 Hey, it's time for VoiceOver Body Shop. And tonight, our guest is John Bailey. There he is. Hi, John. Say hi. Hi, I'm great to be here. Okay, good enough. All right. And we got lots of other great stuff to talk about tonight. If you've got a question for John about all the cool stuff we're gonna talk about, go into the Facebook chat room, because that's where the chat room is now. And you can pose your questions there and Jeff Holman is sitting in the chat room and he will get that question to us so we can ask John a little bit later in the show. So stay tuned. This is all the chat room on YouTube, by the way. That's right. You all set, George? We're working. Guess we're ready to go. All right. Time for VoiceOver Body Shop, right now. From the outer reaches, they came, bearing the knowledge of what it takes to properly record your VoiceOver audio. And together, from the center of the VO universe, they bring it to you now. George Wittem, the engineer to the VO stars, a Virginia Tech grad with the skills to build, set up, and maintain the professional VO studios of the biggest names in VO today. And you, Dan Leonard, the VoiceOver Home Studio Master, a professional voice down with the knowledge and experience to help you create a professional sounding home VO studio. And each week, they allow you into their world, bringing you talks with the biggest names in the VoiceOver world today, letting you ask your questions and giving you the latest information to make the most of your VoiceOver business. Welcome to VoiceOver Body Shop. VoiceOver Body Shop is brought to you by VoiceOverEssentials.com, home of Harlan Hogan signature products, source elements, remote studio connections for everyone. VoiceActorWebsites.com, where your VO website isn't a pain in the butt. VOheroes.com, become a hero to your clients with award-winning VoiceOver training, JMC demos, when quality matters, and VoiceOver Extra, your daily resource for VO success. And now, live to drive from their super secret clubhouse and studio in Sherman Oaks, California, here are the guys. I'm Dan Leonard. And I'm George Whittem. And this is VoiceOver. Body Shop. Or VOBS. Alrighty. Well, welcome to another week and all sorts of cool stuff that we're gonna talk about. Our guest today is John Bailey, the Epic Voice guy. We're gonna talk to him in a couple of minutes. But George, you've had a week, haven't you? Ugh. I know it looks all tropical and sunny here. It's all green screen, kids. Actually, no, I am, actually, I'm... You're actually in Maui, Ed. Yeah. No, I had to make a very rapid change of residence from Topanga to, ended up in Venice. So, yeah, I'll talk about later why I would not move to this area if you are a voice actor. But it is a nice place to live if you're not. Fortunately, you're just an engineer. Yes. Yeah. Yeah. I've been having a week, too. I've been getting really klutzy. You know, I'm not sure. You know, either I'm getting sick or one of my legs is longer than the other or something because I keep falling over stuff. You know, I nailed my arm on the side of the house and... So, you caught that new one of your legs longer than the otheritis? It is. It is. But, you know, it's just me getting old, I guess. But I fell over the weekend, too, but I won't show you where I got hurt. Well, I've seen where you've gotten hurt a few times. You have those videos where the camera is going like this. I do. It's exciting to watch, but I'm sure not exciting to feel. Anyway... Try being my girlfriend. She discovers the scars on me. She always gives me... Well, how did she do that? Man, she hates him. It was a war. Anyway, we got a great guest tonight and there's really only one way to introduce him. You gotta see one of the latest things he does. So, roll that suit. Think big and play small with the massive yet miniature world of legacy. Perfectly proportioned vehicles with daring detailed designs that are supremely small but stores them serious speed. A close-up collection of cars of all kinds. Where do the magically minuscule microceans live? In the completely connectable world of transporting microceans' play sets. Hundreds of vehicles in a whole wide world of connectable play sets. The original microceans vehicles and play sets all separately. Let's welcome to Voice of Her Body Shop one of our good friends, John Bailey. John, welcome. Hey. All right, good to see you, man. Look at the BS and VLBS. That's right. That's an interesting... We were listening to that. How did you do that particular voice? I mean, that's totally different. That's how I did it. It's the legal speak at the end of the commercials that has all the... Yeah, it's that the whole way through the spot. And I was honestly like, there's no way. Because it was just like, I'm terrible at doing the, you know, the really fast micro machine man type of speaking. Right. And I was like, there's no way I have a shot at this. I'm just gonna go through it because it's micro machines. I grew up with micro machines. You remember those commercials? Let's do it, yeah. I just blew through it. It took me a good few tries to get through the whole thing without any mistakes. Unlike most people that would have gone line by line like we actually did the final job. I did the whole thing from beginning to end and I would go all the way through it until there were no mistakes. Yeah. Because then I knew... You're a purist. You're like a jazz musician. It would be less edits and less worry about cutting. So it took about, it took like between seven and 10 tries. I can't remember exactly. But seven to 10 tries, it's in like one read. Actually, I take that back. I think I sent in two reads. One was just a little more just fast. Just me. The other one was more like what they asked for an actual impression of John Masheeda King. So I gave him two takes of it. But yeah, that was... I'm watching this. I was shocked. I was shocked that I got the job. I was surprised that it would happen. Well, it helps if you can do that kind of stuff. It does. You know? I mean, always doing the tags is always like, see if I can read it like they do it in the commercials and then it's like, that's fine. Well, see, this is the one where it's just voiceover only. Right. And the other spots, they deep faked my mouth over the kids in the spot. So they had to record me on camera doing the lines that fast in person. Yeah, it was, that was a lot more work than normal. So I had to go through it really fast and like be recorded at the same time on camera. And they had like, I had a shave like really close. They had to put like the dots. So it's, yeah, it was, that was... No way. Wow. And we had to time it exactly to the kids in the spot saying it, but with my voice saying it. So yeah, it was, yeah, it was a lot of moving parts. Boy, since I don't watch many cartoons, I don't see those commercials anymore. Yes, I haven't seen it myself in person. A friend of mine that I went to school with like tagged me. She was like, is this you? Like, where did you see that? She's like, oh, we saw it on Boomerang Network. I was like, I don't know. I don't know. I don't know. Anywhere. All our kids are too old. Yeah, exactly. I'm still asking for the digital assets so I can share more of them on social media. But so, Yeah, really? I found and it was, it was untaggable, unshareable because it was considered a kid's video, you know. Oh yeah. On new rules. Yeah. We have to do that with us. Is this intended for kids? No. I can teach our... It's safe enough for kids, but it's not intended for, or we can't share it and anything else. And if kids understand anything we're saying, then we're really cool. There's a trick, John. It's called Firefox. And if you use Firefox, you can actually, there is a way to rip video right off the internet. Oh really? Remember, you mean Netscape? I think I still have that. Yeah, Netscape. I keep my five. The latest Firefox. Let's get somewhere around here. Netscape's 737 version or whatever it is. So John, what has your life been like during all this nutziness? I mean, you know, you've, you got your family with you, you're, you've been locked away for a while and how's it been going for? 20 years. 