Tag Archives: producer

This Week in Links: January 2- January 6

FOR RIGHTS HOLDERS:

5 Steps to Set Writing Goals You’ll Actually Achieve– via The Write Practice – Coming up with goals is easy. Coming up with goals that will make you a better writer can be a bit harder.

The Book Marketing Strategy –via Book Marketing Buzz Blog – January sees some of the biggest spikes in sales after people have been given Audible memberships for the holidays. Keep on marketing!

ACX Storytellers: Ryan Winfield – via The ACX Blog – ACX has numerous success stories, Ryan Winfield is one of our favorites. Ryan explains why he decided to retain his audio rights and passed on working with a major publisher to work with ACX.

FOR PRODUCERS:

6 Things you Can Do NOW to Get Started in Voiceover – via Voiceover Herald – It’s easy to procrastinate when you’re not sure how to get started. Avoid that issue with this helpful article to jump start your narration career.

10 Social Media Trends Giving Brands New Ways to Engage in 2017 – via Adweek – Social media is essential to establishing your brand and properly marketing yourself. Find out the best ways to engage with your audience in the New Year.

ACX University Presents: Finding Your Voice Part 1 –The ACX Blog – Before you  dive into audiobook narration, discover your voice so you can find the appropriate projects. Travel back to ACX University 2015 for some starting tips.

ACX Titles Grab Audie Nominations!

The APA announced the nominees for the 2016 Audie Awards on Tuesday, and we’re thrilled to see that ACX authors and actors received seven nominations across four categories! We checked in with a few of our finalists to get reactions from some of ACX’s accomplished creative talent.

Category: Inspirational, Faith-based Fiction

Finalist: Come to Me Alive: A Contemporary Christian Romance Novel, written by Leah Atwood and narrated by Pamela Almand

Summary: Country music’s hottest star, Bryce Landry, and newly single,  risk-averse Sophie Thatcher discover that finding each other was easy, but holding on will be a different story.Come to me Alive

Memory: When asked about producing Come to Me Alive, Pamela Almond recounted a unique challenge she faced during production:

“Leah Atwood wrote beautiful lyrics to a country-western song, also called Come To Me Alive, and as the narrator, I had to sing it as bad-boy country star Bryce Landry, singing along to his radio hit, then as his girlfriend…and finally as a duet between the two of them! This was more a credit to my editing skills than my singing skills, for sure!  But I loved doing the book, a very uplifting and well-done contemporary Christian romance, and Leah was great to work with. I am so honored and humbled at being named an Audie Award finalist for it.”

Category: Erotica

Finalist: Beta, written by Jasinda Wilder and narrated by Summer Roberts and Tyler Donne.

Summary: The sequel to Alpha, last year’s Audie winner in this very category, Beta finds main characters Kyrie and Roth traveling around the world when a mysterious tragedy strikes.

Beta

Memory: Author Jasinda Wilder stuck to her guns with the follow up to her genre blending Alpha:

“I personally love Beta. I love the way it plays with the accepted boundaries of romance and erotic suspense, or erotic romance or whatever category you want to slot it into. We made it different and a little darker than our usual fare on purpose. Not all of our fans appreciated Beta, though. I get that it’s not for everyone, and that a sequel can’t ever totally live up to the first book. So putting Beta into audio was a little scary, because we weren’t sure how it’d be received.”

Narrator Summer Roberts shared the excitement of tackling the sequel to an Audie winner:

“Erotica can be a really hard genre, but Jasinda’s writing is so rich and her characters are so multi-layered, that it makes narrating her work really fun. I think Tyler and I were just as excited as listeners to find out what was going to happen to Kyrie and Roth in Beta.”

Beg Tease Submit

Finalists: BEG TEASE SUBMIT, written by CD Reiss and narrated by Jo Raylan & CONTROL BURN RESIST, written by CD Reiss and narrated by Jo Raylan and Christian Fox.

