makes the difference in readability, style, and quality within translated documents.
Even the best translators don't catch every error within their translated documents, which explains why proofreaders and editors are needed in the translation process. In case a company needs translation information or any document, an expert translation editor will significantly improve the production of a polished translation.
The Job Of An Editor
The job of an editor and proofreader is to ensure that the small mistakes are fixed. Their job is to enhance the final product and deliver a slick translation.
What does a translation editor do?
So, what exactly does an editor in the translation world do? Editing is often thought of as the “big picture process.” This is the part of the translation process when the translated documents are compared to the original (source) text, and the translated (target) text is assessed in full. The editor typically looks for details like:
WordingClaritySuccinctnessConsistencyTerminology andRegister
Editors often keep a few simple questions in mind when going through this process:
Does the original meaning of the source text still exist?Is the terminology and style accurate for the target audience?Has the translated text and terms remained consistent? (This is especially crucial when more than one translator works on a translation.)
Paying attention to those details could be the cornerstone of impeccable translations. Especially in bigger translation agencies, where multiple translators work about the same text, editors work to guarantee the translation's consistency.
Core Values Of Translation Editing
A stellar translation editor has a series of characteristics that allow them to deliver impeccable services.
A great editor is an editor with a perfect understanding of the foundation and translated language. Editing goes beyond fixing spelling and grammatical errors. It touches sensitive aspects like meaning, accuracy, and consistency. Without a proper understanding of both languages, editors can't ensure a higher standard of the text.Translation editors do a lot more than comparing the two texts; they have to multitask. They pay attention if there are any stylistic or paraphrasing issues and dissonances between languages, punctuation, spelling, and more.Concentration is important in this work. The team at The Word Point, a professional translation and editing agency, says the ability to remain focused for hours is really a basic demand of their job. Translation editors have to fix errors that are usually overlooked and missed by the translator. Usually, these errors are of finesse.Attention to detail is paramount. The very essence of professional translation editing services is attention to context, meaning, and essence details. When editors overlook a minor translation issue, the results can be dramatic. It can change completely the meaning of the translation.
Different Translations Need Different Editors
Just as literature translations are not the same as legal or technical translations, translation editing also comes in different shapes and forms. For example, translation editors for legal translations need a good understanding of the terminology of both the source and converted text. There are multiple types of translations, and each of them requires experienced editors working on polishing the converted text.
Science translations: Because science translations deal with translating research papers, theses, and articles in the field, the translation editors need a good understanding of the domain, terminology, and processes described by the paper.Technical translations: These translation services are very targeted and are focused on translating user manuals, financial reports, and administrative paperwork. In this case, translation editors with experience in the field are more valuable.Financial translations: As a financial translation editor, you must have a perfect understanding of the financial environment, terms, and definitions. This helps you ensure that you don’t miss important aspects of the overall meaning of the text.Legal translations: As a legal translation editor, you should have previous interactions with legal documents such as summonses and warrants in both the language of origin and conversion language.Judicial translations: These translations are focused on depositions, judgments, minute proceedings and so on. Judicial translation editors should have a degree or deep knowledge of the judicial field.Literary translations: These may be the most difficult type of translations to edit. First, the editor must fully understand the semantics of the original text to make sure the translator transposes it in the conversion language with accuracy. But they should also pay attention to other details such as polysomic words, the author’s style, the translator’s style and if it matches with the author’s, and the rhythm of both texts.
Editing plays a huge role in the translation process. To preserve the characteristics, meaning, and essence of the original text, translating editors have to work for years to master all these aspects.
Creating eLearning voice-overs may seem like a simple and straightforward task. After all, how hard could it surely be to narrate your eLearning course, given that you're practically a professional in the subject right now? But developing eLearning audio can often end up being a time-intensive and stressful challenge for even the most experienced eLearning professionals. Listed below are just a couple of top tips that could help you create eLearning voice-overs that engage, entertain, and enlighten your learners in a fraction of a second.


