Dane: I’m Dane Reid, The Voiceover Guy. I am here with the team from voice actor websites. Guys! (Team Introduces Themselves) (Dane) And I don’t have any labs that fit five people.
Dane: I’m Dane Reid, The Voiceover Guy. I am here with the team from voice actor websites. Guys! (Team Introduces Themselves) (Dane) And I don’t have any labs that fit five people.
I used to steal software and plugins for voiceover. I started my career with Cubase LE which came as free software with my Emu 1616 audio interface. As I realized the limitations of that software, I wanted to grow but I didn’t have the money to grow. But having friends in audio engineering, I found out that there were ways to get what was called cracked software.
My first cracked software was a Cubase SX. There was a company that was famous for cracking audio software called and I used to find their software either online or through a friend who had it. Cubase 2.1 was how I really learned to produce commercials. But a DAW (Digital Audio Workstation) is only as good as the plugins. So for that, I had to find more cracked software.
The hot plugins of the day were waves plugins. Waves were really good and really expensive. Of everyone that I knew who did audio, maybe only one of them actually bought any of the waves plugins legally. Waves plugins could run 10k for a bundle. Being who I am I had to have the best bundles. I had the waves platinum, mercury and gold bundles at some time in history.
As my career grew, I never really considered buying the actual plugins. They were still out of my reach in price. Plus, what was the point? I was getting them for free. Free beats cheap any day. So I perfected my skills with free software and even upgraded as more cracked software replaced the older versions. I went from Cubase SX to Cubase 2.1. Then I moved on to several Nuendo versions for a few years. Meanwhile, voiceover and commercial orders piled on. I had a nice workflow.
I never shorted on hardware though. I bought my first Neuman for $1500. UA LA 610 for $1400. I owned several computers. A Mac and a PC and a PC laptop. I had travel gear and swapped out several audio interfaces at that time.
So what happened? Well, one morning I got up to do my work. I had several commercials in the pipeline for the day. I fired up my computer and my trusty Emu and then started Nuendo and BAM. Nothing. It wouldn’t start. I tried it again and still nothing. So I restarted the computer hoping that would help. Nothing again. I tried a few times and no result. I was in a bad position.
I called a friend and fellow talent to ask if I could come to his house and record this work and he asked me what had happened. I told him. And his response was something I didn’t expect. He said to me “Why don’t you just buy the software?” I had never thought to actually buy the software. So I did. I bought my first version of Cubase, which was Cubase 5. It cost me $300 at Guitar Center. I came home that morning with my dongle and installed the software and BAM…. Nothing!!
At this point, I’m even more panicked. Installing and getting up and running was much easier with cracked software. So I called Steinberg to help me. I went over several things troubleshooting with the tech before I finally had to admit to the tech that I previously installed unauthorized software. He went silent for a second, and in a judgemental tone said “Well then you have to wipe your entire computer clean and reinstall windows to install Cubase properly.
You can imagine my horror. But I had work to do and the day was coming to a close by now. I got off the phone, backed up as many of my files as I could, and wiped my hard drive. I realized that I had to change at this moment. I did put the plugins back on the computer because I needed them at that moment but over time I began to buy them. I didn’t buy all of them but I bought some.
Over the years I replaced Cubase 5 with Cubase 7 Artist. I also bought Cubase 8 Elements for my mobile rig and then upgraded to Cubase LE AI Elements 9.5. I also bought Cubase Artists 9 for my desktop home studio. That version made all of my 32-bit plugins obsolete so now I had to buy all new plugins. That’s when I bought the Apollo Twin and then the Apollo Arrow with all the plugins for those machines. Now, I can’t steal plugins. I buy them. I also fell in love and buy the Izotope plugins. I have several of those bundles for mixing and mastering. I continue to buy software and plugins for voiceover. For Christmas, I bought UAD’s Manley VoxBox and Valley People Dyna-Mite.
You don’t even have to steal software and plugins. For plugins, there are literally thousands of free ones online. All you have to do is google free audio plugins. For a DAW everyone knows about Audacity which is free but you can also download a free version of Mixpad which seems better than Audacity.
In my opinion, I get the fact that starting a business or learning a new craft is very expensive, but with free software and plugins for voiceover available now, don’t steal. Don’t steal anything actually. People work hard designing this software and they deserve to make a profit for their efforts. I left some links in the description for Mixpad and Audacity.
