We love potatoes as fries, chips, and salads. But “potato” has also taken on a disparaging meaning: any technological device that seems low-quality or out-of-place is, wryly, deemed a “potato.” The phone camera that catches a sudden case of 2008 is a “potato.” In voice-over, a “potato” can describe any audio recording chain that lacks professional audition quality. 

But, no matter how much money you spend on your audio recording equipment, one universal phenomenon can undermine it: echo.

Echo demotes the most pristine, buttery studio quality to the rank of a potato. Nobody wants to hear your amazing voice-over performance in a parking garage, shower, or even an untreated room with hardwood floors. Next to professional voice-over auditions, these environments instantly scream “potato!”

Fortunately, there are solutions for taming the wild, wild west of echo. But first, we should clarify a few concepts.

In industry terminology, recording environments with a characteristic echo are sometimes called “live.” Environments with non-noticeable echo are sometimes called “dry.” The technical word for environments with zero echo is “anechoic.”

Informally, if you have an undesired echo in a voice-over recording session then the engineer might say they are getting some “room coloration.” Because each sound pitch has its own frequency and that frequency has a physical wavelength, the walls and other surfaces in your environment might amplify certain pitches more than others.

We should also be clear on the distinction between sound isolation and sound absorption. Sound isolation separates your recording environment from environmental sounds like lawnmowers, planes, and barking dogs. This is different from sound absorption, which is material (and, importantly, mass) that does not reflect sound waves when recording in its environment.

Below I’ll quickly run through common solutions for resolving echo when recording voice-over. They may, in some cases, also provide some isolation, but that’s not the primary lens.

It’s also worth noting that some voice-over styles are more demanding of echo-free recording than others. A recording environment that works well for voicing a Human Resources training might echo too much when recording a drill sergeant in a Nickelodeon animation. Because echo is affected by loudness (also known as sound pressure level, or the energy of the sound waves needing to be absorbed), lower volumes will always echo less, all else being equal.

Portable Sound Booths

A wide range of products call themselves “portable booths.” These include suitcase-sized assemblies of sound-absorbing panels, fabric-hanging hardware to create a fabric enclosure, and sound-absorbing material that attaches to or encloses the microphone itself.

In my experience, these can make a modest difference. They usually don’t have enough mass or directional coverage to make a major difference. They are mainly priced for aesthetics. At home, tension poles, clamps, and quilts can produce a comparable (but less aesthetically pleasing) result. In a hotel, being creative with the linens (yes, I’ve recorded voice-over on my laptop beneath hotel quilts) can be just as effective as a portable booth.

Inside A Car

A lot of vehicles make decent voice-over recording environments. They contain some soft material that reduces echo. They offer some sound isolation from surrounding noise. Upholstery tends to reduce echo more than faux leather or vinyl. Sloped sedan windshields tend to be more recording-friendly than more vertical ones (right angles are bad for echo).

Closets

Closets, particularly the walk-in types, often already have clothing and other soft materials hanging. They are often a go-to structural space for a bounded working environment. 

Acoustic Foam

For its weight, acoustic foam (which comes in various shapes) can perform well at absorbing sound. On a pound-for-pound basis, it might actually be the most efficient material. It can be a more affordable way to cover larger areas and has an aesthetically pleasing presentation.

In my practical experience, foam almost always lacks the mass that other solutions have. That means that its sound-absorbing performance declines with loudness faster than curtains, dedicated absorbers, and most other environmental options. Studios will often use it as a finishing layer atop other treatments.

Polyester absorbers are a newer foam alternative that can perform similarly, be layered, and take up less space.

Curtains

Curtains (or any less-attractive hanging fabric with mass) can be very effective at absorbing echo. Theaters historically use curtains for a reason. They are easy to add to whatever density your hanging hardware will support. 

Purpose-Built Fabric Absorbers

Nothing beats mass when it comes to sound absorption. While purpose-built fabric sound absorbers can be a premium expenditure, they are my personal favorite solution. They are usually built with a wood frame, filled with medium-density, polyester foam, and mounted on walls or ceilings.

Final Thoughts

Carpeting, particularly combined with mass (foam beneath it and/or shag pile), will always reduce environmental echo. The same goes for foam-filled upholstered furniture.

Sound isolation booths can incidentally reduce echo by providing a shorter travel distance for sound waves. However, they often require significant interior treatment to truly absorb echo. Smaller dimensions concentrate energy dissipation, so mass is key to both sound absorption.

There are also dedicated echo-eliminating software plugins: Acon Digital, iZotope, and Waves are well-known options. While I have these, they are generally a last resort that is intended for project post-production. For a voice-over talent, they are not a great long-term solution.

Mechanical diffusers (uneven, hard surfaces designed to break up directional sound reflection) can be a great option aesthetically. They can be a discreet and even artistic addition to some environments. They are essential for echo-reduction of the highest-volume sound sources (rock bands, urban noise). In my experience, they are less effective at voice-over-related volumes.

Creative triage is an option in emergencies. On one occasion, I threw spare bed quilts on top of folding panel dividers to lower the echo in a hardwood-floor living room for a video shoot, and it worked.

Armed with this knowledge, your personal battle against echo should be victorious. Your amazing voice-over audition on good equipment won’t be experienced as coming from a “potato.” 

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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Terms like “authentic” and “believable” are part of voice-over, like “on fire” and “feeling it” are part of sports. They mean a performer is tapped into a common flow that permeates all experience. 

But as much as voice-over directing and casting invoke “main street” as a performance goal, the industry is inundated with tools and product brands that have a semi-religious following. Certain microphones and other gear are understood to be wear-tested, decade-defining, and billions-delivering. They charge a premium because of thrilling production stories and insider provenance. The best studios provide them. The best projects use them. They are elite, royal tools of the voice-over trade. 

Anybody pursuing voice-over confronts an uncomfortable contradiction: it can be pricey to sound ordinary. Sticker shock can hit every part of the signal chain from your vocal cords to the client’s ears. It’s easy to feel overwhelmed and inundated. You wish a Sensei could teach you how to fight back. You don’t need to learn a martial art like Karate or Krav Maga, but some unromantic and life-altering craft like “Advanced Savings Technique: Pro Sound For Savvy Budgets.” 

Well, not to worry: I’m going to tell you how to sound like royalty with a main street budget. 

