ABC Read: 3 slightly different interpretations in delivery of the same line or lines.

Account: An advertiser, also referred to as a client.

Account executive: The person at the ad agency who serves as a liaison between the agency and the client.

ADR: Automated Dialogue Replacement in a film. A process where actors replace dialogue in a film or video. ADR or automated dialog replacement is simply the recording of dialog for a previously shot scene in television or film. ADR recording generally occurs in a professional studio setting during post production. Although originally ADR referred only to post-production dialog recorded to replace original dialog in a scene, it is now widely used for all dubbing, including previously unrecorded multi-language tracks and background conversations added in post production. ADR may or may not be provided by the original actors seen in the live action images.

Automated dialogue replacement or Additional dialogue recording (ADR) is a film sound technique involving the re-recording of dialogue after photography, also known as “looping” or a looping session.[1] In the UK it is called post-synchronization or post-sync. ADR is recorded during an ADR session. An actor, usually the original actor on set, is called to a sound studio equipped with video playback equipment and sound playback and recording equipment. The actor wears headphones and is shown the line of the film that must be replaced, and often he or she will be played the production sound recording. The film is then projected several times, and the actor attempts to re-perform the line while watching the image on the screen, while an ADR Recordist records the performances. Several takes are made, and based on the quality of the performance and sync, one is selected and edited by an ADR Editor for use in the film.

Ad copy: The script for a commercial (often including specifications for the delivery and the time code.

Ad lib: A spontaneous spoken addition or alteration to a written script. Ad lib from the Latin phrase ad libitum, meaning at one’s pleasure, is something improvised in speech, a spontaneous spoken addition or revision to the written script. Though some jobs may require improvisation, especially character work, always ask if ad libbing in a session is welcome.

Adjustment: Guidance given by the director to redirect the actor’s performance. Also, a modification an actor makes in the playing of the material.

Agent: A person or group of people who represent talent, and arrange for an actor to audition for casting directors and producers.

AI: AI, or Artificial Intelligence, is often used for text-to-speech voice generation, creating a seamless audio experience.

Air: Also known as airtime, it’s the media time slotted for a commercial, hence on the air.

Air check: A recorded portion of a radio program for demonstration purposes. An air check is any recording of a broadcast radio program. Air checks are generally used for archiving or as a demonstration (demo) for on-air talent. Often these recordings are ‘telescoped’ or ‘scoped’ as it is commonly referred to, meaning that music and promotional elements are skipped over in favor of just the air talent’s portion of the program.

Ambience: The continuous SFX/sound design behind voice-over suggesting the monologue or dialogue in a specific setting, like a hospital, restaurant, retail store, gas station, etc.

Analog: The old way of processing and recording sound on tape. An information form that is represented by a continuous and smoothly varying amplitude or frequency changes over a certain range such as voice or music.

Animatic: A rough version of a TV spot, usually with storyboard images set to music and voice-over (scratch track), for client presentation of an ad concept.

Announcement: A commercial or non-commercial message. Also referred to as a spot.

Announcer: The role assigned to a voice-actor that usually has non-character copy. Abbreviated as AVO, ANN, ANNC or ANCR on scripts. This insinuates a more polished read, compared to a “conversational/real person”delivery.

Announcery: Referring to the melodramatic performance style characteristic of announcers from the early broadcast era.

Arc: Even a 30-second commercial, has a beginning, middle, and end—a storyline. The arc refers to the voice actor’s interpretation of the emotional stages that accompany the storyline.

Articulation: Clear enunciation. Articulation is the clear and precise pronunciation of words. It is an essential aspect of voice-over performance, as clarity of speech ensures that the message is easily understood by the audience.

Attitude: How the character feels about a certain product, or how an actor comes across in general.

Audio: Transmission, reception or reproduction of sound.

Audiobook: An audio book is a recording of the contents of a book read aloud. It is usually distributed on CDs, or digital formats. Unabridged audio books are word for word readings of a book, while abridged audio books have text edited out by the abridger. Audio books also come as fully dramatized versions of the printed book, sometimes calling upon a complete cast, music and sound effects.

Audition: A non-paying, trial performance for voice talent where voice-over copy is read. Sample is recorded by the  actor in a home studio (or rarely, in person, if it is a major job and in a major city, i.e. NYC or LA.) Used in casting processes to demonstrate the performer’s talent and ability. It is considered to be the job interview for the performer.

Availability: This term refers to the specific times when a voice actor is open and available for a recording session. Producers or advertisers may inquire about an actor’s availability through their agent to schedule sessions accordingly.

Back bed: The instrumental end of a jingle, usually reserved for location, phone numbers, legal disclaimers, or any other information the advertiser needs to add.

Background: Known also as background noise, it’s what’s placed behind the voice-over. Mainly music or sound effects.

Balls: A deep, resonant sound.

Bandwidth: Also seen as BPS, it is the most common measurement for data transmission. It indicates the number of bits that can be transferred to or from a communications device in one second.

Beat: Within a script, a beat, usually shown with parenthesis (beat), is equivalent to a pause, a moment of silence, often denoting a comic moment or a shift in emotional intent. An internal thought that causes the speaker to pause before continuing to speak.

Bed or Music Bed: The music or SFX behind or under a voice actor’s/ announcer’s voice.

Billboard or Billboarding: The emphasis given to a certain word or phrase in a script. Usually, dealing with the client name and/or product. To highlight a specific word or phrase within the script while staying within the tone of the overall performance.

Bleed: Noise from the headphones being picked up by the microphone or from other ambient sources, like other tracks.

Board: The audio console from which the engineer operates. The audio engineer has faders that adjust the volume and mix the various elements in a Radio spot. Also known as a console.

