Develop your voice ready for online Arabic voice over’s


In this decade you mostly finding  Arabic voice over talents online is only because of online services taking  upturn 

in producing wide range of voice over services in all the parts of the world accordingly industries are growing 

extremely well in recent years  in the global markets. Now Arabic voice over’s in need of Japan based animé shows, 

overseas operas and movies, toon and animated films and video games. Not only this, perhaps these days 

Hollywood superstars are giving voice to the animated films like kungfu series with Angelina Jolie and Jackie Chan. 

Generally Hollywood celebrities are onscreen actors and actress, In fact, voice acting is different from onscreen 

acting because you don’t represent with your body and physical actions indeed voice acting is the thing where you 

bring your emotions and physcological conditions like perception, attention, positive and negative emotions in 

your voice alone. Eventually you need to prepare yourself on how to read the script, when to stop and controlling 

your tone of voice. Therefore, you should remember this important points when performing your voice acting. So 

that you can direct your tone of voice with emotions to match up the character given to you. Also, you need to 

maintain your creative imaginations for the reason that you usually not going to interact with other characters.

Every voice artist should develop the thinking of how can be professional voice artists? how to deliver the perfect 

voice that character demands it's possible that by understanding the core elements of voice over talents, Because 

it is not simply just all voice talent that you have although it needs more effort than just a great voice to be 

successful voice over artist. Apart from all this points your interest on your profession that takes you to next level 

and usually it builds up your career in Arabic voice over industry.

Look at the best voice over coach in your city for hints and tips who can capable of identifying your voice and direct 

you in a perfect way. Present your voice in training programs to improve your strengths and butts your weak areas, 

Take part in workshops to strengthen your tone of voice and do play a part in chat groups to increase your skills.  

Don’t forget to refer blogs, forums and other social discussions that share information about voice over artists 

where you can see several experiences, feedback, learning techniques and job opportunities as well.

Folks who have idea getting in to the voice over industry can be very fulfling, it’s due to the fact that now several 

industries are continuing to move forward to grow online. Perhaps, its films, radios, smart phones, games, mobile 

phone networks, trains and buses, right now there is a need of voice talents. So the demand of Arabic voice over 

artists increasing day-to-day.

A lot of people may probably do not identify types in voice over’s mainly because they are a part of day to day life. 

Even so they're  almost everywhere now - consequently voices of real people.


Need ARABIC VOICE OVER TALENT ? Email me >>  fady_voice@yahoo.com TEL : +201004458545     .Skype : fady_voice . The Best Price rates and Quality For All Arabic Voice Services

Hi All , I am fady - Egyptian man , a presenter and Arabic V.O and Narrator  in many radios and Voice
Media Houses
speaks Arabic Fluently which mean that i am the best choice for your Arabic voice job .my voice is wonderful .. you will not regret If You Hired Me,, i am arabic voice talent actor in radio masr and radio horytna its Famuse Channels In Egypt

   ,,,
My Voice Has a wide range of styles from "conversational & informative" to "cool and edgy" to "fun & friendly" to "monster truck"! I do it all including commercials, corporate and industrial narration, medical videos, IVR phone systems and on-hold messages, training and tutorial videos, animation and video games, documentary narration, explainer/how-to videos, and interactive adventure-based learning as well as standard eLearning courses. I even  Can Provide singers and also do English voiceover and know to speaking french language which means that if your project requires someone who speaks Arabic & English & French fluently, i will do it professionally
Arabic Voice Speaker
Arabic Voice Freelance
Arabic voiceover
u will find demos to listen through this blog and alsow u can listen for more through my fan Pages on face
book : http://www.facebook.com/ArabicVoiceOver
 http://www.facebook.com/ArabicVoice 
Or : http://www.facebook.com/ArabicVoiceOverTalent 
and my personal Arabic Voice Site :  http://www.arabicvoiceovertalent.com
--------------------------------
-About My Cost ,I Offer The Best Price To The Clients and We Will Agree  about the  Payment  Method,, -Also You Can Cooperate With Me More,
I  Also Provide Professional English Arabic Translations witch means You Can Send me The Original English Script And I Will Translate It Into Arabic Then Doing The Voice Over In The Fastest Time With Agood Offer and Price For You ;)
  "I am Always On All The Days Of The Week, And Ready To Do Any Job At Any Time" .
I Provide Arabic Male Voice Over Talents And Arabic Female Voice Over Talents With The Cheapest Prices At All - Discount To 50% Sometimes
just Contact Me Through :
E-Mail : fady_dmg@yahoo.com
tel : +201004458545
Skype : fady_voice
Fady Nagy | For All Arabic Voice Over And Translations Services

contact me , sending your script
even in english we will translate into arabic




You Will Receive Your Project In High Quality And In Affordable Price
-------------------------------------------------------------------------------------