Large Diaphragm Condenser Microphone 

Royal Standard: Neumann U87, Neumann TLM-103
Savvy Standard: TZ Stellar X2, AudioTechnica AT2020 

Large diaphragm condenser microphones have a special warmth. Their default “heart-shaped” cardioid pattern picks up just a bit of “room sound.” This is the sound your voice makes reflecting off nearby surfaces. This doesn’t mean you want to record voice-over in a parking garage or gymnasium. Even in a treated environment, this type of microphone gives subtle coloration. 

With the rise of social media and endless out-of-studio content, the cultural expectation of “real” performance has drifted towards a tad more room sound than in prior decades. These savvy standards can hook you up for as low as one-twentieth the price of top royal standards. 

Hypercardioid (“Shotgun”) Microphone 

Royal Standard: Sennheiser 416
Savvy Standard: Audio-Technica AT875R

Hypercardioid microphones achieve a focused, directional audio pickup pattern. This reduces the pickup of room sound in favor of a “right between your teeth” presence. 

Historically, these microphones were most associated with a classic “announcer” sound. Other factors aside, they can make a performance seem more precise and stylized. Their proximity effect (amplification of bass frequencies with closeness) is legendary. 

The savvy standard here costs one-fifth of the royal standard. It won’t compete with the royal standard for recording penguins mating in Antarctica, nor doing a two-year documentary on front-line firefighting. However, it is very similar in most voice-over situations. 

Audio Interfaces / Mic Preamps 

Royal Standards: Apogee Symphony, RME FireFace, Neve 1073
Savvy Standard: MOTU M2 USB-C Audio Interface 

Decades ago, premium microphone preamps were light-years ahead of affordable ones. The “preamp” is the first part of the physical path your microphone uses to get its sound to your recording. 

Not all preamps are audio interfaces (which convert an analog signal into digital information for a computer, phone or tablet). With the rise of USB microphones (including versions of the AudioTechnica AT2020 mentioned earlier), not all microphones even need a separate preamp. They have one built-in. 

To complicate things further, other common products like mixers, compressors and digital signal processors each technically have preamps. Line-level and mic-level signals add another factor. 

Because the majority of buyers encounter preamps tied to sound interfaces, it’s common to hear “preamp” describe sound interfaces in casual use. “Preamp” can be a generic term for “the box you plug a mic into to record it digitally on a third device,” usually using an XLR cable. 

This term spaghetti boils down to a key takeaway: today’s affordable sound interfaces have great preamps. My favorite savvy standard clocks in at one-fifth to one-twentieth the price of top royal standards. Take it from me: the sound is almost indistinguishable.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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If you’ve been working in the voice-over industry in the last twenty years, but particularly in the last five, you know that rarely do you get the privilege of just “showing up and acting.” The transition from in-studio to home studio work has brought increased accessibility and flexibility, but this has also meant that in order to keep up, actors must acquire a myriad of other skills in addition to performing. Being the best actor for the part will get you the job, but home studio sessions also often require us to be engineers, editors, copywriters, localizers, and notetakers.

Most working actors today, especially those living outside of a major market, have accepted this plate-spinning as a reality of our current industry. But for newer folks, these supplemental duties often lurk in the shadows – until you’re in the midst of a session and a client says, “Can you play that back?”

Don’t panic! There are a few things you can prepare for ahead of time that will make you a rock star in any self-engineered session.

First and foremost, engineering!

Clients who cut out the middleman of an ad agency or audio production company will often expect you, the actor, to handle the recording of the audio on your end. (And it’s a good habit to get into even if they do record on their end – stuff happens.) In its simplest form, this means that you’ll hit “record” in the DAW (digital audio workstation) of your choosing, while simultaneously dialing in to a conferencing platform or phone call to receive your live direction from the client. Make sure to test this with a colleague ahead of time, if it’s your first session. I like to keep my DAW window visible while I’m reading the script, just so I can always have an eye on it to make sure it’s still recording. In between takes I’ll also periodically hit “save.”

Self-engineering also includes minding your gain – especially if you’re on a gaming or animation session, which tend to utilize a wide dynamic range (i.e. you might go from whispering in one line to shouting in the next). Get familiar with your setup so you can anticipate those changes and not waste any takes due to clipping or inaudibility. 

You’ll also want to make sure to test your audio setup on all major conferencing platforms ahead of time (including Zoom, Google Hangouts, Microsoft Teams, and phone patch), so you understand the quirks of each, and ensure that your audio sounds great in all of them. None of these commonly-requested platforms allow for the client to capture your organic audio on their end, so you’ll be fully responsible for recording and delivering a high-quality product.

Slating

On a live session with an engineer, the engineer will usually slate the takes out loud before you begin to record. But since you’re the engineer in this situation, you’ll need to do that yourself. Slating – i.e., saying “here comes take one,” before reading the script – helps everyone stay organized. You can either just say the number of the take, or say the number and then follow it up with what you’re about to do. If the client asks for three versions of the line in a row, you can say, “Here’s take one, ABC,” then read the line three times. If the client asks for an alt (alternative) line, you could say, “This is gonna be take four, alt.” Slating is a unifier that helps prevent confusion when the client is searching for their favorite takes later. Which leads me to my next point…

Keeping track of takes and selects

Usually, the client will be taking notes as you read, but on occasion, they’ll ask you to track their “selects” for them. Selects are the client’s favorite takes that you’ve provided.

It’s advisable to confirm the client’s selects with them before you wrap. If the client is expecting you to put their selects together into one edited file for final delivery, having the slates that we talked about will make it much easier for you to find their favorites.

Timing

One of the most common asks is for you to time your takes and report that timing back to your client. This is especially common in commercial work, where ads have hard time limits; but it can also happen in any genre where the picture is already locked, and you only have a set amount of time to speak.

I don’t necessarily recommend that you run a stopwatch while you’re reading the script, unless that helps you. Instead, just record at the speed that feels natural, and then stop the recording and use your DAW’s tools to calculate the length of the last take. (You may need to edit out mistakes on the fly in order to get an accurate time.) Given enough time and practice, your brain will start to be able to deliver a 30-second read without much conscious effort.

Copy services

You may be asked to make script edits in the middle of a session. This can happen for several reasons:

• The spot is being translated or localized from another language or region, and the current translation sounds unnatural
• The writers realize they wrote too much copy for the time limit, or
• It just doesn’t sound as good as it looked on paper

Whatever the reason, be ready to notate the client’s changes on your script doc, and don’t be surprised if you’re asked, “What do YOU think would sound better here?”

