How To Create 100 Distinctly Different Voices

Most people can only speak in their own voice, accent, and language. Very few can make careers using multiple voices, but the …

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My name is Darren McStay and today I’m
going to show you how you can create 100 distinctly different voices. I know it sounds crazy, but
anybody can do it. I swear to you. And by the end of this video, you’re going to understand completely
how easy it is. This is a big one folks. So get comfortable because I’m
going to blow your socks off. So if you’re here for this video, I’m
guessing that you’re one of three people. You’re either an old pro currently stuck
for ideas and looking for inspiration. The newbie who’s completely clueless
or someone who just stumbled across the video and so happens to be curious about
how it all works. Either way welcome. We’re going to be playing
with our voices today. So I hope you’re prepared
and warmed up. If you’re not, I suggest going away and doing a warm
up first because we’re going to be using our voices today. And I want to make
sure that you’re ready and limber to go. If you don’t have any warmups, check
this video out here, go away, do that, come back and watch this video. And of
course, if you can’t be asked then fine, let’s carry on. So as promised, I’m going to show you how you can make
hundred completely different distinctive voices. Not only that, but these one hundred voices should
be completely unrecognizable from each other. That’s a bold statement, right?
But you’re going to see why soon. Are you ready to get started?
I don’t like to mess around, so let’s just get into it. How can you
make a hundred different voices? First? We’ll need a pen and
paper. So pause this video, go grab one or get notes up on your
phone because we are going to write a checklist together. So the first thing I do when developing
a voice for a character is I look at something that’s called LABAN efforts.
LABAN comes from the name Rudolph Laban. I’m not going to go into
who he was right now, but if you want to know
more about him and his work, then there’s a link in the description
box below. But in a nutshell, he was a movement teacher who developed
a system of working to be able to describe the action
that was being made, which acted as a vocabulary between
himself and dancers and later actors. So basically a way of communicating
what you wanted them to physically do. I use his efforts as a way to change
up the characteristics of the voice I’m creating. So you need to use
your imagination a bit. Now, why is this useful for the voice? Well, when we start out developing a
character or a bunch of characters, it can be difficult sometimes to really
separate them apart from each other. And we can get lost without a checklist
to kind of make sure that they are very different from each other and they stand
out and it doesn’t always sound like you. So this list is the
first port of call I’d go to, to make sure that they’re
distinctly different. Now there’s eight of these efforts. So
automatically by following each one, you’ve got the possibility of
doing eight different voices. So let’s talk about what they are. You
could think of these as physical traits. You could think of these as emotional
traits. However, they inspire you, and however, accurately you are able to make them will
give you distinct differences already. So if we consider different elements
of the voice to be light or strong, then this is the weight of the voice. And if we think of it as
being direct or indirect, this is the spatial quality. And lastly, we think of it as being
sudden or sustained. Then this is the timing. By
taking the two different weights, the two different timings and the
two different spatial qualities. We have six things to think about
and combining one with the other, with the other in different variation
gives us eight different outcomes. I know it sounds a bit tricky
right now, but don’t worry. It’s going to get easier. So the type of voices we could have
is a dabbing voice, a flicking voice, a pressing voice, a thrusting
voice, a wringing voice, a slashing voice, a gliding
voice, and a floating voice. You can see these as sort of textures
and they already have their own character to them. So dabbing is
light direct, and sudden. Dabbing is almost like the
way Tony Blair used to speak. He’d always punctuate certain
vowels, always looking forward, always going forward, but it’s
short, sharp, sudden words. He chops them up and pushes them out
one by one as if he’s poking as he’s speaking. So that’s dabbing that
gives you one characteristic. You may do it slightly
differently, but you get the idea. The next one would be flicking
and that’s similar to dabbing, but it’s less direct. So rather
than being on the button, it’s a bit more flippant
and thrown around. A bit less focused than the dabbing.
