The title of this article is “…title goes here… where to start?” and for good reason! Kelly Doherty is this week’s guest, and I don’t think any one title would do her justice – because she can do everything!
K3 has one of the most recognisable voices and styles in the industry and so does her Production Style!
Personally, Kelly is someone who i’ve always looked up to, and now she is one of my best friends and I love hanging out with her in L.A! She is an inspirational person both professionally and personally and anyone who has had the privilege of meeting her will agree.
1. What is your opinion on Vocal Coaches – have you used one in the past and are they worth it?
VO coaches are always a good idea and can be a great asset to your voiceover career. If you’ve never gone through a VO coaching session- start now. I recently began coaching talent and it’s been an AMAZING experience! I coach by ear. No curriculum. No rules. No status quo. Only personalized, career-based sessions. I ask clients what their dream gig is and offer advice on how to get there. Nothing is impossible. If you want it- start going for it now. Start today. Start scared. Start without knowing. Just start.
2. What makes a killer demo for a voiceover? (Different styles/something creative that makes it different)
Being a VO talent and an imaging producer- I’ve heard loads of demos and hired VO/Producer stars based on a killer demo. I can tell within the first ten seconds. Grab me there and I’m intrigued to go forward. If it’s one style throughout the entire demo- you’ve lost me. I want to know that you can read our positioners, comedic/pop culture pieces and still have room left over for an intense read over a concert announcement. Be conversational- but be YOU. If you try to be the stereotype of a voiceover person- that’s exactly what you’ll be- the stereotype. Producers want to hear connection in your voice.
3. You voice hundreds of radio stations, and I’m sure the copy can get repetitive. How do you keep it fresh, especially when you’re saying the same phrases or reading copy for the same collective contests all the time?
All copy is new copy. Same goes for collective contesting. Nowadays, you’re only voicing the localized part of a national contest. Some companies want to keep consistency and do so by having one voice on all promos- then the local VO comes in to personalize it for the station. So I’m not really reading the same thing over and over again. The REAL challenge is producing the same contests year after year. It’s easy to do the same style concert announcement- but if you have a VO ready to experiment- it makes those occasions fun instead of repetitive.
4. You are a world-renowned Voiceover but also an Imaging Producer. Do you think it makes your job easier having both skills?
Voiceover and production have the same goal: Emotional Connection. Nail THAT and you’ve done your job. It does help being on both sides because it gives you a better perspective of the marriage between voice and prod. I cut copy the way it’s written AND the way a producer might put it together. Easy example: a list of artists in the middle of a concert promo. The copy might run all the names together- but your ‘producer side’ says they might want these separated to play hooks, stage shouts or whatever. So you read them both ways. Sometimes there’s a comma where it shouldn’t be or line break that doesn’t make sense. There’s a benefit to studying all sides of the process.