Playback

The first and most common reason you may be asked for playback is that a client will want to hear back previous takes, in order to help them decide which is their favorite. If you’re not comfortable routing your DAW’s audio through your conferencing software just yet, you can often just play it back on your computer speakers.

The second reason is for you! When you work directly with an end client, they won’t often provide an audio reference (i.e. your audition that won you the job, or an example of your previous work together) so you can get back in the zone. You’re responsible for digging up that reference on your own, and playing it back before you start reading.

File preparation and delivery

Sometimes, when working directly with the end client, they won’t even have basic editing skills or software available to them. In that case, they may ask you to comp takes (compile their selects into one cleanly edited final file), edit out mistakes, split files, or clean up the audio quality. Make sure to clarify expectations so that the client leaves happy, and you deliver a product you can stand behind.

Bottom line: Make it easy for them

Of course, most of us would love to just show up and act. I do advocate for talent to adjust their session prices to account for these additional services, but if you can master these skills, being a full-service talent will keep folks coming back time and time again.

Alaina Wis is an award-winning voice actor specializing in commercial, corporate, and interactive work. She is a two-time nominee for Female Voiceover Artist of the Year (OneVoice® Awards), and took home the award for Best Automotive Performance – Female in 2025. Alaina completes nearly all her work from her home studio in Chicago and is an advocate for remote accessibility. She has voiced major campaigns for brands such as United Airlines, Toyota, SIX on Broadway, L.L. Bean, and Rocket Mortgage; and in the gaming world, is best known for her work in Starfield, Zenless Zone Zero, DC Dark Legion, Oxenfree II: Lost Signals, and Skyrim: Bard’s College. She’s also an award-winning screen actor, and a singer-songwriter.

Connect with her on Instagram, X, LinkedIn, IDMb, or on her website.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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 Before we dive into all the different programs out there, let’s start with the basics. A Digital Audio Workstation — or DAW — is simply the software you use to record, edit, and produce your audio. If you’ve ever opened up a program to record your voice, trim out a mistake, add a little compression, or export a file for a client, congratulations—you’ve already been using a DAW.

Think of it like the toolbox on your computer or phone that makes your voice-over sound clean, polished, and ready to send. Some DAWs are super simple, others are loaded with features, and the right one for you often comes down to how you like to work and what your budget looks like.

If you’ve hung around the voice-over world for any length of time, you’ve probably heard about Audacity. It’s free, it’s simple, and it’s helped a lot of us get started recording auditions and jobs without spending a dime. For many voice actors, it’s all they’ll ever need. You can record, edit, and deliver clean files with zero upfront cost…what’s not to love?

But at some point, you might start wondering, “Should I try something else? Is there a DAW that could make my life easier or my workflow faster?” The good news is that there are plenty of other options out there, and you don’t have to be an audio engineer to use them.

Let’s chat about some of the most popular alternatives voice actors use and why they might be worth checking out, plus a few ways to record on your phone when you’re on the go.

Adobe Audition – The Crowd Favorite

One of the most talked-about DAWs among voice actors is Adobe Audition. It’s part of the Adobe Creative Cloud, which means it plays really nicely with other Adobe programs like Premiere Pro.

The big draw? It’s built for speed and flexibility. The interface is clean, the editing tools are powerful, and the noise reduction features, especially the spectral display, make cleaning up audio way easier. Mouth clicks, hums, weird background noise? Gone with just a few clicks.

The catch? It’s subscription-based, currently around $22/month. That can feel pricey, but if you’re booking regularly, many pros find it worth the investment for the time it saves.

Reaper – The Budget Powerhouse

If you like the idea of upgrading but don’t want a monthly bill, Reaper might be your new best friend. It’s a super flexible DAW that runs on both Mac and PC, and you can fully customize it to fit your workflow.

It’s also very affordable, around $60 for a personal license, and the trial version is fully functional. A lot of VO folks love that it’s lightweight and fast, even on older computers.

Now, full disclosure: Reaper looks a little intimidating when you first open it. The interface isn’t as “friendly” out of the box as Audacity or Audition. But once you get the hang of it, or grab one of the VO templates floating around online, it’s incredibly powerful.

TwistedWave – Sleek and Simple

For Mac users who just want something clean and straightforward, TwistedWave is a fan favorite. It’s not a full multitrack DAW; it’s designed mainly for single-track voice work, which is perfect for most VO sessions.

It’s easy to use right away, and its batch processing is fantastic. If you’ve ever had to normalize and export a bunch of files at once, TwistedWave can do it in minutes. Bonus: there’s even an iPad and browser version for recording on the go.

The only downside? It’s Mac-focused, so PC users will have to look elsewhere. But if you’re in the Apple ecosystem, it’s a fantastic tool.

Pro Tools – The Studio Standard

If you’ve ever been in a big music or post-production studio, you’ve probably seen Pro Tools. It’s the industry standard in those worlds, and some voice actors use it for that reason.

For high-end projects or clients who request Pro Tools compatibility, it’s a solid option. It’s also insanely powerful; there’s basically nothing you can’t do in it.

But let’s be real: for most voice actors, it’s overkill. It’s expensive, the learning curve is steep, and unless you’re mixing music or doing a ton of complex audio work, you probably don’t need it.

 Ocenaudio – Another Freebie

Not ready to spend money? Ocenaudio is another free DAW that’s worth checking out. It’s simple, lightweight, and some users find it faster than Audacity.

It has some nice built-in effects and makes it easy to clean up files without a lot of extra steps. The only drawback is that it’s not as widely used in the VO world, so finding tutorials or templates may take a little digging.

Hindenburg Journalist – Perfect for Narration and Podcasts

If you do a lot of narration or podcasting, Hindenburg Journalist might be a hidden gem. It’s built specifically for spoken-word audio, and it shows.

The software auto-levels your tracks, has a super-easy editing workflow, and is designed for voices rather than music. It’s a bit niche, and you may not need it if you’re mostly doing commercials or character work, but for narration-heavy projects, it’s a dream.

What About Recording on Your Phone?

Sometimes you’re traveling or stuck away from your booth, and a last-minute audition pops up. Good news, there are solid options for recording directly on your phone.

For iPhone users, TwistedWave’s mobile app is a lifesaver. It lets you record, edit, and even apply basic processing right from your phone. Pair it with a decent travel mic, and you can deliver audition-quality audio on the fly.

Another popular option is Ferrite Recording Studio (iOS). It’s designed for podcasters and journalists, but works great for VO. It has multi-track capabilities and built-in editing tools, all optimized for touchscreens.