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Everett Oliver is a shy, introverted booth director who got his start 25 years ago in the animation world….. And if you know Everett you know that there is absolutely nothing shy nor introverted about him. Everett is a no holds barred, unfiltered, instinctive voiceover coach and booth director who fights hard for the success of his clients.
As a booth director, Everett directs clients auditions to help them book jobs. Voiceover actors often have auditions that they REALLY WANT to book. Some of these auditions are the BIG ONE that can make our careers. Whether it’s a network promo job or an animation project, we know this can mean the difference between success and failure. We sometimes spend hours recording the audition and then second-guessing ourselves on the read, the sound, the tone etc. Ultimately this can result in paralysis of analysis. In those moments, what we really need is a second ear.
That Second Ear
Everett is that Ear. Working with a voiceover audition coach like Everett accomplishes several things. It cuts down the time you spend on auditioning and allows talent to submit auditions faster. Sometimes agents submit the first good auditions as they come in and those are the ones that are most highly considered. Working with Everett also gives you insight into what the client is most likely thinking when he wrote the copy. Everett knows that world and he has an incredible instinct for predicting what books.
Taking His Show On The Road
Everett Oliver has been touring North America, taking his brass brand of coaching to various cities. And talent are better off for it. In my time speaking to Everett, he explained to me about an entire world that goes beyond what most talent could even imagine. It’s a fast-paced, backroom world where the end result is what matters. Everett knows that world, having been in Hollywood for many years and being a part of it. It’s a world where talent is replaceable and feelings can be a liability.
He’s a Tough Mutha Shut Yo Mouth
Everett’s style is all in preparation for acting in front of those people who run that world. He’s hardcore, but when you speak to him one-on-one, you realize that it’s all in love. He’s like the mother hen who looks out for you until you are ready to fly before he himself pushes you out of the nest. And believe me, Everett Oliver pushes. His personality throughout his session was both tough and hilarious.
There have been so many voiceover jobs that I crossed my fingers and threw up 7 hail Mary’s that I didn’t get. Somethings are just perfect for you and you’d love to call up someone special and say “Listen to me on this”. And those are the voiceover auditions that I would call a booth director for. Those are the jobs that I prep for with a voiceover coach months in advance for. Those are the jobs that I now keep Everett on speed dial for. Now, my booth director is Everett Oliver.
I am not a Voiceover Expert. I am a student. I taught a class yesterday called “Intro to Voiceover” to a group of excited students who knew nothing about voiceover. Most of them were local Atlanta actors who wanted to break into the business or to wet their beak. But the first thing that I told them is that I myself, even after 15 years, am a student of voiceover. The second thing that I told themwas “this is an intro course and after this, you’ll need extensive training and coaching to really get into the business and I will recommend others who specialize in guiding your career.”
See here’s the thing. It’s not that I don’t know what I’m doing, but it’s that I know that every day I am learning and in order to keep learning and grow my voiceover business, I need to keep the humility of a student. The other thing that I know is that many people in the industry with a cell phone camera bill themselves as a voiceover expert. Some of this is driven by the ability to sell courses, classes and advice to new students. Some of it is ego-driven and done for likes among peers. A friend who does a lot of great coaching and demo production once confided in me that there is more money in voiceover coaching and demo producing than there is in voiceover itself. I think that’s telling and a warning as to how students should invest their money in growing their businesses.
I do interviews as a way to learn valuable information from long-established and well-respected voiceover experts. I started it also to meet people in our industry and to watch them first hand conduct their businesses. Joe Loesch taught me to wake up every morning, get dressed and go to work in work clothes as I would for a corporate job. Dave Fennoy taught me to give every character a past, present and future. Anne Ganguzza taught me the value of consistency in marketing. And Joe Cipriano reminded me that relationships in business will help propel you forward faster. These are things that I may have taken longer to learn, but listening to voiceover experts whose opinions I value, helped put these things in perspective.
I love motivating people to be their best as I love being motivated by others. It cost money to buy equipment and travel to people’s homes wherever they may be. But I enjoy doing it. It pays when people recognize me and thank them for helping jumpstart their careers, but private lessons are a minuscule part of what I do. And after several lessons with me, I refer students to other coaches. That seems counterintuitive, but my focus is on continuous learning and advancing education. As for actual profit from vlogging, I make none. No ad dollars. No endorsements and no courses to sell. In full disclosure, my content is a form of advertising my business, but I mostly do this because I truly just love content.
