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Tanya Rich
British Voice Actor
+44 (0) 7788 747 946
tanya@tanyarich.co.uk
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Voice Over

Talking Creative with voice-over artist Tanya Rich

November 26, 2020 by Tanya Rich

Back in the voice-over booth for another podcast

Voice-over artist Samantha Boffin sitting on a step
Talking Creative podcast host and voice-over Samantha Boffin

Having appeared on the VO Boss podcast in 2018, I was recently asked to be a guest on fellow voice-over artist Samantha Boffin’s podcast, Talking Creative – the Art of Voiceover Directing.

The podcast is aimed at helping clients, creatives, producers – and indeed, anyone working with professional voice-over artists – find, brief and direct their chosen VO, so that they get a great read and a fantastic result.

A while ago, Samantha was one of my voice coaching students – and today she appears on my Rich List of professional voice-over artists, whom I heartily recommend.

You can listen to our interview here.

But if you’d prefer to have a quick read of the main points, here’s a slightly cut-down text version. Happy reading!

Talking Creative interview with Tanya Rich 

How did you get started as a professional voice-over artist?

I was very lucky, actually. I took myself off – on the advice of my mother who had done voiceover when commercial radio first started – to my local radio station Signal in Stoke-on-Trent and said, “Can I have an audition to be a voiceover please?”

And a guy emerged and it was the writer Les Scott, who knew me when I’d managed the punk band Discharge. And he said, “Hello Tanya, what are you doing?” I said, “Well, you know, my mum thinks I should be a voice-over artist. What do you reckon?” And he said, “Come on through do an audition, meet Les Woollam, the producer”. So Les was very kind of sombre compared to Les. “This is Tanya, she’ll be great”. “Have you ever done this before? No. But I’ve done loads of drama, and I am a professional session singer.”

They sat me down, gave me a script. I read it. And they said, ”You’ve done this before -you’re a hustler.” I said, “No, no, I haven’t.” They said, “Well, that was bang on 30 seconds. Let’s give her a harder one”. So they gave me 20 seconds – I did that. Now obviously, the VO style wasn’t perfect, but they saw enough in me. And the greatest thing of all was, I got trained on the job. They had a female voice that they use regularly. And I spent two years being the second voice.

Can you explain the second voice? 

Les Woollam, producing audio from a voice-over artist
Mentor hard at work: my first producer, Les Woollam, at Signal Radio

I’d just be the voice echoing back. So for example, I’d go “new kitchen, Sam?” and she’d go, “Yes, that’s right. I got it from blah, blah, kitchens”. Then I’d go, “Wow, that’s great. What was that number?”

So that was going up and down the country?

That was just in Stoke-on-Trent. And then what happened was, after two years doing that, I got enough stuff together to make a reel and I send it off to JMS and Harewood radio, who then took me under their respective wings and taught me even more about being a VO. From there, I got more reels, sent them off. And that’s when the real fabulous time of being a jobbing voice-over artist was because that’s when we got our bookings a year in advance and drove around the country and worked with everybody and did everything and anything.

 

That’s how you really learned how to be the voice that you are now?

Yes, absolutely. When you got to a station, you didn’t know what to expect. So you could have had 10 scripts, or you could have had 50 scripts. And you had to literally go from hard sell soft sell – mother, grandma, child, witch, fairy – you never knew. And you were expected to do it quickly. Because of course, in those days, it was all done to tape. It had to be cut with a razor blade, you know, which is why we all have this fantastic breathing method. We all know intonation, and we can all voice to time.

Was it helpful that you were a singer as well? 

Voice-over artist Tanya Rich working as a singer
Swapping mics: Tanya Rich sings on stage

Yes, I think so. Because if you can hear the music and the copy, that really does help because it is a rhythm. There are rhythms in copy. That’s why you know, thinking about real inflection and how we actually bring things to life is really important. Yeah.

Did you spend a long time working that circuit? 

I did. That’s why I know all the cracking old-school voices. And when I say old-school, I don’t mean their voice age, I mean them as in their values and their skill set. We had to deliver. Whatever we felt like, we always had to be fine. And we always had to be on. Especially as a female voice-over artist, you needed to be super versatile. And you just need to be able to change from one script to the next.

So voiceovers don’t work in the same way anymore? 

