This Backstage Guide will tell you everything you need to know about voiceover acting.
Voiceover actors have been employed entertainers since the dawn of radio dramas, even predating screen actors in the talkies. But advances in technology and a surplus of outlets for voiceover actors has seen heightened interest in recent years, and with good reason! There’s no better time than now to venture into the many possibilities of voiceover acting.
Here, we’re going to break down for you exactly what it takes to become a voiceover actor and what you can expect as a green actor going into this exciting, ever-developing field. Refer to the index below to jump to the information that interests you most.
- What is a voiceover actor?
- What kind of projects hire voiceover actors?
- What voiceover terms should I know?
- What voiceover training do I need?
- Should I have different characters as a voiceover actor?
- What tools do I need to be a voiceover actor?
- What kind of portfolio/reel should I have as a voiceover actor?
- How do I find representation as a voiceover actor?
- How do I find voiceover auditions?
- How do I audition for voiceover?
- How do I warm up my voice?
- What is a day in the voiceover studio like?
- How do I connect with other voiceover actors?
Voice actors provide their voice talents for animated TV, audiobooks, movies, documentary television and film, commercials, video games, and multimedia.
The first step to becoming a voiceover actor is to define what differentiates them from other performers in the industry.
While being a voice actor certainly shouldn’t deter you from crossing over to screen acting or vice versa, there are substantial differences between the two crafts that you should know out of the gate. Though they can inform one another, the training will differ between each craft, as will the exact skillsets required. A professional voice actor will also have a variety of tools and pieces of equipment that simply aren’t necessary for screen actors (see: an in-home sound and recording studio).
The projects that hire voiceover actors are animated TV and movies, audiobooks, video games, documentaries, commercials, multimedia, and beyond.
The most common form of voiceover acting is likely animated TV. Think of children’s programming series on networks like Nickelodeon, Cartoon Network, and PBS; there’s a voiceover actor behind each and every one of those lovable, colorful characters. And that’s not to mention adult offerings like “BoJack Horseman,” “Bob’s Burgers,” and “Family Guy,” all of which employ some of today’s most sought after voice actors week in, week out.
Audiobooks have always been an incredible resource for road trips or a day spent cleaning the house (not to mention being an inclusive instrument for the visually impaired), but they’ve especially seen a recent boom in prevalence thanks to outlets like Audible, where a great digital novel is just a click away. There are times when a book’s author will read for the audiobook herself, but the medium has also taken on a life of its own, often employing voiceover actors to play various characters and to really enliven the drama and action.
Voiceover talent is of course tapped for major animated releases like Pixar’s “Finding Dory” or Disney’s “Moana,” but with astounding advances in CGI and green screen technology in film, it’s also become commonplace for voice actors like Andy Serkis to be cast as CGI characters, as seen in “Rise of the Planet of the Apes,” among many others.
Documentary Television and Film
Yeah, yeah, yeah, we know that Sir David Attenborough of “Planet Earth” and “Planet Earth II” is your favorite documentary narrator, and we don’t blame you. But what about the hundreds of other documentary films and series out there? From the prestige to the pulpy––as if Investigation Discovery’s melodramatic gotcha narrations aren’t a delight!––it takes an expert voice actor with a measured cadence, exquisite pronunciation, and dramatic chops to really sell a doc as it’s laid out on screen.
Think about it: When was the last time you saw a commercial without a voiceover? In selling a product or service, one of the most effective ways to get a message across is to overlay an ongoing scene with a voiceover providing additional information—and guess who provides those voiceovers? That’s right! Professional voice actors.
In certain circles, the biggest video game releases in a given year are just as buzzy and eagerly anticipated as the year’s biggest blockbusters––and the voice talent behind these gamers’ beloved characters is just as revered. There have previously been bits of contention in this realm, with a strike from video game voice actors, but one thing is certain: This field and this profession is not going anywhere.
And that brings us to perhaps the most exciting frontier in voice acting: multimedia entertainment. We live in a time where VO and VR are colliding; as virtual reality capabilities are expanding their influence on the gaming industry, so, too, do the opportunities for voiceover actors everywhere. While VR is just one frame of the ever-expanding multimedia entertainment umbrella, it’s the one to keep an eye on with regards to VO.