20 years, life sentence. Yeah. No, it's a lot more the same. I think if anything, this lockdown proved that I did not have to come to LA to be able to work. Just in time. Yeah, you finally figured that one out. Yeah, exactly. Anywhere with a good booth and a good internet connection and you're good to go. But a lot of the stigma is that you have to be in LA in order to book the kind of job that you book. And I get it. But at the same time, we have proven, we've been forced to prove it, that it can be done on long. I've been doing a lot of work with Sphera Studios, mainly through Verite. And Verite and who else? I can't remember the other studio. It's, they used to be over in my neck of the woods and then they moved, but I can't remember the name of that time I had. Anyway, so both of them do Netflix dubbing over shows, which has always been an in-person thing. Right. And now they're using that same software that when you go into the studio and you see the movie or the show up on the screen and you got the lines and the beeps and all the different parts, they do all that on your computer now through Zoom. You'd allow them to control it. They take care of everything you just perform. So, yeah, it can be done at home now too, which is interesting because that was always in studio before this. Well, have you been like dubbing foreign films or? Yeah, dubbing foreign films or just doing ADR pickups for, you know, English films that needed, you know, there's also animated stuff that's being dubbed. But mostly, yeah, dubbing foreign films into Netflix, English Netflix audio. It's a gig that ADR is tough work. Yeah. Because the screen has the subtitles on it, so you're reading them and they change color as you're reading them through. And that's supposed to help you keep in time. Sometimes that's not always accurate. You have to watch the mouth movements at the same time you're performing at the same time you're trying to get the words correctly, at the same time you're trying to say it in the amount of time that the person on the screen is saying, I mean, it's a lot of stuff going on at one time. And it's not something that you can just walk into a studio and just be like, oh, I'm great at this. This is the one that you should freaking study for. You should go to classes. Johnny Gidcombe's a great ADR loop group coach. He's worked on tons of big films, Marvel and Vogue, like a lot of big superheroes, a lot of stuff that everybody would know. And yeah, I took two classes, I think, before I actually did it for real. And even the first time, it was still a lot to get used to. Now having to do all that at home is even more complicated because now, I'm not in the studio where they can just be like, oh, hang on, we got this, you know. Right. It's my computer. And this actually happened this past week. I had to cancel a session at 15 minutes for you Apple users out there. Maybe I'm not the only one that happened to. But 15 minutes of terrifying nightmare where I was supposed to jump on right 15 minutes before the session started. And they decided that iOS need to be changed from Mojave to the Catalina wine mixer. And that caused a huge error for my iMac and everything crashed. Like I couldn't even get it. It loaded for like 20 minutes and just would not get past the load screen. I thought it was broken. It's like, oh, we'll charge you a hundred bucks to look at and it's gonna be this much of that. Be cheaper just to get a new one. I look at the new ones like $13, $1500. I went home and looked at some YouTube tutorials and figured it out for myself. So it can be done. It's any, you can, if you want to get it done, go to YouTube. It's always there. Exactly. I did have to cancel. Thankfully they reschedule. But that's like voice actors worst nightmare is a tech crisis. It's like 15 minutes before the session starts. I'm just glad it was a cool car. I've never had that problem. Are they getting cooler? That's the only time in 12. Well, I won't say that. I have had some technical issues that have happened in the last 12 years, but that was the one where the computer full crashed right before an actual booked session. Other times it was like you had some auditions due and some other stuff and the computer kind of craps out on you. You have to go get it fixed. They're like, oh. And then you get flop sweats and the flop sweat goes into the keyboard and it shorts out and starts to fire. I can't work for a couple of days when you don't have anything scheduled to do. Just auditions. You might lose out on some stuff that you're trying out for. This was already a booked session. Already scheduled and done deal in 15 minutes to get things, you know what I mean? I'm like, crap. Yeah. Do you think? I mean. With that doc, with that doc, I'm like, huh, huh, huh. I don't know how many of these sessions you've been dealing with from home and probably a lot, but I mean, do you feel like they're getting a little bit cooler? Are they getting a little bit easier on you guys in terms of, you know, if things don't go perfectly well, technically? This is the first time I've ever had a problem with it. Usually it's, you know, a couple of little clicks and we're good to go. Usually it's stuff on their end like, or they need me to just adjust a level here and there. Nothing has ever been major. I mean, usually generally, probably less time than we set up for this show and we're just like, we're going. And I've usually blow through it pretty quick and they'll, they'll tack on additional stuff cause I get done like 20 minutes early and like, oh, can you do the voice of this guy and this guy and this guy. Oh, yes. Yeah, I know that one. Sometimes I'm fighting. Talk to my agent. Yeah. Well, they can, they can do up to three voices for a session without, but if you go over that, they actually will pay you more, but it's still, it's work. It's, it's for me, it's a good practice for what I'll have to do eventually. If I want to keep getting into animation and things that where it's already completely finished and you have to, you know, animate that as well. Well, you've been doing a lot of gaming lately, haven't you? A lot of gaming. I've booked quite a few games since lockdown. One of them just came out, Marble Knights, which you guys all know, Christina V, she's wonderful. She was the casting director on that. Well, that was a pretty cool, that was a pretty cool gig. It's a lot of fun. Cause a lot of ball jokes. Really, really dumb puns. And I'm all about puns, which is hilarious. But yeah, that's, that's on the Apple Arcade right now. That's pretty cool. And a lot of Elder Scrolls online. I'm not even sure. I think I'm in pretty much every chapter in the last two or three years, but Elder Scrolls is always really kind of fun. There, Verite is a really great studio to work with. They've worked with some of the best and I love working with those guys. Yeah. Are those usually? They're sessions at home. That's all done the same way. Yeah. Are they usually directed sessions for those games? They're always directed sessions are always, they're always this way. It's not as much, there's more of them recording me now. I'm using Source Connect a lot more than I did before. I'm using IPDTL more than I did before. I had those things just in case I needed them because they're both affordable. Might as well. I mean, they both cost together what, you know, less than what one job per month would, would cost, you know, or pay. So I figured it'd be good to have them. But man, as soon as this thing where it was like, oh crap, we're not leaving anywhere. If you didn't have a, a lot of voice actors just started scrambling like we didn't have, we weren't physically financially prepared. We didn't have all the tech we needed to be able to do this job at home. Yeah, we know. I had all this set up, you know. So it was like, I don't really, but then I had to get better at IPDT on Source Connect, which I was not super familiar with. Thankfully, usually those jobs, the engineer takes care of