Category Archives: Using ACX

Raise Your Voice: Narrator Erin Mallon Takes on Authorship

The driven artists in the indie publishing community are used to wearing multiple hats. Then there are the independent artists that are pushing the boundaries of their chosen profession to expand even further, following their creative spark to craft projects that expand their careers and enliven the audio storytelling genre.

Erin Mallon is one such artist – you might recognize this prolific narrator from her work with Lauren Blakely, Amy Daws, or Julia Kent, her recently-released audio play, These Walls Can Talk, or her first foray into novel-writing, Flirtasaurus, on Audible. Erin Mallon joined us recently to talk about her ever-expanding career journey.

Erin, you’re known for your work as a narrator of romantic comedies, but we heard you have two exciting new projects to add to your resume – a play and a novel, both written by you! Can you tell us a little about both of these? 

Sure! The first project is These Walls Can Talk, a six-character comedic audio play about intimacy and communication in marriage. And get this – the play is set in… the romance audiobook industry! I will tell you, it was a very “meta” experience. The next project is my romantic comedy novel which released on July 15th called Flirtasaurus. It follows Calliope, a young, determined paleontologist and her budding relationship with Ralph, the sexy astronomer who works in the planetarium at the Philadelphia natural history museum where she is interning. Absurd, dino-driven humor abounds!

Have you always been a writer or was it something you got a feel for as a narrator?

I have been writing for the theater for about ten years now – I actually wrote my first play and narrated my first audiobook the very same year! So I’ve been working both careers simultaneously all this time. Flirtasaurus is my first foray into writing a novel though. It’s been a wild ride taking what I’ve learned from creating my own comedic plays and narrating other authors’ great romantic comedies, then sort of bringing it all together in writing my own book.   

Has your work as a narrator influenced/informed your writing?

It has to, right? I started out performing on stage, so once I started writing plays I think I’ve always come to it from an actor’s perspective. When I’m on a roll, it feels a lot like playing all of the characters on the page. It’s always been really important to me that the actors who work on my plays feel energized and motivated by the story, the characters, the words, the comedy – so that every night they can’t wait to get in front of an audience and let that energy and excitement bounce.

Also, I’ve narrated almost 500 books at this point, and I’d say about 75% of those have been in the romance genre. It’s been such an inspiration over the years seeing and experiencing how awesome authors put their work out into the world and pondering how I might adapt my theatrical style and put my own voice out there in novel form.   

You chose to record These Walls Can Talk as an audio play – was that your plan from the beginning?

No, it actually wasn’t initially intended as an audio play! I wrote These Walls Can Talk back in February through a project I co-produce in NYC called The Brooklyn Generator – an “engine” for creating plays in under 30 days. I always intended it to be performed live onstage (and I hope it still will be), but we had only one public reading in midtown before Covid hit and shut our theaters down. In an effort to bring some laughs to people in quarantine at home, I teamed up with some of my romance narrator friends to do a zoom reading of the play and streamed it on Aural Fixation, an amazing Facebook group for lovers of romance audio. The reaction from the audience was really encouraging and folks kept asking when they would be getting the Audible version, so we made it happen!

Let’s turn to Flirtasaurus, your first novel. Was it daunting to start such a large new project like that? How did you know you could do it?

I think I was pretty much equal parts confident and doubtful when I started this process. After writing so many plays, I knew I could tell a story and I felt that I was strong with dialogue – after all, that’s what plays are – but I had some doubts about how to weave a story over the course of six to eight hours (plays usually clock in around two hours or less). Whenever I felt stuck or insecure though, I returned to my processes as a playwright and that always got me back on track. Slowly but surely, I found my natural style of storytelling in this new-to-me format. I think it’s always a bit daunting when you’re standing at the beginning of a creative project, full of ideas but staring a whole bunch of blank pages. That feeling keeps many of us from even starting, because we think we’re supposed to know what to do at every moment. I don’t think that’s how creativity works, though. You just have to show up every day and play. If you can make a commitment to doing that, word by word, page by page, the story starts to take over and tell you what needs to happen, instead of the other way around.

You chose to narrate the audiobook yourself. Why did you go that way instead of hiring a narrator, and how was it reading your own words?