Booking: Booked, Book, or Booking, a term applying to the status of job auditioned for. A decision and commitment on the advertiser’s part to hire you for a session. The client calls the actor or actor’s agent to book an actor for a job. Your agent would say, You have a booking at 1PM tomorrow. ‘I am booked’, e.g. ‘I am hired for the voiceover job.’

Boom: An overhead mic stand.

Booth: An enclosed, soundproofed room where voice talent work from.

Branching: Recording one part of a sentence with variables within that sentence as a means of customizing a response. Often recorded for multimedia games and voice mail systems. Also known as concatenation.

Break up: When vocal audio becomes distorted and unstable, usually caused by equipment problems or telephone line/satellite interference.

Breath Control: is about using your diaphragm to fill your lungs with air and then gradually releasing it. Breath control exercises help you improve your lung capacity and allow you to read long passages or portions of script without losing volume or running out of breath. But you can’t do this without proper breath support.

Breath Support:  Optimal breath support comes from a consistent, expanded engagement of the abdominals, pelvic floor, and lower back muscles. It’s called breath support because it’s about using and working these groups of muscles to support the stability of the diaphragm by helping it stay low and move up slowly.

Broadcast or Broadcasting: Meaning 1:  When a script is meant for broadcast, it means that it will be aired on Network and cable TV and/or terrestrial radio. It must take into account broadcast rules such as ad buy time limits and audience engagement.

Meaning 2: Is the distribution of audio and/or video signals, which transmit programs to an audience. The audience may be the general public or a relatively large sub-audience, such as children or young adults. There is a wide variety of broadcasting systems, all of which have different capabilities. The smallest broadcasting systems are institutional public address systems, which transmit spoken messages and music within, for example, a school or hospital, and low-powered radio or television stations transmitting programs to a small local area.

Broadcast License: A broadcast license allows you  to use the voice over for an advertisement. The licenses are based on the medium you are running the ad (i.e. radio, television, online), the region it will be run in and the length of time the ad will run for.

Bump: Either to remove a person from a casting list, or as an additional amount of studio time (and money) in a session. Also known as a bumper.

Butt-cut: When sound files are placed together tightly, particularly for a V-O demo.

Button: A single scripted or improvised word, phrase or sentence at the end of a spot that clinches the commercial without introducing additional copy points. See “sting”.

Buy: As in That’s a buy. Also known as a keeper. It’s the take the client selects as the best. Buy also refers to the amount of money spent on the media time for a commercial spot or campaign.

Buy-out: A one-time fee paid for voice-over services on a commercial, narration,video game, cartoon, or film. A buy-out is a one-time payment made to the voice actor to purchase all rights to their recorded voice on a commercial, narration,video game, cartoon, or film. This means the client can use the voice-over recording indefinitely without any additional fees. Common, but not encouraged, in many non-union situations such as industrials, dubbing, looping and A.D.R. work.

Byte: A unit of memory size, of information storage, most often consisting of eight bits.

Call-back: A second shot at an audition. One step closer to booking the spot.

Call letters: The letters assigned to a Radio station by the FCC. Stations east of the Mississippi River have call letters starting with W, while stations that are west of the Mississippi have names starting with K.

Call time: The time scheduled for a booked job.

Cans: Another word for headphones.

Casting: Casting (or casting call) is a vital pre-production process for selecting actors for a recorded performance. It involves the reviewing of auditions by a casting director, producer and/or director.

Cattle call: An audition where hundreds of people try out for a part on a first-come-first-served basis.

Character: The person an actor is cast as in a spot.

Class A: National network commercial usage.

Clipping (or Peaking):  Another word for distorting. “Clipping” is usually used when a channel on a DAW or mixing board has too much volume being sent into it. In general, you want to give a channel enough headroom so that clipping doesn’t occur.

Cold read: An audition where an actor is given little or no time to rehearse.

Color: Subtle speech nuances that give texture and shading to words to make them interesting and meaningful.

Commercial: Also referred to as a spot, it is a pre-recorded ad which is meant for broadcasting (TV, radio, digital) a product or service. Sometimes abbreviated as COMML.

Compression: Compression, in audio recording, acts as a controlling device for the dynamics of the voice. Loud words are softer, and soft sounds are louder so they’re more audible. Overall, there’s an increase in perceived loudness.

Conflict: Doing two commercials for the same kind of product. An agent will clarify with the client whether doing a specific spot would put an actor in conflict.

Console: A large desk-like piece of equipment where the audio engineer monitors, records and mixes a voice-over session.

Control room: Where the engineer and producer (and many times, the client) are located. This is usually a separate room from the booth.

Conversational read: A direction often followed by “non-announcery” and meaning to speak naturally, as in everyday conversation—without fanfare or embellishment.

Copy: Also known as the script. It’s the text of a spot. The copy, also known as the script, is the text to be read by the voice over talent. More commonly, it refers to the script for a commercial voice over for radio or television.

Copy points: The specific benefits of a product or service, often written as a list (or lists), are placed throughout the script by the copywriter. The copy points are generally the branding terms or unique features of a product or service to be emphasized in a script for commercial voice over. Although copy points are generally chosen by the client or copywriter, a voiceover talent needs to be able to spot copy points in the script and may sometimes need to use his or her discretion on the level of emphasis for each copy point to provide the desired delivery. A client may request a natural delivery, but too many copy points can make it difficult to deliver a script in a natural or conversational way. Conversely, too few or no copy points, if they can be completely absent, can flatten the delivery and render the message indefinite or uncommunicative.

Corporate Presentation: It is a recorded presentation meant to be shown in-house for a company, not to be broadcast, and normally used to present compliance, tutorials, innovative ideas, reports, or statuses to the clients, or the company employees themselves.

Creative Director: The person responsible for creating a casting for a voice project and sending final selects to the client. Alternatively, a CD is also a person at an ad agency responsible for the work of all the other creatives.

Cross talk: In a live ensemble recording session, when copy spoken into one actor’s microphone is picked up by another mic. The sound is said to spill over or bleed into the other actor’s mic.

