The Many Faces of Home Studios - with Tom Dheere

Wondering how to convert your cluttered space into a voiceover success story? Let Anne Ganguzza and the ever-resourceful Tom Dheere, be your personal guides in the transformative journey of setting up a home studio that screams professionalism but whispers in costs. Starting with the bare bones of our make-do booths fashioned from closets and basements, we'll share how to shield your sound from the noisy world outside, using everyday materials to master the art of sound absorption. Our candid conversation is a treasure trove of relatable anecdotes and practical wisdom, perfect for any voice actor eager to refine their recording environment and captivate their audience with crystal-clear audio. 00:01 - Intro (Host) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a VO BOSS. Now let's welcome your host, Anne Ganguzza. 

00:20 - Anne Ganguzza (Host) Hey everyone, welcome to the V-O Boss podcast in the Real Bosses series. I'm your host, Anne Ganguzza, and I am so excited to be back again with Real Boss guest co-host Tom Dheere. Hey, tom. 

00:33 - Tom Dheere (Host) Hey Anne, I'm feeling very bossy today, but not in a mean to tell people what to do today. I'm just feeling bossy, but in a good way. 

00:38 - Anne Ganguzza (Host) You got good boss colors on. 

00:40 - Tom Dheere (Host) Yeah, and I got some good boss vibes going today too. Yeah, and you sound good, Tom. I do sound good today. It's funny, so do you, as always Well thank you. 

00:49 - Anne Ganguzza (Host) I'm going to be speaking next week at a conference to podcasters who are interested in becoming voice of artists. Part of my conversation is going to include the equipment they need, the skills they need and, of course, what's so important to us as voice actors our environment, our studios. 

01:08 And you know it's so funny because we are on opposite coasts and I feel like we also have opposite type studios, but yet they both work amazingly well for our businesses. So I wanted to talk to you about your studio and our differences so that this could be a good reference for those bosses. Just starting out that you don't necessarily need a $20,000 recording studio, because when I first started I certainly didn't have one, and I know that Tom has the same story. As a matter of fact, when I first started, I was in my basement in New Jersey, because basements are a good place where you don't have to deal with, let's say, external noises as much because you're half underground. 

01:50 It was a closet for me that I started off with, and, tom, I mean talk to me about when you first started. What was your first studio like? 

01:58 - Tom Dheere (Host) Okay, my first studio was also in New Jersey, parcipany, new Jersey. I'm sorry, where were you in New Jersey? 

02:04 - Anne Ganguzza (Host) I don't remember Northern Jersey. I was in North Haldon, oh, right, by Wayne. Okay, I know exactly where that is. 

02:10 - Tom Dheere (Host) I was in the 20, 25 minute drive west of North Haldon, so I lived in a garden apartment. For those of you who don't know New Jersey, garden apartments are these sets of apartment buildings. 

02:21 They're almost always red brick, they could be white or other colors, and there's usually there's anywhere from like three to 50 of them. And I lived on a second floor and my first home recording studio was the front closet which was over the steps that would lean to the door that would let you go outside. So what I did was I went to Home Depot and I got carpet remnants on the cheap. I had a quilt that I think my mother-in-laws aunt made. It's a lovely quilt but like oh, this is a good use for it, I wove it into, you know, like the bar that you'd hang your coats on. Sure. 

02:56 I would weave it through there. 

02:57 - Anne Ganguzza (Host) So it's like a little tent. 

02:59 - Tom Dheere (Host) Yeah, actually it was even better than a tent, because the shelf that was above the bar rested on wooden blocks in this apartment so you could lift it up. So I actually threaded it through, threaded it back and folded it under so it completely encapsulated the shelf that was above the bar and that was that. So the quilt was around there. The carpet remnants from Home Depot were on the ground and in front of me and behind me and I made a point to, since the closet was a square box instead of having be an angle, I wouldn't push the corner of the carpet remnant all the way into it, so it would be curved. 

03:32 - Anne Ganguzza (Host) So all of the corners, so it would be like square, sharp corners Right. 