No, they have it a lot easier. And that’s why, you know, it’s one of the things that I have a real problem with. Because it’s a very tough industry even now. In fact, it’s so overcrowded now, it’s probably even tougher in some respects for new voices. But yeah, I mean, you had to have that discipline. And you had to have the thickest of skins.

How has it all changed?

Actor, voice-over artist and inspiration, Ian Swann

Watching people on the job, that’s really how I learned. I mean, the first time I realised I could actually move when voicing was watching the amazing voice-over artist Ian Swann. I’d been taught everything about how to move my face, but not my body. And then Ian – coming from an acting background – showed how the two can connect. But now, people are voicing with computers. They get endless times to do takes – they can cut out every breath. I once had somebody say to me, a new producer who didn’t know me: “Don’t worry if you can’t do it to time, we can do it line by line.” My flabber was truly ghasted. It’s like the death of spontaneous beautiful performances!

I think a lot of people see voice-over artists being quite rigid actually. They’re so terrified about going off mic. But that’s something that you’re really passionate about, aren’t you?

Yes, I am. We have to give so much more behind the mic sometimes to make it really stand out in the listener’s ear. You know, the amount of people I personally work with that have had coaching and still don’t know they’re supposed to move their face or shoulders or hands or anything. It’s appalling really.

So, what do you think about the industry now?

I have to say that there is a saying amongst really experienced professional, great voice-over artists that a lot of voice-over artists or people claiming to be voice-over artists in today’s market would never have survived in our day. I think people haven’t got a thick enough skin. There are so many people saying they can be voiceovers and you can just go and buy yourself a website. Everybody thinks it’s just talking and reading. I’ve got a voice, my nan says I’ve got a nice voice, I can be a voiceover – and I’m afraid it’s not true.

How would you describe your approach to coaching? 

I’m firm but fair. I encourage but I don’t give people false hope. I don’t lie to them about their ability. They have to do the homework. They have to record and they have to improve and get it. People say to me, how long will it take me? I don’t know. But what I can say is that you will know when you’re ready because you’ll get that lightbulb moment and switch on. They have to jump through a lot of hoops before they get to make a reel. But when they do, every voice style on that reel is genuine. They can reproduce that at the drop of a phone call. And they can self-direct, they can take direction and they are formed voiceovers. The only thing then they need to get is more and more experience and learn even more things.

Do you teach mic technique too? 

Mic technique matters. Photo: spoiu23 from Pixabay

Yes, I teach them about staying on-mic, how to work the mic as in if they’re going to be shouting or projecting. I also do teach them they don’t need to project because unless it is a shouty part of the script, of course, because that’s what we have microphones for. Right? They do all that work for us. That’s one of the things that a lot of people think they have to do, especially if they perhaps come from a stage background. That’s one of the hardest things to get them to back down a bit.

Being able to empathise with your audience – what are your techniques around that?

Think about who you’re talking to. But don’t just stop there. Think about how the person that you’re talking to is reacting to what you are saying. So you’re actually in a conversation with a person that we can’t see or hear. And using your face and your natural facial movements. The way a line can be delivered really changes depending on your head position.

Why is it important for voice-over directors to be looking for voice-over artists who have the right sort of training?

Richcraft voice coaching

Voice directors should look for either a voiceover that’s established with their current reels, or get them to just do you a very short audition. You know, my company’s called Rich Craft. On there are some of the voices that I’ve trained that have made reels that I think are outstanding. Any producer that came to look at that list, I would hope would know, actually, if they’ve been trained by Tanya, they must be bloody good.

Is it easy to spot the trained voice from the untrained voice?

It depends on how experienced the director is, doesn’t it? Because if they’re not experienced themselves, they won’t know. You see. I don’t want to go off piste here. But a showreel is not always a real reel. If you hear a voice that you’ve never heard of before, and there reel is peppered with spots for top brands, like Andrex and Persil and things, that’s usually a good indication that actually that reel is fake.

What attributes do you think a good voice director needs?

As I say, it would help if they understood the language of VO. So if they say to a voice-over artist, I want it to sound more ‘warm’, that’s fine to an established voice, they know exactly what to do. But an inexperienced voice doesn’t know.

Could you tell me a bit about the Rich List that you’ve got, because that’s something that’s relatively new, and it’s part of RichCraft, isn’t it?

