VOG stands for Voice of God. Sometimes people misinterpret that as needing a voice so deep that it causes small cracks in the earth’s surface. That’s not usually cause, although a voice on the deeper side of the spectrum often doesn’t hurt. The most important aspects are authority, clarity, and believability. A VOG announcer should usually not sound like a high energy DJ with emotions that fall completely outside a normal sounding vocal range. 

It’s the Voice of God because the voice is disembodied. 

I’m not there to deliver the announcements on stage. I’m simply heard over the in-house speaker system. VOG’s can be done live and in-person but, again, not usually with the announcer being visible. The biggest award shows like the Academy Awards will still have a live VOG but you’ll never see their face.

Quite often, VOG jobs amount to clearly and confidently announcing the nominees and winners in different categories of an awards show or conference. I’ve done COUNTLESS jobs in this realm but, funny enough, it’s tough for me to scrape up samples of this work. They’re rarely placed on public platforms after the event and, honestly, I just don’t usually like bugging people for copies of such things.

Set The Tone

Along with the billboards for nominees and winners, there will often be a show open. I will set the tone for the night with a video presentation, reinforcing why it was important for everyone to rent a tux and/or gown, find a babysitter, and gather in the ballroom or travel to (fill in the blank) conference for the weekend.

And that’s where you can have a little fun. Here are three examples from the Energy sector, where I was asked to set three similar, but slight different tones for a conference.

The “Comic Book Hero” Show Open for Hart Energy was intended to play along with the fun graphics style implemented for this show. My voice is in a deeper part of its range while trying to remain fairly stoic:

Then, there’s more of the straight announcer with consistent clarity of purpose approach:

And, finally, a little more on the casual side while still upholding a bit of formality for the occasion:

Why VOG Matters More Than Ever

In our increasingly virtual and hybrid world, the role of VOG has evolved. Virtual events need the same gravitas as physical gatherings, sometimes even more so to maintain engagement through screens. A strong VOG presence can bridge the gap between in-person and remote attendees, creating a unified experience.

Choosing the Right VOG Approach

For production companies and event planners, selecting the right VOG style involves considering:

• Your audience demographics and expectations
• The event’s overall tone and objectives
• Technical capabilities of your venue or platform
• The balance between formality and accessibility

A successful VOG performance doesn’t just announce; it enhances the entire event experience, making every moment feel more significant and every transition smoother. Whether you’re planning an awards ceremony, corporate conference, or hybrid event, understanding the nuances of VOG can elevate your production from solid to unforgettable.

The post It’s VOG Season: A Guide to Voice of God Announcing for Events and Productions first appeared on Dan Sheldon.

That’s a quote from a friend who I have worked with several times since we both left traditional broadcast media. It’s a common bit of feedback I receive from producers who aren’t used to receiving the voiceover back to them as quickly as I’m usually able to deliver it.

The Fast-Paced World of Professional Voice Acting

In today’s digital media landscape, with AI being integrated into so many elements of the production process, the ability to deliver high-quality voiceover work quickly has become more valuable than ever. My background in television news has given me a unique edge in meeting these demands, and it’s transformed the way I approach every voiceover project that lands in my inbox.

Why Wait? The Importance of Quick Turnaround in Voiceover

I don’t understand why some VO’s take so much longer in getting people the files they need to complete a project. There is something to be said for not rushing through a script just to get it back to a client in record time. I understand, that’s not the goal and that’s not what I do. But I know some folks will actually sit on booked work and continue with their daily auditions rather than prioritizing the completion of the jobs they’ve won.

I simply don’t understand this mindset. The theory for some is that since you have that job “won,” now it’s time to keep hunting. They’ll go back to the awarded projects at some point later in the day when the audition requests have cooled off. But I’ve only been selected for the one job I’ve “won.” Now is the opportunity to truly prove my worth to them for the longer term. Not just for this job, but to be given strong consideration for future work.

The Clock is Ticking: Lessons from the Newsroom

Perhaps a project doesn’t have an imminent deadline and I’m explicitly given a set timeframe several days into the future. That’s fine. But if I could give them top quality work within an hour, what type of impression would that give them? I worked in TV news for 20 years. The deadline pressure was immense. Unless you’re working on a special project, the turnaround time is always the same day. Aside from long-form projects (longer than ten minutes in length), that’s how I’ve always treated voiceover jobs.

Understanding Project Types: Corporate Narration vs. Commercial

Below is a product explainer for Teledyne Flir, a thermal imaging company that produces a lot of advanced tech. It’s longer than a typical commercial and not appearing in a paid placement advertising campaign. It requires a different rhythm and cadence than a 30 second commercial. With several minutes to describe a product that is public facing, a smoother listenability is required rather than a punchier, attention-grabbing sound that is normally associated with a quick commercial. Knowing the parameters and the expectations like that ahead of time can make it easier to deliver the final product to the client and with fewer revisions needed on the back end.