03:36 - Tom Dheere (Host) So I would put it in with penny nails. And then I had, you know, those football blankets, the kind that you roll up to take a football game. I had one of those and I nailed that into the closet door and that was it. And then I had a little snack tray with a desktop mic stand and my mic was there. And then I got a monitor which I drilled into the well, no, that back then I didn't drill it into the wall, it was on a stand which was on the snack tray. And then I got a splitter, so the monitor that I would sit at at my desk would show the same exact stuff that it would show inside the booth. And then I would bring my air mouse into the booth and sit down and I would just, and then it's. 

04:14 - Anne Ganguzza (Host) Well, you were actually advanced because you had a monitor in your booth and you had an air mouse. 

04:20 So, for me. I'm gonna tell you, my first experience was when I moved from one place in New Jersey to the next and I had my second studio in the basement. Was really cool, because you don't know what you don't know. And so for those bosses just starting out and I've done multiple audio episodes, just a real quick recap you need to really have a good environment before, I think, you even make a decision on your microphone and within that environment you have to make sure that you're not having any kind of echo or noise. So there's internal noise of your studio and there's external noise that might be trying to come into the studio and you certainly don't want any of the noise that you're making, right as you're voicing, to be echoing off of walls or hard surfaces. So it's important to kind of have yourself surrounded with some sort of material that can absorb that sound rather than have it be reflected back into the microphone. So when Tom talks about having his blankets and his carpet remnants up above him, to the left, to the right, keep in mind you wanna have some form of absorbing material that's in front of you, to the left, to the right, behind and above you and that will help curb any type of reflective sounds that might come back into the microphone. And then, of course, there's always sounds that come in from outside of the studio that we can't always control. I mean, studios have a recording sign for a reason. So even in a real studio, right where this is what they do for a living, you can't run down the hall screaming at the top of your lungs while people are recording, because not everything is completely soundproof. 

05:53 However, getting yourself in an environment where you're not gonna get that much reflective sound and sound that might come in is best, and so one thing that that proves, tom, is that for both of us, when we started, we didn't really have to invest a lot of money into our studios to get good quality sound. 

06:12 You just have to be a little bit educated about where you're gonna place those materials, and I think it takes a lot of experimentation. I do know when I first started, I didn't know what kind of sound I was supposed to have, and so really helpful to me was getting an engineer on the line and kind of assessing my sound and assessing my studio. However, in the beginning I didn't know anybody, and so I basically it was trial and error, trial and error, and sometimes you can place a blanket and it doesn't do any good. And sometimes you can put another blanket and it still doesn't do any good, and at that point it's helpful to maybe have somebody come and assess your studio sound. And with that I've got multiple places that I recommend. I know, george, the Tech is one of the best. 

06:57 That's the first one came to my mind and I think both of us recommend him and bosses will put that link in the show notes for you. But it really can help to have a trained ear, assess what your studio sounds like but also know that you don't have to spend thousands and thousands of dollars. Now I remember back when I moved right from New Jersey to California. Then I had a town home and I was up on the second floor and then I had an office. Well, I had a second bedroom which was right outside of the kitchen and I had a closet and I said, oh great, I've got a closet, I'll make a studio out of that. 

07:31 Well, that closet had no clothing in it, right? And that became a whole different set of circumstances where I thought, oh, it'll be easy, I'll just hang carpet, or I've got some old carpet, I'll hang some blankets. Well, it was actually more difficult to create a good sound with an empty closet than it was to actually build. My father actually built me a structure, so it was a little four by four by eight foot room in a room which actually works better than my closet which had nothing in it, like no clothes. So I feel like a clothing closet with clothes in it is really something that can help and can be better in a lot of cases than a clean closet. 

08:10 - Tom Dheere (Host) Right, I think I don't remember who was it said it, but sound functions like water and you have to understand where the sound flows and it always has to go somewhere. It's gonna go down, it's gonna go towards you or behind you, it's gonna get bounced around and moved around. So, under a standing, how and where the sound goes will help you figure it out Whether that involves getting bass traps or whether you gotta get Aurelix. 

08:35 - Anne Ganguzza (Host) Now people are going what? Or some people buy pool noodles. What are bass traps? 