Tanya’s personally endorsed list of voice-over students

Basically, I decided I should showcase some of my students on another platform. And because they have to be the best of the best to be on that list – they are people that have really put the time in and worked. And I know and I can put my faith and trust in them, that they will not let either themselves or me down, or a director or producer down if they get a gig based on something on their reel. That’s why I did it.

I know that you’re very, very hot on the fact that if you’ve got it on your reel, you need to be able to reproduce that in a session. 

Absolutely. Anybody can sound good on half a sheet of A4. Try doing 20 pages and having the same energy from the top to the bottom, the same connectedness, the same commitment to the script. You can tell a good voice doing e-Learning because they’re not patronising, they don’t sound bored. It’s really important that you get good voices that can really deliver the goods. There is no ‘get rich quick’ scheme with voiceover.

And directors need to know that they’re the real deal…they need to be able to step up to it.

If you’ve got somebody off the strength of their reel and you know that you’re going to have to spoon-feed them baby food the whole way through the session, then they are not a fully formed voiceover. And most directors don’t have the time for that. The only time they ever find the time is if that person is famous, you know, always the bridesmaid is a professional voiceover never the bride.

And on that note…

As I go to put my wedding dress on…

We couldn’t do that in the booth – lots of rustle! But thank you so much, Tanya.

You’re so welcome! And I’m very honoured to be asked.

 

Tanya Rich is a UK voice-over artist and voice-over coach with more than 30 years’ experience in the industry, who works with clients worldwide. 

To find out more about how to hire her for your project, or for vocal coaching, click the links above.  

 

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, FVO, producers, professional voice-over, professional voiceover, showreels, UK female voice-over artist, UK female voiceover artist, UK FVO, voice acting lessons, voice casting, voice coaching, Voice Over, voice over casting, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

It’s Not Personal. It’s Professional.

November 14, 2019 by Tanya Rich

A blog about being the right you in the right context, from a female voice-over perspective

Professionalism tie
Always maintain professional ties. Image: Free Photos on Pixabay.

Personal and professional.

Two words.

Both pretty similar.

Each one begins with a ‘p’ and ends with an ‘l’.

And they share an ‘e’, ‘r’, ‘s’, ‘o’, ‘n’ and ‘a’, too.

To outward appearances, these two words have a lot in common: you can almost see a ‘persona’ in that ‘professional’. And to some extent, that’s true.

A voice-over artist could, in the right context, claim that the personal is professional. For example, you could give a ”personal service” (which by its nature also involves a high degree of professionalism). This might mean that you are polite, prompt with emails, correctly interpret the brief, provide the perfect read, and send back the audio in double-quick time, exceeding all the client’s expectations.

In that context, it’s easy to see how the personal is professional. But at other times, the personal is not professional. For example, you might arrive late for a recording session, which you forgot to book into your diary, because your head is thick with cold, because you were out drinking last week, and well, your car won’t start either, because you put off booking it in for its MOT.

Two examples, then, of the personal and the professional, and how the right combination produces good results, while the wrong combination does the opposite.

The other subtle difference between these two scenarios is the ”backstory”. In the world of reality TV (like my guilty pleasure, America’s Next Top Model), a backstory is the dramatic backbone of the series. It’s how, as viewers, we get invested into a contestant’s character and how we make sense of her journey from poor, shy, small town girl to (maybe – and you’ll find out next week and the week after that) a coiffed, cool, confident catwalker. That’s storytelling in so-called reality TV, where characters are developed and constructed through creative editing to entertain the audience.

But in the professional world (what we might call ”real reality”), nobody cares about your backstory. There is no audience. Nobody is invested in your storyline. And few people care about your personal life, because in the context of a recording studio, there isn’t time and it’s simply not appropriate. So the only answer to ‘’how are you?’’ at the start of a recording session should be ”great, thanks!”.

The reality is, therefore, that the world of the professional is about doing the job. As a professional female voice-over artist, or if you prefer, a voice actor, you have to ‘act’ like a professional, or better yet, just ‘be’ one. In studio and out. On good days and bad days. All of the time.

I learned about professionalism the hard way. When I was young and still learning my craft, I mistook friendliness and regular contact with contemporaries to mean that we were all a big happy family of voice-over-related people, working together in a fun, harmonious circle of trust. But reality soon dawned and I realised that you can’t bring your personal storyline into the professional environment. And as such, I shan’t be mentioning it here, either.