If you’re on Android, WaveEditor is a strong choice. It offers recording and editing in one app and supports plenty of file formats.

And if you want something more robust on mobile, check out Audio Evolution Mobile Studio (available on Android and iOS). It’s closer to a full DAW, with multi-track recording, effects, and editing tools. For folks who need more control while traveling, it’s a solid option that bridges the gap between a simple voice memo app and a desktop DAW.

Even the basic voice memo apps built into your phone can work in a pinch; just make sure you’re in a quiet space and clean it up later.

Are phone apps a replacement for a treated home studio? Not really. But they’re fantastic for emergencies or when you need to record a quick audition while you’re on the road.

So, Which DAW Is Best?

Here’s the truth: the “best” DAW is the one that makes your life easiest, fits your budget, and helps you deliver clean audio to your clients. Some folks stay with Audacity forever and never feel limited. Others upgrade to Audition or Reaper and swear they’ll never go back.

The most important thing is how comfortable you feel using it. A DAW is just a tool; your clients care about the quality of your final product, not the software you used to make it.

Exploring new DAWs can feel intimidating at first, but it’s also exciting. Each one has its own personality and strengths. Try a few demos, experiment with a phone app or two, and see what fits your workflow. Whether you stick with Audacity, upgrade to a more powerful DAW, or add a mobile option like Audio Evolution for travel days, the goal is the same: deliver great audio and make the process as stress-free as possible.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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Ever find yourself second-guessing your sound?

“What’s that weird noise I’m hearing?”
“My recordings don’t quite sound right.”
“Oh no… I’m not hearing anything at all.”
“Is my audio quality ready for this big project?”

If you’re a voice-over artist, you’ve probably asked yourself these questions at least once—and if you haven’t yet, you will. The real question is: When should you audit your signal chain and recording environment?  

Let’s start by breaking down what those are.  

 What’s a Signal Chain?  

Your signal chain is simply the path your audio takes from your voice to your ears, including all the gear in between. 

A basic voice-over signal chain usually looks like th is:
Voice → Microphone → XLR Cable → Audio Interface (with preamp + ADC) → USB Cable → Computer/DAW → Audio Interface (DAC) → Headphones/Monitors

You might also have or add other gear, like a standalone preamp or in-the-box processing like plugins, but this is your basic home studio setup.

What’s a Recording Environment?

Your recording environment is the space you record in—your “home studio.” Whether it’s a pro booth, a walk-in closet with panels and flannels, or a fortress of moving blankets—if that’s where your mic lives, that’s your recording environment.

When Should You Audit Them?  

In short: whenever something changes.

Here are some common triggers:  

 Physical Changes to Your Space

• You’ve moved to a new recording space
• You’ve repositioned your booth, desk, or mic
• Furniture or gear has shifted around
• You’ve added, removed, or changed acoustic treatment

Equipment or Software Changes

• New microphone
• New interface
• New computer
• Different monitoring setup (headphones or speakers)
• DAW or operating system updates
• Outdated drivers finally catching up with you 

When Audio Quality Drops

• Hiss, buzz, or hum appears 
• Static, clicks, or pops sneak in
• New reflections show up out of nowhere
• Volume mysteriously drops
• Recordings start sounding muddy, boxy, or hollow

Changes Around Your Space

• Seasonal shifts (HVAC noise, open windows)
• New appliances or electronics
• Construction, activity, or changes in adjoining rooms or outdoors

 Before Big Projects

• Before recording a demo
• Before a major client project
• Before a live-directed session

At Regular Intervals

• Quarterly or twice a year
• Acoustic materials can settle or sag, and gear can slowly degrade
• Subtle changes sneak up on you over time, so a routine check keeps you ahead of them

Signal Chain: Your First Stop When Troubleshooting

Is this thing on? (No, don’t tap your mic.)

When something sounds off, it’s e asy to overthink. (“Maybe my interface firmware is haunted!”). Instead, start simple. Check you  r signal chain: 

• Is phantom power on?
• Are your cables firmly connected?
• Is your interface actually selected in your DAW?

Sometimes the fix is that simple.

As you build your career, it’s smart to keep some “known good” gear handy—like a spare XLR cable or a small travel rig (mic + interface). Swapping pieces out one at a time can help you pinpoint issues fast.  

If you’ve run through your checks and are still stuck, don’t be afraid to call in a pro. It can save you time, money, and sanity (not necessarily in that order).

Why It All Matters

The quality of your audio is one of the clearest signs of professionalism. Clients won’t always tell you if your sound isn’t up to par—they’ll just quietly choose someone else. Especially for remote work, clean, consistent audio is often the deciding factor between “almost booked” and “you got the gig.”

Final Tip

Keep a reference recording from when your booth soun ded its best (ideally one that’s been approved by a coach or audio pro). From time to time, record the same script and compare. If something sounds off, you’ll catch it early.

Audit regularly. Sound great. Book more. Your best work deserves the best sound.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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When you tell someone you’re a voice-over actor, they might picture you standing in a sleek, high-tech studio with glass windows, glowing lights, and racks of gear. For some, that is reality (or it used to be before the pandemic) – but for many working professionals, the studio started in a much humbler place. Closets, PVC pipes, moving blankets, and even makeshift forts have helped countless actors get their start. Building a booth isn’t about having the fanciest setup right away; it’s about creating a space that works for you. I’ve built five of them in my career and have gotten and recorded work in all of them.

The beauty of voice-over is that you can begin almost anywhere. Over time, your booth can grow with you – from a beginner’s closet setup or pillow fort to a mid-level PVC build or various industry ‘booth-to-go’ products, all the way up to a professional-grade studio. Let’s break down how that journey often looks.

Beginner Closet Booth

If you’re just starting out, the closet booth is practically a rite of passage. Picture a laptop perched on a small desk or shelf (or even a stool or a cardboard box), a desk mount placed backward on a few books to hold your mic at the right height, and your clothes hanging just inches away. The truth is, closets can sound pretty good. Hanging clothes act like natural sound absorbers, soaking up reflections and deadening the space. Many pros still use closets because they’re convenient and surprisingly effective. My first closet booth was unfortunately a bit too close to the bathroom, where an unseen fan that never seemed to stop ruined many of my takes – the perils of a small Manhattan one-bedroom apartment with only one small closet. I built another booth like this when I was in St. Petersburg, Florida, for two months during the winter – that booth cost surprisingly little money, and the quality was pretty spot on. But using a laptop in these booths was a means to an end; once it got too hot, the laptop fan kicked on, and I had to stop recording. So I had to get long cables and run them under the door… but I liked being able to edit on the fly, so that became an issue. For sessions, I used to put an icepack wrapped in paper towels underneath my computer to keep it cool. Ahh, the memories.

