In an Audition Setting, Why Is an Actor Reading From the Script Referred to as a â€å“cold Readingã¢â‚¬â?
The ABCs of Voiceover
Ever wondered how to interpret voiceover jargon? Get the lingo down with the assistance of this handy Glossary of voiceover terms, the perfect companion for voice actors and those who work with them.
We're pleased to present you with this astonishing voiceover glossary created by Marc Cashman of Cashman Commercials!
This glossary of terms used in the field of phonation-over, or vocalisation acting, could be ane of the most comprehensive compilations of terms available. It has been distilled from many sources (see bibliography) and is fairly up-to-engagement.
A few words and phrases may exist cabalistic, just Marc wanted the glossary be equally inclusive every bit possible. If y'all find some definitions defective in scope and/or specificity, or if yous feel that some terms have been left out, nosotros encourage yous to email suggestions or suggested revisions. If they help clarify the definition they will be incorporated into this glossary.
GLOSSARY OF TERMS USED IN VOICEOVER
AFTRA: American Federation of Television and Radio Artists. A wedlock for Radio and Telly actors and voice actors.
account: An advertiser, too referred to as a client.
account executive: The person at the ad agency who serves equally a liaison between the agency and the customer.
ADR: Automated Dialogue Replacement in a picture show. A process where actors replace dialogue in a film or video.
ad lib: A spontaneous spoken addition or alteration to a written script.
amanuensis: A person or group of people who represent talent and bring them into their facility to audition, or arrange for an actor to audition for casting directors and producers.
air: Also known as airtime, it's the media time slotted for a commercial, hence on the air.
air cheque: A recorded portion of a radio program for demonstration purposes.
ambience: The continuous SFX behind phonation-over suggesting the monologue or dialogue in a specific setting, similar a infirmary, restaurant, retail store, gas station, etc.
analog: The old way of processing and recording sound on tape.
animatic: A crude version of a TV spot, normally with storyboard images ready to music and voice-over, for client presentation of a concept.
proclamation: A commercial or non-commercial message. Also referred to as a spot.
announcer: The part assigned to a vocalisation-histrion that usually has not-character copy. Abbreviated as ANN or ANNC on scripts.
joint: Clear enunciation.
attitude: How the character feels most a certain production, or how an actor comes across in general.
audio: Transmission, reception or reproduction of audio.
audience: A non-paying, trial performance for vocalization talent where vocalization-over copy is read. Usually takes identify at an agent'southward office, an ad bureau, a casting director's office, or a production company's studio, and usually the best thespian is selected for the final job…usually.
availability: Literally, the time an thespian is bachelor for a session. Advertisers or producers volition call an amanuensis to find out virtually an player's availability.
back bed: The instrumental finish of a jingle, usually reserved for location, phone numbers, legal disclaimers, or any other information the advertiser needs to add together.
background: Known also as background noise, information technology's what's placed behind the phonation-over. Mainly music or sound effects.
assurance: A deep, resonant sound.
bed: The music or SFX backside or nether an announcer's phonation.
billboard: The emphasis given a certain give-and-take or phrase in a script. Unremarkably, a rectangle, or billboard†is fatigued effectually the client name and/or product.
bleed: Noise from the headphones being picked up by the microphone or from other ambient sources, like other tracks.
board: The audio console from which the engineer operates. The audio engineer has faders that adapt the volume and mix the various elements in a Radio spot. Also known as a console.
booking: A conclusion and commitment on the advertiser'south part to hire yous for a session. The client calls the actor or actor's agent to book an actor for a chore. Your amanuensis would say, You lot have a booking at 1PM tomorrow.â€
blast: An overhead mic stand.
booth: An enclosed, soundproofed room where voice talent normally works.
branching: Recording one part of a sentence with variables within that sentence as a means of customizing a response. Often recorded for multimedia games and vocalization mail systems. Also known as concatenation.