Your Deadline is My Priority

When you’re racing to complete a video project, the last thing you need is someone who sits on your script for days. You’ve got stakeholders waiting, events approaching, or marketing campaigns ready to launch. Every hour of delay impacts your timeline and potentially your results.

I treat every project with the urgency it deserves. In TV news, deadlines aren’t suggestions – they’re absolute. Miss your deadline, and you’ve missed your broadcast window. That mindset doesn’t disappear just because I’m now in the voiceover world.

Quality Doesn’t Have to Mean Slow

Someone else might tell you they need days to deliver “quality” work. But here’s what two decades in broadcast taught me: preparation and professionalism mean you can deliver excellence quickly. When your product launch video needs to be ready for tomorrow’s meeting, or your commercial needs to air next week, you shouldn’t have to choose between speed and quality.

What Fast Turnaround Means for Your Project

When you work with a voice talent who understands deadline pressure:

• Your production schedule stays on track
• Your team can continue editing without delays
• Your stakeholders see results faster
• Your stress level stays lower

The post Voiceover Deadlines are Different when you come from TV News first appeared on Dan Sheldon.

Among the many lessons I learned from my dad growing up, is that I can always find a way to make things work if I want them to. When I’m traveling and I see a great audition opportunity land in my inbox, I don’t shrug my shoulders and say, “Oh well. Maybe next time.” I find a way to get that audition to the potential client.

Find a Way

While visiting my parents across the country, I saw an audition for a Honda commercial. The read the specs and the script and knew I could nail what they were looking for. One problem. I had my travel gear but nowhere great to record the audition. One thing you learn over the years is that when all else fails, dive under a mattress or couch cushions or blankets or all of the above. So that’s what I did.

The Rest Will Work Itself Out

And by the time I had won the job, I was back in my home studio, ready to record the final version. This style of read is far different than, say, the more “announcery” Stanley Steemer commercial. It’s a sound I go to when I’m looking to be thoughtful and still somewhat forceful, higher in my register. A corporate anthemic sound, if you will, that may feel more approachable than where I might normally reside in my lower, mumbly, Shaq-like realm.

That’s one thing about voice acting many people don’t understand – versatility isn’t always about having different character voices in your arsenal. It’s about knowing how to shift your natural voice to hit different emotional notes while still sounding authentic. When I’m recording an automotive commercial like Honda, I’m not just selling a car. I’m telling a story about investing in America at a time when people are concerned about industries making their products beyond US borders. Each word needs to carry that weight while still feeling conversational.

This “make it work” mentality has served me well beyond just finding makeshift recording spaces. In this industry, I have to be ready for anything. One day I might be voicing a stirring documentary about climate change, and the next day I’m selling truck tires with the energy of a monster truck announcer. The key is maintaining professionalism and delivering quality work, whether I’m recording in a professional studio or huddled under a mattress in my parents’ guest room.

Make the Abnormal Part of Your Normal

Speaking of makeshift studios, I’ve recorded in some pretty interesting places over the years. Hotel closets lined with pillows? Check. The back seat of my car? Been there. That time I had to turn a hotel business cubicle into a functioning studio? Let’s just say that copy machine has some stories it could tell. But here’s the thing – if the final product sounds professional, the client doesn’t care how I got there, they just know I can make it happen.

This adaptability has become even more crucial in today’s fast-paced voiceover market. Clients often need quick turnarounds, and opportunities can pop up anywhere, anytime. Having a mobile recording setup isn’t just convenient – it’s essential. I always travel with a Sennheiser MKH-416 mic, and portable interface. Because I never know when that perfect opportunity might come knocking.

What I’ve learned from experiences like the Honda audition is that success in voiceover isn’t just about having the perfect voice or the perfect studio. It’s about problem-solving, creativity, and never letting circumstances stand in your way. Sometimes the best performances come from the most unlikely recording spaces, and the biggest opportunities arrive at the most inconvenient times.

The post Dive Under a Mattress, Make Your Dreams Come True first appeared on Dan Sheldon.

1. Authenticity with Professional Polish

The cornerstone of contemporary commercial voice acting is the ability to sound genuinely conversational while maintaining professional standards. A voice actor should ideally demonstrate:

A speaking style that feels unscripted and spontaneous, even when working from carefully crafted copy. While at the same time, be able to have fun and lean in to the feeling behind some of the critical adjectives in the script.

I try to master the micro-inflections and subtle vocal variations that create the impression of natural speech while still maintaining clarity and purpose.

2. Emotional Intelligence and Relatability

Today’s commercial voice actor must possess sophisticated emotional awareness that enables them to:

Read and reflect the subtext of the copy, understanding when to dial up the enthusiasm and when to pull back for more intimate moments. This natural emotional scaling is crucial for maintaining credibility. In this particular 15 second spot, there isn’t a lot of room for this. The expectation is to hit the nouns hard at the top of the spot and lighted it up as we introduce the solution to the problem

I try to create an immediate emotional connection with listeners through vocal warmth and personality, relating to their problems in a way that make it personal for me too, as a homeowner myself.