Instruction: How Do You Create An eLearning voice-over

Response:
1. Map out your eLearning voice over.
Even before you sit down to publish your script or hit that “record” button, it is vital to create a detailed outline of what should be included in your eLearning voice over. This is very useful if you haven't already written text on-hand. Develop a listing of eLearning goals and objectives or key ideas you must incorporate in the voice-over. Also, map out the flow of the script, such as what ideas you must cover first and the overall tone,  and keep the images and videos you'll be using in mind.
2. Keep the script natural and conversational.
While you will always maintain a sense of professionalism, your eLearning voice over ought to be natural and conversational. You need the learners to feel like they are playing someone who's personable, friendly, and compassionate, rather than a narrator who's cold and business-like. So, when writing your script, create content that reflects what you would normally say. Keep sentences concise and use one voice all throughout. Be informative and authentic, so that your learners get the sense that you know about the topic, while still maintaining a sense of reliability to build that essential connection with your audience. Ideally, you'll want to decide on the tone, and the narrative voice, whether you will use first, second, or third person narrative before you sit down to write the script so you stay consistent all throughout.
3. Watch the clock.
When creating your eLearning voice-over script, remember that 100 words usually equates to 1 minute of recording time. This will help you help keep your lessons brief and engaging, as opposed to drawn out and boring. It will also permit you to time your screen transitions. For example, in the event that you include 100 words of text on a display, then you definitely know that you should have to leave the screen up for around one minute allowing the learners to learn about the topic that is being discussed in your eLearning voice-over.
4. Always do a test round.
Although you may have devoted countless hours to fine-tuning your script and pare it down to a manageable length, you will still want to do a test round to ensure that everything flows effectively before you record; even if you hire a voice-over artist to read the script for you. It will give you a chance to rework any content that may be off-topic, irrelevant, or not in-line with the overall tone of your eLearning voice over.
5. Silence is golden.
Don't be afraid of silence when you're creating your eLearning voice-over. It's best to give your learners audio breaks, in order that they can absorb and process the information, rather than rushing them into another topic by filling every second with a narrative. You can use silence to let your listeners know when it's time to go onto another idea or lesson and for emphasis when they need to examine a chart or graph that is being shown on the screen.
6. Don't let the audio steal the show.
It's important to keep in mind that the eLearning voice over you are creating should not be the center of your learners' attention.  Instead, it should merely be a learning aid that allows them to more absorb the content.   Ideally, they will begin gaining the information by reading the text, and the voiceover will help to boost knowledge retention. As a result, avoid distracting sound effects, and voice-overs that could be too dramatic or over-the-top, such as for example narrations with heavy accents or character portrayals. Use the voice over to draw their awareness of key points are on screen, to provide them real-life examples that involve the subject, or to ask them thought-provoking questions that make them pause and reflect upon the topic.
7. Ambient noise is not your friend.
Your recording space should really be free from any noisy objects, such as fans, air conditioners, or even computers that may restrict the grade of your eLearning voice-over. However, even though you record in an area that's quiet, you're probably still going to edit out the white noise that can distract learners. There are many free audio editing tools that you can use to fine-tune your eLearning voice over, such as Audacity.
Types of narration.
Narration has four subtypes:
ElaborateWhere what the voice is saying is summarized by the on-screen text.ParaphrasingWhere the reverse happens, i.e. the voice summarizes the text.VerbatimWhere the voice-over artist reads the exact words on the screen.DescriptiveWhere the audio describes the images seen on the screen.
The work of the voice-over artist should be to give key information that will provide an explanatory summary.A less obvious example of utilization of descriptive voice-over narration is the typical airline preflight safety video that you watch before takeoff.
The voice-over in a preflight safety video offers several things.
The actor will have obviously been picked because of their crystal clarity, but their sunny, reassuring tones will probably have helped in their selection too.
The right tone has to be a consideration when you need to convey safety information in a palatable way to a bunch of captives about to ride in a compressed cylinder flying on four controlled explosions 5 miles up in the sky!
Factors to Be Cautious About, When Creating An eLearning Voice-Over.
1. Tone of Voice.
Always think about what type of tone you want to adopt for a voice-over, as it's part of the identity of the piece.
A specialist voice-over artist will maintain exactly the same tone throughout a whole group of e-learning modules. This consistency is important to steadfastly keep up authority and authenticity and will seem jarring if it drifts.
An e-learning script should usually be natural and conversational.
