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Authors, Can You Afford to Produce an Audiobook?

30 August 2016

From Digital Book World:

One of the first questions that indie authors and small- to mid-size publishers ask me about audiobook production is, “How much does it cost?”

My answer is always, “It depends.”

Producing an audiobook is like building a house: your choices dictate your final cost. Each recording is custom-made rather than mass-produced. When people contact me about narrating and producing their audiobook for them, I always want to educate them about the time and skills necessary for a polished production. However, most people want me to simply cut to the chase and give them a firm number.

Before I can even give a ballpark estimate on a custom quote, though, I point out, “You can have the finished audiobook fast, good, or cheap. Pick any two.”

Since no dollar figure can apply to all circumstances, the more useful questions for authors might be:

1. How much do I need to pay up front?
2. What are the long-term costs?
3. If I pay up front, how long will it take to recoup my investment?

While other production sites and models are available, I’ll use Audible’s Audiobook Creation Exchange for this discussion, since it’s practically the only way for an author to produce an audiobook with a professional narrator and have no up-front costs. ACX also is a completely free service to both authors and narrators. Finally, in my research, I have not found a company that will pay a higher royalty rate than the 40 percent offered by Audible.

. . . .

The general rule of thumb is that at least 6.2 hours of time are required to produce that one finished hour. The 6.2 hours covers the recording, editing, proofing and mastering needed to create the retail-ready product.

An audiobook that runs 10 hours, therefore, generally would require at least 62 hours to complete—and possibly many more, depending on its complexity.

Given the number of people involved and the studio rental costs, you’ll often see traditional production quotes of $5,000 or more, depending on the length of the book.

On ACX, the narrator is also the producer who is responsible for all phases of production. Most narrators on ACX have created a home recording studio and do not charge a separate fee for its use. The narrator may do her own editing, proofing and mastering, or hire someone to do those tasks.

. . . .

If you want to pay nothing up front, you could post your book on ACX under a royalty share (RS) contract. Many authors think of this type of production as “free,” but it’s really a deferred payment in which the costs of production are repaid to the narrator over time through the royalties paid by Audible. Choosing this option means:

  • You must choose exclusive distribution with Audible, which includes Amazon and iTunes in its reach. You won’t be able to sell your audiobook on any other website—including your own—you won’t be able to sell it on CD, and it won’t be available to libraries.
  • You will split the royalties paid by Audible 50-50 with the narrator for the seven-year distribution period. Under the current terms, each of you would earn 20 percent of the royalties paid in that timeframe.

The author earns royalties from all editions of her work, but the RS narrator only gets paid when the audiobook sells. Therefore, the RS narrator is taking ALL of the risk for low or no sales of the audiobook.

She also has to consider her up-front costs: she must pay her editor and proofer at the time service is rendered. Since a narrator could easily stay in the red for quite a long time on an RS project, most experienced narrators are reluctant or may even refuse to consider an RS contract.

Alternately, you could decide to pay the production costs up front by hiring a narrator on a PFH contract, which is a buy-out option that lets the author retain all royalties. This choice is especially attractive when your ebook routinely sells 1,000 or more copies a month.

Experienced narrators charge between $200 and $400 per finished hour. For instance, at $200 PFH, a narrator would send a $2,000 invoice for complete production of a 10-hour audiobook.

Link to the rest at Digital Book World

Audiobooks

54 Comments to “Authors, Can You Afford to Produce an Audiobook?”

  1. “… how long will it take to recoup my investment?”

    If it’s a story that bores the ‘reader’ and sells poorly, it may never reach that point.

  2. And what about the individuals who want to narrate their own books? How and where would they get the resources to do so?

    Or is it just catch-as-catch-can with a studio setup?

    • A lot of professional narrators have their own setup in their home, so I’d imagine it’s not that difficult to rig something up at home, unless you live in a noisy area or have small children around all the time or something.

      Though personally, I wouldn’t recommend narrating your own book unless it’s a memoir or instructional/informational book. I listen to a LOT of audiobook novels, and unless the novel author is also a professional actor, I actively avoid any books read by the author. This is because most people are not excellent at two things. If they’re a great author, they’re probably not also a great narrator. Yes, I’m sure there are exceptions, but I haven’t run across any of them yet.

      • Maybe someone could develop a “Ronald Coleman App” that could covert one’s voice to that of RC — who had a beautiful and distinctive voice with an upper-class Brit accent. (See the original version of Lost Horizon.)

