Connecting a Director and Studio for Remote VO Sessions

VO How-To: How do you connect a director or outside studio to your remote VO session?

There’s no way to avoid remotely directed sessions these days. Source-Connect, SessionLink Pro, Zoom, Meet, Teams… all of these options regularly pop up in project descriptions these days.

Seamlessly connecting and running recording sessions with distant clients from your home VO production studio is a given. While you can always book time in a local studio for higher budget projects, voiceover agents and clients assume you will be able to work with them directly on short notice. Handling those situations calmly and effectively are the a necessary skill for a professional voice actor. Having Source-Connect or some means of working with a remote director is essential to running your VO business.

If you want to gain a more detailed understanding about setting up your own studio, remote session protocol, and session best practices, I teach a “Source-Connect, Phone Patch & Remote Direction” workshop a couple times each year or can work with you directly in-person or via Zoom.

“Wait… you want to connect to my booth?”
Connecting Your VO Studio To The World

You’ve booked a job. The client loves you and wants to hire you. Understandably, they have very specific things they want to hear in your performance. It used to be that voice actors would get stuck in an endless cycle of guesses and revisions, trying to interpret written feedback via email and respond with effective corrections. These days, it’s much more direct for them to give immediate feedback on your performance and they ask to connect in real time. Ignore that icy feeling in the pit of your stomach – you got this!

Connection History: What the heck is a “Phone Patch”?

You’ll still occasionally hear someone ask for a “phone patch.” This was a term that referred to a hard-wired, landline connection that fed into your audio chain. That required a hardware device which accepted (1) a plug from a phone line (remember those?) and (2) a cable (maybe two) from an audio device (your mixer or interface) so that the audio flowed back and forth. Obviously, you can’t connect your XLR or 1/4″ audio cable with the small square connector on a physical phone, so these hardware devices acted as a signal translator. These days, phone patch hardware is more of a curious museum piece.

If someone asks for a “phone patch” they are using the term generically to cover any type of remote connections. 

These days, a “phone patch” typically doesn’t involve an actual phone. Though your client may be asking to phone you, it’s highly unlikely to use a landline. There are a lot of options.

As with all client communications – ask! Often you can offer a connection option they didn’t know existed. This better separates you as a VO talent who knows their stuff.

That means you need to be aware of these options. Being able to transition between these can be a valuable additional service you can provide to your VO clients.

When the pandemic hit, it became essential to provide these connection options through your voiceover studio.

More Connection History – ISDN over Wires

The way it used to work – or – “Another acronym bites the dust” :

Through around 2015, if you wanted to record high quality audio remotely while providing voiceover on a professional commercial project, then you needed physical ISDN line connected to your studio, or you had to travel to the client’s location. Those days are over.

ISDN stood for Integrated Services Digital Network. It was a wired high speed connection designed to transmit digital information, and requires CODEC (Coder/Decoder) hardware at both ends of the line. 

The compelling feature about ISDN was that it maintained information in a linear format. If you had something where timing was important, ISDN could be relied upon to deliver audio in real time without introducing errors. That meant a distant talent (you) could be recorded locally at the studio (where your client was). You connected, spoke into your mic and received direction for additional takes.

When you were done, the engineer at the other end of the line had all your audio recorded there. High fives all around and everyone was on to the next project.

The downside with ISDN is that it required specific types of physical wiring and connections. It needed to be close to a high bandwidth main line, so you couldn’t even get it installed some places. You had pay to get it installed, pay for the service, and then pay for the actual connection time. Telco’s have officially phased out ISDN. The service has been decommissioned entirely in some countries. While you may find tiny little pockets of use, ISDN is dead tech.

These days, if someone asks you to connect over ISDN, you need to gently explain that isn’t going to happen.

Wired, not WiFI: Best Practice for Any Remote Connection

Since I was just talking about “wires”, this is a good time to mention a key point:

You should have a wired connection to the internet. That means there should be a network cable coming out of your computer and attaching to your router or modem. WiFI is not recommended for any high-speed, high quality audio over the internet.

Yes, you will find anecdotal tales on the internet about how some VO’s got away with it for a single session, or used a combination of mobile hot spots and wireless connections. That is risky at best. Sure, if you have a client on the line and you need to salvage a session, give it a try (or better yet, test it beforehand so you know how to use it). But best practice is hard-wired.

You may find that many recent computer models have eliminated the network port – I’m looking at you Apple! – which means you will need an adapter to go from your Thunderbolt or USB-C or USB 2.0 port to a network connection via high quality cable. I have a number of options listed on my Gear page.