These are the voiceover terms you should know:
- Adjustment: Guidance given by the director to redirect the actor’s performance. Also, a modification an actor makes in the playing of the material.
- Ad-lib: Improvised lines that are not in the script, but are purposely spoken in the spirit of the script.
- ADR (Automatic Dialogue Replacement): See “looping.”
- ANNC: Stands for “announcer” and refers to the part in a script to be read by the voice actor.
- Announcery: Referring to the melodramatic performance style characteristic of announcers from the early broadcast era.
- Arc: Even a 30-second commercial, has a beginning, middle, and end—a storyline. The arc refers to the voice actor’s interpretation of the emotional stages that accompany the storyline.
- Beat: An internal thought that causes the speaker to pause before continuing to speak.
- Billboard: To highlight a specified word or phrase within the script while staying within the tone of the overall performance.
- Cold-reading: An audition in which you are asked to read from a script you are not familiar with, generally with little or no time to prepare.
- Conversational: A direction often followed by “non-announcery” and meaning to speak naturally, as in everyday conversation—without fanfare or embellishment.
- Copy: The script.
- Director: The person responsible for the vision of the project. The director oversees the voice actor, audio engineer, music composer, and sound designer.
- Inflection: The indication of a specific meaning by emphasizing a higher or lower pitch as you end a word or phrase.
- ISDN (Integrated Services for Digital Network): is a set of communication standards for simultaneous digital transmission of voice, video, data, and other network services over the traditional circuits of a telephone network.
- Level: When the voice actor is asked for a level, it means to read the script into the microphone at the full volume you intend to use during the performance. This is required to calibrate the overall equipment sound levels prior to recording.
- Line Cue: The last portion of the last line before your cue begins.
- Looping: The recording or re-recording of dialogue (on or off-camera) for a previously filmed scene.
- Moment Before: A motivational cue that gives the actor (character) a reason to speak.
- Pick-up:To re-record an isolated line or phrase to remedy a vocal flub or technical glitch. Also to create alternate choices.
- Post-production:The final step in film or video creation. It follows the pre-production and production phases. Recording voice actors (narration, ADR, sound overlays) are part of the post-production phase.
- Popping: A plosive speech sound caused by a sudden burst of air into the microphone, most notably on words beginning with P but frequently occurring with T, K, D, G and B.
- Problem-Solution: A common type of commercial script, where the message appeals to the consumer by solving a problem.
- Punch: To highlight a word or phrase with a notably sharp and emphatic tone.
- Punch in: A recording technique whereby a portion of the performance is overdubbed onto a previously recorded take, usually overwriting the sound originally recorded.
- Read: The overall performance quality of a script or portion thereof.
- Real person: The voice actor plays the role as if he is the actual user of a product, expressing his personal point of view.
- Spokesperson: The voice actor plays his role as an authority speaking on behalf of a product.
- Residuals: Compensation paid for use of a performance beyond the session fee or initial compensation. Residuals are based on specific usage parameters governed by contract or union rules.
- Safety:A backup performance, recorded after the director feels he has captured everything required to complete the session.
- Session: The time spent recording the voice actor, starting from when the actor reports (call time) and ending when the director/producer calls it a wrap. The actors pay is referred to as a “session fee.”
- Smile: Literally smiling as you perform the script. Speaking with an actual smile usually triggers a warm, friendly tone of voice.
- SOT: This stands for “sound on tape,” and refers to language or sound (taken from the program or film content) that is woven into the script but not spoken by the voice actor.
- Take: A single performance of a script or section of a script. Takes are numbered and organized by the recording engineer and notes are kept on the attributes of each take.
- Tempo: The ebb and flow of emotion as the voice actors perform the storyline of the script. Tempo is not all one speed. In voice acting, the metronome swings to serve the intention of what is being said moment to moment.
- Three-in-a-row: Performing a line or phrase three times, purposely varying the attitude and intonation to create alternate versions. Also, reading the same line at different speeds but otherwise maintaining the same intonation throughout.
- Trigger: An emotional or physical signal that sparks an emotional impulse in the actor.
- VO: Shorthand for voiceover. In a script, VO is used to indicate the parts to be read by the voice actor.
- Zephyr: A highly regarded electronic device used to make your recording studio universally compatible for connecting with every popular ISDN codec for full-duplex, 20kHz stereo audio.