When I started writing plays, I thought I would be writing roles specifically for myself, but that actually never happened. With this though, I felt like I wrote it so naturally in my own voice that I knew I wanted to give it a shot! Plus, my five-year-old son has made me a bit of an amateur dino-expert, so I knew I could get all the crazy dinosaur name pronunciations right without any additional research.

It was actually an incredibly helpful exercise in catching all those pesky final edits and typos before sending the book off for printing. Narrators are great at catching those, because we can’t say it out loud if it’s not quite right on the page. I don’t know that I will always narrate my future books, but for now I’m really loving the process! 

How did you go about marketing this audiobook? Did you reach out to any of your author contacts for advice? 

I teamed up with the awesome people at Social Butterfly PR, and they’ve done a considerable amount of hand holding. I’ve also been fortunate to have worked with so many amazing indie authors, particularly in the romantic comedy genre, so I’ve had the benefit of observing how they operate for years. Wonderful writers like Lauren Blakely, Amy Daws and Julia Kent have all been really generous with tips and support as I start to make my way.

So what do you think – can we expect more novels and audio plays from you? What’s next?

Yes, absolutely! Flirtasaurus is actually Book One in my Natural History Series, which will consist of three interconnected standalones. I am writing Book Two as we speak. I’m also excited that The Net Will Appear, my two-character play between a 75-year-old man (Emmy-nominated Richard Masur) and a 9-year-old girl (Matilda Lawler from Broadway’s The Ferryman) is streaming on The Alzheimer’s Foundation’s Youtube Channel July 24th. We put together a really beautiful online production that I’m eager to share with people. Next steps for that are figuring out the best way to bring it to the audio format. And there are a lot more plays where that came from, which I’m planning to adapt and bring to earbuds far and wide.       

Are you inspired by Erin’s ambition? Have your own ideas about taking your writing or narration career to new heights? Let us know!

Sound Check: Audio Lab Launches on ACX

Earlier this year, we launched Audio Analysis — a web tool that gives ACX Producers instant feedback on their production audio files, allowing them to identify and correct technical issues before submitting their projects for review. Audio Analysis improves the workflow for Producers during a production, but we want all ACX Producers to feel confident about their sound before they even submit their first audition, so we created Audio Lab. Simply upload your audio files and Audio Lab gives you immediate feedback on how they measure up to our Audio Submission Requirements on seven important metrics, including peak value and RMS. We’re excited about the potential this tool offers for new and seasoned Producers alike, so we thought we’d break down how you can use Audio Lab effectively to hone your sound like a pro.

Who can use Audio Lab?

Audio Lab is open to any ACX user – if you have an account with ACX, you can upload files for analysis on Audio Lab. New producers can create an ACX account and start using it to test their sound progress as they learn to gauge when they’re ready to start auditioning. Seasoned producers can use it to test and calibrate new gear to meet our submission requirements.

How do I use it?

It’s easy! Just upload your audio files to the Audio Lab page – you can find it under the “Production Resources” tab on ACX – and the system will give you immediate feedback on how your files measure up to our submission requirements on RMS, peak value, bitrate, bitrate method, and sample rate. The results are only visible to you.

What sort of files should I use?

Audio Lab is built to analyze any spoken word MP3 audio files, but we recommend uploading files that you’ve recorded, edited, and mastered to our submission requirements as you would if you were producing an audiobook, even if you’re just reading test passages from a favorite book. This will give you the best sense of how production-ready your sound is, and will let you know what you need to adjust to pass QA.

When do I use it?

Anytime you have audio you want to test! Here are just a few times you might find it useful:

  • Use it to test samples for your profile when you first join ACX
  • Use it to make sure you’re ready to take on audiobook projects
  • Before auditioning for a specific project
  • When you’re mid-project, to test your audio before sending it to the Rights Holder for approval
  • Whenever you change your equipment or studio space

Why should I use it?

Periodically testing your files with Audio Lab – whether you’re a new narrator or an ACX veteran – ensures you enter into every contract with the confidence that you can deliver a great production.

We hope that Audio Lab offers the Producer community the resources you need to craft awesome productions. If you’re new to ACX or to audiobook production in general, and you’re looking for more resources to help you narrate, record, produce, and distribute great sounding audiobooks, be sure to browse this blog for more tips, visit our YouTube channel, and check out our Audio Terminology Glossary to get up to speed.