Cue: An electronic or physical signal given to an actor to begin performing.

Cue up: Matching to time and speed, lining up an actor’s voice to the visuals or music.

Custom Demo: Is a personalized demo created using a specific script that allows the person who requested it to hear something in particular that facilitates the decision of choosing the most appropriate voice for a project.

Cut: A specific segment of the voice-over recording, usually referred to during editing.

Cut and paste: The act of assembling different takes into a composite, edited whole.

Cutting through: When a voice slices through, or doesn’t get drowned out by music and sound effects, or, in the case of POP (point of purchase) natural room tone.

DAW: A Digital Audio Workstation, commonly referred to as a DAW, is an audio production software or platform designed for the recording, editing, mixing, and mastering of digital audio files.

Dead air: When a voice-over pause is too long. Or, time during a radio broadcast when there is no sound and no one is talking.

Decibel: A unit for measuring the intensity of sound. 0 would be no sound, 130 would cause acute aural pain.

De-esser: An option available on most recording software used to remove excess sibilance.

Demo (VO demo): A demonstration of an actor’s voice talent in a specific genre (commercial, narration, character, promo, etc.). A 3-D calling card, representing the actor when they cannot be present, and often used by a talent agent to show a client the talent on their roster. A demo can also be a format used by ad agencies to present an idea to a client, where an actor is paid a demo rate to perform a demo session. These demos are usually not broadcast, but if they are accepted as is, the demo is upgraded to a session fee.

Demographics: The components that describe the target audience. This is done by age, sex, income, education, etc.

Dialogue: A script calling for two people talking to each other.

Digital recording: A process where sound is converted into numbers and stored on a computer or the cloud.

Director: The person responsible for giving an actor voice-over direction in an audition, session or class.

Distortion: Fuzziness in the sound quality of a recorded piece.

Donut: A section of a spot that will usually feature another voice, usually an announcer. Many times it’s the section of a jingle that showcases an announcement.

Double: A term for a two-person spot, or dialogue.

Drive time: The most frequently listened to times on the Radio. Morning drive refers to the hours between 6AM and 10AM, evening drive refers to the slot between 3PM and 7PM.

Drop off: Not ending strong at the end of a word or phrase.

Drop out: A minute moment of silence inside a recorded word or phrase.

Dry mouth: A condition where your mouth has little or no saliva.

Dry Read: A narrative read of any length that usually contains the voice of one person and is delivered by some means other than ISDN. Typically the file is recorded, edited and delivered as a Mono file. No musical bed or background sound effects are added. A dry read can also refer to a style of reading presenting factual information without frills.

Dub: Also called a dupe (as in duplicate), it’s a copy of a spot. The verb to dub, or dubbing is the process of transferring recorded material from one source to another.

Dubbing: is the process of recording or replacing voices for a motion picture or tV show.. The term is most commonly used in reference to voices recorded that do not belong to the original actors and speak in a different language than the actor is speaking. “Dubbing” can also be used to describe the process of re-recording lines by the actor who originally spoke them. This process is technically known as automated dialogue replacement or ADR. This dubbing is the process of dialogue replacement in a foreign film, as in dubbing a French voice into English.

Earphones: Also known as cans, headphones or headsets. Worn during the session to hear your own voice as well as cues and directions from the engineer or producer. Also used to converse with the client during a Source Connect, Zoom, or phone-patch session.

Echo: A repetition of sound.

Editing: The removal, addition or re-arrangement of recorded material. Voice elements can be spread apart, slowed down, speeded up, clipped, eliminated, etc. to achieve the final take.

EFX: Effects. Another term for SFX.

Ellipsis: Three periods in a row that usually signify a pause or change in intention.

End Card: Often seen at the end of a commercial script, this denotes the words that come up on the screen before the end of the commercial. The voice actor is not meant to say these words unless it specifically states: End Card/VO. Other terms for an end card are: Title or Super Title or Super.

Engineer: The person who operates the audio equipment during the voice-over session.

Equalization: Also known as EQ, it is used to stress certain frequencies, which can alter the sound of a voice.

Eye-brain-mouth coordination: What every good voice actor has to have. It is the ability to lift the words off a page effortlessly, without omitting, adding or stumbling.

FCC: The Federal Communications Commission. Created in 1944 to regulate all interstate and foreign communications by Radio and TV.

FTP: Aka: File Transfer Protocol, method or protocol by which data is sent to public folder that can be accessed from two computers on the Internet.

Fade: To increase or decrease the volume of sound.

Fade in/fade out: When you turn your head away from the mic or towards it. Also for voice recording when you fade your recording on your DAW.

False start: Situation where a talent makes a mistake within the first line or two of copy. The take is usually stopped and sometimes re-slated.

Feedback: A distorted, high pitched sound, usually emanating from headphones or speakers. Many times caused by problems with the console or headphones getting too close to the microphone.

File Splitting: File splitting involves dividing a single audio file into multiple distinct files, facilitating more manageable editing and post-production processes. Voice actors are encouraged to charge for this service, as it is time consuming.

Filter: What engineers put on a mic to make an actor sound clearer. A filter, in sound engineering, is a tool used to enhance vocal clarity by isolating certain frequencies and reducing or eliminating others.

Fish-bowl effect: When the actor in the booth cannot hear what the engineer or producer is saying, or vice-versa.

Fluctuation: How often a voice goes up or down, also known as inflection.

Foley: Also known in the business as a Foley Stage, this is a special sound stage used for source sound effects. Used to record up-close sound effects for film or video, where the Foley artists match sound with picture, such as walking, running, doors opening or closing, glass breaking, shots firing, etc.

Franchised: Term applied to talent agents who adopt SAG/AFTRA guidelines.

Front bed: The opposite of the back bed, where the announce is at the beginning of a jingle.