A voice-over artist will try to help learners feel as if they are listening to someone who is pleasant and approachable, rather than someone just announcing train times.
2. Use Sparingly.
A phrase of caution here: although you will find great benefits to including voice-over narration, don't use it because it's there.
It's always tempting to use everything you know, but it's best to use only as needed.
3. Using Professionals.
When cost is a problem (and when it isn't?) you may well be tempted to cut corners.
On the face of it, creating an e-learning voice-over might look like a fairly straightforward task. You might wonder how hard it can be when you’re virtually an expert on the subject itself, and you are a human capable of speech!


Instruction: Why pay somebody to speak when you're able to speak, right

Response:
Time is money, and you will undoubtedly encounter all the roadblocks to progress for the first time if you do it yourself.
4. Map it out
A detailed outline of what you’ll include in your e-learning voice-over is essential. Create a list of key ideas and objectives, map out the flow of the script, note the tone, and keep in mind the images, graphics, and videos you’ll be using.
Even a rough guide will help to solidify the shape of the piece in your mind.
5. Let the script sound natural and conversational
Even if you won't be reading it yourself, write a script in such a way that the learners will feel as although the person behind the voice is an agreeable and approachable expert.
They need to be respectful, personable, and professional.
The script shouldn't condescend to your learners and try to keep the voice in the present tense and active.
6. Manage time
100 to 150 words takes about a minute to read aloud and about the same for your audience to read on-screen, so with this in mind, you will work out how many words you need to produce.
7. Always Do a Test Run
You may have spent many hours crafting your script to be airtight and erudite, but the written word can deceive you.
You need to actually hear your script being voiced before you can really tell whether it works and what needs to be improved.
If hiring a professional, ask for auditions to make sure your narrator of choice reads in a manner synergetic with the subject.
There is no shame in rehearsing, just consider it a necessary part of the process that lies halfway between quality control and fine-tuning the end product.
8. The sound of silence
Just like your script may be, the gaps between your nuggets of wisdom are as important while the nuggets themselves.
Learners also benefit from a break, in exactly the same way that diners do between courses. Learners need time to digest information and assimilate before they move on.
Don't feel compelled to cram every available second with narrative, since you risk overburdening the senses (and patience) of your audience.
Silence can also be used as punctuation, signaling to listeners it’s time to move on to the next piece of information, or else letting them know that you are giving them time to examine something on-screen.
9. The audio is there to aid learning
Remember, your e-learning voice-over is composed of elements that need to come together with none of them dominant.
When learners read information, the voice over will assist you to increase knowledge retention. It should work in partnership with text and visual elements rather than trying to dominate them.
Use the voice over to post questions, give examples, or offer anecdotes that illustrate a point.
10. Keep your soundscape clean.
Yet another reason to use a skilled voice talent with professional recording gear: background noise will stick out like a polka-dot bowtie in a military parade and will distract your audience.
Anything you can do to reduce the amount of audio clutter in your recording will help the final product no end, so dampen white noise from things like computer fans and air conditioners.
11. The Script
A learning video needs a script, just like a meal needs a recipe. The script is the map of what will occur; it charts the territory that the learner will probably explore and it presents it in a succession of discrete segments that build upon each other to take them from not knowing to knowing.
Even if the subject matter is bland, the script is there to spice it up as much as possible, to make it palatable, and to finally send the learner on their way with new information.
Getting the script right is very important, so below are a few pointers for doing just that.
