voiceover
Since 2005, I’ve made my mark in the voiceover industry voicing hundreds of commercials, from national and super bowl spots to radio and industrials. I am booked for my conversational, trustworthy, and friendly sound.
Photo by Joanna DeGeneres
MY Voiceover Services
ANIMATION VOICEOVER
UTILITY VOICEOVER
A utility player in the animation voiceover world is something you don’t find much these days, and it’s very rare in women. It’s the talent of someone like Mel Blanc, who can create many fully original and unique characters within the same show. The animation jobs I book are almost always as a main voice and at least two other supporting voices. Recently, for a kid’s web series called Wimee’s World, I am Roamee, a spunky jet-setting puppet teaching kids about different languages, as well as Marionette, a French puppet. (This is the second time I’ve been booked for my French accent, and I’ve never set foot on French soil!)
NARRATION/E-LEARNING
VERBOSITY
The voiceovers are sort of soothing, TBH. While an e-learning course might not sound exciting (and "exciting" is maybe never the word I'd use), they remind me of when I was a kid. I imagine my stuffies sitting in front of me while I talk about energy efficiency measures at the local level or what your company health plan can do for you! I also add audiobooks and sleep stories in this category. Now, rest your voice because you have 300 pages of copy to read tomorrow.
INTERACTIVE VOICEOVER
DUCK AND COVER
Though my video game and interactive resume is still building, these are the auditions I now look forward to the most. We get a character description and about five or six lines. My job is to turn this idea of a character into a reality. I build out each line so I know why I'm saying it, who I'm saying it to, where I'm saying it, and how it fits into this overarching world. I have a character analysis sheet I fill out... It never ceases to amaze me how complete a character can become from a single line of dialogue.
PROMOS
COMING UP NEXT
Promos are those "network voices" that you hear telling you what the channel has going on—lots of "stay tuned" and "this week, on...". I've done promos for TV Land, OWN, and Lifetime, all subtly different. Fun and upbeat for TV Land, empowered for OWN, and a bit of drama for Lifetime. I love the challenge of adapting my voice to capture the spirit of each network’s brand.
COMMERCIAL VOICEOVER
NOT AN ANNNOUNCER
Today, the trend is natural, conversational voiceover that catches people's attention without selling or pitching. This is harder than you'd think—especially when the copy is all product specs. How do you personalize it? That's the game, and it can be really fun. Tricks I use include swapping something I care about (roller skating) for something I don't (wind turbines), using lead-in lines, and speaking my thoughts out loud before I even start talking. Because anything—and I do mean anything—can become personalized if you know how to do it.
THE OTHER STUFF
KITCHEN SINK VO
Then there are those fun little jobs, like the 911 operator or the ex-wife on the other end of a phone call. I once did a witch's laugh for a Halloween decoration on a TV show! My voice can even be heard on a kid's toy in stores right now! There are dubbing jobs, like the one I did recently for Apple+, and looping, which are the conversations people have in the background of a scene. I always listen to these when I watch TV because it delights me to hear someone in the background of a party say, "I made a really, really good crudités platter." Yep, that's a voice artist!
WHAT I BRING TO THE BOOTH
When I'm hired for a voiceover job, the client gets me and my 20 years of experience—the skills, expertise, and creative instincts I honed working in Los Angeles, NY, and remotely across the country.
COMEDY & IMPROVISATION
My training at The Groundlings and UCB has been instrumental in shaping my voiceover work. As a student and performer in these world-renowned improv programs, I’ve gained the ability to think on my feet, find new angles, and bring the emotional depth needed to create memorable characters.
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ALTERNATE TAKES can often sound similar, but I have the ability to quickly provide true variation when needed—shifting not only the sound, but also the intention, stakes, or emotional tone, to bring out the perfect performance or alts to provide the client with choices.
THE GROUNDLINGS
Known for its high-energy sketch comedy and short-form improv training, The Groundlings taught me the art of character creation. ​Their focus on bold character work helps me develop unique, weird characters that are still grounded in reality, making them relatable and authentic. As one of my teachers once said, "These are weird people in normal situations, not the other way around."
TRAINING: CORE IMPROV TRACK (Basic - Advanced)
UCB NY
At UCB, the focus was on mastering the "game" of the scene, which helped me hone in on heightening a joke and the rule of threes. Now, I can take a moment or line and escalate it in a way that keeps the energy energy-ing and the comedic beats satisfying.
TRAINING: LEVELS 1-4, SKETCH, SOLO SHOW, CHARACTER DEV.
I started training at UCB NY and was quickly placed on a house team (Cagney). My two-woman musical improv group enjoyed a long run at the theatre in the coveted weekend slot. I have performed in sketch, variety, solo show, and character showcases on the UCB stages in both NY and LA.
VOICEOVER TRAINING
Elaine Craig is the Stella Adler of voiceover coaching. Her Voice Pro workshop takes actors through the skills needed to "Master the Audition." After taking her class, my bookings skyrocketed!
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Richard Horvitz, who voices Invader Zim and many other memorable characters, took me through his 5 Steps method and has coached me on many auditions, including Minnie Mouse, for which I got a callback! He also did my demos.​​
IN THE BOOTH
A STATE OF THE ART VOICEOVER BOOTH FOR BROADCAST QUALITY SOUND​
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A professional voiceover experience starts with the right environment, and since COVID, almost every voiceover is done remotely from home studios. That’s why I put serious time and consideration into my home studio, equipping it with top-of-the-line gear and acoustic treatment to deliver crystal-clear, high-quality recordings every time.
MICROPHONE
The Neumann TLM 103 Large-Diaphragm Condenser Microphone is known for its clarity, depth, and ability to capture even the most subtle nuances of the voice.
INTERFACE
For seamless recording, I rely on the Universal Audio Apollo Twin X DUO Gen 2 Thunderbolt Audio Interface with UAD DSP, providing clean signal processing and low latency, and the Mogami Gold Studio Microphone Cable for its superior audio clarity, low-loss signal transfer, vanishingly low noise, and consistent manufacturing quality.
COMPUTER
My setup includes a MacBook Pro 18 GB (2023), ensuring smooth processing and reliable performance for all my recording and editing needs.
SOFTWARE/DAW
I work with Adobe Audition, utilizing industry-standard software to record and edit audio with precision and ease.
REMOTE CONNECTIVITY
I’m fully equipped to deliver remote sessions, using Source-Connect standard or Zoom to ensure real-time communication and seamless file delivery.
SOUND TREATMENT
Jordan Reynolds fine-tuned my acoustic treatment to eliminate room noise and echoes, while also preventing the dreaded sound of the "dead room," where there's no bounce, and the performance sounds like it's recorded inside a coffin. He also created personalized Apollo Interface plugins, ensuring my voice prints are captured at their absolute best for every audition and remote recording.