Get a 2nd Opinion before sending off that audiobook!

So, you’ve recorded, edited, proofed, and finally mastered your audio. It’s ready to head off to ACX or off to a publisher. Well… you THINK it’s ready… you HOPE it’s… You get the idea.

You know that you’ve put in oodles of work getting this audiobook done, but if only there were a way to double check some of the basics, that would make you feel so much better. I felt that way too. That’s why I wrote 2ndOpinion.

It works on both Mac OSX (tested on 10.10 & 10.11) and Windows (tested on both 7 & 10).

Click here to download

2ndOpinion is an audiobook checkup tool that is designed to be used once you feel that your audio is finished. It checks your audio to see if it meets some common specifications:

  • That it peaks at or below -3dB
  • That it has an average RMS between -18dB and -23dB
  • That the head of the file is between 1/2 and 3/4 of a second in length
  • That the tail of the file is between 3 and 5 seconds in length
  • That the noise floor is at or below -60dB
  • That the file was recorded at a sample frequency of 44.1 kHz
  • That all the files are mono (or stereo)

Many of the points listed above have simple fixes that can be handled automatically. If 2ndOpinion finds any of these issues, it fixes them. If it finds more complex issues, it lets you know. Take that information, fix the issues, and run the software again. Or take it to a reputable audio engineer and they will fix it for you.

And, 2ndOpinon is free to use on any projects you like. If you’d like to support future development, you can always buy me a coffee…

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“A Little Off the Top” – Using Limiters for Voiceover

Sometimes, the best audio engineering job, like the best haircut, it the one that passes unnoticed. The result seems so well-suited and natural that you’re not quite sure if anything has been done at all. In the case of a haircut, this is often the result of asking the hairdresser to simply “take a little off the top (or sides, or back).”

For the Audio Engineer, often, this means setting the Compressor aside and reaching for the Limiter instead.

If the volume on your audio is generally within an acceptable range, but your peaks jump a bit higher than you would like, a Limiter (specifically a Hard Limiter or a Brick Wall Limiter) may be a more appropriate tool than a more generic Compressor.

In our fictitious example, lets assume that during some more exciting parts of your recording, your volume jumped up to about -1.0dB but didn’t actually peak (go above 0). You were asked to deliver a file with peaks no higher than -3.0dB.

You could try to fix this by Normalizing the entire file down to -3.0dB. If you did the entire file would get quieter by 2 decibels, and that is not the goal. The volume in most of the file feels perfect, you just need to control those peaks — “take a little bit off the top” — as it were. This is why you might want to use a Limiter.

By configuring a Limiter with both the Threshold and the Output set to -3.0dB, only the parts of your audio that exceed -3 will be affected at all. Since this leaves the bulk of your audio untouched, the result can be a lot more transparent and natural than other types of compression.

loudmaxIf your audio needs to be made slightly louder and have very specific peaks, you would move the Threshold down until it affects a bit more of your audio, maybe as low as -12.0dB. All of your audio below that line will remain unaffected while the parts above will be “teased up” a bit. Depending upon how agressive the Threshold you could go from adding a bit of body to a flat hairstyle to something that seems more like glam-rock or punk. So, be careful!

eventhorizon

Two of my favorite Limiters are Event Horizon by Stillwell Audio and LoudMax by Thomas Mundt. Both are intuitive and can be incredibly transparent. Try them both out and see which one works better for you. Is there another Limiter that you think I should try, let me know?

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A Custom OktavaMod Microphone from Michael Joly Engineering Replaces my CAD E100S

Up until very recently, all of my voiceover work was recorded on a CAD E100S. Then, I got a chance to hear one of Michael Joly’s custom microphones, and everything changed…

Let me start by saying, I loved my CAD E100S. Flat response, low self-noise, and tight pick up pattern, what’s not to love? The E100S was very clean and true. The hypercardioid pattern was great for off-axis rejection. I never thought that I would want another mic, until I found out about the ones built by Michael Joly.

Michael Joly runs his business from a small workshop on Cape Cod, here in Massachusetts. In it, he takes common, in-expensive microphones and tricks them out. After his modifications, its nearly impossible to distinguish his mics from ones costing thousands of dollars more.

I first got to hear one of his microphones at a live performance. My ears could swear that they were hearing a high end tube microphone, or maybe an active ribbon mic, but that’s not what my eyes were seeing. What I saw looked like a run-of-the-mill Nady TCM-1050! A few days later, I connected with the performer online and found out that this particular TCM-1050 had been upgraded by Michael Joly.

Choosing & Buying My Microphone

I looked through the microphones on his site, and true to form, I decided to order “off menu”.

I explained that I really liked the sound of his tube mic upgrade and the sound of his VintageVoice’d MJE-250, but I do voiceover from a small StudioBricks booth in my personal studio. And, I knew that he usually recommended his Røde NT1-A upgrade for voice work.

His response — He offered to upgrade the lower self-noise NT1-A with the VintageVoice’d capsule!

