FAQ

So to determinate the final costs of a voice talent fee the following questions occur:

Once these details are available, the corresponding individual fees and their respective usage rights can be combined using a modular approach to create the required scope of usage.

For large-scale projects, I’m happy to offer package rates.

In most cases, the amount of time I spend in the studio does not factor into the calculation of my voice-over fee.

Feel free to contact me – with no obligation – about your specific project to receive a quote.

spoken text in German

Text lengths are often underestimated, because speaking a text takes much more time than reading it.

Furthermore, in a professionally narrated text, the words are usually savored and emphasized more, and the endings of words aren’t swallowed, so the speaking time is longer than if you were to simply read it through yourself.

A well-narrated text also requires certain pauses and breaks to give the content the desired effect and to harmonize it with music and images.

You may have your own preferences regarding the interpretation, which in turn will influence the final length.

You can minimize this problem in advance by recording the text yourself – with exaggerated emphasis and at the desired pace, clearly pronouncing the endings – and then syncing it with the video to see if it fits.

Whether it sounds “nice” is completely irrelevant for this test.

calculating spoken text in German

A rough orientation to calculate spoken text in German language:

900 characters (incl. blanks, abbreviations and numbers spelled in full) are most closely approximate one minute of spoken German text in normal pace.

Even rougher:

120 words are most closely approximate one minute of spoken German text in normal pace.

new language version / translated videos

When translating foreign-language texts to German, it is not helpful to compare the character number of the original script (for example English) with the German script, because in many languages lots of characters are not spoken out, while in German mostly all characters and syllables are spoken out completely.

The total number of characters is not decisive, but that each single sentence contains round about the same number of syllables, if the text should match the same spoken length in the end.

internal usage

For internal use only, e.g., internal company events, in-house e-learning courses and instructional videos, internal market research, private birthday parties, etc.

The production has no publicity effect.

The license is given in perpetuity and is limited to “internal usage”.

You pay a total price for the work performed and the license.

passive usage / unpaid-media / organic

For external use, e.g., your own website, YouTube channel, Facebook video, Instagram video, trade show stand, presentations, DVDs, in apps, etc.

The production has a publicity effect, but is only passively available to the public and must be actively played by the viewer or listener to have an impact.

Broadcasting on these channels typically costs the end customer no money, which is why this segment is also called “unpaid media.”

The license is granted without time or geographical restrictions, but is limited to “passive use” and specific purposes.

You pay a total price for the work performed and the license.

active usage / paid-media

For external use, e.g., TV commercials, radio spots, online paid media (online pre-roll ads, online commercials aired between programs, paid content on social media, etc.), ATV, CTV, VoD, trade show TV commercials, P.O.S., etc.

This type of production has a significant public impact, as the client is actively promoted and viewers are often “forced” to watch or listen to it while trying to watch or listen to their intended program, scrolling through their social media feed, or shopping on the go.

Broadcasting the production in this segment typically costs the end customer money (e.g., TV airtime, YouTube advertising costs, Instagram advertising costs, etc.), which is why this segment is often referred to as “paid media.”

The license is limited in terms of time and territory. For active broadcasts, licenses are granted per spot, year, medium (e.g., TV/Internet), and territory.

You pay a fee for the work (layout/session fee) and a fee for the desired licenses. You can also extend or purchase additional licenses at any time.
If you book the licenses at the same time as the work, the cost of the work—in the form of a layout—is included in the license price.

If you order your voice recordings just with my own direction, please provide me with as specific details as possible about the speaking style and send me the necessary files so that my recording matches your preferences as closely as possible.

Interpretations will always vary. If you give 10 voice actresses the same script and the same instructions regarding tone, you’ll receive 10 different interpretations. None of them will match your individual vision 100%.

To avoid costly revision phases, it’s therefore advisable to be as specific as possible and to assess in advance which recording format is best suited for your project and your client.

