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Bill Carroll - Professional Producer, Voice Over Artist, Emcee


Location: New York City, NY; Fredericksburg, VA


Tel: 917-813-2818

Professional info


For Radio, my extensive experience has brought me projects for not only Radio, TV and the Film Industry but I've voiced children's educational CD-Roms for schools, commercial audio-books as well as for the Blind and many commercial voicemail systems, video narrations and instructional voice over work for television, film, internet and software companies. I've done voice imaging for radio stations as well as thousands of V/O's for television & radio. I currently not only do a Terrestrial Radio Show every evening in Central Virginia but also produce an 80's based radio show for syndication called the Groove Factory.

I'm also trained & certified by the Department of Defense as an audiovisual engineer, technician & trainer and I have helped develop complex audiovisual systems for the private sector as well as the Military and Department of Defense and engineered music albums as well as have done the sound engineering on hundreds of major stage shows around the country including Nickelodeon Live.

I'm currently working on a large educational project for the Institute for the Performing Arts in which I founded that will also be a non-profit organization to help with the education departments of Elementary/Middle/High Schools everywhere. I'm a HUGE supporter of the Arts.

Also being the award winning Production Director for Centennial Broadcasting based here in Central Virginia, donating my time and talent to charitable organizations worldwide each & every year and continuing to strive for excellence in everything that I do, my team and I will give you the utmost professional services and talent at very competitive pricing.


Contact me today for a personalized quote and let's build a relationship to take your vision to the next level!

Special Skills



  • Audiobooks

  • Business Ads

  • Cartoon Characterizations

  • Documentaries

  • Educational

  • Internet

  • Jingles/Singing

  • Movie Trailers

  • Music Production

  • Podcasting

  • Radio Commercial Ads

  • Telephone Voicemail

  • Television IDs/Promos

  • Videogame Audio

  • Narration

  • Station Imaging

  • Remixing Services

  • Mastering Services

  • Voice-Tracking

  • Pre-Produced Radio Shows


Turnaround Time:

1 Hour (if needed)

Up to 3 Hours (normal)


Neumann BCM104


Ableton, Cool Edit Pro, Presonus, Audition

Additional Skills

Media Specialism:

Audiobooks, Cartoons, CDRom, Commercials, Corporate, Documentary, Dubbing, E-learning, Events, In-car Navigation, Jingles,  Multimedia, Narration, News Reader, Podcasts, Radio, Spoken word & performance poetry, Teacher / Voice Coach, Telephony systems, Video Games, Voice Direction


Voice Style:

Angry, Announcer, Arrogant, Authoritative, Bubbly, Charismatic, Cold, Concerned, Deep, Dopey, Dry / Sarcastic, Empathetic, Energetic, Friendly, Fun, Happy, Husky, Informed, Innocent, Light, Luxurious / Smooth, Natural, Reassuring, Scary / Intimidating, Sexy, Soft / Gentle, Sophisticated, Street, Versatile, Warm


Languages Spoken:


Vocal Skills


English, English (North American), English (British), English (Australian), English (New Zealand)



Australian, British, German, Irish, Italian, Jewish, New Zealand, North American, Russian



Animation, Audiobooks, Business, Documentaries, Educational, Internet Video, Jingles, Movie Trailers, Music, Podcasting, Radio, Telephone, Television, Videogames

I've had Number 1 Ratings On Stations Down The East Coast

2010 - present

2010 - present

Q It Up: Should promos be treated like commercials?


Q It Up: We’ve all read much about how to write and produce effective radio commercials for our advertisers. What about our station’s promos, which are essentially the station’s commercials? Should the principles we preach about effective radio advertising also be applied to the station promos? Rules like defining the USP, telling a story, identifying the customer benefit, keeping it simple, giving a call to action, frequency/repetition, etc. What’s your experience with this? Do your stations approach promos this way? Is it different for promos, or should we treat our promos more like expensive time buys, carefully crafting the campaign like a good advertising agency would?

