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Welcome to our friendly corner of the internet, where we offer valuable tips for voice over artists and audiobook narrators! Today, we're diving into IPA… not the lovely hoppy West Coast ale type, but the International Phonetic Alphabet (just as fun, right?)… a powerful tool that can help you master different accents and improve your pronunciation skills. By the end of this article, you'll know how to write down words and sentences using IPA, and how to use it to write out different accents.   What is the International Phonetic Alphabet (IPA)?   The International Phonetic Alphabet (IPA) is a system of phonetic notation devised by linguists to accurately and uniquely represent each sound of human speech. Unlike the regular alphabet, where letters can represent multiple sounds, the IPA assigns a specific symbol to each distinct sound, making it an incredibly precise tool for linguists, actors, and anyone learning new languages or accents.   The Sounds and Symbols of IPA   Let's start with the basics. Each sound in a word is represented by an IPA symbol. Here's a quick guide to some of the most common symbols and their corresponding sounds:     Consonants /p/ - as in "pat" /b/ - as in "bat" /t/ - as in "tap" /d/ - as in "dog" /k/ - as in "cat" /g/ - as in "goat" /m/ - as in "man" /n/ - as in "no" /ŋ/ - as in the ‘ng’ in "sing" /f/ - as in "fish" /v/ - as in "van" /θ/ - as in "think" /ð/ - as in "this" /s/ - as in "sit" /z/ - as in "zip" /ʃ/ - as in "she" /ʒ/ - as in the voiced fricative in “vision” and "measure" /h/ - as in "hat" /l/ - as in "lamp" /w/ - as in "win" /j/ - as in “yes” and "yellow” /ɹ/ - as in "red"  Note : many dictionaries will just use /r/ for the ‘r’ sound in “red” or “very” for ease of reading. However, this symbol actually represents a ‘trilled r’ like in very conservative RP or the trill we often hear in Spanish or Italian. For this article, we will use /ɹ/.    Vowels /æ/ - as in "trap" /ɒ/ - as in "lot" /ɪ/ - as in "kit" /e/ or /ɛ/ - RP and General American, respectively, as in "dress" /ʊ/ - as in "foot" /ʌ/ - as in "strut" /ə/ - as in the first sound in "about" and “above”, known as the schwa sound /ɑː/ - as in "palm" /iː/ - as in "fleece" /ɔː/ - as in "thought" /uː/ - as in "goose" /ɜː/ - as in "nurse"  Diphthongs   /eɪ/ - as in "face” /aɪ/ - as in "price" /aʊ/ - as in "mouth" /ɔɪ/ - as in "choice" /ɪə/ - as in "near" /eə/ - as in "square" /ʊə/ - as in "cure" How to Write Words IPA Here's how you might write a simple word in IPA: "Cat" = /kæt/ "Book" = /bʊk/   You can also write more complex words, including the stress for the syllables. To stress a syllable, we write a /‘/ before it, for example:   “Discover” = /dɪˈskʌvə(ɹ)/   The (ɹ) at the end there just means to pronounce the (ɹ) if you do in your accent.   Some words have a major stress /‘/ and a minor stress /,/. Again each symbol comes before the stressed syllable.   “Pronunciation” = /prəˌnʌnsiˈeɪʃn/   Longer sounds are shown by adding a /:/, for example:   “Sit” = /sɪt/ “Seat” = /siːt/   We can use a superscript of any symbol /ᵃ/ for a very slight sound:   “Button” = /ˈbʌtᵊn/   However, [ʰ] means an aspirated [h] for an accent, Spanish as an example.   A sound that is common in some English accents is the ‘Glottal Stop’, symbolised with [ʔ], as in:   “Uh oh” = /ˈʌʔoʊ/ “Water” (London accent dropping the /t/) = /ˈwɔːʔə/   For a full list of all IPA symbols and their corresponding sounds, you can check out:   https://www.ipachart.com/  - For the sounds in RP and General American   Or https://jbdowse.com/ipa/  - For a more comprehensive chart Writing Full Sentences in IPA   When writing full sentences in IPA, you transcribe each word individually, paying attention to pronunciation. For example:   Sentence: "The cat sat on the mat." IPA: /ðə kæt sæt ɒn ðə mæt/   Or something a little more complex:   Sentence: “We can discover the pronunciation together.” IPA: /wi: kæn dɪˈskʌvə(ɹ) ðə prəˌnʌnsiˈeɪʃn təˈɡeðə(ɹ)   Using IPA to Learn Accents   Now that you're familiar with the basics of IPA, let's use it to explore the differences between British RP and General American accents. We'll start with a few key phonetic distinctions:   1. Rhotic vs. Non-Rhotic: British RP: Non-rhotic, meaning the /ɹ/ sound is often not pronounced unless it comes before a vowel. Example: "Car" in RP is /kɑː/. “Actor” in RP is /ˈæktə/ General American: Rhotic, meaning the /ɹ/ sound is always pronounced. Example: "Car" in General American is /kɑ:ɹ/. “Actor” in General American is /‘æktɚ/.  Notice how the symbol for the ‘shwa’ sound /ə/ when joined with an /ɹ/ in General American is often written as /ɚ/.   2. Vowel Differences: The Trap/Bath split. Both say /tɹæp/ for the word “trap”. However, the word “bath” is said differently: /bɑ:θ/ - British RP /bæθ/ - General American   Lot: /lɒt/ - British RP /lɑt/ - General American   Thought: /θɔːt/ - British RP /θɑːt/ - General American   Goat /ɡəʊt/ - British RP /ɡoʊt/ - General American   3. T-Flapping: British RP: The /t/ sound is pronounced clearly. Example: "Water" in RP is /ˈwɔːtə/. General American: The /t/ sound often becomes a flap, similar to a quick /d/. Shown by the IPA symbol /ɾ/ Example: "Water" in General American is /ˈwɔ:ɾɚ/.   Example Sentences in IPA: RP vs. General American   Let's compare a couple of sentences to see these differences in action. Sentence 1: “The common actor, the standard writer, and the about author all sat in the upper gallery.” British RP: /ðə ˈkɒmən ˈæktə ðə ˈstændəd ˈraɪtə ənd ði əˈbaʊt ˈɔːθə ɔːl sæt ɪn ðə ˈʌpə ˈɡæləɹi/ American English: /ðə ˈkɑmən ˈæktɚ ðə ˈstændəɹd ˈraɪɾɚ ənd ðə əˈbaʊt ˈɑːθɚ ɑːl sæt ɪn ðə ˈʌpɚ ˈɡæləɹi/   Sentence 2: “The task of the guard dog was to bark, alarm the yard, and calm the last of the barn dancers.” British RP: /ðə tɑːsk ɒv ðə ɡɑːrd dɒɡ wəz tuː bɑːk əˈlɑːm ðə jɑːd ənd kɑːm ðə lɑːst əv ðə bɑːn ˈdɑːnsəz/ American English: /ðə tæsk əv ðə ɡɑɹd dɑɡ wəz tuː bɑɹk əˈlɑɹm ðə jɑrd ənd kɑlm ðə læst əv ðə bɑɹn ˈdænsɚz/ Sentence 3:  "I need some water to stop the smell hitting the top."   British RP: /aɪ niːd sʌm ˈwɔːtə tə stɒp ðə smel hɪtɪŋ ðə tɒp/ General American: /aɪ niːd səm ˈwɑɾɚ tə stɑp ðə smel hɪɾɪŋ ðə tɑp/   Practical Tips for Using IPA   1. Practice Regularly:  The best way to get comfortable with IPA is through regular practice. Try transcribing different words and sentences, focusing on accurate pronunciation.   2. Listen and Repeat: Use audio resources to hear the correct pronunciation of sounds. Listen to native speakers of different accents and practice transcribing what you hear.   3. Use IPA Resources:  Many online tools and dictionaries provide IPA transcriptions of words. These can be helpful references as you practice. Oxford Learner’s Dictionary  has both RP and General American IPA pronunciation.  The Unalengua IPA app  is great for transcribing into IPA.  And there are a bunch of different IPA keyboards out there you can add to your phone or desktop to speed up writing!  I use the Keyman Keyboard  for my desktop and the IPA Phonetic Keyboard  for my phone.  Conclusion   Understanding and using the International Phonetic Alphabet (IPA) can significantly enhance your abilities as a voice over artist or audiobook narrator. By mastering IPA, you'll be able to accurately represent and practice different accents, improving your versatility and skill set. Start with the differences between British RP and General American accents, and soon you'll be able to tackle a wide range of accents with confidence. Happy /‘pɹæktɪsɪŋ/ !

