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.

In-Perpetuity IS A Thing

Let’s clear this up right away: in-perpetuity is standard in many aspects of voiceover work. Most of the time, it means that your voice can be used within the confines of the project you signed up for until the end of time. That’s not inherently evil, especially if the usage doesn’t interfere with other work or income opportunities.

But—here comes the critical exception—paid placement advertising is DIFFERENT. This is the red flag, the big asterisk, and the reason why voice actors are taught to tread cautiously when in-perpetuity pops up in commercial contracts.

Why the Exception for Commercials?

Are You Being Greedy?

Absolutely not. Advocating for yourself in these instances isn’t about greed; it’s about survival in a competitive industry. You’re not a diva for wanting fair compensation; you’re simply ensuring your livelihood as a professional voice actor.

Let’s unpack why this is so crucial.

Protecting Your Voice—and Your Livelihood

They’re Paying to Keep Your Voice Away From Their Competition

Think of it this way: if you’re a serious brand, you want a voice that feels unique to your product or campaign. Imagine Coke hires me to declare, “Coke is It!” Then, in the very next YouTube pre-roll, my voice cheerily announces, “Pepsi, the choice of a new generation!” That’s a brand’s worst nightmare.

And while the soda wars might feel like a relic of the past, the principle is still alive and well in advertising today. A voice tied to a major brand is an audio signature—an extension of the creative campaign’s uniqueness. Brands don’t want to share that signature with their competitors.

For instance, this Honda commercial has definitive terms for how long it can be used with my voice in paid placement. But that same spot can also sit on a Honda-owned YouTube channel forever.

Many Creatives Already Get It… Some Don’t

The good news is that many clients and creatives understand why in-perpetuity doesn’t work for paid commercials. But occasionally, you’ll meet someone who doesn’t—and that’s okay! This is your chance to educate them.

Explain it like this:

• For brands: Exclusivity ensures their message remains distinct in the market.
• For voice actors: Agreeing to in-perpetuity in paid advertising creates conflicts that prevent future work.

Here’s an example: say McDonald’s wants to run a commercial using your voice in-perpetuity. If you agree, you’ll need to disclose that conflict to any other fast-food brands that come calling. Suddenly, Burger King’s “Have it Your Way” campaign or Wendy’s next witty spot are off the table. That’s leaving a lot of cash—and opportunity—on the table.

Commercial Campaigns Are Usually Short-Lived

Here’s another key point: most commercial campaigns don’t run forever. Sure, there are exceptions (hello, “Can you hear me now?”), but most advertising spots are relevant for a year or two at most.

When clients understand that they’re unlikely to use the same ad indefinitely, they’re often open to adjusting their terms. Most creatives, once they’ve heard the reasoning, are happy to work with you. They get it—they’re professionals too. And when they’re reasonable and understanding, you know you’ve found a collaborator worth working with.

If they insist on paid placement in-perpetuity without budging, that’s a red flag. It’s probably a collaboration you’re better off skipping, no matter how tempting the upfront payout may seem.

When In-Perpetuity is Perfectly Okay

The key to navigating in-perpetuity is understanding where it’s appropriate. I’ll make it easy for you. It’s appropriate just about everywhere except paid placement advertising.

Let’s break down some examples where in-perpetuity is perfectly fine—and often the standard:

1. Owned Media

This includes things like a company’s YouTube channel, website, or internal training videos. For these projects, in-perpetuity usage makes sense because the content isn’t competing in a high-stakes advertising landscape.

2. Corporate Narration

If you’re voicing an explainer video or an onboarding module, the company is unlikely to create conflicts for your other work. These projects often have long lifespans, and that’s okay—they’re not paid placements.

3. Documentaries or Nonprofits

Documentary narration or nonprofit campaigns often rely on evergreen content. If you’re voicing a documentary about climate change or a fundraising spot for a wildlife organization, in-perpetuity ensures the message continues to reach audiences for years.

4. Video Games or Animated Series

When you voice a character, in-perpetuity usage often applies to that specific game or series. The content doesn’t typically conflict with other work, and it’s understood that you’re tied to that character within that project’s universe.

What About Broadcast?

Broadcast voiceover work can sometimes blur the lines. Think radio imaging, promos, or station IDs. These often include in-perpetuity clauses but come with clear limitations on where and how the content is used. The key is ensuring those limitations are explicitly outlined in your agreement.

Don’t Fear the Term—Understand It

The word “in-perpetuity” shouldn’t automatically send you running for the hills. The key is understanding its implications for each specific project. Here are some steps to navigate it effectively:

1. Ask Questions
   Don’t be afraid to clarify what “in-perpetuity” means for the project. Does it apply to owned media only? Is it limited to certain territories or mediums? The more specific the terms, the better.
2. Educate Your Clients
   If a client requests in-perpetuity for paid placement advertising, take the time to explain why it’s problematic. Most clients will appreciate the transparency and adjust their terms.
3. Know Your Worth
   If a client insists on unreasonable terms, be prepared to walk away. Protecting your voice and livelihood is worth more than a one-off gig.

Building Relationships with Quality Collaborators

One of the hidden benefits of navigating in-perpetuity effectively is finding great collaborators. The clients who are willing to listen, learn, and compromise are often the ones you’ll want to work with again and again.