As a field of study, voice acting also comes all-new terminology that you should be familiar with before first stepping into the studio. Having the prior knowledge of what’s what will allow for smooth sailing from the onset both in terms of communication and in confidence. The above glossary with pertinent voiceover vocabulary was compiled by “That’s Voiceover!” founders and Backstage Experts Joan Baker and Rudy Gaskins.
No proper training is needed for voiceover, but there are skills you need to have. You should seek guidance from both an acting coach and voice coach.
Unlike stage or film acting, it’s rather unheard of for aspiring voiceover actors to pursue a higher education BFA degree exclusively to learn more about the craft of voice acting. But that doesn’t mean it can be entirely self-taught. Even if you’re an adept self-starter and if you have the proper equipment required to succeed in the field, it would be to your detriment to not seek the counseling of an acting and/or voice coach. So how do you go about finding the right coach for you? It’s worth reaching out to fellow actors for a recommendation or referral, but do your own research and see who offers what you’re looking for. Then upon meeting, go with your gut and see if you two mesh.
“Two fundamental qualities to look for in a coach are experience, and someone who understands the current and potential state of the voiceover industry,” says voiceover actor, filmmaker, and Backstage Expert Jamie Muffett. “Most coaches will offer a consultation session, so it’s wise to meet with more than one and compare their assessments. There should be some consistencies in their feedback. A coach who seems to be wildly at variance with the majority is likely to be someone overly-complimentary who is just looking for clients, or who thinks being overly-critical makes them seem more legitimate. Be wary of both.”
You also shouldn’t worry about necessarily connecting with a voice coach in your area. In-person sessions are always preferred, but it’s more important to link with a quality teacher rather than a convenient one. This is the kind of coaching you can do online. Besides, many voice actors on the job are working remotely to begin with, so you might as well get used to it!
Muffett continues: “Don’t choose a coach who tells you what you want to hear. This is an immediate red flag. An honest coach will tell you things you absolutely do NOT want to hear. This could be anything from pointing out areas in your voice or delivery that you need to improve, or explaining the realities of the industry. It might even be as major as adjusting your imagined timeline or roadmap to success.”
The right coach will teach you how to properly deliver your lines, how to emote effectively, how to create characters, how to maintain voice health, and then how to create a quality demo reel or audition side that will help you book your next big gig.
In addition to seeking out the proper coaching, Muffett tells Backstage that there are seven qualities that every successful voice actor should cultivate. So before venturing into this field, it’s imperative you ask yourself the direct question of whether or not you are cut out for the demands of the job. The best of voice actors will possess resilience, focus, adaptability, a solid work ethic, playfulness, enthusiasm, and confidence. Confidence is of particular importance; as in any acting profession, criticism and rejection are simply part of the day-to-day of a working voice actor, so check your thin skin at the door. And especially if you’re employed for commercial work as a voice actor, you have to meet the needs of the client and the product that you’re selling, and they won’t shy from telling you when you’re not up to snuff.
“Eventually, genuine confidence will come as a result of experience and positive feedback, but until then it is good practice to work on training your brain to ‘turn on’ confidence in moments of necessity,” Muffett says.
Reflecting on these seven qualities, Muffett continues, saying that “some of these will come easier to you than others, but all of them can be acquired with effort. Knowing where to focus your efforts is the first step in gaining the skills you need to become successful. Now it is up to you to put the work in to fulfill your potential and be the best voice talent you can be.”
You don't need to have multiple characters as a voiceover artist but, like everything, the more variety you have as a performer, the better.
One of the first things many people think of with voice acting is cartoon character work, but it’s important to remember that just because you’re not onscreen as a live-action actor doesn’t mean you shouldn’t be yourself in the recording studio. Whether or not you create a character and put on a voice really depends on what project you’re working on. Generally speaking, animated series for kids and adults and videogames are going to call for a variety of characters, each with a memorable and distinct (often cartoony) voice. But that’s not always the case!
Look to something like “Bob’s Burgers,” for instance. For the most part, comedic voice actors H. Jon Benjamin, Dan Mintz, Eugene Mirman, John Roberts, and Kristen Schaal are speaking in a heightened version of their real speaking voice to play the Belchers. In speaking with creator Loren Bouchard in 2016, he suggested voice actors for “Bob’s” find their “voice” by doing years of standup, not by creating characters and a literal array of voices.