everything. Yeah. Yeah. Once again, if you're just joining us, our guest is John Bailey, the epic voice guy who's been very busy. So it sounds like the pandemic hit and nothing changed for you. Except that you're at home a lot. It got, it got busier for work, which was, that's, it's weird. It's out of, that's out of the normal for me. And that's a positive side effect of the coronavirus quarantine lockdown. So, but I've heard that from quite a few other people. I've heard both. I've heard people who's just worked just, you know, it just stopped having, had auditions in weeks or months or whatever. And other people had the same thing as me where it's, they started getting more because they were looking for people who had booths already set up and already had the tech ready to go and everything. It was like, you know, we're, we're, we're good. We've already been doing this kind of work. We've already, the only thing new that I hadn't worked with before was Sphera. Sphera was the first time they've taken that tech of dubbing ADR looping and put it online kind of the way IPDTL works. Yeah. Luck favored the prepared. Yeah. That's what that was. Oh yeah, always, dude. You know what I mean? I'm glad I had two options because I had, I still had the walking closet if I had needed it, needed it. But having the booth, I just wanted to have. I told Dan this when he first set up my closet. I was like, I want to have something that looks good though. Even though I don't need it, I need it to look good because I do a lot of stuff on camera. I do a lot of social media stuff. TikTok's freaking exploded for me since quarantine. Oh, I'm sure. Yeah. I went from, I went from, shoot, before quarantine started, I think I might have broken 100K or so. And I'm almost up to 400K since that happened. So. Whoa. Five months. Amazing. Now, what do you get out of TikTok? I mean, it's fun. You would be shocked and amazed. At all the jobs that I have gotten in the networking. I've connected with Fred Stoller. I'm sure you all guys all know Fred Stoller. He's done, he worked with Debbie Dairy Berry on cartoons like Oswald. I do a very good impression of him. He's been in shows like Friends. Ray's worked with Ray Romano. He's a very distinct way of talking. And he's like, I find somebody that I'm a fan of or like and I'll make a comment and I'll catch a live stream. Be like, hey, maybe I can help you with some TikTok pointers or whatever. Frank Alliendo, we like, we text now like we're best buddies like the Frank Alliendo. So you've really parlayed it and it won't work. You really worked it. There's movie directors. There's producers. There's show writers. There's not a very many voice actors on there, which I keep trying to like get people over there. Oh, I know where I'm going now. There's already, there's already a fan base for something that you've worked on out there. And the most voice actors just had to get on there and go, hey, I did the voice of this thing. And then the next thing you do is 100,000 of you. That's great. Yeah. I tell Steve Bloom, like there's quite a few on there now that are like, oh man, there's all these views that came to us. Like Rob Paulson's first video went viral. His first post before he even learned to change his username. Rob Paulson, 1-663-889. He was user 1-7-7-5-8-13, you know. And he had like 2 million views on his first post. So I guess. Well, you know, it's like a virtualized Comic-Con now, I guess, almost in a way. Well, it's because it's expanded from what it was, which was just lip-syncing audio to a creator place for people who are tired of the way YouTube has treated minor creators and they're not. If you're not a celebrity or a big studio, YouTube is kind of like, I still get copyright ID strikes for content ID stuff from videos I posted years ago. And they're saying, well, this thing right here. Yeah, right. Tired of freaking fighting anymore. I'm stupid tired of fighting them. Because I mean, all the views are gone. And usually I get hit with the content thing right when it first comes out. Right when all those views come the most in the first week or so. And then by the time I get the rights back to it, I don't know, sorry, we all watched it already. So TikTok's a play. I mean, I'm not a fan, I like this format better, guys. I'm not gonna lie, I like boxes this way, not this way. The whole vertical thing is stupid. You can quote me on it. But that is the way that's the way the cookie crumbles and that's the way I follow where the stream goes. That's what you have to do in voiceover, man. You have to keep finding where the current's going and jump on board. Absolutely. Once again, we're talking with John Bailey, the epic voice guy. If you got a question for him, because I got lots of questions, but I'm sure you have a few, because he seems to be really spreading himself out, almost like manure. It's a- Yeah, well, like I said, I put the BS and the OBS. You are in the right place, my friend. Yeah, feel free to toss a question into our chat room on Facebook and we'll get to that in the next segment. So John, your superpower is the ability to think fast. It sounds like your brain is constantly rolling with something. Oh, I just said it's just talking in general and never shutting up. Well, I'm sure, but what goes on in your head when you're like, you know, when you're looking at copy and you're like, oh, okay, what can I do with this? Do I just just pop into your head? Do you pre-plan all this stuff or is it just like- You know, I don't have time to pre-plan that much. In fact, I used to, you probably have interviewed at least hundreds of people that are really good at accents. They can just pull them right off their heads, but there's so many accents out there. There's so many. There's so many in our own country that it's just impossible to have all of them memorized where I can just flip through them that quick. So I started cheating and using things like DialectArchive.com. So that way I have a quick reference because I can get right into it once I hear it. That's not a problem, but having it memorized where I can just flip it out all that quickly, it's just a lot to remember. So I have some basic concepts that are kind of foundational ideas in my head for a lot of different things. A lot of stuff that I've learned from different coaches, different teachers, the pre-life and post-life. And I take just bits and pieces of it and I make something cool out of it. You know what I mean? I don't go exactly with what it says. I don't completely change it either. I don't want to change what's written because you don't want to offend the writer to be like, well, he doesn't think my script's worth reading. So you don't want to alter what the script is saying. You don't want to change a lot of words around just little bits and pieces. And if you can find a spot in there to slip a little something funny in or something interesting in or something that makes your audition stand out above everybody else's. And you've probably heard this a million other times. That's what thinking outside of the box is. If you do exactly what's written down, you're doing what the other 100 people that went before you did. And they're gonna get so tired so quick of hearing the same exact thing. And they said, I've heard this multiple times. They said it's scary similar how many voice actors sound almost identical to each other. And I get that they're all basing things off the same script. But the guy who doesn't sound like everybody else is the one that's gonna get the job. Yeah. Yeah. And that's the thing. I think a lot of people probably have a lot of fear about veering off the script. Not realizing that, you know, because someone's listening to all these other, yep, yep, yep. Same thing. Is it veering off the script or is it veering off the, we call it direct direction or whatever? The fear is that if I improvise too much, they're gonna think, oh, this guy thinks they're funny, ha, ha, ha. And they're gonna just be like hard to work with. They're always gonna be trying to come up with funny stuff. And I've been accused