intermission up: When vocal audio becomes distorted and unstable, usually caused past equipment bug or phone line interference.
crash-land: Either to remove a person from a casting list, or as an additional amount of studio time in a session. Also known as a bumper.
butt-cut: When sound files are placed together tightly, especially for a V-O demo.
push button: A single scripted or improvised discussion, phrase or sentence at the end of a spot that clinches the commercial without introducing additional re-create points. See sting.
buy: Every bit in That'south a buy.†Also known as a keeper. It'due south the take the client selects as the best. Purchase also refers to the amount of money spent on the media time for a commercial spot or entrada.
buy-out: A one-fourth dimension fee paid for voice-over services on a commercial. Mutual in many not-marriage situations and industrials, likewise as CD ROMs, dubbing, looping and A.D.R. work.
cadence: How breaks are placed between words.
call-dorsum: A second shot at an audition. One step closer to booking the spot.
call messages: The letters assigned to a Radio station past the FCC. Stations e of the Mississippi River take call letters starting with West, while stations that are westward of the Mississippi take names starting with 1000.
call time: The fourth dimension scheduled for an audition.
cans: Another give-and-take for headphones.
cattle call: An audition where hundreds of people try out for a office on a start-come-first-served basis.
CD-ROM: Compact Disc-Read Only Memory.
character: The person an actor is bandage as in a spot.
Class A: National network commercial usage.
common cold read: An audition where an actor is given no time to rehearse.
color: Subtle speech nuances that requite texture and shading to words to brand them interesting and meaningful.com
mercial: Also referred to as a spot, it is a pre-recorded message which advertises a product or service. Sometimes abbreviated as COMML.
compression: Reduces the dynamic range of an actor'due south voice. Engineers apply compression to cut through background music and audio effects.
conflict: Doing ii commercials for the same kind of product. An agent will analyze with the client whether doing a specific spot would put an thespian in conflict.
panel: A large desk-like slice of equipment where the audio engineer monitors, records and mixes a voice-over session.
control room: Where the engineer and producer (and many times, the client) are located. This is usually a separate room from the booth.
re-create: Besides known as the script. It'south the text of a spot.
copy points: The specific benefits of a product or service, placed throughout the script by the copywriter.
Artistic Managing director: The person at the ad agency responsible for the piece of work of all the other creatives.
cantankerous talk: When copy spoken into one actor's microphone is picked up by another mic. The sound is said to spill over or bleed into the other player's mic.
cue: An electronic or physical betoken given to an actor to brainstorm performing.
cue up: Matching to time and speed, lining upward an actor's voice to the visuals or music.
cut: A specific segment of the vocalization-over recording, ordinarily referred to during editing.
cut and paste: The human action of assembling dissimilar takes into a composite, edited whole.
cutting through: When a voice slices through,†or doesn't get drowned out by music and audio effects.
DAT: An abridgement for digital audiotape, loftier-quality audiotape used in sound studios.
dead air: When a voice-over pause is also long.
decibel: A unit of measurement for measuring the intensity of sound. 0 would be no audio, 130 would cause acute audible hurting.
de-esser: A slice of equipment used to remove excess sibilance.
demo: A demonstration of an role player'southward voice talent. A three-D calling card, representing the actor when they cannot be present physically. Also, a format used by advertizing agencies to nowadays an idea to a client. An actor is paid a demo charge per unit to perform a demo session. These demos are usually not circulate, but if they are accepted as is, the demo is upgraded to a session fee.
demographics: The components that depict the target audience. This is done past age, sexual activity, income, education, etc.
dialogue: A script calling for two people talking to each other.
digital recording: A process where audio is converted into numbers and stored on a DAT or computer hard bulldoze.
director: The person responsible for giving an actor voice-over direction in an audition, session or class.
distortion: Fuzziness in the sound quality of a recorded piece.
donut: A section of a spot that will usually feature another voice, unremarkably an announcer. Many times information technology's the department of a jingle that showcases an announcement.
