In-Studio Do’s & Don’ts

DO’S AND DON’T’S FOR AUDITIONS AND GIGS (in no particular order):

Arrive on time (a bit early).

Don’t piss off everyone in the studio by showing up sick (they can pick you up later). Showing up sick is a selfish move that shows a lot of disregard on the sick-o’s part. You’ll do more damage to your career by giving everyone the plague than by chancing missing a gig for the right reason.

Possible exception: If you are sick but able to perform and feel up for it, and it’s not easy for them to pick up or reschedule your session, it is possible to at least let them know you are sick but feel able to deliver your read fine and give them the option of bringing you in or rescheduling. Let them make the call. That’s a considerate way to handle it.

Only give them the option to record you sick if you are indeed able to adequately perform. Never lie about your inability to perform due to sickness. 

Don’t leave everyone in the studio choking because you didn’t shower, haven’t changed your shirt in a week or are covered in perfume or cologne. They probably won’t mention it at the time, but they’ll never forget you, not ask you back and then tell everyone.

Face the mic and keep your distance as consistent as possible for the engineer’s sake- unless you get suddenly louder, then back off a bit!

A voice actor doesn’t need to look a scene partner in the eye during a take either– it’s not on-camera! (Those from the on-camera world starting in V.O. often make this mistake.) Turning your head for eye contact (or for any reason) takes your sound off the mic’s “sweet spot,” and it won’t pick up enough of your performance. You’ll probably have to do a retake, wasting everyone’s time and making you look like a newbie.

If you’re going to get suddenly loud or very soft in your read (e.g, a very quiet monolog that suddenly ends explosively loud), give the engineer a heads up of a radical volume switch up before you start recording, otherwise you’ll need to re-record it.

Show up looking put together. “Going to work in your bathrobe” is a myth. Don’t show up looking (or smelling) like you’ve been clearing out your garage. How you appear can affect how you are cast!

Bring a light jacket or sweater in case the studio is cold. It is often cool in a recording studio (especially when it’s hot outside!). It can be a regular “meat locker” in there! Remember, it’s okay to request a change in room temperature if you’re uncomfortable. For instance, you may become overheated with performing and need the room a few degrees cooler. Ask for it!

If you are late to the audition/gig, call and let the studio know you are on your way and your ETA (or have your agent do this for you). Don’t freak out about this or bring your freakout energy into the session. Acknowledge and move on. A professional should be able to finish the job in less than the time allotted, anyway. Don’t waste more time with fretting or lengthy apologies and don’t let it throw you off your game. Your job is to keep cool and deliver the goods professionally no matter the circumstances. Consider it a personal challenge to finish the session at or before the scheduled time anyway. 

If you are using headphones in a group record and you step away from the mic for a break, remember to unplug your headphones if you step out of the booth, otherwise the sound of others’ voices from your “cans” can bleed into the room and spoil the take. At very least turn your “cans'” volume completely to zero, otherwise the engineer has to get up, come in the room and turn it down or unplug it. Don’t just step away from live headphones as it will probably blow the next take with sound bleed.

Don’t bristle at being given a “line read,” (some actors get miffed by this). Sometimes, the director just wants it said a specific way and the quickest way to get you there is a line read. Not a biggie. Famous people tend to bristle most at line reads. Some viral examples of this are quite entertaining.

Remember, if you say something really stupid or inappropriate (during or in-between takes), that you are probably being recorded. It is easy to save or send around “the thing that you just won’t believe this actor said.”

Don’t be a slob. Show some class and pick up after yourself before you leave. Throw away your trash/drink and why not hand back your script as well.  Don’t you dare leave a half used water bottle or used kleenex sitting out at your stand for someone to clean up for you! Ugh!!

Please don’t bring your dog/bird/etc. to a session, unless it’s a service animal.

Never ever tweet or post cast info, in-studio photos or script details without approval from those in charge– this includes audition cast lists! A fellow performer may not want a picture posted either. Always ask permission. Thoughtless picture taking/posting is just bad form and could get you in big trouble– fired, banned or even sued.  Most companies and even some actors take their image, privacy and secrecy extremely seriously. They consider even a photo of them or their work as proprietary intellectual property.

Never post anything on social media that you wouldn’t be comfortable with as a headline in tomorrow’s Daily Variety!

If you want to gripe about a movie or TV show or director or star who’s created a misfire, you might want to keep it to yourself. You may be working with them soon and they won’t forget if they read your tweet/post. Social media incentivizes outrage and bombast. Don’t take that bait. Keep positive or keep it to yourself.

Familiarize yourself with the script (if provided ahead of time) but don’t over prepare, as you need to be ready to switch up your performance in the session. You may be called back for one thing and asked to do something completely different at the session! Copy and character descriptions may well completely change!

Roll with it and be a good sport. but don’t be a doormat!

Generally, keep your between the takes chit chat to a minimum.

Don’t discuss pay rates or negotiate money or terms with your employers at the session. That is not your job and it puts you in a bad position! If there is a question, refer it back to your agent. If there is something not right, let your agent deal with it. If, for instance, you performed more rolls than you think you were originally asked, if your session goes way long or something was wrong in how you were treated or how the session was handled, let your agent (or possibly union) know afterwards. If it’s serious, excuse your self for a bathroom break and discreetly call your agent. This kind of thing must be handled by you lightly and with tact.

Your job is to deliver the performance goods, not hash out contractual details or be the “bad cop.” That said, you must also stand up for yourself and not take any abuse or let yourself be taken advantage of. If someone’s gotta be the “bad guy” in this, let it be your agent or union, not you. Frankly, it’s their job and part of why you pay them. This kind of thing is more typically found in “non-union” work, but can occasionally pop up in union gigs.

Be sure you bring your driver’s license and social security card or passport to each gig in case you need to fill out start up papers in addition to your contract. Make sure your agent has up to date copies of this info, as well as up to date bio and promotional materials, a copy of your I-9 tax form filled out and a copy of your articles of incorporation (if you are incorporated). A new gig often needs all this info to finish the details of your contract. At very least, your agent should have this all on file and ready to fax or email or scan to your employers.

Don’t wear a Nickelodeon shirt to a Disney gig/audition (or any variation of this).

Don’t dress like a college student if you are performing as a super villain unless the super villain is a college kid (or any variation of this).

If you must wear your baseball cap when recording (must you?), the bill should face behind you when recording. The bill forward can cause problems for the sound engineer.

It helps to know the credits of the creator of the show you’re reading for. If you can, view a few episodes so you know the tone of performance you’ll need to deliver.

Don’t brag about your work in a project until the project airs and you’ve confirmed it with your ears (or someone has seen your name in the credits). You may find out upon viewing that you’ve been replace. That’s showbiz!

Finally, appreciate those on your side in the studio:

This includes the sound engineer recording you, the sound mixer, the casting assistant, and especially the voice director. These people work hard (often invisibly) to save you time and voice by translating the show creator’s vision into “actor speak” as well as capturing your best take the first time and generally protecting you as they “get ‘er done.” A casting assistant may well be in charge of accounting of what work and number of voices you perform- this is key to you getting paid fairly. These people are allies and deserve respect.

These fine people may well appreciate and understand your talent better than those “calling the shots” and they often speak up for you (though you never hear it).  They might, for instance, remind the show creator that you are approaching the scheduled end of the session and they need to wrap this up or move it along.  They may point out your vocal fatigue and work with the creator to save your voice while still getting what is needed.  There are many ways they work to help you as they help the show creator.  

Feel free to express your appreciation to these coworkers.

Be sure to also check out my: Top Six Newbie Mistakes!