American English voice over services

It depends on where the recording runs. National broadcast and large paid campaigns are frequently cast from union talent; corporate, internal, eLearning and much digital work is not. The difference matters for budget because union work carries a session fee plus usage renewed in cycles rather than a single buyout. Tell us the media, the territory and the term at brief stage and we will quote it correctly rather than revising after the fact.

They can read it, and it will sound like an American reading British copy. Dates, numbers, floor levels, measurements and words like «whilst» or «maths» all give it away, and none of them are pronunciation issues a voice actor can fix while recording. We convert the copy as part of the job and flag anything ambiguous before the session so you are not paying for a re-record.

For a US audience, American English signals you belong; for the UK, British — and we can produce both from the same script. Send it over and we'll quote your target market(s).

A neutral American tone is the safest choice for broad national or international content. Regional accents, like Southern, Midwestern, New England and New York, can add authenticity and warmth where the content or audience calls for it specifically.

American English is often associated with entertainment, tech and consumer brands, while British English tends to read as more formal or authoritative. The right choice depends on the tone your brand is going for, not just the target geography.

Short scripts are usually back within 24–48 hours; longer or multi-voice work takes a little more, and your American English project manager confirms a firm date up front.

American usage licensing is its own discipline, and the reason a US rate quoted elsewhere may look nothing like ours: national broadcast, cable, regional spot and digital are separate rights with separate terms, and a read licensed for one does not cover the others. We set the licence against your actual media plan rather than selling you a blanket buyout you may not need. Session fee and licence itemised, Price Match Promise included.

Yes — and if the same asset is also running in the UK, book the pair together. Spelling, dates, units and half the vocabulary change between the two, and the captions have to change with the read.

We are a London studio recording American English, which sounds like a disadvantage and is usually the opposite: our US roster is cast for the accent rather than for proximity, and the whole session runs in your morning rather than the middle of your night. American listeners are unforgiving about a British actor approximating the accent, so we do not do that — the voices are American.

We hand over American English voice over files in any standard format — WAV, MP3, AIFF and beyond — to broadcast specification, as separate tracks or a single combined file.

Less than people expect: the script, or the draft of it, its total running time or word count, where the recording will be used, and the date you need it by. If the script is not signed off yet, send the draft anyway — we would rather quote on what exists than wait for a version that eats your deadline. A named project manager comes back with an itemised quote, normally within four working hours.

More than half of enquiries get a reply within thirty minutes during office hours (Monday to Friday, 9am to 6pm UK time), and the itemised quote normally follows within four working hours. After that you have one dedicated project manager who owns the job from brief to final file — not a ticket queue, and not a different name on every email. If it is easier, call +44 207 095 5730 and ask for them by name.

Yes, and it is one of the commonest reasons people get in touch. Tell us it is for a pitch and you get a figure you can put in front of your own client, itemised so it stands up to being picked apart, with no obligation and no follow-up sales calls if the pitch goes elsewhere. If it lands, the quote still holds and we already know the project.