An Update to Audio Analysis

Earlier this year, ACX launched the Audio Analysis tool for Production Manager, a new feature that allows Producers and DIY Authors to upload audio files and receive immediate feedback in a report identifying seven of the most common production issues—all before submitting the project to Quality Assurance.

We hope you’ve been exploring the new feature and are finding it to be a helpful tool in your production process. Now that you’ve had a little time to get comfortable with Audio Analysis, we’re making an adjustment to the ACX submission process: starting today, some accounts will see the new experience, and by May 4, all titles will be required to resolve any issues identified by Audio Analysis before they are able to submit for review.

Need help making corrections? The Audio Analysis tool provides a full report on all your audio files, with details on the issues that need addressing, and links to specific ACX Submission Guidelines and Reference Guides that can help you address them. And as always, if you need more guidance or assistance in getting your files QA-ready, the ACX blog and YouTube channel are at your disposal with further resources on recording, editing, mastering, and more.

Hannibal Hills: Lessons from the First Three Years Part 2

Last week, we heard from Audible Approved Producer Hannibal Hills on how he built a successful narration career from square one in three years. If you’re new to narration or thinking about taking it full-time and wondering where to start, be sure to catch up on the first part of this narrative and learn how to set a solid foundation for yourself. And now, with the help of our narrator, we continue on our journey…

Investing in Editing, Coaching, and Mentoring

Hannibal Hills in his booth

Like any growing business, your narration career may reach a point where you can afford to hire outside help to so your business can continue to grow. I have now reached the point where I outsource my editing so I can focus solely on narration. Earlier in my career, I felt the need to save on the pennies and stay in control of the whole process. But when income started to come in steadily, being behind the mic became the most valuable use of my time, and the increased output I was able to achieve from outsourcing easily counterbalanced the cost.

Performance coaching was another investment whose value I cannot overstate. Early on, I was beyond fortunate to connect with the great Sean Pratt, and he has been a true mentoring light as I moved from narration as a side-job to a full-time career. Coaching with a true expert is the single most important investment you can make in your narration career. The knowledge and advice they share can save years of trial and (mostly) error, and be the very difference between long-term success and failure.

Choosing the Right Projects

Choosing the right projects is every bit as important as having the performance skills or the right equipment. Sean, whose excellent book, To Be or Wanna Be: The Top Ten Differences Between a Successful Actor and a Starving Artist is a trove of clear wisdom, has given me countless useful pieces of advice and challenges to learn through. An example of the wisdom a coach like Sean can offer can be found in his famous three questions: Of each project ask yourself: will it pay, will it be good for my career, and will it be fun. If all three are true, that project is a clear good choice. If only two are a yes, it should only be accepted if you can comfortably live without the third. If only one (or none) is true you should never accept the project. This simple test is a golden barometer for a narrator in all stages of their career. 

I am now careful to evaluate every project I am offered or consider auditioning for—not only for value, but for scheduling. Overbooking is an easy trap to fall into in the early years, but spreadsheets are just as good for calculating reasonable monthly output as they are for projecting income. Don’t undervalue your time and work. When you have only a few books to your name and are starting to realize how much you still have to learn, impostor syndrome can bend your will to accept projects that aren’t right for you and poor rates of return. Though it is hard, you mustn’t stop believing you are worth the accepted industry rates. Too many hours working hard while knowing you are being underpaid will eventually start to poison your heart, smother your passion, hurt your performance, and eventually make you regret your career choice altogether. A good coach will help you to continue to believe in the value of what you do.

Finding My Voice and Building My Identity

With the right home setup, a process you feel confident in, ongoing training that produces real improvement in your performance, and a steadily growing output of titles, it very quickly becomes clear the sort of titles that best suit your voice. I worked to resist the temptation to be an “everyman.” One of Sean’s most valuable contributions to my career was helping me define my niche and refine my identity and brand—externally but also internally, in my performance and approach. I now look for projects that suit that brand. This personal “flavor” can be applied across both fiction and non-fiction, and in my case to horror, comedy, classic literature, and more colorful, opinionated non-fiction. Every narrator will have their own flavor that comes from their own heart and passions, and this should be embraced rather than denied. I have found that taking on projects that appeal to me as a person, and which match my own personality and tastes, makes for a far more fulfilling professional life. My most successful projects have been achieved through forging relationships of trust and mutual understanding, where they know you believe in their work, and trust you to make the right creative choices to best bring their words off the page. 