One of the biggest themes in my life has been learning and teaching. I am an avid learner. I grew up in a book store in New York that my father owned and learning was the central theme of my life. At a certain age, I realized that I had a passion for teaching people what I had learned. I eventually went on to work in the school system for 5 years. So, I love to impart information. In addition to wanting to share what I have learned in voiceover, I wanted to present that info in a fun way, in a way that you don’t see enough of online in our industry.
I wanted to fill a void that wasn’t being filled. There is plenty of advice in the voiceover industry. There are plenty of experts of varying levels doing podcasts, Youtube, Facebook Live shows and IGTV and I love a lot of that existing content. Some of the shows I enjoy are Ask Dave Fennoy and VO Buzz Weekly. But what I thought that I could do differently was to tell stories. I watch a lot of youtube videos from creators and enjoy the travel stories, the tech stories and the human stories that are told through video and narration. As a voice guy, I have always had a passion for verbally telling those stories. With a Panasonic GH4 in hand, I can tell those stories now cinematically as well as with my voice.
Sometimes I sit around thinking to myself “What can I do better?” If you are in business for yourself you have probably read a ton of self-help books and marketing books etc. I remember asking a friend more than 10 years ago “What should I do about my business?” I felt like there was nothing I could do to improve it. He replied to me “Have you done everything you can think of to boost your business?” To me, this indicated not only that I needed to dig deeper and plan more, but also that I needed to exhaust all possibilities and take a risk. As the new year started and I watched others on social media plot out their year, I borrowed some of their ideas and formulated some of my own. I believe that being in business is a balance between professional and personal success. If you fail in one, it makes the other harder to excel in. With that, here are 19 things to Make A Successful 2019 for me that may benefit you too.
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Demo production is both an art and a science. It’s a combination of matching the voice and personality of the talent along with the trends in voiceover production. To do that, not only do you need a producer that knows what are the current trends in voiceover (things like the 6 second commercial), that person also needs to know, or at least have a feel for you as a talent.
My Demo Producer Pick
It had been too many years since I had updated my demos. When I sent out my last set of demos to various production companies, clients and agents, I had almost always received positive feedback. But among people who knew me, including myself, I had always felt that my demo was a bit stiff. It didn’t truly reflect me as a person. So when I decided to do a new narration demo I wanted someone who knew me as a person as well as having great experience and insight into the world of voiceover. So I picked Gabrielle Nistico.
Gabby and I have known each other for years. She knows my background. She knows my voice and every time we speak it’s always fun. She teases me. We’re both New Yorkers so she gets me and she sees a lot of my crazy social media post and follows me on my adventures. Oh, and she gives great hugs too. While not every talent and their producer will have this kind of relationship, it’s important that there is some kind of relationship beyond “ok, when I press record, say this line kid”. Why is this important? Because the scripts she picked out have to be tailored toward me personally to get the best reads.
The Right Scripts
The producer has a bunch of scripts. They could randomly throw some scripts at the talent and that would be the end of that but it’s important that they can visualize the way the talent will interpret and project that copy before it is recorded. That helps them pick better scripts. Gabby knew both how I read things and how I say things normally. That helped. Bigly! Having knowledge of my background in education helped in choosing one particular script on my demo and another which we later decided to table was chosen because of my background with live announcing (I decided to create a dedicated live announce demo instead produced by Jean Francois Donaldson)
Talk But Also Listen
Short of having been to your demo producers house, finding a demo producer could leave you scratching your head. I know experienced talent who still play the guessing game as to who to produce their demos with. Firstly I recommend having conversations with demo producers who are recommended by industry professionals. Talk to them about their dogs, their favorite ice cream and their philosophies about the voiceover industry. Ask a lot of questions but also listen to hear whether they ask a lot of questions about who you are. Wait to see if they ask if you have a website or any work you’ve already done. A good producer will want to research you as well.
Not A Production Demo
Listen to a producers samples of past work carefully. Has the producer worked with voices like yours before? Are the demos overproduced? Remember that this is a voiceover demonstration of your voice, not a demo showcasing great overbearing production. And remember to take into account that the demo has to be a true representation of the work that you really perform as a talent. Don’t get stuck with a demo that you can’t reproduce in real life scenarios.
