Creating an Audiobook for Audible: 6 TipsAudio book sales are growing faster than any other kind of book right now. And, if you are a podcaster, your audience is much more likely to listen to your book than read. But, producing a book that Audible, iTunes, Overdrive, and other audio book companies will distribute requires some effort. In this video, Amazon best selling author Julie Broad shares six tips for creating a great audio book that will be published on Audible and beyond.
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Creating an audio version of your book is one of the smartest things you can do as a self-publishing non fiction author to create even more credibility, have a book that stands out in more search engines, and will connect with even more people.
Because there are a lot of people who won't read your book, but they will listen to it.
So, how do you create a killer audiobook for Audible without hiring voice talent and totally breaking the bank?
You're a smart author, and you know that more and more people want to listen to your book
and not read it, and some folks like to read it and listen, which does mean you can sell your book twice.
Although, with programs like Whispersync by Amazon, it reduces the rate for the second sale.
But still, it's more money for your book, yay!
Alright, so how do you create a fantastic audio version of your book?
First, you need to know the standards for getting your book approved.
You can't just get a mic, open VoiceNote on your iPhone, and start recording.
Second, you have to know that if you get your book on Audible, you will be rated on performance, story, and the overall book.
In other words, you don't want your book to get panned in the reviews just because you tried
to do your audiobook on the cheap, and didn't get it edited, right?
Right, so, here's my six tips to create a fantastic audiobook that's worthy of five stars on Audible.
Set up your own studio, or arrange a studio rental. If you're going to use the equipment again, or you live in a remote place, setting up a home studio is easier than you think, and recommended.
If you're a podcaster or you're gonna create online courses, it makes sense for you to do this anyways.
I did it for my book, The New Brand You, with the help of an awesome audio voice coach, audio coach?
With the help of an awesome audio coach and editor.
It cost me about 300 dollars Canadian, but I did need to find a small room where I could basically make it a padded room to lock myself in.
A closet would work, or you can even buy little boxes that will provide the kind of sound-proofing you need.
Lots of options, the big thing is to do some sound tests, run them by an editor to make sure you don't have too many issues that will make editing really expensive.
Basically, I'm saying take the time to set it up right, or shop around for a great sound studio in your area.
You can often rent spaces for 60 to 100 dollars an hour, and most books can be recorded in less than three hours, unless you're terrible.
But that leads nicely into point NUMBER TWO:
Practice, and I don't just mean speak away, and say you've practiced.
I don't just mean practice talking, I mean read your book out loud, at least once, but better to do it twice.
A paid professional would read your book out loud two to three times before sitting down in a studio to record it. You're not a professional, which means even though it's your book, you probably need even more practice reading out loud in an engaging way. So you should absolutely be practicing reading your book.
While you're reading, record 30 minutes of it, and send it to a voice coach.
Google voice coach, and I'm sure you'll find many. Ideally one that specializes in audiobooks,
or just hire Book Launchers and we have a multiple award-winning sound editor who will coach you. She's taken home the Canadian equivalent of an Oscar twice for her sound work so, she's pretty awesome. She also helped me with The New Brand You, if you wanna hear what she did for my voice.
Anyways, send 30 minutes of your work to a coach and get some coaching. There are definitely things you're doing that will detract from your performance, and guess what?
I already mentioned, Audible listeners rate your book based on performance as well as overall quality, and, of course, its story.
The good news is when it comes to non fiction, Audible listeners are a lot more forgiving.
When it comes to fiction, they expect you to be a professional actor.
Creating Audio Plugins with C++ and JUCE | Output x Kadenze AcademyJacob Penn and Bruce Dawson of leading audio software company Output teach commercial audio software development, and how to make your own audio plugins ready for the studio and stage. Enroll in the first course for FREE! https://www.kadenze.com/courses/intro-to-audio-plugin-development/info
Ever wanted to learn what goes into making creative music software? In this 2-course Kadenze Academy Program everything is taught in C++ and JUCE, the de facto language and framework used in nearly every major industry. Whether you’re interested writing audio software to launch a new career or for your own artistic practice, or you’re looking for an exciting way to learn object-oriented programming in C++, this Program will give you an inside look at how software is actually developed inside one of the industry’s leading plugin companies, and how to take your ideas from concept to finished product.
