Tips for Voice Actors Working in Studio with Tyler Hyrchuk

Tyler Hyrchuk:
So being prepared coming into the studio is really important to avoid ruining the session. Something as simple as the clothes that you wear, right? I typically end up wearing something athleisure, because I'm expecting to sweat a little bit. But people can come in with noisy clothes.

Stephanie Ciccarelli:
Hi there. Everybody you just heard from, Tyler Hyrchuk. Tyler is an amazing professional voice actor based in Toronto. So he goes into all the studios, all the big ones. And you know what? He's got tons of tips for you today. You're gonna learn about what it means to go into an actual recording studio, how to behave there, the kinds of words that they say, the jargon, all of that kind of stuff. What do you expect as a voice actor? What the expectations are of you as a voice actor in session. We're gonna hear so many things that you probably didn't even realize that you didn't know about working in the professional studio. Hope you enjoy the show. Well, thank you so much for joining us today, Tyler. It's so great to see you.

Tyler Hyrchuk:
Awesome. Thanks so much for having me.

Stephanie Ciccarelli:
Of course. So, just, we're talking about studio stuff, going into professional studios, obviously not your home studio, but a studio outside of your home where there are engineers working and so on. Um, can you tell us when was the first time you went into a professional recording studio to record a voice over?

Tyler Hyrchuk:
Sure. Uh, so my background is in radio broadcasting. So I had experience at school and technically my first paid gig was doing a narration for a soccer association awards committee of some kind, but it wasn't exactly a proper studio. I went into this place and they had a camera set up with a lav mic, and they filmed me with, I think the, like the camera, the lens cap on and just use the audio that way. And I was so nervous. And that was 10 plus years ago. And to this day, I have never listened back to it.

Stephanie Ciccarelli:
Oh my goodness.

Tyler Hyrchuk:
But my first proper in studio VO was for a, um, like a high energy toy commercial. And I wasn't really sure what to expect, but, um, it was a lot of fun and I was able to see them build the commercial while I was in there, which is really cool.

Stephanie Ciccarelli:
Wow. It's, it's rare probably that a talent gets to watch, you know, how, how everything is made, if you will, afterwards. So that would've been a really interesting studio experience. And obviously you've been in voice over now for over 10 years and you've seen a lot of different things. And living in Toronto, you've seen a lot more than most of the voice talent will have seen ‘cause you're in a major center. Uh, you know, obviously it's not the capital of Canada, that's Ottawa, but a lot of times Toronto does feel that way, so. But anyway, Toronto is where a lot of the activity happens in the Canadian voice over market for those who don't know. Uh, so over the past decade or so, how has studio work changed from your perspective?

Tyler Hyrchuk:
Sure. So prior to the pandemic specifically, um, there were in-person auditions, in-person callbacks, things like that. Uh, clients are in the studio with you. And that has kind of changed with the pandemic where if I go into studio, like for example, I was in studio two weeks ago for something and it was only myself and the engineer there, the voice director, um, was on Zoom. One of the agency people was on Zoom. Uh, and I'll go more into that story later, but it was interesting because it's just you and the engineer, you know? Um, so that's one big thing that that has changed, uh, makes me a little bit less nervous. I, I guess, you know, lower stakes because the people that need to make the decisions aren't behind the glass, you know, talking about you, and then they turn off your headphones. So they could be making these wild gestures and you're thinking, oh no. And they're like, I didn't want milk in my coffee. And you're thinking that they're talking about you. So who knows?

Stephanie Ciccarelli:
I know that's the danger of being on the other side of the glass when a decision maker is in the room. And, and yeah, that talk back button, that, that is like lifeblood. I mean, if they're pressing it, then you know what they're saying, but if they're not, well, you're just totally tuned into nothing. There's nothing coming through those, those cans. So, uh, thanks for sharing that. That's interesting. Um, so, you know, what are some of the expectations of a voice actor when they're in an in-studio session?

