Jay Kiernan

As a voiceover artist, I do a variety of realistic and comedic accents and dialects. British accent, Irish brogue, New York accent, southern accent, midwestern accent, and accents & dialects from places unknown!

More than twenty years experience doing voiceovers in thousands of radio & television commercials for national, regional and local clients. Voice overs for Corporate narrations. Looping for film & television. Trailers. Audio Books. Internet Audio. Theme Park and Animation Character voices. CD-ROM. Message-On-Hold. Imaging. Live TV. You name it. I've said it. I say stuff. That's what I do! And I do it in just about every possible medium. I've said stuff for Coca Cola, American Express, Universal Studios, AT&T, Colgate Palmolive, Timex and countless others. Started off as a class clown wondering what I'd be when I grew up, then got a BS in Communication Arts (Broadcast concentration) JMU, Harrisonburg, VA, sang in rock n' roll bands, then worked at several small market radio stations, did a stint as an agency copywriter/producer, then evolved into a full time voiceover artist (which pretty has much brought me full circle back to where I'd started). I have my own Pro Tools studio. I use a Sennheiser 416 condenser mic because it LOVES my voice, no matter which of my voices I might be using at the time. The mic output goes through a dbx 376 Tube Channel Strip. The signal then runs from the digital out directly to my Pro Tools set up. Since I mostly send out voice tracks only, I have no real need of an external mixer. Instead, I use Pro Tool's on-screen mixer interface on my Mac. My home studio does not have ISDN, but in order to be competitive, I will arrange and cover the cost of any of a number of excellent ISDN-equipped recording studios in the greater Tampa Bay area. Some of my favorite clients are those who will direct me over the phone before the session begins, and then have me record & edit my takes on my own, and send them immediately out via e-mail or FTP. By delivering only fully edited takes, I save the client the time, effort and expense of having to edit, themselves. Occasionally, but only rarely, the client will have me send a second set of takes, which I am always happy to do. But I usually get it right the first time. Just one of the benefits of lots of experience. If, however, the client prefers to direct the read in real time, then we'll use one of the the area's finest recording studios, where I can focus on the read, and let the engineer handle the technical aspects of the session. Either way, you're the boss! So, just why do I NOT have ISDN in my studio anyway? That's a fair question, and it has a lot to do with where I live, which is right on a beautiful, sunny Florida beach. That's the good news (for me anyway). The bad news is that I also have four lanes of busy traffic passing right by my house. I DO have an excellent (and quite expensive) sound isolation booth, but that can't completely shut out the rumble of a truck, or the motor of a yacht cruising up the intracoastal waterway, directly across the road. When I am recording, my ultra sensitive Sennheiser 416 picks up those deep rumbles whenever they occur. As soon as I hear the unwanted sound vibrations in my headphones, I stop reading until the distraction has passed. I see it as a small price to pay for being right on the beach. But I don't think that most clients would be happy to pay for the amount of studio time (on their end) that is wasted in waiting for a slowly cruising yacht to pass by. I can edit out that nonsense after I've finished recording, which is why I limit my home studio to auditions and unsupervised sessions. Hence, no ISDN or phone patch in my studio. But I am more than happy to cover the cost of a Tampa Bay area ISDN studio on my end of the connection (and there are some excellent studios to choose from)! I'm also singer, and I play some drums.