Miranda Harrison

Upper class British (heightened RP), Standard English (RP), London (lower class), Yorkshire (deep, Northern), serious documentary, professional corporate, multi-character children's story, funky and fun music presenter, saucy commercial.

- Educational: audio work for teenagers learning English as a foreign language (obviously needs to be clear as well as lively) - Poker training website: 6-month job voicing real-life games and giving instructional advice on techniques and strategies. Client wanted a clear, English voice to reach an international audience - Corporate: includes voicing instructional animations for Cisco (repeat client); a marketing video about analysing a company's resources; short film on domestic energy consumption; a charity web animation - Charity / medical: includes voicing a crowdfunding animation for a stroke association; a DVD made by BBC Children in Need for children about to have a cleft palette operation - Other: provided two contrasting character v/os for fun new soundtrack for classic b/w movie 'The Werewolf in London' (Lady Forsyth: upper class; Mrs Whack: lower class). VOICEOVER: - Voice and voiceover classes at The Actors Centre, London, and City Lit, London - Vocal work with Jeanette Nelson, Head of Voice at London's National ACTING: - 2-year training at LSDA (London School of Dramatic Art) - Training in acting for radio, using autocue, and TV interviewing techniques OTHER: - BA Hons in History of Art: used in many ways, from editing art books to giving cultural guided tours. My love of art, history, culture, fashion etc. is something I enjoy bringing to documentary work in these fields. - Book publishing: first career. First-hand experience of doing business presentations, addressing sales conferences, giving lectures and so on. I therefore bring an empathy and integrity to corporate work. I have easy access (20 mins walk) to an excellent recording studios. They know me well, and can always fit me in at short notice. Their prices are extremely competitive (local rate, rather than corporate city rate). To me, it's better to have the professionals do the sound engineering so that I can concentrate solely on the best voice work. I spend time carefully assessing the meaning and nuances of a piece, and have rarely had to re-supply work to clients. Whatever the job, I'm always 100% focused and enjoy working with new people.