But learning the value of professionalism (at the expense of the personal) was an important lesson. Years later, it’s what I teach my students. ‘’’The reality’’, I tell them, ”is that you’re just gobs on sticks” (as my friend and colleague Stephen Lyons would say). ”It’s just you, the microphone, the producer and the copy. Be in the moment. Speak only the words on the page. Be the professional. Fulfil your role. Do the job”.

And if you can be personable too – rather than personal – that’s a bonus.

 

Tanya Rich is a UK female voice-over artist and voice-over coach with more than 30 years’ experience in the industry, who works with clients worldwide. 

To find out more about how to hire her for your project, or for vocal coaching, click the links above.  

 

Filed Under: Blog Tagged With: audio, audio casting, British female voice-over artist, British female voiceover artist, British FVO, catfish, FVO, producers, producing, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice casting, voice coaching, Voice Over, voice over casting, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

Are you Casting a Catfish?

August 5, 2019 by Tanya Rich

Are You Casting a Catfish?

Are you a voice-over casting director? Or a radio commercial producer? Or even a marketing person looking for a voice for a project? Then perhaps you might allow me to have a discreet word in your ear. Because there’s a thing that I’ve been made aware of, which maybe you’re not.

Don’t worry, nobody’s told me you’ve got BO. And in any case, since we work remotely, I wouldn’t know.

But I am talking about something that’s got a bit of a whiff to it.

Something not quite right.

Something fishy.

The Casting Catfish. Picture by Denise H.

The catfish voiceover

It’s been claimed by various voice-over industry stalwarts recently that there has never been a better time to be a voice-over artist.

That may be true. Take a look at audiobooks outselling paper ones. And look at the resources out there to help aspiring voiceover artists develop their talent – my own included. Look at how being a professional voice-over artist appears to be, on the face of it, the ultimate work-from-home career.

 

For newcomers, opportunity seemingly abounds. Now seems to be a great time.

But like I said before, there’s something about this that doesn’t smell quite right.

Something fishy.

You might also think, if you’re someone responsible for choosing voices, that there’s never been so much choice. You might think that the next voice you pick will provide excellent value. And you might think they’ll be a star performer. You might think they’ll always be available. Then you might think they can read out loud, stumble-free, with every nuance necessitated by your carefully crafted copy. You might think they can deliver to deadline without disappointment.

You might think all of these things (and more). But are you right in your thinking?

Yes, the voice-over pond has – apparently – never been more plentiful.

But is the voice you’ve fished out the ‘reel deal’? Or have you mistakenly cast a catfish?

They might claim to be wild tuna on their demo, but can they do exactly what they say on the tin? And when you’ve forked out and hired this voice, have you actually – mistakenly – opened up a can of worms?

These are important questions. And reputations, budgets and successful projects depend on them.

That fish is off

The unfortunate truth is that casting (and then booking) someone with no web presence and a limited portfolio of work could mean the same as a fisherman coming up with a tiddler, after hours spent throwing lines (and some producers do have to throw plenty of lines to be read back at them, so I’m told).

I also hear stories of inexperienced voice-over artists turning up to studios, unable to perform to the same standard on their demos, or unable to respond to direction and deliver lines differently.

(I should make it clear at this stage that my Richcraft voice coaching students are only allowed to make a demo with me, when they are genuinely confident in their ability and are able to truly deliver!)

To return to my earlier point, it seems that on the surface, the voice-over oceans have been never been more plentiful.

But dive underneath and you may soon realise it can be a murky place.

So a discreet word from one who knows to all voice-over hirers, whether you’re the marketing person, radio ads proddie, or casting director: trust your instincts. Do your research. Go with experience.

Then, when you’ve hooked and booked a real catch – one that’s thrived in these waters for decades – you’ll know that production success is about having bigger fish to fry, and about working with a vocal wriggler, who’ll provide hours of fun at the end of the line!

 

Tanya Rich is a UK voice-over artist and voice-over coach with more than 30 years’ experience in the industry, who works with clients worldwide. 

To find out more about how to hire her for your project, or for vocal coaching, click the links above.  

 

Filed Under: Blog Tagged With: audio, audio casting, British female voice-over artist, British female voiceover artist, British FVO, catfish, FVO, producers, producing, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice casting, voice coaching, Voice Over, voice over casting, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

My VO Boss Appearance

December 19, 2018 by Tanya Rich

Photo credit: VOBoss.com

My VO Boss Appearance

How I became a Special Guest Podcast Host

Tanya Rich: VO Boss. Got a nice to ring to it, hasn’t it?