double: A term for a two-person spot, or dialogue.
drive time: The most often listened to times on the Radio. Morn bulldoze refers to the hours between 6AM and 10AM, evening drive refers to the slot between 3PM and 7PM.
drib off: Non ending stiff at the finish of a discussion or phrase.
driblet out: A minute moment of silence inside a recorded word or phrase.
dry oral cavity: A condition where your rima oris has little or no saliva.
dub: Likewise called a gull (as in duplicate), it'southward copy of a spot or spots on cassette, DAT or CD. The verb to dub, or dubbing is the procedure of transferring recorded cloth from i source to some other.
dubbing: This dubbing is the procedure of dialogue replacement in a foreign flick, as in dubbing a French voice into English.
earphones: Also known every bit cans, headphones or headsets. Worn during the session to hear your own vox every bit well as cues and directions from the engineer or producer. Also used to antipodal with the client during an ISDN or phone-patch session.
echo: A repetition of sound.
editing: The removal, add-on or re-system of recorded material. Vocalism elements tin can be spread apart, slowed down, speeded up, clipped, eliminated, etc. to achieve the terminal take.
EFX: Effects. Some other term for SFX.
ellipsis: Three periods in a row that usually signify a pause…
engineer: The person who operates the sound equipment during the voice-over session.
equalization: Likewise known as EQ, it is used to stress certain frequencies, which can change the sound of a voice.
eye-encephalon-mouth coordination: What every adept voice actor has to have. It is the ability to lift†the words off a folio effortlessly, without omitting, calculation or stumbling.
FCC: The Federal Communications Commission. Created in 1944 to regulate all interstate and strange communications by Radio and Goggle box.
fade: To increase or decrease the book of sound.
fade in/fade out: When you turn your head away from the mic or towards information technology.
false kickoff: Situation where a talent makes a mistake inside the first line or two of copy. The have is usually stopped and sometimes re-slated.
feedback: A distorted, loftier pitched audio, commonly emanating from headphones or speakers. Many times caused past problems with the console or headphones getting too close to the microphone.
filter: What engineers put on a mic to make an histrion sound clearer.
fish-bowl effect: When the actor in the booth cannot hear what the engineer or producer is saying, or vice-versa.
fluctuation: How oftentimes a voice goes up or down, as well known as inflection.
Foley: Besides known in the business equally a Foley Phase, this is a special audio stage used for source sound furnishings. Used to record up-close audio effects for moving-picture show or video, where the Foley artists match sound with picture, such equally walking, running, doors opening or closing, glass breaking, shots firing, etc.
franchised: Term applied to talent agents who adopt AFTRA guidelines.
front bed: The opposite of the back bed, where the denote is at the get-go of a jingle.
gain: The volume of a vocalisation, or a fader on the console.
gig: A job. A sig gig is a union job.
gobos: Portable partitions positioned around the role player to absorb or reflect sound, or to isolate the actor from another on-mic actor.
good pipes: Clarification of a talent with vocal strength, authority and resonance.
go upwards for: To audition or to be considered for a job. I'grand up for a Ford national,†means that an histrion is in contention for a national network commercial for Ford.
difficult sell: Arroyo used for high volume retail clients. One producer refers to difficult sell every bit: I'll cease shouting when you start buying!â€
harmonizer: Also referred to as a Munchkiniser, it's a slice of equipment designed to change the pitch of the voiceâ€"normally upward.
headset: A set of headphones. See cans.
high speed dub: A re-create of a tape or CD made at several times normal speed.
highs: The high frequency audio of a vocalism.
hold: When a potential client likes an audition plenty to hold some of an actor's time for a possible booking–a stride before the booking. Ordinarily the customer is deciding between a couple of vocalisation-acting candidates and wants to embrace their bets.
belongings fee: The money an histrion receives if the client wants to agree a spot for airing at a later date.
hook: Starting out on a high note on the start word of a spot to take hold of attending and immediately dipping down. Likewise used to describe the chorus section of a song.
hot: Term used to draw a mic that'south on.
business firm demo: An agency's demo, the condensed version (each actor has simply a one minute demo) of their roster of male and female talent.
in-house: A production produced for the client in the client's ain facilities.
in the can: A phrase connoting that a role of the re-create or the entire spot is acceptable and done.
inflection: The raising or lowering of vocalism pitchâ€"a way of reinforcing the meaning of a discussion by changing the fashion it is said. See too fluctuation.
