Should You Give Two Takes on Voiceover Auditions?

Should You Submit Two Takes for a Voiceover Audition?

When it comes to voiceover auditions, are two takes better than one?

A lot of the time, yes.

But there's a catch.

You shouldn't automatically submit two takes for every audition.

In fact, submitting a second take that sounds almost identical to your first could potentially work against you.

The rule I use is pretty simple:

Only give them two takes if you actually have two takes to give.

Let's talk about what that means and how you can use a second take strategically in your voiceover auditions.

Why Submit Two Takes?

The biggest advantage of submitting two takes is pretty obvious:

You're giving the person casting the project two different versions of you to consider.

Maybe Take 1 isn't quite what they had in mind, but Take 2 catches their attention.

I've actually received feedback on jobs I've booked where the client specifically told me they preferred my second take.

Had I only submitted the first one, there's a chance I wouldn't have booked the job.

That's why, when appropriate, I like giving the client another option.

But the important words there are when appropriate.

Don't Submit the Same Read Twice

Here's the mistake I see voice actors make:

Take 1 sounds like this.

Then Take 2 has a slightly different inflection on three words.

That's not really a second take.

It's basically the same performance twice.

If you're asking a casting director, producer or client to spend additional time listening to your audition, you need to give them a reason to keep listening.

Your second take should offer a substantially different interpretation.

Maybe Take 1 is polished and authoritative while Take 2 is much more conversational.

Maybe one is energetic and the other is understated.

Maybe one is warm and sincere while the other has more attitude.

Change the pacing.

Change the energy.

Change the attitude.

Change your interpretation of the person delivering the message.

Give them an actual choice.

If you can't do that, don't force it.

One strong take is better than two nearly identical ones.

Follow the Audition Instructions First

Before deciding whether you're going to submit multiple takes, always read the audition instructions.

If they ask for one take, give them one.

If they specifically say no alternate takes, don't give them one.

If they ask for two or three takes, give them multiple takes if you can provide genuinely different interpretations.

Sometimes a client specifically requests multiple reads because they want to hear your range.

That's your opportunity to show it.

Don't give them the same performance three times with slightly different inflections.

Make each version count.

Use the Brief for Take 1

Here's one approach I like.

Use your first take to give the client what they asked for.

If the brief says they want conversational, approachable and friendly, give them your best interpretation of conversational, approachable and friendly.

That's Take 1.

Then ask yourself:

What's another completely different way I could approach this script?

That's where Take 2 can become interesting.

Maybe you slow it down.

Maybe you make it more intimate.

Maybe you add some attitude.

Maybe you make it more playful.

Maybe you strip away the "announcer" completely and make it sound like you're talking to one person sitting across the table from you.

You're still respecting the script, but you're showing the client another possibility.

Sometimes clients don't know exactly what they want until they hear it.

Your alternate take could give them something they hadn't considered.

Don't Be Afraid to Make a Choice

This is where performance comes into play.

Your second take shouldn't simply be:

"Here's the same thing again, except slightly different."

Make a choice.

Commit to it.

One of the things a client may be evaluating during an audition is your ability to interpret copy.

If you can give them two genuinely different approaches to the same script, you're showing them more of what you can do.

That's valuable.

It also gives them an indication that you may be able to take direction well once you're actually in a session.

Let Them Know There's Another Take

Here's another simple tip:

If you're submitting two takes, let the listener know there's a second take coming.

Otherwise, they may listen to Take 1 and stop.

If slating is permitted, you can simply say:

"Mike Hathcote, two takes."

Or even:

"Two takes."

Then go directly into the audition.

Now the person listening knows there's another interpretation coming after the first.

That matters because your second take might be the one they prefer.

Of course, if the audition instructions specifically say no slate, follow the instructions.

The casting instructions always take priority.

What About Three Takes?

Occasionally, you'll see an audition that asks for two or even three takes.

That's fine.

But the same rule applies.

Do you actually have three different performances to give them?

If you do, great.

Give them three distinct choices.

If they're requesting multiple takes specifically because they want to hear your range, make sure you're actually demonstrating that range.

Don't make the casting person wonder why they just listened to the same read three times.

Respect the Listener's Time

This is something every voice actor should keep in mind when auditioning.

The person listening to your audition may have dozens—or potentially hundreds—of submissions to get through.

Their time matters.

You don't need a 30-second introduction.

You don't need to explain your interpretation.

You don't need to tell them why you're perfect for the job.

And you don't need to give them extra takes just because you think more is automatically better.

Get to the read and make it count.

If you're giving them a second take, make sure that second take earns the extra listening time.

One Great Take Beats Two Average Takes

There's nothing wrong with submitting a single take.

If you read the brief, record the script and feel like you've absolutely nailed the interpretation they're asking for, you don't have to manufacture an alternative just to have one.

Send the strong take.

That's it.

The goal isn't to submit the most audio.

The goal is to demonstrate why you're right for the project.

Sometimes one take accomplishes that perfectly.

Two Takes Can Give You Another Opportunity to Book

I've booked jobs where the client preferred my second take.

That's enough reason for me to continue providing an alternate when I think I have something genuinely different to offer.

But I don't believe in automatically recording two versions of everything.

My rule remains:

Only give them two takes if you've got two takes to give.

Make Take 1 your best interpretation of the brief.

Make Take 2 a real alternative.

And if you don't have a second interpretation that's substantially different?

Submit the first one and move on to your next audition.

Want More Voiceover Audition Tips?

If you're interested in becoming a voice actor and aren't sure where to start, I host a free Voiceover Blueprint webinar every Tuesday at 6:00 p.m. Pacific Time on Zoom.

You can ask me your voiceover questions live, and I'll walk you through some of the steps involved in getting started.

You'll also receive a digital and audiobook copy of my book, The Voiceover Blueprint, plus four additional free gifts just for attending.

You can sign up using the link in the description or pinned comment.

And if you're looking for training on specific voiceover topics—including performance, marketing, technology, pay-to-play platforms and audiobooks—you can also check out the standalone programs available through The Voiceover Blueprint.

And remember:

One great take is good. Two genuinely different great takes can be even better.

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The content on this channel is for educational and informational purposes only. While I share tips, strategies, and guidance based on my experience as a professional voice actor, there is no guarantee of earning income or securing voiceover work by using the information provided. Results vary depending on individual effort, skill level, market conditions, and other factors. Viewers should use their own judgment and take personal responsibility for their voiceover career decisions.