COMPETENCIA EN COMUNICACIÓN LINGÜÍSTICA EN EUSKARA

All voice actors are not created equal! Sorry, but that’s just the way it is. The world of voiceover is one of diverse talent, abilities, and sounds. Some people seem to master voiceover quickly and easily while others struggle for years to “break in.” You must begin with some basic talent. You simply have to have it—talent cannot be taught. If you didn’t have at least some level of talent, chances are you wouldn’t be reading this book, so I’ll assume that isn’t an issue. Once you’ve discovered your basic talent, the next step is to build upon it and nurture it as you develop performing and business skills. Learning the craft and business of voiceover is much like learning how to play a musical instrument. Some people are more adept at learning piano, while others choose to study flute, some will play string instruments, and still others have the ability to play a variety of instruments. Some dedicated musicians become virtuosos while others never advance their level of skill beyond the beginner stage. The simple truth is that some people simply have more talent for learning what it takes to play their chosen instrument. If

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© 2011 James R. Alburger. Published by Elsevier, Inc. All rights reserved. doi: 10.1016/B978-0-240-81211-3.50005-0

you’ve ever taken lessons to learn how to play guitar, piano, violin, oboe, or some other musical instrument, you have a good idea of what to expect as you begin your study of voiceover. If you have the basic talent, and you’re willing to dedicate yourself to mastering the necessary skills, there’s a very good chance that you’ll find your place in the voiceover orchestra.

In the context of an orchestra, each voice actor has a seat—and not everyone can be section leader. Each section of an orchestra consists of several musicians seated according to their skill level and expertise. A musical composition is broken down into several parts for each section. For example the first violin part may be played by several musicians and will usually carry the melody and be technically demanding. The second violin part, also played by several musicians, will be less demanding, but still critical to the overall composition. The third and successive parts are progressively less demanding, but all are essential parts of the whole. The violinist seated to the conductor’s left is also known as the Concertmaster and is second in command after the orchestra conductor. This individual has earned their position through constant study and a demonstration of a high level of expertise with their instrument.

Do you know where you sit in the voiceover orchestra? Do you know which part you play? Do you know your level of expertise at playing your instrument? Do you even know what instrument you play?

If you’re reading this book to learn what voiceover is all about and how to get started, your answers to the above questions are most likely all “no.” And that’s OK. By the time you finish this book you should be in a much better position to answer these questions with a resounding “yes.”

At this point you should be aware that your instrument is your voice. But there’s more to it! Just as every musician in an orchestra plays an instrument, every voice actor uses their voice. In an orchestra some instruments have a deep, resonant, low tone (string bass, cello, bassoon, and tuba), while other instruments have a high, clear tone (piccolo, flute, trumpet, and percussion bells). Other instruments have a raspy, edgy tone (violin, clarinet, and saxophone), or a percussive, harsh attack (piano, harpsichord, percussion). Even within sections of the orchestra there are a variety of instruments that are of the same basic design, yet exhibit a uniquely different tone:

• Brass: trombone, trumpet, French horn, tuba

• String: violin, viola, cello, upright bass, guitar, piano • Wind: flute, piccolo, clarinet, oboe, bassoon, saxophone • Percussion: xylophone, tympani, drums, cymbals, bells

Voice actors are no different than the instruments in an orchestra. As you study this craft you’ll begin to discover things about your instrument. Do you have a smooth, mellow, clear tone like a trumpet? Do you have a voice that is high pitched, or as a friend of ours says: “baritone challenged,” like a piccolo? Or perhaps you will discover that your voice is deep and resonant with limited range, like a bassoon.

Your determination of the tonality and texture of your voice is a very important discovery because it will ultimately guide you through your study of this craft. If you have a voice with deep “golden tones” you’ll find it a challenge to perform a script written for a high pitched, fast-talking character voice. By the same token, if your vocal tone resides in the mid- range, you may find it difficult to work at either extreme without sounding artificial and unreal. All music uses the same written notes, just like all voiceover copy uses the same words. Although you might hear a tuba solo, you’ll never hear a tuba trying to sound like a flute.

There is still one instrument I haven’t mentioned yet, and you may discover that this is where you fit in the voiceover orchestra. That instrument is the digital MIDI keyboard. Press a button on this keyboard and you have a string section. Press a different button and you’re playing a piano. Press yet another button and it’s now a trumpet. The possibilities are endless.

Many voice actors specialize in mastering the skills for performing within the primary range and tone of their voice. They become the best violin, trumpet, or bassoon they can be, with an ability to convey the subtlest nuance through their performance.

Most voice actors who work in animation or video games fall in the digital keyboard category. Through their years of study, they have mastered the ability to create a wide range of very real and believable voices on demand.

What instrument do you play? Are you a highly proficient first violinist capable of playing complex melodies at ease? Or are you a third trombone, able to get all the notes right, but still learning how to master the nuance of your instrument? Maybe, just maybe, you’re a digital keyboard with the ability to create radically diverse voices with different tonalities and textures, all of which sound completely authentic. The only way you’ll know is to discover your unique talent, study performing techniques, and experiment to learn what works best for you.

The beauty of both music and voiceover is that the performance is not dependent on what’s on the paper. The performance is the end result of how the performer plays their instrument.