Occasionally, I have taken off-brand projects, sometimes because the money and opportunity were tempting, or because I wanted to experiment with a new genre outside my core brand. For these projects, I have several alternate names—a pseudonym or “nom de vox”—so that my brand remains clear, and I can work anonymously if needed.

Learning and Looking Forward

In creating recent box sets with long-term collaborators—the authors of the books—I have had to revisit some of my very early work. It was fascinating to see how far I have come, and how much coaching has helped me improve. It is good to be reminded of the lessons I needed to know then, so I keep them at heart moving forward. Even if we are not proud of our early work, we should be glad that it helped us take another step toward where we are today.

Goal-setting is essential for moving your career forward. I have two key reminders I look to every day—the first is a small whiteboard of my goals for the year. Some I have already achieved, others still need a lot of work, but they are there in plain sight. Each goal I set can be measured in a very real way, from royalty units sold to number of books completed. The goals cover all areas, and each one nudges some aspect for my narration career ahead one more step—and when it does, it is toasted (perhaps with a glass of something with my wife), erased, and replaced with another goal just a little more challenging. 

The Shared Adventure of Audiobooks

The second thing I come back to each day is our community: the indie audiobook narrators Facebook group, narrators I have met through mutual coaching, and those I’ve reached out to via email because I simply admire their work. Many authors and small publishers have also become friends through our collaboration, and I meet with many regularly on Zoom to discuss market trends and new project ideas.

Few industries have such a supportive, positive community of helpful cheerleaders, friends, joke-sharers, listeners, and advisors. We all want to see success in the others and cheer when we do, because we know that there is room for us all, that so many unique voices each have a place, and that what is right for me may be rightly different to what is right for you. We also know that together we are creating libraries of lasting enjoyment for millions of listeners. This really is an industry where dedication, honesty, manners, fairness, trustworthiness, and sharing are the qualities that build success. This is a job where the good guys and dedicated spirits really do win. It may have taken almost 46 years, but I found a home—one where each book brings to life a new adventure to be shared.

Hannibal Hills is the narrator of more than 40 titles. This ‘darkly sophisticated British storyteller’ can be found lending his voice to many a horror, mystery, or thriller novel.

Are you a narration newbie inspired by this career journey? An audiobook veteran who can add some sage wisdom of your own? Let us know in the comments below.

Feedback Without Distortion: Audio Analysis is Here

Today, the ACX team is excited to announce the launch of a new feature available in Production Manager: it can analyze all your audio files, let you know if they meet ACX Standards, and give you a precise report on the changes that need to be made, all before you ever submit your project to QA—it’s the Audio Analysis Tool!

This feature will be accessible to producers and DIY authors on all new ACX projects. Now when you upload audio to ACX—starting with the 15-minute checkpoint—you’ll get an immediate report on seven common audio issues:

RMSSample Rate
Peak LevelsMixed Channels
BitrateDuplicate Files
Bitrate Method

That means no more waiting for the book to go through QA to learn you have one file in stereo and having to resubmit the whole project over again. Now you can find out right away and quickly make the required adjustments. The report contains precise indications on what needs to be adjusted and by how much, with links to helpful resources on how to do it. Don’t worry—all ACX audiobooks will get a final listen from our QA team before going on sale, and they’ll be on the lookout for spacing, noise floor, and other issues that can’t be detected by the tool—only now the process will be able to move a little easier, with smoother production timelines for all.

To give you some time to get used to this new feature, we’re accepting all audiobook submissions, even if Audio Analysis identifies errors within your files. When the feature launches fully, any issues detected by Audio Analysis will need to be corrected before the project can be submitted for Quality Assurance. This initial phase will give you time to identify recurring issues in your productions and make the necessary adjustments to your workflow without impacting your ability to submit audio and receive QA feedback.

