Notes from a Recording Booth in Copenhagen

There is a moment in voiceover work that never quite stops feeling strange. The red light comes on, everything falls silent, and a line that may last only three seconds suddenly requires your complete attention. No faces, no blocking, and no one else to move the scene forward—just breath, timing, and the microphone.

During a recent session in Copenhagen, I recorded commercial voiceover and ADR for a character speaking from a child’s bedroom. One line needed several takes. Nothing was technically wrong; it simply had not landed yet. A slight change in rhythm eventually brought it into focus. That is often the work: listening closely enough to recognize when a line has found its shape.

I work in both Danish and English, and recording has become a natural part of my work as an actor. I record most auditions and test reads at home, with a microphone, headphones, and a quiet corner of the room. I usually make final recordings in collaboration with a studio in Copenhagen.

Recording during a voiceover session in Copenhagen.

Sound has been part of my life for as long as I can remember. Music runs through both sides of my family. On my mother’s side, my great-grandmother’s cousin was the pianist Johanne Stockmar. Tracing the family further back leads to musicians in 18th-century Germany. I play the fiddle myself, so music has remained part of my life alongside acting.

On my father’s side, my dad played the piano by ear. As a teenager, I sang backup vocals on my uncle’s blues recordings in his small Copenhagen home studio. Later, in London, I performed as June Carter in a Johnny Cash duo, singing songs including “Jackson” and “Cause I Love You.” During a period in Los Angeles, I also spent evenings layering harmonies in a friend’s studio on Gower Street. None of those experiences were planned as a path into voice work. They were simply part of learning how sound moves.

Voiceover has its own kind of intimacy. You speak to someone you can’t see, shaping words for a listener who may hear them days or weeks later. The performance might guide, narrate, or simply stay out of the way, but it still depends on attention to the language and the person on the other side of it.

As an actor, voice work has made me more precise about how sound carries intention and where emotion sits in the breath. It has also become a useful thread between larger shoots and travels: acting pared down to the voice.

For voiceover inquiries or to hear samples, visit my voiceover page.