Tyler Hyrchuk:
Sure. So expect to start making a good impression as you are approaching the building. Uh, there may be a receptionist there who will greet you. Have you come into the studio. Have you wait outside, you'll be typically physically introduced to people, the engineer, uh, the voice director, any clients that are there. You expected to be, you know, friendly, professional. Obviously if you've built some rapport, you can be a little bit more friendly and kind of, ‘Hey, how's it going, Jeff? How's it going, Steve?’ Uh, but for the most part, uh, I almost treat it like it's a job interview to some extent. Like these are people that they have already hired you, but, um, the, the dynamic in my eyes is kind of like that. So, you know, you might be on camera, they might have you on a Zoom call. Um, so don't be doing anything inappropriate because they could be filming you. Um, assume the mic is always hot as well. Um, don't apologize. Although that would be for both in studio and at home. Um, you know, you're an instrument. They ask you to say the words, you say the words, they don't like it, they ask you to do it again. They can see you through the glass typically. Uh, and as I was saying before, they'll likely turn your headphones off when they're discussing feedback, but sometimes they don't, so don't take anything personally.

Stephanie Ciccarelli:
Oh, wow. Yeah, the sometimes they don't. But you just said there, I was like, ‘oh goodness.’ Well, I'm sure you've heard a few things through those, um, that headset that you, uh, kind of didn't think you were supposed to. Um, but, you know, I guess we're all human and they're trying to, to work through a decision. Sometimes it's about what you are doing sometimes about, it's about the coffee and how bad it is. Like it isn't necessarily, um, about the performer. Um, but that's interesting. Yeah, ‘cause before the pandemic there really wasn't, um, a lot of just kind of video used. You, you went in there, you did your thing, people are all there, they're, but now people are collaborating for different parts of the world or different parts of the city because they just don't wanna come in anymore or whatever. And, and then you're like, okay, well this is strange.

So you're saying don't pick your nose, you know, try, try not to like, you know, twiddle your thumbs or go on your phone or something like that because it's gonna look bad. And, and then, you know, you'd wanna make a good first impression. I really like what you said about, you know, when you first walk into the building, like that's huge because, um, you know, people are probably looking out the window to see if, if you're on time or not. Like, it could be someone watching you when you don't even realize that, that they can see you. Um, mind you, if it's like the 10th floor of a, a very tall building, maybe they're not doing that. But if it's like a really cool studio in one of the neighborhoods, it's in a house or something, I've been to a couple like that, uh, you know, it's, they're, they're gonna probably be on the lookout for you, or at least at the receptionist is through that, that the, uh, the little bay window in front.

So, at any rate, good tips. I appreciate that. So we've talked a little bit about what the voice actor's expectations are so far as like how, you know, what it might be like and, and how they are to behave. Um, you know, obviously we all wanna do a great job. We wanna be invited back, we wanna have all these good things happen. Um, but you know, obviously there are times in the studio that just go really bad, like, you know, so what might ruin a recording session and how should talent respond in those situations?

Tyler Hyrchuk:
Sure. So, um, being prepared is super important. Fortunately, I've never been in a situation yet, fingers crossed where I've showed up and they're like, ‘your mouth is too noisy. Figure that out.’ Or, you know, ‘you sound too nasally,’ whatever the case may be. So, um, being prepared beforehand, whether you need to eat something and you find that your stomach is quiet after you eat something. Not eating too much. Avoiding things like dairy, spicy foods beforehand. Um, I'll bring potentially on the way to the job, I'll have like a Gin Gin, a ginger candy or something in my mouth, uh, green apples, things like that. So being prepared coming into the studio is really important to avoid ruining the session. Something as simple as the clothes that you wear, right? I typically end up wearing something athleisure because I'm expecting to sweat a little bit. But people can come in with noisy clothes and then if you don't have a plan B, they're not gonna ask you to, you know, remove your shirt or anything.

But, so you need to be prepared, um, and, and have quiet clothes. Uh, athleisure is important. Um, behavior off mic when you think no one's watching, they could be watching anyways. Uh, client delays could also, uh, ruin recording sessions and kind of tying into a personal anecdote, uh, communication and, uh, jargon, because I think it was my second in-studio session, uh, it was at a studio where the recording space was upstairs. And so I went in, I got there in plenty of time, did the session, and the voice director said, and I quote, “Great job, you can head downstairs.” So I walked outta the booth, went down the stairs, went to the bathroom. As I was leaving the bathroom with my stuff, uh, he was passing by and said, you know, “Great job up there.” And so I said, “Thanks so much.” Went to my car, started driving home. About 15 minutes into my drive, I got a call from my agent who was like, “Hey, Tyler, where are you?” I was like, “yeah, I'm on my way home.” And he was like, “you were not released, you need to go back.” So I, you know, hard drove back to the studio, uh, ran inside and fortunately the voice director, you know, stopped me in the hallway and was like, “we were doing the French version, you're okay.” Still to this day, I don't know if the clients know that I actually left, left, um, but I was able to, you know, catch my breath and finish the session. And another small little tidbit in there when I was leaving the studio the first time I walked into somebody's office, uh, thinking that that was the door to leave the building. So that was awkward too. Um, but all in all, I was actually at that studio for the first time in like three or four years the other week. Uh, and it's a fun story that people seem to know about.