08:39 - Tom Dheere (Host) Aurelix is a form of acoustic foam. I don't even know if I can properly define bass traps are. They're usually in the corners of the room, corners of the room, padding the corners there. 

08:47 - Anne Ganguzza (Host) I think what you're trying to do is not have any. The other thing, if you can, because of reflection, right, Sound bouncing If you have walls that are perpendicular to one another or parallel. 

08:59 - Tom Dheere (Host) Right, you don't want angles, you want curves. 

09:01 - Anne Ganguzza (Host) Curves or angles, or if you do and I'm gonna get to our studios in just a moment if you do, you wanna make sure that you've got adequate coverage for sound absorption in there. 

09:11 - Tom Dheere (Host) Right, but at the same time you don't want a dead space either. Too much acoustical treatment can be a bad thing, because your space has to have some kind of texture too. Not like a signature texture that is like oh, I could tell I listened to that commercial. I know Ann did it in her booth. It's not like that, but just something that doesn't sound like you're talking in a safe. You know what I mean. 

09:29 - Anne Ganguzza (Host) Absolutely, absolutely so. Ultimately, tom, it wasn't until I moved and this is after 14 years of actually being a full time doing voiceover and making money and so I had to have a booth that created good audio that people didn't reject. And, trust me, I did have a time when people rejected my audio, and that was when I didn't have an ear for what I needed to know, and that was very distressing. 

09:53 By the way, all I can say is that once you figure out how to get your sound where it needs to be, it is a big load off your shoulders. But once I decided to move, I actually was able to kind of plan and really think because, okay, I'm 13, 14 years into my full time business, I wanna actually have a space that is created just for recording. And so I was fortunate and I researched, I researched a lot of different things. I thought, well, I can't bring the booth. My father had constructed a booth for me at my town home in Irvine and I couldn't really deconstruct it and reconstruct it again to have the same properties and everybody. I love that booth, by the way, and it was really wonderful and I had had that assessed and blessed by George the Tech, by the way, at the time. But now that I had an opportunity to actually have some time to sit down and think about it, I decided and I looked into researching, I looked into buying a Studio Bricks and it was gonna be really expensive at the time and at the time they were shipping it from Spain, I believe. There was no timeframe as to when I would get it and I thought, oh God, I can't move to a new home and not have a place to record, and so I said, well, let me look into something different. I spoke to George the Tech, who said you know, you might consider having this built for you a custom booth built for you and I started looking into that and fortunately I was able to find someone and, of course, everybody that's ever followed me or I definitely have a podcast on this with Tim Tippetts who designed and built my booth a custom built booth for me and I'm going to tell you that it was a luxury, but it was also something that it was great, because everything was custom tailored just for me and I'm sitting in it now. So if you're watching this podcast on YouTube, you can see my studio. 

11:36 I've got sound panels in here. I actually have something that's not quite 90 degrees to one another, but you wouldn't know it by looking at it. It's just very slightly angled, but I do have ceiling acoustic tiles. I have acoustic tiles on my left, to my right, behind me, and I've got a double door, and so that cost me some dollars. I'm gonna say my first studios were a few hundred. Once I upgraded the studio that my father built for me, I would say that cost me about $1,000 with all the treatment and improvements to that, and this one was in the thousands of dollars. 

12:09 But it's kind of set it and forget it and done, and so, comparatively, I live in a very quiet area to you, tom, and we'll make that comparison Cause, right, I'm West Coast. I live in a home, I'm in a studio that is dedicated and built custom for me, with double walls, green glue, acoustic panels. I live in it over 55 retirement community, on a cul-de-sac. There's not people racing around here. Well, if there are, that's some other issue. And so I have all the blessings of being able to sit in here and very rarely have to stop recording because there's something noisy happening outside. But, tom, tell me about yours because, again, mine cost thousands of dollars and I'm not saying it was super expensive, because I think for a custom built booth I got a really great deal. But, tom, talk about your studio because, again, you have an amazing studio that you've been working out of for years and just producing broadcast quality like beautiful stuff, one after the other. 