Acoustic foam panels and bass traps can make the setup stronger, and laying down a rug or multiple layers of carpet helps minimize floor reflections (and noisy downstairs neighbors). Is it glamorous? Mmm, no, not really. Will you sometimes laugh at the fact you’re wedged between winter coats, whispering ad copy into a USB microphone? Absolutely. But the closet booth has undoubtedly launched countless careers.

PVC Frame-and-Blanket Booth

As you start booking more work, or just advance in your training and find other resources to put into your career, you might find that the closet booth just isn’t cutting it. Maybe it’s too cramped, or maybe you need a space you can assemble in another room. Enter the DIY PVC booth. With a handful of PVC pipes and connectors from Lowe’s (and a little creativity), you can build a lightweight frame very quickly. This is what I did five years ago when I moved to Hawaii for six months without telling any of my clients – and since I was using my same microphone, they never knew the difference.

Drape moving blankets or heavy sound blankets over the frame, clip them if necessary, and you’ve got yourself a portable sound booth. Mine was 4’x4’x7’ – and I also had Lowe’s cut me a 5’x5’ wood ‘ceiling’ that I placed on top of the frame, with acoustic foam glued to it on the inside and moving blankets across the outside top. I got some thick shag carpeting for the floor to cut down on any reflective surfaces. Sure, it did not look fancy, but it had a vibe – and anyway, nobody saw it but me. Truthfully, these setups can get surprisingly close to professional isolation. It was no match for the Saturday morning suburban leaf blower or chainsaw, but it pretty much blocked everything else out. Many actors love the flexibility of this build – it can go in a spare bedroom, a basement, in a corner of any room, or even travel with you if you keep the connections small and you’re doing remote sessions or auditions consistently on the road.

Mid-Level Closet Upgrades

Somewhere between “clothes closet” and “PVC fort” lies a hybrid that works beautifully for many: upgrading the closet itself. Adding foam panels to the walls, using thicker bass traps in the corners, and investing in higher-density sound blankets can take the sound to the next level.

At this stage, you’re not just preventing reflections – you’re shaping the tone of your recordings. Carpeting or rugs underfoot, door seals to minimize outside noise, and careful placement of your mic and computer (sometimes outside the booth to reduce fan noise) can make a huge difference. When I moved into my latest apartment in Brooklyn, it had several 3.5’x3.5’ closets – I picked one and got to work – adding layers of professional rubber acoustic treatment on the floor, placing a perfectly cut piece of wood on top, then adding carpet mats and finally carpet so my ‘floor’ was probably 5” thick. I foamed out the inside completely, added bass traps in every corner from floor to ceiling, got a small desk, mounted my monitor on the wall, installed a boom arm with a shock mount to the back of my desk for my Sennheiser 416 (shotgun mics are fantastic for NYC apartments), added a few extra touches, and my new studio is considered ‘broadcast quality’. I did have to hire an electrician to put an outlet in there – you can’t trust running a professional studio with a bunch of extension cords after all. Also, the big step was buying a used Mac Mini to put in my booth – since it has no fan, there’s literally no sound in there but me. This booth was a bigger financial commitment to be sure, but I made the money back quickly and never looked back.

Actors often look back on this phase fondly. I certainly do. It’s the moment you start realizing, “Wow, I’m really building a studio!” There’s a sense of pride in creating a space that feels more polished and professional – even if at root, it’s still a closet with some acoustic upgrades.

Professional Builds

Eventually, you may want a fully isolated booth – something like a WhisperRoom, Studiobricks, or a custom-built studio. These booths provide top-notch sound isolation, meaning you can record even if your neighbor is mowing the lawn or your kids are watching TV down the hall (although honestly I’ve heard plenty of stories to the contrary – your location and outside environments will always be a factor) I haven’t had the need, or frankly the room, to make that investment and I’ve been a professional voice actor for 28 years.

These are major investments, and not every voice-over actor needs one. But for those who work full-time or live in noisy environments, they’re game changers. Professional booths also tend to offer more space, better airflow, and a cleaner aesthetic – all of which can make recording sessions more comfortable and client-friendly. I recently bought a house in the Pocono Mountains, and actually built a booth from scratch in my shed that’s about twice the size of my booth in Brooklyn. I consulted with a known professional booth-builder, but ultimately decided I was just going to stick with the method that had been working for me so far. This time, I had to replace the shed’s roof, build actual walls, add a door, and put up interior insulation and drywall to actually create a ‘room’ that was about 8’x4’. It was pretty exciting. I then once again foamed out the inside completely, added my bass traps to round out the corners and pointed ceiling, and even had to add a baseboard heater for those cold Pennsylvania winters. I did buy all new gear, including another Mac Mini, so with the construction, it was definitely a more sizeable investment. But when I bring my mic with me – again, no one can tell the difference. In fact, it’s even quieter than my Brooklyn studio since I only have to worry about deer and squirrels instead of noisy neighbors or illegal dirt bikes on my street.

The Big Picture

The journey from closet to pro booth isn’t just about equipment; it’s about growth. Each stage represents an actor investing in themselves and their craft. That first closet read, surrounded by clothes and whispering so the neighbors won’t hear, can feel awkward. But years later, standing in your custom studio, you’ll remember that moment as the start of something real.

And here’s the ugly truth: clients actually don’t care what your booth looks like! In fact, over Source Connect, ipDTL, etc, they can’t see it anyway. They only care how you sound. If your audio is clean, warm, dry, and free of distractions, then your booth is doing its job – whether it’s built from designer panels or hanging blankets.

Final Thoughts

Voice-over is one of the few industries where you can truly start from almost nothing. A closet, a mic, and some blankets are enough to get going. With time, experience, and success, you can upgrade your booth into something more advanced. The important part is that you start.

So don’t wait for the perfect setup. Use what you have, improve as you go, and take pride in every stage. Because in the end, building a booth anywhere isn’t just about soundproofing – it’s about carving out a creative space that belongs to you. Be positive and creative, and get excited – happy building!

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

P.P.S If you want to learn more from VO experts and grow the knowledge you already have, join our VO Pro group!

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I remember a colleague once told me, “You wanna book work? Go on vacation”. It seems like every time I travel whether it’s a weekend getaway, family vacation, or conference, I either book work or get a juicy audition. I don’t try to do projects on the road, but sometimes, duty calls.