A solid working relationship with an agency or production company can lead to repeat projects, glowing recommendations, and opportunities to expand your portfolio. These relationships are worth far more than squeezing every penny out of a single job.

In-Perpetuity Isn’t Always Fatal

While in-perpetuity can seem like a scary term, it’s often harmless—and sometimes essential. By understanding where it’s appropriate and pushing back where it’s not, you can protect your voice, your livelihood, and your future opportunities.

For production companies and ad agencies, this is your opportunity to be part of the solution. By working collaboratively with voice actors to set fair terms, you’ll not only get the best talent for your projects but also build lasting relationships with professionals who know they’re working with collaborators of the highest caliber.

The post In-Perpetuity Will Not (Always) Kill You in Voiceover 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.

My wife sent me the image on the left today. She said she created it with Apple’s AI image creator. I’m not familiar with it and, while I try to stay up on many things, I tend to keep myself a few generations behind the latest iPhone. But while thinking about many things about the image like: Why do people like making these images? Who does it serve? And why does Apple think I look like Vivek Ramaswamay?

I kept coming back to the same foundational idea, who would you trust to work with on your next, critical project? The artificial creation on the left or the human on the right? It also reminded of some feedback I received this year after one of my voiceover projects.

“Dan is the fastest VO talent I’ve ever worked with and his willingness to go above and beyond saved the project and made our client so happy!”

When I’m working with a client, I always return projects that are five minutes or shorter, within 24 hours. After that, things head to lightning speed. Which means if a revision request comes across my inbox, and I’m sitting in my studio and not in a live session, I drop what I’m doing and get that revision fulfilled. Why? Because I presume the project is already near, or perhaps past, its ultimate deadline. Which means they’re waiting on me.

Never Make Them Wait

If I want to stay ahead of AI, I NEVER HAVE THEM WAIT ON ME. And if it feels like they have been waiting, even 15 minutes, they will usually be greeted by several takes. All of them in the realm of what they were looking for.

Ultimately, I have to be the human who can understand a written prompt better than a voice clone and at nearly the same turnaround time. And if you’ve ever tinkered with a voice clone, you know that the tinkering part can take forever. Many times, people come to me because they’re tired of the tinkering. They want me because they know I’ll value their time and make them look good. And that is still the value proposition in voice acting. If you need random words simply uttered in a way that can be (mostly) intelligible to the human ear, there are voice clones for that.

If you need a voice that can deliver a message with any level of nuance or (gasp!) humanity, humans still have a place in the voice acting business.

The post How Voice Actors Can Survive in the Time of AI 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.

1. Define the Project Scope: Before I begin my read, I clearly define the project’s objectives, target audience, and the tone to convey.

2. Refer to My Demos and Samples: An experienced medical narrator will have demos or samples of their previous work available on their website. You can listen to my samples (even the ones that aren’t specific to the medical genre) to gauge which samples align with the vocal quality, clarity, and suitability for your particular project. You’ll hopefully be able to note my diction, pronunciation, and ability to communicate with authority. If there is a particular sample that comes closest to the sound you’d like me to replicate, just let me know!

3. Pronunciation Skills: Medical narrators must be well-versed in medical terminology and have impeccable pronunciation skills. Ensure the narrator can articulate medical jargon clearly and correctly. You can provide your pronunciation ahead of time or let me handle the heavy lifting. I have a lot of experience in this realm and if I don’t already know how to pronounce it, I have a bevy of reference guides at my disposal.

4. Seek Recommendations and Reviews: I’d be happy to provide you with a list of happy clients who have utilized me and continue to do so on an ongoing basis.

5. Communication and Collaboration: Working with a medical narrator involves effective communication and collaboration. When you reach out to me, take note at how quickly I respond. That’s an indication of what you can expect in general. Very rarely does an hour go by during normal business hours without an email being effectively answered. I’d like to think this is normal business practice across the industry but I’ve heard otherwise.

6. How much does it cost to hire a medical narrator: The fees for hiring a medical narrator or medical voice actor can vary depending on project complexity and usage rights. I use the GVAA rate guide as a starting point but am very flexible depending on the budget and scope of each project.

7. Contract and Agreements: I never make my collaborators sign a contract but if you have an NDA or something similar that your company requires, I’d be happy to look it over and sign it. One thing that should already be perfectly clear in this day and age is that my voice may not be used for any AI or voice clone purposes. I retain the rights to my voice. You retain the rights to the specific product we created together.

8. What else do you need to provide me as the voice actor: Just the script, medical references, deadline, and any other specific guidelines you think we help me deliver the performance you are looking for.

9. Do you provide custom demos?: I can absolutely send you a sample recording of your script for you to listen to. Usually between 30 seconds to a minute. This is done at no charge. For longer projects, I can also send you the first couple of minutes for your approval before I go ahead with the rest of the narration.

10. What file format do you provide?:

Virtually whatever file type you need! In my experience, mp3 or wav (48khz/24 bit) are the most common file format that people request from me but I can work with virtually whatever final deliverable you need.

I know hiring a medical narrator for your voiceover project can be a potentially overwhelming situation if it is your first time doing it. I’m here to make it the easiest part of your project workflow and to make you the hero within the company by exceeding deadlines and quality expectations.

The post Find a Medical Narrator or Voice Actor in the Healthcare Field 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.

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