Stephanie Ciccarelli:
Oh, well, you know, it's, there's so many doors in places and, and you're just trying to find the way out. Like, you know, nothing, nothing bad about that, especially if the doors aren't marked or, you know, it doesn't seem obvious. So that, oh my gosh, that is hilarious. So ‘go downstairs’ actually meant ‘go wait until we call you back into the room’?

Tyler Hyrchuk:
Right? I didn't hear you're wrapped, you're released, you can go home. I didn't hear any of those things. I just heard great job head downstairs.

Stephanie Ciccarelli:
Right. And that does almost sound final, you know, like if I were to hear that be like, okay, I guess my work is done. You know, like they didn't say, go downstairs, have a snack, you know, we'll come get you. So kind of on their end too, you know, and the

Tyler Hyrchuk:
Receptionist never stopped me when I was leaving the building either, so. Oh, wow. And I didn't, I wasn't even like, okay, you know, I'm gonna go and they didn't have me sign anything, so, or they didn't need me to that session. Uh, so yeah.

Stephanie Ciccarelli:
Oh my gosh, that, okay. So, so is there, now that you've brought this up, is there kind of like a phrase or words that people will say to let you know you're done? ‘Cause you says, oh, we're wrapped, we're whatever. Like, are there kind of some jargon lingo that, that we should be aware of in the studio so that we don't, you know, look like we don't know what we're talking about?

Tyler Hyrchuk:
Yes. So released, you're released, you're wrapped. Um, potentially great job. You can head downstairs, um,

Stephanie Ciccarelli:
Depending.

Tyler Hyrchuk:
but not in my case. Um, but uh, yeah, in studio now, uh, when people start jumping off the Zoom, that can be an indication potentially that they're gonna wrap you up and finish you. But at the same time, I was in a session two weeks ago at that same studio where I had my terrible incident, uh, and I was slated in for a three hour session. It was two thirty second OLVs (online videos), and it ended up being over six hours. And the reason it was over six hours is because it was myself, the engineer, the voice director, and an accounts person that were all working on it for about an hour and a half, two hours. Then about, I wanna say maybe five or six agency people, and two or three clients jumped on the Zoom. So they turned my headphones off, they're talking, talking and talking. Then they left. Voice director comes back on the Zoom, says, “Hey Tyler, so, um, we need to start from scratch.” And that was just, you know, a communication error. Basically. They were wanting something that the voice director didn't realize.

Stephanie Ciccarelli:
Oh.

Tyler Hyrchuk:
So I had done everything in my power to get where he thought we should be. And then the clients came on and they were like, no, you know, it, it needs to be different.

Stephanie Ciccarelli:
Um, oh, it sounds awful

Tyler Hyrchuk:
And so we had like awful 45 minutes to an hour to do it again. They came back on and then they were saying, you know, awesome, we're all happy, but we need to wait on approval from one more person. So who was not on the call and is higher up in the, you know, higher up in the pecking order. So I had to wait 45 minutes for that person for approval. And then they came back and said, we need to add a “the” in this line. Did some lines, waited 20 more minutes, then I was good to go. So it's important to understand the approval process, just because you see people on a call or in the room does not mean that they are the people who are making the final decision. Um, other stuff in the actual recording process, ‘three wild,’ ‘three in a row,’ a ‘ABC’ or ‘three on a stick,’ uh, I've all heard those basically means giving three takes of one line, um, just kind of up in the air. So up in the air is another thing that I've heard too. It's not necessarily you're being led into it, it's just they'll start recording and you just provide those three takes outside of the script.

Stephanie Ciccarelli:
Wow. And I would, um, assume that those three takes are slightly different. Each one. Yes. Because they're asking for three. So like a series of three could mean like, give me one this way, that way, and a completely opposite way. Not do it three times the same way.