Gain: The volume of a voice, or a fader on the console.

Gig: A job. A sig gig is a union job.

Gobos: Portable partitions positioned around the actor to absorb or reflect sound, or to isolate the actor from another on-mic actor.

Good pipes: Description of a talent with vocal strength, authority and resonance.

Go up for: To audition or to be considered for a job. “I’m up for a Ford national,” means that an actor is in contention for a national network commercial for Ford.

Hard sell: Approach used for high volume retail clients. One producer refers to hard sell as: I’ll stop shouting when you start buying!

Harmonizer: Also referred to as a Munchkiniser, it’s a piece of equipment designed to change the pitch of the voice, usually upward.

Headset: A set of headphones. See cans.

High speed dub: A copy of a CD made at several times normal speed.

Highs: The high frequency sound of a voice.

Hold: When a potential client likes an audition enough to hold some of an actor’s time for a possible booking–a step before the booking. Usually the client is deciding between a couple of voice-acting candidates and wants to cover their bets.

Holding fee: The money an actor receives if the client wants to hold a spot for airing at a later date.

Home recording: Means recording at home rather than in a professional studio. It has become the default method for recording, due to the increase of affordable digital and analog recording equipment. One can have one’s own semi-professional recording studio, depending on the quality and extent of their equipment, in the comfort of one’s own home as opposed to paying a larger studio by the hour for their services.To process home recording, the minimal setup requires an audio interface, microphone, sound baffling or soundproofing materials, and recording software. Many manufacturers support audio devices for any kind of want, e.g. special devices for recording vocals or guitars.

Home Studio: A small, personal recording studio. Independent voiceover artists use their own home studios on a regular basis, both for personal and commercial recording. Most voiceover artists implement “live-record” software into their studios, to facilitate real-time remote recording of broadcast-quality audio.

Hook: Starting out on a high note on the first word of a spot to grab attention and immediately dipping down. Also used to describe the chorus section of a song.

Hot: Term used to describe a mic that’s on; also, if a voice recording level is bleeding into the red or distorted area of the spectrum.

House demo: An agency’s demo, the condensed version (each actor has only a one minute demo) of their roster of male and female talent.

In-house: A production produced for the client in the client’s own facilities.

In the can: A phrase connoting that a part of the copy or the entire spot is acceptable and done.

Inflection: The raising or lowering of voice pitch, a way of reinforcing the meaning of a word by changing the way it is said. See also fluctuation. The indication of a specific meaning by emphasizing a higher or lower pitch as you end a word or phrase.

In Perpetuity: When a performer is asked to agree to a lower than average fee and give away their rights in perpetuity (forever). This is simple exploitation—an attack on a talent’s rights.

If a client owns the right of usage “in perpetuity,” they can use the voice-over wherever, whenever, and for however long they like. Not just for the project they originally purchased it for, but also to reuse it for a future radio commercial, or a national TV commercial! Unlikely perhaps, but possible. And that would be both unfair and unjustifiable.

ISDN: ‘ISDN’ is an acronym for ‘Integrated Services Digital Network’. Integrated Services Digital Network is a telephone system network. The key feature of the ISDN is that it integrates speech and data on the same lines, adding features that are not available in regular telephone systems.  Special high-quality lines allow voice recording to be digitally transmitted from one recording facility to another. For many years, ISDN was the gold standard for live directed sessions, but it was quite costly. And while still available, many new platforms that are much cheaper have arisen to take over “top seed”; most popularly, Source Connect, and ipDTL.

ipDTL: In its simplest form, ipDTL connects one computer to another, giving 2-way audio between web browsers, using the wideband low delay Opus codec, creating broadcast quality audio.SIP is the protocol for connecting between studios, which has replaced ISDN. ipDTL includes SIP calling as standard.

IVR: In telephony, interactive voice response, or IVR, is a phone technology that allows a computer to detect voice and touch tones using a normal phone call. The IVR system can respond with pre-recorded or dynamically generated audio to further direct callers on how to proceed. IVR systems can be used to control almost any function where the interface can be broken down into a series of simple menu choices. Once constructed IVR systems generally scale well to handle large call volumes.

Jack: Socket connector made for the insertion of a plug, commonly used for audio devices, such as, connecting your headphones to your audio equipment.

Jitter: Applied to VoIP is a variation in packet transit delay. The causes of jitter are typically queuing, contention and serialization effects on the path through the network. i.e. many websites opened at once. Faster, higher bandwidth networks tend to have less jitter whereas slower networks tend to have more congestion and more jitter.

Jingle: A musical commercial.

KBPS: aka. kilobit (or byte) per second (kbps) is a unit of data transfer rate equal to 1,000 bits per second.

LAN: Local area network, computer network covering a small geographic area, like a home, office, or group of buildings e.g. a school. The defining characteristics of LANs include their much higher data-transfer rates, smaller geographic range, and lack of a need for leased telecommunication lines.

Laundry list: A string of copy points–adjectives or prices and items in the copy. Sometimes a list of benefits of the product or service. The object for the talent is to read them with various emphasis so they don’t sound like a list.

Lay it down: Another phrase meaning, “let’s record.”

Lay out: Don’t speak, as in Lay out while the music plays in this section.

Level: To set a voice at the optimal point. When the engineer says, Let’s get a level, the actor will start reading the copy at the level they’ll be speaking throughout the spot. This is required to calibrate the overall equipment sound levels prior to recording.

Library music: Pre-recorded music that producers use when the budget doesn’t allow original music. Each piece of music requires a fee to be paid, usually on an annual basis.

Lines: The copy that’s read by the voice talent. To run lines is to rehearse a dialogue with another actor.

Line Cue: The last portion of the last line before your cue begins.

Line level: Term used to denote the strength of an audio signal used to transmit analog sound information between audio components such as audio amplifiers and mixing consoles.