It’s a bit more all over the place, still light, but a bit, less directional. And we consider something like
that to be flicking. Again, you can make your own version up. Next
we can have pressing, which is strong, sustained and direct. If you are speaking directly and sustained and strong. Notice, I’ve not really changed my
accent throughout these, I’m still just speaking really in my
own dialect. Let’s try floating now. So floating is light sustained, but indirect. It could be all over and
doesn’t really know where it’s going. It’s so, so sustained,
light and indirect. And a little floaty. Does that make sense? We should be starting to see
some strong differences now. So that’s four out of eight
possible efforts you could
put in when creating your character voice. I know you want to get to this yourself
and you don’t want to be watching me all day so you can try the other four for
yourself and just see how precise you can be getting one different to
the next, have a play with it. See what you can come up with. I’ve written these down in
the description box below, and there’s also a PDF on my website. Now, after those eight efforts and
eight different types of voice, we can now add one of three
things in. Are they nasally? Do they speak up here in
their nose or are they throaty speaking down here in the throat?
Is that where they’re speaking from? Or are they speaking regularly with enough
with air coming out of the throat and the nose together? There’s three options.
If you divide those three by eight, you’ve now got 24 different options to
play with. You see where this is going. These are just ideas. This is fuel
for when you get stuck. Okay, well, we’ve got 24 possible voices we
can do. Now. Let’s keep going. I need to find something to read for
you. I was a bit unprepared. Okay. I’ve got something. So let’s say
that nasally might sound like this. «These strings are known for that bold,
extra bright tone». And maybe throaty. «These strings. Are known for their. Bold, extra bright tone».
And then maybe normal. «These strings are known for their
bold, extra bright tone». Look, three different voices. And if we start adding in some
of the elements from before, maybe I have throaty and floaty. [Inaudible]. Already with a very different one
to nasally and Dabby. For example, «These strings are known for their
bold and extra bright tone». See, look two very different voices. You can put all those eight with all those
three and we have 24 voices play with it. Find out for yourself.
It’s going to be fun. Next. We can also now consider two
other elements are very breathy or dry. Two other different variations. So
if we have 24 different types of voices, we now have two extra options to add in. So that’s 48 voices already. You’ve
got 48 options you can play with. I told you, you could do it. Didn’t I, but there’s more because
it doesn’t stop there. I want you now to
consider their age range. Are they young middle-aged or old?
You can break this down as you want, but are they a child, adult or old
person? And this is without practicing. I’m just going to try. I know I’m not going to sound like a child
because I’ve got a fairly deep voice. I can use me trying to sound
like a child as a type of voice, whether it sounds like a child or not.
«These strings are known for their bold, extra bright tone». Then an
adult would be like my voice, ‘»these strings are known for
their bold, extra bright tone». There may be an old voice. «These strings are known for
that bold, extra bright tone.». Again, three different possibilities
of the way you can do it. So we were up to 48, right? Times three, because we’ve got a new
three possibilities. That’s already 144 different
voices you can create from what I’ve shown you already. But it
doesn’t stop there. There’s more. I said there was gonna be a
hundred. I lied. I’m sorry. There’s actually a lot more you can
do, but now well let’s consider this? Are they male or female? I’m not saying that you can sound like
a female or you can sound like a male. I’m saying you can do
your version of each one. And it just gives you
more characteristics. «These strings are known for
their bold, extra bright tone». Maybe that’s my version of a
woman. I know it’s terrible. It doesn’t sound like a woman, but different to the way I’m going to
do it because I’m going to do it like a man. «These strings are known for
their bold, extra bright tone». I know they’re not brilliant, but at least they’re clearly different
from each other. With those two options, we now have 288 different
character voices we can create. And it still doesn’t stop there. There’s
more really? Yes, let’s consider this. Are they small? Are they
medium? Are they large? Maybe if you were doing the voice
of a mouse, it will be quite small. And if you’re doing an elephant, it
would be quite big or maybe vice versa. If you wanted to play around with those
roles and maybe medium would be human or bear or shark or something in the
middle, there’s no strict rule for that. But there’s three different
things you can think about. Maybe if it was small and
might speak like this and maybe [inaudible] crunch, it might speak
like this. You see what I mean? So 288 opportunities for voices,
times another three, small, medium, or large that’s 864 different voices. You have no excuses at this point, not
to do at least five different voices, 864. You have the possibility
to do right. But there is more, there is absolutely more. Can you
believe it? I’m getting excited. Now this is crazy. Yes, there is absolutely more because
we haven’t talked about tempo. Are they speaking slow?