13:05 - Tom Dheere (Host) Well, it's funny because I lived in that apartment in New Jersey for 12 years, so I was recording from that space for 12 years and it was regularly a pain in the butt because there was landscaping going on, there was a lot of cars driving by, there was Snow shoveling, there was kids going to school, coming home from school because the high school was right across the street, so there were a lot of problems with that one. Now I live in Midtown Manhattan. For those of you who don't know, there are certain cross streets in New York City 9th Street, 14th Street, 23rd Street, 34th Street and then higher. I live on 34th Street, which means it's one of the two-way streets. Also the Lincoln Tunnel entrances just stones throw away. So I am literally living in the second floor of an apartment building over one of the most heavily trafficked Streets in Manhattan, if not the country. 

14:01 - Anne Ganguzza (Host) Wow, not the world. 

14:02 - Tom Dheere (Host) Wow. So what's crazy is that when I moved in here about five and a half years ago, there was a front closet, just like I had in New Jersey, and I'm like, well, let's not try to reinvent the wheel, let's just do what I did there and do it here and see what happens. It turns out that it's even better. The sound is even better than the one in New Jersey, and here's why is that. I'm sitting here at my desk and the front door to my apartment is like literally right here. I can't quite touch it, but it's pretty close and then there's a closet front closets right here, so I sit in it. When I'm sitting, my back is to the hallway and behind me this wall separating the hallway from the apartment is concrete, so that's yeah, concrete is always good. 

14:45 And I using my Sennheiser 416, which is facing the concrete now. 

14:50 - Anne Ganguzza (Host) Why is that important that it's a 416? 

14:53 - Tom Dheere (Host) the 416 is great because it has a very, very tight field. It doesn't pick up a lot outside of here, which is why, if you get a Sennheiser 416, your angle to the microphone makes a very, very big difference. So you need to find that sweet spot where you're sitting, how it's angled up like this and where it is like this, and where you are seated In relation to it to kind of get into that very tight Right and that's what makes that an ideal microphone for, let's say, a less than ideal Space right and it's also one of the reasons why I use it for travel as well, because of the pickup pattern, is very Concentrated and you don't have to worry so much about. 

15:32 - Anne Ganguzza (Host) Like I also have a TLM 103, which is a beautiful microphone. However, it picks up when you breathe because the pickup pattern is much broader than a 416. So yes, I think in terms of studio spaces, if you have less than idea, 416 or a shotgun type of mic that has a smaller pickup is much more ideal for that right. 

15:51 - Tom Dheere (Host) The other thing is that the windows this is a 60-something year old apartment building here in New York City, but the windows are very new. They're very, very tightly sealed. 

16:02 - Anne Ganguzza (Host) Are they double-pained? 

16:03 - Tom Dheere (Host) They are double-pained. 

16:04 - Anne Ganguzza (Host) I think most apartment buildings that are in in cities are double-pained anyways, right, A lot of them are double-pained yeah and I used the same exact carpet remnants and and Bessie's quilt. 

16:14 - Tom Dheere (Host) From there I said everything I love it. 

16:16 - Anne Ganguzza (Host) You got Aunt Bessie with you, see I ban out Bessie's quilt. She's with us, ann always she supports it. 

16:22 - Tom Dheere (Host) Yes, and the monitor. Actually my wife, who's actually more mechanically inclined than I, and she actually drilled the monitor into the wall, so we set up all the acoustical treatment. She drilled it right in there and then it's still. It's a new set of monitors since the ones I had in New Jersey, but they're also networked the same way, with a splitter I bring the earmouse into the booth and so I just scroll, scroll, scroll. So I haven't printed a script in years, in years. And the quality it's even better than it was in New Jersey and I attribute it to a more solid floor and the concrete wall and better treated windows, so I actually didn't spend anything on the new booth actually. 

16:58 - Anne Ganguzza (Host) Right. And the other thing, too, is you probably have to be concerned A lot of times, like an inside wall or a wall that has concrete on the other side of, or a wall that isn't near plumbing is very helpful, and so if you're too close to a window, sometimes you don't have the protection I mean because that's yet another medium that can allow sound in or out or be reflective. I, literally right outside of this door, probably five feet away, is my front windows, and so I've got double windows there. But because I've got double doors here, if the waste removal trucks come right, actually I don't hear it through this, which is really fantastic, but if I've wanted the doors open, or if I have both these doors open, or if I'm sitting outside, yes, obviously I won't be able to record. 