Same goes for HBO’s “Animals;” in a 2017 interview, creator Phil Matarese went so far as to ask, “Who wants to hear a fucking cartoon voice in a comedy?” His approach with voice actors is more naturalistic and organic. “Inorganic is awkward, especially in comedy,” he said. “A lot of times people will come in with the big voice and we have to chip away at it and get to the truth of the person.” But then you add to the mix a series like “Family Guy” where pretty much every voice actor has created a character to spruce up Quahog, so it truly is a case-by-case basis.
So then the question is: How do I create characters? Each actor’s individual approach to creating a character will differ, but we’re particularly onboard with casting director and Backstage Expert Kate McClanaghan’s five tips for creating an all-new original character voice. She says to first begin with an impersonation of an impersonation; it may sound silly, but taking on an existing spin on a real-life figure is sure to chart some sonically interesting territory, and if nothing else, it will get you in the proper headspace and get your creative character juices flowing.
In that same vein, you should also play around with voices that you’ve been doing since childhood––you know the ones! Analyze what you’ve got so far: Where’s the placement of your sound? What do these speech traits say about the character? And then add on some emotional depth by considering how this character would react to varying stimuli. How attuned are they to their emotions? Where’s their emotional center? Of course, these are the hooks where a comedic flaw can come into play. But most importantly, have fun! “If you’re not playing, then your performance runs the risk of being a drag to listen to,” McClanaghan advises. “Allowing yourself to go further than you think is a truly necessary key to discovering how limitless your options really are. This element will keep you interested in what you are doing.”
The tools you need to be a voiceover artist are a laptop, iPad, or tablet, a professional-grade microphone, a quiet place to record, and editing software.
Voiceover actors have a great gig in that they can often work from the comfort of their home (the operative word, however, being work!). Auditioning for a role is often often as straightforward as recording lines called sides provided by the project’s casting director and sending those back in for consideration, which is nice in that you can record and re-record until you feel it’s the perfect submission. But that also means you need some equipment very specific to voiceover acting. Below, we offer a quick break down of the basics.
- A laptop, iPad, or tablet to properly store and edit your audio recording
- A portable voice recorder for working and/or practicing and listening back to your work on the go
- A professional-grade microphone and a quiet in-home recording studio (read our how-to guide to building your home studio below). Look for a microphone with USB capabilities that will easily let you connect, transfer, and work from your homebase system…
- ...and that means you need the proper editing software. “Audacity is a simple (and free) program that works for Macs, PCs, and tablets, and has all of the crucial editing tools needed for a refined VO submission,” says Backstage contributor KC Wright. “If you’re ready to invest in the highest end software, professionals swear by the all-encompassing (and complex) Pro Tools S6 and Adobe Audition CC. iPads and Tablets also have editing capability, and useful apps include iaudition, TwistedWave, and WavePad Audio Editor.”
- Smartphone apps to help you warm-up, practice, and even record and edit
Voiceover actors should have a reel—55–75 second groupings of audio clips—to showcase their work.
If you’re looking to break into the voice acting industry, making a reel should be at the top of your priority list, alongside getting proper training and equipment. And you should have a different reel for the variety of projects you’ll be going out for: an animation and video game demo reel that highlights your skills in creating characters and comedic timing, and a commercial demo reel to show that you can sell a product persuasively while meeting the demands of the client. Casting directors for these given projects have no need to hear you can impersonate Donald Trump if you’re selling a hand lotion.
Casting director and Backstage Expert Kate McClanaghan says that the best demo reels will not just demonstrate your capabilities as an actor and emphasize the sorts of projects you hope to book in the future, but they should also use clean, crisp copy that’s up to industry standards. Same goes for the production quality: Industry standards are essential if you want to be taken seriously and succeed in the field. “These production standards are crystal clear to accomplished producers,” McClanaghan says. “[And] producers are the primary target audience for whom you are creating your demos.”
Once a demo reel is up to snuff, the next step to a successful reel is ongoing promotion on your part. “There’s really no point in having a demo if no one knows you have one,” McClanaghan surmises. “It’s ultimately your job to ensure your demo is working for you and making you available to those most likely to hire you directly from it, or at least inviting you to audition. This is a constant that you must maintain throughout your career whether you’re pursuing voiceover or any other medium for that matter. Otherwise, your greatest skills and assets will likely die on the vine. The world won’t come to you—you must go to it.” Find out how to successfully get the right people viewing your reel below.