Pointers To Making The Right Script
Make the script a conversationDictating facts will have all the interest of drying paint.Learners like to engage with a personality that they find appealing, that’s just human nature.So, your script should sound casual and include words like “we”, “you”, and “us” as it leads learners on a shared journey through all the information that you’re asking them to absorb.Check the flow as you go by reading aloud to yourself as you write it. If it feels warm and engaging to you, then it will to your audience.Say it with lessYour eLearning scripts should only contain as many words as necessary.It’s a fact that people absorb visuals much more quickly and with greater recall than audio.A picture really is worth 1000 words, so your few words need to give an overview or summary of the images on the screen (remember the modality principle?) rather than the other way around.Make a plan before you writeConsider your e-learning script from every angle using mind maps, brainstorming and storyboarding. Start with the ‘macro,’ the wide-angle overview of everything where you draw your plan on a big piece of paper with scruffy notes in connected bubbles; then work your way down to the ‘micro’ level, which is the close-up view.If you throw it all down at the start, you can then hack away the extraneous bits and then assemble your timeline.Having a final shape in mind for the script before you write it means that it’s much less likely to wander off and get lost.Simplify languageEvery industry has its own jargon.It’s a kind of shorthand that people learn to make their lives easier in the jobs they do, but don’t make the mistake of throwing jargon at learners who won’t be familiar with it.If you must use jargon, then use terms they are familiar with only if it truly aids the learning experience.If it’s possible to research your audience ahead of time, then do so.If you know your course is aimed at beginners, then perhaps jargon is something that you will need to teach.Paint word picturesAs noted earlier, the brain takes in images much more quickly than words.But if those words are used to create images in the mind, they can tap into that visual learning mechanism and be far more memorable.Edit, edit, rinse and repeatIt would be nice if your e-learning script was right the first time, but usually, they’re not.Chances are you will need to proofread, edit, and revise your script, although not necessarily on your own. Having someone else looks over what you’ve written often means that they will pick up on the mistakes you’ve missed through just being over-familiar with it. In the same way, you might find that putting it to one side and then coming back to it later throws up a few errors that you didn’t see before.Probably the best way to ensure that it’s perfect though is to hire a professional editor to comb it for errors and improve the flow.And error checking itself is important, as a professional voice-over artist will probably stumble over bad grammar and spelling.Format your script in a manner that is easily understood by the voice artist you work with and leaves no room for any doubt about pronunciation or style direction issues.
Traditionally film editing has 3 distinct phases. You cut the picture. Then you cut & mix the sound. Then you “finish” by cutting the negative or doing an online edit. Nowadays plenty of that work is combined. Sometimes your edit is in fact at full resolution, so online isn't strictly necessary. Sometimes your sound editing can be done with the same software you edited picture in, and by the same person.
But other times you will need the special expertise of an audio editor and the special tools that only specialized audio software like Pro Tools can offer. So today I am likely to talk specifically concerning the steps you must go through to get ready a film for hand-off to an audio editor.
Talk to your sound editor. Ask him what he wants. Do not be afraid to ask stupid questions. Maybe there is even a checklist he can provide you. Talk before, during, and after preparing these materials.Lock your goddamn picture! I can not stress this enough. You must have enough time in your schedule to finish editing the picture before you give it to the sound department. Peter Jackson can afford to do endless confirms, including editing the picture during the mix, but if you are reading over this, you can not. It may appear so easy to just make a few changes, but those little changes which can be so easy to make in your picture editing software ripple out into multiple hours for everyone down the line. Consider how a number of days of sound editing you have budgeted for and ask yourself if you would rather have your sound editor spend that time (which is already too little, you know) working on the sound or working on implementing the picture changes you are made. Also, sound editors don not like confirms. You are most likely not paying these folks enough as it is. Keep them happy.Break up your movie into reels. I  will be honest with you. This one is dying out. There are a lot of times where this just is unnecessary, but I will speak about it, anyway. A few of you could not remember this, but movies were once shot on giant strands of plastic and shown in theaters like that too. It turned out that putting an entire movie using one giant spool made it hard to move around, so they were broken on to 2000 foot reels (about 22 min). While your job no further includes renting a truck to deliver all of your editorial materials, you can still take advantage of the wisdom of the ancients. If for whatever reason your film is shown on film, you will be set up for it right from the start, but you will find actually the right technical reasons to work in reels. If you accomplish color correction in Apple's Color program, it has trouble with projects which have a lot of cuts. It will even help you get across the pesky OMF file size limits. And I find so it helps psychologically to say throughout the mix “Reel 1 is finished” as opposed to “We are 20 minutes into this 120-minute movie and we are already in overtime.”A few tips for breaking down into reels: Keep it under 22 minutes. Do not try to squeeze it right up to 22 either. Nothing wrong with going under 20. Often the first reel has to be shorter (1600 feet, 17 min 46 sec) to accommodate things like trailers.  