Summary: In BEG TEASE SUBMIT, Jonathan Drazen is a known womanizer and a gorgeous piece of man who’s more capable of domination than love. In CONTROL BURN RESIST, his partner in pain Monica struggles with the discovery that love can be just as painful as submission.

Memory: Author CD Reiss recalled the casting process and the relationship she’s forged with her producers:

“I got a great selection of professional auditions to choose from. But I had an idea in my head and every one that didn’t meet that idea was painful to hear. Jo Raylan had a certain something that was spot on, and she let me know right away she’d do whatever she had to to get it perfect. It was obvious she had the talent, so I scooped her up. Christian’s audition for Jonathan was a home run right out of the gate. I would have walked on a bed of Legos to get him on the production. Fortunately, my feet were spared. Control Burn Resist

I’ve developed a wonderful friendship with Jo and have a deep respect for what she does. She wants it perfect. She wants every word to express the right emotions, and we spoke about the character of Monica for a long time. What she wanted, how she sat, where her fear was. It was deeply creative and deeply satisfying.”

Want to create an audiobook worthy of the Audies yourself? Check out our recent tips for rights holders and producers, then head over to ACX to get started.

Subscribe to the ACX blog by clicking here.

File Management with Alex the Audio Scientist

ADBLCRE-ACX_Character_IconWe’re less than three weeks away from this year’s December 4th deadline to submit your audiobook productions for the best chance of being on sale this holiday season.

With that in mind, today’s lesson is about the file submission process. Being so close to the goal can lead to tunnel vision, but following the steps below, along with my other lessons, will  ensure that you don’t stumble at the finish line.

To set yourself up for success when submitting your finished audio, I suggest the following:

  • Export your entire audiobook to its own folder.
  • Name each file with its section number first, then the section name.
    • Ex: 00_Opening Credits, 01_Introduction, 02_Chapter-01, 03__Chapter-02, etc.
    • Stick to alphanumeric characters, dashes, and underscores. File names with other characters might cause upload issues on ACX.
  • After using this file naming convention, you should:
    • Drop all of your files into your audio player of choice (Winamp, VLC, iTunes, etc.)
    • Listen to the beginning of each file to ensure it has the correct credits and/or section header.
    • Listen to the end of each file to ensure it includes proper spacing and contains no narration from the next section.

Now that we’ve covered best practices, let’s look at some common issues that cause productions to be returned to the producer by our QA team, and how to rectify them.

Duplicate Audio

Your ACX audiobooks should match the text editions exactly, without repeated sections. Duplicate audio can happen for a few main reasons:

  • Part of a chapter/section is repeated in another section.
    • For example, an audiobook production contains opening credits at the start of both the first and second file. To avoid this, make sure each audio chapter/section matches the text exactly during the Edit/QC process. I also recommend checking the head and tail of each file after editing and mastering your audiobook to make sure they don’t contain duplicated audio, and to confirm that each starts with a section header and ends with the last sentence of that section.
  • A chapter/section is named properly, but uploaded twice to the production manager.
    • Consider a checklist for your production that lists all of the files, and checking off each file when it’s uploaded.
  • A chapter or section is named improperly, resulting in duplicate uploads with different file names.
    • This third issue occurs during the exporting process, when you output each chapter or section from your DAW as an MP3. Before you export each chapter/section, double-check that you are exporting the correct one. If you’ve got multiple sections in one project file, don’t forget to isolate the correct section for export, and be sure to select the next section after exporting the previous.
    • My favorite solution is to create a separate project/session file for each chapter/section within your DAW of choice. If you have a work folder that contains a project file for each section, your workflow will be smoother and easier when accessing/re-accessing an audiobook’s production. Having a separate project file for each section all but guarantees a section will be exported as two separate files.

Combined Chapters/Sections

App

Listening to an audiobook in the Audible app.

This is when two or more entire sections are combined into one file. ACX’s Audio Submission Requirements state: Each uploaded file must contain only one chapter or section. This requirement is in place for the sake of the listening experience. Navigation within an audiobook should be simple. If chapters one and two are combined in the same file, the listener won’t be able to skip to the latter on their device; they would be forced to navigate manually through one file in hopes of finding it.

