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Setting up your microphone correctly is SO important. By getting clean and consistent recordings, you make yourself much more attractive to casting directors. But here’s the thing, your microphone is just one part of the puzzle. So setting up your microphone properly means setting up EVERYTHING properly! Here’s a step-by-step guide to help you set up and get recording!. 1. Choose the Right Space Your recording environment is just as important as your equipment. • Quiet Location: Find a space with minimal ambient noise. Listen for potential intrusions like traffic, HVAC systems, or noisy neighbors. • Isolated from Electronics: Avoid spaces near noisy electronics such as refrigerators or desktop computers with loud fans. If you have a computer with a fan, place it outside of the recording space, run cables to a monitor, and use a Bluetooth keyboard and mouse to interact with your DAW. • Room Size and Shape: Smaller, irregularly shaped rooms with soft furnishings often work best for voice recording, as large square rooms with hard surfaces tend to create echoes. 2. Treat Your Space This is the most overlooked aspect of setting up equipment. No mic can compensate for poor acoustics; in fact, high-end mics can often sound terrible in poorly treated spaces because they hear EVERYTHING. Put in some extra effort here, and it will make all the difference. • Soundproofing: Block external noise by sealing door gaps, using thick curtains, and applying weather stripping. • Acoustic Treatment: Reduce internal reflections by placing foam or fabric on walls. You are looking to build a space with no hard surfaces! Especially behind your recording area and opposite the microphone. • DIY Alternatives: On a budget? BLANKET FORT! Thick blankets or moving pads can act as makeshift acoustic treatments. Here is a great video for some ideas: https://youtu.be/5Se381sERrY 3. Choose the Right Microphone Before you can set your mic up… you need a mic! • Large Diaphragm Condenser Microphones: These are ideal for voice over due to their sensitivity and warm tone. The Neumann TLM 103 or the Rode NT1 are the most common I see in home studios, and they are great! Check out our review of the NT1 - HERE • Shotgun Mics: In less-than-ideal recording spaces, a shotgun mic like the Sennheiser MKE 600 (review - HERE) or MKH 416 can help minimize room noise. They also have a very forward sound making them ideal for commercial reads. • Dynamic Mics: Usually used for podcasts or content creation due to their ability to isolate poorly treated spaces, dynamics are not often used for professional voice over. They cannot capture the vocal range and clarity needed. However, they can be a great option if you are just starting out and a shotgun isn’t doing enough for you in your recording space. Our budget pick, the PD200X (review - HERE) • Testing Before Buying: If possible, rent or borrow microphones to test how they complement your voice and space before making a purchase. 4. Hardware Setup A clean, organized setup prevents technical issues. • Cable Management: Keep audio and power cables separate to avoid interference. • Power Up Safely: Always connect your microphone before turning on power and disconnect it only after the power is off to prevent electrical damage. • Ground Loops: Use grounded outlets or ground loop isolators to eliminate hums caused by improper grounding. • TURN OFF YOUR PHONE: Or keep it away from the recording area to prevent interference with your equipment. No one wants to hear that weird beep-did-dee-dee-beep sound! 5. Eliminate Other Noises Even subtle noises can ruin a take. • Mic Handling: Avoid tapping or touching the microphone or stand during recording. • Wardrobe Choices: Wear soft, noise-free clothes to prevent rustling. • Digital Scripts: Use a tablet or touch screen for your script to eliminate the sound of paper shuffling or mouse clicks. 6. Use a Pop Shield A pop shield is essential for clean recordings. • Reduce Plosives: A Pop Filter minimizes the impact of strong air bursts caused by sounds like “P” and “B.” • Protect the Mic: Shields also protect your microphone from saliva, niiiiiiiiiiiice! 7. Mic Placement Positioning is everything when it comes to capturing your best sound. • Distance: Place the mic 6–12 inches away from your mouth. Use the “hand spread” technique: thumb on your chin and pinky on the pop shield. • Off-Axis: Experiment with positioning the mic above or below you and pointed at your chin. This helps with tone and reduces harsh sounds in your voice. • Angle: Start with the mic at a slight 45-degree angle to reduce plosive impact. Adjust height, angle and tilt until you find the sweet spot. 8. Setting Levels Proper levels prevent distortion and ensure clarity. • Test Dynamic Range: Record a section with varying vocal intensities. Run an audio analysis to check the numbers below. Don’t trust the live meter! • Peak Levels: Aim for peaks around -10dB, with NO part of the recording exceeding -3dB to avoid clipping, and to give you headroom for mastering. • RMS Levels: The average loudness should sit between -34dB and -24dB. Remember, the Peak Level is the most important, so your RMS comes second to your peak, unless requested by the client. • Room Tone: The quieter the better, but once you have found the gain setting on your mic to obtain the correct peak and RMS, you want your room tone to be at a minimum under -60dB. • Daily Consistency: When working on long projects like audiobooks, keep your space, equipment, settings and positioning identical across sessions. I have a Reaper Set Up Guide that goes over this - HERE 9. Care for Your Mic A well-maintained mic will last for years. • Handling: Always handle your mic with care. Avoid dropping it or exposing it to moisture or extreme temperatures. • Cleaning: Use a soft cloth to clean the mic grille periodically. • Storage: Store your mic in a case or cover it with a dust guard when not in use. 10. Other Essential Tools You are also going to need: • Audio Interface: A quality interface like the Focusrite Scarlett 2i2 (review - HERE) converts your voice into digital audio for recording. • Headphones: Closed-back headphones like the Beyer DT770’s (review - HERE) help you monitor without audio bleed. • DAW (Digital Audio Workstation): Software for recording and editing. Many people start with Audacity (free) however I highly recommend Reaper (unlimited Free trial, but extremely affordable if you choose to support them). Conclusion By following these steps, you’ll be well on your way to producing professional-quality recordings. Do not underestimate the power of a good blanket fort, and remember, experimentation is key to mastering your setup, so keep playing and see what adjustments make a difference. Chat with our community in the comments below and share your own tips or ask questions!

