My rates vary based on the project, so if you want a quote, I’ll want to know a few details.
The more of those details you can include in your email to me – the more accurate my estimate will be.
It’s important for both of us to understand the cost before we agree to work together, so that’s my goal.
Please note that I may respond to your inquiry with an introduction to a representative from my management (Jason Marks Talent Management) for the quote and hiring process. The folks at Jason Marks Talent are fantastic and easy to work with. They represent some of the best, most recognizable voices in the business.
In the U.S., likeness rights can vary from state to state – but the gist is this: You cannot use a celebrity’s likeness (in this case a facsimile of their voice) with the intent to deceive the public into thinking the celebrity is providing their likeness for your commercial gain.
Using a parody or comedic approach in the creation of the project, building off the context that “we’re using a celebrity impersonator, but you should accept no substitutes”, or other similar direction when writing your project may be acceptable ways to alleviate likeness rights concerns.
Another excellent approach is use of a vocal approach which is “inspired by” the celebrity in question – but not a direct facsimile of the celebrity. For instance, using a similar cadence or tone, but in my natural voice. I’m happy to discuss this option and provide a sample for your consideration.
You’re also welcome to ask me questions regarding the specific context you intend to use, but I am not a lawyer. So if the project is for broadcast or commercial use – and you really want to use a celebrity impression – it would be in your best interest to consult a legal representative who is knowledgeable of likeness rights.
No. I cannot identify myself as the celebrity in question, nor do I endorse products or services unless specifically contracted to do so, and then, would only do so as myself in my natural voice.
If you receive audio from me, based on a script you’ve sent me (or a script I’ve written and you’ve approved of) and something isn’t quite right, just let me know. Revisions or re-cuts due to an error or technical issue on my part are included in the cost of your order. Revisions due to script or copy changes on your end are a slightly different matter (see below).
I understand that sometimes changes need to be made to a finished project. Perhaps the boss wants to add a line, the legal department wants to adjust the wording of a line or you just heard that the old slogan is out and the new slogan is in. For any proposed changes from the original, approved script, a fee relative to the depth of the change will be assessed. In other words, I promise to be fair.
For commercial-use projects in which I’ll be recording multiple pieces or lengthy narrations in one studio session, my per minute charge does decrease as the overall total number of spots or length of audio increases. However, for recurring projects (a new spot each month, for instance), my rates would not change unless I’m contracted to provide you with a specific amount of work over a period of time.
While most of my voice-over projects are between thirty seconds and three minutes long, I am available for longer form narrations. Depending on the project you have in mind, special pricing discounts may apply. Just ask me for details.
I consider my pricing to be reasonable enough so that most small companies can acquire my services and still remain on budget. If you’re concerned that the project won’t generate the attention or revenue needed to support the costs, I understand. However, considering the industry standard pricing for studio-time alone, I think you’ll find that my prices are quite reasonable.
I use studio-grade professional audio equipment, and record in a home studio and custom built sound-suppression booth. I use different microphones, depending on the style of the voice/project. My most used mics are a Sennheiser MK4 large diaphragm condenser mic, and an Electrovoice RE20. I use a Cloudlifter with the RE20 to achieve a bit more gain. I also utilize a Behringer Ultragain Pro tube pre-amp, a Behringer Multicom Pro-XL compressor/processor, and a Behringer Ultragraph Pro graphic equalizer in my audio chain. To convert to USB, I use a Focusrite Scarlett 6i6 pre-amp/USB interface. For audio recording and production, I use Adobe Audition or Pro Tools 10. My sound suppression booth is a custom build, featuring multiple layers of sheet-rock, insulated steel door with custom air-tight seal, “Green Glue” acoustic deadening adhesive/sealant, denim acoustic insulation, as well as Auralex acoustic tiles and custom bass trap.
*Please note that the above links will open new tabs to the product via Amazon. Jason’s Voices LLC is a participant in Amazon Services LLC’s Affiliate Associates Program, a program which provides a means for advertising revenue in exchange for linking to Amazon.com. Using the above links will not incur additional fees or costs to you.
Yes. There are voices, styles and impersonations which I haven’t even thought to attempt yet. That’s where you come in! If you have a specific request, feel free to contact me with a suggestion (and/or links to examples). I’m very flexible— Generally, with a little practice, I can deliver a suitable demo. My recent “100 Voices in 100 Days” project can be a great source for additional voices I’ve done.
Provided you make the request before I deliver the finished audio, and my software allows me to make the suggested changes, I will accommodate your request at no additional charge. For larger file formats, like .wav, I will utilize a file sharing website of my choice. For special requests, like sending each line of a read as a separate file, via a file-sharing service instead of email, or multiple file types, there may be a nominal charge assessed to cover additional time spent to fulfill the request.