If I don’t directly relate to the problem being solved, I have to adapt my persona to match the target demographic while remaining authentic. That wasn’t necessary in this instance as I didn’t have to become someone I’m not.

3. Strategic Vocal Versatility

The best conversational commercial voice actors possess specific vocal capabilities:

A flexible vocal range that can move seamlessly between friendly and authoritative, casual and professional, without losing authenticity. This includes the ability to maintain a conversational quality across different energy levels. I’ve done some spots for Honda that sound so much different than this Stanley Steemer commercial that, when I posted the other spot, I had one longtime friend confused because they didn’t even recognize my voice.

Strong control over vocal placement, knowing when to use chest voice for warmth and head voice for excitement, while keeping everything feeling natural and unforced is a must.

The ability to maintain clear diction while sounding completely relaxed and informal is also a delicate balancing act. We naturally mumble some words when we speak which might actually also work in a commercial setting but definitely NOT when it comes to the name of the product or service or a critical moment of the script that must remain clear to the listener. I must know which words can be softened or combined in natural speech and which must remain precise for legal or branding purposes.

4. Technical and Creative Adaptability

Modern commercial voice actors need sophisticated technical and creative skills:

When auditioning, I must be able to quickly identify key message points while maintaining natural flow and come up with an overall tone that matches the expectations of the writer. This can be a guessing game unless you’re in a directed session and they can guide you down the precise path. Usually, I just have to go with my “gut” which is really just an instant recall of what worked in the past to book gigs in the same or similar advertising category.

It’s also great if you can provide multiple viable takes with different interpretations, giving creative directors options while maintaining the conversational quality throughout. One of my tricks here is to imagine a slight change in my environment. If in my first take, I imagine I’m talking to one person, my second take might be like I’m holding court amongst four of five friends at lunch.

Technical understanding of microphone technique and how to adjust my delivery for a video, audio, or social media spot is also key. I could get deeper into the unique elements of each but that can easily take up a post of its own.

5. Professional Conduct

Success in commercial voice acting, like any other business(!), requires strong professional qualities:

When I book a session, I’m on time or early (virtually or in-person)! When revisions are needed, I drop everything if I can and get right to them. A voice actor is almost always the last step in the creative process. If I can deliver last minute tweaks as if I’m sitting in an audio booth right next to someone who could be thousands of miles away, sweating over a deadline, I know I’m very likely rising to the top of their list for future consideration. They know I’m someone who appreciates their time and works as hard as they do to meet deadlines.

TLDR

Wanna book national commercial campaigns? As a modern commercial voice actor, I must know exactly where to walk in the delicate balance between professional voice and casual authenticity. The hard-sell announcer is still out there but largely on the periphery. A nuanced approach that prioritizes genuine connection with the audience, at many different energy levels, is key.

The best conversational commercial voice actors make the difficult job of promotional reading sound effortless, creating the impression of a friendly, knowledgeable person who just happens to be enthusiastically sharing something they believe in. This natural credibility is what makes the delivery effective in modern commercial contexts.

The post The Top 5 Reasons I Book Jobs as a Commercial Voice Actor first appeared on Dan Sheldon.

When you think of passenger train travel in the US, you think Amtrak. Well, they now also want you to think about getting yourself to the game on a train rather than sitting in traffic like everyone else. As a voice actor, it was my job to get the message across with relatively few words and let the pictures do most of the talking. That’s usually the edict for TV spots, as opposed to radio where the voiceover generally does the heavy lifting.

That’s not to say we don’t have to sweat the details. During this directed session, I probably did 20 takes. Not because I wasn’t hitting the mark (I was! I swear, Atlas talent agency and all you other high-powered agents dutifully checking in on these pages!), but because there can truly be that many ways to get across a relatively short message. You have to dial into your audience. Here, the message is geared toward a younger demographic. I didn’t have the benefit of the visuals while I was recording but the producer did a great job of setting the scene for me.

In any case, the relatively few words also meant they wanted some lines elongated and that’s where the vowels get streeeeeeeeetched.

I recorded this one last summer and didn’t know it was released until a friend on the other side of the country watching MLB Network let me know.

And so brings about a minor collision between my former life in sports and my current life as a voice actor who tends to get booked across the transportation genre.

The post All Aboard the Amtrak Train first appeared on Dan Sheldon.

It starts with a little bit of tongue-in-cheek drama (no, that’s not how I sound when I’m REALLY trying to scare you) followed by a light-hearted resolution to the problem. The topic is still an important one (debt related to a college education) but I really enjoyed the way I was directed into presenting it in a tone that wasn’t meant to unnecessarily scare the target audience.

The post Pleasant surprises in projects almost forgotten! first appeared on Dan Sheldon.

The post Luxury Real Estate Voiceover first appeared on Dan Sheldon.

Thank you for the kind words!

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The post Voiceover from Your Head Instead of your Chest first appeared on Dan Sheldon.

Anyway, see if you notice any slight alterations you think I made between these two projects.

I love automotive! You’ll find out more about why that is in the coming weeks…

The post Same client, slightly different reads first appeared on Dan Sheldon.