So, you're set up, you're ready to record, and then you hear it... that pesky problem that spoils your audio: the clicks, smacks and pops of mouth noise. Well, hold on to your headphones, my friend! In this article, I'll let you know what I do every day to keep the mouth noise at bay! Hydrate loads... and then some more... and then a liiiiiiittle bit more... cool Dryness equals mouth noise. Simple as that. So, chug H2O. I start drinking water three hours before I go near the booth and aim for 32 oz before I hit record. Keep drinking throughout the day too, just ... keep drinking, trust me, it makes a world of difference.... you might need a few visits to the loo, though! Oral Hygiene Brush your teeth, floss like a champ, and rinse with mouthwash. A clean mouth means less gunk that can trigger mouth noise. Oh, and don't forget about your tongue—give it a good scrape, sounds gross, helps loads. Watch Out for Enemy Foods and Drinks Avoid dairy products, sticky goodies, too much sugar, and beverages like coffee or booze before your recording session. They can mess with your saliva production or leave a sticky residue in your mouth—all of that is bad! Opt for plain water or herbal tea to keep your mouth happy and noise-free. Warm Up and Loosen Up! Warm up those vocal cords and relax those mouth muscles. Every day. Before every session. Hum, trill your lips, and tie your tongue in knots with tongue twisters. Stretching the mouth muscles and jaw releases tension and helps us articulate (next tip). Deep breathing exercises are a bonus—keeping your breath steady and controlled helps control mouth noise. Articulate, Annunciate and Speak proper innit! Now you are all vocally limber, focusing just a touch more on pronouncing fully can keep those noises from creeping in. Obvs you don't want to sound like a robot, but just make sure your mouth, lips and tongue are moving! Sometimes I will overannunciate if I hit a particulaly mouth noise-y section. Shield Your Mic with Pop Filters A pop filter does more than deal with plosives. It puts a bit of distance and diffusion between your mouth and the mic, which can take the edge off mouth noise, too. Worth having one. They're great. Back off the Mic! Getting too close to the mic amplifies everything — including all the stuff you don't want. Back off a bit, speak up slightly to compensate, and you'll often find a lot of the noise just disappears into the background. Generally, if you stretch your hand out, put your thumb on your chin, and your pinky on the pop shield, that is a good starting distance. Take time to find your sweet spot. It's worth the experiment. Tweak and Tidy Up in Post-Production Even if you do everything right, a few sounds will slip through. That's what post is for! Noise reduction, EQ, de-essers — all useful. I MASSIVELY recommend the RX plugins... their de-clicker tool alone is worth it! They usually have sales, so wait for one to come along. Seriously, it is witchcraft. Conclusion Drink loads, use good technique, and if needed, use magic wands/plug-ins! Voice 101 I have a video that teaches more of the fundamentals, and should give you a bunch of knowledge to avoid vocal strain and start strengthening your voice, too! You can check it out here :

I get a bunch of people asking me, “How can I stop straining my voice?” Maybe they are a voice actor who is working on challenging character voices, or an audiobook narrator wanting to record for the industry standard of six hours, or maybe a business professional giving presentations and finding themselves hoarse afterwards. Well, my friends, read on for 5 Tips that will help you avoid the strain and record for longer!  Hydrate Drink more water than you think. I start drinking 3 hours before work. I drink a whole 32 oz bottle and then keep drinking throughout the whole recording session.  Warm Up Everyday. Without fail. Your vocal folds are like any muscle. Imagine going to the gym and immediately trying to do your best squat! Ouch! You are going to pull a muscle! Your voice is the same; give it some vocal lunges and jumping jacks to warm up! Start slow and simple, gentle humming or ‘sirening’.  To siren make a ‘ng’ sound, like the sound on the end of the word ‘sing’ and gently go up and down your whole range. Nice and gentle, about as quiet as a normal conversation volume.  Have Enough Breath This tip is the reason 95% of the people who come to me are straining their voice! They are continuing to speak when they are running out of breath!    We often try to continue speaking to get to the end of our thought or the line, but as we start to run out of breath, we add tension and begin to strain our voice.  By improving lung capacity, we can get through longer thoughts or lines. Try this! Breathe out on a long Ffffff sound. Ensure to take a new breath before you feel any type of ‘squeeze’. Try to breathe out a little longer each day!   Avoid the squeeze! Now you’ve got more breath, you need to add the voice on top! Make sure you are never speaking as you start to run out of breath. Make sure you take a new breath before that ‘squeeze’ feeling. Your voice should always feel like “oh yeah, I’ve got loads of breath for this!” Stop When It Hurts As soon as you feel any tickle or hoarseness, stop. Build up slowly, and as soon as you feel anything uncomfortable, stop, rest, and come back to your work later.  And when you are sick… rest! Drink some nice honey and lemon tea, steam and watch a movie instead!  Safe Practice All this is fine to say. But as soon as we get a job, we get excited, and all technique goes out the window! Be strict with yourself. Drink. Warm Up. Practice first. Know where you are going to take a breath. Make sure you have enough. And if it starts to hurt… rest!  Conclusion There are a bunch of other things that help. Getting good, solid vocal training is super important if you are going to regularly work using your voice.    I record for 6 hours every day. Weird monster voices, efforts, all the crazy things we do for a living. No vocal strain, no change in vocal tone. It is all about technique, and you can get there too!   I have a video that teaches more of the fundamentals, and should give you a bunch of knowledge to avoid vocal strain and start strengthening your voice. You can check it out here :  Other than that, warm up and go drink some water… yup… bit more… nice…

As a narrator or voice-over artist, your voice brings stories, scripts, and characters to life. But with this creative power comes the responsibility to ensure accuracy in pronunciation, accents, and even the finer nuances of speech. Whether you’re narrating an audiobook filled with names from other cultures or voicing a character with a specific regional dialect, thorough research can make all the difference. This guide compiles a list of trusted websites and resources to streamline your research process, boost your confidence, and ensure consistency across projects. Not only will this help you deliver stellar performances, but it will also make you a reliable team player in the eyes of producers and production teams. General Onelook: https://www.onelook.com/ An excellent look-up tool that will search in all major online dictionaries and provide links to the results. Merriam-Webster Online Dictionary : http://www.merriam-webster.com/   Currently serves as the primary source for American English pronunciations.  Oxford Advanced Learner’s Dictionary: https://www.oxfordlearnersdictionaries.com/ A good primary source for British English pronunciations, and also has American English pronunciations, with audio samples included.  Cambridge Dictionaries Online: http://dictionary.cambridge.org/dictionary/british/   Another good primary source for British English and American English.  MacMillan Dictionary : http://www.macmillandictionary.com/   Both British and American audio pronunciations are provided.  Youglish: https://youglish.com/ This site will search YouTube videos for instances of the word. Forvo : http://www.forvo.com/   Forvo is a collaborative website that features pronunciations of words in many languages by native speakers.  Voice of America Pronunciation Guide : http://names.voa.gov/   Phonetic transcription and audio pronunciations for a variety of personal and place names.  Wikipedia : http://en.wikipedia.org/wiki/Main_Page   Wikipedia is a good source for background information on a variety of topics and often provides phonetic transcriptions, audio samples and links to outside resources.  Wiktionary : http://en.wiktionary.org/wiki/Wiktionary:Main_Page   Provides IPA pronunciations for many words. Audio and IPA pronunciations often provided for common foreign words.  YouTube : http://www.youtube.com/  YouTube  Particularly helpful for referencing pop culture, current brands, and current events should traditional resources fail you.  Audio Eloquence: http://audioeloquence.com/   Pronunciation, dialect and speech resource maintained by audiobook narrators.  People, Places, Names and Things Bible Words: http://betterdaysarecoming.com/bible/pronunciation.html#a   Phonetic transcription of Biblical names, places, people and terms.  Brand Names or Acronyms Pronounced: http://www.loc.gov/nls/other/ABC.html   This National Library Service resource provides phonetic pronunciations of common brand names and acronyms.  Encyclopedia Mythica : http://www.pantheon.org/miscellaneous/pronunciations.html   Phonetic transcriptions of mythical people and places with a Greco-Roman focus.  