Why publish what you do not get cast as?

Because casting is a matching problem and a page that claims everything matches nothing. Three of the nine rows are things I will not take, and naming them makes the other six credible — which is the only thing a casting page can actually do.

Why no audio on this page?

Because this is a website template and the performer is fictional. Any recording here would be somebody else's voice presented as hers. Another template in this library does ship audio — generated click tracks, where a metronome is honestly a metronome — and a voice is not the same case.

Why are pickups free?

Not generosity: a pickup is usually caused by a script that changed or a word nobody flagged, and charging for it makes clients avoid asking, which produces worse work. Free inside thirty days is cheaper for me than a compromised take in the final mix.

Will you do an accent?

My own, and anything close to it. Not one that belongs to a community I am not from — cast somebody who is, and the performance will be better as well as the casting. This is on the page rather than in a conversation because it saves both of us the audition.

Patched session or self-directed?

Either. Patched is better for anything with performance nuance and self-directed is better for volume. If you are unsure, patch the first session and decide afterwards — the difference is obvious once you have heard both.

What does the booth sound like?

Treated, tested monthly against broadcast spec, with the noise floor measured rather than described. Ask for the numbers and I will send them; a voice actor who cannot state their own noise floor is telling you something.

Voice actor · animation, games, ADR · Tucson, AZ · Next-day turnaround on self-tape · live sessions with a day’s notice

“Great range” is the least useful sentence in this industry.

A voice actor in Tucson. Casting directors are not looking for range — they are looking for a specific sound, fast, from a list. So this page says what I get booked for, what I can do and never get cast as, and the three things you should hire somebody else for.

The casting bracket Ask for a raw read

What I actually get cast as

4 yes. 2 rarely. 3 hire somebody else.

Booked regularly: 4
Can do, rarely cast: 2
Hire somebody else: 3

Nine role types, three honest answers
Role type	Cast?	Booked	Note
Warm adult lead	Booked regularly	40+	The centre of what I get hired for. Games, animation, narration-adjacent character work — the voice somebody trusts inside two lines.
Dry comic support	Booked regularly	25+	Timing rather than silliness. The friend who is unimpressed, the colleague who has seen this before.
Older matriarch	Booked regularly	12	Placed rather than pushed. I do not do this by making the voice creaky, which is why it books.
Teen boy	Booked regularly	9	A standard animation bracket and an honest fit. Not a stretch, and the sessions are shorter than people expect.
Villain, controlled	Can do, rarely cast	3	I can do it and the reads are good. I am rarely called for it, probably because nothing else on my demo suggests it.
High-energy commercial	Can do, rarely cast	2	Technically within range and not what anybody hears when they hear me. If this is the job, day rate is the wrong conversation.
Creature and monster	Hire somebody else	0	Genuinely not my instrument, and it is a specialism with people who have spent a decade on it. Hire one of them.
Accents outside my own	Hire somebody else	0	I will not do an accent that belongs to a community I am not from. Cast somebody who is; the performance will be better and the question will not arise.
Singing	Hire somebody else	0	I can hold a tune and that is a different job. A session that discovers this at hour two has wasted everybody’s afternoon.

The third column is the whole point. A casting page with no "hire somebody else" row is a page claiming range again, in a table. Three of the nine here are things I will not take, and the accent row is not a limitation I am apologising for — it is a casting decision that belongs to somebody else and produces a better performance in their hands.

Before a session

4 things, all free.

A marked script: Names, places and anything technical, with the pronunciation you want beside it. Not IPA — a rhyme is fine.; Without it: roughly twenty minutes of a two-hour session, and a pickup later for the one word nobody flagged.
Someone who can answer: One named person, reachable during the session, who is allowed to make a call about a line.; Without it: every ambiguity becomes three alternate reads, and somebody chooses badly from them a week later.
A reference for tone: Thirty seconds of anything — a scene, a competitor’s spot, a performance you liked. Adjectives are the slow way.; Without it: the first twenty minutes are a negotiation about what "natural" means.
The delivery spec: Sample rate, file format, whether you want it processed, and one file or one per line.; Without it: a re-export, usually on the day you needed it.

All four are free and none takes more than ten minutes. The reason they are on a public page rather than in a welcome email is that the email arrives after the booking, and three of these change what the booking should be.