        Disney also did a Donald Duck cartoon where DD took these pills to make his voice non-DD. The voice was obviously that of Coleman. The problem was that the pills were temporary, and Donald ran out of them! 🙂

        • That would be amusing, though I don’t think it would help much with audiobook narration. Narrating an audiobook (a novel, anyway) is more than having a nice voice. A narrator has to convincingly voice a huge range of characters. Even many (most?) professional actors can’t do it, since they only have experience portraying characters they somewhat resemble. A narrator has to be able to do little girls, old men, mob enforcers, newscasters, inhuman aliens, immortal elves, etc. As authors, we need to not underestimate the talent and skill that goes into other forms of artistic expression. Just like too many people think they can write because they own a computer and can form a sentence, too many think they can be a voice actor (which is what audiobook narration really is) just because they can talk.

      • Neil Gaiman.

    • Depends on just how much they want to ‘do themselves’. Renting a ‘quiet room’ the gear and possibly a tech to run it all costs money, and that’s before editing (unless you trust your own ear to do that yourself as well.)

      That used to be a big issue in the music industry, the band might get a big bundle of cash to do an album, but they were forced to pay to use the company’s recording hall and gear.

      There’s enough hardware and software out there that your average computer can handle the digital recording/editing, or you can farm the bits out.

      (I hate hearing the sound of my own recorded voice, so my mutterings won’t be putting anyone to sleep any time soon. 😉 )

      • From what I’ve read, setting up a home audio studio can be done for maybe $200-1000.

        It’s on the writing ‘to do’ list. Unfortunately there are also a lot of other things on the list.

        Another thing that you can learn to do if you want to.

    • I did mine that way. I used to be a radio announcer, so my voice was adequate.

      It’s a great way to control costs. I used a professional music studio to do the recording/engineering/production, then I loaded a teleprompter program on my laptop and went at it.

      End result was $100/finished hour (for a 14.5 hour novel), and no exclusive contracts with anyone. I have files for both streaming (MP3) and CD (if that ever becomes worthwhile).

      Downside — did this almost two years ago and had to wait until an adequate distributor came along, but now I’m up with AuthorsRepublic which distributes broadly (including to Audible (Amazon)) for a very reasonable cut.

      • Thanks for the tip about another distributor, Karen!

      • Also, Author’s Republic distributes through OverDrive, so it’s a good way to get into the library audiobook market if that’s something you’re interested in.

        • Dean Wesley Smith

          Caution on Author’s Republic. They look wonderful at first look, but their TOS has some hidden stuff in it. A couple friends of mine are working with them to get that cut back. But extreme caution at the moment.

  3. I thought the article was amazing, a good overview of it all. Then I read the comments and went, “Oh, good question/issue.” 🙂

    P.

  4. A minor sidenote (very minor since I know nothing about the audio production side): audiobook covers (which I do know because I make a lot of audiobook covers). ACX has strict guidelines. https://www.acx.com/help/cover-art/201686780

    Your ebook or print cover will need to be modified to fit the square format. No squishing or distorting to turn a rectangle into a square. Some designers will toss in an audio cover as part of a cover package. Others charge extra. Something to take into account when figuring out a budget.

  5. There is this possible misperception that the story on the audiobook must be acted – the OP’s comment about voicing different characters states this as a given.

    It is not.

    The author can READ the book, making small concessions to the characters being distinct, as if reading to the author’s children (I did a lot of reading aloud to the kids, and my acting training is quite moderate).

    When a buyer obtains a book ‘As read by the author,’ the expectations are different. It’s the author the listener wants, the author who knows exactly what each line means.

    It still requires a home studio (for the cheapest way) or the purchase of studio time and a sound engineer ($50 an hour around here – I checked), but the narrator cost is not a necessary expense.

    Of course the results are what you’d expect – and some narrators are extremely good – but very good quality can be obtained at home or by the author. How much time it will take is going to depend on how quickly the learning curve is mastered, and how long the author can read at a time, but indies HAVE time, and not necessarily money, to work with.

    Any time someone says it can’t be done, I get my hackles up. Audible has guidelines for authors doing their own narration, so it can’t be that uncommon.

    • Long long ago, my mother was approached by some blind friends of ours about narrating what was then called “books for the blind”. She checked it out, but eventually decided not to do it, since it would be very time consuming, in the evenings after working a full time day job, and she would not be paid for it.

      What the studio people told her was that they were NOT looking for acting, just fairly neutral intonation that would not interfere with what a listener would imagine in their heads. Plus a pleasant speaking voice.