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Build That Wall: Creating the Audio for BastionIn this GDC 2012 talk, Supergiant Games' audio director and composer, Darren Korb walks you through his development process; from creating Bastion's eclectic "acoustic frontier trip-hop" soundtrack and haunting vocal melodies, to its innovative reactive narration and sound effects.
GDC talks cover a range of developmental topics including game design, programming, audio, visual arts, business management, production, online games, and much more. We post a fresh GDC video every weekday. Subscribe to the channel to stay on top of regular updates, and check out GDC Vault for thousands of more in-depth talks from our archives.
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PreSonus—Studio One 4: Creating a New Song and Audio RecordingLearn how to create your first song and record some audio in this video.
For more on Studio One 4, click here: http://studioone.presonus.com
Creating Audio Plugins with the Music Industry’s Top Producers & EngineersIn this talk, Mike Fradis, Senior Product Manager at Waves Audio, explains the process of developing custom audio mixing plugins with top producers and engineers such as Eddie Kramer and Butch Vig. Learn more: https://www.waves.com/plugins/signature-series
Juce Tutorial 14- Creating Your First Plugin (Pt 1)This is a tutorial on creating your first plugin, which is a gain slider.
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Episode 3: Creating Quality Audio Files and Backing TracksWelcome to Get Started Fast with Sibelius for Educators, an 8-part video series on Avid Blogs designed to help teachers understand and learn some of the many educational features in Sibelius. http://www.avid.com/sibeliuseducators
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Through Avid Everywhere™, Avid delivers the industry's most open, innovative and comprehensive media platform connecting content creation with collaboration, asset protection, distribution and consumption for the most listened to, most watched and most loved media in the world—from the most prestigious and award-winning feature films, to the most popular television shows, news programs and televised sporting events, as well as a majority of today’s most celebrated music recordings and live concerts. Industry leading solutions include Pro Tools®, Media Composer®, ISIS®, Interplay®, ProSet and RealSet, Maestro, PlayMaker, and Sibelius®. For more information about Avid solutions and services, visit http://www.avid.com, connect with Avid on Facebook, Instagram, Twitter, YouTube, LinkedIn, or subscribe to Avid Blogs.
Gabriele Bunkheila - Creating Audio Plug-ins with MATLABAbstract: Have you ever wanted to write your first audio plugin but found C++ too challenging to get started? Are you passionate about audio signal processing but don’t quite yet have deep enough software engineering skills? Do you use MATLAB to code our audio algorithms and would love to turn those into VST, AU, or other types of audio plugins?
In this short session, you will learn how to write your first VST plugin using only MATLAB code. We will cover all the basic ideas required to create a plugin, including structuring code for real-time efficiency and defining interactive interfaces for parameter tuning. We’ll make use of practical coding examples – prior programming experience will be beneficial but is not required.
If you are a student, make sure you check out the MATLAB Plugin AES Student Competition, at its 3rd edition in 2020. More information at aes.org/students/awards/mpsc/
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Tips for Creating Depth in a MixLearn how to use reverb ➥ http://mixingwithreverb.com
Learn how to use compression ➥ http://learncompression.com
Learn how to use EQ: http://mixingwitheq.com
The Pro Audio Files http://theproaudiofiles.com
Tips for creating depth in a mix.
In this tutorial, we are going to be talking about depth. How to create a sense of front to back image inside your stereo mix.
Now, a stereo mix is essentially a two-dimensional plane, not unlike a painting canvas, and much like any painting, we can create the illusion of three dimensions.
Obviously, in a painting, we do it using things like shading, perspective, size. Well, in music, we do similar things. We use signal processing, like level, EQ, and reverb.
I think it's fairly obvious how we use level. Things that are louder generally appear closer, things that are quieter generally appear further. That's pretty self explanatory.
EQ's a little bit more complicated. There's something called the dispersion effect, where over distance, high frequencies damp out faster than lower frequencies, except for in very interesting and weird acoustic environments, but for the most part, we're going to lose more high end over distance, and so if we have things that are generally EQ'd to be darker, they will also appear further away, and things that are very bright are going to appear close.