Try to avoid having black at the head or tail of the reel (except for the head of the first or tail of the last) because projectionists might cut off the black bits if they are not paying close attention. The best place to end a reel is at the end of a scene that has quiet audio. If loud sounds carry over between the reels, there might be a problem. Probably a bit of a pop or click. Don’t let any music cross over the change. But these days pretty much anything goes, since the reel change during projection will be frame-accurate.Each reel starts at a different time-code. There are two different ways to do it. The more “filmy” convention is to start the first reel at 01:00:00:00, the second reel at 02:00:00:00, etc. The more videoish way is to start the first reel at 00:59:52:00, which puts the First.Countdown with a 2-beep at the head of each reel. Final Cut Pro comes with a great countdown. It is on the install disk in the Extras/Head Leaders for Cinema Tools folder. You can use the already-generated ones or open up the project and adjust it to your particular frame rate and resolution. I also recommend turning off the stupid flicker. The countdown includes 2 seconds of black after the “2.” Depending on the time-code style you are using, that means your First Frame of Action is at 01:00:08:00 or 01:00:00:00. The key thing here is that there is a one-frame beep at the “2.” Put this beep on every single audio track in your timeline. That way when your sound editor imports all the files you generate, he or she can tell right away that they are in sync because the beep happens on the same frame as the 2. If that does not happen, you know you have a problem. Of course, time-code makes this less necessary than it used to be, but it is a nice simple way that a human can tell things are working the way they should.It is an optional step for most workflows, but I also like to put a beep at the end of the reel. In the old days, you would actually use a hole-punch on the frame exactly 2 seconds after the Last Frame of Action, along with a one-frame beep on every track of audio. I put in a virtual hole punch by making a one-frame white circle. This lets you know if any tracks have drifted out of sync for some reason. It is unlikely to happen these days, but it does not hurt.Audio reference files. The QT you output will include a stereo reference track of the audio work you have done so far. Sometimes the sound editor will want the mix broken up into separate dialogue, effects, and music files. Just turn off the tracks you do not want and export the ones you do. Preparing these files can also help you organize your tracks better than the mess you have made during picture editing.All original audio files. Usually, the sound editor will want these. If you shot double system, you already have them ready to go, but if your audio came in with the video files, you will have an issue. The simplest way to generate this stuff is to select all your clips in a bin and do an audio-only batch export.Export OMFs. This is easy. FCP & Avid both have simple methods of generating OMFs. You will have the option of setting handle lengths. This is the amount of audio media you want to include in the OMF before and after each cut. It gives you flexibility in the sound editing to extend audio to cover up seams, or to find bits of room tone to fill in holes, or any number of little tricks that will make life easier. Make the handles big. A minute is good. More if you can stand it. One thing that will limit you is the archaic OMF standard which restricts the file size to 2GB; a number so large that people in the 90s could not even count that high. In FCP you can only export OMFs with embedded audio, so if you have 24-bit audio, big handles, and a lot of tracks, you will probably bump into this one, even if you are only working in 20-minute chunks. The easy way around this is to simply turn off a number of the tracks (using the green dot next to each track) until you get the file size below 2GB. Rename the exported OMF so it shows which tracks are in the file, then turn off those tracks and turn on the ones you had turned off and repeat. You might have to do over two OMFs. I recently had to export three or four OMFs per reel for a movie I was editing. If you are working on Avid you have more options. You can export an OMF that only references the media, so the file size limitation does not really come into play. Make sure you check with your sound editors before you do that, though. They might want embedded audio. Also, in Avid if you are working with certain media types you can only export AAFs. It is the same deal, but with no file size limitations. Once again, check with your sound editor to make sure you are generating the right file.Generate QuickTime reference files. You may work in 9K with 7:7:7 92-bit log color, but your sound editor will not be impressed by that. Your sound editor is getting by fine on a G4 and a 500GB hard drive. As always, deliver what is requested, but what is usually requested is an NTSC DV QuickTime file. You can probably get away with 23.98 if you are cutting with that frame-rate. There are a few things you can do to make things easier for everyone. Add a visual time-code track with the timeline's time-code. Do not make it too huge and put it in a letterboxed area if you have the option. In FCP you should get Andy’s Timecode Generator, which lets you add a generator to a video track rather than applying it as a filter to a nested sequence. It is definitely easier that way. Avid has that functionality built-in. If your footage does not already have source time-code burned in, apply a Timecode Reader filter in FCP to all your clips. Double-click it, set the size and location, select all, and then drag it onto the clips. This can be useful if your video TC matches your audio TC and you are looking for a particular piece of audio. It is not always necessary.Export in the format requested and include audio in the file.Audio EDLs. You may or may not need to make EDLs. Sometimes the sound department needs to replace the junky low-quality audio you were working with, although as always, this offline/online workflow is less common now than it was a few years ago. It depends on your workflow. As always, ask, ask, ask. FCP can export EDLs. With Avid, use EDL Manager.