First Nations in British Columbia: http://www.aadnc-aandc.gc.ca/eng/1100100022848/1100100022849   Phonetic transcriptions of tribe names of First Nations people in British Columbia  Hear Names : http://www.hearnames.com/   Collaborative website of given names featuring audio pronunciations from around the world.  Internet Resources for Voice and Speech Professionals : http://www.vasta.org/internet-resources-1#dialects   Extensive database of dialect and pronunciation resources compiled by VASTA.  The Merck Manuals Online Medical Library : http://www.merckmanuals.com/home/resources/pronunciations/index/a.html   Audio guide to medical and pharmaceutical terminology.  Voice of America Pronunciation Guide : http://names.voa.gov/   Phonetic transcription and audio pronunciations for a variety of personal and place names.  You Say It How? : http://www.sos.mo.gov/wolfner/SayHow/   Audio or phonetic pronunciations for many 20th and 21st century politicians, authors, actors, etc.  Pacific Northwest Place Names : http://www.stevensauke.com/say/northwest.html   Accents and Dialects Phonetics:  Wikipedia - International Phonetic Alphabet: https://en.wikipedia.org/wiki/International_Phonetic_Alphabet Article detailing IPA, with history, usage and symbols. JBDowse - IPA Chart: https://jbdowse.com/ipa/ Full chart with audio to hear each symbol. UCLA Phonetics Lab Archive : http://archive.phonetics.ucla.edu/   Complex research database. Audio recordings illustrate individual words and sounds from over 200 languages, together with phonetic transcriptions. Quite a few obscure languages represented.  Merriam-Webster Pronunciation Guide : http://www.merriam-webster.com/pronsymbols.html   Quick and easy reference to American English phonetics with audio links.  English (North American Dialects):  American English Dialect Recordings : http://www.memory.loc.gov/ammem/collections/linguistics/   Directory of American speech samples collected from the US and Canada.  International Dialets of English Archive : http://www.dialectsarchive.com/north-america   Clicking on any location or region yields a list of samples of representative native speakers.  English (UK):  British Accents and Dialects : http://sounds.bl.uk/Accents-and-dialects   Lengthy audio clips of a variety of British accents and dialects from the British Library’s “Sounds” collection.  Sounds Familiar? : http://www.bl.uk/learning/langlit/sounds/   Another wonderful resource from the British Library featuring an interactive map and audio samples of various regional accents. (Including Northern Ireland.)  The Voices Recordings : http://www.bbc.co.uk/voices/recordings/   A dialect/accent resource from the BBC . Features include an interactive map, including Scotland and Northern Ireland with audio samples.  English (Worldwide):  IDEA – International Dialects of English Archive : http://www.dialectsarchive.com/   Lengthy readings by global English speakers.  The Speech Accent Archive : http://accent.gmu.edu/   Various native and non-native speakers of English from all over the world all read the same English paragraph – audio and phonetic transcription provided.  Culture and Language North American Cultures:  Native Languages of the Americas : http://www.native-languages.org/guides.htm   Phonetic pronunciations for many Native North, Central, and South American languages ranging from Abenaki to Zaparo.  Pennsylvania Dutch : http://www.wandabrunstetter.com/amish-life/amish-words/   A quick phonetic guide to Pennsylvania Dutch (Amish).  Tejano Voices : http://library.uta.edu/tejanovoices/gallery.php   Extensive audio interviews with Mexican-Americans throughout Texas.  Asian Languages:  Cantonese Pronunciation Guide : http://cantonese.ca/pronunciation.html   A brief guide to Cantonese phonetics. No audio.  Mandarin Chinese Phonetics : http://www.zein.se/patrick/chinen8p.html   A brief guide to Mandarin phonetics. No audio.  Online Japanese Dictionary Service : http://www.csse.monash.edu.au/~jwb/cgi-bin/wwwjdic.cgi?1C   When searching, check box “Search using Romanized Japanese”. Audio pronunciations provided, but results are displayed using characters. No phonetics  Dutch:  WikiWoordenboek : http://nl.wiktionary.org/wiki/Hoofdpagina   Dutch wiktionary. Search using Dutch words. Phonetic transcription provided for many terms.  French:  Larousse Dictionary : http://www.larousse.com/en/dictionaries/french   A good primary source for French language pronunciations. Audio and phonetics provided for most entries.  German:  Dict.cc : http://browse.dict.cc/ An English/German dictionary. Audio pronunciations included.  Larousse German Dictionary : http://www.larousse.com/en/dictionaries/german English/German and German/English dictionaries include phonetics and audio samples for most entries.  German Pronunciation of Names : http://www.nordicnames.de/Aussprache.html Common German given names with audio pronunciations.  Italian:  Dizionario italiano multimediale e multilingue d’Ortografia e di Pronunzia : http://www.dizionario.rai.it/   This dictionary is in Italian, so you must enter an Italian word as a search term. Audio and phonetics provided.  Larousse Italian Dictionary : http://www.larousse.com/en/dictionaries/italian   English/Italian and Italian/English dictionaries include phonetics and audio samples for most entries.  Irish:  Pronouncing Irish for Beginners : http://angaelmagazine.com/pronunciation/introduction.htm   Extensive guide from An Gael magazine featuring phonetics with some video and audio clips.  Placenames Database of Ireland : http://www.logainm.ie/   Irish geography search and interactive map with some audio.  Latin:  Wheelock’s Latin : http://www.wheelockslatin.com/index.html   Under “Wheelock’s Latin Audio Files” there are several links to audio pronunciations of various Latin words featured in the textbook. Audio files can also be downloaded for offline listening.  Scots-Gaelic (NOT THE SAME AS IRISH GAELIC/IRISH):  NOTE: all of the following resources can be summarized the same way, but it is a combination of several sources, and trying to say each vowel and consonant using the various English comparison examples given across the different web sites, that will provide the most accurate pronunciation.  Unilang : http://www.unilang.org/view.php?res=50   Breaks up broad and slender vowel pronunciations and presents the rules about when each pronunciation would be used. No audio.  Cambridge University Hillwalking Club Unofficial Guide to Pronouncing Gaelic : http://www.cuhwc.org.uk/page/unofficial-guide-pronouncing-gaelic   Rules of reading Gaelic, as well as letter/diphthong pronunciations. No audio.  Wiktionary : http://en.wiktionary.org/wiki/Appendix:Scottish_Gaelic_pronunciation   IPA charts for Scots-Gaelic, but does not provide the necessary pronunciation rules. Use with another site. No audio.  Omniglot : http://www.omniglot.com/writing/gaelic.htm   Orthography of written Scots-Gaelic, showing a clear split between different kinds of vowels and consonants and their IPA pronunciations. Helpful in conjunction with the Wiktionary IPA chart, more helpful for the links to other resources at the bottom of the page. No audio.  House Barra : http://www.housebarra.com/EP/ep05/16gaelic.html   Basic alphabetic phonology shown, this is more useful for the vocabulary lists and the “list of handy phrases” that is mostly medieval and has a good breakdown listed next to each vocabulary word  Quizlet : http://quizlet.com/1954036/scottish-gaelic-simplified-phonetic-pronunciation-guide-flash-cards/   Don’t use the audio, it is computerized and inaccurate. But the vowel/consonant and rule breakdowns listed beneath the “flashcards” are a good quick resource, and it’s a good simplified phonetic guide.  Spanish:  Diccionarios.com : http://www.diccionarios.com/   Dictionary is in Spanish. Audio pronunciation provided.  Larousse Spanish Dictionary : http://www.larousse.com/en/dictionaries/spanish   Dictionaries include English/Spanish, Spanish/English. Phonetics and audio pronunciation provided.  Swedish:  Introduction to Swedish : http://www2.hhs.se/isa/swedish/chap9.htm#introduction   A resource with phonetics and audio from the Stockholm School of Economics.  Welsh:  Welsh/English, English/Welsh Online Dictionary : http://www.geiriadur.net/   Audio samples included for some entries.  Wiktionary Appendix – Welsh Pronunciation : http://en.wiktionary.org/wiki/Appendix:Welsh_pronunciation   A quick guide to Welsh phonetics.  Yiddish:  Yiddish Dictionary Online : http://www.yiddishdictionaryonline.com/   An extensive Yiddish glossary with phonetic pronunciations.  Traditional (Non-Internet) Resources Dictionaries/Atlases/Encyclopedias  Professionals (in the field you are researching)  Libraries  Colleges/Universities  Town Halls/Chambers of Commerce  Museums/Historical Societies  Genealogical Societies  Consulates/Embassies  Conclusion Research is the foundation of excellence in voice-over and narration work. By leveraging these reliable resources, you can approach your projects with precision and professionalism, impressing both audiences and collaborators. Producers and production teams value artists who prioritize accuracy and consistency, and by using these tools, you’ll demonstrate your commitment to those standards. Explore these links, integrate them into your workflow, and watch your performances reach new levels of authenticity and impact. Please add links in the comments to any other resources you find helpful! Let's create the best research-y help-y list ever!!!