We’re excited for this feature and we hope you are, too—we hope the earlier feedback and additional insights will help you improve you skills and setup, and result in a smoother production experience for all. And as always, if you have any questions about the feature, the answers can be found in our Help Center.

A Portrait of the Artist

Listen here, ACX Producer—when’s the last time you updated that profile page of yours? Here on the blog, we can often be found extolling the importance of investing in your home studio, honing your editing and mastering skills, and publicizing your work on social media platforms. But we’d be remiss if we didn’t highlight the value of your professional presence on ACX—your Producer profile! A curated, well-maintained profile will not only make it easier for Rights Holders to find you on ACX, it can help you stand out from the crowd and command the attention of authors and publishers on the hunt for talent like yours.

So, what are the elements of a successful profile? We’ve written a guide to giving your profile the makeover it deserves and sprinkled it with examples from some excellent Audible Approved Producers. Refer to the highlighted areas in the image below as you read along at home.

Prod Profile_01

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Profile Image

A complete, professional-looking ACX profile should include an image, first and foremost (1). Many Producers choose a professional headshot or a picture of themselves having fun in the studio. Not all voiceover artists wish to provide a headshot, however; many feel that their physical appearance sets an expectation incongruent with the variety of vocal performance they’re able to deliver, and would prefer to let their voice speak for itself. In that case, we recommend a graphic or logo developed to represent your brand—Fiverr can be a great place to source one of these—or a picture of your studio without you in it.

Bio

There are two places for you to biographize yourself on your ACX profile: the one-line blurb that appears beneath your name, and the “About” section (2). The first is a great place to offer a zippy little intro that grabs the searcher’s attention. Draw some inspiration from these great one-liners:

  • Confident, Intellectual, Charismatic—The Darkly Sophisticated British Storyteller. (Hannibal Hills)
  • Bright. Vivacious. (Suzanne Barbetta)
  • A smooth blend of professional sound with a personal touch! Bringing stories to life for over 15 years as a narrator and voiceover talent. (Heather Costa)

Then, there’s space under the “About” tab to add a longer bio (3). This is a place to give a comprehensive overview of how you got started, how long you’ve been narrating/producing, why you love it, what sorts of characters/projects you’re drawn to, your vocal range, repertoire, and any special skills you possess. For example, Kyle Tait highlights his extensive experience as a sports announcer. Listing this type of skill might seem irrelevant to audiobook production, but it can capture the attention of the author of a sports biography that wants to be confident their narrator is up to tackling the specific jargon and style of their book. Consider your unique skills and knowledge outside the world of audiobooks, and include anything that makes you stand out!

Prod Profile_02

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Samples

We know it’s tempting to include samples of the great work you’ve done in short form VO, but compelling as they may be, they aren’t especially relevant to Rights Holders looking to hire you for an audiobook project. For your ACX Profile, it’s best to include audiobook samples (4). If you’re new to audiobooks and don’t have many (or any) productions under your belt, head over to Project Gutenberg and choose an appropriate piece from the 60,000 free public domain books on their site. Remember, you can always link to your website from your profile and include your other VO work there.

Next, be judicious when it comes to the number of samples on your profile: too few and your experience and range won’t be apparent, too many, and authors may find themselves overwhelmed and moving on before they give you a good listen. Choose just 5-7 of your best samples that showcase great production values, your range as a performer, and a variety of genres, character types, and dialects. Hannibal Hills and Suzanne Barbetta use their “Sample” sections to great effect, including samples from a wide variety of genres so prospective authors can hear their range as a performer and don’t have to imagine whether they’re up to the task. Pro Tip: you’ll notice these producers have named the samples according to the genres and/or vocal styles they represent. The author or publisher perusing your profile may be completely unfamiliar with the book titles listed in your repertoire, so help them out a little by describing the vocal skills and characteristics on display in each sample.