Hey, Wonderful Voice Over Artists and Narrators! Working out how much to charge to cover PayPal fees is more complicated than it looks. PayPal charges a percentage of the total payment (like 2.9% or 3.49%) plus a fixed fee (like $0.49). But here’s the tricky part: They take that fee from the entire amount the customer sends you — not  from just the amount you want to keep. So if you simply multiply what you want to receive by the fee percentage, you’ll come up short. For example, let’s say you want to receive exactly $100, and the fee is 3.49% + $0.49. If you just add $0.49 to $100 and then add 3.49%, you’d invoice for $103.98. But PayPal will take 3.49% of $103.98 plus  $0.49 — meaning you’ll still end up with less than $100. IT IS REALLY CONFUSING!!! To get it right, you need to reverse-engineer the equation, taking both the percentage and  fixed fee into account, based on the total invoice — which is exactly what this calculator does for you. Just enter the amount you want to receive, select your country and fee settings, and we’ll work out exactly how much to invoice so that after PayPal takes its cut, you’re left with the right amount. Hope this helps!!!! Let us know if you would like any additional features added to this calculator! ⚠️ Disclaimer  We’ve done our best to make this calculator accurate and helpful, but please note that PayPal fees and policies can change at any time and may vary depending on account type, transaction type, currency conversions, or other factors. This tool is provided for informational purposes only. We cannot guarantee its accuracy, and we are not responsible for any discrepancies or losses that may result from its use. Always double-check your fee structure directly with PayPal before invoicing large amounts or relying on the results for financial planning. By using this tool, you acknowledge and agree that you do so at your own risk, and that www.theaudiobookguy.co.uk , its creators, and affiliates are not responsible for any outcomes related to your use of this service. This tool is an independent resource and should not be considered an official PayPal product or service. If in doubt, always consult the official PayPal Merchant Fees directly.

Working professionally as a voice-over artist is a fulfilling and fun career, but how can we really make an impact to get our foot in the door? We interviewed some top professionals in the industry to get their take on what we can do to stand out, how we can get booked again, and the big no-nos to avoid.  So let’s dive in together and see what they have to say!  Gavin Harrison  Harrison is an L.A.-based voice director, actor and script adaptor for anime such as Bleach: Thousand Year Blood War and Boruto: Naruto Next Generations.  What do you think makes a good voice-over reel?  Only a minute long, any longer and it makes you seem too self-indulgent. This is what I’m always told by agents to give, and it’s what I look for as a director.  Strongest stuff first, if someone listening isn't interested at all in the start, they won’t want to keep listening. You should be malleable and ready to change your reel to better suit the needs of what you're applying for or what roles you’re in the market for.  Are there any mistakes you see voice-over artists make when auditioning or on the job? Messing the lines up in auditions shows a level of unprofessionalism because you had the line in front of you AND the opportunity to rerecord them. When I’m auditioning, what I’ll do is listen back to it and read the lines just to make sure I’ve not missed a word or said a line differently. I appreciate when actors send two takes of a line and the second one has a completely different spin on it, but when there’s only one and they’ve done a whole different thing… where’s the one I asked for?? It also shows whether you can take direction because if I ask for something, are you going to do it that way, or do your own thing? PUNCTUALITY! Don’t just be on time; be early, so you’re not rushed and you can give yourself time to settle before you go into the booth.  How important is vocal versatility versus having a strong signature sound? I’m a character actor, so I do lots of different voices all the time, because of this, I lean a lot more on versatility over having my own signature sound. When I cast in anime, I only cast actors who can do different voices because they’ll often be cast as multiple different characters. If you have a signature voice, it’s because you’re already quite famous, people recognise your voice, and you’ll get cast for a role that was designed with you in mind.  Nuala O’Leary   O'Leary is a British film and TV producer with extensive experience in the industry, having worked on the series Who Is Erin Carter? and Strike Back, as well as the movie Miss You Already.  What do you think makes a good voice-over reel?  Clarity, a sense of character, distinctiveness, but overall, whether or not their voice fits what I need it for.  What can a voice-over artist do to stand out in casting/auditioning?  Having personality, feeling like they want to be there, that it’s important for them to be there.  A lot of great actors just have charisma and the ability to make you feel like you’re the only one they’re talking to: they sell themself to you. Having a different read on a character, that makes you think, “Wow, I hadn’t thought of that.” Having courage in your conviction and confidence to state your opinion.  What can a voice-over artist bring to the table to make connections and get booked again? Punctuality and being professional. Being understanding and generally just being a nice person.  Alex Painter  Having worked in many musical positions, including a composer for film, TV, and documentaries, we asked Painter about his experiences with voice-over artists.  What can voice-over artists do to help musicians? Good sound quality and editing are so helpful for writing scores around it. It’s way more helpful to have it mixed for me because it makes it so hard to write music when there are digital clicks and unhelpful frequencies still present. You have to second-guess what’s going to still be there in the final mix of the audio.  It never has to be perfect, but it really helps me do my job more effectively, even if it’s just roughly edited and roughly EQed.  Roth Rind Rind is a writer and director based in Burbank, California, known for his work in commercials and sci-fi and drama content such as The Bumbry Encounter and This Is Fine.  What do you think makes a good voice-over reel? Breadth of your talent, voice-over actors are really being hired now because of their skill outside of one note. A good reel will only be 30-60 seconds and includes a wide range of voices that I can make a good judgment off of.  What can a voice-over artist do to stand out in casting/audition? Understanding the text and bringing something unique to the table: stand out. After hearing so many auditions doing the same takes, we’ll really want someone to come in with a unique voice and shake it up; provide a new perspective.  How important is vocal versatility versus having a strong signature sound?  It depends on the project, but versatility is more important in audiobooks and series like anime. Though a signature sound can be key for bigger actors and brand association.  Can you share an example of a time a VO artist nailed an audition/job and why they were chosen or brought back?  We were doing auditions for a commercial piece, and this guy, Jerry Gas’n’Go, sent in an audition, and the presence of his voice completely floored us, and we were like “That’s the guy!” He had such a swagger and confidence, so we hired him 6 or 7 more times. We could send stuff to him to get recorded, and he would have it done by the end of the next day: he was very fast and flexible.  There’s a clear common theme with these interviews: Be on time, be professional, and it’s generally appreciated when you’re a nice person. It makes it far easier to work with someone that you like than someone you can only treat as an annoying coworker.  With the help of these experts' nuggets of wisdom and your own incredible talent, you are well on your way to knocking your next audition out of the park. You can do this!!! Written by Ciaran Foster

How to Use Punch and Roll, Item-Based, and Time Selection Recording for Smooth, Professional Results If you’ve been narrating audiobooks for a while, chances are you’ve already heard the term punch and roll . It’s a classic, trusted method used to re-record a flub while keeping your flow intact. But Reaper, being the wonderfully flexible beast that it is, actually offers multiple ways to re-record audio —each useful in different situations. In this article, we’ll walk through three essential recording modes in Reaper : Regular Punch and Roll Record Over a Selected Item Only Record Over a Time Selection Only Let’s break them down step by step and talk about when to use each one. 1. Regular Punch and Roll – The Narrator’s Best Friend What it is: Punch and roll is the gold standard for audiobook narration. It is how all the big publishers expect you to work. It plays back the last few seconds before your mistake, then starts recording smoothly over the bad take—helping you stay in the zone. Press ‘1’ when using the Audiobook Guy config to access this method. How to use it: Place your edit cursor  just before the mistake (or at an easy ‘punch-in’ point like at the end of a sentence, or before a breath). Hit record  (by default: press R, The Audiobook Guy config: shift space). Reaper will play a pre-roll  (usually 2–5 seconds), then automatically start recording from the cursor. Read along with the pre-roll to get back into the exact tempo and cadence you left off with. When you stop recording, the new take will replace the old one seamlessly , as if the mistake never happened.  