Breaking into the voice-over and audiobook narration industry can seem daunting, but with the right approach, you can turn your passion for storytelling and vocal performance into a rewarding career. Here’s a step-by-step guide to help you get started, book your first gig, and eventually land higher-profile work.   1. Understanding the Industry Before diving in, it’s essential to understand the voice-over and audiobook narration industry. This includes familiarizing yourself with different types of voice-over work (check out our article HERE ) and the specific demands of audiobook narration (such as long recording sessions and consistency in character voices). The key here is understanding you are going to need flexibility. Auditions and work, in some occasions, can come in the day before and you will need to be available to go to a studio or take a session from home with minimal notice.   2. Developing Your Skills Voice Training: Invest time in developing your vocal skills. This includes learning proper breathing techniques, vocal warm-ups, and how to use your voice for up to 6 hours a day without straining or any changes in tone and quality. And of course, how to manipulate your voice for a range of characters. I have a video that teaches the fundamentals and should give you a bunch of knowledge to avoid vocal strain and start strengthening your voice. You can check it out here:    Acting Skills: Voice-over and audiobook narration require strong acting abilities. This is strangely often overlooked and something casting directors mention A LOT. It is also what will separate you from AI voices and keep you booking jobs for longer! Consider taking acting classes or workshops to improve your ability to create believable characters and inspiring performances. If you would like to work with me as a coach you can check out my coaching site HERE   Reading Aloud: Practice reading aloud regularly. Audiobook narration, in particular, requires a smooth, clear delivery with excellent story telling all while reading from the page.   3. Setting Up Your Home Studio Basic Equipment: Start with essential equipment like a good-quality microphone, headphones, a pop filter, and an audio interface. You don’t need to break the bank, but investing in decent equipment is crucial for producing professional-quality recordings. Take a look at my recommendations for starting equipment HERE Recording Space: THIS IS KEY! Invest in your recording space. You can make a budget mic sound so much better by making good decisions here. Create a quiet, sound-treated space for recording. This could be a basic blanket fort or a converted closet to minimize background noise and echo.   Recording Software: Choose user-friendly recording software (DAW - Digital Audio Workstation) like Audacity, Reaper, or Adobe Audition. Familiarize yourself with basic recording and editing techniques. Reaper is definitely my favorite of the bunch!   4. Building Your Demo Reel Voice Reel: Create a voice reel showcasing your range and versatility. You will want a separate reel for each different genre, from a short punchy commercial reel about one minute long, to another one minute reel showing different characters and voices for an animation reel. Both should have music and sound effect backing to give the illusion each snippet is taken from a fully produced project.   Audiobook Sample: Record around eight to ten audiobook samples from different genres and styles. Each should be around two minutes long. They should demonstrate your ability to maintain character voices and narrative flow and make sure each has something unique to show different abilities. Audiobook samples should not have any music or sound effects but should be mastered to ACX requirements.   5. Creating an Online Presence Website: Set up a professional website to showcase your demo reels, resume, and contact information. Make sure it’s easy to navigate, visually appealing and that your reels are on the first page with an MP3 download option.   Social Media: Use social media platforms like LinkedIn, Twitter, and Instagram to connect with industry professionals and showcase your work.   Voice Over Marketplaces: Create profiles on popular voice-over marketplaces like Voices.com , Voice123, and ACX (Audiobook Creation Exchange).   6. Networking and Finding Work Networking: Attend industry events, webinars, and workshops to meet other voice-over artists, producers, and casting directors. Networking is crucial for finding opportunities and getting referrals.   Auditions: Regularly audition for roles on voice-over marketplaces and casting websites. Be persistent and use each audition as an opportunity to refine your skills.   Cold Outreach: Don’t underestimate the potential of reaching out directly to possible clients, production studios, and audiobook publishers directly. Send a brief, professional introduction along with a link to your demo reel.   7. Booking Your First Gig When you book your first gig, ensure you understand the project’s requirements and deadlines. Communicate professionally with the client and deliver high-quality work. Building a reputation for reliability and professionalism will lead to repeat business and referrals.   8. Continuing Education and Improvement Workshops and Classes: Continuously improve your skills by attending workshops and classes. Acting is a lifelong study and you can always discover more! (my coaching site HERE )   Feedback: Seek feedback from clients and other professionals. Constructive criticism is invaluable for growth.   9. Moving to Higher Profile Work Agents: Consider getting representation from a talent agent who specializes in voice-over work. Agents can help you access higher-profile opportunities that are simply not available on the public platforms and negotiate better rates.   Professional Associations: Join professional associations like the Audio Publishers Association (APA) or the Society of Voice Arts and Sciences (SOVAS) to gain industry recognition and access exclusive resources.   Advanced Equipment: As you progress, upgrade your home studio equipment and software to ensure your recordings meet industry standards.   Remote Session Software You might want to offer you clients the ability to direct live sessions from your home studio. While when you start out something like zoom will be fine, at the higher tiers of work the industry standard is to use Source Connect. Which allows high quality remote recording. It has a price tag but some clients won’t work without it.   Specialization: Develop a niche or specialization within the industry, such as monster voices for animation or specific genres of audiobooks. Specializing can help you stand out and attract higher-profile work.   Conclusion Breaking into the voice-over and audiobook narration industry requires dedication, persistence, and continuous improvement. By developing your skills, setting up a professional home studio, networking, and actively seeking opportunities, you can start booking gigs and eventually establish yourself as a sought-after professional in the industry. Remember, every professional voice-over artist started where you are now – with passion and a dream. YOU GOT THIS!

It is a super hard decision as to how much to spend on your first set-up. If you are not sure if you are going for it yet, I would recommend just getting something that fits your budget that you can start out with. If you are confident Narration or Voice Over is something you want to try seriously, I recommend buying a good beginner setup straight away so that you don’t have to buy twice. Software The first thing you need is a DAW or Digital Audio Workstation. There are lots to choose from, Audacity is a very simple choice that many beginners use but is limited in what you can do with it and so I recommend using software called Reaper from the beginning. That way you only have to learn a new skill only once. It has a free trial (which does roll over from the 60 days but please purchase the software as the price is extremely reasonable for what you get! I don't work for them in anyway I just think they rock!) https://www.reaper.fm/ It is an extremely powerful workstation, and perfect for Voice Over and Narration work. I recommend getting this as soon as you can to start playing with, as it has quite a steep learning curve, but once you've got it, you've got it! There is a ton of community support and videos with tips and tricks on using the software! I also have a Reaper config, FX chain and tutorials sheets you can use if you like! For more info on how to set up Reaper check out my article HERE Hardware Microphones - Solid Set-Up Let's take a look at the set-up I recommend if you would like to take Narration and Voice Over seriously: Microphone Choice 1 Sennheiser MKE 600 Great for less-than-ideal recording spaces, lovely sound, and engineers and clients seem to love it! Really good for corporate VO as well as animation and audiobooks. I upgraded to this after a few years with my NT1 (see below) and it really is fantastic! My number one choice! Beyond this, we are moving to the high-end pro mics! Full MKE 600 review - HERE Shock Mount I would really recommend getting a shock mount for the MKE 600 as the one that comes with it doesn't give you much protection. This is the one I use and it is great! Microphone Choice 2 Rode NT1 (not the nt1-a) A great entry-level mic, that people use for their whole careers. This was my first pro mic and I recorded many, many projects on it! The 5th generation model has XLR and USB connection and the cheaper Signature Series has just the XLR. It is worth noting these hear everything so if you are worried about background noise, I would say go for the MKE 600. NT1 5th Generation Full NT1 review - HERE Buy the NT1 Signature Series - HERE The Ultimate Voice Over Mics! If you have been in