Are they speaking medium? Are they speaking fast? Are they
battling off words as quick as can be [inaudible] or do they have a regular
pace? Somewhere in the middle? See three different ways tempos. So right. We’ve got 864 times three new ideas. That’s 2592 opportunities to create a character voice. And it doesn’t stop
there because seriously, more things you can do. I know, I
know it’s mental. I said a hundred. You’re getting more than I
bargained for. Are they quiet? Do they speak a medium volume? There’s something to think about.
There’s another three things. Times three that’s 7,776
options you can have. And what’s next? Well tone attitude.
What is their attitude? What, what are they like? Are they
friendly? «How’s it going, did you have a nice day today?
Oh, it’s lovely to see you». Are they impartial or are they,
you know, whatever? «Hi. Yeah, it was nice to see you»
or are they aggressive? That gives 3 completely different
tonalities to the voice. So we times that by three, and
this is the number we get. Yep. 23,328 character voice possibilities. You can create starting
right now. No more excuses. I said a hundred and you should easily
be able to crack a hundred voices because the options are that high. And that is really without
even adding in accents. What if we picked 10 accents,
American, California, American Southern American,
New York, Irish, Scottish RP, Cockney, Indian, Nigerian, south African. That’s 10. So we could
times that by 10, we’ve got 233,280 possibilities. Then
there’s more to think about. Maybe they’ve got a little lisp, maybe they’re hard of hearing or
the sobs about a different way. It’s also reasonably possible
that there are so many W’s, there’s already three more things
to think about times three. Look, I’m not going to go any than
this because we now have 699,840 different character voices that you can produce. You only need a hundred.
You don’t even need that. You know, if you’re a voiceover actor, you might even do maximum of 20 in your
life because people generally get you in for your own voice. But if you
can master a hundred accents, which are distinctly different, you’ll
be working for the rest of your life. But all this knowledge and
all this information and
all these possibilities that are there for you as a voiceover artist, creating characters as someone who wants
to be professional, it’s all useless unless you learn to use your
instrument to make those voices happen. Because if you have restrictions
or things about your voice, that are really already distinctive,
that you can’t get rid of by choice, then that’s gonna leave you
behind the people who can. I know that’s unfortunate for some people, but the muscles that make up the voice
are like any other muscle and they can be trained. So knowing all this is one thing, but actually possessing the instrument
that works for you because you keep it regularly. Exercised is another. And if you want to speak each
one effectively and believably, you need to be doing daily
work like the pros do. If you want your voice to change and
you want to be able to manipulate it any way you want, you need
to be working daily. And if you don’t have the tools and you
need the tools to be able to develop your voice into a flexible, useful
instrument for you as a voice actor, as an actor, as a singer, DnD
player or as a human in general, who needs to speak to others to create
that resonant, articulate, powerful, flexible voice, which can create
over half a million voices, distinctively different. If
that’s something you want to do, if you have a burning desire, if you are serious about your voice
and bettering it and seriously, get your ass over to my online
course and start working on it today, I’ve got an eight week fully
comprehensive online voice course, the exercises in which you need, if
you want to progress to the next level. Okay? So get your down there now
because you’ve got to get started today. If you want to be ahead of everyone else, if you don’t know where to find my course, there’s also a link in
the description box below. Thank you for joining me on
this. I hope you’ve enjoyed it. I’ve really had fun doing
it. My name’s Darren McStay. This is improve your voice. That was how
to create over half a million voices. Even though I said just a
hundred. Thanks for joining me. I’ll see you soon until the next time
drink. Plenty of water. Get lots of sleep, go for walks in nature and take
care of your voice. So yeah.

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