It’s almost as if Her Majesty the Queen has prematurely bestowed on me a splendid new title in her New Year’s honours list!

As you can probably tell as I write this, we’re inching excitedly towards Christmas – and from VO Boss, I got a lovely present: to be a special guest host on the VO Boss podcast. It’s produced in the US and is designed to help voice-over talent develop their careers through Business Owner Strategies and Success (BOSS). 

We (me and regular hosts Anne Ganguzza and Gabby Nistico) had a great laugh, nattering about my 30+ years in the voice-over industry and how my unique training techniques got me to where I am today.

Guess what the only thing that was missing from our ipDTL, three-way chinwag was. Yes, that’s right, a gorgeous box of chocs and a nice bottle of red. Well, maybe Father Christmas will bring me those in a few days, who knows?!

Hope you enjoy the podcast, have a very merry Christmas and have a great start to 2019.

Finally, if you like what you hear in the podcast, I’d love to hear from you. Whether that’s this year or the next. Feel free to email me here.

You can listen to VO Boss (with me) over on Spotify. It’s been running weekly since May 2017, what an incredible resource for you to dig into! But before you do that, why not take a listen to my podcast Tanya Talks. I fearlessly dive into the hottest topics in voiceover, expect it to get a bit spicy! I interview industry greats such as Corey Dissin, Kate Harbour and Voiceover Man himself – Peter Dickson.

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, Female Voice Over, FVO, professional voice-over, professional voiceover, UK FVO, VO, Voice Over, voiceover

It’s OK, I’m on VO-cation

November 26, 2018 by Tanya Rich

It’s OK, I’m on VO-cation

It’s late November. And I’m leaving on a jet plane. Next month some time, I’ll be back again. 

Yes, my gorgeous husband and I are on our way to sunnier climes for fun times.

We’ve packed the usual: sunglasses, sun hats (see left for me modelling mine) sunscreen, aftersun, sun this, sun that. You know, all the sunshine gear. Plus we’ve also packed the typical: sun microphone, sun headphones and sun Macbook.

At this point, you’re probably thinking: ‘hang on, Tanya – are you still a wee bit giddy from all the fun of Vox 2018 (the annual UK Voiceover get together)? Why are you talking about your voiceover equipment as though you’ve already got heatstroke?’

Well, dear reader, the truth is that as someone who’s been a professional voiceover for more than 30 years, I’m always beach body ready, poised to quench the creative thirst of any coy copywriter by making their words SHINE. You see, like the sun never stops shining, I never stop voicing. So even when I’m abroad and my clients come calling (or emailing), it’s ok because… 

I’m on a Voiceover Holiday…  a VO-cation.  

That’s right, VO-cation. My job – my love – my calling. 

My other love and husband completely gets this. We have this away-working arrangement, you see. Picture the scene:

”Darling, it’s rather warm. Shall we rustle up something on ice? What do you fancy?”

”Yes, please. Something smooth and fruity?”

”Oooh, I say, you’re such a tease!” 

And so I slip away from the late-twenties temperatures of the poolside into the air-conditioned cool of our villa. In the time it takes for me to slice some fruit, crush some ice, bounce it around in a silver tumbler like Tom Cruise in Cocktail, and pour it through a sieve, topping it off with a colourful umbrella, well… I’ve also managed to waltz into our walk-in wardrobe, packed with soft furnishings, to whisper a few lines for say, a luxury breaks brand, a popular drinks company, or a firm that makes solar panels. 

So, yes I love my holidays. I love creative beverages. And I love telling stories for my valued clients.  

It’s my job. My love – my calling.

And it’s ok, because I’m on VO-cation.  

Wish you were here, too? Email me.

Love, T xxx

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, Female Voice Over, FVO, professional voice-over, professional voiceover, UK FVO, VO, Voice Over, voiceover

Typecasting Voice-Over Artists

October 9, 2018 by Tanya Rich

Why versatility makes you a most valuable player (MVP) of voice-over

I recently learned about the greatest basketball player in the world. Not literally, of course. But to what makes him the greatest and how he’s able to perform each and every night in America’s National Basketball Association.

His name is LeBron James. He’s arguably the most perfect player in the game’s history (and we’re not just talking about his beautiful, heroic upper arms).