the business a little longer, are looking to upgrade or you just want to go for the big ones here are the top industry mics! Sennheiser MKH 416 - The big brother to the MKE 600. This was the shotgun mic the made shotgun mics a Voice Over artist's choice. A forward, confident, bold sound, perfect for commercials, but works for anything especially if you are worried about a less than ideal recording space. Buy the MKH 416 - HERE Neumann TLM 103 - Often reviewed as the best large diaphragm condenser mic for voice over. It has a gorgeous sound, very low self-noise and it is very standard across the industry! It will hear a pin drop so make sure your recording space is up to it! Buy the TLM 103 - HERE Neumann U87 Ai - This is often seen as the Holy Grail mic. I have heard many engineers say generally it is not needed for an at home studio, and the TLM 103 will be enough, but I have heard others say they can tell the difference and they love it! I would say, see if you can rent one and test it in your space first, as it sure is a big investment! Buy the U87 Ai - HERE Microphones - Super Budget Option It is worth saying that if you intend to take Voice Over and Narration seriously, you should invest in one of the above options. However, if you are just starting out, and are not quite sure yet if you can commit the money, The Maono PD200X is a really solid entry choice. It plugs straight into the USB of your computer so is everything you need as a super budget option. However, when you want to try and move into the industry you really need a more professional setup to secure work. Full PD200X Review - HERE Other Budget Options While the PD200X is what I recommend, I have added a couple of others for you to compare. You can often find YouTube videos comparing the sounds, and everyone's space and voice are different, so you have a few options to check out. If you can stretch to an interface, here is a very affordable XLR mic: Audio-Technica AT2020 - HERE If you cannot afford an interface, you will be looking at USB options: Audio-Technica AT2020USB+ - HERE Rode NT-USB+ - HERE Blue Yeti - HERE Blue Yeti X - HERE Pop Filter No matter the mic you buy, you are going to need a Pop Filter to control those plosives! I use the Aokeo one, and it has always looked after me! Boom Arm You will also need something to hold your microphone. There are so many options here, but I find that a Boom Arm that attaches to your desk is the best option. This way, you can move it around if you shift from standing to sitting and find the perfect angle for your voice! I have two InnoGear arms for my different mics, and they have always been ace! Audio Interface Focusrite Scarlett 2i2 - A very standard interface, I see them in studios all the time. They are cheap and reliable, sure you can spend more but this is a great starting point. I recommend the 2i2 over the Solo as there are just a few more features that make it useful, plus you get another input if you ever need it! You will need an interface for any XLR mic to supply Phantom power and for plugging into your laptop. Full 2i2 review - HERE   XLR Cables We need to plug your mic into the interface, and for that, we need XLR Cables! I used the Amazon Basics ones when I started, but they get a little buzz in them over time. So I got these: Cable Matters 2-Pack Premium XLR Some people swear by Mogami Gold XLRs. If you have one of the top-tier mics like the TLM 103, and if you have the extra cash then it might be worth splashing out. Buy the Mogami Gold XLRs - HERE Headphones Once you have the above, you will need a good pair of over-ear headphones, anything will do as you start out, but eventually, you want to look at getting a pair of over-ear headphones. They should be Monitor headphones or Audio Mixing headphones, which are different to headphones you might buy for listening to music. If you think of popular headphones like Beats or something with Noise Cancelling and extra bass, it is very hard to hear the real sound of your recording, the headphones affect the sound. So you need a pair that gives you the true sound so you know how to mix the finished track. The industry standards are Beyer DT770’s, there are many others, I just love the Beyers and again, see them in studios all the time! Full DT 770's review - HERE Laptop For this, I really recommend a MacBook Air. I used to have a PC outside of my booth and would run cables for the monitor and use Bluetooth for the mouse and keyboard because the fans were too loud. Now I have the Air, which comes into the booth with me, and I can use it for auditions while I am travelling too! It handles everything I throw at it easily, including audio post-production, video editing and even some gaming, believe it or not! (No Man's Sky runs great!) External Drives It is SO important to back up your recordings! If anything goes wrong, at least you will be able to recover your work. I backup the project files from Reaper and the exported WAV files at the end of each recording day. SanDisk 4TB SSD - This Solid State Drive is very fast, stable, and silent, 4TB is looooaaaads! If I were to only have one, it would be this. However, I have both this and the drive below because I am a backup nerd! WD Elements 2 TB HDD - This is a hard drive, so it can make some noise when it is writing data (so do not use this when recording), it is also not as stable, and slower to transfer data but it is cheaper! Buy the WD Elements 2 TB HDD - HERE Room Treatment The most overlooked thing to think about is treating your recording space to keep away atmospheric sounds like cars from outside, or air conditioning, and stopping any reflection of your voice so that you don’t get an echo in the recording. An excellent professional Mic can sound awful in a bad space, so this is SUPER important and will dictate what kind of mic you should be looking at. THIS MAKES ALL THE DIFFERENCE! This video shows you a pretty solid on-the-fly DIY recording space and teaches you the basics of treating a space. https://youtu.be/5Se381sERrY You want to choose a space that is pretty quiet to begin with, and then you have a few options. The Blanket Fort Make a frame from mic stands, clothes racks or any thing you can find! PVC tubes work really well, you'll need little corner connectors too. Cover it with blankets, the heavier the better. Many people use movers blankets  but when I first started out I just used all the duvets and things I could find in the house. When I upgraded I went for specially made Sound Blankets , and I know a few people that have bought the premade portable vocal booths  which they say are great! I must say the best quality I have found are the ones from https://vocalboothtogo.com/  I think there Producers Choice blankets are really good! The Converted Space Find a room or closet you wish to convert and then surround yourself with soft surfaces. You can use blankets, pillows anything you can find! You can look at foam panels  but remember you want to add MASS and not just soft things. Mass stops external sound so layers can be really helpful! Don't forget bass traps  to take away as much of that boxy sound as possible! The Home Booth/Studio When you are ready to invest more seriously in your narration or Voice Over career you can look at building or purchasing a proper sound-isolated booth, but a fort or closet Is totally enough to get started! Ventilation and Staying Cool! This can be really tough. We need a supply of fresh air and we need our recording spaces to not become saunas! I have found that all fans make some noise, so have decided to come to a compromise. When I am recording voice over I turn all fans off. It gets hot so I wear ice packs (see below), and then I take breaks often and turn all the fans on high to vent the booth. When I record audiobooks, my sessions are much longer. I tend to record for six hours a day, so I NEED some air! I have the fans on very low and still manage to keep my room tone to just below -70dB. All the publishers I work with are totally fine with this! AC Infinity CLOUDLINE PRO S4 I use this as my ventilation line fan. I have this outside the booth with 4" ducting running into my booth, with these vent covers . It comes with a handy little controller so you can change the speed without getting out of the booth. So on breaks I whack it up to full, for audiobooks I put in on speed setting three, which keeps me below -70dB. In the past I used the Vivosun D4 fan, it is cheaper but I found that it tended to be unreliable and created more noise for the same airflow as the Cloudline S4. Fan Silencer I have found this really helps! It pulled my room tone down by a good number of dBs! Ice Packs I have tried a bunch of different ice packs, and have found these to be the best. They hold the cold well and most importantly are SILENT! So many packs have that crunchy crinkly sound as they start to melt, which wrecks recordings. These are made of some kind of fabric so they make no noise! Yay! A Comfy Chair I have tried stools, office chairs, regular old kitchen chairs, and this is the one that works for me. The padding is great, it makes no sound when you wiggle around, which is super important, and I really like the straight back support. It also doesn't take up much room, so if you have a smaller booth it should be perfect! Coaching Once you have your setup you are ready to start practising and applying for jobs! It is really worth getting some coaching when you start out, especially if you do not have any experience in performance or are unsure on the tech side! There are a ton of great coaches out there, and it is all about finding the one that works for you! If you would like to get some coaching with me you can check out my coaching page here: https://www.kevinkemp.co.uk/coaching For anything else throw your questions in the comments! Happy narrating!!!!!!