Ordering the microphone from his website was easy. I got automated emails telling me the status of my order all the way through to shipping. And, about a week later, I received my microphone.

mje-mic-basket-compareOpening the box, almost everything was stock Røde NT1-A — the shock mount, pop filter, and sleeve all come standard with an NT1-A. The small MJ (Michael Joly) logo affixed to the front of the mic, and the certificate explaining the modifications were the only immediate clues that there was anything different here.

If you compare my microphone to a stock NT1-A side by side, you can see a few other differences. The new single-layered open basket makes the new custom capsule more evident. But, without a direct comparison, you’d be forgiven for not noticing the change.

But, that’s enough about how it looks. It’s a microphone after all, what’s important is how it sounds.

Here are some sample WAV files.
They’re big. They may take a while to load…

MJE-K47 at 7″ from the capsule

 

MJE-K47 at 5″ from the capsule

 

MJE-K47 at 10″ from the capsule

 

MJE-K47 at all 3 distances with the volumes leveled for easier comparison

 

MJE-K47 on a longer narrative read – from Words of Love – the chapter titled Romantic Pain

 

Hestia - Our Pellet StoveNOTE: These samples were recorded in a StudioBricks One Plus booth using a Focusrite Forte as an interface. The highpass filter on the Forte was engaged because without it you would hear rumbles from my pellet stove (Hey, it is winter in New England after all).

 Evaluating the Microphone

Paul Strikwerda posted wonderfully detailed reviews of the CAD E100S and the Gefell M930 where he came up with 8 criteria to look for when rating a microphone for voiceover work:

  1. Minimal voice coloration
  2. Tight pick-up pattern (cardioid or supercardioid)
  3. Excellent rear rejection
  4. Controlled proximity effect (bass boost)
  5. Low susceptibility to sibilance (shrill “S”-sounds) and popping
  6. Low self-noise
  7. High-pass filter to cut out lower frequencies
  8. Rugged design, ready for the road

Let’s go through these one at a time…

Minimal Voice Coloration

Both the E100S and the MJE-K47 tie on this point. Neither add unwanted flavors to the audio. They both seem to accurately represent what they hear.

That said, you might remember, in a previous post, where I mentioned that a good thing to ask other people would be, “Does it sound like me?” To get the E100S to a point where people would universally respond “yes,” I needed a small EQ bump at about 220Hz and a slight drop near 8000Hz. The bump added a bit of presence and the drop shaved off a touch of sibilance (more on that later).

Asking that same question of the raw audio from the MJE-K47, I was greeted with a universal, “It’s perfect just the way it is. Don’t change a thing.”

In analysing exactly what the differences were in the 2 mics, I am starting to believe that the E100S was hearing more of the booth than the MJE-K47. I think I detected a bit of destructive interference around 220Hz caused by reflection from the flat surface on the door to my booth. And, I think a reflection from the computer screen that I read copy from was over-emphasizing my sound at around 8000Hz adding a bit of sibilance.

So, though, in a lab, the 2 mics might be equal, in my real world application, the MJE-K47 did a better job of letting me sound like me.

Tight Pick-Up Pattern

The E100S has a tighter pick-up pattern than the MJE-K47. The E100S’s pattern is tight enough that many of the tricks that one learns when working a Sennheiser MKH416 shotgun mic actually do help on an E100S. The pattern on the E100S is so tight that you do need to work to maintain a constant position. Even small changes in how you stand or sit will affect the sound.

The MJE-K47 is much more forgiving. It allows me the freedom to act with my body as well as my voice. The pattern is more of a traditional cardioid one which, as I have said, seems to work better in small spaces like my booth.

Excellent Rear Rejection

Surprisingly, the MJE-K47 beats the E100S here though it may seem counter-intuitive at first. If you look at a good diagram of both Cardioid and Hypercardioid patterns, you will see that the bump behind the mic is bigger for the E100S. And, inside my booth, behind the mic is where you can find the powered air vent.

My layout options are limited inside the StudioBricks One Plus. The vent can either be behind the microphone or just beyond my left elbow. Either way, it hears the vent. Check out this video for more details about Cardioid vs Hypercardioid patterns…

Controlled Proximity Effect

This one is a draw. Both mics get a workable bit of proximity effect starting at about 5 inches.

By the way, the E100S also can get warm resonance in the same way that a Sennheiser MKH416 can, point it at your upper chest instead of your mouth. If you’ve considered an MKH416 but really need a Large Diaphragm condenser microphone, you should really consider an E100S, in my opinion, it’s as close as you are going to get with an LDC.

Low Susceptibility to Sibilance

The MJE-K47 wins hands down. A sibilance-free top end is part of what Michael Joly advertises, and he’s not kidding. Check out the Sibilance Torture Test Shootout on his site.

I am convinced that the E100S is not a sibilant mic in and of itself. It seems to become one when used within my booth. This is a case of the environment affecting the sound quality, not the microphone.

Low Self-Noise

The E100S technically wins on this one (3.7 compared to 5.0 dBA), but the difference is so minimal that I can’t hear the difference. I am pretty sure that you won’t either.

High Pass Filter

The E100S has one and the other mic does not. I prefer to record the entire signal whenever possible (I’ll be turning off the High Pass in my interface once heating season in New England ends). So this one isn’t a big deal for me either. The built-in High Pass on the E100S seems to actually raise the noise floor of the mic. At first I thought that I had a defective unit, but I have checked with other people and it seems to be true across the board.