ISDN: Integrated Services Digital Network. Special high-quality lines that allow voice recording to be digitally transmitted from one recording facility to another.
jingle: A musical commercial.
laundry listing: A string of copy points–adjectives or prices and items in the re-create. Sometimes a listing of benefits of the production or service. The object for the talent is to read them with various emphasis so they don't audio similar a list.
lay it downwards: Another phrase meaning let's tape.â€
lay out: Don't speak, as in Lay out while the music plays in this section.â€
level: To set a vocalization at the optimal point. When the engineer says, Permit'southward get a level, the actor will start reading the copy at the level they'll be speaking throughout the spot.
library music: Pre-recorded music that producers use when the budget doesn't allow original music. Each piece of music requires a fee to be paid, usually on an annual basis.
lines: The copy that'southward read by the vocalization talent. To run lines is to rehearse a dialogue with another role player.
line reading: When a producer explains to a voice talent how they want a line read by reading it themselves.
alive mic: The mic is on and can pick upwardly everything said in the berth. That ways anybody in the control room. Run across hot.
live tag: The copy delivered at the end of a spot, usually past a staff journalist at the Radio station.
local: Refers to the union in a detail locale. Usually accompanied past a number, i.e., AFTRA Local 47.
looping: The older technology of recording background audio effects and noises for Tv set or film. Done in post-product after the show is recorded.
lows: The low frequency of a vocalisation.
major markets: Refers to the Large Threeâ€: New York, Chicago and Los Angeles. These markets pay the nigh in phonation-over piece of work.
marking copy: Placing unlike marks above, below, around, in between and circling words on a script. Best done in pencil, because direction or emphasis may change.
primary: The original recording that all dubs are fabricated from.
mic: A common form of the word mike, equally in microphone.
milking: Stretching words out and giving them every bit much accent as possible, as in Milk it.â€
mix: The blending of voice, sound effects, music, etc. Last mix usually refers to the finished production.
monitors: The loudspeakers in the control room.
monologue: One-person copy. Also referred to as a single.
mouth racket: The clicks and pops a microphone picks upwards from a dry oral cavity.
MP3: The name of the file extension and also the name of the type of file for MPEG, audio layer 3. Layer 3 is 1 of three coding schemes (layer 1, layer 2 and layer iii) for the compression of audio signals. Layer 3 uses perceptual sound coding and psycho audio-visual compression to remove all superfluous information (more than specifically, the redundant and irrelevant parts of a audio bespeak. The stuff the man ear doesn't hear anyhow. The result in real terms is layer iii shrinks the original sound data from a CD (with a chip charge per unit of 1411.2 kilobits per one second of stereo music) past a factor of 12 (down to 112-128kbps) without sacrificing sound quality.
multiple: Refers to script with 3 or more characters in information technology.
multitrack: A machine capable of recording and replaying several unlike tracks at the same time.
music bed: The soundtrack that will exist placed behind the copy, or mixed in with information technology.
non-union: A vox-over task that is paid off the books, nether the tableâ€"not through the union. A not-union shop is ane that is not a signatory to SAG or AFTRA.
off-photographic camera: A part where an actor supplies only their vocalization to a TV spot or video presentation.
on mic/off mic: Either speaking or non speaking directly into the microphone. An actor is always on mic when recording, unless shouting, and so turns his head slightly to speak off mic.
outtake: A previous take that hasn't been approved and accepted.