What Is Rhetoric? “Rhetoric” sounds fancy — like something Aristotle muttered between olives and philosophy — but it’s actually incredibly practical. At its heart, rhetoric is the art of persuasion. It’s how language moves people — through rhythm, repetition, contrast, and sound. Every writer, from Shakespeare to Stephen King, uses rhetorical techniques to shape meaning and emotion. And for us voice actors and audiobook narrators, that means rhetoric is our blueprint. It is essential for driving meaning in our character's objectives and shows us where the story’s heartbeat lives — where to rise, fall, breathe, and connect. Why Rhetoric Can Help You as a Performer When you understand rhetoric, you stop just reading words  and start playing ideas. Recognising devices like antithesis , anaphora , and asyndeton  helps you: 🎧 Find the rhythm hidden in the sentence 🎭 Hear the emotional logic behind the words 🗣️ Make your delivery more dynamic, persuasive, and alive It’s the difference between saying a line well  and making a listener go, “Whoa… that hit me.” The Best Ways to Bring Out Rhetorical Devices as an Actor Spot the pattern.  Rhetoric leaves clues — look for repetition, rhythm, and contrast. Mark it up.  Underline, highlight, scribble “contrast!” or “build here!” in the margins. Drive to the end of the thought.  Rhetoric often follows an intrinsic rhythm — find the flow and don’t get trapped in the language, find the words to emphasise and complete the thought. Use vocal contrast.  Change pace, pitch, or pause to echo the device. Stay natural.  Don't go too far. Let the words work. Rhetoric should feel organic, not performed. The Most Useful Rhetorical Devices for Voice Actors and Narrators 1. Antithesis A contrast or opposition between two things. “To be, or not to be — that is the question.” ( Hamlet , Shakespeare) This is about tension . Lean into both sides of the thought — the pull between light and dark, hope and despair. “It was the best of times, it was the worst of times…” ( A Tale of Two Cities ) When you feel the contrast, the listener feels the conflict. 2. Anaphora Repetition at the start of phrases. “I have a dream…” ( Martin Luther King Jr. ) Anaphora builds energy. Each repetition lifts the emotion. “Every day, every night, in every way, I am getting better and better.” ( Émile Coué ) Climb those steps with your voice — each “I have” or “every” adds momentum. 3. Epistrophe Repetition at the end of clauses. “…government of the people, by the people, for the people.” ( Lincoln ) Deliver each repetition like a drumbeat. It gives a sense of completion. 4. Asyndeton Leaving out conjunctions (and, or, but). “I came, I saw, I conquered.” ( Caesar ) It’s punchy and fast. Perfect for moments of clarity or triumph. “He was a bag of bones, a floppy doll, a broken stick, a maniac.” ( Kerouac ) 5. Polysyndeton Adding extra conjunctions for rhythm. “And the rain descended, and the floods came, and the winds blew…” ( Matthew 7:25 ) Slows the pace, adding intensity and weight. Each “and” lands like a heartbeat. 6. Alliteration Repeating initial consonant sounds. “Fair is foul, and foul is fair.” ( Macbeth ) Draws attention, use the consonant to drive home your point. Let your articulation sparkle — but don’t tongue-twist yourself! “Whereat, with blade — with bloody blameful blade — He bravely broached his boiling bloody breast;” (Quince, A Midsummer Night’s Dream) Also used for comedy. Exaggerate the Alliteration to get the laugh! 7. Assonance Repetition of vowel sounds. “ His t e nder h ei r might b ea r his m e mory ” ( William Shakespeare, "Sonnet 1" ) Assonance gives a smooth, lyrical flow — lovely for poetic or descriptive narration. 8. Tricolon / The Rule of Three Three parallel elements. “Veni, vidi, vici.” ( Julius Caesar ) “Life, liberty, and the pursuit of happiness.” Audiences love threes. They sound complete. Lift slightly through the first two — then land the third. 9. Anadiplosis Repeating the last word of one clause at the start of the next. “Fear leads to anger. Anger leads to hate. Hate leads to suffering.” ( Yoda ) The repeated word becomes a hinge — a cause and effect chain. Pace it like a steady build. 10. Chiasmus Mirroring structure — ABBA form. “Ask not what your country can do for you — ask what you can do for your country.” ( JFK ) Balanced, noble, clean. Keep it smooth — let the symmetry shine. 11. Hyperbole Exaggeration for emphasis. “I’ll love you till the seas run dry.” ( John Donne ) Play it for truth, let words lead.  12. Litotes Understatement by negating the opposite. “He’s not a bad singer.” Use tone and subtle irony. This is English understatement at its finest. 13. Rhetorical Question Asked for effect, not expecting an answer. “If you prick us, do we not bleed?” ( Merchant of Venice ) Makes the audience stop and think. Ask sincerely, then pause — let the silence answer. 14. Parallelism Similar grammatical structures. “She likes cooking, jogging, and reading.” It creates rhythm and clarity — easy for listeners to follow and pleasing to the ear. 15. Personification Giving human qualities to non-human things. “The night crept slowly on.” ( Dickens ) Allow the device to build a character for the object, let it live.  16. Metaphor & Simile Metaphor makes a direct comparison by stating that one thing is another.  “All the world’s a stage.” ( As You Like It ) A Simile compares two different things using "like" or "as" to highlight a shared quality “My love is like a red, red rose.” ( Robert Burns ) See it vividly in your imagination — the listener will feel it through your tone. 17. Onomatopoeia Words that sound like what they mean. “The buzz of bees.” Let your sound mirror the word’s action — subtle but satisfying. 18. Climax Ideas in ascending order of importance. “I came, I saw, I conquered.” Build each phrase — higher, stronger, louder — till you hit the peak. 19. Parenthesis An aside or interruption. “He was a good man — well, mostly.” Handle it like a secret between you and the listener. 20. Euphemism Softening a harsh truth. “He passed away.” Deliver with tenderness or tact — depending on the context. 21. Apostrophe Addressing someone absent, non-existent, or an inanimate object or abstract concept. “O Death, where is thy sting?” Let the yearning or reverence show — it’s a one-way plea into the void. 💡  Pro Tip: When you spot a rhetorical device in your text, read it completely neutrally, like a black canvas, then try really leaning on the rhetoric to drive home the meaning.  See how the rhythm changes? That’s rhetoric at work — now find the magic point between, where you are natural and connected, but the rhetoric is working for you in perfect balance. Conclusion Rhetoric isn’t just an English class concept — it’s the emotional skeleton of storytelling. Every time you narrate a plea, a promise, or a proclamation, you’re performing rhetoric. When you learn to see it, you can ride the rhythm of the writer’s thought. Your delivery becomes more musical, more persuasive, more alive. So next time you open a script or a novel, grab your pencil and look for the patterns. Because when you understand rhetoric — you don’t just read stories. You make them unforgettable.

Audiobooks are charged at a ‘Per Finished Hour’ rate. This means you take the finished length of all of the audio of the finished Audiobook (Titles, Chapters, Credits etc but not including the retail audio sample), which is called the 'runtime', and multiply it by the producer's PFH rate. This amount is calculated at the end of production, as some books have a faster pace, and some have a slower pace. So the exact fee can only be calculated once production is complete and you have a final run time. It doesn't matter how long it takes a narrator to complete those finished hours, the fee stays the same! This is industry standard, and you find similar information on ACX, Findaway Voices or from other Audiobook Producers. https://help.acx.com/s/article/what-does-cost-per-finished-hour-mean Let's use my rate as an example: My Rate - Research and Narration - $275 pfh Proofing and Mastering (Listening for any mistakes, fixing them and mastering the audio to meet ACX/Audible standards) - $75 pfh Total - $350 pfh An average narration is 9,300 words per finished hour. https://help.acx.com/s/article/how-long-will-my-narrated-audiobook-be Therefore, if your book is 50,000 words: 50,000/9,300 = 5.38 hours long. Total cost for Audiobook Production 5.38 x $350 = $1,881.72 If your book is 200,000 words: 200,000/9,300 = 21.51 hours long. Total cost for Audiobook Production 21.51 x $350 = $7,526.88 PFH Normal rates A quality narrator would not charge less than $180 pfh just for research, narration and $70 pfh for Proofing and Mastering. So a minimum of $250 pfh for decent audio. Anything less, and there is a reason they are charging less. They are less experienced, do not have pro-grade equipment for industry-standard quality audio, are doing narration as more of a hobby, etc. I would say the standard price for an experienced, established professional with studio-level audio equipment and post-production is - well, my rate, as that is where I sit in the market - $275 pfh for narration, $75 pfh for proofing and mastering, so $350 pfh (without QC). SAG-AFTRA The Actor's Union If your Narrator is a member of SAG, you would need to add union fees and paymaster fees on top of the PFH fee. SAG-AFTRA H&R Fees are 14% of the total pfh fee (This goes towards health and retirement, allowing a narrator to access health care from SAG and make payments towards their retirement) Union Approved Paymaster fee - I use www.skywirepaymaster.com , so let's use their rates as an example: 50,000 words 5.38 hours long 5.38 x $350 = $1,881.72 $263.44 - 14% of PFH fee $60.00 - Skywire Paymaster Fee $2,205.16 - Total with H&R and Paymaster fees. 200,000 words 21.51 hours long 21.51 x $350 = $7,526.88 $1,053.76 - 14% of PFH fee $60.00 - Skywire Paymaster Fee $8,640.65 - Total with H&R and Paymaster fees. Please note - a narrator may give an estimate on how much they will charge for an audiobook, and require 50% upfront to hold the spot in their schedule. This is only an estimate to work out the deposit. For all audiobooks, the final fee will be calculated upon completion of the project, and if you have paid a deposit, the final amount owed can be worked out then.