Sound familiar? So, I’ve learned quite a few things about traveling with my VO gear. It hasn’t always been the best, but it can be effective. Although where you travel is a factor, it is essential to have a mobile plan for your business: and I’m not talking about cell phones.

It took a while to really understand how to get the best sound out of my gear: extraneous noises are the enemy! Getting the noise floor to be -60dB can be difficult. Depending on where you are and what you have, be ready to adapt to your surroundings. Sometimes it’s a perfect environment for recording. Other times, well, it’s like Grand Central Station during rush hour. 

So before watching a bunch of YouTube videos, I asked some of my VO pals. I was told to put pillows and cushions around the mic to get the noise floor down. One suggested I watch Booth Junkie. After watching a few of his videos, I thought: I got this! I’ll get some blankets, pillows, clothes and go in the closet. All hotels have closets, right?

The first time I went on the road with audio gear was my first conference. I was in a hotel near an airport, and I had an audition and a voice messaging job. After fiddling around with two pillows on a chair, and then my clothes and sheets in a closet, I ended up using a comforter storage case (already in the hotel closet) and a towel. I draped the comforter over the door, and I was good to go. The airport noise was kinda loud, but I was able to get some quiet time in-between flights.

My next trip, almost a year later, actually took more time than I expected. I had a few auditions and I didn’t like the sound from my makeshift closet studio, so I used a cushioned chair. It had two cushioned arm rests, so I took out the seat cushion and covered my head and the chair with a comforter. The sound was great, but I had to be still, which is hard because we’re always moving while voice acting, right? My shotgun mic helped, but the noise from my head rubbing the comforter was too loud and I had to do a few takes.

Everywhere I go, it’s always something different. Closets without doors. Loud central air systems without a thermostat. I was learning by experimentation and the only concern was sound quality. Who cares what it looks like? It’s always great to find a closet that you can stuff with clothes, sheets, and towels, but sometimes you can’t get a closet. I tried an ironing board with a blanket covering it, but my noise floor wasn’t low enough, so I tried my best to surround it with pillows. Another time I went on a beach trip with my family and they were using the blankets, so I draped some beach and hotel towels all around the closet. Perfect! I was starting to get good at this!! 

Getting your sound right is critical as a voice actor, but you can do this effectively in a lot of different ways. If it gets difficult to adapt, call some VO friends and ask what they’ve done: I’ve surprised myself a few times and I’m always finding out something new. 

In fact, I was just watching one of my favorite voice actors and he showed his setup on TikTok. After watching it, I am purchasing a pop-up infant sleep pod for my next trip. Will this piece that I add to my travel rig solve ALL my sound challenges? Probably not, but I’ll keep trying.

P.S. If you haven’t yet taken our introductory voice-over class, where we go over everything one needs to know about getting started in the voice-over industry,  sign up here!

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Ah, September! This blog title is a nod to the awesome classic retro pop hit, “September,” by Earth, Wind & Fire. September, the gateway to Fall, is often the unofficial start of cozy sweater season. It’s a time when the crispness of the air signals a fresh start and reminds us that summer is temporarily departing, like a lazy setting sun. 

I remember the excitement as a kiddo of a new school year. September is also the perfect moment to swing into action and refresh your voice-over toolkit! Maybe you’ve spent summer chilling by the beach or trying to record only late at night, because “quiet space” has been hard to come by with all the barbecues and lawnmowers (oh, the plight of summer noise!). But now? Now is the time to get focused and make some powerful strides toward VO success.

As the younger humans head back to school, a large part of the world ramps up for fall activity and forward movement—and the VO world absolutely goes along for that ride. So, with a dash of whimsical change-of-season vibe and a dose of practicality, let’s dig into four essential steps to sharpen your voice-over game this September!

1. Tech It Out: Refresh Your Recording Setup

First things first, let’s talk tech! Because nothing screams “pro” like a smooth, crackle-free, high-quality recording that makes your voice sparkle. Time for a September check-in! Is your home studio setup still serving you well, or does it need some end-of-summer lovin’?

Here’s what you can do:

• Upgrade Your Equipment: If you don’t yet have a home studio, now is a great time to do that research! What would float your boat, when you’re ready to purchase? (Pro VO Tip: make sure you purchase from somewhere you can return the items, in case they’re not a fit for any reason.) Maybe you’ve been working with a starter mic or an older interface. September is a great time to look into upgrading options. Great travel USB mics like the Audio Technica AT2040 USB or an XLR mic paired with an audio interface like the Focusrite Scarlett could elevate your sound. Those of you who are already rocking your home studio? Do a sweep! Cables good? Pop filter okeedokee? Cords okay? Headphones still rocking? Any cranky crackling anywhere, that calls for some tech sleuthing?
• Soundproofing Check: Do a September sweep of your recording space. Could your soundproofing use a boost? Need another layer of blankets, or foam? (Pro VO Tip: always check to see what you have in your nest you can donate to the VO studio cause—older blankets or comforters or throws you wouldn’t miss?) Maybe you are already using a walk-in closet – hooray for you! That’s often a great space for your VO headquarters. Do you need to bring additional squishiness in? Another great September research topic: portable sound booths are available at a huge range of price points and ease/difficulty assembly levels. Lots of humans have created their own booths from PVC pipe and packing blankets! If your current space has a layer of consistent noise challenge, gently research some future booth options, for when you book that great gig and have a windfall of VO cash.
• Software Audit: Are you working with the latest version of your editing software? Programs like Audacity and Adobe Audition frequently release updates to improve functionality. Make sure you’re using the best tools available, and if you haven’t checked or upgraded in a moment, now’s the time to take a peek! (Pro VO Tip: if you’re already connected to a VO community, make sure you check all the chats or posts or email threads to see if any of your coaches or fellow students have info for you, about the latest upgrade…take advantage of the power of mighty group wisdom.)

Getting your tech in tip-top shape will help you “hit record” without ever having to cross your fingers and hope for the best, so you can deeply relax your tech brain, and sink into the yumminess of authentic storytelling.

2. Warm Up Those Pipes: Consistent Performance Practice

September also (some places, ha!) brings cooler days, which is perfect for warming up those vocal cords and getting into the rhythm of regular warm-up practice. A smooth voice performance isn’t just about having a nice voice – it’s about taking incredible care of your instrument.

