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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 in the Reference Documents 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 Buy the MKE 600 - HERE 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! It is worth noting, that there is now a 5th generation model with XLR and USB connection and a cheaper Signature Series with just the XLR. I haven't tried these yet, I have heard that the Frequency Response is a little different with a touch of a boost on the top end but if it is anything on the original NT1 4th gen the added connectivity for the 5th Gen and the cheaper price point for the Sig Series sound fantastic! It is worth noting these hear everything so if you are worried about background noise I would say go for the MKE 600. Full NT1 review - HERE Buy the NT1 4th Gen - HERE Buy the NT1 5th Gen - 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 Buy the PD200X - 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 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   Buy the 2i2 - 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 Buy the DT 770's - HERE Laptop For this, I really recommend a Macbook Air M3. 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 it 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!) Buy the Macbook Air 13" M3 - HERE Buy the Macbook Air 15" M3 - 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. 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! 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!!!!!!

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.   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!   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!

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

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

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

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

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

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

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 $300 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 $300 = $1,614.00 If your book is 200,000 words: 200,000/9,300 = 21.51 hours long. Total cost for Audiobook Production 21.51 x $300 = $6,453.00 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 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 $345 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 - $225 pfh for narration, $75 pfh for proofing and mastering so $300 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 $50. 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!

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 - $225 pfh Proofing and Mastering (Listening for any mistakes, fixing them and mastering the audio to meet ACX/Audible standards) - $75 pfh Total - $300 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 $300 = $1,614.00 If your book is 200,000 words: 200,000/9,300 = 21.51 hours long. Total cost for Audiobook Production 21.51 x $300 = $6,453.00 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 - $225 pfh for narration, $75 pfh for proofing and mastering so $300 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 $300 = $1,614.00 $225.96 - 14% of PFH fee $50.00 - Skywire Paymaster Fee $1,889.96 - Total with H&R and Paymaster fees. 200,000 words 21.51 hours long 21.51 x $300 = $6,453.00 $903.42 - 14% of PFH fee $50.00 - Skywire Paymaster Fee $7,406.42 - 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.

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

Hellooooooooo Voice Over artists and audiobook narrators! Today, I want to share with you my review of the Sennheiser MKE 600, a microphone that has been a very useful little partner in my career! So, grab a cup of tea and let's explore everything that makes this mic an invaluable tool in the studio. Features This versatile microphone can operate on +48V phantom power or battery power, giving you the flexibility to adapt to different recording setups. It offers an XLR output and also includes an adapter cable for a 3.5mm TRS jack connection, though I must admit that the XLR connection provides superior sound quality, and I would only ever use this for professional voice work. Additionally, the MKE 600 comes with a switchable "Low Cut" filter, which helps eliminate unwanted low-frequency rumble. Performance This microphone truly excels, especially in less-than-ideal recording spaces. It effectively reduces the "boxy" sound that often plagues small rooms, allowing your voice to sound more natural and open. Even without extensive acoustic treatment, the MKE 600 is a reliable ally that helps you achieve professional-sounding recordings. Moreover, the MKE 600 is a master at minimizing room reflections, ensuring that your voice takes center stage without unwanted echoes. Its shotgun microphone design makes it strongly directional, effectively reducing external noise and distractions from your recording space. Saying all this, if you treat your space well, you will always get superior audio, and nothing is going to stop those barking dogs or aeroplane sounds other than a well-isolated space. But here's a little secret: engineers and clients unanimously prefer the sound of the Sennheiser MKE 600 over my Rode NT1 4th Generation! They love its enhanced presence, forwardness, and energy. With the MKE 600, your recordings will leave a lasting impact. Self-Noise The Sennheiser MKE 600 boasts a self-noise level of 15dB (phantom) and 16dB (battery), which is similar to other shotgun microphones in its class. While it may not be as whisper-quiet as the exceptionally silent Rode NT1 Regular Condenser Microphone, it still maintains a respectable level of self-noise. Your recordings will remain clean and professional, free from distracting hiss. Frequency Response When it comes to frequency response, the Sennheiser MKE 600 keeps things even and balanced. Its frequency response is reasonably flat, ensuring accurate sound reproduction. However, it does feature a slight presence bump around 5-8 kHz, adding a touch of clarity and sparkle to your voice. Your words will resonate with listeners, leaving a lasting impression. Price The Sennheiser MKE 600 may not be the most budget-friendly option, but its exceptional performance and features make it well worth the investment for serious Voice Over artists and audiobook narrators. Consider it a worthwhile investment in your craft, as it elevates the quality of your recordings to new heights. Conclusion The Sennheiser MKE 600 is a great mic for Voice Over and audiobook narration. Its impressive features, exceptional performance in challenging recording spaces, and preference among professionals make it a top choice. With its enhanced sound presence and reliable noise reduction capabilities, it delivers a warm and professional audio experience. If I were to choose between this and the other common ‘First XLR Mic’, the Rode NT1, I would go for this! Rating - 4/5 Wishing you the best in your Voice Over endeavors! Buy the Sennheiser MKE 600!