Credits

Think of this section (5) as your IMDB page on ACX—this is your space to list not only the audiobooks you’ve recorded, but the movies, television shows, theater productions, commercials, radio programs, or video games you or your voice has appeared in (yes, here we encourage you to include relevant non-audiobook work). We also find that successful Producers include related experience, education, and training, be it a master’s degree in theater or a vocal performance workshop they took. Many producers, such as Kyle Tait, also choose to list the gear they use in their home studio setup here so that authors know they have the tools to produce a great audiobook, whereas Suzanne Barbetta features her experience as a paralegal under “Special Skills” to impart her knowledge of legal terminology. Heather Costa lists all of her available audiobook titles under “Credits,” which not every Producer chooses to do, but the list is impressive and the effect is clear—you can tell at a glance she has plenty of experience and has been re-hired by several authors to narrate multiple titles in their catalog.

Prod Profile_03

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Awards and Recognition

This is no place for humility, folks—this section (6) is your chance to brag a little! Show off your accomplishments and tell ‘em what the critics are saying—include any awards you’ve won or been nominated for, include ratings and reviews from listeners on Audible (like Hannibal Hills has done) or from authors who have been happy with your performance and delivery of the project, such as in Heather Costa’s profile. Most consumers don’t make an online purchase without reading the reviews first, so why should we assume shopping for an audiobook narrator should be any different?

Now that you know the ins and outs of a shining producer profile, don’t let it get dusty! Keep it current and up to date with your achievements, new releases, and professional development. Your producer profile is more than just your resume on ACX—there’s a good chance you won’t meet the authors you work with in person, and won’t have contact with them until they make the offer to produce their book, so think of your profile page as your resumé, audition, and interview, all rolled into one. Someone wise once said you only get one chance to make a first impression, so you’d better make it an impressive one, don’t you think?

Negotiate Your Perfect Deal with Royalty Share Plus

Today, we’re excited to introduce a long-requested feature: Royalty Share Plus!

With Royalty Share Plus, authors and publishers can invest in their audiobooks by contributing to the production costs and accessing an even greater community of Producers. This new payment option is an evolution of the Royalty Share concept, allowing ACX RSP_Brick Wall.pngRights Holders to negotiate a per-finished-hour payment for their projects in addition to splitting royalties with their Producer. Once the audiobook production is complete, Rights Holders send the Royalty Share Plus fee to their Producer, and ACX will split your royalties once the audiobook becomes available for sale.

For Producers, this means building a portfolio of steady residual income and paying everyday expenses. Producers tell us this option helps them pay for supporting services like audio engineering, take care of everyday expenses, upgrade their recording equipment, and expedite production to create even better audiobooks. Authors and Publishers can discover talented performers that may not have been previously accessible to take your audiobook production to new heights.

We hope you’ll consider Royalty Share Plus for your next audiobook production. We can’t wait to hear what you do next!

Learn more about Royalty Share Plus and all of your production options on ACX.

Speed Up Your Audiobook Production with Direct Offer

Good news, everyone! Today, we’re introducing a faster, easier way to publish your audiobooks on ACX. With the new Direct Offer feature, authors and publishers can now choose to work directly with their favorite Producers and narrators without opening their titles to accept auditions. We’ve heard from many Rights Holders that they’ve found “the one” —that perfect voice—either through past projects or by browsing samples on the ACX site, and would like to move their audiobook projects directly into production, and today’s changes are meant to help make that even easier.

To make a Direct Offer to a Producer, navigate to your title from your Project Dashboard, or add a new project to your account. As you set up your title, you’ll have the option to accept auditions for your project or make a Direct Offer to the Producer of your choice. Selecting the option to make a Direct Offer will allow you to select your Producer by searching for his or her name, or selecting from a list of Producers that you’ve collaborated with in the past. You’ll then be able to make an offer directly to your Producer of choice and start collaborating as soon as your offer is accepted.

Want tips for selecting that perfect voice? The ACX Blog has you covered. What other features would you like to see added to ACX? Comment with your suggestions below.

Check Your Production Before You Wreck Your Production

Did you tune in last night for How to Pass QA Every Time, the fourth episode of ACX University 2017? David and Brendan from the ACX QA team joined us to discuss the top reasons your audiobook productions may get flagged during our QA process, how to avoid these errors, and what you can do to fix them after the fact. You can watch the full episode below, then check out our QA checklist that you can use to finalize your productions before hitting “I’m Done!”

The ACX QA “Top Five” Checklist

1. Properly Edit Your Audiobook

Here are some ways to set yourself up for success in the editing stage of your audiobook production:

Record in a quiet, non-reverberant room to minimize background noise.