      • That all may have been true in the past, but just speaking for myself, as someone who listens to a lot of audiobooks, I absolutely want the book to be acted. I listened to one recently that was merely read as Alicia describes, and though the narrator had a very pleasant voice, I ended up wishing I’d just read the paperback.

        The market, I think, has changed since Audible came on the scene. There are so many terrific narrators who really act the parts, bringing a whole extra dimension to novels, so I think most frequent audiobook listeners would not be too satisfied with ones that are simply read to them. We’ve gotten used to a much deeper listening experience.

        • Overacted and dramatized audio books is the reason I let my audible membership go. I really dislike fiction audio books because of that. I limit audio listening to nonfiction now which I usually access through the library and just stick with reading fiction.

  6. [quote]If you want to pay nothing up front, you could post your book on ACX under a royalty share (RS) contract. Many authors think of this type of production as “free,” but it’s really a deferred payment in which the costs of production are repaid to the narrator over time through the royalties paid by Audible. Choosing this option means:

    You will split the royalties paid by Audible 50-50 with the narrator for the seven-year distribution period. Under the current terms, each of you would earn 20 percent of the royalties paid in that timeframe.”[/quote]

    You may want to be very careful with using the royalty split option. I distinctly remember reading that it doesn’t end after seven years as the term suggests. (I think it was from a post on the passive voice)

    After the seventh year, it changes to a yearly renewal. So in effect, if you choose the royalty split option, the narrator will earn 20% of royalties for as long as the author uses that narrator’s version of the story.

    If that bit concerns you, you may want to check with Audible if that is in fact the case.

    • I’d never do a royalty option for something like this. Part of the beauty of self-publishing is that the author has full control and can hire out things like this for a flat fee.

  7. Hello! I’m a professional narrator and the author of the original article on DBW. Thanks so much to PG for sharing the post with your readers!

    I greatly appreciate your interest and comments and am happy to add to this discussion.

    Several of you mentioned that you’d like to narrate your own book. You might be interested in my article “Should Authors Narrate Their Own Audiobooks?” in the April issue of InD’tale Magazine: http://j.mp/InDear04-16

    In addition, you can check out the info about author narrations on the ACX site: https://www.acx.com/help/authors-as-narrators/200626860

    @Karen Myers wrote above about her experience with Author’s Republic. Another distribution option is http://www.BigHappyFamilyAudio.com, which has been in business even longer than ACX. With ACX, you can audition narrators to produce your audiobook and get your book distributed to Amazon, Audible, and iTunes. To use a different distributor, you must have the completed audiobook in hand. I hope to compare audiobook distributors in a future article.

    @Jaye had a good observation about the size of and budget for audiobook covers. I agree that you need to ensure you own or have licensed the rights to the cover for the audiobook edition. I’ve read about authors who were published traditionally and wanted to produce the audiobook as an indie who were not allowed to use the same cover as their print or ebook edition.

    @A.R. correctly noted that Audible’s distribution is automatically renewed on a yearly basis at the end of 7 years unless the rights holder provides notice at least 60 days prior to the end of the distribution period. The exact language is found in sections 5A and 5B of the ACX Book Posting Agreement: https://www.acx.com/help/book-posting-agreement/200502720

    I hope this info is helpful. Please let me know if I can offer you any other assistance in audiobook production.

    PS. I have compiled a list of useful articles covering all phases of audiobook production. You can access it here: http://bit.ly/AudiobookInfoForAuthors

    Cordially,
    Karen Commins

    • As others have mentioned, my brick wall is that ACX won’t work with Canadian authors. I narrated my first novel and created an audio podcast which I provide for free on Podiobooks. It gets me exposure, but I would like to create audiobooks (narrated / produced by others) for sale. I can’t figure out a manageable way to do that on my own, so would love ACX to either open up (why not?) or for there to be a similar, alternative service. I’d love to know if anybody knows of one.

      • Do you know any small, indie, US-based publishers, who would act as your American publisher for you? I do that for a couple of my Canadian friends. They provide the files, I upload them and send them checks once a quarter.

        • Oh my gosh! Fantastic idea! *smacking head* Why didn’t I think of that? Thank you 🙂

          • I don’t know if you use Kobo or not but they have teamed up with an American audio distributor called Listen Up. You can also get narrators through them I believe as well. I don’t know what they are like as I have not used them yet.
            Just another idea.

            • That’s really interesting. I don’t know about them because I’m in KDP Select, so don’t pay much attention to Kobo stuff, but I’m going to at least read up on it. Thanks!