Pro tip: While you’re learning, always check your punch-in points  after the take to ensure they’re smooth, especially if you punch in halfway through a sentence. Setup tip: Download The Audiobook Guy Reaper Config. All of these recording modes are ready to go, and I have loads of other shortcuts to speed up your work! To find out how to install it check out our How to Set Up Reaper  guide. When to use: Any time you are recording an Audiobook or long-form voice-over. You have completed a long take and want to fix the last line while keeping everything else. You want a smooth flow that matches your natural delivery. 2. Record Over a Selected Item Only – Laser-Focused Fixes What it is: This mode allows you to replace only a specific audio item  (or “clip”). Reaper won’t record outside of it, even if you keep talking! How to use it: Split the section you want to fix into its own audio item  (hit S to split). Select just that item. Arm the track and hit record . Reaper will record only inside that selected item .  Setup: This is built into Reaper—no settings to change! Just hit ‘2’ in The Audiobook Guy config. Just make sure only one item is selected  on the armed track when you hit record. When to use: You want a clean re-record of an exact phrase without risk of overwriting nearby content. You’re punching in a small fix and want hard boundaries. Pro tip: Great for punching in corrections during post-production ! 3. Record Over a Time Selection Only – Flexible, Controlled Overdubbing What it is: Instead of targeting an item, this mode lets you record only within a selected time range , no matter what items are on the track. How to use it: Drag to make a time selection  over the section you want to fix. Place your edit cursor  where you want playback to start (before the time selection). Arm the track and hit record . Reaper will play from the cursor and start recording only during the time selection . Recording stops at the end of the selection. Setup: Just hit ‘3’ in The Audiobook Guy config When to use: You want a specific re-record of a time-based region, even if it spans multiple items. You need to punch in a fix across multiple clips or edits . You’re replacing narration at a specific timestamp. (Great when fixing voice over on a video project!) Final Thoughts Each of these recording modes gives you a different kind of control—and as a narrator, having the right tool for the moment saves hours in editing . Here’s a quick recap: Mode Use When… Punch and Roll ALWAYS , but especially for audiobooks and long-form voice-over. Record Over Selected Item You’re targeting a specific phrase with surgical precision Time Selection Recording You want flexible, bounded recording across time rather than item Bonus: Try My Reaper Narration Setup Want these tools at your fingertips? I’ve built a custom Reaper config just for audiobook narrators and voice over artists, including: One-click Punch and Roll Item-based and time-based punch actions Streamlined shortcuts and macros 👉 How to set up The Audiobook Guy Config here  Got a favorite method? Or want help setting this up? Drop a comment on the blog or join our narrator’s forum and let’s chat shop!

Lively colored linoleum, languishes alongside slightly sullied linoleum. The sixth sick sheik's sixth sheep's sick. How can a clam cram in a clean cream can? Send toast to ten tense stout saints' ten tall tents. Fred fed Ted bread and Ted fed Fred bread. I saw a saw that could out saw any other saw I ever saw. A tutor who tooted the flute tried to tutor two tooters to toot. Six sleek swans swam swiftly southwards. Tom threw Tim three thumbtacks He threw three free throws Did Tom to Tim Three free throws of three of Tom’s Thumbtacks Red Lorry, Yellow Lorry, Red Lorry, Yellow Lorry (British for Truck) Irish Wristwatch, Irish wristwatch I wish to wash my Irish wristwatch Unique New York, Unique New York You know New York, you need New York, you know you need unique New York I’m Not a Pheasant Plucker I’m a Pheasant Plucker’s Son And I’m only Plunking Pheasants ‘till the Pheasant Plucker Comes All I want is a proper cup of Coffee made in a proper copper coffee pot I may be off my dot but I want a proper coffee in a proper copper pot Iron coffee pots and tin coffee pots, they are no use to me If I can't have a proper cup of coffee in a Proper copper coffee pot, I'll have a cup of tea Sally sells seashells by the seashore,  She sells seashells by the seashore. Sally sells seashells by the seashore, and the shells she sells are sea shells I’m sure I slit the sheet The sheet I slit And on the slitted sheet I sit Ed had edited it. (x3) Peter politely Pocketed It. (x3) Lesser leather never weathered wetter weather better (x3) Peter Piper picked a peck of pickled peppers A peck of pickled peppers Peter Piper picked If Peter Piper picked a peck of pickled peppers Where’s the peck of pickled peppers Peter Piper picked? Betty Botter bought some butter But she said the butter’s bitter If I put it in my batter, it will make my batter bitter But a bit of better butter will make my batter better So ‘twas better Betty Botter bought a bit of better butter How much wood would a woodchuck chuck if a woodchuck could chuck wood? He would chuck, he would, as much as he could, and chuck as much wood As a woodchuck would if a woodchuck could chuck wood How can a clam cram in a clean cream can? I scream, you scream, we all scream for ice cream I saw Susie sitting in a shoeshine shop Susie works in a shoeshine shop.  Where she shines she sits, and where she sits she shines Fuzzy Wuzzy was a bear.  Fuzzy Wuzzy had no hair.  Fuzzy Wuzzy wasn’t fuzzy, was he? Can you can a can as a canner can can a can? I have got a date at a quarter to eight; I’ll see you at the gate, so don’t be late I saw a kitten eating chicken in the kitchen If a dog chews shoes, whose shoes does he choose? I thought I thought of thinking of thanking you Near an ear, a nearer ear, a nearly eerie ear Willie’s really weary A big black bear sat on a big black rug And the big black bear ate a bright blue bug  The bright blue bug had bright blue blood Which bled on the big black bear on the big black rug Nine nice night nurses nursing nicely So, this is the sushi chef Four fine fresh fish for you Wayne went to wales to watch walruses Six sticky skeletons (x3) Which witch is which? (x3) Snap crackle pop (x3) Flash message (x3) Red Buick, blue Buick (x3) Red Buick, blue Buick, buy a bright blue Buick (x3) Thin sticks, thick bricks (x3) Stupid superstition (x3) Eleven benevolent elephants (x3) Two tried and true tridents (x3) Rolling red wagons (x3) Black back bat (x3) She sees cheese (x3) Truly rural (x3) Good blood, bad blood (x3) Pre-shrunk silk shirts (x3) We surely shall see the sun shine soon Which wristwatches are Swiss wristwatches? Fred fed Ted bread, and Ted fed Fred bread A skunk sat on a stump and thunk the stump stunk, but the stump thunk the skunk stunk Of all the vids I’ve ever viewed, I’ve never viewed a vid as valued as Alex’s engVid vid

Welcome to the wonderful world of voice acting! 🎤 Whether you’re just starting out or looking to expand your career, understanding the various types of voice over jobs can open up new opportunities and help you find your niche. In this guide, we’ll break down the different types of voice over work and offer some tips to help you get started in each area. 1. Commercial Voice Over What It Is: Commercial voice over work involves providing the voice for advertisements on TV, radio, or online platforms. What You’ll Do: Deliver promotional messages for products, services, or events, aiming to persuade and engage the audience. Tips for Success:  - Master the art of speaking in a friendly, convincing tone while delivering branding messages. - Understand the product or service you’re promoting. - Develop a variety of styles, from Business Formal to Relaxed Conversational. 2. Animation Voice Over What It Is: Animation voice over involves lending your voice to animated characters in TV shows, and movies. What You’ll Do: Create unique voices for characters, bringing them to life with emotion and personality. Tips for Success:  - Experiment with different voices and characters. - Study animation and character development. - Network with animators and studios. 3. Video Game Voice Over What It Is: Video game voice over work involves voicing characters and narration in video games. What You’ll Do: Bring characters to life, deliver lines for story-driven content, or provide voice for interactive game elements. Tips for Success:  - Get experience in Mo-Cap (Motion Capture). - Be prepared for intense recording sessions. - Play a variety of games to familiarize yourself with different styles. 4. Audiobook Narration What It Is: Audiobook narration involves bringing books to life through your voice. As an audiobook narrator, you’ll read and perform books, engaging the listener with your voice. What You’ll Do: Narrate stories with a range of characters and styles, from dramatic novels to educational non-fiction. Tips for Success:  - Practice different character voices and accents. - Develop a good narration pace and clear enunciation. - Consider taking a course or workshop on audiobook narration. 5. Corporate Voice Over What It Is: Corporate voice over work involves creating voice content for business presentations, training videos, and internal communications. What You’ll Do: Provide a professional and engaging voice for corporate materials. Tips for Success:  - Develop a clear and authoritative speaking style. - Understand corporate communication strategies. - Build a professional portfolio. 6. E-Learning Voice Over What It Is: E-learning voice over involves creating audio content for educational materials, such as online courses and training modules. What You’ll Do: Record clear and engaging audio for educational content, guiding learners through lessons. Tips for Success:  - Focus on clarity and pace. - Be aware of educational content and learning objectives. - Practice making complex information accessible and engaging. 