overlapping: When an actor starts his or her line a moment earlier another actor finishes theirs.
over calibration: Whatsoever amount paid over the minimum wage set by AFTRA or SAG.
over-the-meridian: Direction that makes the copy sound larger than life, requiring the actor to overact.
pace: The speed in which an role player reads copy.
paper noise: Sound that the mic picks upwardly as you move your script. Set up it on the mic stand and leave information technology alone. If you have two pieces of re-create and no stand, hold one page in each hand. If you have more than 2 pages, yous may stop, place the next page in forepart of you, and continue. The engineer volition accommodate y'all, every bit they don't want to accept to edit out newspaper dissonance.
patch: To make an electrical/digital connection for recording and/or broadcast. Also referred to equally a telephone patch or state patch.
paymaster: A payroll service that handles talent payments for the producer.
phasing: When sound reflects or bounces of certain surfaces and causes a weird, disjointed consequence in the recording.
phonemes: The minor units of sound used to make words.
phones: A curt word for headphones.
selection-upward: Re-recording a section of copy at a sure point. 90% of your read may be a in the can, but there may be a phrase, sentence or paragraph that the managing director feels could be washed a bit better, clearer, faster, slower, etc. The director tells you exactly where they want y'all to selection-up†your line(due south)â€"where to get-go from and where to end at. Read a judgement or phrase before the pick-up starting point, as well as the ending point. This is washed to help the engineer meliorate edit the pick-up, matching phrasing and levels.
pick-up session: An additional session to complete the original. There may exist copy changes or character changes in a spot earlier it finally arrogance. This is normally due to the client irresolute their listen before they commit the spot to air.
pitch: The musical level at which a person speaks.
placement: Where the mic is positioned when an actor is reading.
playback: Listening to what has just been recorded.
plosive: Any consonant or combination of consonants that causes popping.
plus ten: Refers to the contractual agreement in which the producer agrees to add an boosted 10% to the actor's payment for the amanuensis's committee.
pop: When voice sounds are registering likewise hard into the mic. Usually caused by plosives.
pop filter: A foam cover enveloping the mic or a nylon windscreen in front of the mic. Mitigates popping. Also known equally a pop stopper.
mail-production: Too known as mail service. The work washed afterward the voice-talent has finished recording the session. This includes mixing in SFX and music.
pre-life/pre-scene: The previous history an actor invents for his character.
producer: The person in charge of the phonation-over session. Many times the producer is also the director.
promo: A promotional commercial spot used past TV and Radio stations specifically to increment audience awareness of upcoming programming.
protection: Also known as insurance, this is an additional take requested by the producer to insure that they have a back-upwardly of a take they like. Usually phrased as, 1 more than for protection.â€
PSA: Public Service Announcement. Commercials produced to raise awareness of current issues, such as smoking, drug corruption, pollution, pregnancy, etc.
dial: Reading a discussion or line with more intensity.
punch in: Sometimes referred to equally a selection-upwards, it's the rejoining or continuation of a piece of re-create. The engineer will dial in a choice-upwardly at a certain point in the re-create, to assistance with editing later on.
read: The style of reading an thespian presents as a voice talent, or your performance, as in That was a expert read.â€
existent-time: An event that takes equally long as it actually takes, as opposed to high-speed.
released: Being dropped from consideration from a voice-over job. Information technology's i of two results from existence on hold.
residuals: Continuing payments an actor receives every 13-weeks their spot airs. As well referred to as 13 weeks per spot per cycle.
resonance: The full quality of a voice created by vibrations in resonating chambers, such as the mouth and sinus areas.
re-use: What actors are paid when their spot is re-run. Information technology is usually the same corporeality they received for the first xiii-week cycle.
reverb: A variation of echo. Information technology'due south an result added to your voice in post.
room tone: The sound a room makes without anyone in it.
rough mix: The step before the final mix. This is when the producer and engineer fine-melody levels of vocalisation, music and sound furnishings.
run-through: Rehearsing the re-create before recording. Like a dress rehearsal.