of doing that before because I tend to get the more nervous I get, the more jokes I make. So it's a very hard, you know, you have to rein yourself in and just do just a little teeny tiny bits. You know, the first taste is free. And after that, you know, once you get the job then you can kind of, I just started kind of putting feelers out. Like I feel the audience, you know, I consider the people that I'm working for. I'm still entertaining and performing. It's reading the audience. Yeah. It's reading the audience that you can't see. Yeah, so I'm looking through the glass and listening to what they're saying and how they're acting. If they seem pretty square and straight, you know, I'm just, you know, let's just do the job and go. If they're a little loosey-goosey or I'll slip in a little, hey, would you mind if I try something a little early on in the session, just to kind of see how they react to it. And if they say, no, let's not do that. I'm like, okay, so no improv. But, you know, you can do it without being like, hey, welcome to party tonight. Don't forget to tip your waiter. You know, you don't wanna go, that's the fear. That's where the fear. The fear is like, oh, they're gonna see me as this funny improv person who can't do a script and they're gonna be like, I don't wanna work with that guy. They'll be out of control. And that's lost a lot of people to the job because that's true. They walk in the thing and they just like, oh, I wanna show off how funny I am. You wanna be able to show that you have improv skills without looking like all I can do is improv and that's my thing. And I'm just gonna do jokes all day long. So yeah, you'd have to be very careful with the balance. Just a little teeny sprinkles. Like dropping a little salt, extra salt on your food. Salt day. Yeah. You put too much salt as bad for you. A little bit of salt tastes great. Yeah. I see that occasionally on auditions. It's like, use your improv chops. I'm sure you see those. Yeah, sometimes I'll actually put it on there. Like, hey, improvise people. In other words, the script's not very good. So do the best you can with it. We did our best. Now you do it. Because I know a lot of people that don't do good at improv and I feel like that terrifies them when people are like, oh, just have fun with it. You know, do whatever. But they're like, I don't know what to have fun. I just wanna do the job and get hired. But their focus is wrong. They're looking at getting the job instead of having fun and just performing and doing what they said, have fun with the script. They don't mean play around and then you'll get the job. But just forget about the job part. Forget about that part. They're just saying, here, here's a script with some words on it. Play around with it. It's a sandbox. It's a toy box. Play around with it. Have some fun with it. Send us back what you made. They're giving you a box of Legos and letting you be the master built. So you make something cooler, funny or unique. And that's how you get the job. That's all there is to it. You just have to forget about the fact that this is a paid job and trying to please the director or the casting person or whoever it is or the booth director, just like, oh, I hope the booth director will submit me. All those thoughts are freaking just roadblocks in front of your face. And if you can just forget about that, concentrate on the toys right in front of your face, have some fun with it. Nine times out of 10, that'll end up getting you the job. It does, that's what's worked for me so well. Do you feel, you know, I hate to be agist, but do you feel like when you see how young they are, do you know you can play with them more? Or does it have anything to do with it? It doesn't matter to me. I just look at everything. I mean, every character is a character. I just, I know if they're very specific, like we want to have somebody that sounds like they're naturally 15, I'm like, okay, I'll pass. You know, I don't sound, I mean, I can do like little kids' voices, but I don't want it to sound, there's certain shows where it's funny that they don't sound like real teenagers or real kids or whatever. And then there's other ones where it just doesn't work. You know, so I, you just kind of, that's the research you have to put into it. You have to look at the script and you have to look between the lines. Maybe something in the description might give some idea about what vocal qualities that character has. It says something about they live on a dust planet. You think they're gonna have a nice, smooth, silky voice living on a dust planet? Or are they gonna talk like this because they've been breathing dust their whole life? You know, like people do around here when the eyes of March kick all the fricking smoker. Hi. Have you and Scott Parkin' ever been in the same room? Scott Parkin' yes, multiple times. I can't imagine what that must be like. The two of you trying to compete with each other. I'm kidding. Scott's awesome. He is. You know, I see Scott, because he's so tall, just look for the hat floating above everybody. Right. I'm like, Richard Epcar. This is like, you look up in the cloud, there he is. The literal titan of the industry. Exactly. So, when you're doing auditions and you get the script and I mean, what's your process when you really break something down? Okay, so I look at it and I'm like, okay, that's not due till three and it's 11. So I'm gonna go get lunch. That sounds familiar. And, you know, then I'll probably, you know, crack open a case of aviation gin that's smooth and delicious. And, you know, I get the audition and first off, I looked at what kind of audition is it? Is it a commercial audition? Is it a cartoon or whatever it is? Game audition? Sometimes the faster you can get in the better, I tend to like to put a little more pressure on myself and wait till about an hour or two before it. It's ready to go unless I have like a schedule already planned out. Like, I know I have this to do I'll just find a spot that's free and get it done there. But usually I try to do it once I'm in the creative mood which sometimes that requires me going off voiceover stuff and creating something for TikTok which is why I'm kind of so wired right now I was making content right before I got on the show which gets me more energy and gets me all like, yeah, let's create stuff and talk about work things. And when you first wake up and you have a audition to do at 10 a.m. and it requires a voice that's 20 years old and you're just like, yeah. So, yeah, it's all about balance. It depends on when you get the script, it depends on what kind of script it is. It depends on the time of day it is when you get it. So sometimes I'll get the ones over the weekend that aren't due till Monday morning but instead of getting ahead of it so I don't have to worry about doing an audition super early in the morning. If it's for a low voice, I'll wait till Monday morning because when I first wake up, I'm gonna sound like Kevin Conroy. So yeah, there's so many fricking factors you have to take in and you have to remember them all. That's the part that gets hard. I'm using my phone more to remind me of things these days. I know I'm getting old, yep. And it doesn't get better by the way. No, it only gets worse. And the worst part is that kids use me for their memory. Like they don't remember anything, they just make me remember everything for them. I'm like, don't I have enough to remember as it is? Geez. How has home life been? I mean, cause you- Home life's been tough. I'm not gonna lie. Do tell. We have some mental health issues in our family, if you did not know. And it's been very hard. Our autistic son has regressed pretty badly. It's been, my phone is starting to come down from all the heat this summer. Like I have to re-stick everything. So he's regressed a little bit, which has put me in the spot of having to work where normally he'd be at school and I have to keep it quiet. And the booth keeps most of it out cause it's in my bedroom, door shut, and there's another room than them. But there's all