7. Medical and Technical Voice Over What It Is: This niche involves voicing content for medical or technical fields, such as medical training videos or technical product explanations. What You’ll Do: Provide clear and accurate information in a specialized field. Tips for Success:  - Get familiar with medical or technical terminology. - Focus on clarity and precision. - Work with experts in the field to ensure accuracy. 8. Non-Broadcast Explainer What It Is: This type of voice over is used in educational institutions, museums, and other non-broadcast settings to explain concepts, exhibits, or educational content. What You’ll Do: Provide clear and engaging explanations to enhance the educational experience. Tips for Success:  - Focus on clear and articulate delivery. - Understand the educational content and audience. - Use a tone that is both informative and engaging. 9. IVR and Phone Systems What It Is: IVR (Interactive Voice Response) and phone system voice over involves recording prompts and messages for automated phone systems. What You’ll Do: Record messages for phone menus, voicemail greetings, and customer service prompts. Tips for Success:  - Use a clear and friendly tone. - Understand the structure of phone menus and prompts. - Be precise with your enunciation. 10. Documentaries and Narration What It Is: This type of voice over involves narrating documentaries and other non-fiction content. What You’ll Do: Provide informative and engaging narration to guide viewers through documentaries with clarity and passion. Tips for Success:  - Research the subject matter thoroughly. - Develop a compelling and authoritative voice. - Practice balancing informative content with engaging delivery. 11. Promo and Trailer Voice Over What It Is: Promo and trailer voice over involves creating voice content for upcoming TV shows, movies, or events. What You’ll Do: Deliver exciting and engaging messages to generate interest and anticipation. Tips for Success:  - Master the art of creating excitement and intrigue. - Understand the promotional goals of the project. - Develop a range of energetic and dynamic delivery styles. 12. Dubbing What It Is: Dubbing involves replacing the original dialogue in a film, TV show, or video with a voice over in a different language. What You’ll Do: Match the original actors' lip movements and delivery while performing the dialogue in another language. Tips for Success:  - Develop strong language skills and practice lip-sync techniques. - Understand the cultural nuances of the target language. - Work on timing and synchronization to ensure a seamless dub. 13. Audio Drama What It Is: Audio drama voice over involves acting out characters in audio plays or serialized podcasts. What You’ll Do: Perform as various characters, often in a script that relies solely on audio to convey the story. Tips for Success:  - Develop deep character work and emotional delivery. - Practice creating vivid scenes using only your voice. - Collaborate closely with writers and directors to bring the script to life. 14. Toys What It Is: Voice over work for toys involves providing voices for interactive toys, games, and learning devices. What You’ll Do: Create fun and engaging voices that appeal to children and enhance the toy's interactivity. Tips for Success:  - Develop a range of playful and energetic voices. - Understand the target age group and their preferences. - Practice creating voices that are both engaging and safe on the voice for extended recording sessions. 15. Podcasts What It Is: Podcast voice over work involves hosting, narrating, or providing character voices for podcast episodes. What You’ll Do: Engage listeners with your voice, whether you're telling a story, discussing a topic, or performing as a character. Tips for Success:  - Develop a strong and engaging vocal presence. - Understand the podcast’s format and audience. - Practice creating a natural and conversational tone. 16. AI/Synthetic Voice/TTS What It Is: This involves providing voice samples to create synthetic voices for AI applications, text-to-speech (TTS) systems, and other technologies. What You’ll Do: Record various phrases and sounds that will be used to generate synthetic speech. Tips for Success:  - Provide consistent and clear voice recordings. - Understand the requirements and usage of synthetic voices. - Work closely with developers to ensure high-quality output. --- Finding Your Path The world of voice over is diverse and full of opportunities! Whether you’re drawn to the drama of audiobook narration or the excitement of video game voice acting, there’s a place for you. Start by exploring these different types of jobs, building your skills, and creating a demo reel that showcases your talent. Get Started Today! Ready to dive into the world of voice over? Start by exploring these areas, honing your craft, and reaching out to potential clients. The more you practice and network, the more opportunities you’ll find. Happy voice acting!

So, you're ready to explore the wonderful world of REAPER and you’re wondering, “How do I get this beast up and running for audiobooks and voice over?”  You’re in the right place. Whether you’re brand new or just want to fine-tune your setup, I’ll walk you through exactly how I do it — from installing the software to getting the perfect recording levels. No fluff. Just the good stuff. What Is REAPER? REAPER is a DAW  — a Digital Audio Workstation. It’s a powerful, affordable piece of software that lets you record, edit, and export audio on your computer. It’s also lightweight, incredibly customizable, and super reliable — which is why many of us VO folks swear by it. Most people start with Audacity, but I really recommend starting with Reaper. If you do start with Audacity, you will need to move on from Audacity eventually to increase the quality of your work and to speed up your production process. Reaper can feel daunting to start out, but it is so worth it, and will save you from learning two different DAWs in the long run! So jump in, and I'll lead you every step of the way! Step 1: Downloading & Installing REAPER First, grab the latest version from the official site: 👉 Download REAPER Here’s what to do: Head to the site Download the version that matches your operating system Open the installer and follow the instructions 🧠 Tip: REAPER offers a generous free trial — use that to get comfortable before buying a license. Looking for helpful REAPER tutorials? 👉 The REAPER User Guide & Reference Materials Step 2: Adding Plugins and Extensions Plugins and extensions add tools and effects to REAPER — and for audiobook/VO work, they’re gold. Just download and follow the instructions on the installer! 🛠 Essential: SWS Extension Adds loads of editing shortcuts that make life easier. 👉 Download SWS 🎛 Optional FX Plugins These aren’t required, but they’re handy for shaping sound. Dirty LA Compressor A lovely little free compressor. 👉 Get Dirty LA RX iZotope Standard A pro-level suite for cleaning audio (especially breaths, clicks, background noise). 👉 Check Out RX Installing .dll / .diy files? If your download isn’t an installer, you might get a file ending in .dll or .diy. Here’s how to install those: In REAPER, go to Options > Show REAPER resource path in explorer/finder Open the UserPlugins  folder Drop the .dll or .diy file in there Restart REAPER Step 3: Load The Audiobook Guy Config This is the exact REAPER setup I use for audiobook and voice work — complete with custom actions to speed things up. (You will need the SWS plugin for this to work!) 👉 Visit the Reference Documents Folder To install it: Click on 'Reaper Configs and FX chains' Download the file: Reaper Config The Audiobook Guy.ReaperConfigZip In REAPER, go to Preferences > General > Import Configuration Select the file you downloaded Restart REAPER That’s it! You now have my exact layout and tools. Step 4: Hardware & Audio Settings Select Your Mic Go to: Preferences (Ctrl + P / Cmd + ,) > Audio > Device …and make sure your microphone is selected. Set Your Sample Rate This controls audio quality. For voice work, here’s what you want: 🎧 Audiobooks  – 44.1kHz 🎤 Voice Over  – 48kHz You can set this: In Preferences > Audio > Device Or per project: File > Project Settings 🧠 Tip: You can also access these on the Playback Screen! Top Right > Click on the Sample Rate > Audio Device Settings or Media Settings (for Project Settings) Set Your Bit Rate Go to Project Settings > Media > Recording Set format to WAV Set bit depth to 24-bit PCM Step 5: Set Up Recording Levels This is so  important for clean, professional audio. Don’t skip it! Mic Placement Keep your mic 6–12 inches from your mouth (for a quick distance check, put your thumb on your chin and your pinky on the microphone.) Angle it slightly off-axis to avoid breathing directly into it. I like mine at 45 degrees just above head height. Put noisy equipment behind  the mic — most reject sound from the back Set Your Gain Read a sample aloud (include loud bits!) Adjust mic gain so your peaks hit around -12 dB to -6 dB Never let peaks hit 0 dB — no red! Aim for RMS levels between -36 dB to -25 dB Keep room tone under -60 dB 🎚 Adjust gain: On your mic (if it has a knob) Or on your audio interface/computer hardware settings 🧠 Remember:  You can always move closer or speak louder/softer. Use your voice like an instrument. That’s It — You’re Ready to Record! You now have REAPER set up with all the essentials for audiobook and VO work — including my personal config, plugin suggestions, and optimal audio settings. 🎙 Got questions? Hit me up in the comments or in the Audiobook Guy forums. 💬 Got tips of your own? Share ’em! This community grows stronger when we help each other. Happy recording!