Experience


Arabic Voice Over Talent And Translator Fady Nagy-The Arabian Voice

Media Production industry
August 2008 – Present (3 years) Cairo-Egypt

RECENTLY BOOKED PROJECTS
Fady Nagy The Arabic Voice Over Talent
(Show Reels)


 
Voice Over Promos :

Radio Masr (Egypt) : * The Official Arabic Voice Over For The
1- Promo Program Kalam Shabab
2- Promo Program Khalena Nefok
3- Promo Program Hawadeet Almalaeb
4- Promo Program Kalam Banat .. and the Rest Of
The Sessions Radio Programs Promos ..
Also The All Commercials Radio Promos Through
The Radio Sponsor Did By My Voice …etc


Radio Horytna : * A Presenter Of A Talk Show Program Called (An Hour And 60 Minutes
* Some Of Radio Promos Like The Official Promo of
Horytna Academy .. etc



PromoHits Media Agency : 1-Commercial Promo For Abook Called

( Men Around The President )
2- Commercial Promo For Abook Called
( my Boy Friend Online )
3- Commercial Promo For Abook Called
( The Man Whos Stands Behind The Book )
And A lot of it…. Etc
Website SafQa.com : The Marketing Commercial Promo For The Site .


AND A lot Of Freelance Commercials Promos Through The Internet
Narrations , Documentaries , E-Learning :
Le Duff Restaurant Group Video Film Documentary To(Ben's Studios World)
safety road information In Germaine Audio E-Learning (Germaine Studio)
Time Managemet Cours E-Learning To infinityteknoloji.com
Arabic E-Learnig Course For Non Arabs 80 Unit Amiraro
Practical Arabic Learning Volkan’s Studio – Dracolex
RESTAURANTS IN ISTANBUL Video Film Documentary Volkan’s Studio–Dracolex



AND A lot Of Dubbing And Narrations Through The Internet .
Those Jobs Here That Done By My Voice Are Not The Only Jobs That I Already Done .. There’s More And The List Contains The Most Important Projects That I Did and continually updating ..
-----------------------------------


LANGUAGES

Arabic Formal
Arabic Modern

VOICE DESCRIPTION

My Voice Type Is The Soprano Voice , The Greatest Human Beings Voice type Ever , Full Of Power And Emotions ..

VOICES I AM ABLE TO PERFORM

Senior Male, Middle Age Male, Young Adult Male, Young Adult Female, Teenage Boy, Child Male, Baby

AUDIO DELIVERY METHOD

Source Connect, FTP, MP3, WAV , live recording via skype

EQUIPMENT

I Have A High Quality Home Recording Studio With High Professional Condenser Microphone AT2020 With Professionals Programs Audacity And Adobe Audition .

WEBSITE:

http://www.dmgfadynagy.blogspot.com

---------------------------------------------------

Some Recommendations For Fady

1st Christopher Michael Becker, Actor, Entertainer, Setbuilder, Production Assistant and Technical Advisor, Actor at, Jkilts Films company.



“Fady has an attention to detail that is unique unlike any other. His stead fast character and hard working ethics make him stick out above the rest.” June 13, 2011


