Behind the glass.
Twenty years on both sides of it — engineering other people's voices, then stepping into the booth to use my own. This is what I teach, and why.
Most coaches are one of two things.
I've been both.
In this industry you usually meet an artist who can perform but can't engineer, or an engineer who can shape sound but can't act. I started as a sound engineer at ten years old and became a voice artist later — and I still do both, often on the same day.
The glass is both a literal and a symbolic barrier — separating the artist in the booth from the engineer on the other side. I've spent twenty years crossing it.
That's not a biographical detail. It's the whole reason this works. When a take isn't landing, I can tell you whether the problem is your performance or your microphone — and most coaches genuinely can't tell the difference.
A student asked me a question
and I froze.
“Sir — how do I put more emotion into my voice?”
I'd been doing this for years and I didn't have an answer ready. Not a real one. I could perform it, but I couldn't teach it, and those are completely different skills.
So I went and built the answer. That's where the frameworks came from — the ones that turn "put more feeling into it" into something you can actually practise. Meanwhile I kept watching people pay good money for courses that handed them theory, PDFs and encouragement, but never made them better at the microphone.
VOISA is the answer to that. Built by someone still working in the industry, for people who want to work in it.
Most training tells you what good sounds like.
Here you have to produce it.
Every lesson is active. You don't move on until you've done the work:
No shortcuts. That's the point.
You're not submitting
into a void.
Record your takes, submit them, and they come to a working professional who has done thousands of sessions — not an algorithm, not a generic scoring system.
A 1–5 performance rating
Calibrated to industry standard. Not designed to make you feel good.
Specific written notes
What worked, what didn’t, and exactly why.
Actionable direction
Precise notes on pacing, resonance, intention, breath and delivery — not vague advice.
Audio feedback when it helps
Voice notes, so you hear the direction the way a director actually gives it.
It's a studio session with a director — without the studio rates.
You're submitting to someone who knows what bookable sounds like, because he's been booking it for two decades.
The VO Journey
Four acts, each one building on the last.
The Foundation
Origin story, the five sells, vocal components, prosody and rhythm
The Craft
Comprehension and meaning, modulation, character voice, the script lab
The Industry
Platforms, rates, auditions, the director’s room
The Stage
Putting it together, and the alumni showcase
By the end you won't just understand voiceover.
You'll have practised it, recorded it, had it pulled apart and rebuilt — and you can apply to the VOISA roster when you're ready.
AI can read a script.
It can't make anyone feel anything.
It doesn't improvise. It can't hear subtext. It's never had its heart broken, so it can't put that into a line. The future of this industry belongs to the people who lean into the one thing a machine can't fake — and that's the whole reason this academy exists.
Not every job will be yours. That's fine.
Rejection doesn't mean you're not good — it usually means your voice wasn't the shade of colour they were looking for that day. I can't promise you bookings, and I'd be careful of anyone who does. What I can do is make sure that when the right one comes, you're ready for it.
Everything I know is written down.
Two books, thirty-five thousand words, both free. Booth Camp is the working manual. Behind the Glass is the twenty years behind it. You don't have to buy anything to learn from me.
Get both books free →