I recommend that you join the recording session live so you can directly influence the speaking style.

editing on text

If your video is still variable or the text isn’t very tight, a clean audio edit is often sufficient. In this case, I’ll record the text myself, then edit out mistakes, background noise, and any breathing sounds, and deliver one or more clean audio files to you.

You can then sync these files to the video yourself, extending or shortening the pauses, or alternatively, sync the visuals to the audio file and then edit the sound.

This editing is always included in my service when I handle the recording myself.

synchronously speaking and editing

If your film is final and can no longer be changed, and/or the text needs to be spoken one-to-one to the pictures, you’ll need speech synchronization and synchronization editing. This is more time-consuming and may therefore be slightly more expensive.

For this, I ideally need a layout video with the text spoken by you—or, if that’s not available, clear timecode specifications in the script—to help me keep track of the timing.

Please make sure the text is the right length! Text lengths are often underestimated.

new language version / translated videos / localisation

If your text is to be voiced over an existing video in another language, pay attention to the text length when translating. German texts are usually longer than those in other languages. You may need to slightly modify the texts to fit the video, or the video may need to be adjusted to accommodate the new text length.

lip-synch / dubbing and editing

If your text needs to be spoken to match the lip movements of a person or an animated character, you’ll need lip-synced recording (and editing). I don’t offer this service from my home studio, but I’m happy to come to an outside studio for this.

Lip-synced recordings require a synchronic translation script. This takes into account not only the content but also the timing and the pauses and breaths.

audio processing

Audio processing is not included by default and is usually handled by the client (or a partner). As a professional voice artist, I do not perform audio processing myself; I leave that to professional sound engineers.

The recording you receive from my home studio is recorded in a soundproof speaker booth and offers a dry, clean sound without reverb. For a professional production, these recordings must be edited afterward using equalizers, filters, and more to adapt them to the specific purpose. Depending on the processing, this can make them, for example, softer, richer, more promotional, more reverberant, rounder, more electronic, louder…

Detailed audio editing also addresses issues such as individual consonants that were, for example, pronounced too forcefully or were mumbled, as well as smacking and popping sounds in the mouth, and much more.

If you are unable or unwilling to perform the audio editing in-house, I can offer this as part of a complete package through an external professional recording studio.

talent only direction

If the budget is very tight or the requirements for nuance aren’t very high, it may be sufficient for me to record and edit the audio on my own. For this, I’ll need specific details from you in advance regarding speaking style and pace.

live-recording-session

If you or your client have specific requirements regarding certain nuances, speaking style, how a particular word should be spoken, where a pause should be placed, etc., it’s advisable to be present during the recording to avoid revisions, prevent dissatisfaction, and ensure that the exact tone and style you want are achieved. You can join the recording session with as many participants as you like (e.g., your client, the advertising agency, etc.) – regardless of where you’re located – via Zoom, MS Teams, Session Link Pro, or similar platforms, and provide me with input, try out different variations, and much more.

Thanks to your direct input, the results achieved in a live session will be significantly closer to your desired outcome than a recording I do on my own.

remote session

During a remote session, you’re also connected live, but a studio or audio engineer is also involved, who uses a tool – such as Session Link Pro – to run the recording remotely (i.e., from a distance). In this setup, the audio from my microphone is transmitted uncompressed over the internet directly to the engineer, who records it on their end—just as if I were speaking to them in person at their studio.

The advantage of this recording method is that the engineer can do a rough edit of the recordings on their end during the session and play them back to you live, ensuring that every single sentence is exactly as you want it and that all the intonations harmonize with one another.

Furthermore, I can focus entirely on speaking, and the session is managed by the engineer.

You can also carry out a studio-led recording this way if the parties involved (voice artist, agency, film production company, sound production company, client, etc.) are located in different places around the world.