Line reading: When a producer explains to a voice talent how they want a line read by reading it themselves.

Live mic: The mic is on and can pick up everything said in the booth. That means everyone in the control room. See hot.

Live tag: The copy delivered at the end of a spot, usually by a staff announcer at the Radio station.

Local: Refers to the union in a particular locale. Usually accompanied by a number, i.e., AFTRA Local 47.

Looping: The older technology of recording background sound effects and noises for TV or film. Done in post-production after the show is recorded. A type of voiceover by which a group of individual voice actors record the audio of a scene in a movie or TV show. The talents watch a previously recorded video, and are assigned to a person or group of people, and must mimic or record whenever the person on screen talks.

Lows: The low frequency of a voice.

Major markets: Refers to the Big Three: New York, Chicago and Los Angeles. These markets pay the most in voice-over work.

Marking copy: Placing different marks above, below, around, in between and circling words on a script. Best done in pencil, because direction or emphasis may change.

Master: The original recording that all dubs are made from.

Mic: A common form of the word mike, as in microphone. A microphone, sometimes referred to as a mike or mic, is an acoustic-to-electric transducer or sensor that converts sound into an electrical signal.

Microphone Preamp: (Microphone pre-amplifier) device used to amplify the voltage taken from a microphone to a higher, more usable level. Most microphones must be used in conjunction with a microphone preamp to function properly.

Milking: Stretching words out and giving them as much emphasis as possible, as in Milk it.

Mix: The blending of voice, sound effects, music, etc. Final mix usually refers to the finished product.

Mixing Board: An electronic device for combining (“mixing”), routing, and changing the level, timbre and/or dynamics of audio signals. A mixer can mix analog or digital signals, depending on the type of mixer. The modified signals (voltages or digital samples) are summed to produce the combined output signals.

Modulation: The process of varying a periodic waveform, i.e. a tone, in order to use that signal to convey a message, in a similar fashion as a musician may modulate the tone from a musical instrument by varying its volume, timing and pitch. Normally a high-frequency sinusoidal waveform is used as carrier signal. The three key parameters of a sine wave are its amplitude (“volume”), its phase (“timing”) and its frequency (“pitch”), all of which can be modified in accordance with a low frequency information signal to obtain the modulated signal.

Moment Before: A motivational cue that gives the actor (character) a reason to speak.

Monitors: The loudspeakers in the control room.

Monologue: One-person copy. Also referred to as a single.

Mouth noise: The clicks and pops a microphone picks up from a dry or wet mouth.

MP3: The name of the file extension and also the name of the type of file for MPEG, audio layer 3. Layer 3 is one of three coding schemes (layer 1, layer 2 and layer 3) for the compression of audio signals. Layer 3 uses perceptual audio coding and psycho acoustic compression to remove all superfluous information (more specifically, the redundant and irrelevant parts of a sound signal. The stuff the human ear doesn’t hear anyway. The result in real terms is layer 3 shrinks the original sound data (with a bit rate of 1411.2 kilobits per one second of stereo music) by a factor of 12 (down to 128-192kbps) without sacrificing sound quality.

Multiple: Refers to script with three or more characters in it.

Multitrack: A machine capable of recording and replaying several different tracks at the same time.

Music bed: The soundtrack that will be placed behind the copy, or mixed in with it.

Narrator: A narrator is, within any story (literary work, movie, play, verbal account, etc.), an entity that tells the story to the audience. It is one of three entities responsible for story-telling of any kind. The others are the author and the audience (usually called the “reader,” when referring specifically to literature). The author and the audience both inhabit the real world. It is the author’s function to create the universe, people, and events within the story. It is the audience’s function to understand and interpret the story. The narrator exists within the world of the story (and only there—although in non-fiction the narrator and the author can share the same persona, since the real world and the world of the story may be the same) and present it in a way the audience can comprehend.

Niche Market: A focused portion of a market.

A business that focuses on a niche market is addressing a need for a product or service that is not being addressed by mainstream providers. A niche market may be thought of as a narrowly defined group of potential customers.

A distinct niche market usually evolves when a potential demand for a product or service is not met by any supply, or when a new demand arises due to changes in society, technology, or the general environment.

Niche market ventures may become profitable even though they are by nature small in comparison to the mainstream marketplace, due to the benefits of specialization and focus on small identifiable market segments; even without the benefit of economy of scale. Niche markets may be ignored or discounted by large businesses due to what they consider to be small potential; this in turn is part of the process that makes the niche market available to smaller businesses. The key to capitalizing on a niche market is to find or develop a market niche that has customers who are accessible, that is growing fast enough, and that is not owned by one established vendor already.

Non-union: A voice-over job that is not paid through the union. A non-union shop is one that is not a signatory to SAG/AFTRA.

Normalization: Raising (or in some cases lowering) the volume of your entire recording by a specified number of decibels.

Off-camera: A part where an actor supplies only their voice to a TV spot or video presentation.

OLV: Short for Online Video

On mic/off mic: Either speaking or not speaking directly into the microphone. An actor is always on mic when recording, unless shouting, and then turns his head slightly to speak off mic.

Outtake: A previous take that hasn’t been approved and accepted.

Overlapping: When an actor starts his or her line a moment before another actor finishes theirs.

Over scale: Any amount paid over the minimum wage set by SAG/AFTRA.

Over-the-top: Direction that makes the copy sound larger than life, requiring the actor to overact.

Pace: The speed at which an actor reads copy.

Paper noise: Sound that the mic picks up as you move your script. Set it on the mic stand and leave it alone. If you have two pieces of copy and no stand, hold one page in each hand. If you have more than two pages, you may stop, place the next page in front of you, and continue. The engineer will accommodate you, as they don’t want to have to edit out paper noise.

Patch: To make an electrical/digital connection for recording and/or broadcast. Also referred to as a phone patch.