But a wired connection is (1) faster, (2) more reliable, and (3) less likely to get interrupted by unwanted traffic. Some of these connection methods (such as Source-Connect) may need to access specific network ports for best results, which is also much easier with a wired, static connection.

(One more thought about connecting to the internet – when ISP’s tout their services, they are quoting download speed. Most throttle or restrict the upload speeds for home-based services. When you are considering which internet provider to use, make sure you understand both numbers.)

ISDN is dead! Long live Source-Connect!

When ISDN went away, voice actors turned to to the internet. Luckily, back in 2005, the clever folks at Source-Elements realized that if they could solve some technical challenges, it was a perfectly good way to transmit broadcast quality audio from your microphone to a distant studio. They created Source-Connect.

Source Connect: What clients ask for most frequently

Main takeaway: Source-Connect Standard is the coin of the realm if you are a voice actor looking to work at a professional level. I’d been recommending it as a “value-added” service for several years, but these days having Source-Connect Standard is a requirement when you apply to almost every voiceover agency. Source-Connect Standard is a paid service offered through Source-Elements.

Source-Connect is a application-based connection method which runs audio over the internet

Source-Connect uses the internet as a backbone for high speed delivery. The original challenge for Source-Connect? The internet doesn’t really care quite so much about delivering linear stuff in real time. It chops it up into packets and then reassembles those at the destination.

Source-Connect needs another instance of Source-Connect at the other end of the line to make sure your audio remains intact. Each Source-Connect program is talking to the other – like the hardware CODECs were – correcting errors and smoothing out time-shift issues. Not a trivial operation, but the end result is that it works the same way. That allows a studio to record a remote talent locally.

After initially struggling to gain a foothold against the widespread use of ISDN, Source-Connect has become the standard of connection during a recording session. The important benefit is that when you speak into your microphone, it is recorded at the far end of the connection in a different studio. That efficiency allows workflows to stay on schedule.

The result is that Source-Connect continues to be the most commonly requested option appearing on audition opportunities currently.

Most agency-level auditions specify “Source-Connect (paid)” – meaning the Standard version – as a requirement for submission on a project. Source-Connect has become a base level of connection with a recording studio. While recording studios may need the “Pro” level, voice actors do not need that version. Source-Connect Standard can connect to the Source-Connect Pro account that most studios use.

As you would expect, Source-Connect is not free. There is a 15 day free trial option, and Source-Elements offers a Two Day License for Source-Connect in addition to a subscription and license purchase option. If you are running Source-Connect version 3.9/3.8, you need an iLok accouant to manage the licensing – an easy task we can do together through a short session. 

Source-Elements are currently rolling out Source-Connect v4.0, which is a major, ground-up revision of the core code. It is not compatible with Source-Connect 3.9/3.8 and requires a slightly different licensing.

Other Remote Connection Options – Pro Level

Session-Link Pro for European Clients

Session-Link Pro is another option which seems to be used more in Europe, so it may pop up as an option depending upon where you are finding work. SLP uses a browser-based connection as described below, but has synching capabilities as with ipDTL, so will generally be used to record you at the other end of the line (which they call “Far-End Recording”). From the talent perspective, you can connect easily via a link from the studio/engineer. 

Connection Open provides high quality connection

I was lucky enough to use some beta versions of this system, and it really impressed me. Connection Open has been in quiet, steady development for a while now and uses an uncompressed signal to provide significant clarity during a session. I’ve not ever encountered a dropout with it.  Developer Randy Morrison has created a system to support uncompressed audio between multiple users with extremely low latency. It can be used app to app or has AAX/VST/AU plug-ins to facilitate routing.

Connecting Audio Through Your Web Browser – Using the OPUS Audio Codec

When Google rolled out the Chrome browser, they included a high quality (24 bit) audio pipeline (the OPUS audio codec) under the hood. Clever folks utilized that that to have a non-time-corrected way of communicating with high quality over the internet. That means I can still record you remotely, but sometimes there are glitches and no easy way to remove them other than redo the section. Talent often just record locally and transfer the files after the session.

The common tools for this include Source-Connect Now (which is not the same as Source-Connect, though the same company developed it), BodalgoCall (which has been nicely refined and even has a video option, if that’s useful), or Google Meet. I have to say that BodalgoCall . I’m also a big fan of Cleanfeed, which enables mid-stream recording of both parties even in their free version, which makes it great for podcast interviews. I’ve been using it since very early beta versions, and it’s a simple and solid tool.

There are others as well which keep cropping up using this same method. More recently other browsers have started to support this – notably the new Firefox Quantum – as well as some less-well-known browsers. Also, some of the companies have a standalone version of their tool so you aren’t at the whims of the browser company – who could potentially break the audio functionality with an upgrade.