Bill Carroll, Production Director/On-Air Personality, WBQB/WFVA, Fredericksburg, VA: This is a GREAT question! We approach our Promo’s slightly differently. Although we offer our clients amazing commercials (of course, when we’re allowed to be as creative as possible), everyone knows that the clients pretty much get what they want in terms of the “sound” of the spot and what kind of message it portrays, so most of the time we as the creative creators are limited in what we can produce for them.

With our station’s Promo’s, it’s completely wide open in terms of creativity and of course really shows our personality to our listeners as well. We take that to all kinds of levels. Even though we’re keeping our signature “sound” with most things that we put on the air (imaging/commercial spots, promos), the creativity level and real personality of our station soars with our Promos. To try and make them close to our imaging elements, which are extremely fun, full of personality and puns, and are created to be very entertaining. Our Promos lead our imaging with that exact creativity and fun-factor.

The promotion itself determines how far we can go creative-wise with the elements and verbiage of the promo. Heck, I even took the “ever-so-normally-boring” prize disclaimer that we’re all required to play (which most programmers bury on the overnight) and gave it a pretty entertaining twist that’s fun and funny to listen to so something that would be boring and legal sounding, sounds crazy and entertaining and uses the exact same verbiage as the boring one and plays in all dayparts when required. Its things like that and our Promos to me that really give the station the personality you want to have portrayed, or you’re just going to end up having it sound like everything else as it goes in one ear and out the other to our ever-so-important listener. We want them to smile at our promos and think we’re the “fun” station to listen to. To just take away the stress of their day just for a single moment is so important to us. Our Program Director and I take that very seriously and work very hard at making it seem we’re all just fun and games every day.

Q It Up: What skills and/or assets are most important when it comes to cranking out great commercial production? What tools and/or expertise do you find key to being able to turn out effective commercials that keep the audience tuned in and clients coming back?

  • Nov 2017

  • This was Published in a Trade Magazine called Radio & Production (


Bill Carroll, Production Director/On-Air Personality, WBQB/WFVA, Fredericksburg, VA:  I love this question because it really is what I teach and guide my voice people for great production on all levels.  I approach an Ad with 3 levels, to make it as effective as can be. This is going to be a bit broad and of course each level has its own degrees of what needs to be done but my 3 levels are these:


1) The Actual Script - Probably THE most important part of the Ad as you're creating the foundation of the commercial itself.  What's your concept? What's the message? All of this determines what kind of voice you're going to use, how many voices and what kind of delivery it will need to get across the point of the Ad in the 1st place.


2) The Voice Actor(s) - Extremely key and to me the most critical part of the process.  You can get anyone to read anything but if you don't pair the right voice and delivery to the words and message you're trying to convey, then it'll fail and won't be as effective as it should be. I'm extremely picky on the voice delivery of each and every spot that comes across my console. If I'm limited in voice talent and of course I can't keep voicing everything, I make the best of it and actually coach and lead the voice talent to where the spot should be and how their voice and delivery can be most effectively portrayed.


3) The Post Production Process - I hear so much bad production of agency spots and "hey I produced this in my basement studio with my laptop with zero experience" that I have to sometimes re-master the spot as best as I can to make it "sound" audibly delicious on the air. But, if I'm producing in house, the music bed and layering process is also key in making this spot stand out and sound the best that it can be.  Layering the music and any sound FX is crucial to make it sound believable to the listener. Unfortunately there are so many bad producers out there that work real cheap for agencies that they don't take the time to properly match the music with the voice, style, feel and genre of the ad/client and don't care enough to take the extra time to make it sound believable and audibly great to listen to. Just as someone's voice delivery, music and sound FX creates the mood of the spot. It creates emotion and most people are driven by how they feel where they are at that particular time they're listening. Knowing this is what fuels my production to be the best that it can be.  Sound is a very powerful thing. And what does someone's emotional state do?  It makes them spend money or not spend money with that specific client. No matter what format the station is and who your core audience is. It touches their senses. Sound is Theatre of the Mind, we all know that. I just think some people forget that while in the automatic mode of trying to get as much production done as possible in a given day if their load is heavy. 


Bottom line is if you take the time to create effective spots on all levels, the more the client will buy because you're giving them the tools for ROI and you're giving the listener a reason to keep listening. I mean, that's why we do what we do, yes?

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