Tyler Hyrchuk:
Right, right. And some people will make that mistake and think that they're trying to match it as close as possible. Uh, but I would say 99 times out of a hundred when you're doing three wild or three ABCs, um, you need to do or rather n abc three ABCs would technically be nine takes, um, but yeah, make it different because that's what they're looking for is variety, right? So the trap that people fall into is they'll do an A take and then they'll go as far away as possible and do a B take and then forget they just did the A take. And then the C will be similar to an A. Uh, so sometimes it's recency bias with the client. They'll be like, ‘we like Cthe most,’ but that's just the most recent one that they heard. Um, but uh, yeah, variety in your ABCs is important.

Stephanie Ciccarelli:
Oh my goodness. Like this whole time we've been talking, I have been like, I've been so concerned for, for the Tyler of that session ago, like, did they feed you like six hours? I mean, so, so should you have brought a picnic lunch? Like, what's the deal here? Like what do you do?

Tyler Hyrchuk:
So that's just it. Uh, and it's important to be prepared for longer sessions. I did another session a couple months ago where I thought it was gonna be two or three hours and I had a second session in the afternoon back at home, but I didn't realize how long it was gonna take. And that comes into, um, providing a hard out if you need to, a hard out being, I need to finish this session at this time. That's as long as you have me. Right? And so what ended up happening was, it was a 10 o'clock start. My other session was at I think two o'clock and we're approaching one and I'm thinking, ‘well, we need to be done, right?’ So I, I messaged, I mentioned to the engineer just casually, ‘Hey, like, you know, I have to get outta here in, you know, 15, 20 minutes.’

And he was like, ‘oh, okay’. And then my agent texted me saying, ‘do you have a hard out?’ And I was like, kind of. So I managed to move my next session back an hour and they still weren't done by then, but they had me just record a bunch of options. And then I said, if you really need me to come back, I can. I ran home. That session was maybe eight minutes long. And then I texted the studio saying, I can come back if you need me to. And they ended up technically wrapping me about six hours after the start time again. Um, so communicating your hard-outs is so important. Um, and in some aspects you will get overtime pay if you're kept there for, for over a certain length of time.

Stephanie Ciccarelli:
Um, right.

Tyler Hyrchuk:
But, uh,

Stephanie Ciccarelli:
Oh my gosh, that is wild. So I, I wonder how offensive it would be if you were to order Skip the Dishes or Uber Eats or something in the middle of a session ‘cause it's like while you're there they're not gonna feed you. Like, I mean, you gotta do something. So either you're packing some snacks. I've heard this said that you should always have like an emergency snack or a, some sort of a small meal with you if you're going out. Especially if you have like dietary restrictions and let's say they have catering at the studio, but you can't eat anything that's there. Right. You know, that would be a real bummer too. So, yeah.

Tyler Hyrchuk:
Uh, yeah. Be prepared for that. Um, bringing food, also food that won't upset your stomach or give you additional mouth noise is important. But some of the other jargon that I kind of have run into, um, you know, uh, a booking versus a hold versus a callback versus a shortlist. So that's not necessarily in studio so much it's beforehand, but uh, you know, a booking, you have a job, a hold, they're looking for a specific time of a day, uh, that you might be available, a callback, just meaning that they want you to audition again and they've kind of called down to a few people. Um, and then a shortlist being you just have to hope that they pick you, you know, you’re top five, top 10. Um, and then a couple more in terms of in studio “punching you in.” So an engineer will say, Hey, I'm gonna punch you in for this next line.

What that typically means is they're gonna play some audio that you've already recorded, or maybe there's what's called a scratch track. So the engineer or somebody else has already laid down the VO beforehand and you're, you know, repeating it. Um, obviously doing a better job. Um, ‘cause if they were doing a great job, they would've gotten paid for it, but to match the cadence and tempo and things. And so punching you in, they'll play that first line for you, and as soon as that first line's done, they're armed and record and you say the next line.

Stephanie Ciccarelli:
Ah-huh. Right. So it's, I'm just thinking about, um, where I've heard of this kind of concept before and maybe slightly different, but when you have someone who either can't read or can't see, you know, maybe a small child or someone with macular degeneration like Dame Judi Dench for instance, um, you'll have someone read a line to that person and then they repeat it back. But as you say, better because you're the actor, you're being paid to do it. But would that be similar? Like, you know, you're punching in, um, is is basically a line read, is that kind of what you'd say?

Tyler Hyrchuk:
Yeah, um, and the line read could be that scratch track that they're again, again, playing for you. So they could potentially just say, ‘Hey, you know, I'm, I'm gonna do the line read, copy me.’ But that's also kind of frowned upon, uh, in a lot of circles. I personally don't mind a line read because if I'm not doing it, you giving me a line read will make me do it faster. Um, but some people take huge offense to being given a line read, so it's kind of personal.