Practical Steps:

• Daily Warm-Ups: Start incorporating consistent vocal exercises into your daily routine. Simple scales, tongue twisters, or even humming can help you maintain clarity and agility in your delivery. Just like a good athlete stretches before a game, a VO actor needs to stretch their voice before recording. Even a minute will make a big difference.
• Script Analysis: Take time to dissect your scripts more deeply. Understand the tone, mood, and intention behind each line. Read it out loud with different inflections and emotions. Play! The VO Journey is meant to be fun! September is a great month to focus on fresh emotional variety – flexing those voice-over creativity muscles will make your reads stand out, and your uniqueness shine.
• Play with Genres: Whether you’re into audiobooks, commercial work, animation, or corporate narration, don’t be afraid to stretch beyond your usual genre. Try on something that scares you a little bit, to take on! Record samples in different styles to build versatility and add depth to your portfolio. This can be extremely entertaining, reveal new choices, and it keeps practice interesting!

3. Mindset Mastery: Build a Resilient Voice-over Mindset

Sometimes the biggest voice-over hurdle isn’t technical or skill-related – it’s mental. September is an ideal time to give your mindset a gentle reset. Whether you’ve been doubting your progress or feeling overwhelmed by what can feel like a constant audition grind (high class challenge!), getting your head in the game is more than half the battle.

Mindset Hacks:

• Positive Affirmations: Incorporate daily affirmations that align with your goals. Start with “I am…” You can speak, think or write this. Remind yourself, “I am a professional voice-over artist,” or “I am continuously improving and growing.” It may feel cheesy at first, but there’s something to be said for the power of positive self-talk…scientifically vetted power. This works!
• Celebrate the Small Wins: Don’t wait until you book a massive gig to celebrate. Did you submit an audition today? Pat yourself on the back! Did you nail a tricky line in practice? Fantastic! This business is built on small wins that, over time, lead to bigger ones. September can be the month you shift your focus to appreciating progress over perfection. Amazing habit, your VO career will thank you.
• Mindfulness Practices: Whether it’s meditation, yoga, or just taking five minutes of quiet breathing before a recording session, a clear mind and a sense of groundedness leads to better performance. Take time to center yourself regularly so that when you step in front of the mic, you’re focused and ready to go. Three deep breaths in-and-out, with eyes closed and hands on heart, is a fab place to start.

4. Get Business Savvy: Know the VO Industry Inside and Out

Finally, it’s time to put on your business hat – because in VO, being a great performer isn’t the whole deal. You’ve got to know the business side of things, too. As my students know I love to say: if you have stepped into this VO journey, you are absolutely CEO of Voice-Over You, Incorporated. You’re a boss. Time to own your boss journey!

Here’s How to Get Business-Savvy:

• Stay Educated: Sign up for webinars, workshops, and classes that cover both the performance and business aspects of VO. Learning about contracts, rights, usage, and rates can help you avoid pitfalls, prepare you for ever-higher levels of success, and ensure you’re getting paid what you deserve. If you’re not yet a part of a village that gives you access to this, go ahead and do a Google search or check YouTube to get your brain thinking in the VO boss way. (Pro VO Tip: if you’re reading or listening to this blog, you’ve already begun!)
• Networking Refresh: September is a great time to reconnect with industry peers or build new connections. Join a VO group or forum and participate, attend a virtual mixer, or even just send a friendly email to a mentor. Relationships are vital in this industry, and staying connected can lead to new opportunities.
• Audition Strategy: Revisit your auditioning process. Are you being selective enough? Are you tracking your submissions and following up on potential leads? Your VO career is absolutely a business, and that means keeping records, assessing what does/doesn’t work, and refining your approach as you go.

Wrapping It All Up

So, do you remember that September fresh-start feeling in the air? Now’s the perfect time to bring that same refresh to your delish VO toolkit. Wherever you are on your voice-over journey, a review/renewal is always an amazing idea, with huge benefits for you. With tech upgrades, vocal performance consistency, a resilient mindset, and solid business acumen, you’re setting yourself up for a very strong Fall season indeed. September is all about revitalized momentum – so grab a few new/tried-and-true toolkit ideas, and swing into success!

Check out our free PDF with pro tips from real working voice-over actors here!

Want to learn more about voiceover? Sign up for our introductory VO webinar.

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If you’re gearing up to build your first ever voice-over home studio, then this is the article for you! For me personally, getting my studio space up to par was by far the most challenging part of launching my voice-over career. I was living in a tiny studio apartment that I shared with my partner and our dog, and it felt nearly impossible to carve out a space for me to record – let alone have the sound quality be good enough to help me start booking my first gigs! After a few failed attempts, I now can say confidently that anyone can create a professional studio sound in their own home with a few clever tricks and the right materials!

Where should I set up my space?

This is the first thing to consider before you start shopping for any soundproofing materials. Where in my house/apartment/tiny home/renovated school bus/dungeon/cellar is the right space for me?

There are two main things to consider: where is your living space quietest, and where can you stand with enough room for a microphone to act comfortably. For most people, this space is a closet. 

A clothing closet is my number one recommendation for your new studio. It is confined enough to be able to block outside sound, and already comes pre-stocked with free sound insulation – your clothing! If you truly have no closet space that you could squeeze into, others have seen success in carving out a corner of a quiet room and building a makeshift wall or two to block sound. But the easiest solution to get started quickly is without a doubt a coat closet.

What do I need to have in my studio to record?

1. A microphone!

My recommended brands are Audio Technica, Shure, or Neumann. There is a fairly wide price range for voice-over microphones, so be sure to find one that fits your price range. Audio Technica tends to be the best quality at the lowest price, so that’s the budget friendly recommendation. I personally use a Shure SM7B which has been a faithful partner to me for years now! Do a little research before you decide what works best for your budget and space. One more tip – I personally wouldn’t recommend USB mics, which connect directly to your computer without any extra cables. While I know some people have had success with them, generally the sound quality is much lower than other microphones. Use your best judgment here.

2. A computer!

If you have space for a desktop, by all means use it – but any laptop or computer that you like will work for this as long as it isn’t too outdated to handle your microphone and recording software. Another important thing to be careful of is your computer’s fan. Your computer will start to heat up on long recording days – make sure the cooling fan isn’t loud enough to be heard on your mic!

3. Audio interface & XLR cable

As long as you don’t go with the USB mic option, you’ll need a couple pieces of tech to connect your microphone to your laptop. The interface will essentially translate your sound into something the computer can understand. Whichever brand of microphone you’ve chosen will likely also sell this additional equipment. You can also check websites like Sweetwater.com – they have excellent customer support, and they’ll help you find the right interface for you.