This can also be solved during the export process.  As I noted previously, creating a separate project/session file for each chapter/section will ensure you’re not combining two separate pieces of audio.

Incorrect or Missing Chapter/Section Headers

Once again, this is about the best navigational experience for the listener. Having a section header for each chapter/section clearly marks its position within the audiobook. ACX’s Audio Submission Requirements make it clear: Each uploaded file must contain the section header, if contained within the text (e.g., “Prologue”, “Chapter 1”, “Chapter 2”). Making sure each file contains its correct header is as easy as checking it before and after you export the audio. I would also suggest checking it again before you upload each file, just to be safe.

Retail Audio Sample Errors

The retail audio sample for each audiobook has a great deal of influence on the purchasing decisions of Audible’s listeners. They should be instantly captivated by the performance and impressed with the production. Work with your Rights Holder to select a portion that highlights your performance and their storytelling. ACX’s requirements call for “a retail audio sample that is between one and five minutes long.

File_Submission_Sample_02

A red box highlights Huntress Moon’s retail audio sample.

Additionally, I strongly advise against including opening credits and/or music in your sample. This content is secondary to your actual performance, and potential listeners may not make it through to hear your narration.

Finally, make sure the sample includes no explicit language or material, as listeners of every age and sensibility can preview samples on Audible.

That’s today’s lesson. Following each of the tips above should result in a seamless upload and submission process, which means fewer headaches for you, your Rights Holder, and your potential listeners.

Want audiobook production tips in your inbox? Subscribe to The ACX Blog for the latest from Alex the Audio Scientist.

Now On ACX: “Offer Pending” Banner

Have you searched for an audition-ready project on ACX recently? You may have noticed a new banner labeled “Offer Pending” in your results. And if you’ve seen this new feature, you might have a few questions about it. Lucky for you, we’ve got all the answers.

Offer Pending_01

Q: What does “Offer Pending” mean?

A: “Offer Pending” means the rights holder of that title has made an offer to produce it to another ACX producer.

Q: What if the offer was made to me? Will I still see the flag?

A: Nope, but others will.

Q: I’d really like to produce this book. How long does the other producer have to accept the offer?

A: Depending on the offer, the producer who received it has from 24 – 72 hours to accept or decline the offer.

Q: So can I still submit an audition even if a title has the “Offer Pending” banner?

A: Yep, you can.

Q: Is that a good idea?

A: That depends. Preparing, producing, and uploading an audition takes time. If the rights holder is negotiating with another producer, you might do that work only to find the book has gone into production. We suggest you message the rights holder to introduce yourself and request more information if you’re dead set on auditioning.

Offer Pending_02Want to stay up to date on new ACX features? Subscribe to The ACX Blog!

This Week in Links: September 15 – 19

For Rights Holders:

Edit My Paragraph!– via LitReactor – Learn about editing in a micro sense with part four of this informative series.

27 Writers on Whether or Not to Get Your MFA – via Flavorwire – A crowd of writers attempt to answer the eternal question: is an MFA worth the time and money?

The Twitter Secret – via badredhead media – Guest Dana Leipold explains why she uses “that Twitter thing.”

For Producers:

Are You A Voice Over Chameleon? – via Gary Terzza’s Voice-Over Blog UK – “Are you trying to be all things to all people? Then, you could be scuppering your chances of getting voice over work.”

[VIDEO] Whittam’s World: Episode 44, Low-end vs. High-end Preamps – via Edge Studio – Edge’s resident studio expert takes a look at various preamp options in this video.

The Signature Voice – via Bobbin’s Voice Over Sampler – Bobbin challenges actors to define their “signature voice.

 

This Week in Links: September 1 – 5

For Producers:

So You Want To Be A Voice Actor? – via Voice Over Herald – Thinking of jumping into audiobook narration? VOH has five points to ponder to decide if the industry is right for you.