Stephanie Ciccarelli:
I totally appreciate all of the jargon that you have just broken down for us. And so many people will now go into a studio environment feeling much more prepared because they'll know the language or at least a little bit more. So, um, you know, when you go into professional studio, there's at least a few other people that are working on the project. You've mentioned a handful of them here. Um, in your usual sessions, I guess this is now usual post pandemic, post covid, how many people are usually there that you interact with and um, do you interact with them based on their roles or do you get to like, see everybody?

Tyler Hyrchuk:
So, uh, depending on the size of the studio, receptionist will greet you or an admin person at the front. Um, and they may not even know who you are. So you have to say, ‘Hey, I'm Tyler. I'm here for 10 o'clock, you know, Chevrolet.’ And then they'll, ‘oh, awesome, thanks so much. Just take a seat outside.’ Uh, you'll likely be introduced to the engineer first as you get put into the booth, they'll come in, they'll adjust your mic stand, they'll adjust your mic, um, tell you how to control your headphones, settings, things like that. Uh, and technically those are the only people that will a hundred percent of the time be in the studio. The engineer, uh, you get a voice director sometimes in there with the engineer. Um, they may be zooming in and again, clients, agency people, uh, a producer of some kind.

And the producer will be the one who probably kind of parses the client's thoughts. And then the voice director will be the person who's giving you the actual feedback so you can hear them chattering on and, and making decisions. And then the voice director will take a second and be like, okay, great. Uh, ‘for this next take I need you to sound like a truck.’ And then you have to kind of take that and what's important, uh, kind of getting a bit off from the question, but what's important in a session like that to understand the feedback is to ask questions. Right? So if he's, if the voice director says, ‘Hey Stephanie, can you sound more like a truck?’ What does that mean to you?

Stephanie Ciccarelli:
Exactly. I don’t know. Big, loud? Like, you know, a truck.

Tyler Hyrchuk:
Yeah, exactly. Yes. Uh, you're right. Um, so having all those people in there can be kind of daunting. The only people you really need to worry about are the engineer and the voice director. And the engineer will be the one who more often than not says, okay, great, we're recording. Here's take two. And there's still times where I'm waiting and the voice director will say, great, let's get three for you, or let's get three in a row and I'll wait. And I'll have to say, are you, are you recording? Because some engineers aren't vocal, right? So I always try to wait because I can do a phenomenal take and the engineer stops me with mid-way saying, oh, ‘I wasn't recording, I wasn't armed.’ So that's, yeah.

Stephanie Ciccarelli:
Oh, that's so sad. Sad. Like, well yeah, ‘cause so I, I guess it, I've spoken in, um, a recording school for a number of years, just trying to help those engineers to bridge the technical and creative gap with how do you work with a voice actor? Like what do you do and what do you not do? And how important is communication, eye contact, using the talk back button, um, making them feel like that they're doing a great job and being positive, all these things. And it's, it's just really. Like sometimes you'll just get someone who's socially unaware and, and doesn't give you any cues of any kind or, or whatnot. But you know what, there are so many good engineers out there who are aware and sensitive to the artist and, and they bend over backwards to do a great job and to make you sound really good. So

Tyler Hyrchuk:
a hundred percent, yeah

Stephanie Ciccarelli:
I appreciate you pointing that out. So, um, you almost have to develop some kind of a rapport with that engineer and know what their cues are and the more you work with them, the more you're called back, I assume the easier it is.

Tyler Hyrchuk:
Yeah. And I have worked in, in, uh, situations where I've been with a client for a couple years, but there have been new engineers over the course of however long we've been together, uh, to the point where I'm super comfortable with the client, how they work, and the engineer isn't as familiar. And there was a situation last year where we were waiting for approval and the engineer, younger guy, nice guy, told a story about how over the weekend he got food poisoning and, and I'm like,

Stephanie Ciccarelli:
Laughing

Tyler Hyrchuk
the, the clients on the call. And, and on top of that it's a very, you know, it's supposed to be a professional setting, uh, and he's talking like he's talking to his bros and this is all, these are all women from the clients and the agency and

Stephanie Ciccarelli:
Oh no,

Tyler Hyrchuk:
they're kind of laughing, but it's kind of a polite laugh.