-+-
Now, Do You Have Arabic voice project? 
Request A Quote






The Arabic Language





Arabic Language

Arabic albayancalligraphy.svg
al-ʿArabiyyah in written Arabic (Naskh script)
Pronunciation /al ʕarabijja/, /ʕarabiː/
Region Middle East and north Africa
Native speakers 280 million  (2006)[1]
Language family
Standard forms
Dialects
Central (incl. Egyptian)
Southern (incl. Gulf, Hejazi)
Writing system Arabic alphabet, Syriac alphabet (Garshuni)
Official status
Official language in Standard Arabic is an official language of 26 states, the third most after English and French[2]
Regulated by
Language codes
ISO 639-1 ar
ISO 639-2 ara
ISO 639-3 ara Arabic (generic)
Dispersión lengua árabe.png
Dispersion of native Arabic speakers as the majority (green) or minority (chartreuse) population
Arabic speaking world.svg
Use of Arabic as the sole official language (green) and an official language (blue)
Arabic (العربية al-ʻarabīyah or عربي/عربى ʻarabī ) (About this sound [al ʕarabijja] or (About this sound [ʕarabi]) is a name applied to the descendants of the Classical Arabic language of the 6th century AD. This includes both the literary language and the spoken Arabic varieties.
The literary language is called Modern Standard Arabic or Literary Arabic. It is currently the only official form of Arabic, used in most written documents as well as in formal spoken occasions, such as lectures and news broadcasts. In 1912, Moroccan Arabic was official in Morocco for some time, before Morocco joined the Arab League.
The spoken Arabic varieties are spoken in a wide arc of territory stretching across the Middle East and North Africa.
Arabic languages are Central Semitic languages, most closely related to Hebrew, Aramaic, Ugaritic and Phoenician. The standardized written Arabic is distinct from and more conservative than all of the spoken varieties, and the two exist in a state known as diglossia, used side-by-side for different societal functions.
Some of the spoken varieties are mutually unintelligible,[3] and the varieties as a whole constitute a sociolinguistic language. This means that on purely linguistic grounds they would likely be considered to constitute more than one language, but are commonly grouped together as a single language for political and/or ethnic reasons, (look below). If considered multiple languages, it is unclear how many languages there would be, as the spoken varieties form a dialect chain with no clear boundaries. If Arabic is considered a single language, it may be spoken by as many as 280 million first language speakers, making it one of the half dozen most populous languages in the world. If considered separate languages, the most-spoken variety would most likely be Egyptian Arabic, with 95 million native speakers[4]—still greater than any other Semitic language.
The modern written language (Modern Standard Arabic) is derived from the language of the Quran (known as Classical Arabic or Quranic Arabic). It is widely taught in schools, universities, and used to varying degrees in workplaces, government and the media. The two formal varieties are grouped together as Literary Arabic, which is the official language of 26 states and the liturgical language of Islam. Modern Standard Arabic largely follows the grammatical standards of Quranic Arabic and uses much of the same vocabulary. However, it has discarded some grammatical constructions and vocabulary that no longer have any counterpoint in the spoken varieties, and adopted certain new constructions and vocabulary from the spoken varieties. Much of the new vocabulary is used to denote concepts that have arisen in the post-Quranic era, especially in modern times.
Arabic is the only surviving member of the Old North Arabian dialect group, attested in Pre-Islamic Arabic inscriptions dating back to the 4th century.[5] Arabic is written with the Arabic alphabet, which is an abjad script, and is written from right-to-left. Although, the spoken varieties are often written in ASCII Latin with no standardized forms.
Arabic has lent many words to other languages of the Islamic world, like Persian, Turkish, Bosnian, Kazakh, Bengali, Urdu, Hindi, Malay and Hausa. During the Middle Ages, Literary Arabic was a major vehicle of culture in Europe, especially in science, mathematics and philosophy. As a result, many European languages have also borrowed many words from it. Arabic influence, both in vocabulary and grammar, is seen in Romance languages, particularly Spanish, Portuguese, Catalan and Sicilian, owing to both the proximity of European and Arab civilizations and 700 years of Muslim (Moorish) rule in some parts of the Iberian Peninsula referred to as Al-Andalus.
Arabic has also borrowed words from many languages, including Hebrew, Greek, Persian and Syriac in early centuries, Turkish in medieval times and contemporary European languages in modern times, mostly from English and French