Your Producer Cares About The Next Step
Bonus points should be given to a demo producer if they also ask about how you are going to market your demo. Of course they may have additional services that help you at extra cost but it also shows that they have a vested interest in the final product with their name on it. Gabby offers complete voiceover career coaching so she stands by her work. For me that means I’m not getting trapped in a demo mill where I get coaching for a few weeks and then a demo whether I’m ready or not. (Tip for new professionals) I of course have been in the voiceover industry for many years so I know many producers but if you are new you probably don’t. But a voiceover demo takes time. First, extensive coaching and evaluation should be done, then a demo if the talent is shown to be ready. But I digress.
The Final Product
I got my demo back from Gabby within a week. Before listening I dialed back my excitement to allow myself to objectively critique the demo. It’s my voice and ultimately my project that represents me and so I couldn’t allow neither the pressure now the excitement to skew my opinion of the demo. Ultimately after listening, we decided to make some changes mostly to the arrangement of the pieces. Most people in the industry will advise you to put your best demo clip first. So we agreed to change the order around based on what I thought was the best. Also I allowed a few professionals to take a listen and give feedback which I factored into re-arranging. Working together Gabby and I came up with an order that we both felt truly told a story. It’s my story. It’s partly who I am and what I offer the voiceover world. Take a listen.
To Book My Professional Voiceover Services
Or please go to my contact page at http://www.danereidmedia.com/contact/
linkedin at https://www.linkedin.com/in/danereid/
Every year for the past 10 year, Roy Yokelson’s opened up his home to host the unofficial-official VO-BBQ. It started 10 years ago with a small gathering of Roy’s voiceover friends. And if you know Roy Yokelson, he makes friends quite easily.
Roy had no idea I was coming to the New York Metro. Quite honestly neither did I, but the wind blew in and blew me with it and I’m so glad it did. It was my first VO BBQ. I had seen the pictures and videos from previous years and knew it was bound to full of fun and some of my favorite people. The annual gathering brought out some of the best in voiceover like Cliff Zellman, Peter Bishop, Jenn Ifer Platt, Mara Junot, Bob Souer, Scott Chambers, Jordan Reynolds, Andy Danish, Paul Strikwerda, George Whittam, Anne Ganguzza and that’s not even scratching the surface. Additionally Roy sells T-Shirts which he donates the proceeds from to children’s charities.
If you’ve enjoyed this videoand interview of Roy Yokelsons VO BBQ, please subscribe to this page for more. Also check out my blog and video with Rudy Gaskins entitled “Rudy Gaskins- The Right Guy For The Voice Arts Awards” as the 2nd Annual Voice Arts Awards are nearing in L.A. Click Here To Watch & Read
Dane Reid is a Voice Over Talent, Radio Commercial Producer and Imager, Voice Over Youtube Channel Producer at http://Youtube.com/DaneReidMedia , Children’s Book Author, Entrepenuer & And Avid Global Traveler
When I tell people that I’m a voiceover guy they have a hard time putting me in a box. They can’t figure out my financial status because they have no idea “what that pays.” They don’t know my social circle or habits, and wonder what makes me tick. They have no idea how to stereotype me…. And I love it. Over the years I have kept in touch with many people through social media and it has allowed me to mold an image of what people think of me. And blogging has helped add to the image of who Dane Reid is.
Before Jan 2015, here are the things I would’ve wanted you to know 1)I’m passionate about civil and social justice. 2)My Sennheiser 416 and I spend a good amount of time traveling the country and abroad at a whim. And 3)I poke fun at the fact that in spite of having involved myself with scores of women, I still can’t find “The One.” Of course there are other things that you can derive from my social media profile but these are pretty much the big ones. Oh, and of course, did I mention that I’m a voiceover guy. Of course I did; A voiceover guy with a superman complex.
Having the ability to write my own story has made me believe that I can accomplish anything and that I will win in any scenario. In ways, I feel superhuman sometimes. I have bad experiences of course but things always turn out well so I take that for granted. But January 2015 has been quite interesting and even slightly humbling. And it has reminded me that I’m not superhuman, I’m just human.