Voiceover actors can't agents through booking enough projects and gaining enough experience on their own to prove themselves ready to rise to the next stage of their career.
Once you’ve started building up your experience and getting work through open submissions and Backstage’s voiceover casting notices (more on that later), having an agent is crucial for greater successes as an actor. Actors on both ends of the experience spectrum—those starting out and those bona fide superstars—can go agent-free. Those in the in-between throes, however, will fare best with an agent. For these actors, perhaps no relationship is more crucial than that which is maintained with their agent. Sure, significant others are lovely—but this is the person whose job it is to serve as your personal representative in the industry at large. If that sounds like a big deal, that’s because it is!
A good place to begin looking for an agent to represent you is your trusted friend Backstage, where we've created a four-step system to help you land an agent with our Call Sheet resource. Like most facets of the business, however, you as an actor and you as a human being will be the determining factor in how you land an agent, so you must always remember to present your best self first. Be professional and be ready to show that you’re worth representing; you’ve gotta walk the walk in addition to talking the talk. You can also turn to mentors and peers you’ve met in your actorly pursuits to help link you up with an agent. Don’t just rely on the support of others for your successes, of course, but a letter of recommendation from an acting coach or a referral from a colleague can go a long way.
For more information on how to get an agent, check out our in-depth guide: “How to Get an Agent.”
When it comes to finding roles to audition for, there’s no better source than Backstage.
Backstage is the go-to resource for all voiceover actors, but especially for early-career actors in voiceover or otherwise. If you don’t have a manager or agent who’s in direct cahoots with casting directors of various acting projects, Backstage is the No. 1 trusted source and top casting platform—for over 50 years—to kick-start your career, land your next (or first!) role, and get discovered. The casting notices on Backstage can help you bolster your demo reel and get you an agent to take your career to the next step. Plus with thousands of vetted casting opportunities across smaller projects like student shorts, web series, and regional theater productions, all the way to larger blockbuster features and productions on the Broadway stage, you know that with Backstage, you’re always getting reliable information and scam-free gigs.
Backstage has several subscription options available, including annual and six-month subscriptions to our web content and weekly print magazine, and six-month and monthly web-only subscriptions. Visit backstage.com/accounts/subscribe to see which option best suits you.
Once you’re subscribed to Backstage, you can go backstage.com to edit your public profile. This is the page that casting directors see when booking talent for their latest project, so make sure your headshots and résumé are up to date, and link or embed your reel, website, social media accounts, and other fun extras as you see fit.
To audition for voiceover, you need to know how to slate.
A slate is an actor’s recorded introduction at the beginning of the audition––simply your name followed by Take 1, Take 2, Take 3, etc. Even if your name is embedded in the title of the audio file, many casting directors want to hear from the start who they’re talking to crisply and clearly; casting director and Backstage Expert Jen Rudin says they should “feel and sound breezy and conversational” and you should sound like yourself.
After your name and take is established, that’s when you take a breath and then go into the side’s copy provided by the project’s casting team. Because you’re often recording yourself and submitting an audio file remotely, you want to warm up before an audition, drink a lot of water, practice your diction while reading the sides. Same, however, goes for in-person voiceover auditions. Being prepared and present are the keys to success here. Another thing to keep in mind for those in-person auditions? Come early. “You should do everything in your power to come early to every single audition you get,” Rudin says. “When you arrive, sign in and check to see if the copy is out and available to read before you go into the room. Grab the copy and find a seat. Now is your time to read the lines to yourself and get familiar with the script. What is the product? What are the most important words to emphasize in your reads? Ask yourself those basic questions. Remember, this time in the waiting room is not the time to do your vocal warm-ups or practice reading out loud.”
To warm up your voice for voiceover, you should do the same exercises that singers use.
“Your home studio is not just your workspace. It’s your Carnegie Hall. Go in prepared,” That’s Voiceover! co-founders and Backstage Experts Rudy Gaskins and Joan Baker tell Backstage. That means you better warm up your voice!
“Because speaking is such an everyday activity, voice actors assume that they are ready to perform at the drop of a hat with little or no preparation,” Gaskins and Baker continue. “In truth, many actors can render an adequate cold-reading of a script, but rarely can they get beyond adequate.”