General Introduction
The rise of Arabic to the status of a major world language is inextricably intertwined with the rise of Islam as a major world religion. Before the appearance of Islam, Arabic was a minor member of the southern branch of the Semitic language family, used by a small number of largely nomadic tribes in the Arabian peninsula, with an extremely poorly documented textual history. Within a hundred years after the death (in 632 C.E.1) of Muhammad , the prophet entrusted by God to deliver the Islamic message, Arabic had become the official language of a world empire whose boundaries stretched from the Oxus River in Central Asia to the Atlantic Ocean, and had even moved northward into the Iberian Peninsula of Europe. 
The unprecedented nature of this transformation--at least among the languages found in the Mediterranean Basin area--can be appreciated by comparisons with its predecessors as major religious/political vernaculars in the region: Hebrew, Greek and Latin. Hebrew, the language which preserved the major scriptural texts of the Jewish religious tradition, had never secured major political status as a language of empire, and, indeed, by the time Christianity was established as a growing religious force in the second century C.E. had virtually ceased to be spoken or actively used in its home territory, having been replaced by its sister Semitic language, Aramaic, which was the international language of the Persian empire. Greek, the language used to preserve the most important canonical scriptural tracts of Christianity, the New Testament writings, had been already long been established as the pre-eminent language of culture and education in Mediterranean pagan society when it was co-opted by Christian scribes. By this period (the second century C.E.), Greek had ceased to be the language of the governmental institutions. Greek, however, had resurfaced politically by the time of the rise of Christianity as a state religion under the emperor Constantine (d. 337 C.E.,)--who laid the groundwork for the split of the Roman empire into western and eastern (Byzantine) halves. By the time of Muhammad's birth (approximately 570 C.E.) Greek had fully reestablished its position as the governmetnal as well as religious vernacular of the Byzantines. 
Latin had for a time usurped the predominance of Greek as a governmental and administrative language when the Romans unified the region under the aegis of their empire, and it would remain a unifying cultural language for Western Europe long after the Roman empire ceased to exist as a political entity in that region. The main entry of Latin, on the other hand, into the religious sphere of monotheism was relatively minor, as the medium for the influential translation of the Hebrew Bible and the New Testament, the Vulgate, that was the only official version of scripture for the western Christian church until the rise of Protestantism in the sixteenth century. 
Hebrew, then, was a religious language par excellence. Greek and Latin, on the other hand, while making invaluable contributions to the corpus of religious texts used in both Judaism (the Greek version of the Hebrew Bible, the Septuagint, was the scriptual text of choice among the Hellenized Jews of the Roman empire) and Christianity, were each languages that had extensive imperial histories which preceded (and followed) the rise of Judeo-Christian monotheism to prominence in the Mediterranean and had strong cultural links to the pagan world and sensibility of Hellenism. It is only against this backdrop that the truly radical break with the past represented by the rise of Arabic as the scriptural medium for Islam coupled with its adoption by the Umayyad caliphs as the sole language for governmental business in 697 C.E. can be appreciated. 
Background and History
 Arabic belongs to the Semitic language family. The members of this family have a recorded history going back thousands of years--one of the most extensive continuous archives of documents belonging to any human language group. The Semitic languages eventually took root and flourished in the Mediterranean Basin area, especially in the Tigris-Euphrates river basin and in the coastal areas of the Levant, but where the home area of "proto-Semitic" was located is still the object of dispute among scholars. Once, the Arabian Peninsula was thought to have been the "cradle" of proto-Semitic, but nowadays many scholars advocate the view that it originated somewhere in East Africa, probably in the area of Somalia/Ethiopia. Interestingly, both these areas are now dominated linguistically by the two youngest members of the Semitic language family: Arabic and Amharic, both of which emerged in the mid-fourth century C.E. 
The swift emergence and spread of Arabic and Amharic illustrates what seems to be a particularly notable characteristic of the Semitic language family: as new members of the group emerge, they tend to assimilate their parent languages quite completely. This would account for the fact that so many members of the group have disappeared completely over the centuries or have become fossilized languages often limited to mainly religious contexts, no longer part of the speech of daily life. This assimilative power was certainly a factor in the spread of Arabic, which completely displaced its predecessors after only a few hundred years in the area where Arabic speakers had become politically dominant . Thus all the South Arabian languages and Aramaic, in all its varied dialectical forms, became to all intents and purposes "dead" languages very soon after the emergence of Islam in the seventh century C.E. Arabic even did the same thing to the Hamitic3  language of Coptic, which was the direct descendent of Pharaonic Egyptian and still an important literary and cultural language at the time of the Islamic conquest. Today it survives only as the religious language of the Coptic Christian community of Egypt, who otherwise use Arabic in all spheres of their everyday lives. 
In contrast, when Arabic has contested ground with Indo-European languages or members of other distant linguistic families, like Turkish (which is a member of the Altaic family of languages that originated in central Mongolia), its record has not been nearly so successful. For example, when Arabic was introduced into the Iranian Plateau after the fall of the Sassanian Empire to the Arab armies in the 630s C.E., it seemed to overwhelmingly dominate the Indo-European Persianate languages of the region for a while. But by the late 900s, a revitalized form of the Old Persian (Pahlavi) language had decisively re-emerged as not only a spoken language, but also a vehicle for government transactions and literary culture as well. This "new" Persian has remained dominant in this geographical region throughout succeeding centuries and the modern Persian spoken today in Iran is virtually identical with it. 
Arabic was not the first Semitic language to exhibit this tendency to completely overwhelm its predecessors. Aramaic, the language of various peoples living in Syria and upper Mesopotamia, had pioneered this pattern long before, having displaced (though not suddenly and not necessarily at the same time) both the Akkadian language of the people who had ruled the Tigris-Euphrates basin after the Sumerians (who spoke a non-Semitic language), and Hebrew and other Canaanite tongues that had been used along the coastal strip of the Levant.4  By the time Jesus was born, for example, the Jews used either the Jewish dialectical version of Aramaic or Greek for most of their writings and in daily life. Similarly, the Aramaic dialect of the city of Edessa, known as Syriac, became the language used by the Christian communities east of Constantinople. 