      • Hi, Tudor! In addition to Leah Cutter’s suggestion, you might check out these companies that work with authors outside of the US and UK:

        http://www.listen2abook.com/ — Is not affiliated with ACX and offers more distribution options

        I have worked with the people at Listen2aBook and am happy to recommend them. They also work with authors who need 2 or more narrators, for instance in books with dual POV storylines.

        http://www.kemahbay.com/audio-book-distribution.html — Acts as a US agent on ACX.com

        http://www.listenupindie.pub/

        I hope this info is helpful. Best wishes for your success!

        Cordially,
        Karen Commins

  8. I’ve wondered if some narrators need to add extra dialogue tags? Some dialogue might be plainly attributed on a page due to paragraph breaks, but narrated dialogue (without acting) might get confusing.
    And for the record, ACX doesn’t accept non-US or non-UK authors.
    I stopped looking at that point. Someone here might be able to recommend a company that does world-wide authors.

    • That’s why I can’t do audiobooks at the moment, either. It’s highly annoying, expecially as Germany is a high selling country for Amazon.

      I won’t sell them through my website, either, because of the crazy, crazy VAT laws for “digital services” in Europe.

      Ah, well. Sometimes, I wish we had the one-world government of Star Trek… and transporters!

  9. for under $300 you can set up your own pro recording studio at home or work. Audacity is free. It will take you about an hour to learn to record quality audio.

    It doesnt take six hours to create one hour of audio. It takes about one hour to create one hour– for you are reading the material. Consider a single page, single spaced, is about a three minute read on audio, and you can estimate your time on mic.

    The entire audio industry is disrupted except for the distributors. Audacity via Amazon is taking far too great a share without having put in the sweat equity, imo. But that’s another topic for another day.

    If you had a 525 page book, it would take between 23 and 28 hours to record the entire, depending on the leading and font size on the pages.

    You can buy art from any number of free sites that is royalty free/ public domain. Wikimedia has great pix and they are Creative Commons and you will need to credit the maker according to their instructions. no issues at all.

    You can use free or ridiculously cheap programs like “play with pictures’ to make you own album covers with typeface, text, drag and drop images. Photoshop is outclassed in terms of ease and speed by many programs. you will be able to crop to square and carry the end image in high res, just fine. Ace simple and takes a few minutes only.

    There is no reason to pay a person to read your book. Trying to dramatize text in a book is often awkward because actual storytelling in speech absolutely does not follow the same pattern/syntax/lexicon as writing the same story for pages.

    A 2100 mic, a tiny stand, a spit filter, you already have a laptop, go for it. Because you’re reading with no asides, there are going to be no ahs and ums to edit out. Youre not going to turn pages on mic. Youre going to lay them or hang them up so you can see them and read them without handling the pages.

    However you have to keep your mind focused because you want to make a clean first take without having to go back in and edit because you stumbled over words [that you yourself wrote… it can happen if youre tired or lose your concentration for whatever reason.] without having to go back in and edit.

    If you do flub up a phrase or word, stop, pause, and re-say it properly. Note the time with pencil and paper on the audio counter so you can find that passage in audio again, and go in and erase the flub and leave the perfect one.

    Put it in the format you want. Youre ready to go except for wading through various agreements with carriers/distributors.

    • “However you have to keep your mind focused because you want to make a clean first take without having to go back in and edit because you stumbled over words [that you yourself wrote… it can happen if youre tired or lose your concentration for whatever reason.] without having to go back in and edit.”

      And unless you have already done it for years (or have some training) it will sound like your first draft reads. So you’ll clean it up a bit, only to discover those bits now sound better than the ones that were ‘okay’ before. Then you let someone else listen to it (and they hopefully will point out a few things you missed because you knew how it should go and your mind filled in the blanks.)

      Remember your first book? All the rewrites/corrections? Looking at it now, are there things you’d change/fix? That’s how your first ‘Read & say’ audio book is going to go. But like your writing, you should improve with practice.

      Yes, there are some that can do it in one go and do it well, but don’t count on/expect it to be you! 😉

      I will agree on the startup costs, a good microphone and headset and a quiet place to work are the key points (oh, and having a good story telling voice!)

      Good luck and have fun.

      • I know most can do this Allen. Reading is not like writing. People who are inexperienced can do a 2 minute practice first, play back and correct whatever in tone, volume or whatever.

        People talk every day, often constantly everyday. They can as easily talk with a mic present. Most people dont write every day [cept us’ns here]. They talk. If you can talk to your friends and family, there is no mystique, you can also read for audio/ radio/podcasts etc.