Configure Reaper for Voiceover and Audiobooks – via Steven Jay Cohen – A great primer on how to set up this popular recording software for audiobook production.

Learn Voicing Tips From Robin Williams – via Online Voice Coaching – Looking back at the career of the celebrated actor can provide lessons on improving your own voice over abilities.

With a Little help From My Friends – via steveoneillvoice – Learn how monthly Google Hangouts enrich the VO journeys of six voice-over artists.

For Rights Holders:

What Happens When your AudioBook Ends Up Sounding a lot Different than Expected – via R.C. O’Leary.com – Hint: it’s usually not a bad thing.

An Author Website Checklist – via Digital Book World – Whether self published or traditional, new or experienced, there are certain elements every author should have on their website.

10 Ways for ADD Authors to Be OOH! SQUIRREL!!!! …Productive – via Kristen Lamb’s Blog – Kristen’s got advice on how to stay focused in the ever-distracting modern world.

Easy Tips to Help You Save Money on That Necessary Edit– via Live Write Thrive – LWT has a nice breakdown of what a good editor offers, how much it will cost, and ways to get the most out of your money when hiring a professional editor.

 

This Week in Links: August 18 – 22

For Producers:

What Sustains You? – via Anthony Meindl’s Actor Workshop – “What re-inspires you when you start to question whether or not it’s worth it, or you’d be better off moving back to Montana or you feel as if you’re spinning your wheels?”

Commitment-of-the-Self: How Elizabeth Ashley Greets the Subtext and Why Narrators Benefit From Engaging This Essential Storytelling Process – via Audio Book Narrators – Grammy-winning producer Paul Alen Ruben gets deep into the emotional commitment a great voice actor must have to the script.

Follow Your Passion? Not So Fast – via vo2gogo – Do you have the right balance between following your passion and making smart career choices?

15 Networking Tips for the Thriving Voice Actor – via Backstage – Rudy and Joan of “That’s Voiceover” offer up their tips for finding new relationships and opportunities in the voiceover industry.

For Rights Holders:

Professional Authors Need H.E.A.R.T.—What It Takes to Make It In The Digital Age of Publishing – via Kristen Lamb’s Blog – Find out what “heart” stands for, and what it means to the modern author.

10 Stunning Writing Studios  – via FLAVORWIRE – Do you have a special place to write? Here’s a look at ten really special writing spaces.

Writing: How to Write About Distant Places – via ALLi – Learn how to sound authentic when describing a far away locale.

Are You Progressively Tense? – via Live Write Thrive –  “It’s important for fiction writers to understand what progressive tense is. Why? Because it’s used too often and can weaken your writing.”

We’ll leave you today with a note about Bob Deyan, who passed this week after a courageous battle with ALS. Bob was loved and respected throughout the audiobook industry, and Deyan Audio has been a trusted Audible Studios and ACX partner for many years. Our hearts go out to Bob’s family and close friends. If you’d like to donate to help end ALS in Bob’s name, please visit www.ALSBob.com.

 

Home Studio Setup with Andrew the Audio Scientist: Part 2

WelAndrew_250x320come back to the second half of my two-part home studio setup series. Last week I covered where to place your home studio, how to properly soundproof it, and the basic equipment you’ll use in it. Today, I’d like to share real-world examples from three Audible Approved Producers. Let’s look at (and listen to) the great results a home studio can produce.

Visible Sound Audiobooks

Visible Sound

 The controlling and deadening of acoustic reflections in her bedroom and specifically around the microphone is one of the main contributing factors to the professional audio quality of her recordings – Ben Glawe of Visible Sound Audiobooks.

This home studio photo comes to us from Visible Sound Audiobooks, an Audible-Approved Producer whose operations primarily take place in a Brooklyn bedroom. How does this team achieve their professional sound quality in the midst of the country’s busiest city? House-narrator Christine Papania explains:

The biggest noise problem with my bedroom was my window, which overlooks a a noisy street in Brooklyn as well as a park. I bought special blackout curtains which block out light and sound from windows, which lowered the outside noise to acceptable levels. My laptop fan was also leaking noise into the microphone, but the addition of a silent laptop cooling pad fixed the problem.