Paymaster: A payroll service that handles talent payments for the producer.

Phasing: When sound reflects or bounces off certain surfaces and causes a weird, disjointed effect in the recording.

Phonemes: The small units of sound used to make words.

Phones: A short word for headphones.

Pick-up: Re-recording a section of copy at a certain point. 90% of your read may be in the can, but there may be a phrase, sentence or paragraph that the director feels could be done a bit better, clearer, faster, slower, etc. The director tells you exactly where they want you to pick-up your line(s), where to start from and where to end at. Read a sentence or phrase before the pick-up starting point, as well as the ending point. This is done to help the engineer better edit the pick-up, matching phrasing and levels, and/or to remedy a vocal flub or technical glitch. Also to create alternate choices.

Pick-up session: An additional session to complete the original. There may be copy changes or character changes in a spot before it finally airs. This is usually due to the client changing their mind before they commit the spot to air.

Pitch: The vocal level at which a person speaks.

Placement: Where the mic is positioned when an actor is reading.

Playback: Listening to what has just been recorded.

Plosive: Any consonant or combination of consonants that causes a popping sound.

Plus ten: Refers to the contractual agreement in which the producer agrees to add an additional 10% to the actor’s payment for the agent’s commission.

Point of Purchase (POP): is a term used by marketers and retailers when planning the placement of consumer products, such as product displays. Often, voice over will be added to this product placement to attract more attention.

Pop or Popping: When voice sounds are registering too hard into the mic. Usually caused by plosives.

A plosive speech sound caused by a sudden burst of air into the microphone, most notably on words beginning with P but frequently occurring with T, K, D, G, and B.

Pop filter: A foam cover enveloping the mic or a nylon windscreen in front of the mic. Mitigates popping. Also known as a pop stopper. Aka: Gooseneck… A small piece of fabric placed in front of a microphone to block plosives from creating an air burst or ‘pop’ in the recording.

Post-production: Also known as post. The work done after the voice-talent has finished recording the session. This includes mixing in SFX and music. Post-production occurs in the making of motion pictures, television programs, videos, audio recordings, photography and digital art. It is the general term for all stages of production occurring after the actual end of shooting and/or recording the completed work. Typically, the post-production phase takes longer than the actual shooting or recording.

Preamplifier: Aka: control amp in some parts of the world, is an electronic amplifier which precedes another amplifier to prepare an electronic signal for further amplification or processing. The preamplifier circuitry may or may not be housed as a separate component.

Pre-life/pre-scene (also known as backstory): The previous history an actor invents for his character.

Problem-Solution: A common type of commercial script, where the message appeals to the consumer by solving a problem.

Processing: The act of changing and modifying the sound of raw audio recordings. DAWs offer a wide range of audio processing tools, such as equalization, compression, and noise reduction, to enhance the overall sound quality of a voice over. These tools can help voice actors shape their vocal tone, control dynamics, and eliminate background noise.

Producer: The person in charge of the voice-over session. Many times the producer is also the director.

Promo: A promotional commercial spot used by TV and Radio stations specifically to increase audience awareness of upcoming programming.

Protection: Also known as insurance, this is an additional take requested by the producer to insure that they have a back-up of a take they like. Usually phrased as, One more for protection.

PSA: Public Service Announcement. Commercials produced to raise awareness of current issues, such as smoking, drug abuse, pollution, pregnancy, etc.

Punch: Reading a word or line with more intensity. To highlight a word or phrase with a notably sharp and emphatic tone.

Punch in: Sometimes referred to as a pick-up, it’s the rejoining or continuation of a piece of copy. The engineer will punch in a pick-up at a certain point in the copy, to help with editing later on. A recording technique whereby a portion of the performance is overdubbed onto a previously recorded take, usually overwriting the sound originally recorded.

Read: The style and delivery of a given script by a voice talent, as in “That was a good read.”

Real person: The voice actor plays the role as if he is the actual user of a product, expressing his personal point of view.

Real-time: An event that takes as long as it actually takes, as opposed to high-speed.

Released: Being dropped from consideration from a voice-over job. It’s one of two results from being on hold.

Residuals: Compensation paid for use of a performance beyond the session fee or initial compensation. Residuals are based on specific usage parameters governed by contract or union rules. For instance: Continuing payments an actor receives every 13-weeks their spot airs. Also referred to as 13 weeks per spot per cycle.

Resonance: The full quality of a voice created by vibrations in resonating chambers, such as the mouth and sinus areas.

Re-use: What actors are paid when their spot is re-run. It is usually the same amount they received for the first 13-week cycle.

Reverb: A variation of echo. It’s an effect added to your voice in post.

Riff or Riffing: The same as ad-libbing

Room tone: The sound a room makes without anyone in it.

Rough mix: The step before the final mix. This is when the producer and engineer fine-tune levels of voice, music and sound effects.

Run-through: Rehearsing the copy before recording.

SAG/AFTRA: The Screen Actors Guild-American Federation of Television and Radio Artists is an American labor union that reflects the 2012 merger of SAG and AFTRA. It represents approximately 160,000 media professionals worldwide. SAG-AFTRA is a member of the AFL-CIO, the largest federation of unions in the United States.

Safety: This is a re-take that the producer or client wants to make sure that if there’s something technically wrong with the take they like, they have a back up. Let’s do one more for safety, is a common phrase. A backup performance, recorded after the director feels he has captured everything required to complete the session. See protection.

SFX: Shorthand for sound effects. Also seen as EFX.

Scale: The minimum, established wages set by SAG and AFTRA for working talent. Double scale or triple scale refers to these wages times 2 or 3.

Scale plus 10: Refers to the extra 10% paid to the actor’s agent on a job.

Scratch track: A rough audio or video track that a production company or ad agency may put together for an actor to read to. See animatic.