To be on the safe side, I always record a backup copy at my end in case the internet connection fails, so you don’t have to miss out on your favorite take due to connection issues.

meet in the studio

A face-to-face meeting at the studio with the clients, the production team, and an audio engineer who oversees the recording is the best way to create the perfect audio recording for your project, since everyone involved is present, can discuss ideas and experiment, and can then help shape the final edit. I, too, can focus entirely on my own task, since I don’t have to perform the duties of a director and/or audio engineer at the same time.

included revisions

Exceptions, of course, are obvious mistakes on my part, such as:

• wrong / missing text
• editing / export mistakes
• extremely slow or fast speaking pace when this was not requested
• completely missing the ordered speaking style
• ignoring instructions regarding desired emphasis

Nuanced interpretive variables (see Vision) do not count as errors in this context.

Recordings from live sessions are generally considered approved upon completion of the session, unless there is a technical error in the recording that is only discovered after the file has been delivered.

not included revisions

All other corrections are subject to a fee. However, you will only be charged for the additional work involved, provided you have not yet released the production. The usage fee is due only once per usage.

Such revisions are, for example:

• text changes or additions provided after recording
• changes to specific emphasis, pauses, pronunciation, or similar elements that were not explicitly specified beforehand
• requests for changes to speaking style or pace

Personalized Demos / Custom Demos / Spot Castings

Sometimes you or your client may want to hear my voice with your text in your video on a trial basis to help you decide whether you’d like to work with me on the project.

I’d be happy to record a personalized demo for you. For this, I charge my current rate for a layout (€300).

Do you also voice custom demos for free?

I rarely voice a custom demo without compensation. For me to do so, the following conditions must be met:

• the fee is be in the higher four-digit euro range
• my voice is already on the shortlist of the final three voices
• you’ve received my offer, it works for you, and you have no further questions about it

Why should I pay for a demo?

I receive a high volume of requests, and if I were to record demos for free for all of them, I’d be an enthusiastic hobbyist demo voice artist instead of a full-time professional voice artist. You can rest assured that I’m the latter.

Quality, reliability, and professionalism are very important aspects of my work that I hold in high regard. When I record a custom demo for you, I invest time, equipment, software, and expertise – in short: I do professional work with a professional setup for you, and, like most people, I generally don’t work for free.

But some other voice actors do it for free.

You can usually get free demos from less in-demand voice actresses or beginners who are investing more time in trying to land voice-over jobs in the first place – and you’re, of course, free to look among them for an alternative voice if a free, personalized demo is more important to you than reliable quality in the actual recording.

Then how should I decide?

I strive to showcase my vocal tone and versatility as well as various speaking styles in my public demos. Among them, you’ll find a wide variety of dynamics, intonations, tempos, characters, moods, target audiences, and much more.
If the facets you’re looking for in your project are present in these demos, you’ll know that my voice and range of speaking styles are a good fit for your project.

In almost all cases, these demos, along with my references and many years of experience, are more than enough for my clients to make a decision – especially since the exact speaking style can also be determined during the session with the help of live online direction. I would always recommend this type of recording. A demo recorded on my own, without detailed input, is always just an initial suggestion in terms of style, since interpretations can vary greatly and do not reflect the possibilities of an actual collaboration.

I am absolutely confident that, in a joint session, we will find exactly the tone you’re looking for – provided you like my voice. In my long career since 2013, I have never once experienced a situation where that wasn’t the case.

what / who I don not speak for

• political parties / election campaign ads
• religious texts (this does not include texts for religious aid groups, organizations, educational materials, or similar; rather, it refers to texts whose content is religious)
• pornography, phone sex hotlines, and the like
• sexist, racist, homophobic, or any form of discriminatory content
• arms and war industries

In rare cases, I may decline a text or film based on its content or the client behind it for personal, ethical, or moral reasons.

If you have such a controversial text or film, or if you have a client who may be the subject of significant public criticism, it’s worth sending the text or film to me in advance—or naming the client—just to be on the safe side.