Demos

The useful one is free and nobody asks for it.

Character demo 75 sec

Eight clips, edited and processed, from real sessions. It is the most flattering document I have and you should treat it that way.

Games demo 60 sec

Combat, exertion and one long emotional take. The exertion is the part casting actually listens for.

Raw read Your copy

One unprocessed take of your own script, returned same day, free. This is the useful one and almost nobody asks for it.

Self-tape Next day

Slated, two takes, a director’s note if you send one. Delivered as WAV, no processing unless you ask.

A demo is edited, comped and processed — mine included. A raw read of your own copy tells you in ninety seconds what a demo cannot, it is free, and it is the thing to ask for before booking anybody, me or otherwise.

There is no audio on this page. Day 112 in this library ships generated click tracks because a metronome is honestly a metronome; a voice cannot be generated that way. Priya Nandakumar is fictional, so any recording here would be somebody else’s voice presented as hers — closer to a stock headshot than to a click track. If you are using this template, your demos go here.

“The three roles she said not to hire her for were the reason we hired her for the other one. It is the only voice site I have ever forwarded to a director without editing it first.”
Casting director, animation — 2025

The booth, measured

Three numbers instead of the word “treated”.

Every voice site says "professionally treated". These are the numbers, measured monthly with the same rig, and the one that matters to a client is the first: a noise floor low enough that a quiet read does not need denoising to sit in a mix.

Measured value in teal, the threshold marked in red. Every figure is printed beside it.

Noise floor: 22 dBA target under 30 dBA; Measured over sixty seconds with the air off. Broadcast work generally wants under 30; games and animation are more forgiving and I would rather not rely on that.
Reverb time, RT60: 0.14 s target under 0.3 s; The room signature. Above about 0.3 a booth starts to sound like a booth, which is the one thing a booth must not do.
Signal to noise: 68 dB target over 60 dB; At a normal speaking level. The number that decides whether a whispered line is usable.

Ask any voice actor for these three and most cannot produce them, which is not a scandal — it is just that nobody asks. They take twenty minutes and a borrowed meter, and publishing them is the only claim about a booth that means anything.

Rates

Auditions and raw reads are free. Always.

Six lines, two of which are free on purpose
Work	Rate	Note
Animation, per session	$450	Up to four hours, union rates where applicable. Pickups inside 30 days are free — see the FAQ for why that is not generosity.
Games, per 100 lines	$620	Priced by line count rather than time, because efforts and exertion sessions take twice as long per line and everybody knows it.
ADR / dub	$95/hr	Minimum two hours. Patched or in-person; the booth here is tested against broadcast spec monthly.
Self-tape audition	Free	Always. A performer charging for auditions has misunderstood which side of the transaction they are on.
Raw read of your copy	Free	Same day. It costs me ten minutes and it saves us both a bad booking.
Usage and buyouts	Quoted	Character work is normally a session fee; broadcast usage is a different structure and a different page.

Common questions

Starting with the three refusals.

Why publish what you do not get cast as?: Because casting is a matching problem and a page that claims everything matches nothing. Three of the nine rows are things I will not take, and naming them makes the other six credible — which is the only thing a casting page can actually do.
Why no audio on this page?: Because this is a website template and the performer is fictional. Any recording here would be somebody else's voice presented as hers. Another template in this library does ship audio — generated click tracks, where a metronome is honestly a metronome — and a voice is not the same case.
Why are pickups free?: Not generosity: a pickup is usually caused by a script that changed or a word nobody flagged, and charging for it makes clients avoid asking, which produces worse work. Free inside thirty days is cheaper for me than a compromised take in the final mix.
Will you do an accent?: My own, and anything close to it. Not one that belongs to a community I am not from — cast somebody who is, and the performance will be better as well as the casting. This is on the page rather than in a conversation because it saves both of us the audition.
Patched session or self-directed?: Either. Patched is better for anything with performance nuance and self-directed is better for volume. If you are unsure, patch the first session and decide afterwards — the difference is obvious once you have heard both.
What does the booth sound like?: Treated, tested monthly against broadcast spec, with the noise floor measured rather than described. Ask for the numbers and I will send them; a voice actor who cannot state their own noise floor is telling you something.

Book, or ask for a read

Send the copy. It comes back today.

A raw read of your own script is free and same-day. Fields marked with an asterisk are required.