        Again, the story has to be rich. And not record too long so voice becomes flat. I think most do just fine and those who havent tried, most all will be successful.

        Just dont react to how you sound to yourself re voice. Few of us recognize how we sound from outside our skulls.

    • That’s the route I plan to take – no one on the listening end has to buy a book if they hear the sample and don’t like it!

      Thanks, USAF

      • go for it Alicia; I know you will do well. If you’ve ever a question, we and others here can likely help you.

        • Not sure how to contact you, though.

          I’m not quite ready to go to audio, but I love your comments below. And so often diverse really means white.

          I just had 50 years of videos and movies digitized, and the video person made a comment about liking to listen to me talk to my kids (we homeschooled). I thought I’d hate the sound of my voice, but I didn’t – it wasn’t like the first time you hear your voice recorded and can’t believe that’s you.

          ‘Professional’ is too often a euphemism for ‘pay me – I know better than you.’ Writers who have too much work, and are selling well, may choose to hire some of their work out; others should keep in mind the economics of paying out a lot of money up front on a startup. Will they sell better? Maybe. But they’ve already laid out a wad of cash, and may still not sell much. Not a sustainable hobby unless you are wealthier than I am.

      • Of course one can do everything when it comes to the aspects of self-publishing (audio, cover art, etc.), given how much free-to-cheap technology and computer programs are out there. But I really think that if you want professional-quality work, hire a professional. Just imagine it from the other end, if there was a person who wanted to do professional audiobook narration and they figured the best way to get into it would be to crank out some books themselves to narrate. How good do you think those books would be? If you can honestly do professional-quality narration, then go for it, but if you’re an amateur at it, consider how you want to present your book to your potential audience. Do you want it to look polished and professional? Or do you want it to look like you did everything for free?

        • there are literally tens of thousands of authors who have recorded their own books and there will be more. Hundreds of thousands, millions more. It’s a sure thing.

          In my world [of 30+ years of audio experience personally and teaching others the ropes] there is no reason to hire an expensive voice-over unless one wants to for whatever reason.

          Speaking one’s own work has nothing to do with ‘cranking out’ anything. It is craft. A craft that belongs to everyone. Spoken word belongs to all persons. If they have audio voice fry, that’s fixed in under a minute. If they have a grating voice, another minute and its fixed. If they speak too fast, easily fixed. Timbe off. Easily fixed. It is NOT rocket science. Good voice, good reading and audio voice, is natural to each human being.

          ‘Polished and professional’ is but one form that is put forth most often by corporate. It is but one style. And it is rote. By my sights NOTHING about voice ought narrow the literally billions of styles of voice, thereby leaving out entire groups of people, including those with heavy accents, people who come from other cultures where English for instance has different conventions than ‘usa corporate ideas of English, who dont give a royal r a about the ‘usual way’ of selling audio in someone’s idea of ‘professional’.

          Many people in our world come from storyteller cultures where ‘polished and professional’ is not even on the radar. The story is, and often the endearing qualities of the teller’s voice that would never fit into a mono-stereotype of ‘polished and professional.’

          Myself I’d rather hear the author. Otherwise might as well send voice-overs on book tour or on performance tour. The ticket sales would be abysmal. The Caedmon series is beyond treasured because it is the poets speaking their own works, sometimes stumbling, making asides, being REAL. Polar opposite. I prefer to hear the author and the story. Some want to hear ‘polished and professional’ fine also. I and many many others, prefer otherwise.

          There are literally billions of voices who can ably tell their own stories. Big corporate in audio has imo sold a lot of people down the river by AGAIN telling people/authors /artists they are not good enough, not experienced enough, they need ‘help’, they are not naturally talented enough to TALK, merely talk. They NEED other services at great expense.

          After our go-rounds with MTV and PBS, I’d just say this: if you want to be free, run as far away as you can from any publisher, in audio or text or theatre or film who thinks they know your readers, the listener, the audience better than you as an indie, than you who have touch with your own readers/listeners. If I picked horses based on the model most publishers of text and audio foist on the naive artists, I’d have one Arabian that I’d have to pay a mint to bring in a stallion to, instead of having a fine herd of individual strong and beautiful mares and stallions and geldings and mustangs who have never fit the mold of ‘arabian whatever.’ Nor should they. Their differences create their Magnitude.