Stephanie Ciccarelli:
Yeah.

Tyler Hyrchuk:
And after the session I was like, ‘you know, you flew too close to the sun there.’ I would, oh, and then he went, yes.

Stephanie Ciccarelli:
Ah,

Tyler Hyrchuk:
‘Yeah, I guess you're right. I probably should.’ Yeah, no, you should not have done that.

Stephanie Ciccarelli:
Oh my goodness. Yeah. Well it's a live and learn sort of thing and, and maturity is important, you know, in, in professionalism, all of that. So, um, now that we've, we've covered kind of some oddball situations in the studio as well, what would you say is the biggest difference between recording in a professional space and working in your own space?

Tyler Hyrchuk:
Mm-hmm. The biggest thing that I personally love and I always try to get into a studio if I can. Uh, that's the beauty of, of living in a big hub like Toronto. I can get to a studio if they give me the option. Uh, potentially they'll be more inclined to hire you if you can come into studio. But the biggest thing on my end is that I'm not responsible for the tech, right? I'm not responsible for my neighbors putting on laundry. I'm not responsible for the fire alarm going off, which it has gone off in sessions before. Um, and another thing kind of going back to that first, that first gig where they were showing me the commercial as it was being built, you can see the visuals way easier because they have a monitor usually in studio. And so I'll hear on the Zoom, the clients being like, oh, there's a lag. It doesn't line up for me. They'll have to send off a link and then the clients will be, oh great, it does fit. Um, but if I'm in the same space as the engineer, I can see that live and it's gonna be potentially a shorter session because there is less lag and it's easier for me to match up, you know, vocals with, uh, visuals.

Stephanie Ciccarelli:
No, very, very well put. I think there's also something really lovely, aside from not having the responsibilities of all those hats to wear when you are at home working, um, as engineer, director, this, that, the other, uh, but I think it's just being in person, seeing people, developing relationships, um, you know, getting fresh air, there's so many great benefits that come from being able to, to go out and, and you have community in that way too. So I love that. And as we, we get to the end of our time together and you, we've already covered a lot about what a talent could expect going in and I think anyone who's new and hasn't yet been in a studio yet been invited, they have a pretty good idea of how to behave, I'd say. So, um, if you could sum up a great studio experience in just three words, what would they be?

Tyler Hyrchuk:
Communication, efficiency, and probably satisfaction as in, you know, the, the more communication there is, the faster the job will will happen and the happier the clients will be, oh, we slated in three hours, but it was done in one and a half

Stephanie Ciccarelli:
Bonus. Those are good sessions ‘cause you still get paid like, you know, for all the work you're doing and, and that, and then you get some time off to do something else like, you know, get ready for the next gig. So, my goodness. Well, thank you so much for coming on the show, Tyler, it's so great to speak with you and to see you. I know we had a, a good time in Toronto, the, the group of us that went out for dinner that night and, and just so happy that this podcast came to be. So, um, for others who don't know you yet, what's the best way for them to learn more about you and where can they find you?

Tyler Hyrchuk:
Sure. So they can find me on my website, TylerHyrchuk.ca. Uh, t y l e r h y r c h u k.ca. I'm Tyler Hyrchuk VO on Instagram and Twitter. And you can also check out the Indiegogo campaign for, uh, Peculiar Radio, which is a show that I co-produced, co-wrote, uh, feature in and did some sound design for. Um, but I'm super open to, you know, sharing thoughts, giving advice, things like that. Um, and for those who are dedicated to learn, please feel free to reach out to me. Um, if you reach out, I give you some feedback and I never hear from you again. You'll probably never hear from me again. So just be nice, be polite, you know, it goes both ways.

Stephanie Ciccarelli:
All right. Well that's wonderful. Thank you for joining.

Tyler Hyrchuk:
Awesome. Thank you so much.

Stephanie Ciccarelli:
And that's the way we saw the world through the lens of voice over this week. Thank you for listening to Vox Talk. We had such a great time in studio here with Tyler Hyrchuk. So if you enjoy this episode, be sure to share it with your friends, give it to anybody you think might be interested in finding out what working in a professional recording studio environment is like, ‘cause it is very different from working at home. And you know what, we just have so much fun making this show. If you have any ideas, send them to us. You can reach me at stephanie (at) voices.com. So for Voices, I'm Stephanie Ciccarelli, Vox Talk is produced by Geoff Bremner and of course we'll see you next week.