Now we’ll hear a recording from Visible Sound’s space. You might be surprised how good it sounds!

 

kate udall

Udall

 

Kate Udall got her start as a narrator at Audible Studios. After working on her production chops and securing some great ACX titles, she earned herself the Audible-Approved Producer distinction. Kate’s studio is a great representation of an effective DIY home recording setup.

According to Kate

We call it Fuzzy Jail around here. It is made of blankets, the size of a cell and I am often inside in locked-down solitary confinement.

Kate uses thick packing blankets to isolate her recording studio from the rest of the room’s noises, which also provides the added benefit of reducing sound reflections that may otherwise occur on the side wall to the left. Her microphone is situated in front of an Auralex Mudguard, a great tool that can further reduce sonic clutter that occurs in home recording environments. She is also wise to set up an external monitor and other necessary components so that her laptop, which sits outside of the recording environment, does not introduce more artifacts and noises into the recorded signal.

Lets listen to a recording from Kate’s Studio:

Stephen Bel Davies

Bel Davies

Our final example shows the upper limits are of home audiobook production. Yes, you are looking at a home studio! This photo comes to us from veteran narrator Stephen Bel Davies.

Located in his Manhattan bedroom, this Studiobricks* installation is the top-of-the-line option for home recording due to its incredible noise-blocking capabilities and reflection controlled environment. Acoustic treatments on all walls, as well as the ceiling, guarantees a deadened recording space with extremely dampened artifacts and reflections. While Stephen is able to achieve a stunning -60dB of sound reduction with this setup, it doesn’t come cheap. These installations will set you back about at least $4,000 before factoring in installation costs. Still – one can dream!

Here is a bit of audio produced in Stephen’s studio.

 

FINAL NOTES

While Whisper Rooms are an ideal recording environment for any audiobook narrator, they are not necessary to produce a great recording. The most important consideration during an ACX production is consistency – both in practice and in aesthetic. For this reason, after you’ve installed your home studio, I strongly encourage you to read up on my four-part series, How to Succeed at Audiobook Production, which goes over methodologies to ensure success with your new audio production system.

How do you achieve a professional recording? Leave your feedback in the comments below.

(This section originally misidentified Mr. Bel Davies home studio as a WhisperRoom.)

This Week in Links: August 11 – 15

Did you know that the submission period for the 2015 Audies is open? Sponsored by the APA, the Audies recognize distinction in audiobooks and spoken-word entertainment. As a publisher or producer of an audiobook, you can enter your ACX title for consideration as a nominee, and yes, rights holders, by “publishers,” we mean you!

Titles released between November 1, 2013 and July 31, 2014 are eligible during the current submission period. Submission runs $175 per title ($100 for APA members), and must be completed by August 22. Complete submission info can be found here (PDF). Submit your ACX production today, and you might find yourself the winner of a shiny new Audie!

Now, on to your weekly links roundup.

For Rights Holders:

J. R. R. Tolkien’s 10 Tips For Writers (Infographic) – via Galleycat – Take a look at the Lord of the Rings author’s advice for wordsmiths.

The Joy of Writing Longhand – via Lit Reactor – Writing longhand: antiquated idea or inspiring throwback?

10 Essential Tips for Dating A Writer – via Buzzfeed Books -Check out this fun look at what it takes to date a writer. Do you resemble these remarks?

For Producers:

This Much I Know…10 Things I Learned From Getting Into Voiceovervia steveoneillvoice –  Steve O’Neill helps you learn from his time in the VO business.

Game Of Tones: How To Play Your Voice For Maximum Impact – via Gary Terzza’s Voice-Over Blog UK – Gary’s got the “moves that will sharpen your voiceover skills.”

What Growing Grass Taught Me About Voice Over – via Marc Scott Voice 0ver – Find out why the voiceover business is all about patience, perseverance, and endurance.

