I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.
The first paying voice-over gig I ever got was for a company called Harvard Community Health Plan, which is a Boston-based New England health care provider. I inherited a deep, gravelly voice from my dad, who has always claimed that if I ever get injured, he'll just take over for me.
I'll meet listeners who tell me what a great voice I have. But I don't have a great voice for radio. My voice is the utterly normal voice, but sheer repetition has made them think it's OK. Mick Jagger once was asked, 'What makes a hit song? He said, 'Repetition.'
I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
I've done a lot of radio in my life. I've done radio plays for the BBC when I was young so I was absolutely used to that style of work, of working with the voice. I have a very distinctive voice so it's always great for me because I open my mouth and everybody knows who it is.
Some years ago an excellent professor of economics told his class in his gravelly voice, 'If you pay me $50,000 a year to solve a problem, I damned sure ain't going to solve it.'
I ask for a stonger and more devoted voice... a voice for good, a voice for the gospel, a voice for God.
I think an important quality that I have is that if you turn on the radio and hear somebody sing, you know it's me. You don't confuse my voice with another voice.
I never made it to the school choir because the music teacher didn't like my voice. I was pretty sad. But he was probably right; I did have a voice a bit like a goat, but my dad told me to never give up and to keep going, and it's paid off.
The one radio voice that I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, and I'd sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words.
To me music is the centre of the universe and the voice of the spirits and the voice of God and the voice of all the people who have lived and died...At least the ones I'm connected to.
It may be that 'the voice of the people is the voice of God' in fifty one cases out of a hundred, but in the remaining forty nine it is quite as likely to be the voice of the devil, of, what is still worse, the voice of a fool.
I'm a fan boy when it comes to Michael Buble. He's just so good at 'it'. He's got a voice of this generation, but he's like a time capsule; he's got a voice that could have fit in anywhere over the last hundred years. It's stellar.