Ok, now you are done. Put all this stuff on an external hard drive and get it to your sound editor. And remember that if you change the picture, you will have to do most of this all over again.
How Do You Start an Acting Career in a Small Town?
Do you reside in a small town and feel frustrated with the acting opportunities available to you? I hope the tips below will help you.
One question often asked is all about how to begin an acting career. Some questions asked come from young folks who are frustrated by the fact they are now living in a small town and can't seem to locate any opportunities within their area. Whether this is your case or not, if you're looking to begin an acting career will find these tips helpful.
Lookup casting offices in your area.Lookup talent agencies in your area.Check your Regional Theatre Directory or their policy on auditioning and for information about local and upcoming projects.Universities with film departments: Film students are needed to generate a certain quantity of film projects annually, and for those projects, they are always trying to find actors! Find advertising agencies that have clients who shoot on-camera commercials and commercial print ads.See if you have a SAG, AFTRA or Equity office in your area and see if they have a set of reputable talent agents in the area.Through your local courthouse or cultural affairs office, lookup your regional theatre directory.Check the arts and culture part of the local newspaper for theatres, shows, plays, and events in your area. Observe the venues where they take place and contact them for the information you desire.Contact local photographers to see if they have contacts for ad agencies, other actors, casting directors, agencies. Agencies and Casting directors often refer actors to certain headshot photographers.Look up your state's film commission. Usually, state film commissions have a set of upcoming film projects to be shot in that state.See if you will find any special editions of magazines and/or newspapers that have to do with theatre, film or acting in your area.Grab a copy of the Hollywood Reporter. Sometimes you will discover a set of film projects which are shot in various regions of the country.Try to find a set of Equity and Non-Equity theatres in your area. Go there and they should be able to give you a wealth of information about where you can go, to begin with, teachers, schools, etc.Lookup acting schools, acting teachers and acting coaches in your area.Lookup casting offices that cast for extras, even if they are in a huge city like New York or L.A. and subscribe with them. Ensure they have your headshot and resume and cover letter. But let them know where you are and where you live. If you are not in the big cities where lots of films and extra work have been shot, it is also crucial to let them know you'll want to tell them to call you when there is work to be had in an area you can easily get to.Remember that after building your resume, the more theatre work you have in your resume from reputable theatres, the more attention you will get from casting directors and agents.Lastly, you could also go and take classes with casting directors or agents if you'll find them. That is a great opportunity not only to meet up casting directors and agents but also to invest time in them.
How exactly to Convince Your Parents to Support Your Dream of Becoming an Actor
The more informed you are and the more intelligently you are able to talk, the higher your chances your parents will support you.
Do you know what it's like and what the issues actors face, what it's like to work on set, what your chances are of just getting work, how hard you'll have to work, how much you will have to invest of your time and energy to study, to do mailings, to write cover letters, to submit yourself for auditions, to prepare for auditions, prepare your monologues, bone up on your cold reading skills, take specialization classes, travel, etc? Do you know what the average earnings are of an actor these days? Do you know how many days on the average an actor works? Do you know why business skills are so important for the success of the average actor and do you have them? Do you know how to get an agent? Do you know what the main reason is that some actors get discovered? Are you aware of some scams that you need to watch out for? Do you know what it takes to become an actor and do you have what it takes?