Make sure there’s enough distance between your voice and the microphone to prevent pops, loud breaths, and unwanted vocal artifacts.

Use a dynamic microphone as opposed to a condenser when recording in a noisy environment. Some popular mic choices in this category include the Electro Voice RE20 and the Shure SM7B.

Use a pop filter placed in front of the microphone to help tame plosives and sibilance.

Learn and use the punch ‘n’ roll recording technique. Recording through an entire chapter in one take will often result in the file containing repeated lines, noises, and breaths that need to be edited out.

Record and save 30–60 seconds of clean room tone to use when editing out noises.

Utilize a QC sheet to identify and resolve any editing issues.

Sounds in your recording that should always be edited out include:

  • Narration with excessive mouth noise and vocal artifacts.
  • Clicks and pops located at the beginning of a file before the performance begins and at the end of a file after you’ve finished recording a chapter.
  • Long gaps of audio silence within the middle of a file.
  • Heavy background noise.

2. Encode Your Files According to ACX Guidelines

Make sure all of your audiobook files meet the following requirements before uploading them to ACX:

No files exceed 120 minutes in length or 170 mb in size.

All files must be recorded at a 44.1khkz sampling rate.

All files must be 192 kbs or higher MP3s, encoded at a constant bit rate (CBR), not variable bit rate (VBR).

All files within a given production must be either all stereo or all mono files.

3. Adhere to ACX’s RMS Requirements

Some tips to help you avoid RMS issues include:

During Recording:

Record at the proper volume. Your voice should peak around -12dB to -8dB. Adjust your pre-amp so that your voice peaks at this level, then keep it at that level. Set it and forget it.

If you need to adjust the level at which you’re hearing yourself while recording, adjust your monitor level, not your preamp.

Use proper mic technique to ensure your performance is within the appropriate volume range.

During Mastering:

Check file level statistics within your DAW to ensure you are meeting the ACX requirements. Group like files together in larger books to make mastering easier.

Use normalization and compression to even out your files. Don’t EQ after compression, as this could affect your final levels.

Keep your monitor level consistent during mastering.

4. Adequately Space Your Audio Files

Make sure you are editing with both fidelity to the manuscript and the listening experience in mind.

During the edit/QC stage, keep room tone handy to use when structuring files.

Leave one half second to 1 second of clean room tone at the beginning and between 1 and 5 seconds of clean room tone at the end of each file.

5. Correctly Order and Structure Audio Files

Ensure that all of your audiobook project’s files have been uploaded to ACX only once each, and in the proper order.

Make sure you’ve included the appropriate chapter/section headers at the start of each file.

Record each section or chapter in a separate track in your project file within your DAW.

Include the file order number along with the section name in your file name. This will help you keep track during upload. Example: 01_Tom Sawyer_Opening Credits.mp3, 02_Tom Sawyer_Acknowledgements.mp3, 03_Tom Sayer_Ch01.mp3, etc.

Print this blog post out and use it as a checklist to ensure you hit all of our QA team’s recommendations. Following the QA team’s advice will put you on the right path to speeding your production to “on-sale,” and will help ensure a satisfied Rights Holder and happy listeners for your audiobook.

 

Introducing the Audible.ca Distribution Channel!

Hot on the heels of announcing ACX opened its doors to Canadian authors, publishers, and narrators, Audible has announced the opening of Audible.ca. This means even more great news for ACX authors, because we’ve automatically enrolled your audiobook in this new distribution channel if you selected Worldwide distribution rights or included Canada as one of your distribution territories on ACX. You’ll continue earning the same great royalties paid monthly, while enjoying readership from a new class of listener.

All aboard with Audible!

Audible kicked off their dedicated Canadian digital storefront with a train trek from Toronto to Montreal, leading with readings of Margaret Atwood’s The Handmaid’s Tale by Elisabeth Moss. Read all about it, or find more inspiration right here: Last week, we concluded Canadian author Susan Hayes’s audiobook diary on the ACX blog.

And what can you do to promote your audiobooks in this new marketplace?  Get ideas at ACX University, now in session, with tips and ideas for creating and promoting award-winning audiobooks.

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