Audiobooks can cost a lot to produce, but there are a few options that you can look into. Types of Production Royalty Share Royalty Share Plus Direct Narrator PFH Production Production House Publisher Royalty Share Using a platform like ACX you can find a Narrator to produce your audiobook for you, and then you both split the profits. This means there is no financial output for you. While you can find some seasoned narrators who do Royalty Share, on the whole, they will only agree on an RS agreement if you have proven book sales on multiple titles. If someone is willing to narrate for RS and they don’t ask many questions, they may just be starting out so ensure to listen to their samples (ideally an example of a book on sale) to ascertain quality. Royalty Share Plus Same as the above but you also pay an additional PFH (explained below) to get a more experienced narrator. Direct Narrator PFH Production This is when you pay a Narrator directly to produce the Audiobook at a PFH rate. Usually, they will source all the aspects of production from the narrating, to proofing, editing and mastering. But always check this with your narrator beforehand. You receive a finished Audiobook to sell on the platforms you wish. Production House Basically the same as above, but they are a company that may have a number of narrators on the roaster and can help with casting. Generally cost more than going directly with a Narrator. And we all work from home studios anyway so basically you are paying for the casting process, and for having the whole production organized by a company. Which can have pros and cons. Publisher They will produce the book for you in much the same way as a production house, however, they will also finance the production. They may split profits with you, or take all profits until they have made their expenses of production back and then split a percentage. Either way, you will have to shop around for a deal! PFH Audiobooks are charged at a ‘Per Finished Hour’ rate. This means you take the finished length of all of the Audio of the Audiobook (Titles, Chapters and Credits etc - called the 'Final Runtime') and multiply it by the producer's PFH rate. This amount is calculated at the end of production, as some books have a faster pace, and some have a slower pace. So the exact fee can only be calculated once production is complete and you have a Final Runtime. For example, using a rate of $350 pfh: An average narration is 9,300 words per finished hour. https://help.acx.com/s/article/how-long-will-my-narrated-audiobook-be Therefore, if your book is 50,000 words: 50,000/9,300 = 5.38 hours long. Total cost for Audiobook Production 5.38 x $350 = $1,881.72 If your book is 200,000 words: 200,000/9,300 = 21.51 hours long. Total cost for Audiobook Production 21.51 x $350 = $7,526.88 For more info on PFH, you can check out this blog post below! https://www.theaudiobookguy.co.uk/post/what-is-pfh QC The only other thing that needs completing is an optional Quality Control or ‘QC’. This is usually done by the Author or Client. It is a final listen-through of all of the files to ensure that all mistakes have been caught in proofing and all the files are in the correct order for publishing. If the client wanted me to perform QC, I would charge an additional fee of $45 pfh to complete QC, so a total rate of $395 pfh. But other producers might charge differently. PFH Normal rates A quality narrator would not charge less than $180 pfh just for research, narration and $70 pfh for Proofing and Mastering. So a minimum of $250 pfh for decent audio. Anything less, and there is a reason they are charging less. They are less experienced, do not have pro-grade equipment for industry-standard quality audio, are doing narration as more of a hobby, etc. I would say the standard price for an experienced, established professional with studio-level audio equipment and post-production is - well, my rate, as that is where I sit in the market - $275 pfh for narration, $75 pfh for proofing and mastering, so $350 pfh (without QC). If you are paying a production house to produce your audiobook for you, you could be looking at $400 pfh or more. SAG-AFTRA The Actor's Union If your Narrator is a member of SAG, you would need to add union fees on top of the PFH fee. These are worked out as 14% of the total PFH fee. The fees go towards SAG-AFTRA H&R (Health and Retirement, allowing your narrator to access health care from SAG and make payments towards their retirement). You would also need to pay a SAG-approved paymaster to process the payment. This ranges from 5% of the total PFH rate, or a set rate of $60. See more info here - www.skywirepaymaster.com If you would like a celebrity to narrate your book, then the sky is the limit for rates! If you pay less than standard, then just like any other market, you are sacrificing something in the production. Perhaps the audio quality is less good, or the narrator is not great, or things will be missed in production. Either way, you will be recouping your money from the sales of the book, so you want to be comfortable with the product you are releasing. This is a lot of information and can be confusing! Write any questions in the comments, and I will try to get back to you as soon as I can! Turning your book into an audiobook is a super exciting journey! So whichever route you choose, it will be such a brilliant moment when you hear those title credits being read for the first time!

Hey Friends! This ACX Audio Checker is a super quick way to see how your audio measures up to the ACX Audio Requirements . The results will be displayed after the audio is analysed, and you can download a PDF report to keep for reference! ℹ️ Important Note on Audio Quality While the ACX Audio Checker analyses technical specs like RMS, peak, and noise floor, it does not detect issues with editing, extraneous noise, mouth clicks, plosives, pacing, or audio dynamics . It also cannot catch narration errors  such as misreads, mispronunciations, repeated lines, or missing content. ACX’s Quality Assurance team listens to every submission and may reject files for these types of issues, even if your audio passes the technical requirements. That’s why it’s crucial to listen through your entire audiobook  before submitting—checking not just for audio quality, but also for performance accuracy and consistency. Taking the time to review your work thoroughly can save you from costly revisions or rejections later! The Audiobook Guy Production Services If you need help getting your Audio up to ACX specs, check out The Audiobook Guy Production Services ! Hope this helps!!!! Let us know if you would like any additional features added to this Audio Analyser! ⚠️ Disclaimer This ACX Audio Checker is provided for informational and convenience purposes only. While we’ve done our best to ensure the tool reflects current ACX technical guidelines, we cannot guarantee its accuracy or completeness, and we are not liable for any issues, rejections, or losses arising from its use. ACX may update their requirements, policies, or submission standards at any time, and those changes may not be immediately reflected in this tool. It is your responsibility to verify all final audio against the official ACX requirements before submission. 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 ACX product or service. If in doubt, always consult the official ACX Audio Submission Guidelines  directly.