that, daddy, I need to, you know. And it's like, every, I know I have only five minutes before he comes back to get this thing recorded. And he's gonna be knock, knock, knock and a booth can only block out so much. And then there's all the kids are just kind of, they're either mopey or overwhelmed or both because they've never done digital school before. And it's very easy to get behind or zoom doesn't work for them. And they're like, I'm kind of absent but I didn't do anything, I tried. So there's all this level, extra level of anxiety with the kids and you know. So yeah, it's, it's not to mention with the heat that we had. Oh gosh, yes. Up the, you know, the devil's armpit over here in the valley. Yeah. And that put everybody on super fun. My bandit broke down last week. So there was that went out cause it got to, it was 120 last week or so. Yeah, it's kind of fun to watch tomatoes actually stew on the vine out here in the valley. All our tomatoes died too. Oh man, it's fascinating. Looks like a reason it's now. Once again, our guest is John Bailey, the epic voice guy. He sounds like he's very busy. And again, if you got a question, throw it in the chat room in Facebook and we'll get to those questions in just a couple of minutes. In the meantime, we'll take a brief pause here so John can catch his breath and we'll be right back here on voiceover body shops and I'll go away. Before time began, there was VOBS.TV. Watch or else. Well, hello there. I bet you weren't expecting to hear some big voiced announcer guy on your new orientation training for Snapchat, were you? Stick around. You don't want to miss this. What you made me do. Power 1039. At Target, we want you to come as you are. Be comfortable. Okay, maybe not bathrobe comfortable. Pants for the customer on aisle four please. Nuevo Mexico necesita un cambio. La representante Michelle Lujan Grisham ha luchado por nuestro estado en la cámara de representantes. Watch anywhere anytime on an unlimited number of devices. Sign in with your Netflix account to watch instantly at netflix.com. The ice cream maker is a big risk that can have huge rewards until you forget to turn it on. That's it guys. Time is up. Hey, it's JMC. Thanks for watching the voiceover body shop. If you're a demo ready or looking to get there, check out JMCDemos.com and see a sample of our work. Now let's get back to Dan and George and this week's tech wisdom. Okay, you get an audition and you see the dreaded words, accents, dialects. They can be showstoppers. You think to yourself, I can't do that well enough to compete. I'll pass. Well, what if I told you you could do that and do it well enough to compete with all the other voiceover talent in your category? All it takes is understanding how to build an accent from scratch. And the accents class is the way to do it. David DeVio Heroes knows firsthand because his coach is Jim Johnson, the creator of the accents class. And registration just opened for this amazing five week program that will show you how to build a new accent from scratch in plenty of time to submit even the fastest moving auditions. Just visit voheroes.com forward slash accents and check out the training there. That's voheroes.com forward slash accents. Once again, voheroes.com forward slash accents for the accent class. One of the things we like to do on VOBS is to actually use the products that sponsor us. And here's a prime example, the Harlan Hogan VO1A Signature Series Studio Condenser microphone. Why? Not just because Harlan's a sponsor, but because the VO1A is possibly the only microphone that's actually designed and built strictly for a voiceover. All other mics were designed to record music. It's the perfect mic for us since we're all about VO. But don't just take my word for it. Here's what another user has to say. After 10 years of use down under my Signature Series VO1A Harlan Hogan microphone still sells whatever my contribution is. It's from your first sale in Australia in March 2010. Stay safe and keep well. Regards, Ian Wright, voiceover artist in Australia. And here's the deal. Prices on the manufacturer of the VO1A have gone up. It'll now retail for 349, but use this promo code and you can get yours for the old price of 339. Use this promo code now and get it for the old price of 339. Thanks, Harlan. This is Arianna Ratner and you're listening to Voiceover Body Shop, VOBS.TV. And we're back here at Voiceover Body Shop. Our guest is John Bailey, the epic voice guy. Once again, if you've got a question for him, throw it in the Facebook chat room. We know you're out there, we know you're listening. It's very entertaining listening to him and also trying to get a word and edge one. I don't think that's fine. Who's the throw woman that's just so violent around here? What's that? Place them, put them in the chat. You throw them in the chat room. Throw them in the chat room. Just talk to the freaking chair. Throw them against the wall. See what's going on. They better come in for you, brother. So you do a lot of impressions. I do. Who you've been working on lately? So we were talking about this during the break. There's this new app out called Impressions app. Defect technology's been around for a while. But before that, I was doing filters like on Snapchat. There was one app called Face Swap. And the technology's finally caught up where it looks so good, but it's safer because the app has a mandatory watermark on it so people can't do naughty things with it. Right. Because Defect's, you know, it's kind of got a bad reputation for, you know, political reasons or for other reasons, you know, adult. National security. Yeah, that kind of thing because they have people there trying to fake stuff. But this one's, it's all in fun. It's all entertainment only. The only downside is that there's a couple of rules you have to play by. Like you can't render more than 10 seconds if it's free, 20 seconds if it's paid, et cetera. And you can only use the celebrities that are in their list. So I got the ones that I do the best at. And after some trial and error, I finally figured out how to do it really, really well. And it's like, it's just, it's freaking exploded all over freaking social media. Like I haven't had growth on Instagram in four, five years. And now it's like, I hit 50K this week and it's already almost at 51. And I just checked it out. So it's finally moving upward, which is nice. But there's a lot more to it than a lot because a lot of people were just using it like they use the filters in the old days. They're just coming up and they're either sinking in audio that the original actor did and they're just moving their mouths or they're doing really bad impressions. There's a few people that do good impressions on there but I'm actually making content with it. So what I did is for those of you who are pop culture conscious, I combined cosplay impressions and deep fake and I combined them all into one thing. So I dressed like the character and then I found apps like TikTok. TikTok has a lot of special features, special effects stuff. And there's one called Face Stretch. So if I find an actor like Ryan Reynolds that I do very well with the voice but I don't look like him, I go in there and make my face fit his face and look exactly the same shape. That's how you do it. Oh my God. And I have to put on a little bit of makeup. I have very light eyebrows. So like on the sides of my eyebrows do not show up on the app. So I darken this up with some of my wife's stuff. I call it the prickly brush thing. What's this stuff's called? So I darken the eyebrows a little bit and then I put some, I think the other thing is called foundation. Basically just make your skin a little bit lighter and covers up blemishes. But it helps the motion tracking because it literally processes a face digitally over every single frame until it looks like Ryan Reynolds is really talking. So all that combined together and then once it processes that it looks, I mean, other than the fact that I'm fat which I try to use some camera angles to kind of hide that a little bit. And I got a real, I