The last one is going to be reverb. Reverb is sort of complicated, but reverb is the illustration of sound inside of a space, and where you locate that space comes down to a number of different settings, and they are: the level of early reflections, the level of late reflections, and the pre-delay.
And everything sort of plays into it, like the absorption qualities that your individual reverb unit allows you to setup, and things like this, that, and the other, but these are the three main ones.
So, early reflections. Early reflections are the first-order echoes that happen in a reverberant space, so when I speak, the sound waves go out, they hit a boundary, and they bounce back. That's the early reflections.
The late reflections are my voice goes out, hits a boundary, reflects, hits another boundary, reflects, hits another, and it bounces around this room forming all of these complex reflections. Those are our late reflections.
When we are closer to a source, we generally hear a greater proportion of the early reflections, and a smaller proportion of the late reflections, and conversely, the opposite is true. When we're further away, we hear more of the late reflections and less of the early reflections, and they seem to blend together more, and it makes sense if you think about that.
You get more of a “boom, slap” type of thing if we're close to something, and you get more of a convolution of echoes coming together when you're farther away.
The other thing that happens is the predelay. If I'm very close to a source, you don't hear any reverberation until that sound travels out, and bounces back, and at about a foot per millisecond, if I'm say, five feet away from my nearest boundary, then I'll have about a ten second predelay before my first reflections get back to this microphone.
However, if I'm on the other side of the room, the first reflection that say, hits the floor and then bounces back up into the mic is going to get there almost at the exact same time as the actual direct sound of my voice.
So, as we get farther away, pre-delay goes down. When we're very close, predelay goes up. All of these things come together, and we formulate a system of creating an idea of depth by using all of those processes.
Creating Powerful TRANSITIONS With AUDIO | Video Editing Tipshttps://bit.ly/2RctLMR - Follow along with step-by-step instructions on the PremiumBeat blog.
For more on working with audio swells and music effects, check out this tutorial: https://bit.ly/2UfTENH
“Lifetime Travels” by Cymatix from PremiumBeat.com - https://bit.ly/2CHN8I8
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More from Zach Ramelan - http://bit.ly/2qLaCso
Creating Audio for VFX and Film Making - Super Mario Sound Effects - VFX Vlog #14Learn how to create awesome Super Mario Bros sound effects in your favourite music software!
Finding great sound effects and music for your visual effects and film project is essential to giving them a strong emotional impact and realism. I always spend a fair amount of time for all my YouTube videos in creating high quality audio tracks.
While trying to find some good sound effects to use for our recently released Super Mario Bros VFX short film, I discovered a simple method to create my own using sheet music transcribed by Mark DeSimone:
I take you through how to convert the sheet music to great sounding Super Mario sound effects in Steinberg Cubase.
You can find a detailed written version of this tutorial on my website:
If you are looking for free audio for your film projects I can recommend the following two sites:
For free Sound FX, check out all the Creative Common 0 license sound effects on http://www.freesound.org
If you are looking for free-to-use music, I recommend having alook at http://www.incompetech.com
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Creating a Audio Effect Rack in Ableton Live► Ableton tutorials : https://www.adsrsounds.com/category/ableton-live-tutorials/
This video is an introduction to Audio effect Racks within Ableton Live. In Ableton Live there are 4 different types of Racks; Audio, MIDI, Instrument and Drum Racks. The focus here is on Audio Effects Racks but because all rack types share common features what you learn here can be applied to the other types of Racks.
A rack is a flexible tool for combining devices into complex processing and sound generation chains for use in the studio and in performance. When using multiple devices they give you quick access to the mostly essential controls. Key to racks is the the concept of the macro. This allows you to control a single device or multiple drives in new, powerful and expressive ways.
Lesson key points:
0:29 - What is a Rack?
0:51 - Creating a Rack
1:47 - Rack sections
2:27 - Mapping to a Macro
6:13 - Advanced mapping
7:59 - Processing in series vs parallel
8:45 - Switching Chains
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