Home Studio Setup with Andrew the Audio Scientist

Welcome to the latest musings from Andrew the Audio Scientist. Today, I’ll be addressing the most essential component of a successful ACX audiobook production: constructing a home recording studio. You may be surprised to find how clean and clear your narration can sound after implementing just a few of the techniques and products below into your own studio setup. Let’s take a look at the two main aspects of a solid studio arrangement.

Andrew_250x320The Room

The most important consideration when building your home studio is its location. The ideal recording space dimensions are rectangular (NOT square), with low ceilings and 90º corners. Closets and other enclosed spaces make perfectly great recording spaces after implementing a few basic room treatments.

Reflection absorption materials, such as the ones detailed on the ACX Beginners Amazon Wish List can make all the difference. The primary reflection points that should be addressed are any surfaces behind the microphone and on the side walls, at a distance exactly half-way between your sitting position and the microphone stand. If you want to go the DIY route, the same effect can be achieved by hanging your old winter coats on the walls, or even throwing up moving blankets where clothing is not an option. The idea is to use fabrics that are thick and provide ample absorption so that once sound hits the material, it stops dead in its tracks.

Isolation is an important consideration for your room, too. An important step in the audiobook production process is the pasting of clean room tone on top of edits and other extraneous noises. Doing so can be greatly inhibited, though, by a non-ideal recording space. You may find the room tone to be too noisy to affect any real sonic improvements. To combat this and other noise problems, make sure to isolate outside noises from your recording space by hanging blackout curtains at all windows, and insulating your room’s open cracks and crevices. However, note that there are some rooms where even the most expensive room treatments are unlikely to make a big impact.

ACX Recommends:

  1. Avoid installing your studio in large rooms such as kitchens and sun rooms. These will cause undesirable echo and reverberation, and result in a muddy sound.
  2. Small rooms with reflective surfaces like bathrooms should also be avoided, because the porcelain and mirrors will send your voice flying across the room without remorse.
  3. Last but not least, recording outdoors is a big no-no. While the sounds of nature can be pleasant, squawking birds and passing cars are not sounds that belong in audiobook productions.

3-Spaces-Bad

THE MICROPHONE

This is pretty obvious – if you want to record your voice at home, you’ll need a microphone. Not so obvious, however, is the kind of microphone you need to purchase. At ACX, we recommend a large-diaphragm cardioid condenser microphone. These microphones are typically more accurate and clean than other types of vocal microphones, but are also more sensitive to recording mistakes. You’ll need to adhere to some setup best practices to get the most out of your purchase:

  1. Placement – A microphone is best set up at a point no further than 40% away from the front wall. Ideally, the microphone would be placed half-way between the side walls.
  2. Height – Microphones placed at or below mouth-level tend to pick up more “body” of a voice, while placement above the mouth (closer to the nasal cavity) capture a more “bright” and airy sound. However, this is a very personal aspect to studio configuration that is best left to experimentation.

    andrew's blog ratio

    Diagram of a ideal mic placement within a home studio

  3. Distance – It is never necessary to stand the microphone further than 6-10 inches from your mouth. This should help you avoid plosives, but we strongly recommend purchasing a pop filter for your microphone if it does not already come with one. (For you DIYers, you can also construct your own pop filter out of – no joke – some pantyhose and flex tubing, as demonstrated in this Lifehacker article)
  4. Interface – All cardioid condenser microphones require an audio interface that can provide phantom power to the microphone. If phantom power is not provided to the microphone, then it will not work.

ACX Recommends:

One of our favorite starter microphones of this type is the Rode NT1-A, which can be found on the ACX Beginners Amazon Wish List. The NT1-A kit available on Amazon comes with a pop filter and all of the mounting hardware needed to get started. This, in conjunction with the Blue Icicle XLR-to-USB microphone interface and a solid microphone stand, provides an excellent starter ACX production system.

Following these basic rules for home studio setup will allow you to transform the appropriate area of your living space into a great sounding vocal booth. Check out Part 2 to see and hear examples of some real-life Audible Approved Producers home studios.