Most voiceover problems don't start in the booth. They start in the brief. Or rather, the lack of one.
A vague brief produces a vague performance. The talent does their best with what they've got, delivers something technically fine, and then the notes start: “Can we make it warmer?" “A bit more energy?" “Actually, can we try it completely differently?" That's an expensive way to find out what you wanted.
A well-written brief doesn't just save revision time. It produces a better recording on the first takes.
What a Brief Actually Needs to Do
A voiceover brief has one job: give the talent and the director enough information to make the right creative decisions before the session starts. That means tone, audience, context, and any reference points that help communicate the feel you're after.
It doesn't need to be long. Some of the best briefs we've received are half a page. What matters is that they answer the questions a performer would naturally ask before they open their mouth.
The Things That Actually Matter
Tone and character. Not just “friendly and professional." That describes almost every brief.
Think about where this voice sits: is it authoritative or approachable? Conversational or polished? Warm or measured? A reference to another voice, a brand, or even a person can be more useful than a list of adjectives.
The audience. Who is this for, and what do they already know? A voiceover for a technical B2B audience sounds different from one aimed at a consumer who knows nothing about the product. The talent needs to know who they're talking to.
The medium. Radio, TV, social, internal comms, documentary narration: these call for different registers and different pacing. A voiceover that works beautifully in a 60-second radio ad might feel completely wrong in a 3-minute corporate film.
The script itself. This sounds obvious, but the final approved script needs to be in the brief before the session, not during it. Every change to a script after a session has started costs time. Changes after the session cost even more.
Pronunciation. Brand names, product names, place names, technical terms: if there's any ambiguity, write it out phonetically. Don't assume the talent will get it right by instinct, and don't wait until you're listening back to flag it.
WHAT TO LEAVE OUT
References that are too broad (“think Morgan Freeman but younger and Scottish") are less useful than they sound. They can push a performance in a direction the talent isn't comfortable with, or produce something that misses the mark in a way that's hard to correct.
Equally, over-directing on paper can be counterproductive. The brief should set the direction. The actual direction happens in the session.
ONE MORE THING
If you have reference audio, use it. A clip of a voice you admire, or one you definitely don't want, is worth more than several paragraphs of description. It removes ambiguity instantly and gives everyone in the session a shared reference point.
At Red Facilities, we run voiceover sessions for advertising, broadcasting, corporate content, and everything in between. If you want help thinking through a brief before you book, get in touch with the team. It's a useful conversation to have early.
Frequently Asked Questions
How long should a voiceover brief be?
Long enough to answer the key questions, no longer. A good brief covers tone, audience, medium, and any pronunciation notes. One page is usually plenty. What matters is clarity, not length.
Should I include reference voices in my brief?
Yes, if you have them. Reference audio is one of the most useful things you can include. A clip of a voice you like (or one you definitely want to avoid) communicates more precisely than any description. References to well-known voices are fine as a starting point, but be specific about what it is you're referencing – the warmth, the pace, the authority – rather than just the name.
What if I don't know what tone I want?
That's worth figuring out before the session rather than during it. Think about the brand, the audience, and the context. If you're genuinely unsure, we can help you narrow it down before you book. It's a much easier conversation at brief stage than it is in the booth.
Can you help write a script if we don't have one yet?
Yes. We offer scripting support for clients who need it, particularly for radio and advertising. Get in touch with what you're trying to achieve and we can advise on what would work.
How many takes will we get in a session?
As many as the session requires to get the performance right. A well-prepared session with a clear brief and a well-cast voice typically needs fewer takes than one without. We'll pace the session to make the most of the time without rushing the talent.
What happens if the approved script changes after the session?
We can arrange pickup sessions for line changes. It's worth knowing that pickups cost additional session time and voiceover artist session fees, so getting the script finalised before the session is always the more efficient route. If changes are likely, it's worth discussing this before you book.
Written by Max Howarth
Max is a producer and director at Red Facilities with over 30 years of experience in audio post-production. Based in Edinburgh, he has worked across broadcast drama, feature film, documentary, and independent production throughout his career.