They are many questions asked and


Instruction: Why

Response:
Because if you can start to answer those questions, maybe you could be more convincing. I understand you're young, but you have to get started sometime. Some teenagers have someone who is a grown-up and who supports them within their goals. If you don't, you can either keep butting heads with your parents or being afraid to approach the subject, or you can start to find out for yourself about this career path you want to embark on and show them that you are really serious.Quite simply, the more info you have, the more informed you are about what you say you want, the more you are able to speak about it intelligently and demonstrate that guess what happens you are talking about, the higher your likelihood of to be able to convince them to guide you. If they have just as much information as you do, then you are on an equal playing field. They are your parents. They are bigger. They are older. They win! At least until you're out of the house or until they no longer foot your bills!
Does doing your homework mean that you will get what you want ultimately? Does it mean that you will be one hundred percent guaranteed to obtain their support? Not necessarily. Your parents are certainly taking into consideration your best interests. But even though you don't get them to support you, you will know much more than you do now in regards to the profession you say you wish to pursue.
Given that you've decided you wish to become an actor, you're probably wondering how exactly to start breaking into showbiz.
You woke up this morning, gave a big stretch, and then decided you want to become an actor. But now what? First things first, to break into show business, whether you desire to model or actor, you have to do these exact things; start somewhere, gain experience, build credits, and make contacts with people who can allow you to network.
To start somewhere and get some acting experience, local community theatre and school theatre is a good spot to begin. Not only can you gain that valuable experience and learn what it's like working together with other actors, being directed, and performing for a crowd, you will also start earning credits for your resume, and you'll meet people with whom you are able to network. If jumping in feet first and performing before an audience is burdensome for you as well as terrifying, consider first taking classes on public speaking or get involved with Toastmasters. This is an organization geared to simply help people learn how to speak in front of large groups - an important skill for actors.
Then, if you're intent on acting, it's time to acquire a good set of headshots and start networking. Headshots really are a must for serious actors. Headshots are an actor's means of self-promotion and self submitting to projects and productions. To get noticed, to get discovered, or to just get on the map, an actor must network with industry members and sending out combination headshots/resumes could be the single easiest way to do so. Headshots can be sent right to casting directors, talent agents and talent agencies.  A headshot is an 8 x 10-inch photo along with your resume stapled to the trunk, text opposite from the trunk of the picture.
Don't work with ANY agent that produces you use their photographer, to be able to be represented. Don't work with anyone who pressures you into utilizing any of the services they could offer to be able to be represented. If a real estate agent wants a fee to represent you, change and walk out of the office. They will never enable you to get anything that makes it worth your while for what they charge.
Precisely, once you do get your headshots done, the best approach to go is by using a UNION FRANCHISED Agent. A union franchised talent agent can work with both union and non-union talent. AFTRA could be the union that works together TV - Commercials and TV Shows - basically shows in a videotaped format.
Watch out for agents that don't have real offices. The unions will not franchise anybody who works from home. An agency needs a professional office to be able to interview clients. Make sure the person you are working with as your potential agent is ethical.
The Complete Recording Studio Equipment List
Studios go through 4 KEY stages in their evolution:
Bedroom Studio–which is typically a small set up next to your bedside and is the absolute minimum you need to record sound into your computer.Dedicated Home Studio – which is typically a room in your house used solely for recording, that includes both studio furniture, and acoustic treatment.Semi-Pro Studio – which can be either at your home, or a different location, and typically includes the equipment necessary to record multiple musicians simultaneously.Pro Studio – which is typically located at a commercial facility, and includes whatever tools necessary to produce professional results in the most efficient way possible.
STAGE 1: The “Bedroom” Studio
While beginners always have that natural desire to want to learn everything, right away…The truth is…you really only need a few items to get started. And anything more will probably just confuse you. So if you don’t have a studio yet, a simple bedroom studio is the first milestone to aim for. And for a setup like this, you need the following 9 items:
ComputerDAWAudio InterfaceMicrophonesHeadphonesStudio MonitorsCablesMicrophone StandsPop Filter
Now let’s look at each one in more detail…
1. Computer
These days, since recording studios are almost ALL digital… The first thing you need is a computer. And while you can just use any old computer, at-first… You should eventually invest in the best one you can afford. Because today’s DAW’s can be hard on processing resources. And making full use of its features requires a blazing-fast computer. So when you’re ready to upgrade, here’s what I recommend:
The best Computer/Laptops for Music production in the recent past.