got real hair. I got like a real hair off Etsy of all places for like 70 bucks. Oh, you can get anything. I was actually stylish. I said, I want it to look exactly like Ryan Reynolds. I held it down. Let her cut and style it to fit. Oh, wow, dude. I just made a free guy video today that I'm gonna post later so you can see how cool it looks. But once you combine all those things together it looks freaking great. It looks way better than what everybody else is doing with it. And it looks so much better. Some somebody shared one of my old Ryan Reynolds thing with the Snapchat face swap. I'm like, oh, I don't want to talk. Technology I thought back then was awesome. It's so bad now. You know, somebody at Ryan is gonna catch this stuff. I mean, he's got it. Oh, yes. And he's approved, yeah. Oh, okay. He's enjoying it. He's pretty cool about it. Boom. Well, he thinks he can put a really good impression of me, but let's be fair, I can do both voices. That's great. And that's also important if you're doing ADR and you've got to fill in for somebody else. Oh, yeah. I mean, I've filled in for Ryan Reynolds for two films and two films, two films trailers. Yeah, so that's beyond doing an impression. Yeah, right? That's voice matching. Yeah, that's when you get into voice matching sound like territory, where it's, you're the vocal stunt double for another actor. But the most I've ever done for that was Detective Pikachu. That was just so many sessions. I think they just thought maybe the movie needed a lot more Ryan Reynolds-isms in it. And when I finally saw the actual finished film, they cut almost all of it out. And I guess they just like, that's fine. I mean, it's a good paycheck for me. In fact, because of that job, I've known that you both have heard this question, like, what's your favorite voiceover job? I've found my new favorite voiceover job. Them canceling the session after I just left for five minutes and I still get paid and I have two free hours. Nobody knows. Everybody thinks I'm busy. You're officially dead. You're hit in Starbucks. I go to the salon. Thank you. Get a massage. I go to Steak and Shake or something. Yeah. That's not a joke, man. Best video job ever. I didn't have to do a squat. I come up and I'm like, man, my throat's really old, so I'll just go, I'm just going to have a bedroom. We got some questions from our vast worldwide audience. Would you like to tackle some of those? Sure. All right. Again, with the throwing and the tackling now. This is a whole fight. Here's the guy over here. This is full contact talk. Madden, slip in some Madden. Bring the body and body sharp. Yeah. George, what do we got? The first one comes from our very own chat moderator, Jeff Holman. Is John using the Harlan Hogan VO1A? So John, spill the beans. Tell us about your equipment. How much you paid for it. That's the same equipment I've had for 12 years. I love it. I've replaced the tube. That's an exact example of how you can use the gear you probably already had. The mic stand is new. I got that at Guitar Center. Yeah. But the mic is still the same. It's a Rode NTK. It's got its own power supply. I think I'd send it back to be refurbished or replaced because you guys are actually the ones that told me that they had such a great warranty on it. They send it back with the new power supply and a new mic. So it's technically not the same mic. It's just the same mic. And the tube went out once. And the second time they were like, well, we are replacing it once. So the tube was like 12 bucks. And thanks to Dan, I figured that out. And pretty easy. I think everything else is just Guitar Center. What's going on with it? I've had the same iMac for years. And honestly, I thought I was going to have to replace that when it crashed on me last week. But it's had a crack screen since we moved in three years ago. It fell off the shelf in the closet and landed on the Pewter base, which is why I replaced the mic stand in the first place. But it still works. So everything else is good. The only thing that I've added is that I have spectrum now instead of the old school days I think I had. I think I went from AT&T to Road Runner or whatever my other previous cable guys are. What's the mixer or the interface? How do you? The Scarlett 2IT was a recommendation by Dan, which is great. I mean, I really don't need two inputs. But it's not that much overkill. Keep it simple. It's the only way. Is anybody listening out there? Keep playing. This is the only big investment. The only big investment that I think you need to make is I think you need to get really good internet. You should at least try to get the highest speed that you can get because so much of the stuff now is all done through Zoom. It's all done over Skype. But it's using internet, and you're going to need internet because you have crappy internet. You are not going to work much. They're going to do a test, too, before they hire you. You're like, we're going to do a test and see if it's like every single studio I've worked for. 2K games did a test. Blizzard did a test. Veritate did a test. Every single person, every one, has done a test a day before to make sure that the internet quality and everything is going to go smoothly. So if you don't have good internet, you're not going to be able to BS your way around it. See that? No question. That's why we have business class in here. 500 up and 20 up and 500 down. I'm paying for 300 up, but lately it's been throttle. I think it's because I got four kids on four laptops. Oh, yeah, I don't do it. In school at home, and I try to tell everybody to keep their phones off the Wi-Fi, but I have a feeling there's probably eight or nine devices all on the Wi-Fi. My wife's watching Voodoo or whatever, Tulu or Nunu or Tudu or whatever they're called. So we try to turn things off, well, mainly because we're also trying to conserve it. Like Trissy, too, because like Trissy freaking $500 a month, if you're using lots of it. Air conditioning, yeah. That'll do it. H-ing line, and I've got it cranked up to 82, and I still have a high bill. Oh, geez, not good. Glenna Siemens has a question. I can't wait to hear the answer for this. What do you suggest for newbies during this virus, especially us old white ladies? Oh, well, this is an excellent time to learn. I feel like new old stock. This is an excellent time to learn. This is an excellent time to get things done that you put off all the time, like getting your demo updated. I put that off all year long, knowing that I should do it at least twice a year, and sometimes I'll go through a whole year and not have time to get it done because I know it's gonna take me a little time. I know it's gonna take, but now we have time. Get your website updated. Get your social media brands updated. Update your resume. You probably have newer stuff now than you had two or three years ago, and you probably haven't changed it in forever. So all these things that were on the back burner now, you've got extra time to do them. You can't go nowhere, so. I mean, you can. But you have to wear a mask. The biggest mask you've ever seen. The greatest mask, because it's quite frankly, the greatest mask. People tell me this, okay. Everyone knows it's the best mask, the best. Oh, yes. Alberto Young Doe, or is it Alberto Young, period, Doe. You just never know. I mean, there's no punctuation. Young Doe, no. It could be Alberto Young Doe. That's your name. That's a good branding. I'm gonna go with that. Do you do the. Young Doe V.O. Exactly, new branding. Do you do the same light improv for timed scripts? Sometimes, yeah. It really just depends on the script, because you really don't know if it's timed in the auditioning process. You have no fricking clue. Your job is to get the job first. So then you don't worry about improvs once you actually get to the studio. Right, right, right. If it's very, very short cut and dry and they have very limited time, if you can squeeze something in there or just say, hey, let me give, you know, like I said earlier, like, hey, when you mind if I try something and if it doesn't