Susanne Eiber of Engelszungen: How Do Voices Stand Up to AI?

Susanne, you’ve been running the Engelszungen voice-over agency for over 20 years. How did you get into this unusual industry?

Susanne Eiber: Actually, by chance. My husband at the time was a radio journalist and was setting up a recording studio. One of his employees was out sick, and he asked me if I could fill in. That’s where I first came into contact with professional voice actors and the people behind them, and I was immediately fascinated. Looking back, that passion had been there even earlier. As a teenager, I was always mimicking TV commercials and was good at imitating people.

When did this passion become a career?

Susanne: During my time at the recording studio, the voice actors often arrived early for their sessions. They would tell me their stories, and I would take care of them. Despite my young age, I was sort of like a mother to these voice actors. When my relationship at the time—and with it, my work at the studio—changed, I didn’t know at first what to do. Then I happened to run into one of the voice actors at a bar in Munich. He said to me, “We miss you.” That’s when I realized I’d apparently left a void behind.

The agency negotiates fair fees for voice actors and actresses

And that’s how the idea for your own agency came about?

Susanne: Exactly. At that time, there was practically only one voice-over agency in Germany. I thought, “This is a risk, but maybe it’ll work.” I made the decision at the end of 2002, and in September 2003, I founded Engelszungen. I was able to draw on the network I’d built during my time at the recording studio.

What specific benefits does your agency offer voice actors and your clients?

Susanne: The client receives a voice tailored to their project and its specific requirements: male, female, deep or light, with a certain vocal age, tonal characteristics, or specific associations. This way, they don’t have to call countless voice actors themselves. We have a massive archive of voice samples that we can draw on. In addition, a client can send us a script, and I’ll select suitable candidates to record it—that way, the company can make a direct comparison. I negotiate attractive terms for the voice talent. In doing so, we ask questions that are crucial for assessing a project’s financial potential: How will the commercial or program be used? In which countries? For how long? On which media platforms? The fee is determined based on these factors.

The Art of Speaking: What Do Speakers Do Especially Well?

Which projects are particularly worthwhile for voice actors?

Susanne: Audiobooks often involve a lot of work. Narrators have to go through the text in advance, mark where to emphasize certain parts, and set aside blocks of time when they’re unavailable for other projects. The pay isn’t exactly great for that. It’s a different story with commercials: a few hours of work earns a decent fee. Aside from that, high-quality documentaries—such as those for ZDF, ARTE, or the BBC that air during primetime—are popular among voice actors. Here, they can once again add their own personal touch to an exciting, challenging topic.

How can you tell if someone has a good voice?

Susanne: I hear a voice and often know within three seconds whether it interests me. It has to have charisma. It’s not about a voice being perfect or smooth. On the contrary: a slight speech impediment, a crack in the voice, or a certain roughness can make a voice unique. For example, one of my voice actors had a slight “s” sound issue, which is exactly what made his voice so distinctive.

What do you think is the art of speaking?

Susanne: The use of language. It’s not just the individual words that matter, but the emphasis, the tone, and above all, the pauses. I once heard an interview with Christian Brückner, the German voice of Robert De Niro. It gave me goosebumps. He described exactly that: the pauses create the tension.

Are there any trends in votes?

Susanne: Absolutely. Fifteen or twenty years ago, deep, gruff male voices were in demand. After that, younger voices came into fashion. Now we’re seeing a trend toward higher-pitched female voices. These kinds of trends are sometimes sparked by prominent actors and actresses. For example, when a movie like “Twilight” becomes a huge hit and Robert Pattinson’s voice is suddenly everywhere, many companies want to use that voice in their advertisements.

How has your business changed over the past 20 years?

Susanne: Since the pandemic, the industry has been completely turned upside down. Many companies cut their advertising budgets back then, while at the same time, communication has increasingly shifted to digital platforms. Back then, there were times when six of us would sit in the office negotiating fees—thousands of euros were at stake, and it felt like being on the trading floor. Today, the process is simpler and more straightforward, but also calmer.

The AI Era: How the Voice-Over Industry Sees the Future

And then came the big AI boom.

Susanne: That’s right. For voice actors, artificial intelligence is devastating. Right now, two factors are coming together: The economy is slowing down, budgets are tight, and at the same time, AI is becoming increasingly prevalent. When a company says, “Come up with a rate, or else AI will do it,” we have almost no way to influence this price war.

Do you think human voices will still hold their own?

Susanne: I’ve noticed a slight shift back, especially when it comes to documentaries. Some clients have ventured into the world of artificial intelligence and now appreciate working with people again. That’s because good voice actors don’t just read a script. They think along with the text. They notice when a sentence isn’t quite right, consider how to make it sound more natural, and pay attention to pronunciation and transitions. Germany has traditionally had high standards when it comes to dubbed content. It’s impossible to say with any certainty how long it will take AI—or whether it will ever—to fully meet those standards. At the moment, however, there are plenty of examples of AI being used for voice work that aren’t convincing.

There are also voice actors who lend their voices to train AI. What do you think about that?

Susanne: Personally, I’m skeptical about this, but ultimately, every voice actor has to decide for themselves. Many have signed such contracts because they say, “I have to support my family and pay my rent.” Voice actors who have a broader range of work—for example, those who also work as writers, directors, or actors—are more likely to say, “As long as I have other options, I won’t do that.”

Would you still recommend that young people today become voice actors?

Susanne: To be honest: No. At a time when the industry is under economic pressure and AI is further transforming the job market, I think it’s problematic to recommend that young people become voice actors. Established voice actors, however, will continue to have good chances of being booked.

What are your own plans for the next five years?

Susanne: It used to be important to me to know what things would look like in two, three, four, or five years. Today, the business changes, in some cases, from month to month; we have to constantly adapt. Of course, I hope that the slight upward trend we’re currently seeing with some customers will stabilize. But I don’t know. And that’s actually a new experience for me.