Typical Example:
Macbook Pro– (Amazon/B&H/GuitarC/MusiciansF)
2. Digital Audio Workstation (DAW)
The digital audio workstation is the primary software used to record, edit, and mix music on your computer. Originally designed to mimic look-and-feel of analog mixing boards from the pre-digital era…Their visual design has remained basically the same ever since.
Pro Tools, which has long been the most famous DAW, great for studios of all levels…but it is by no means the only option.
Depending on your budget and style of music, the best one for you could be any one of around 10 possible options.
3. Audio Interface.
Once you’ve got the software, the next thing you’ll need is an audio interface…
Which has the primary purpose of providing all the connections to send your music:
INTO the computer when recording, and…OUT the computer during playback.
Originally, this was pretty much all they did…
But today’s modern interfaces have evolved to incorporate many other features as well.  Those include:
digital conversionmic preampsDI boxesheadphone ampsmonitor management
In pro studios, each of these items normally exists as high-end stand-alone units, organized within a rack.
In-home studios though, these “all-in-one” budget interfaces can be a great way to save money, and still get exactly what you need.
4. Microphones
The oldest item on this list by far… Microphones have been around since long before recording studios ever existed. Yet ironically, in all those years, very little about them has changed. And many of the top models from a half-century ago are still among the industry standards of today.
That’s not to say that microphones are a simple topic, because it’s actually quite the opposite. Recording studios typically carry several-dozen mics or more…each one used to achieve:
a different sound.from different instrumentsin different situations
5. Headphones
Unlike most studio gear, headphones are one item that we’re all thoroughly familiar with. At least… that’s what most people assume. But truth is, while you may own a great pair of “consumer” headphones…For pro audio, there are 2 special types of studio headphones intended for 2 very specific tasks:
closed-back headphones.open-back headphones.
6. Studio Monitors
In the pro audio world, we call them either studio monitors or near-field monitors.
And while they might look similar to plain old speakers… THEY’RE NOT. Compared to consume speakers, which typically accentuate certain frequency bands to improve the listening experience for certain audiences… Studio monitors are designed with the opposite goal of providing perfectly FLAT frequency response, so engineers can hear a mix as it truly is, flaws and all…so they can adjust accordingly.
7. Cables
In a typical pro studio, you’re likely to find hundreds of cables…With dozens of connectors that you’ve probably never even heard of. And the time will come when you own more cables than you can count. The good news is…in the beginning, all you need is 3:
8. Microphone Stands
The same concept applies to microphone stands as with studio cables. Eventually, you’ll have many. But for now, all you need is 1 or 2. And while you might assume that all stands are the same… They come in many shapes and sizes, each designed for specific tasks
9. Pop Filter
Although pop filters are not “essential” to a bedroom studio… For some strange reason, all newbies seem to want one. And most probably don’t even know what they’re for. So let me explain… One peculiar fact about your mouth is that it expels a strong burst of air whenever you pronounce “p” or “b” sounds. In normal conversation, you don’t even notice it. But when singing into a microphone, that blast of air is heard as a low frequency “thump” known as popping, which is both unpleasant to the ears, and unacceptable on a recording. Pop filters are designed to solve this problem by catching the blast of air before it hits the diaphragm of the mic.
STAGE 2: The Dedicated Home Studio
After recording music in a simple bedroom studio for a few months… You’ll probably notice a few things that bug the crap out of you. Besides the fact that your workspace is extremely cramped… Your biggest problem is probably that all your music sounds like it was recorded…well…in a bedroom! And after doing some research to figure out what’s going wrong… You will undoubtedly conclude that you now need a dedicated room for your studio…Where you can cultivate both a creative environment that will improve your workflow and an acoustic environment that will allow your recordings to at least sound semi-decent. So when that time comes, here are the 8 KEY items you need:
Desk/WorkstationStudio ChairsBass TrapsAcoustic PanelsDiffusersReflection FiltersMonitor Isolation PadsStudio Monitor Stands
STAGE 3: The “Semi-Pro” Studio.