17:42 - Tom Dheere (Host) I've had jackhammers outside. 

17:44 - Anne Ganguzza (Host) Wow, that's fantastic. 

17:46 - Tom Dheere (Host) The only thing that really really gets through is if my upstairs neighbor is vacuuming. That's the only thing that makes it impossible to record. 

17:53 - Anne Ganguzza (Host) So you're talking about the closet, then your actual studio is the closet behind you. 

17:57 - Tom Dheere (Host) Right now that I'm seeing right, there's a front closet right here and then these other doors actually leading to the kitchen. 

18:02 - Anne Ganguzza (Host) And how big is that closet? 

18:03 - Tom Dheere (Host) Three, by three maybe. 

18:05 - Anne Ganguzza (Host) Okay, and do you have anything else in it besides your recording equipment and or absorption material? 

18:10 - Tom Dheere (Host) Not really. I mean, there's two shelves above it which we use for storage of various things. This time of year I've got two winter coats in there, but the rest of the year they're not in there. 

18:20 - Anne Ganguzza (Host) So actually, the two winter coats actually make it even a little more insulated, absolutely Especially if they're puffer jackets, right, I mean you can-. 

18:26 - Tom Dheere (Host) One's puffy and then one's like a really nice one, like when we go out out. Actually, the only thing I did buy was the cable. I needed to make sure that the cable can run. So I'm sitting here and it runs and it runs across the floor right all the door and then I've got a rug that covers that and just snakes into the booth. I think that was the only additional investment and I live it by B&H, so it was like 20 bucks. I just went across the street, got it. Whatever, this is a 15-20 foot cable. I think that was the only additional expense to moving here from the old department and that was it. I also want to say this, ann, is that I was ashamed of my studio setup for a very, very long time. I thought that I wouldn't be regarded as a true professional, much less the VO strategist, if I didn't have a $5,000 booth. I am proud of my space. 

19:07 - Anne Ganguzza (Host) You should be. 

19:07 - Tom Dheere (Host) I am proud of the work that I do in it and the work that me, and with the a lot of help from my wife, did to get it to where it is. No, it doesn't cost a lot. No, it isn't pretty, but your job, bosses, is to be effective as voice actors on a performance level, on a logistical level, on a financial level and on a technical level. 

19:25 - Anne Ganguzza (Host) So I don't care if it ain't pretty Well again, nobody's necessarily looking, and even if they are looking at you and your studio, really what comes out of that studio is what's important, right? It's not what the studio looks like, and I know a lot of bosses out there. I think it becomes complicated to them and sometimes a pre-built studio solution or a studio solution like Studio Bricks or Vocal to Go or LA Boos or whichever is out there, it becomes a solution that's simple to them. Well, you don't necessarily need to spend that kind of money. If you have it, of course I think that's great, but I think if you're just starting out in the industry and you're just trying to see if this is something that is going to be good for you, and if you're going to really make a go at it and have a successful voiceover business, I don't think you need to invest a lot in a studio right away. 

20:15 I mean, gosh, I always talk about when we are traveling and on the road. Tom, we certainly don't have optimal recording situations in a hotel room, because a lot of times you've got the ventilation system, you've got fans running, you've got people out in the hallway in your hotel room, you've got windows and what's happening outside of windows to deal with. And so for us again, what's important is that we protect ourselves to the front, to the left, to the right, behind and above. And so a lot of times when we are away and traveling, I do the old pillow fort, the non-glamorous pillow fort, and that is literally put the pillows in front of you, to the left, to the right, above you. I take the actual luggage rack and put it on top of the desk. 

21:01 And then I take the extra comforter and I make a tent out of it and then I take my 416 and that's what we do. Now I also have a tri-booth, which is great. A tri-booth, love the tri-booth, and I've got a review of the tri-booth on my blog for any of you that are interested in it. That is a PVC kind of put together constructed booth with moving blankets and a stack that has been created by George the Tech so that you can recreate your home studio on the go, and so I absolutely love my tri-booth. If I decide that I want to take that, I can check that right on the plane. It comes in its own suitcase and it's super, super easy to assemble, and so you can do that. 