Series of three: Term used to describe a set of wild lines to be recorded, done in a set of three. Each read should be varied slightly.

Session: The event where a talent performs a script for recording purposes. The time spent recording the voice actor, starting from when the actor reports (call time) and ending when the director/producer calls it a wrap. The actor’s pay is referred to as a “session fee.”

Session fee: Payment for the first commercial within the session. If an actor does two spots, they get a session fee plus payment for the other spot. If the same actor does a tag, they get a separate tag fee. And if they record only two tags, they get paid session plus one tag.

Shave: To pare down your read, as in, Can you shave three seconds off that read?

Sibilance: A drawn out or excessive “S” sound during speech. Some sibilance is joined with a whistle. This is a very annoying sound, which some engineers mitigate with a sound tool called a de-esser.

Sides: Commercial scripts for video, where the action is in the left column, the dialogue on the right, or animation. In the world of Character VO, “sides” also means the script, but references a number of different scenarios for which the actor is expected to show the many different “sides” of the character.

Signatory: Someone (usually a producer or ad agency) who has signed a contract with SAG or AFTRA stating that they will only work on union jobs and promise to pay talent union scale.

Signature: The specific quality of a voice that makes it unique.

Single: Also known as a monologue, or one-person copy.

Slate: Slating is simply saying your name at the beginning of an audition recording. There are different ways you can slate, however, the basic slate is simply stating your name at the beginning of the file, and usually paired with the character or role the actor is playing. The slate helps a director identify and keep track of the actors and the various takes.

Smile: Literally smiling as you perform the script. Speaking with an actual smile usually triggers a warm, friendly tone of voice.

Source Connect: is a digital software that enables both clients and voice actors to set up a remote recording session from anywhere in the world. The voice actor’s voice is transmitted while also being simultaneously recorded. So, the client can record live audio as soon as the voice actor speaks.

Sound Effects: Sound effects or audio effects are artificially created or enhanced sounds, or sound processes used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media.

In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, without necessarily referring to the recording itself.

Spec: Short for Specifications, these are the directions given for a particular script, ideas as to how the client would like the commercial to be read, and will accompany the script, often on the same page, but sometimes as a separate page.

Spec can also mean: Volunteering your services and postponing payment until a project sells. The popular definition is working for nothing now on the promise of getting more than you deserve later on.

Spokesperson: Also referred to as spokes. A voice actor who is hired on a repeat contractual basis to represent a product or company. The voice actor plays his role as an authority speaking on behalf of a product.

Spot: A commercial. Originated from the days when all commercials were performed live, in between songs played on the radio. The performers were on the spot.”

Stair stepping: Having the pitch progressively rise up or down as a means of defining phrases. This technique is especially effective when reading laundry lists.

Stand: Where copy is placed in the booth.

Station I.D.: A short sound bite where the call letters of a radio station are announced or sung.

Steps: Increasing the energy on a long list of adjectives or superlatives.

Storyboard: The art director’s and copywriter’s conception of a TV spot, drawn on a large board for presentation to a client. The talent gets to see what the on-camera actors are doing in the spot. See animatic.

Studio: The facility where all recording and mixing for a commercial takes place.

Sweeps: The TV and Radio ratings periods when the total viewing or listening audience is estimated, thereby determining advertising rates. These occur in February, May and November.

Sync: Matching a voice from a previous take. Also refers to aligning tracks to start or end together.

Synthetic Voice: Synthetic voice audio refers to the process of generating lifelike (human-like) voice recordings using artificial intelligence.

TTS: Text-to-speech (TTS) is a type of assistive technology that reads digital text aloud. It’s sometimes called “read aloud” technology. With a click of a button or the touch of a finger, TTS can take words on a computer or other digital device and convert them into audio. You can create text to speech (TTS) with your own voice using AI voice generators. These tools use speech synthesis to convert your voice into a digital format, enabling the creation of a custom voice for various applications. Be aware in TTS auditions how they intend to use your voice, so that you remain in control of your own voice print. You own your voice, unless you choose to sell it!

Taft-Hartley: This labor law protects an actor from having to join the union for their first job. She has to join AFTRA if she’s hired for another union job within 30 days.

Tag: Information placed at the end of a commercial containing a date, time, phone number, website address, legal disclaimer, etc. A different announcer sometimes reads the tag. A tag is a keyword or term assigned to a piece of information (such as an internet bookmark, digital image, or computer file). This kind of metadata helps describe an item and allows it to be found again by browsing or searching.

Take: A single performance of a script or section of a script. Takes are numbered and organized by the recording engineer and notes are kept on the attributes of each take.

Talent: A broadcast performer, entertainer or voice-over artist.

Talkback: Refers to the button connected to the microphone in the engineer’s console. It allows the engineer or director to talk to the talent in the booth.

Tease: The introductory line used to promote interest. Promos are sometimes referred to as teasers.

Tempo: The speed at which copy is delivered. The ebb and flow of emotion as the voice actors perform the storyline of the script. Tempo is not all one speed. In voice acting, the metronome swings to serve the intention of what is being said moment to moment.

Three-in-a-row: Term used when one is asked to read the script three different ways on one take, with the intent of picking up a new reading each time.

Tight: Not a lot of time to read, or referring to a script that has a lot of words and not much time to say them in, e.g., This is a really tight :60.

Time or Time Code: Literally, the length of a spot. Most Broadcast Radio and TV spots time in at :15, :30 or :60. With new digital and streaming formats, timings for commercials can be :06, :20, and :45.

Time code (second definition): A digital read-out on the engineer’s console referring to audio/video positions. Used in film dubbing.

Tone: A specific sound or attitude.

Track: Either to record, or the actual audio piece. We’re ready to track, as opposed to Listen to this track.

Trailer: A commercial that promotes a film or video release.