Hey there, fellow Voice Over artists and audiobook narrators! Today, I want to share my experience with a microphone that has been my faithful partner throughout my career: the Rode NT1 4th Generation. Over the years, this mic has proven its worth and consistently delivered great results for my Voice Over and audiobook projects. So, let's dive in! Features The Rode NT1 4th Generation comes packed with a range of impressive features. From its solid build quality to its sleek design, this microphone exudes professionalism. It's a reliable tool that not only looks great but also feels super durable. Performance When it comes to performance, the NT1 4th Gen truly shines. It captures the subtleties and nuances of your voice with remarkable precision. Whether you're narrating an audiobook or voicing a character, this mic consistently delivers clear and professional-grade recordings that will captivate your audience. NT1 Recording Sample Master NT1 Recording Sample RAW Self-Noise One standout feature of the Rode NT1 4th Generation is its ultralow self-noise rating of only 4.5dB. This means it excels at capturing your voice without adding any unwanted background noise. However, keep in mind that it's sensitive to other sounds in your recording space. So, if you're working in less than ideal conditions (like a small closet with poor acoustic treatment), you may notice a slightly "boxy" sound or an increased pickup of room reflections. As long as you have a well-treated space, it will sound like a dream! If you are working in a less-than-ideal space I really recommend looking at the MKE 600, review - HERE Frequency Response The frequency response of the NT1 4th Gen is super flat, with a little bump right at the top end, capturing sound with accuracy. This makes it an excellent choice for individuals with high sibilance in their voice (whereas I have heard the NT1-A, can sound a little shrill by comparison). However, depending on your unique vocal characteristics, you may need to apply a touch of EQ to find your desired sonic sweet spot. I have used it many times with zero EQ and clients have loved it! Price In terms of price, the Rode NT1 4th Generation falls within a reasonable range. While it may not be the most budget-friendly option on the market, its performance and durability make it a worthy investment, and it is a lot cheaper than many of the pro-level mics! With this microphone, you'll be equipped with a reliable tool that enhances your recordings without breaking the bank. Conclusion Having used the Rode NT1 4th Generation for many years in my career, I can confidently say that it is a great microphone overall. Its performance and reliability have consistently impressed me. However, it's worth noting that in less-than-ideal recording spaces, you may encounter some "boxy" sound or excessive room reflections, so as always, Treat. Your. Space. Well. If your space is less than ideal as mentioned you might want to check out the MKE 600 from Sennheiser, review - HERE Lastly, I should mention that there is now a 5th generation model available, featuring USB and XLR connectivity and a cheaper Signature Series with just the XLR. While I haven't personally tested these yet, I have heard that the Frequency Response is a little different with a touch of a boost on the top end, Rode's reputation for quality gives me confidence though that they are worth exploring! Rating - 4/5 In summary, the Rode NT1 4th Generation is a trustworthy companion for Voice Over and audiobook narration. Its impressive performance, combined with its durable construction, makes it an excellent choice for professionals in the industry. Just be mindful of your recording environment to ensure optimal results. With this microphone by your side, you'll be well-equipped to deliver captivating and high-quality audio content. I would definitely recommend buying this mic! Buy the Rode NT1 4th Generation Buy the Rode NT1 5th Generation Buy the Rode NT1 Signature Series

Welcome to the innovative realm of Pozotron, a powerhouse in scripted audio production. In our exclusive conversation with Adam, the CEO, discover how Pozotron's suite of AI-powered tools transforms audiobook narration. Whether you're a seasoned pro or a novice, Pozotron's features streamline the proofing process, offer pronunciation guidance, and facilitate collaboration. Dive into the company's culture of flexibility, transparency, and collaboration, and learn how AI is harnessed to enhance efficiency without replacing human narrators. Hear success stories, explore upcoming features, and stay ahead of industry trends. Ready to level up your audiobook production? LET’S GO!!! Introduction to Pozotron: Thanks so much for chatting with us today, Adam! Can you provide a brief overview of Pozotron for our readers who may be unfamiliar with your software? Pozotron is a suite of software powered by AI that can significantly reduce the time required for scripted audio production. Our tools cover both pre and post-production processes, making it easier for anyone working in scripted audio production to be more efficient and focus more on the creative aspects of their project. One of our more well-known tools is the Proofing Tool, which compares your recorded audio to your manuscript and provides you with a list of potential pickups for your review. We also offer Script Preparation Tools that can help prevent these pickups from occurring in the first place by speeding up your pronunciation research and character voice planning. If you're new to Pozotron, we recommend visiting our website or watching our Introductory Demo to learn more about our software. Proof Listening and Error Detection: One of the key features of Pozotron is its ability to proofread for mistakes in audiobook narration. Can you explain how this process works and the benefits it brings to narrators and producers? Our proofing algorithm matches your manuscript text to the narrated audio and catches every mispronunciation, inserted word, missed word, and long pause. It can also identify noises that shouldn’t be there, like background noise outside your booth or any distortions or clips. You can think of it as a “spell check” for your audio files. This helps narrators and producers massively because it allows you to speed up the proofing process by quickly working through all the pickups that need to be fixed. It can also automatically produce pickup reports and DAW markers that help you fix these pickups efficiently as well. Script Preparation Tools: Pozotron offers script preparation tools, such as a pronunciation guide and character reference sheet. How do these tools assist narrators in preparing for their recordings? Pozotron’s script preparation tools are essentially designed to stop pickups before you start recording. It helps narrators and voice-over actors to be more accurate while speeding up their pre-production research. The best example I can give is to imagine getting to the end of recording a novel, just to realize that the main character’s name was mispronounced hundreds of times throughout the book. The time it would take to fix this would be staggering and our tools help to avoid situations like this (and fix them if they happen). We have multiple tools available, but the most well-known ones are the Pronunciation Research Guide and Character Voice Guide. The Pronunciation Research Guide scans your manuscript and extracts all the complex, rare, and foreign words you may not know how to pronounce. Then when you add them to your research list, it will automatically look up the correct pronunciation in your chosen pronunciation dictionary. The Character Voice Guide automatically scans for character names in a manuscript and provides a user interface to record character voices, insert character notes, and customize accent cues. Integration with Dictionaries: You mentioned that the software integrates with dictionaries for reference. Can you go into this a little more? How does this integration streamline the research process for narrators, and what types of dictionaries are available? Within our Script Prep Tools, we have multiple integrated dictionaries. The main ones are Oxford (GB & US), Merriam-Webster, and Forvo, which are pulled in automatically if the pronunciation exists in their database. We also support multiple languages in Forvo, including English, Spanish, French, German, Swedish, Norwegian, Finnish, Danish, and Dutch You also have one-click access to search for the pronunciation of that word in Merriam-Webster, Oxford, Forvo, Youglish, Onelook, and HowJSay. Finally, if the pronunciation doesn’t exist or you prefer to input your research, you can record custom pronunciation audio snippets and phonetic text as well. This can help streamline your pre-production process since it’s all pulled together automatically, compared with manual search and input