Cockney is a dialect mainly spoken in London and surrounding areas, particularly by Londoners with working-class and lower-middle-class roots. Cockney, in the past, was strictly used to describe a person from the East End or, traditionally, born within earshot of Bow Bells (the church of St Mary-le-Bow). However, now, the accent is often used in the entertainment industry for any working-class Londoner. Estuary English is an intermediate accent between Cockney and Received Pronunciation, also widely spoken in and around London, as well as in wider South Eastern England. It can be used to show someone of lower to middle-class routes. It is often used in the industry as the 'normal everyday bloke' British Accent. In multicultural areas of London, the Cockney dialect is, to an extent, being replaced by Multicultural London English—a new form of speech with significant Cockney influence. Cockney can still be heard and has even moved into areas outside of East London, especially as older generations move out of the city. Phonetic Sentences Check out our article on Mastering IPA for Accents  if you are new to the International Phonetic Alphabet and its symbolsǃ Cockney  and Estuary Consonants - Cockney/ Estuary [h] dropping - happy - /'æpiː/, /’apiː/ - Cockney/ Estuary Glottle for [t] - water - /woʊʔɐ/, /woːʔə/ - Cockney Glottle sometimes for [g] and [k] at the end - park - /pɑːʔ/ - Cockney [l] can drop or move to [w] - salt - /sɔwʔ/ , paul - /powʔ/ - Cockney Middle [p, t, k] are often aspirated - knackered - /nɛᵏɐᵊd/ - Cockney/ Estuary [θ] can become [f] in any environment - thin - /fɪn/, /fɪn/ , maths - /mɛfs/, /mafs/  - Cockney/ Estuary [ð] can become [v] in any environment except word-initially when it can be [ð, d, l, ʔ, ∅]. they - /dæɪ/, /dɛɪ̯/ , bother - /'bɔvɐ/, /'bɒvə/ - Cockney/ Estuary End [ŋ] shifted to [n] - working - /'wɜːkɪn/, /'wəːkɪn/ , running - /'ranɪn/, /'rʌ̟nɪn/ - Cockney/ Estuary Tune - /tʃʰʉːn/, /tʃʰʉːn/  or reduce - /ɹɪˈdʒʉːs/, /ɹɪˈdʒʉːs/  (compare traditional RP - /'tjuːn/, /ɹɪˈdjuːs/ Dia-phoneme and Keyword Sentence ɪ - KIT Bin the hymn kit and sit a minute Sid. ɛ - DRESS Many a Ted has dressed in bed to find that he's fallen asleep instead. Cockney [e, eɪ] æ - TRAP The bad man trapped the rat, who wore the ridiculously tattered hat. Cockney [æ~ɛ~ɛɪ] Estuary [a] ɒ - LOT The hot and bothered lot, had the odd wash, to stop the smell hitting the top! Cockney [ɔ] ʌ - STRUT Under the hut the cow loved to strut in the mud to show off her udders. Cockney [a] Estuary [ɐ~ʌ̟] ʊ - FOOT Put the good cook book on the hook. iː - FLEECE The sea machine, made fleece, trees and bees. Cockney [əi] Estuary [ɪi̯~iː] eɪ - FACE At day break, the face of Dave lay in the hay. Cockney [aɪ] Estuary [ɛɪ̯] aɪ - PRICE Fly higher said the kite that tried, but he cried the price and lied.  Cockney [ɒɪ̯] Estuary [ɑɪ̯] ɔɪ - CHOICE The boy had a choice, one toy or to annoy another coy boy.   Cockney [oɪ] Estuary [oɪ̯] uː - GOOSE A goose with two blue eyes, was in a group that swooped and flew.  Cockney [əʉ~ʉː], cute - [jəʉ~jʉː] Estuary [ʉː], cute - [jʉː] oʊ - GOAT No! The goat show cannot throw out the bow-tied doe. Cockney - no [aʊ], soul [aɤ] Estuary - no [əʊ̯], soul [ɒʊ̯] aʊ - MOUTH The loud mouth of the south town, now frowned, because he wore a gown.  Cockney [æʊ~aː] Estuary [aʊ̯] ɪər - NEAR Near here we are weary and shed a tear of fear. Cockney [ɪː(ɹ)~ɪɐ(ɹ)] Estuary [ɪː(ɹ)~ɪə̯(ɹ)] ɛər - SQUARE At the fair there were various pairs of rare square hairs.  Cockney [ɛː(ɹ)~ɛiə(ɹ)] Estuary [ɛ̝ː(ɹ)] ɑː / æ - BATH The task of the guard dog was to answer with a bark, alarm the yard and if he can’t, to calm the last of the barn dancers. Cockney [ɑː] Estuary [ɑː] ɔː - THOUGHT Thor thought the north war was against the law. Cockney [ʊə(ɹ), oː(ɹ)~oʊ(ɹ)] Estuary [o:] ʊər - TOUR The poor jury had a tour to help with the cure.  Cockney - tour [ʊə(ɹ), ɔː(ɹ)~oʊ(ɹ)], pure [jʊ̜ə̯(ɹ)~jɔ̝ː(ɹ)~joʊ(ɹ)] Estuary - tour - [ɔə̯(ɹ)~ɔː(ɹ)], pure [jʊ̜ə̯(ɹ)~jɔ̝ː(ɹ)] ɜːr - NURSE The nurse learned to stir and refer to her book. Cockney [ɜː(ɹ)~œ̈ː(ɹ)] Estuary [əː(ɹ)] ə - COMMA The common actor, the standard writer and the about author all sat in the upper gallery. Cockney [ɐ] i - HAPPY It was a happy, glorious time that radiated.  u - YOU You influenced the situation, thank you!  n - TIN Suddenly cotton was everywhere! l and t -  BELL/BETTER The little metal bottle stood in the middle.  Cockney - t [ʔ] Estuary - t [ʔ]

The RP accent is the 'posh' accent of England. When the world thinks of a 'Posh British Chap', this is the accent they are thinking of. There is the Contemporary RP accent, a more relaxed and modern RP, and the Conservative RP accent, which the Royal family speaks and you can hear in old films and TV shows. Once you have this down, you can practice dropping some of the 'T's and 'H's, this will relax the accent (towards an Estuary Accent, though there are still some differences - check out THIS link for more on Estuary). This is great if you want a more 'normal bloke' British accent, think more along the lines of Harry Potter! Phonetic Sentences Check out our article on Mastering IPA for Accents if you are new to the International Phonetic Alphabet and its symbolsǃ Contemporary  and Conservative Dia-phoneme and Keyword Sentence ɪ - KIT Bin the hymn kit and sit a minute Sid. ɛ - DRESS Many a Ted has dressed in bed to find that he's fallen asleep instead. Conservative [e] æ - TRAP The bad man trapped the rat, who wore the ridiculously tattered hat. Contemporary [a] ɒ - LOT The hot and bothered lot, had the odd wash, to stop the smell hitting the top! Contemporary [ɔ] ʌ - STRUT Under the hut the cow loved to strut in the mud to show off her udders. Contemporary [ʌ̈] Conservative [ɐ] ʊ - FOOT Put the good cook book on the hook. Contemporary [ɵ] iː - FLEECE The sea machine, made fleece, trees and bees. Contemporary [ɪi̯~iː] Conservative [ɪi̯] eɪ - FACE At day break, the face of Dave lay in the hay. aɪ - PRICE Fly higher said the kite that tried, but he cried the price and lied.  Contemporary [ɑ̈ɪ̯~ʌ̞ɪ̯] ɔɪ - CHOICE The boy had a choice, one toy or to annoy another coy boy.   Contemporary [oɪ̯] uː - GOOSE A goose with two blue eyes, was in a group that swooped and flew.  Contemporary - through - [uː], cute - [juː] Conservative - through - [ʊu̯], cute - [jʊu̯] oʊ - GOAT No! The goat show cannot throw out the bow-tied doe. Contemporary - no - [əu], soul - [ɒʊ̯~ɔʊ̯] Conservative [əʊ̯] aʊ - MOUTH The loud mouth of the south town, now frowned, because he wore a gown.  Conservative [ɑ̟ʊ̯] ɪər - NEAR Near here we are weary and shed a tear of fear. Contemporary [ɪ̞ː(ɹ)~ɪə̯(ɹ)] Conservative [ɪə̯(ɹ)] ɛər - SQUARE At the fair there were various pairs of rare square hairs.  Contemporary [ɛː(ɹ)~ɛə̯(ɹ)] Conservative [ɛə̯(ɹ)] ɑː / æ - BATH The task of the guard dog was to answer with a bark, alarm the yard and if he can’t, to calm the last of the barn dancers. Contemporary [ɑ̈ː~ʌ̞ː] Conservative [ɑ̟ː] ɔː - THOUGHT Thor thought the north war was against the law. Contemporary [oː] Conservative [oː] ʊər - TOUR The poor jury had a tour to help with the cure.  Contemporary - tour - [ɵː(ɹ)~o̞ː(ɹ)], pure - [jɵː(ɹ)~jo̞ː(ɹ)] Conservative - tour - [ʊə̯(ɹ)], pure - [jʊə̯(ɹ)] ɜːr - NURSE The nurse learned to stir and refer to her book. Contemporary [əː(ɹ)] Conservative - can be - [əː(ɹ)~ɐː(ɹ)] ə - COMMA The common actor, the standard writer and the about author all sat in the upper gallery. i - HAPPY It was a happy, glorious time that radiated.  Conservative [ɪ] u - YOU You influenced the situation, thank you!  n - TIN Suddenly cotton was everywhere! l and t -  BELL/BETTER The little metal bottle stood in the middle.  Contemporary - t = same or very gentle [t] BBC Announcers Test One hen Two ducks Three squawking geese Four corpulent porpoises Five limerick oysters Six pairs of Don Alverzo's tweezers Seven thousand Macedonians in full battle array Eight brass monkeys from the ancient, sacred, crypts of Egypt Nine apathetic, sympathetic, diabetic, old men on roller skates, with a marked propensity towards procrastination and sloth Ten lyrical, spherical, diabolical denizens of the deep who all stall around the corner on the quo of the quay of the quivvey, all at the same time.