Even as the Aramaic dialects grew to dominate the Levantine areas and became the lingua franca of the Persian empire, in the south--less subject to the unifying pressures of complex imperial systems of government and education--a much more fluid and less textualized language situation prevailed. Old civilizations had arisen on the southern fringe of the Arabian peninsula, built on the profits of trade and commerce in the area, particularly the long-distance incense trade. The succession of sedentary dynasties that controlled this land of "Sheba" (or, more properly, Saba) used different forms of a language usually called now "Old South Arabian" of which the dominant dialect was probably Sabaic. Our main records of these languages comes from inscriptions rather than written documents, so our knowledge of how they first developed and later changed is necessarily sketchy. Farther to the north, a tribal, nomadic lifestyle dominated, and although we have fragmentary epigraphic records of some of the dialects these tribes used, our current knowlege about the actual linguistic situation prevailing in the area is even more incomplete than our knowledge of the South Arabian kingdoms. 5 
Although echoes of the glorious past and great achievements of the Sabeans and other peoples of the south would continue to resonate in the literature of the Arab Muslim world throughout its long history, scholars of Arabic literary history have always focused their attention on the nomadic northern Arabs in their accounts of how this literature arose. The overriding reason for this is a linguistic one: the tongue used throughout the Arab world today, and known as fusha or "Standard Arabic," is the same language used by these northern Arabs, crystallized in its written form in the revelations of the Qur’an as recorded in the early 600s C.E.. 
Though the major southern language, Sabaic, and Arabic are closely related to one another, they are definitely separate languages, as different as modern-day English and German, and probably just as often mutually unintelligible as not. Sabaic is almost certainly the older of the two languages, being used for inscriptions as early as 600 B.C.E., while the first evidence we have of Arabic as a written language occurs 900 years later, in an inscription dating to 328 C.E. When the two languages mixed and met after the rise of Islam, however, Northern (Mudari) Arabic--backed by the religious authority of the Qur’an--supplanted its older cousin completely as a language of high culture. Sabaic survives today only in isolated pockets of territory where various dialectical versions continue on a purely spoken level. Written communication in the south is all in Mudari Arabic. The relationship between Mudari and Sabean--as well as the relationships among the other Semitic languages can be seen in the following chart : 
Although Mudari Arabic belongs to the South Semitic branch of the Semitic language family (see chart), it seems to have shared an unusually close relationship with a Western Semitic language as well: Aramaic. This is largely due to the fact that the Nabateans--a northern nomadic tribe that moved onto the fringes of the oikoumene in the 300s B.C.E. and settled down to control the northern terminus of the incense route--seems to have spoken a language very close to Arabic, but they used Aramaic as their official language of written communication.6 
The reason why it is so important to stress a close relationship between Arabic and Aramaic is that the first documented example we have of Mudari Arabic--an epitaph from a tomb about 100 kilometers southwest of Damascus--is written in the (Nabataean) Aramaic alphabet, although the vocabulary and syntax is virtually identical with the "classical" form of Arabic codified in the Qur’an. This inscription, known as the "Namara inscription" for the place where it was found, is important historically as well as linguistically. It was discovered in April of 1901 by two French archaeologists, R. Dussaud and F. Macler, in a rugged portion of southern Syria (about 60 miles southeast of Damascus and almost due east of the Sea of Galilee). Namara was once the site of a Roman fort, but while the archaeologists were exploring the area, they came across a completely ruined mausoleum that was much older. This was the tomb site of Imru’ al-Qays,7  the second king of the Lakhmid dynasty, an important family in northern Arabia that at that time had been allied with the Byzantines and would later move to the east (to the area around modern-day Basra) and become clients of the Sassanian Persians. 
The Namara inscription was carved on a large block of basalt which had originally served as the lintel for the entrance to the tomb. It identifies the occupant of the tomb as Imru’ al-Qays, son of ‘Amr (the first Lakhmid king), calls him "king of the Arabs," and gives some information about his notable exploits during his reign. Then it gives what is perhaps the most important single piece of information on the inscription: the date of the king’s death, 7 Kaslul (December) of the year 223 in the Nabataean era of Bostra (=328 C.E.). Presumably the tomb was constructed not long after Imru’ al-Qays’s death, so this means we have a firm time frame in which to place the inscription. 
In 1902 Dussaud published a drawing of the original inscription in the Nabataean alphabet, a transliteration of the characters into Arabic, and a tentative translation of the result into French. His Arabic transliteration and the French translation are given below: 
Ceci est le tombeau d’Amroulqais, fils de ‘Amr, roi de tous les Arabes, celui qui ceignit le diadème (al-tadj), qui soumit les (Banou) ’Asad et (la tribu) Nizar et leurs rois, qui mit en déroute Ma[dh]hij, jusque’à ce jour, qui alla frapper Nedjrân, ville de Shamir, qui soumit la tribu de Ma‘add, qui répartit entre ses fils les tribus et les départagea entre les Perses et les Romains. Aucun roi n’a atteint sa gloire jusqu’à ce jour. Il est mort l’an 223 le septième jour de kesloul. Que le bonheur soit sur sa posterité!8 
What was most striking about this inscription for Dussaud and his fellow epigraphers was not only that it pushed back the history of Mudari Arabic back almost 200 years earlier than the previous oldest inscription, which had been dated to 512 C.E.,9  but that the language was so close to the Arabic of the Qur’an. Apart from a few words, like "bar" for "ibn" (son), which are clearly Aramaic, and some dialectical forms, like "ti" for "dhi" (this) and "dh‚" for "alladhi" (which), the vocabulary and syntax does not differ noticeably from the "classical" Arabic of the sixth century C.E. 
For over 80 years, this was taken as the definitive rendering of the inscription, but in 1985 James Bellamy of the University of Michigan published an article based on his minute re-examination of the original stone, now located at the Musée de Louvre in Paris. Professor Bellamy’s conclusions about the inscription being in Mudari Arabic confirm Dussaud’s, but he has revised some of the latter’s reading of individual words and phrases, to come up with a new rendering that seems to have won fairly wide acceptance,10  The new version in Arabic transliteration, accompanied by Bellamy’s English translation are given below: 
This is the funerary monument of Imru’u al-Qays, son of ‘Amr, king of the Arabs; and[?] his title of honor was Master of Asad and Madhhij. And he subdued the Asad¬s, and they were overwhelmed together with their kings, and he put to flight Ma(dh)hij thereafter, and came Driving them into the gates of Najran, the city of Shammar, and he subdued Ma‘add, and he dealt gently with the nobles Of the tribes, and appointed them viceroys, and they became phylarchs for the Romans. And no king has equalled hisachievements. Thereafter he died in the year 223 on the 7th day of Kaslul. Oh the good fortune of those who were his friends!The dating on this inscription allows us to conjecture that by this time (328 C.E.) Mudari Arabic had become an independent language with many of the features we associate with modern Arabic but manifestations of its use over the next three centuries remain frustratingly fragmentary. Only in the mid-seventh century do we begin to have more than isolated bits and pieces of epigraphic evidence for its existence, and by this time the language had become the preferred medium of communication for a growing empire, as well as a dynamic and appealing new religion.  
                                           WWW.ARABICVOICEOVERTALENT.COM  