pronunciations. Collaboration and Sharing Features: The ability to share pronunciations and character notes seems like a unique and collaborative aspect of Pozotron. How does this feature work? Put simply, you have the option to share your pronunciation guide and character voice guide with anyone outside of Pozotron in multiple ways. You can share access to the project, allowing other users to contribute to the work, or in a read-only format using our “Shareable Online Packet”. What this does is allow you to bring in other parties that may have more knowledge about the pronunciation of words or the ideal performance for a character. What’s more, it doesn't cost you or your collaborator at all! This is great for a wide variety of scenarios, but a good example is when you need to collaborate with an author on a particularly tricky script, like a Sci-Fi novel where there may be numerous fictional (and made up!) character names and places. Being able to work together before the recording even begins can be a huge time saver for everyone involved. All our features allow for collaboration with multiple users using the SHARE button on the top right of each Pozotron page! Company Culture and Values: As the CEO, can you share some insights into Pozotron's company culture and values, especially in serving the audiobook industry? As a team, we have set clear company values that govern all our day-to-day interactions (with each other, customers, and potential customers). Our core team values are flexibility, friendliness, transparency, and collaboration. We especially prioritize providing excellent customer service, because we believe it can greatly impact a customer's overall experience with a product or service. If something goes wrong, we want our customers to know that we will respond quickly and resolve the issue for them as fast as possible. One thing we do often is take note of instances when we’ve each received bad customer service from other companies and use those experiences to learn and improve our internal practices. Our goal is to ensure that every customer feels valued and supported throughout their interactions with our company. A.I.: I think all of us narrators are nervous about how A.I. will affect the industry. How does Pozotron prioritize innovation and stay responsive to the evolving needs of the audiobook narration community? Our top priority has always been to ensure the security of the data that passes through Pozotron. We do not share any information outside of Pozotron and only use the data to improve and refine our algorithms in accordance with our terms of service. This makes our software more accurate and effective for all our users. In our case, AI is being used to make narrators and voice-over actors more efficient and NOT to replace them. If anyone wishes to learn more about how we use data, we suggest reading our terms of service for a better understanding, reading this FAQ on our use of AI and customer data, or watching the webinar we recorded in February 2023 on AI and Data Use. User Feedback and Success Stories: What kind of feedback have you received from users of Pozotron, and are there any success stories or notable instances where the software made a significant impact on a project? The most common feedback we hear from users is that it is a “lifesaver” for those recording scripted audio, as it has saved them an incredible amount of time. This is exactly what we are hoping for, as time is money, and the more efficient the workflow, the better for everyone involved. We’ve got a ton of them listed on our Testimonials page on our website. The one that stands out the most for me is from one of our Publisher customers, who on one of their first projects they ran through Pozotron cut their post-production time in half. If memory serves, they had budgeted for 35 hours for QC and completed the work in 17. When he shared that story at the next staff meeting, the collective gasp shocked him! How does user feedback influence the ongoing development and improvement of Pozotron? User feedback has been incredibly valuable to our company over the years. Many of the features that are implemented in Pozotron Studio came from user feedback and suggestions. It is important to us that we build something helpful and easy to navigate. Our Scan Occurrences tool, for example, which allows you to enter a word and Pozotron will play all mentions of that word from your audio files back to back, came out of a user suggestion where a narrator mispronounced a character’s name throughout a book and needed to fix the hundreds of mistakes! Scan Occurrences took a job that should have taken hours (or days) of time, and fixed the issue in minutes We highly encourage anyone and everyone to submit feature requests on our website or email us at hello@pozotron.com. We read and discuss every request that comes through. Future Developments and Features: Are there any upcoming features or developments in the pipeline for Pozotron that you can share with our readers? We have a ton of new things in the pipeline, but I’m most excited about some new developments to our Script Prep Tools. We are building a tool that will allow users to pull a list of all descriptions of a character’s voice from a manuscript automatically, making it easier and faster to pull the right cues to ensure your character's voice matches the author’s intent. We are also planning to build a teleprompter that will allow users to mark up all elements of a script with a few clicks of a mouse, like choosing what color to use for highlighting character dialogue, adding links to audio samples for pronunciation or a voice, and lots more. Once the pre-production research is merged into the teleprompter, narrators will be able to use that to read quickly and accurately during narration. Industry Trends and Insights: From your vantage point, what are some current trends in the voice-over and audiobook narration industry, and how is Pozotron positioned to address these trends? The most obvious and well-discussed trend we have seen recently is the proliferation of AI voices and how it's going to affect narrators and voice-over actors. These companies are growing and getting better, so it's incumbent on narrators to continue to improve their craft to stay ahead of the robots! There are a lot of things still up in the air with synthetic narration (like how governments and the courts will protect the IP of creators), so I’m tracking that pretty closely to see how AI narration will impact audiobooks. We do our best to stay current with this but as mentioned before, we’ve built out software in such a way that has protected our customers for the beginning. We will continue to prioritize this as the industry evolves and changes. Can you offer any advice or insights for aspiring audiobook narrators in today's competitive landscape? Find a group of like-minded narrators who can support you, teach you, and help you (and you to them). There are a ton of fantastic groups out there, either on social media or through industry organizations like the APA, WOVO, or PANA, but make sure you aren’t working alone! Read your contract. You must be fully aware of every detail, especially with the recent changes in the industry and what can be done with your data. At Pozotron, we go out of our way to make it as clear as possible to ensure that narrators know what is going to be done with the audio they upload to Pozotron. Always improve! Find ways to keep learning and getting better, whether that’s by using a tool like Pozotron or just learning to improve your craft with better workflows or acting techniques. Closing Thoughts: How can interested individuals or organizations get started with Pozotron and explore its benefits for their audiobook projects? Getting started is simple! I encourage you to follow this link here to sign up, which will give you access to a 1-month free trial with 7 hours of free proofing credits instead of 1 hour that we normally offer. This also includes free access to all our Script Prep Tools. You will hear from us shortly after signing up to set up a demo where we can focus on your unique workflow and show you the tools that will benefit you the most. That sounds fantastic! Thank you for offering that to our readers! Is there anything else you would like our readers to know about Pozotron or any final thoughts you'd like to share? We have an “open door” policy. If you have any questions about how our software works or would like to know more about our terms of service and privacy policy, we highly encourage you to book a meeting with us here. To get The Audiobook Guy special offer of 1 Month Free of Pozotron, Including the Script Prep Tools and 7 hours of Free Proofing Credits follow the link HERE (Signing up without the referral only gives you 1 hour of proofing credits, so make sure you get the special offer!)