work, they'll let you know. And then don't do it again, you know. Just don't keep like, let me try one more time. Eventually, I'm like, okay, this guy's like, let's get it up. So yeah, don't overdo that. But if you can try, it's best to play it safe and don't do anything that you think might buck the system. But see, a lot of people are just too scared to ask. And that's the biggest problem is if you ask, they're fine. If you just ask, the worst thing they'll do is say no, they say no, move on, you know? If they say, yeah, then that instantly tells you, okay, so they're open-minded and they're kind of cool with you just kind of playing around with this because they want most people, they want the best job possible. They want the best they can possibly get out of it. And if that means that you can come up with something funny or add something funny to it, then they wanna do it because that'll be better than what they have. And if you're just gonna be by the script, by the book, I mean, there's a million other people out there that can just do what's written out of a piece of paper. John, good point. Yeah. Patricia, Andrea, could you ask if they recommend a specific mic for female voiceover? Well, that's more of a tech question. Kind of a tech question. Yeah, a question there. Yeah, I mean. I have a clue. I've been using one mic for 12 years, how'd I know? Well, since it's there and I read it, I'll say the Vanguard V4. That one hasn't sounded bad on anybody yet. So I'd give that one a try. You can always like custom paint it or something if you really wanna do it. If you want to be a female mic. The dazzler? The dazzler. You could be dazzling. I've seen a lot of crazy stuff. I've seen guys actually taking their mics apart, sanding them, you know, like car body style, like redoing their whole, you know, to make their whole studio match one cut like Iron Man, you know. Oh yeah, yeah, seeming good. And I'm like, geez, that's a little, I just want my mic to work. I don't give a crap what it looks like. It's probably a urine stain still on it from my old studio. That was in the bathroom for so long. Pretty sure the ammonia is probably permanently rusted in parts of it. Those particles are tiny, but eventually they're great. Those road techs have taken the thing apart. Oh my God, look at this thing. Jay Sawyer. Now there's a name I haven't heard in a while. This is, Jay says, are you suggesting to at least on the second read a style that's different from the given direction? Yeah, I hear this one a lot. So my normal audition style, it depends on how much script there is. If it's a short script especially, especially, if there's very little script to do, you should do more than one take or two takes. You should do at least three takes. Because if they're only gonna give you one or two lines, you're wasting an opportunity to show them I can do more than this. I can do a lot more than this. So I feel like, there's a couple of little tricks that I use. One is I audition in character for my slate because that gives you an extra two or three seconds of a character voice that you can show off what you can do that's not written down in the script. And I always try to go with my like, what I think that they're looking for based on their description for the first take. The second take is all instinct. It's just whatever feels right to me, but it has to absolutely be completely, they all have to be completely different. If they're too similar, don't even, don't fool. If every single take and you listen back to it, like you can't tell much difference, just pick the best one and submit that one. If you can do very three, very distinct things in a row. And for the third take, I just go, I go off there, Hail Mary, completely insane stuff. And sometimes that'll be the one that ends up getting the job because they just weren't expecting it. I've probably heard this story before Rob Paulson's told this a few times and talking to him in other places. But I always use this as an illustration when I'm coaching because I think it's such a great way to think about when you audition because they don't always know what they want when they're doing the auditions. They haven't made up their minds. They haven't heard. They're listening for what they want. They just haven't heard it yet. Originally on American dad, the goldfish was supposed to be German because, you know, Nazis. And so Rob is there to read for the goldfish and D Bradley Baker sitting there right next to him. And the D looks over, he's like, you got the goldfish? And he's like, yeah, he's like, I don't do a good German accent because originally it was calling for a German. He's like, well, Rob says, well, what do you do? He's like, I do a really funny French accent. He's like, well, do that instead. No, originally it was French because what's more un-American than French? So he said, I don't do a good French accent. He's like, well, what do you do? He's like, I do the really good German accent. So that's how they ended up making the fish into a German fish because D did such a great job with that accent, which is nothing. It wasn't even written out that way. It was only, it was written French. So you just never know. It depends. They'll know what they like once they hear it, but thinking outside of the box has almost always gotten that person the job. Sometimes they get hired because they are who they are. Like it's, oh, it's Dave Finnoi, you know? Of course they're just gonna hire Dave Finnoi because he's Dave Finnoi. Other times they don't really know what they're listening for until they hear it. Excellent point. Stam Street. Yeah. All right, this one's from, let's see. Let's do, oh, Peter Ponce. Ponce, yeah. Ponce. He's a mortal character. Peter Ponce, yeah. His epic voice, something that you've always naturally been able to do, or is it something you've had to develop over time? Yes, when I was three years old, I was in a world. Yes, he popped out of the womb. In a world. Where one baby just was bored. Rated R. So, no, I have not always done the movie trailer voice. So when I was a teenager, I guess 13 or 14-ish, my brother introduced me to Pablo Francisco's stand-up comic, this whole bit about little tortilla boy. He's like, I bet you could do this, this movie trailer voice better than this guy does. And I've always had a very good ear. And when I listened to it, and then later on heard the Geico commercial where Don was physically in the commercial, her car was totally underwater. That was the one where he was like, oh, that's the guy, that's what he looks like. And I started, and I listened to that and compared them, and I realized that Pablo was actually mashing Don LaFontaine and Hal Douglas together into one voice. And so I started, and that kind of got my like, well, what do they all sound like? Cause I know there's only a handful of guys that do the trailer voices. So I had to start listening to them and kind of figure out each one of their styles. And each one had kind of their own genre. Like, Hal Douglas was the movie romantic comedy, the odd life of Timothy Green, cloudy with a chance of meatballs. And Don LaFontaine always did the really raunchy comedies or the Terminator 2, Judgment Day. And Hal Smith had that little thing that he does at the end of every sentence. So everybody had their own thing. And once I figured out the different parts to that, I just started working on each individual one. And then I made this stupid little video for the internet that got quite a few views. And then my first manager was looking around the internet after Don had passed about a year and a half later, I think. And he's found my video because Google had pushed that up the search because it had so many views, which is how social media works. So the higher your stuff gets viewed, the more likely people are to find it, which is why I suggest people like voice actors get content out on social media. Find a thing that works for you because you never know what might lead to a job, representation, other stuff. So he's like, I think you have a lot of raw talent. Started working