4. Additional accessories

This may be headphones, a pop filter, a small desk for your mic stand or laptop, etc. All of these tools will definitely benefit you, but are entirely up to you to decide on. I rarely use my headphones, but my pop filter was a must-have.

5. Recording software

Don’t be alarmed! Some of the best recording platforms out there are free and easy to use. Audacity and ProTools can be downloaded online for free, and allow you to save your recordings in WAV, MP3, and any other format a client may ask of you.

Once we have all of our technology sorted and our space chosen, the last step is soundproofing. If you’re in your closet, the clothing that’s in there is already a great help to you. No need to move it. Many things you can find around your house are extremely helpful for insulating your space: blankets, comforters, rugs, and pillows are all your best friends. I have small area rugs covering my hardwood closet floors, a blanket hanging up on the ceiling to block sound from bouncing off the roof, blankets overtop my wooden desk where my microphone sits, and pillows on the sides of my microphone to help block sound even further.

At this point in time, I’ve since upgraded apartments and studio rooms – I now have a walk-in closet that’s completely changed into a studio space for me. There is still a coat or two hanging on the back wall, but I have instead covered all my walls with soundproofing foam panels. You will want some of these even if you’re still recording out of a clothing closet, and you may want even more if you have a whole room to yourself like me. These panels work wonders and can be tacked, nailed, or taped to walls in order to fully cover any surfaces that would otherwise echo your voice. Best of all: they’re cheap! You can find packs of 20, 30, or 50 on sites like Amazon. These are a must have!

As you grow in your career, move, or just want to shake it up in the future, there are plenty of professionals online who go on to buy or create entire booths for themselves. If you’re a beginner, have no fear about using your closet – you don’t need to spend thousands on an upscale model build! 

Check out our free PDF with pro-tips from real working voice-over actors here!

Want to learn more about voiceover? Signup for our introductory VO webinar.

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What do you mean by “echo”?

Many people new to voice-over don’t always know what we mean by “echo”. Yes, echo in its purest form is the, “HELLO, HEllo, Hello, helloooo” effect you hear when shouting in a canyon. In voice-over, it is an effect that makes your voice sound hollow, like you are speaking into a large tin can.  

How does echo happen?

Echo or Room Reflection occurs when sound waves bounce off hard surfaces and “reflect” back into the front of your microphone. This means that anytime you are in a large room with hard walls and windows you will get a high level of room reflection on your recordings. 

Why sound treatment matters

Why can’t I just set up my space in my loft, or home office or huge living room with the nine-foot high ceilings? You can, but you won’t get work. The main reason we don’t set up our space in rooms with no sound treatment is because it creates room reflection, which is not desirable for any voice recording.  Sound treatment absorbs the room reflection, allowing you to create a clean, echo-free recording. Another important thing to note is that you can’t fix room reflection with software, so proper sound treatment is necessary from the start.

What should I do?

The most important place to put your sound treatment is behind you, which is in front of the mic. Your output speakers are typically facing the back wall. When the sound comes out, it hits the back wall and reflects into the front of your mic. Sound treatment behind you absorbs this echo. 

Many people start out by putting their sound treatment on the wall in front of them. It may look nice but it is essentially ineffective. Remember: the output is typically being sent to the wall behind you. Plus in most cases, the back of the mic doesn’t pick up anything, or if it does it is very little (unless you have a ribbon mic where you can use the front or the back, but I digress).  

Ok, so now I know what it is and how to lessen it; what’s next?

Now you can set up your studio. There are many ways to set up an almost free and highly effective studio space. 

Size

The smaller the better. I don’t want you in a one foot by one foot area, but the smaller the space, the easier it is to contain and control the sound.

Materials

Studio foam

• • You can get cheap foam on Amazon or somewhere likeThe Foam Factory. Thicker is better, but it is also more expensive so use what your budget allows. You can always upgrade when you start making money with your VO career.

Thick comforters

We all have them somewhere in the house. Dig them out and stick them to the walls behind you using velcro, thumbtacks, or nails. Or you can hang one from the ceiling behind you. I set something like this up to show my students different ways to use the space.

• • Take two eye screws and screw them into the ceiling (find the joists). Screws should be about three feet apart and about a foot in front of you.
  • Attach a bungee end to each screw 
  • Flip the top of the blanket over the bungee and use some clamps to secure it.
  • When you put it over you it will drape around your back and sides.

I tested this to make sure it was a solid plan. I have a professional studio in my home where I have recorded most of my audiobooks. I recorded my last few books in the “blanket studio” and the differences were negligible. No echo in either. 

Moving Blankets

Same idea as the comforter. Some moving blankets come with grommets so you can easily hang those from the ceiling as well

Room Dividers

Those tri fold room dividers are great and you can usually find them in thrift stores or on craigslist. Set it up so the two sides flank you and the middle piece is directly behind you.  Throw those comforters or moving blankets over it and you are all set.

The Walk-In Closet

If you have a walk-in closet, this is typically the best setup. Make sure you leave the clothes in the closet! Clothing is one of the best sound treatments. Make sure you set up your mic to face the clothing (i.e. the clothing is behind you). 

But, what about noise?

Ah, yes, background noise. Noise comes from a number of different places and getting rid of it depends on where it is coming from.

• AC, heating, fans, etc. 
  • Turn them off before recording
• TV’s, kids, spouse, pets 
  • Turn them off before recording.  Only kidding! You’ll have to find the best times to record, which could be at 4 am or 11 pm. Don’t bring Misty the cat,  or Max, the dog into the studio with you. Trust me, as quiet as they are, most pets snore, snort, purr, fart, whatever, and that gets picked up by your mic.
• Your computer
  • Unfortunately, this is where most of your noise is going to come from. The best way to mitigate this is to move the computer out of your space. 
  • Keep a monitor (or 2) in your space along with a wireless keyboard and mouse. Put your computer outside your closet, blanket area, or room divider. Easy peasy.
  • If you can’t find your way to do that, then try to keep your laptop elevated on something like a cookie cooler sheet with legs. If you have a desktop, cover it with something while you are recording.
  • If your noise isn’t too bad, you can also use noise reduction when mastering your recording

In conclusion, sound treatment is necessary to take care of room reflection (echo), and helps with most background noise (except noise from your computer). 

Check out our free PDF with pro-tips from real working voice-over actors here!

Want to learn more about voiceover? Signup for our introductory VO webinar.

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