Hello Voice Artist and Narrator Chums!!! This is where I will be keeping all of the Microphone samples from the various reviews. Now you have a place to check out when you want to compare all the microphones together! Yay! I will keep this updated with more mics as we review them, so check in from time to time to see if there is a new sample you can have a little listen too! Thanks all! YOU ROCK!!! Contents Sennheiser MKE 600 Rode NT1 4th Generation Moano PD200X Blue Yeti Sennheiser MKE 600 RAW Recording Mastered Recording MKE 600 Review! Rode NT1 4th Generation RAW Recording Mastered Recording NT1 4th Gen Review! Moano PD200X RAW XLR Studio Recording RAW USB Studio Recording RAW USB Blanket Booth Recording Mastered XLR Studio Recording Mastered USB Studio Recording Mastered USB Blanket Booth Recording RAW XLR Room Tone Studio RAW USB Room Tone Studio RAW USB Room Tone Blanket Booth PD200X Review! Blue Yeti RAW USB Studio Recording RAW USB Blanket Booth Recording Mastered USB Studio Recording Mastered USB Blanket Booth Recording RAW USB Room Tone Studio RAW USB Room Tone Blanket Booth

Whether you are an author getting your first book narrated, or you are a new narrator embarking on your first adventure, it can be a daunting process! Here is a little taster of what the process might contain from the narrator's perspective to give you an idea! AUDITION The author supplies two to three pages for you to read as an audition. It is great if the audition script can have a couple of the lead characters talking so that the author can hear the narrator's work in dialogue scenes. Of course, the character voices may change if you get the job, but it gives an idea of how your work! Sometimes authors want to hear more for an audition, but I would try to avoid this. Narrators have to protect their time, and usually, you can tell if a narrator is right for the project within twenty seconds or so, so it is not really needed on either side. You can always have snippets from a couple of different scenes, so you can hear some different energy! If an audition was sent to me with more than 5 pages or would end up being more than 5 minutes when read through, I would reach out to see what sections they would like to hear rather than recording the whole thing! A FRIENDLY MEETING! I love to have a video chat with authors I am considering working with. When I work for publishers this doesn't really happen, I just read the audition and they let me know if I get it or not! However, when I am working directly with an author I love to get together to have a chat, explain how I work and hear more about the book. This gives us time to get to know each other, share ideas and see if we are a good artistic fit! THE OFFER Great! The author likes the read and would like to work with you! This should include PFH rate agreed upon and the desired finish date. THE CONTRACT I cannot state how important this bit is! Even if you are working on ACX which has its own contract, draw one up between the two parties anyway (Author/Rights Holder and the Narrator). Make sure to include each other's responsibilities and what will happen if someone doesn't meet them. For example, what happens if the author changes the script once you have started recording? What happens if they want you to record a character differently? Can they give you performance notes? All of this should be agreed to avoid any confusion down the line. Of course, I am not a lawyer and cannot give you any legal advice, but feel free to take a look at the contract I use in The Audiobook Guy Reference Documents. Just get your lawyer to read over it first to make sure they think it works for you too! SCHEDULE Congratulations you got the job! The schedule for the project should be outlined in an email before production begins (PROJECT EMAIL). At this time the script must be provided in its full and final state including Credits and if requested character breakdowns and pronunciation preferences. Some narrators also request a 50% non-refundable deposit at this time. This protects them if an author decides to pull out of a contract after they have put in a number of weeks of work, and helps with cash flow as projects can take weeks to reach completion and for invoices to be paid. Often a narrator is outsourcing the proofing and mastering so this helps to pay for those professionals. RESEARCH This is when the fun starts! You read through the script in its entirety. When meeting new speaking characters I always make a note of the first page they appear, how the author describes them, and a little voice note to remind me of how they speak with a recording to match so I can quickly play it back when recording. This makes sure their voice stays the same throughout the book and is especially useful if recording a series of books over many years!!! For example: John - p. 35 A large man, the bouncer of a club, all muscle but has a caring side. Thick London accent Has a little scratch and gravel to his voice, and tries to speak a little quieter and softer to be less intimidating I also make a note of any words, places or names that are not obvious in their pronunciation so that I stay consistent through the book with a link to the dictionary or page I found the reference. I have a sample of my research document in the Reference Documents. The first read is extremely important. It is your chance to experience the book as your listeners will, to feel the journey and surprises! This will help you prepare for the pacing and story arc when you come to record. It is important the author is easily reachable at this stage so that if any questions come up in the script you can swiftly communicate with them to get the answer and continue with research! The last thing either of you wants is a week in between responses which can push back the schedule delaying the project overall! If the author would like to see this research I then send this all to them IMPORTANT - HAVE A RESEARCH PRODUCTION MEETING! I like to have a production meeting to discuss their notes at the end of the research. It is very important to ensure you are both on the same page at this point. That characters are as the author wants, any difficult pronunciations have been discussed and you have agreed on the tone and pacing that you are going to go for in the narration. I have heard some really sad stories of authors not being happy at the end of the audiobook, issues with main characters and narrators going back to re-record all of the lines of that character or being asked to re-record whole pages of script. This can be a nightmare to do. Re-recording takes a lot of time to do and to re-edit and master. It can start to push the project into a place of being unsustainable for the narrator, and if they are booked back to back on another project can have knock-on effects on their career! The rhythm of the narration can feel broken with inserts like this and all the careful work of storytelling by the narrator can be hard to get back. So make sure you are both happy before continuing. My contract points out that the narrator has artistic control of the narration and that the author is free to make suggestions as guidance before Project Commencement. Obviously, I do everything I can to make the audiobook just how the author imagined it in their head! But it is worth noting that there is a reason they are hiring you. They are the expert on writing, you are the expert on narrating. You are the one with the experience to bring the characters to life, you are in the booth feeling the rhythm of the text and the flow of the dialogue. If I make a decision that is different to how the author imagined it, that may be a great thing! Inspiration in the arts comes when creatives come together and bounce off of each other. When you take what they have given you and run with your gut! So while I do all I can to honour their suggestions, I will feel confident to express to them if I think a character should have a different accent or a section of text should have different pacing. Just make sure all of this is chatted about and you are both super happy before heading into the full record! It is important to have a fast turnaround on all of this feedback so that the project can stay on schedule! THE FIRST 15 Here we go! Research is confirmed so now record the first 15 minutes and proof and master just as you will deliver the rest of the audiobook. If this is the first chapter and is only about 20 mins I will just record the whole thing. Hopefully, your production meeting at the end of research should mean that everything has been discussed and everyone is on the same page so, if the author likes this read then you have one chapter in the bag! PROJECT COMMENCEMENT Research and the First 15 are done, your author loves them, YOU ARE OFF! I remind the author at this point that any revisions after this time, whether they be changes to the text or to re-record sections will be charged at the regular PFH for the time of the revisions. Obviously, if I make a mistake and read something wrong that is for free! Ha ha! RECORDING Time to jump in the booth and tell some stories! Here the narrator will record the book in its entirety. I like to separate my project files by chapter but some narrators like to keep the whole book in one project. There are pros and cons to both so just find what works for you! And don't forget to record the opening and closing credits! Industry-standard is to record via a Punch and Role method. This just means that when you make a mistake you just bring the play head back to just before the mistake, perhaps to the last full stop, or period for my friends in the US! Then press record again. Set up your DAW to play back the last three seconds automatically to get you in the flow and you are off again! This will mean at the end you have one continuous recording with no mistakes or repeated takes. I know many narrators that use the 'click' or 'clap' method. Where if you make a mistake you use a clicker or clap your hands and go back at the end of the recording to edit out the mistakes. I MASSIVELY recommend switching to punch and roll. When you start working with editors and publishers this is what they will expect, and it will save you SOOOOOOO much time! Not to mention it prevents you from missing any double takes that would need removing, and it is much easier to match a take using punch and roll vs trying to stitch two takes together where you may have changed rhythm or vocal tone. PROOFING This is when each chapter is reviewed for any issues. This can be done by the narrator or outsourced to a third party. It is much better to outsource your proofing, they may see things that you miss because you are so in your own head and way of reading that it can be hard to catch your own mistakes. A proofer will listen back to the recording with the script in hand listening out for misreads, mispronunciations, background noises like cars or plans, audio quality issues, corruption in the files, and other things like that! Pozotron is an excellent piece of third-party software that can assist with this! PICKUPS The proofer will send a report to the narrator and editor with all the mistakes. The editor will make a voice match file and send this to the narrator. A voice match file contains little snippets of the original recordings of all the mistakes. This is usually just the sentence with the mistake. The narrator listens back to the original for the tone and pacing and tries to match it as they re-record just that sentence to be inserted by the editor. I used to get really obsessive about this! I would listen back loads of times, sometimes try and track down the section in my original project file to listen for more context, and keep recording over and over to make it fit. Trust me just listen to the voice match, re-record and move on. Trust your instincts and skill. Looking back if I move quickly through those voice matches it often sounds better and fits better than when I do it again and again and again... It is important to re-record the whole sentence or thought not just the word the mistake is on! The editor needs to find empty spaces of air on either side of the recording to insert the new recording so help them out and find a clean section! They will like you more! Ha ha! MASTERING Recording is done!!!! The pickups are edited into the original recordings and the files are then mastered to sound all lovely and to match the requirements set out by the various audiobook platforms. Do not underestimate this part of the process. I have heard stories from narrators who tried to do this themselves and the files kept getting rejected from the platforms. If you are unsure. Outsource your mastering. Requirements for acx can be found here: https://www.acx.com/help/acx-audio-submission-requirements/201456300#be-consistent You should also select a five-minute retail sample at this time. This is the bit that people will listen to when deciding to purchase the audiobook and is usually the first five minutes without titles or chapter headers. QC I find authors often like to perform QC or quality control. This is just one last listen-through with the script in hand, listening out for any missed misreads from proofing or any file corruptions or anything like that. If they would like me to complete this I just charge an extra fee on my PFH rate. DELIVERY OF DIGITAL FILES If you are working on a platform like ACX you upload the files there. The files will go through the ACX audio review and if all is well they will be released once cleared, usually 10 days or so. If you are delivering directly to the author you would use a file-transferring service of your choice. Once they are uploaded ... YOU DID IT!!! PAYMENT Once the author has received all the files you would invoice for the fee of the project. Remember, you can only know the final cost of the audiobook once it is finished because you will only have the final runtime once it is complete. The final runtime is the whole audiobook including all credits, chapters and any prologues or epilogues. The Retail sample is not included in the runtime. ACX only arranges payment if you are doing a Royalty Share, so for PFH payment, this will need to be sorted off platform. There are a ton of options to choose from depending on your location! I invoice via waveapps.com. I make sure my projects are SAG so I need to take payment from a Union Paymaster. I like using https://skywirepaymaster.com/ The owner Noah is super friendly and can talk you through everything! If the project isn't SAG you can either use waveapps.com direct online payment options or if the client has another preference just include your info on the invoice. If you can do a direct bank transfer that is always best to avoid too many fees! For more info on PFH rates and costing an audiobook have a look at this post: https://www.theaudiobookguy.co.uk/post/how-much-does-it-cost-to-turn-my-book-into-an-audiobook RELEASE Once the book is released, spread the word! It is so lovely to hear from people listening to your work on social media! So getting chatting! Producing an audiobook is a marathon. It takes time and patience, but the finished product is so exciting and if you are lucky you make great friendships with the authors you work with and the listeners that come on adventures with you! People have been telling stories to each other since the very start of human society. Mobile phones and apps have become our new campfires, and hearths to gather around and let our imaginations fly! So get in the booth and tell your story!!! Is there something you think should be added to this production breakdown? Is there a step you are unsure of, just let me know in the comments!

