Como você lida com diferentes vozes e sotaques na edição de audiolivros?

You have to get involved in the story and make you own, it's look like your experience of life, after that you can handle easy and natural. Every story have a style and different accent, and your performance has to be perfect.

As a narrator, I like to meet with my authors via zoom before they commit to hiring me if possible, but not all narrators offer this. If you are hired as the editor, you should assume the narrator has been building a rapport with the author. You should build a similar bond with your narrator. Building a rapport with your narrator will give you a sense of who that voice really is, what their quirks are, and more importantly how they mark their mistakes. Remember, they are representing the author and their book so trust that their performance is based on what they have agreed upon with the author.

I would suggest that a native speaker is cast. No faking accents allowed. It’ll be clear for editing without guessing what is being said. If the project calls for one talent to voice several different voices/accents, someone’s expectations are high and maybe unrealistic. Pay more money!

Selecting the right narrator is crucial for any audiobook project. In my experience, the voice needs to match the tone, pace, and emotion of the story. I once worked on a fantasy audiobook where the narrator's natural accent added an unexpected depth to the character, making the experience richer for the listener. Don't just pick a voice that sounds good—choose one that feels right. The right narrator can turn a good book into an unforgettable experience. #AudiobookProduction #VoiceTalent #Narration

Wer aufwendig und zeitraubend EQen muss und sich mit Plugins herum schlagen, hat oft bei der Mikrophonierung suboptimal gearbeitet. Ich achte sehr auf Höhe des Mikros und variiere hier für verschiedene Stimmen. Abstand ist natürlich auch sehr wichtig, gerade um verschiedene Aufnahmesituationen und Örtlicheiten (außen / innen etc.) zu bedienen.

As the editor, it's best practice to adjust your levels to meet ACX standards. These are the most strict of standards and if you can match their requirements, then your efforts will be accepted on any other platform as far as quality is concerned. However, make sure your narrator already has run a test with you so that you can ensure that their recording is suitable and that you can clean up the audio enough to meet those strict standards.

Nicolas Shoup hit it spot on. You're recording space is 90% of your product. The other 9.9% is talent (ok, maybe 49%/49%) with any remainder being the equipment.

Balancing multiple voices and accents in an audiobook can be challenging. I’ve found that subtle volume adjustments and precise EQ can make all the difference. I remember a project where a slight tweak in the EQ brought out the warmth in one character's voice, making it distinguishable from others. This attention to detail ensures each voice stands out without overshadowing the narrative. It’s all about maintaining clarity while preserving the unique qualities of each voice. #AudioEngineering #Audiobooks #SoundDesign

When working with diverse voices, subtle effects and smooth transitions can enhance the listening experience. I’ve experimented with slight reverb for certain characters to convey their presence in different environments or used gentle crossfades to transition between accents. These techniques can transport the listener and make the story more immersive without being distracting. The key is to keep it subtle—less is often more. #SoundEditing #AudiobookProduction #AudioEffects

It's highly recommended that your narrator builds a connection with any proofreader that is involved with the project. The proofreader should send the narrator the list of pickups needed so that they can make those changes and then send them to you. Many editors work in tandem with the narrator and proofer so that there is no delay with pickups. Many editors offer packages where they have a proofer, but narrators may also have someone they prefer to work with. If possible build that communication with the proofer as well so that the three of you can tackle the tasks quickly.

Pozotron is an audio proofing software platform that scans audio files and scripts to detect mistakes and extraneous noises with amazing accuracy. Markers can be exported from the program and into most DAW's, so that you can compare the findings listed in positron to where they are on tracks and edit accordingly. As for revisions in the desired tone, emotion, or intention, it would still require humans for discernment. But just for proofing alone, Pozotron is a game changer and time saver for any long-form narration.

You may not have access to the cover art and in most cases, the author will provide that when submitted. Check with the narrator to see how the author would like to proceed. Additionally most publishers will only accept MP3 as the finished audio file. And as stated before, it's suggested you stick to meeting ACX's strict guidelines for format and quality.

If you are the narrator and are handling your own edits, be sure to learn your DAW well. Have at least a proofer to proof your work, and ensure that you offer the author or rights holder the opportunity to give feedback from an audio sample before you start recording.

Also make sure you set an understanding of if you should be removing breaths. This should have been discussed between the author and narrator beforehand. Ask if you all breaths should be removed, major breaths should be removed, or no breaths should be removed. If you are keeping breaths in to some extent, be careful of any plugins you use to clean up background noise. It may create a tunnel sound with breaths that are better off just being removed.