Trans-Atlantic Accent:​​ A transatlantic accent, or mid-Atlantic accent, was an artificial accent developed to improve the comprehension of English on both sides of the Atlantic in early radio and movies. Many international companies still ask for this kind of accent for their narrative scripts. It basically has an American intonation but without the rhoticism. It sounds old fashioned and rather weird. It has certain traits. It is a non-rhotic accent. The “R” is dropped in certain words like “market” for example, which would be pronounced “MAh-kit”. The “T” is always pronounced, so “butter” would be pronounced “BUT-tuh” for example, rather than the American “BUD-eR” or the British “BU’-uh” where the “T” is often replaced by a glottal stop. The “U” in words like “tune” and “tube” had to be pronounced “YOU” and not “OO”.

Undercutting: Dipping down in a sentence and throwing a portion of it away.

Units: The number assigned by AFTRA and SAG to cities throughout the U.S. Each city varies in their amount of unit value by their population. This directly affects the amount of money an actor receives in residuals.

Usage Fees: Usage fees are the fees paid to voice actors for the right to use their recorded voice in a specific context. These fees can vary widely based on factors like the type of project, media, duration of use, and audience size. Usage fees are typically negotiated and agreed upon before the project begins.

Value added: Refers to words in a script that give the impression you’re getting more than you paid for. Plus, free, new, improved and extra are examples

Vocal Warm-Ups: Breathing and vocal exercises to get your voice primed and ready for a recording session or an audition.

Voice print: The vocal equivalent of fingerprints. Can be seen on the monitor of any computer using a ProTools or similar sound tool.

V-O or VO: Short for voice-over. Also seen as AVO (announcer voice-over). It’s the act of providing a voice to a media project, where the voice is usually mixed over the top of music and SFX. Voice-over was the term originally used to describe an announcer’s voice on a television spot, referring to the process as voice over picture. The more accurate term now is voice acting, which is the art of using the voice to bring life to written words.

Voice Over Coach: A teacher who specializes in the improvement of voiceover skills in students but who also may teach other subjects or areas. Many people purport that, ideally, this teacher should have experiences as a voiceover talent, but this may not be the case, for instance, as some coaches (many, of substantial reputations worldwide today) have extensive experience as copywriters, booking agents, radio or television on-air announcers, casting directors, audio producers, film producers, television producers, audio recording engineers, audio recording studio owners, advertising agency professionals, or theatrical or film acting coaches.

Some voiceover coaches are credentialed (degreed by a college or university) often, in the areas of speech, communications, vocal pedagogy, educational subjects, singing, or other areas. This may (or may not) impact the teacher’s abilities and skills as a voiceover teacher. It is always wise, however, to inquire about a teacher’s background and experiences. One of the areas in college that usually does impact a person’s ability to teach is having studied pedagogical methods such as classroom teaching skills, understanding the learner, adult education techniques, practical teaching skills, and similar subjects.

A knowledge, to some degree, of the anatomy of the human voice, how humans produce speech, the speech organs, and even voice and speech dysfunctions is a decided “plus” in a voiceover coach. Additionally, a voiceover coach with knowledge acquired through study of the principles of human speech production could be valuable to students in improving vocal tone, articulatory prowess, and other speech necessities of the voiceover talent. The teacher might also be equipped, through study, to identify vocal dysfunctions or problems best addressed by a physician skilled in malfunctions or diseases of the human voice.A voice and speech therapist, or a teacher who has studied this area, but who has not become licensed by a state or governing body as a therapist, can be most helpful to voiceover students in this regard.

A teacher skilled in theater or drama techniques can be most useful to students of voiceover in the area of “voice acting.” That is, portraying characters of various types as a voiceover performer, performing accents or dialects, and similar jobs. A teacher experienced in on-air radio or television announcing can be useful to voiceover students seeking announcer skills.

Voice Over Talent: A person who sells his or her voice as a product to be used with other media either as a disembodied voice or dubbed with a live action or animated body. A voiceover talent may or may not have a particularly pleasant voice, but has the consistent ability to use his or her voice to achieve a desired effect, at times incorporating different dialects, accents, characters, or emotions to communicate a particular message or evoke a particular feeling. A voiceover talent may also be referred to as a voice over talent, talent, voice talent, voice actor or voice over artist, and less accurately as a narrator or announcer.

Voice Seeker: Someone who is looking for a voice talent or voice producer.

Voiceover Hangover: Term for someone who is worried about their past voiceover auditions and how they did, to the point where it becomes physically and emotionally draining.

VU meter: A meter on the engineer’s console that indicates the level of sound passing through the board.

Walla: The sound of many voices talking at once, used as background sounds for a party or restaurant. Originally, it was thought that saying the words walla walla over and over again in the background would simulate good sound ambiance for a crowded scene, but the prevailing view now is that actors doing walla should converse in the way they would normally do so in that situation.

Watermark: A means to render an audition file unusable. For audio files watermarks will be tones or other background sound mixed into the finished audition file. Not recommended when auditioning.

WAV file: is an audio file format standard for storing an audio bitstream on personal computers. WAV files are a more accurate audio clip and they provide objectively better quality, but the downside is that they’re bigger files, so they’re not as easy to work with, host, or distribute. Size and quality are the main differences between WAV and MP3s.

Wet: A voice or sound with reverb added to it.

Wild line: A single line from a script that is reread several times in succession until the perfect read is achieved. It’s considered wild because it is read separately from the entire script. Often performed in a series of three, where the actor reads the line three times in a row without interruption. Each line is read slightly differently, unless otherwise directed.

Wild spot: A flat fee for a spot that airs for an indeterminate number of times within a 13-week cycle. Can be local, regional or national.

Windscreen: A pop filter, or pop stopper.

Woodshed: To rehearse or practice reading copy out loud. From the old days of theater where actors would have to rehearse in a woodshed before going out to perform.

Wrap: The end, as in “that’s a wrap.”