SAG: Screen Actors' Guild. The union for motion-picture show actors and performers.
condom: This is a re-take that the producer or client wants to make sure that if at that place's something technically wrong with the have they like, they accept a back up. Let's do 1 more for rubber,†is a common phrase. See protection.
S.A.Southward.East.: Self-addressed stamped envelope.
SFX: Autograph for sound effects. Besides seen as EFX.
scale: The minimum, established wages set by SAG and AFTRA for working talent. Double calibration or triple scale refers to these wages times 2 or 3.
calibration plus 10: Refers to the extra x% paid to the actor's agent on a chore.
scratch track: A rough audio or video runway that a production company or ad agency may put together for an histrion to read to. Run across animatic.
serial of three: Term used to depict a gear up of wild lines to be recorded, washed in a ready of 3. Each read should be varied slightly.
session: The event where a talent performs a script for recording purposes.
session fee: Payment for the offset commercial within the session. If an thespian does two spots, they go a session fee plus payment for the other spot. If the same actor does a tag, they go a split up tag fee. And if they tape just 2 tags, they get paid session plus one tag.
shave: To skin downwards your read, as in, Can you shave three seconds off that read?â€
sibilance: A drawn out or excessive S†sound during speech. Some sibilance is joined with a whistle. This is a very annoying sound, which some engineers mitigate with a sound tool chosen a de-esser.
sides: Commercial scripts for video, where the action is in the left column, the dialogue on the correct, or animation.
signatory: Someone (unremarkably a producer or ad agency) who has signed a contract with SAG or AFTRA stating that they will simply piece of work on marriage jobs and promise to pay talent union scale.
signature: The specific quality of a vocalization that makes it unique.
single: Also known as a monologue, or ane-person copy.
slate: Announcing a name and/or a number earlier a take, commonly paired with the character the player is playing. The slate helps the director and engineer identify and keep track of the actors and the various takes. Nigh slates are announced by the engineer, but sometimes the actors slates their own proper noun.
spec: Volunteering your services and postponing payment until a project sells. The popular definition is working for nothing at present on the promise of getting more than you deserve after on.â€
spokesperson: Also referred to as spokes. A vocalism actor who is hired on a repeat contractual ground to stand for a product or company.
spot: A commercial. Originated from the days when all commercials were performed live, in betwixt songs played on the radio. The performers were on the spot.â€
stair stepping: Having the pitch progressively rise up or down every bit a means of defining phrases. This technique is especially effective when reading laundry lists.
stand up: Where copy is placed in the berth.
station I.D.: A curt sound bite where the call letters of the station are announced or sung.
steps: Increasing the energy on a long list of adjectives or superlatives.
storyboard: The fine art director's and copywriter's conception of a TV spot, drawn on a large board for presentation to a client. The talent gets to meet what the on-camera actors are doing in the spot. See animatic.
studio: The facility where all recording and mixing for a commercial takes place.
sweeps: The Television and Radio ratings periods when the total viewing or listening audition is estimated, thereby determining advertizing rates. These occur in February, May and Nov.
sync: Matching a phonation from a previous take. Also refers to aligning tracks to kickoff or finish together.
Taft-Hartley: This labor law protects an actor from having to bring together the union for their first job. She has to bring together AFTRA if she's hired for another union job within 30 days.
tag: Information placed at the end of a commercial containing a date, time, phone number, website accost, legal disclaimer, etc. A different announcer sometimes reads the tag.
take: The recording of ane specific piece of vocalisation-over copy. All takes are numbered consecutively, ordinarily slated by the engineer.
talent: A broadcast performer, entertainer or phonation-over artist.
talkback: Refers to the push button connected to the microphone in the engineer'southward console. It allows the engineer or director to talk to the talent in the berth.
tease: The introductory line used to promote interest. Promos are sometimes referred to as teasers.