So… the PD200X by Maono. A dynamic mic for $70… to put it lightly I was hugely sceptical. Dynamics tend not to be good for Voice Over as they rarely capture the fullness of the voice needed for nuanced performance. But… could the price and the USB and XLR connectivity make it a worthy option for someone just looking to start out without committing too much money? I decided to compare it to a Blue Yeti because the Yeti is often recommended as the best budget option. There is a big price difference, at the time of writing this article the Yeti sells for $130 and as mentioned the PD200X is $70! So can it compare?! LET’S FIND OUT! Features The Maono PD200X Dynamic Microphone packs an array of features tailored for beginners. Its cardioid polar pattern excels at focusing on the source sound, effectively isolating it from surrounding noise. With both XLR and USB-C connectivity options, it accommodates various setups seamlessly, while the Yeti only has USB. The 24-bit depth and 48kHz sample rate ensure high-quality audio capture, while the frequency response of 40Hz-16kHz offers a balanced representation of voices. The inclusion of a shock mount minimizes handling noise, and the 3.5 mm headphone jack monitor output lets you monitor your recordings in real-time. The RGB lighting adds a touch of visual flair but other than that doesn’t add much (although I did have waaay too much fun changing the colours!), while the durable metal construction ensures longevity. The free software further extends your control over the microphone's performance, allowing you to change profiles, and even has a built-in limiter, which could be great for beginners! I reeeeaaaally wish the Gain dial had a measure as to where you are set on the mic, but it doubles as the monitor volume dial too, so I found that to ensure consistency in setup I had to launch the Maono software each time to ensure the gain setting. A small thing, but it would have been nice! Performance This is where I was really surprised! You know what… its good! The PD200X’s performance shines particularly in less-than-ideal recording spaces, I built a simple ‘Blanket Booth’ set up… I draped a duvet over some mattresses and made a fort… it was fun! In the Blanket Booth I think the PD200X was vastly superior to the Yeti. Its dynamic nature aids in reducing room reflections and external disturbances, a common challenge for beginners, who may not have the budget to acoustically treat their recording space well. Whereas I definitely heard some reflections in the Yeti recording. You can check out the recordings below: Blue Yeti Blanket Booth Master PD200X Blanket Booth Master I then went into my studio to see how it compares in a well-treated environment, and again I felt the sound quality surpasses that of the Yeti. When you plug it in via the XLR, you get an even further improvement. You can listen to the studio recordings here: Blue Yeti Booth Master PD200X USB Booth Master PD200X XLR Booth Master If you would prefer to listen to the RAW recordings you can check those out too - HERE I wish Maono had done more to tame the somewhat harsh top end, but it was no worse than the Blue Yeti, so considering the other advantages I still like the PD200X! You do have to be pretty on top of it (whereas with the yeti you can have some distance and still get a good signal), which is just a thing with dynamics, which can increase the danger of plosives and can limit performance, but with some solid mic technique, you should be fine! Despite its affordability (and the fact that it is a dynamic mic!), it captures the nuances of voices remarkably well. I asked two engineers which they preferred and here is their feedback: John Tatlock (website HERE), who is my Audiobook Engineer and proofer (he is really good, by the way, defo reach out if you need help there!) said "Overall, from an engineering point of view, I think I'd be happier working with a recording from the Maono." When I asked him if he could think of another mic that might be better for the same price he said "At this price, for all in one, not needing an interface, I can't think of anything." Matthew Cowell (profile HERE), a wonderful engineer I have worked with a ton on a whole range of projects (again a very talented chap, if you need basically anything audio... go message him!) listened back and forth with me to the tracks and I think he summed it up very nicely. I asked him if he would prefer the PD200X over the Blue Yeti he said "I definitely would! More versatile, better sound." So there we have it! They both said they preferred the PD200X to the Blue Yeti! Self-Noise The self-noise of the Maono Dynamic Microphone is commendably managed - Listen HERE. While a slight hiss might be present when using the USB, post-processing can readily address it, and the XLR is wonderfully quiet. Do ensure it is away from all power cords though or you may find some static leaking in. Frequency Response The microphone's frequency response is generally flat, with a notable bump at the top end. I really wish they had avoided that bump. I am sure it was in the hope of adding some brightness but it does make the mic rather sibilant. However, as I mentioned it is very comparable to other entry-level mics. Price Arguably one of its most compelling attributes, the PD200X is priced at a mere $70. In comparison, the Blue Yeti, a prevalent choice for beginners, retails at $130 (at the time of writing). This substantial price difference is not indicative of compromised quality; rather, the Maono delivers superior sound and a plethora of features at an unbeatable price point. This is really impressive! Conclusion It's important to acknowledge that if you're committed to pursuing voice over or narration professionally, a higher-tier setup with a quality condenser XLR microphone and audio interface is essential. You will want something better than this. However… If you're venturing into this realm for the first time and nervous about spending too much at first or indulging in voice over as a hobby, the Maono PD200X Dynamic Microphone is an excellent starting point. Its versatility accommodates less-than-ideal recording environments, making it ideal for beginners. It works with the USB straight into your computer, and when you are ready to buy more kit and get an Audio Interface it can grow right along with you thanks to the XLR connectivity. Although some adjustments might be needed to refine the top end, the right post-processing techniques can work wonders. For its cost, the Maono microphone stands tall among its competitors, offering a remarkable entry-level experience. Rating: 4/5 While the microphone might not compete with professional-grade options, it's not designed to. It serves its purpose as an affordable and effective entry-level microphone. The PD200X earns its 4-star rating by delivering exceptional value for its price and catering to the needs of newcomers in the realm of voice over and audiobooks. Bravo Maono! Buy the PD200X! Let me know what you think in the comments! Byyyyyyyeeeeeeee! The Audiobook Guy does use affiliate links in articles, this is a great way to support us and help us grow! If you are thinking of buying something we mention, consider following the link on our site to help us have the resources to write more articles and share more tips! The PD200X reviewed in this article was supplied by Maono free of charge, but this did not affect my opinion in any way. Everything expressed is truly how I feel about the product.