Like everyone else I started the year off with a set of goals. When I set goals I am unwavering in getting them done. Mine are to go farther in my voiceover career. I had already set the stage for some of my initiatives late last year and was in full swing by the beginning of 2015. I’d been in a series of meetings with people who have track records of starting and running successful businesses who were interested in some of my ideas. Big things were on the horizon for 2015. Nothing could go wrong. Right? Until something went wrong early in the month.
On a routine drive back from my mother’s house, I slid off the road and ended up with my car stuck in a mud ditch. I was physically fine. But what just happened? I consider myself an exceptional driver, someone so confident in a car that I have often pushed the boundaries of what a person should even attempt in a vehicle. High speeds, amazing accident avoidance incidents, outrageous maneuvers and even out running law enforcement are all on my driving resume. So how could this happen to ME? It was low speed. I’m familiar with the road. And, did I mention that I had just heard myself on the radio just a few minutes before this all transpired? But at the end of the day, AAA arrived and pulled me out of the ditch and I was back on the road with no damage to car and only slight damage to my ego.
With the hydroplaning incident behind me, I was back to normal life. I’m the voice over guy driven to make amazing things happen in the new year. With one bad incident already having happened, I figured to have exceeded my limit for the year. But life had other plans.
On January 22 I had a full day planned. 5:30 a.m. gym. 7 a.m. back home, shower then microphone work. At 10 a.m. I was out running errands. But by 2 p.m. I was feeling a bit of pain in my stomach. By 4 p.m. I was in a meeting consulting a client on a project in West Africa. But by this point I was in increased pain. I was doubled over as I walked and had to cut the meeting short. The moment I got home I knew that I couldn’t continue. I had to go to the hospital. I got a ride there from a close friend. When I arrived at the hospital I was triaged. The wait was a few hours long and when I got to the examination room the ER doctor suspected an appendicitis. He CT scanned me and confirmed and recommended surgery. I wasn’t convinced. So I checked with my primary health physician, Google, for a second opinion. Dr. Goog agreed I needed surgery. “A Laparoscopic appendectomy would take little out of my busy schedule.”
I received the surgery overnight and was released by midday Friday in time to deliver some lines to a station I do radio imaging for. But aside from a few minutes behind the mic, the rest of the day was easy going. I just laid on the couch. My mother even came by to keep me company and brought some good ‘ole chicken soup.
But just hours down the line I was back in the hospital in the worst pain of my life. I was begging for them to knock me unconscious because their strongest meds we’re working. They scanned me again. My intestines became twisted in the process of the first surgery. The blood supply was being cut off and I needed emergency surgery to correct it or face my last day on earth. For a week following, I was laid up in the hospital. Half of the time I was so drugged up I couldn’t stay awake long enough to read my first name much less a conversational read for any auditions I received. My clients were mostly understanding that the guy who gives them commercials was challenged just to get out of bed or walk down the hospital hall. In there, no-one cared about pop filters or plosives, they were just concerned that I could poop. I never knew that pooping was a major accomplishment that people would clap for. But in the hospital, flatulence and defecation trump a great voice and being heard on the radio.
Sometime in my week’s stay a nurse did ask me what I do for a living and I told her. She was so fascinated that she told another nurse who also found my career choice interesting. But they still seemed more excited when I first passed gas. I never felt like a voiceover guy, one of the cool kids or Superman in this experience. I just felt so human, like everyone else, instead. And for the first time, passing gas was more exciting than hearing my own voice playing in my car.
He’s one of the Southeast premiere voiceover agents, representing over 400 talents from celebrity voices to voiceover bloggers like myself. His agency fields auditions for jobs from Publix, to Walking Dead to Network promos and he does it without breaking a sweat. In fact Jeffrey Umberger runs his Atlanta based Umberger Agency almost entirely by himself, and still has time to appear locally and nationally on panels to dish out expert advice on the voiceover industry.
To say Jeffrey Umberger has an ear for voiceover would be an understatement. He is one of the most known, respected and talented agents around. And he’s done this all without a New York or L.A. office which is pretty remarkable. Jeffrey has a great ear which he developed while at another agency directing talent.
I interviewed Jeffrey Umberger at his home last year in Atlanta. We sat down and he gave me the inside scoop on how to land an agent, what components of a demo catch agents and clients attention and what helps clients book actual jobs.