tempo: The speed at which copy is delivered.
tight: Non a lot of time to read, or referring to a script that has a lot of words and not much time to say them in, due east.m., This is a actually tight :sixty.â€
time: Literally, the length of a spot. Most Radio spots time in at :60, TV spots at :30.
time lawmaking: A digital read-out on the engineer'southward panel referring to audiotape, videotape positions. Used in motion picture dubbing.
tone: A specific sound or mental attitude.
rails: Either to record, or the actual audio piece. Nosotros're ready to track,†as opposed to Listen to this track.â€
trailer: A commercial that promotes a film or video release.
undercutting: Dipping down in a judgement and throwing a portion of it abroad.
units: The number assigned by AFTRA and SAG to cities throughout the U.Southward. Each metropolis varies in their amount of unit value past their population. This directly affects the amount of money an player receives in residuals.
apply fee: An additional fee paid to the performer when their spot is actually aired.
value added: Refers to words in a script that requite the impression you're getting more than you paid for. Plus, free, new, improved and extra are examples.
voice print: The song equivalent of fingerprints. Tin can exist seen on the monitor of whatever calculator using a ProTools® or similar audio tool.
V-O: Short for voice-over. Likewise seen as AVO (journalist voice-over). Information technology's the act of providing a voice to a media project, where the voice is usually mixed over the top of music and SFX. Vocalism-over was the term originally used to describe an announcer'due south vocalization on a television spot, referring to the process as vox over picture.†The more than authentic term now is voice interim, which is the art of using the voice to bring life to written words.
VU meter: A meter on the engineer's console that indicates the level of sound passing through the board.
walla: The sound of many voices talking at once, used as background sounds for a party or restaurant. Originally, information technology was thought that saying the words walla walla†over and over again in the background would simulate skillful sound ambiance for a crowded scene, just the prevailing view at present is that actors doing walla should converse in the way they would ordinarily do so in that state of affairs.
wet: A phonation or sound with reverb added to it.
wild line: A single line from a script that is reread several times in succession until the perfect read is achieved. It'due south considered wild considering information technology is read separately from the entire script. Often performed in a series of iii, where the actor reads the line iii times in a row without suspension. Each line is read slightly differently, unless otherwise directed.
wild spot: A flat fee for a spot that airs for an indeterminate number of times within a 13-calendar week bicycle. Tin be local, regional or national.
windscreen: A pop filter, or pop stopper.
woodshed: To rehearse or practice reading copy out loud. From the old days of theater where actors would have to rehearse in a woodshed before going out to perform.
wrap: The end, as in That's a wrap.â€
Adapted and compiled from the following sources:
• James Alburger, The Art of Vocalization-Interim; Focal Printing (1999)
• Susan Blu & Molly Ann Mullin, Word of Mouth; Revised Edition, Pomegranate Printing (1996)
• Terri Apple, Making Money in Voice-Overs; Lone Eagle Publishing Visitor (1999)
• Alice Whitfield, Take It From The Top; Ring-U-Turkey Press (1992)
• Sandy Thomas, Then You Want To Be A Voice-Over Star; In The Clubhouse Publishing (1999)
• Terry Berland & Deborah Ouellette, Breaking Into Commercials; Plume Publishing (1997)
• Chris Douthitt & Tom Wiecks,
Putting Your Mouth Where The Coin Is; Grayness Heron Books (1996)
• Chuck Jones,
; Back Stage Books (1996)
• Bernard Graham Shaw,
; Routledge Publishing (2000)
• Elaine A. Clark,
; Back Stage Books (2000)
MARC CASHMAN creates and produces copy and music advertising for radio and television set. Winner of over 150 advertizing awards, he also instructs vox acting of all levels through his classes, The Cashman Cache of Voice-Acting Techniques in Los Angeles, CA.
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Source: https://www.voices.com/blog/voiceover_glossary_dictionary/
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