21:42 It's not always necessary, though. I say Create a studio, try to get yourself acclimated to what sound it is that you're looking for, great sound. If you are somewhat into audio today, if you're a podcaster, make sure that that studio really does have your acoustics properly set up and oriented, because sometimes a podcast I mean I know that when I first started podcasting I would listen to other podcasts and go why are they not concerned about their room, their sound? Because I would hear echo, sometimes the sound quality just wasn't there. But if you are coming in from another segment of the industry or another part of the industry, understand that your environment is important so that you can create good quality audio Does not have to cost a lot of money. 

22:29 And, tom, I love our conversation because you are proof that you can have an amazing sounding studio and not have to invest a lot of money. You can be in a crazy city with tons of traffic, not a lot of space, and create an environment that you can do work and excel at over and over again and you don't have to invest lots of money. So thank you so much for talking to me today about your studio. Any other tips that you have for, let's say, bosses, maybe just starting out, or investigating what kind of studio to get or things to do to create a great studio. 

23:07 - Tom Dheere (Host) Well, I do at vostratagescom. I also have blogs and videos that talks about gear, and I also have a gear section on my site. 

23:13 - Anne Ganguzza (Host) I believe you do too right, I do Absolutely Studio gear. 

23:16 - Tom Dheere (Host) Check out both, because I guarantee there are some gear recommendations I have on my site that Ann doesn't, and then she has some on her site that I don't. So definitely check them out. There's different price points and I've talked about this stuff for many, many years, just like Ann is. But do your research. Harlan Hogan's Guide to Home Recording Studios is a great book. Sound Advice by Dan Friedman is another great book those who can be a very, very big help. And you can always book a free consult. I believe George the Tech has free consults, or at least you can contact him through the George the Tech website, because he's got an army of great engineers and that between all of them they know every microphone, they know all the hardware, they know all the software, they know all the acoustical treatment secrets. 

23:57 - Anne Ganguzza (Host) I have an affiliate page with him too, so do I VO Boss can get you a discount as well, so there you go, whether you come to Tom or VO Boss, absolutely you can get a discount ona consult with George I don't promote that because I am an affiliate with him, but literally George has been with me from the beginning. I mean, he is the one who and I have blog articles written on that who literally took my father and my homemade booth and when we were like, okay, what else can we do? There's something missing, he was the missing key. He was the one that was able to take what we had done and make it sound. 

24:31 And I used to get complimented all the time by audio engineers saying what is your studio? 

24:36 It's amazing and in reality it's hysterical, because if you saw what my studio looked like, it certainly wasn't glamorous or elegant, but it really did the job and just like Tom's. I mean absolutely. And I think you can be proud and it's important for you to feel proud and feel good in the space that you're in, because it is our personal voice and it is our performance that needs to excel in a booth or in a space that we feel good in, and so you want to make sure you create that space. And so if Ant and I'm sorry, your Ant's name again, bessie, so if Ant Bessie is fully supporting you in your booth. I mean, I cannot tell you the affection and how good I felt being in a studio that was designed and built by my father and my father, by the way, had a lot to do with this studio as well and it does help. I sit in the studio and I feel good, and when you feel good, you can produce good audio, and I think that that's super important. And what a fun conversation today. 

25:29 Tom, thank you so much for sharing your space and talking about studios with me today. Bosses, I want to invite you to imagine a world full of passionate and empowered, diverse individuals giving collectively and intentionally to create a world that you want to see. You can make a difference. Visit 100voiceshukerorg to learn more and, of course, our sponsor, ipdtl. I love IPDTL and use it on a day-to-day basis. I just love it. Use it for all my coaching students. Find out more at IPDTLcom. You guys have an amazing week and we'll see you next week. Thanks, guys, bye. 

26:10 - Intro (Host) Join us next week for another edition of VO Boss with your host, Ann Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast-to-coast connectivity via IPDTL.