Since audio quality is quite high on all of these options, it’s becoming more ubiquitous. Things sound clear when you are connected which lets a director respond more effectively to your performance. The downside is that you may have to explain to your client how to use these less well known methods.

Browser-Based Connections
ipDTL may have had its moment

ipDTL* uses the 24 bit OPUS audio codec in the Chrome browser to create a clean connection with your director or studio. The interface is now nicely refined and it contains some interesting features. However, as of 2025, it seems to have faded in popularity among voice actors. Though you may be asked to connect to an ipDTL session, I generally don’t encourage a paid account for home VO studios.

If you are sent an ipDTL link, you can simply connect with that to another studio through your Chrome browser. You do not need a subscription to connect in that way.

ipDTL have spent a lot of time refining their interface, so it’s now very user-friendly. I’ve found this to be a good connection option – particularly for clients who are not as tech-savvy. Connecting through ipDTL is very high quality – it’s on the same level as Source-Connect or ISDN and can locally record a remote source (or feed the whole mix to broadcast). There are a number of very useful tools for sharing audio with your client, and it does support video during the session.

*If you need to win a bar bet: “ipDTL” stands for “internet protocol Down The Line”

Zoom is a solid choice – and now everyone knows what it is

Before the events of 2020, you actually had to explain teleconferencing environments to people. Now, Zoom seems to be a part of everyone’s daily existence…

I actually prefer Zoom for audio quality, though all zoom audio is generally processed and compressed. is a bit better when there are multiple people on the line. Plus, sharing a contact link or number is much more direct. You can also provide phone access for your client if they are only able to dial in for the session. Frustrations exist with Zoom, of course – mostly with the audio engine and algorithm that sometimes don’t play well with common recording software and interfaces. You can get some weird glitchy results with no warning. 

For one-to-one connections, Zoom can be used for free. (Multi-party sessions are limited to 40 minutes for non-paid plans). It also seems to have less capricious upgrades – nearly every time I open Skype, it seems to have another version that needs to be downloaded – sometimes breaking functionality and making the connection of your booth audio problematic.)

However, because Zoom audio is actively processed, the audio sent in real time is not usable for final quality. If you are in a Zoom session, you should record locally and send the audio to the client after the session.

Microsoft Teams / Google Meet

Similar to Zoom, these popular conferencing systems do show up depending upon the clients you may be working with. While Teams has a standalone app, I’ve found that the web-based version of Teams gives me better options for microphone access,
Google Meet is web-browser based only, and continues to be used more frequently. It has had some challenges with audio routing, but as with all Google products, tends to be continually refined and is very stable.

R.I.P. SKYPE

As of 2025, Microsoft announced that they are ending Skype in favor of the Teams connection platform. It’s been several years since anyone asked me for that method, so this is not surprising.

Discord continues gaining momentum

Discord has continued to crop up as a go-to connection option, especially for gaming companies. It serves 24 bit audio to your director and can also establish a realtime video link. You can create a Discord profile (I’m there under @jimedgarvoices – say “howdy!”) for no charge, which will allow you to use this if a client suggests.

As with any of the browser-based methods, you’ll be more than likely be recording at your end and delivering files after the session.

Note – if you use a video connection during the session, make sure your computer is up for the challenge. Unlike Zoom or Google Meet, the video feed is HD and can overwhelm older hardware. Test your system before your session!

Audio Routing and Setup In Your Studio Is Really a Separate Topic

Because everyone’s needs are a bit different, and each person has discrete challenges in their home voiceover studio, it’s usually worth it to work with someone to optimize audio routing at your end. Everything needs to work reliably during any live session.

Before you commit to a remote recording or directed session, consider the “last mile”.  That’s usually where most problems appear. I strongly recommend using a wired internet connection (that means no Wi-Fi). If you have an older computer or your rural internet is sketchy, you might keep the video turned off to minimize load on your computer and connection.

All of the audio can be routed in and out of your recording program/DAW, and the complexity of that varies with what you want to do. In all cases, the client/studio/director should be hearing the audio from your booth mic. It’s also important to use headphones so that you don’t create echoes or allow director’s comments to get recorded with your audio.

Home voiceover studios must be connection-ready

Being able to seamlessly interact with your clients from your home voiceover studio will separate the quality of your service and let you be more efficient. While there is nothing like a face-to-face session in a pro level studio, the compressed timeframe and real demands of our business makes remote connection a service you need to offer.

If you would like assistance in setting this up, please feel free to contact me or schedule a session.

I also offer a 3 hour comprehensive workshop covering Source Connect, Source-Connect Now, ipDTL and other connection options through Voice One – you can register for that here.

JimEdgarVoices.com / JustAskJimVO.studio
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