The Future of Arabic Voiceovers


The Future of Arabic Voiceovers

Hold Your Tongue , Possibly Forever


“Do we need to cast a voice-over talent for this Arabic project ?”
That’s a valid question any producer might ask when creating an advertisement, corporate audio-video presentation, video game, etc. Of course, the answer depends on what elements the producer and client feel will best communicate with the audience. For a radio ad, a fully sung jingle with no voice-over could work best. A TV spot or corporate narration might be most effective using scrolling graphic and text, again without an announcer. But very soon producers could be pondering whether their productions need an Arabic voice over talent for a more disturbing reason. Vocal utterances produced by air passing through folds of tissue and formed by lips, teeth, and tongue may, simply put, become obsolete. Yes, the “virtual voice talent” may very well become a reality.

WELCOME TO THE MACHINE

In the May 2004 issue of Mix Magazine, in two separate articles, Stephen St. Croix and Paul D. Lehrman relate their experiences with a new piece of software ominously named “Vocaloid.” This little computer-coded wonder is a speech synthesizer that’s being used to synthesize background vocals on actual recordings that are being sold to the public—background vocals so good, you’d be hard-pressed to recognize they’re fake singers. Now, considering the dubious singing talents of many of our current pop stars, maybe a Vocaloid virtual diva named Britney isn’t too far-fetched. Audio manipulation, including pitch correction, equalization, compression, reverb, have been used for decades to save the bacon of many a pop star’s performance in-studio or on stage. Technically, it’s just a short step from this point to a “singer in a box.”
In fact, in the letters section of the July 2004 issue of Mix Magazine a person identified only as “BC,” referring to the St. Croix and Lehrman articles, boasted that he’s created a “band” called The Bots… “created wholly from speech synthesizers and 3-D graphics.”  BC further states, “I use Vocaloid among a variety of other speech synths to make it more into an ensemble. The Bots have released two CDs, a ‘record deal’ with Magnatune, and a second video in the works. It’s been a long and painful ordeal, but I’ve finally gotten them to the point where they seem as real as any other band out there—except no live concerts.”

I’VE GOTTA SING

And that’s the crux of the matter. The appeal of virtual entertainers probably will be quite limited—at least for the foreseeable future—because they can’t tour, do drugs, get into fights, sue their record labels, promote world peace, raise money for charity, or do anything live flesh and blood performers can do. We, the audience, love the performer as much as the performer’s music. And, in this case, that’s a good thing. Tony Bennett, the White Stripes, Diana Krall, Toby Keith, Frederica von Stade, and all of the American Idol wannabes are quite safe from Vocaloid elimination.