Jeffrey and his expert advice are everywhere. Earlier this year he was a panelist at VO Atlanta 2014. He regularly appears as a panelist around Atlanta, does some coaching and teaches VO business success classes. Additionally he is a featured agent at the “That’s Voiceover” Career Expo in New York and will be appearing at Randy Thomas’s Voiceover Mastery Event in Ft. Myers Fl.
To top it off Jeffrey is a really nice and humble guy. Whether you are one of his top booking talent or someone who has no idea how to get started in voiceover, he relates everyone on the same level. That in itself is a talent and is the reason he has been so successful in finding the industry’s best voiceover talent.
The Umberger Agency- Representing voice actors in the US, Great Britain, and Canada, including Jasmine Guy, Tony Dow of Leave It To Beaver, Grammy winner Lee Greenwood, Dustin Diamond of Saved By The Bell, Karen Grier of 11 Alive News and more. Owner Jeffrey Umberger was a Casting Producer on 2 seasons of DIY Network’s hit show ‘MEGA DENS’. He once did some scouting for the Television series ‘COLLECTOR INSPECTOR’ on HGTV, and ‘BREATHING ROOM’ on Fine Living Network. He later began working in commercial casting with Casting Director Kris Redding. It was after this that Jeffrey began his career as a talent agent. Jeffrey now owns Umberger Agency, with one of the most respected Voice-Over talent rosters in the country. As a Voice-Over Agent, Jeffrey has placed talent with Tyler Perry’s ‘HOUSE OF PAYNE’, ‘LOVE THY NEIGHBOR’, ‘THE HAVES AND HAVE NOTS’, ‘SINGLE LADIES’ on VH1, HGTV, Cartoon Network, Turner Classic Movies, DIY Network, The Food Network, Fine Living Network, The Cooking Channel, and Georgia Public Broadcasting, among others.
Jeffrey Will Be At The VO Mastery Event Presented By Randy Thomas. You Can Catch Him There
Check Out Jeff rey At “Thats Voiceover” In NYC Also
The Umberger Agency Represent Dane Reid As A Voiceover Talent
To understand why you should take advice from Mara Junot you only need to do a quick Google search of her name to know that hers is a voiceover career to be envied. Her website MaraJunot.com gives but a snippet of the projects of one of the most diverse talents in our field. But humbly Mara has been the voice of so many things that we hear on a daily basis.
1. Voice of Christa and Anna Corea in The Walking Dead video game by Telltale Games, winner of over 90 Game of the Year Awards worldwide.
2. Primary internal voice of AT&T, the largest telephony company in the United States. Voice of Nationwide Directory Assistance, U-Verse applications, AT&T retail outlets and extended text-to-speech (TTS) applications.
3. North American voice for Sygic GPS Navigation, named as the most downloaded offline navigation app in the world.
4. Branding voice of the Tampa Bay Rays baseball team.
5. Voice of Sierra Club, the largest and most influential grassroots environmental organization in the United States.
6. Voice of Anki Drive, the first artificial intelligence-driven video game.
7. Voice of Commander Tiaru Jarok, T’Vrell, Capt. Tren Renalla, and various others for Star Trek Online by Cryptic Studios.
8. Voice of Merrisara Winterwhite, Marigold Tarmikos and others in NeverWinter: Fury of the Feywild
9. The White Warrior, Lady Wei , and Female Player in Kung-Fu Live (by Virtual Air Guitar Company).
10. Explainer videos for Microsoft Surface.
11. Voice of Oreck for 4 years.
12. National Jenny Craig commercial.
13. National Public Storage commercials.
Still Mara is pretty humble, down to earth and lots of fun. I’ve studied Mara’s career for a few years now and I’ve observed a few things that make her so dynamic in voiceover. Mara Junot got to where she is with a very precise formula. And while during the course of our interview, she never divulged all of her secrets, she did give me a little taste of her formula and how she got to the “Carnegie Hall” of voiceover. (Hint)
1) Mara started with a background in radio. In voiceover, this is traditionally thought to be the great NO NO as people in radio tend to go against the VO trend of being natural and sounding announcery. Often radio people struggle to break free from the announcer voice that follows them even in regular conversation. But Mara gives good reason in the interview why this doesn’t have to be true and how she used her background in radio to help her.
2)Mara is like an athlete in voiceover. (Watch to learn why)
3) Something she didn’t mention in the interview was the fact that Mara stays on top of trends and goes where the work is. She networks in high level places which helps her climb even higher.