LeBron can score from close range or far out. He can leap to grab missed shots at either end. The man can soar out of nowhere to block shooters. He can dribble past defenders, pass the ball like a magician, and can be trusted to make the game-winning shot. He’s also a 4-time NBA MVP (most valuable player).

As you might able to appreciate, the thing that makes ‘King James’ (his nickname) the greatest basketball player in the world today isn’t just one thing.

It’s everything.

Lightning LeBron when he was a Cleveland Cavalier. Photo by Erik Drost

Performance

Although we’re obviously different kinds of performers, I think it’s fair to say that LeBron and I have a fair bit in common. The fact that he’s now wearing purple for the Los Angeles Lakers is obviously a bonus! But on a more serious note, isn’t the fact that we both do lots of things at a high level pretty special?

When I first started in voice-over, travelling up and down the country to voice dozens of radio commercials in a single session, being versatile was a highly prized skill. Today, it still can be, but sometimes isn’t always, and it depends on who you’re working for.

People’s values appear to be changing. Today, some branding experts claim you should choose three words to describe your voice and use that as your slogan on your business card, website, and email footer. But it’s a bit difficult when you’re a versatile, old school voiceover artist, who’s rich in experience, expertise and excellence, who can sell her skills with dozens of adjectives, and who’s voiced for any genre you can think of for more than three decades. Whew! There just isn’t enough room on the page.

Perhaps room (or space) is exactly the problem. Maybe today’s voice-over market is so crowded that the job is becoming less and less about being an excellent all-rounder with natural talent and skills built on layers and layers of experience. Perhaps now the job is becoming more and more about being able to do one thing, or a couple of things well (or dare I say it, just ok).

When ISDN first came out, it was claimed that producers would be able to cast more precisely; that they would be able to find the right voice for the right project. And yet 30 years on, I don’t think that’s always happened. My understanding is that some radio stations have a list of voice-over artists who are used for everything. But they’re not often right for everything. And they’re not often right, because they’re not versatile.

Lakers Showtime: Tiny Tanya dunks one home

Casting

In a competitive, perhaps overpopulated industry, typecasting, or picking someone based on the first five seconds of their demo, might make casting directors’ lives easier. But unfortunately, it discriminates against versatility. It limits an artist’s performing palette and restricts their ability to display their spectrum of skills. It also limits the freedom of clients to change their mind about how they want a project to sound. For the experienced, versatile artist able to take direction, this is no problem. But for others, it can mean painfully long recording sessions, being dropped and never being booked again.

Casting based on someone’s age, or what they look like – unintentionally or not –is another issue. If you have to ask why, it’s because voiceover is a blind medium. Try listening with your eyes – impossible! Forget photos and ages. That’s confirmation bias – and it’s also a bias that can result in miscasting, mistakes and misadventures with time and money.

A further issue is that vocal ages vary. So if you can sound millennial when you’re 40+, you should be getting work.

And last but not least, there’s suspension of disbelief. Imagination is all part of the act. Just click on my C Beebies demo on my TV & Radio Promos reel and tell me if you can hear a mature woman with a grown-up daughter.

What’s given rise to these issues with casting? Is it that the power of the image has undermined the power of the voice? Maybe. The world has certainly become a lot more image-conscious since the days when nobody knew what their favourite radio presenter looked like – or even cared.

Love for LeBron

Perhaps values have changed.

But for me, the voice will always be – like LeBron – king.

Because versatility is value.

Versatility is VAT.

Versatility is Value Added Tanya.

And that’s why from now on, I’ll always cheer for LeBron and why he’ll always be my MVP.

Filed Under: Blog Tagged With: British female voice-over artist, British female voiceover artist, British FVO, FVO, professional voice-over, professional voiceover, showreels, UK FVO, voice acting lessons, voice coaching, Voice Over, voice training, voice-over coaching, voice-over training, voiceover, voiceover coaching, voiceover training

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Contact

Tanya Rich British Voice Actor

If you’re looking to book a British female voice talent for your next project, I’d love to hear from you. You’ll find that when it comes to the voice-over industry, I really am the voice of experience.
There are a few ways to get in touch, you can call me, message me on WhatsApp, or fill out the contact form below! Whatever works best for you.

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+44 (0) 7788 747 946
tanya@tanyarich.co.uk

Representation

Babble Voices
+44(0)20 7434 0002
hello@babblevoices.com

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