SPEAK NOW OR FOREVER HOLD YOUR PEACE

But voice over talents may not be so lucky. Voice talents are not seen. They don’t have adoring fans, except their moms and, maybe, a few other voice-over talents. They perform in short increments: 30 seconds, 60 seconds, a 30 minute narration on how to make a million in real estate. If speech synthesis has reached a point of sophistication sufficient enough to create virtual singers, what’s to prevent a software genius from developing a program to replace voice talent? Write the program. Sample 300 to 500 voices, male and female, each with unique characteristics, incorporate them into the software and, voilá, Instant Announcer in a Box. Just load your script text into the program, which converts the text to perfectly uttered speech. No retakes. With a few clicks of the mouse to tweak inflection, emphasis, pacing, dynamics, etc. to polish the natural feel of the voice-over and you’re done.
Far-fetched? If entertainment’s got a virtual band call The Bots, why can’t advertising and marketing have its own virtual Don Pardo 
Well, it seems maybe they can...?

www.arabicvoiceovertalent.com

Getting The Best from Arabic Voice Over Talent


Getting the Best Quality from Arabic Voice Over Talent
Your client’s approved the copy. You’ve cast the Arabic Voice Over  talent. You’ve booked the session. Now, it’s time to record. With the talent behind the mic, ready to lay down the track, you wonder, “Will I get the read I hear in my head?”
The best chance at a great read starts the before the session. Regardless of the voice talent’s experience, there are things you can do to help the talent give you an exceptional performance.
It all starts with your talent budget. In Arabic Voice Over s, as in most things purchased, you get what you pay for. In local and regional productions, very often less consideration is given to how the message is delivered, i.e. the Arabic Voice Over , as opposed to how many times the audience will be exposed to the message. In other words, the client will skimp on production and take the extra few bucks to buy an extra spot; instead of making sure the spot communicates as effectively as possible each and every time it airs. Try foregoing the extra spot. Put the money into securing a more experienced talent and see the positive difference it can make in how your product or service is perceived and how well the ad sells.
The same principal applies to long-form projects. A seasoned talent can provide the extra bit of credibility and confidence to the message you’re trying to communicate in a corporate video, online presentation, sales presentation, …
Naturally, less experienced, less costly talent shouldn’t be overlooked, because you might find a great talent who hasn’t raised rates yet to reflect his or her value. Still, your production is akin to, say, a baseball game. It’s bottom of the ninth, two out, runners on first and third. You need one run to win. Who are you gonna put in--the rookie with a.225 average and 28 RBIs, or the .327 hitter with 123 RBIs, who can slap the ball to any field??
Of course, without good copy even the best talent will have difficulty getting a message across. The good old formula A.I.D.A.—Attention, Interest, Desire, Action—is still a great template for creating effective copy. Get their attention, get ‘em interested, get ‘em to want it, and get ‘em to go get it.  And, of course, people love stories. Tell an interesting story using A.I.D.A. and you’ll sell your product, service, or Ideas .
Interesting copy itself will elicit a better performance from voice talent. It’s motivating. But there are other simple things that mean a lot to an Arabic Voice Over  person. Double-spaced copy, NOT IN ALL CAPS, shows you know white space helps move the eye through the copy for easier reading. It also gives the talent room to make any marks for inflection, emphasis, and pace, as well as space to make copy edits, if needed. In long-form scripts, not carrying the last sentence on a page on to the next page is appreciated, too. It results in less paper rustling and eyes losing their place, which can cause a stumble and an unneeded edit.
One of the best things you can do to elicit a superb performance from your voice talent is to have just one director. Sure, have the client, the client’s mother, personal trainer, whomever you please at the session, but make sure only one person communicates direction to the talent. The less confusion coming from the control room, the more together the performance of your talent will be.
Little things do mean a lot. Attention to the simple things listed here will pay off in a superior performance by your Arabic Voice Over talent.
                                                       www.ArabicVoiceOverTalent.com  

Be Famous with Your Arabic Voice over Business

Going Famous Star with Your Arabic Voice over Business

by Fady Nagy

Working out of a personal studio located anywhere there is an Internet connection, it’s possible for a Arabic Voice Over  talent to work with producers in the farthest reaches of the planet. Marketing you voice-over services to the world is similar to marketing to your own region, but there are a few differences to keep in mind.

Hey,  Earth .  I’m here!

A good place to start your international marketing efforts is a web site. If you don’t have one, put one up.. Make sure to put your demos up on the site, both as .mp3 downloads and streaming audio, if possible.
Of course, you can’t just sit and wait for the world to come to you. Search the Web for production houses, talent agencies, and casting houses in countries where you think you might get some work. Contact them to see if they accept demo submissions. If you’re reading this, you’re probably a native speaker of English, which means starting with the English-speaking countries is a natural first step. Remember, though, that other countries still need productions voiced in English because it’s the de facto language of international business and diplomacy. Be sure to market your services in these countries, as well.
Email is the least expensive means of marketing to producers. You probably should not send an .mp3 file of your demo without asking permission first. Many email servers do not accept .mp3 files or the recipient might have a policy of deleting any unsolicited attachments of any kind. If the producer won’t accept an .mp3, direct them to the demos on your web site. Don’t discount sending a CD demo. Putting a hard copy of your demo in someone’s hands is always a good idea and worth the money spent. It’s quite common for producers to go through the demo CDs they have on hand, looking for a particular voice or just to eliminate the weak demos to make room on the shelf for new demos. In doing so, they very often discover usable talent they didn’t realize they even had in their library, maybe you.
Whichever way you eventually send your demo—after first making contact and getting permission—follow up to make sure the contact person received the demo and thank them for accepting and listening to it. Do not ask for feedback on the demo. Producers, talent agents, and casting agents don’t have time to give everyone a free demo critique. Ask for one and you’ll most surely mark yourself as inexperienced.