          If you want to hire a voice over, fine. But better hurry. The high end of voice-over is a dying buggy whip profession, disrupted entirely by indies and by smart corps who use a plethora of voices that they can pay low for and get great quality. The prices for high end ‘talent’ are way too high. Outrageous really. And NEVER EVER share royalties if you hire voice. The ongoing income ought not ever take away from the maker of the original work. To write a long novel is excruciatingly long work. To read it, is not.

          A famous voice, is often a ten car collision, if you’ve ever heard the ‘celebrity’ audio omnibuses. Such as the one of children’s stories read by luminaries. They all ought to have stayed in bed and let the kids tell the stories to the adults. It was horrible. Never heard of it? That’s why.

          Personally, each person ought do what they think best. Whatever people choose, as informed people, is fine. However, I despise the idea that god-given talents in each person are taken from them, their talents demoted, told they cannot do as well as whomever, before they ever get out of the gate. Before they ever get to learn the ONLY three things about lively voice on audio. It is NOT rocket science, and it is NOT like learning to play the violin, it is NOT like becoming a three octave soprano of Prince Albert Hall quality.

          And the voice talent we are talking about belongs to everyone. It is not some twee, oh so special talent except in the minds of those who believe it so and promulgate that. People are born to speak. They ought be given every opportunity to do so.

          If one feels unsure, I notice there are any number of free and for pay voice-over trainings online, and at one’s local ymca or local ‘free universities.’ I’d caution only if someone is selling it as “make a lot of money in voice overs’… aint gonna happen for 99% if youre trying to run a home, pay mortgage, send kids to good college, etc.

          But to be validated in what you already know, to give you confidence, to give a couple hints about how to improve, to answer your questions, great. Most courses are very short. Why? It is a very simple art, that most all already do completely well and beautifully every day since you learned to speak. There’s always room for improvement, but most people are naturals. Some are rather dedicated to the lack of confidence, but that too can be overcome.

          Dont drink the koolaid that recording is only for ‘very special’ voices only. It is for everyone.

          • Yeah, I don’t think you actually heard anything I said, but you wanted to soapbox, so whatev.

            • I heard you Samus. However, there is a new reality about audio by authors. It isnt ‘soapboxing’ or ‘cranking out’ as you put it.

              It is encouragement for those who want to try, without first dousing their enthusiasm with cants and donts– as the gatekeepers self-annointed, have done for decades.

              The process is simple for those who want to do it. It is not some mysterious thing. Up to each person to decide. Without first being told one has to be /sound like whatev.

              • I wasn’t telling someone not to do it. But blind encouragement is not necessarily helpful either. In order to make an informed choice about the best way to proceed, one needs to consider the cons as well as the pros.

                Your post clearly showed that one *can* produce one’s own audiobook. I merely pointed out that just because one can do something doesn’t necessarily mean one should. “Should I?” is as important a question to ask as “Can I?”, and when you’re producing a product that you’re hoping people will buy, part of the “Should I?” has to be “Will this make people more likely to buy it?” If one’s goal is purely to please oneself and one doesn’t care if anyone ever buys the product, then that’s a different issue and the market doesn’t really come into it. Most self-published authors, I would think, are not in that position, at least not entirely.

  10. I should mention too that no persons, authors or narrators can go for eight hours recording without it sounding flatter than a pancake. You can read and be full of quality voice with nuances without acting. Usually 90 mins to say 2.5 hours at a time. We do that say in morning and again in evening, but not more. Voice SOUND becomes tired, the rhythm of reading also flattens a voice.

    Go do something interesting or go rest, then come back,.

    Radio held the attention of millions, as do podcasts; they are not dramatized BUT the content is truly interesting to hold listener’s attention. I personally cant stand to listen to a person on audio, drama or reading, for more than a couple hours or 2.5 at a time anyway. Im full. Need to go do something else/

  11. Title’s a question so the answer must be no.

  12. Folks, Presonus has a free version of its Studio One DAW (Digital Audio Workstation) which is far superior to Audacity, but the learning curve for any of these software isn’t easy.
    You can buy home studio “packs” from companies like Focusrite and others that include a good mic, audio interface and headphones, etc AND good software.
    Keeping a consistency in tone and voice is the hardest thing, but it’s possible to learn the “tricks”.
    By the way, I strongly recommend that anyone thinking of this buys an external USB (or Thunderbolt) hard drive for writing the audio files to. Apart from audio files being very large and taking up space, your PC and software can glitch when it’s trying to run the DAW and write files to the same hard drive.
    Dunno if it’s worth a blog or even a small book on this subject. Hmm…

    • I hope you will TBB make that a small book on the subject. Easy to update, and I can tell you have the creds. Go for it.

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