with me for my own specific, you know, John Bailey voice, which is this, you know, me. And that's where, you know, my version of Epic Movie Voice came from. Yeah. Well, John, yeah, we got about, we got about two minutes here. I figured we'll put you on the spot here because we need some new bumpers for the show. Did somebody rearrange you? Yeah. I feel your pain and my bumper's pretty cracked too. Yeah. I got a brand new car, so stay away from there. So if I throw you a celebrity name, can you like give us like, I'll do my best. 10 seconds. You've always done Christopher Walken. I got to have a new one of those. Okay, I'm rolling over here on the roadcaster. Okay. Hello. Welcome to Voice Over Body Shop. It's a place. We can get your body shopped with voices. Come on. Look at Dan's head. So shiny. There's one. Yeah. Well, look, your microphone appeared as if from nowhere. It's amazing. DeNiro? Listen there, wait, we'll wait till you roll, okay? Rolling. Oh, all right, we're rolling. We are rolling people, we're rolling. You tell me when you want to start. Huh, what is it called? Voice Over What? Body Shop? So what's this called? It's called Voice Over Body Shop? Bob's? What kind of, what the hell kind of word is Bob's? Huh? Is that what you want me to say? Hey, fuck you and the Bob you rolled in on, okay? I'm out of here. I did not pay enough for this shit, okay? All right, well, that's a wrap. We'll make that work. It's playing a character. I don't normally curse. Get one of your classic epic voice guys. Yeah, just a generic, you know, kind of tag too. Rolling. In a world of voices, one place wasn't V.O. Buzz Weekly, Voice Over Body Shop, the better one. Hey, they haven't had me on a gas in two years. Well, damn it. Now they will. Or not, yeah. I'll redo a different one. Don't let him. Okay, okay. Go for it. Hi there. How are ya? Putting the BS and V.O.B.S. It's Ryan Reynolds here saying, aren't you glad you wore your brown pants? It's Voice Over Body Shop. I got it. Okay. Brown pants? That's their prop for you, what's that like? That's a Deadpool one. Yeah. Oh, it is, okay. Yeah, yeah. John, it is always a pleasure. It's always a pleasure to hang out with you, but it's also a pleasure. Yes, I love to hang out here in my own house. Yeah. Thanks for having me here in my own house. Alrighty. Being here in my own house. All right, so they're gonna see you on all sorts of stuff and you're still doing the honest trailers. Yeah, still hanging in there on honest movie trailers. Not so much for the games anymore, but that's something that happens. All right. You mentioned coaching at one point. Are you looking for people to coach? I've had to go up a bit because I just don't have that much free time. So it's like two and an hour now because just availability is really short. So even having two or three students a week and it's an hour at a time. It's three hours and all of a sudden I'm like, oh crap, I need to slow down. There you go. John Bailey everybody. Alrighty, we'll be right back to wrap things up right after this. Yeah. Hi, this is Carlos. I was rocking the voice of Rocco and you're watching Voice of a Body Shop. In these modern times, every business needs a website. When you need a website for your voice acting business, there's only one place to go. Like the name says, voiceactorwebsites.com. Their experience in this niche webmaster market gives them the ability to quickly and easily get you from concept to live online in a much shorter time. When you contact voiceactorwebsites.com, their team of experts and designers really get to know you and what your needs are. They work with you to highlight what you do. Then they create an easily navigable website for your potential clients to get the big picture of who you are and how your voice is the one for them. Plus voiceactorwebsites.com has other great resources like their practice script library and other resources to help your voice over career flourish. Don't try it yourself. Go with the pros. Voiceactorwebsites.com where your via website shouldn't be a pain in the, you know what? Your dynamic voice over career requires extra resources to keep moving ahead. Now there's one place where you can explore everything the voice over industry has to offer. That place is voiceoverextra.com. 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Hey, it's George and it's time to thank our great sponsors, Source Elements, the creators of Source, Source, Source the Tech. Wow, George the Tech and Source Elements. We're two different businesses, believe me. These guys created the Source Connect software and it is, I mean, it is happening. It is really the software that's taken over the remote studio world. Yes, there's other technologies out there. They're gonna be used for different niches in the voice over world but overwhelmingly it's Source Connect. At this point, that's the one you need to have in your studio to be ready for those, basically the best paying gigs, frankly. I mean, that's where they're being recorded. If there's a studio hiring a production team and an audio producer and engineer, they have a budget, they're hiring the best talent and that should be you because you'll have Source Connect, you'll be ready to do those jobs. I'll stop rambling, just go to Source Elements, sign up, get a 15 day free trial, watch my George the Tech video on how to use Source Connect so you don't have to email us and ask us how it works because you've watched the video and you're ready to go. So anyway, that's the ad. We'll be right back. This is the Latin Lover narrator from Jane the Virgin, Anthony Mendez. And you're enjoying Dan and George on the Voice Over Body Shop. And we're back here on Voice Over Body Shop, at least to say goodbye and rack it up for Tech Talk coming up, which is gonna be Tech Talk number 42 next week. And we got a lot of other great people lined up to be on the show over the next couple of weeks. But John Bailey, fascinating to hear how he has learned so much about our business and how to, you know, I'm glad he was able to impart that information. I've never seen a bigger sponge. No, it's, that's a big, wide open sponge. Who are our donors of the week? Donors, we have donors. Larry Hudson. Hey, Larry. Dana Birdsall, 949 Designs. That's Lee Penny. Brian Page, Stephanie Sutherland, Patty Gibbons, my dad, Don Griffith and Martha Kahn. All right. Yay, yeah. Thank you, Martha. Yeah, you can still join our mailing list too on our homepage where it says, join our subscribe. We've got over 700 people on that list now. So they get awesome. They get all the information before everybody else does. And eventually we'll be back and then we'll go back into other people's booths. So send us your pictures of your booths. Again, in landscape, not in portrait. Yeah, we can't do them right now because of COVID. Right, exactly. Let's see here. It makes no sense. It's like, we just have to wear a mask when we have those now. Well, it's time to thank our sponsors as well. Like Harlan Hogan's Voice Over Essentials. Voice Over Extra. Source Elements. B.O. Heroes. Voice Actor Websites. And JMC demos. Alrighty. Thanks to Jeff Holman for grabbing all those questions out of the chat room and on Facebook, by the way. The old chat room's gone, but Facebook, it seems to work fine. Because everybody's there. Yeah, and there's this other one on YouTube. It's not so busy, but there is one there too. Alrighty. And of course, our technical director who's got a bit of a migraine, but she's pulling through it. Sumer Lino, we love having her here. Oh, Sue. And Lee Penny of course for being Lee Penny. Well, that's gonna do it for us this week and thanks again to John Bailey for joining us and thank you for joining us here. And it's important to know that this is not an easy business, but at least when it comes to George and I, it's important to say, when it sounds good. It is good. Alrighty. I'm Dan Lundard. I'm George Whitman. And this is Voice Over. Body Shop. Or V.O. B.O. Heroes. Stay tuned for Tech Talk. We'll be right there somewhere sooner or later. Right, everybody? There.