Time is of the essence

If you live in the United States, then you’re already familiar with accommodating four continental time zones, plus Alaska and Hawaii. Working internationally, you have to get used to dealing with people in countries that are up to 12 hours ahead or behind your time zone, depending on how you look at it. Obviously, working across time zones can prove a challenge in scheduling and delivering your Arabic Voice Over s.  Be sure to bookmark a time zone calculator like this one. Use it to determine the difference in hours between you and your prospective client. Be sure to refer to that time difference on your first contact. It shows you’ve done a little homework to find out where they are in the world.

Money makes the world go ‘round

Another important consideration is making sure you get paid in your own currency, e.g. United States dollars, UK pounds, and euro. Fortunately, there are online currency converters that make this very easy. In the converter, indicate your currency and your client’s currency, let’s say US dollars and UK pounds respectively. Insert the US dollar amount in the box, click the button, and up pops the conversion into your client’s currency. Of course, you can do it the other way around, too.
Discussing currency conversion leads us to setting and/or negotiating a rate that’s acceptable and equitable to both you and your new client. Rates vary from country to country. On the whole, though, expect to receive less compensation when dealing with producers outside the US. How much lower? Major markets in Europe and Canada tend to pay more than comparably sized cities in other parts of the world, but overall the highest rates are still probably found in the US. When you contact a foreign producer, candor is the best policy. Ask for the typical budget in US dollars for different projects, e.g. commercials, narrations, and telephony. Most producers will tell you the truth. You can always contact a competing producer in the same city or region and ask the same question if you think you’re not getting an honest response.
The bottom line to negotiating an equitable rate is your bottom line: the lowest rate for which you’re willing to work. Once you figure that out, then you can determine where to price yourself going in, knowing you’ll have to haggle a little and hopefully end up above that lowest rate you’ve set. Also, be aware that for long-form material—narrations, industrials, books, etc.—producers in many countries prefer to pay by the word or finished minute, which includes providing voice tracks edited clean of any flubs, coughs, excessive silence between tracks, etc. This means you’re not just providing an  Arabic Voice Over , you’re providing some production service, too.
As with any Internet transaction, protect yourself from unscrupulous operators. Ask for credit card payment up front via PayPal or a merchant account. Or, provide a low-resolution or watermarked (1 kHz tones inserted periodically) .mp3 of the Arabic Voice Over  for approval purposes. Once approved, get payment in full, then email or ftp the high-resolution file. Be aware that PayPal does not operate in every country. Investigate a merchant account that will allow you to accept credit cards from virtually anywhere.
You might not get rich serving the international market for Arabic Voice Over s, but it’s a lot of fun getting to meet folks from other countries and cultures, and pretty cool knowing your voice is being heard in some far off country, a place you may never visit.
                www.ArabicVoiceOverTalent.com                                                    

What Is an Arabic Voice Over and Why Do I Need One?

What Is an Arabic Voice Over and Why Do I Need One?

 

Arabic Voice Over (also written "Arabic Voice Over " or "Arabic Voice Over ") is

1. The voice of an off-screen narrator, announcer, or the like. 
2. A televised sequence, as in a commercial, using such a voice. 
3. Any off-screen voice, as that of a character in a narrative. *

It is pretty clear why you would need a Arabic Voice Over  for telephone systems, audio books, narrations, video games, and commercials – but did you know that many businesses are now adding Arabic Voice Over  their web sites, business presentations

Adding a Arabic Voice Over offers the following advantages for your business:
•        Modernizes your project
A decade ago, text was good enough, but in today’s modern world, people expect more. A modern project requires a modern medium.
•        Imbues your company with personality
The voice talent’s vocal qualities, tone, and cadence create a “personality” for your company. 
•        Humanizes your company
Your company is not represented by cold words on a page. Instead, your company has a human voice and is therefore perceived by customers as friendlier and more accessible. 
•        Offers convenience for your customers
Customers need not sit and read every word, but can listen while they work, commute, or even while making a cup of coffee.
In today’s busy world, if you had to sit in front of a computer to read a webpage, what are the chances of you having enough time to read the whole thing?

Yes, a Arabic Voice Over enhances your project and gives your company an edge. However, it is important to realize that an Arabic Voice Over also represents you and your business, and it is therefore crucial that the Arabic Voice Over be recorded professionally and by the right voice talent.

                                        www.arabicvoiceovertalent.com