Warming up for a voiceover audition calls for more than just tongue-twisters. Many vocal warm-ups for singers work for voice actors, as well. Reflecting on how to warm your voice up in public, voice teacher and Backstage Expert Andrew Byrne says you should begin by mouthing the words required for an audition. “If you mouth the words...you will be warming up your articulators (jaw, tongue, lips),” he says. “Additionally, several postural muscles of your larynx will be moving and getting warm, even though your vocal cords will still not be touching.” Another warm-up you may not think of? Practicing through a straw. “[This] creates what’s known as a semi-occluded vocal tract. This is a fancy way of saying that the tube of your throat is partially/mostly narrowed and lengthened,” Byrne says. “In addition to making the sound quieter, this technique helps your vocal cords meet more efficiently. Regularly practicing your songs [or monologues] through a straw can reduce vocal fatigue, and improve clarity and lower pressure.”
In the voiceover studio, actors will be directed to enter a glass-enclosed booth and, through headphones, you will be directed by the creatives or engineer on the other side. The session will usually only last a few hours.
Let’s say you’re a voiceover newbie and you’ve just nailed your audition and booked your first big gig. First of all: congratulations! Just like auditioning, a lot of commercial voiceover work can be done at the professional level remotely through the tools and at-home techniques listed above, but that’s often not the case for animated series and videogames. Directors want you in the recording studio (sometimes with other actors) to really perfect the vision of whatever talking animal or ninja warrior you happen to playing onscreen.
Casting director and Backstage Expert Terry Berland breaks down everything you need to know about voiceover recording sessions, explaining for first-timers that they “will be directed to enter a glass-enclosed room (the booth) equipped with a mic, script stand, and headphones. The creatives directing you will be on the other side of the glass with an engineer. They’ll be speaking to you through a speaker system.” It’s a bit of a foreign experience for any actors who are used to on-camera filming sessions, huh? Sometimes, the creative team is even working remotely, in which case “you will be at a studio with an engineer and the creatives will be at a studio in their city, communicating with you and recording you through an ISDN (Integrated Services Digital Network) line.”
It’s important to remember, too, that just because you were the voice deemed fit for the job––whether it be an animated series or a commercial for a particular client––you should expect some direction while in the booth. To help in that direction, actors will often be told the emotional state of their characters, or they will be told what’s onscreen. Sometimes, they’ll even be shown a rough cut of the animation they’re speaking for.
Berland also reveals that one of the nicest things about a day in the studio is that it’s very rarely a full day! Usually, they only last a couple hours, and “if your audition was true to your ability and not overly edited, and you were easily able to step into the booth and follow their direction, your session mostly likely went very well."
You can connect with other voiceover actors through conferences, but the main way to connect is old-fashioned networking.
Nowadays, networking is essential to move your career forward in most creative industries, and voice acting is no different. One way to do this is to connect with other voiceover actors and industry pros at conferences around the country (the VO Atlanta Voiceover Conference is a popular option, as is the Midwest Voiceover Conference and Faffcon: The Voiceover Unconference). But there are also ways to network in your day-to-day professional interactions, no airfare required.
The most important thing to remember about networking, according to That’s Voiceover! co-founders and Backstage Experts Rudy Gaskins and Joan Baker is to remember “it’s not about meeting one key person, but meeting multiple people and appreciating the relevant connections between you.” To leave an impression with your peers, you have to know yourself, know what you bring to the table, and then be straightforward, honest, and consistent when presenting that; leave the “fake it till you make it” mantra at home. Like a first date, you want to leave a good first impression, but don’t put all your eggs in one basket. Not every encounter will lead to that metaphorical second date.
“Networking is more than scoring a connection with the people you want to meet. (Remember that there are people who want to meet you, too!),” the two V.O. pros add. “Rather than focusing on hunting down the moguls, make friends with everyone and allow the networking to expand organically. Remember, networking works both ways. You want to be as invested in helping others as you want others to be invested in helping you.” You hear that folks? Paying it forward pays off!
With these tools and bits of advice in hand, you’re now ready to go out there and take on the world of voiceover and connect and work with the people who will propel your career to the top. Just don’t forget to thank Backstage when you break into the big leagues!
This piece was originally published on March 9, 2017. It has since been updated.
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