For example, a production with a low RMS but loud peaks could end up with technical issues within the file, such as uneven narration levels, a high noise floor, etc.Įxamples of peaks in an audiobook recording.Ī: Peaks are the loudest part or parts of an audio file. Audible will apply light dynamics processing once your audiobooks are submitted, so your production’s overall levels should not be too high or too low. Basically, if your RMS is between -18dB and -23dB RMS, with peaks at -3dB, you’ll achieve the optimal sound across all formats.Ī: RMS has many functions, but for audiobooks it’s the value assigned to the overall volume level of an audio file.
This means that audio quality will range from very high fidelity to lesser fidelities that equate to smaller file sizes and quicker downloads. Q: Why do I need to follow all of these mastering requirements?Ī: Audible offers each audiobook in a range of different audio formats to accommodate listeners on Audible, Amazon, and iTunes. Additionally, removing unwanted high and low frequencies can help reduce any hum or hiss that may be in a recording. All chapters/sections are brought up to matching levels, which provides a smooth listening experience. Q: Why do I need to master my audiobook productions?Ī: Mastering is the the final step of post-production and the glue that brings the entire audiobook together. Now that we’ve covered the basics, let’s get to those questions.
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have room tone at the head and at the tail and be free of extraneous sounds.contain only one chapter/section that’s shorter than 120 minutes and the section header must be read aloud.include opening and closing credits and a retail audio sample that is between one and five minutes long.be consistent in overall sound and formatting and be comprised of all mono or all stereo files.But first, let’s review ACX’s Audio Submission Requirements: Today, I’ll answer the most common questions and give you a breakdown of the basics steps of the mastering process. Since I’m lucky enough to have such eager students, I often get questions about one of the more mystifying aspects of audiobook production: mastering. If you have any questions, or suggestions, please post them in the comments section below.Today’s lesson is going to be a little different from my others. If you would like to add a Keyboard Shortcut to this script, please read my article: Add a Keyboard Shortcut to Punch and Roll for TwistedWave The READ ME file will walk you though using the Application (pictured above on the lower right), and through tweaking the script (pictured above on the lower left). Please read the READ ME file before doing anything else. When you open the folder, you will see 5 files.
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Once you download the file, and unzip it, open the TW-PunchRoll folder. So, I decided to port my script to TwistedWave. Many well respected people in voiceover seem to love it (including George Whittam and Paul Strikwerda).īut, one feature that some people say that it lacks, is Punch and Roll editing.
Recently, I have started experimenting with TwistedWave, an audio editor for OSX, iOS, and the Web. I’ve since modified it, and broken it out into separate parts (move audio, run pre-roll, etc), and I have found it much more useful. Two months ago, I put together a Punch and Roll script for Audacity.
Download the TwistedWave – Punch and Roll script here.
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