Rugged Design

The E100S  wins on this point. Not only is it built like a tank but it also comes in a solid wood box. I don’t plan on traveling with this mic. So, as long as it feels solid and works well in my vocal booth, I am happy. The MJE-K47 is a featherweight compared to the E100S, but it is not actually that delicate. Michael Joly only upgrades microphones that have proven themselves to be solid. I trust his judgement in choosing the NT1-A body.

 Concluding Thoughts

In the end, I decided that Michael Joly’s MJE-K47 was the better microphone for me. It effortlessly handles the quirks of both my delivery and of the booth in which I work. I think that it is an amazing microphone for the price. If you’re looking for a new microphone, you should definitely peruse his website and consider dropping him an email.

The CAD E100S is a great microphone, but it’s just not for me. If you’ve been considering a Sennheiser MKH416 for voice work, but know that you need the distinctive nuance that you can get from a Large Diaphragm Condenser, you should definitely check out the E100S.

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Setting your own Recording Levels: A step-by-step guide for Audiobook Narrators & Voiceover Artists

Something has changed. You bought a new mic? A new pre-amp? You added some new sound treatment? Or, your set-up is the same, but the room its in is different? Any variation in your recording space means that you really should go through all of your settings again. Don’t be afraid. There is no reason to be overwhelmed.

If you take it step-by-step, it’s really not that difficult to do.

For our example, let’s assume that your next project is an audiobook that you are working on via the Audiobook Creation eXchange (ACX). ACX has very specific guidelines for file submission:

  • Peak at or below -3dB
  • Have an Average RMS between -23dB and -18dB
  • Have a noise floor at or below -60dB

And, for today’s text, let’s choose something with lots of sibilant and popping sounds…
How about the theme to Gilligan’s Island? It’s a great practice text since it has most of the offending sounds (S, P, T, etc), and it’s kind of fun to say.

1. Find the “sweet spot”

What we are really looking for is The Goldilocks Zone — not too hot, not too cold, not too hard not too soft. You want it to be “just right!” Unfortunately, “just right” is a subjective thing. So, let me give you a good starting point.

Think of your head as a globe. With your nose as longitude 0°, latitude 0°, move your mic to 45° north (up) and 45° east or west (right or left).

A good starting point for microphone placement

Set it 7 inches away from you and point it at your mouth (or slightly down toward your chest for a bit more resonance – but be careful with that).

Using that as a starting point, shift the mic slightly north, south, east, and west until you feel that you have found the truest sound. Currently, my microphone is about 37° to the right of my nose and about 40° up from the level of my nose.

Place your hand in front of your mouth and start reciting “Peter Piper picked a peck of pickled peppers,” over-and-over again. As you do this, move your hand away from your mouth. Odds are, you will stop feeling the rush of air at about 7 inches. And, the point of offsetting your microphone like this is not only to eliminate plosives, but other stray noises as well.

Even with good mic placement, it is still a good idea to use a pop filter. After all, no one’s perfect. People will pop from time to time. Good mic placement reduces the amount of work that you are expecting the filter to handle. When you add the pop filter, be sure to leave space between the filter and the capsule of your microphone. And, do not make it parallel with the capsule of the mic either. Parallel surfaces of any kind increase the possible sources of noise.

Make a quick recording of yourself and ask someone else, “Does this sound like me?” (Do not ask, “Does this sound good/deep/cool/etc?”)

2. Find your level

Focusrite Forte Volume ControlStarting at 50% gain, adjust your volume while watching a meter. You want to find a volume that allows you to really act. You don’t want to be set so loud that any kind of intensity sends your levels too high. Since, in this example, we are delivering an audiobook file to ACX, the highest level that we would want ever see on that meter is -3dB. Odds are, you will wind up with peaks quite a bit lower than that, at -9dB or -12dB.

Now reduce any ambient noise in your recording space before measuring your noise floor. Our goal is to get a noise floor at or below -60dB. If you can’t achieve that, do your best to get a number as low as possible.

Remember, we are dealing with negative numbers here. So -60 is actually lower than -40.

Between -59dB and -50dB is pretty good, between -51dB and -45dB is okay, and between -44dB and -40dB is acceptable. The higher the number at this point (the closer it is to zero), the more work you will need to do in post-production to fix your audio.

3. Consider an Input Limiter

Event Horizon by Stillwell AudioIf the software that you record in has this feature, consider adding a Limiter to your Input FX Chain. Input FX exist between your microphone and the recorded track. They are applied before the recording is saved. Once they are applied, they cannot be undone. The goal of the Limiter in this case it to catch an accidental spikes in your volume.

If, after setting your levels, you are finding that the bulk of your dialog is hovering around -9dB, try that Input Limiter set with both a Ceiling and a Threshold of -6dB. This still allows you a 3 decibel change for excitement but keeps the potential range of volume in check.

4. High and Low Pass Filters

High/Low Pass Filter by Stillwell AudioSet a High Pass Filter to 80 Hz and a Low Pass Filter to 16000 Hz. When ACX processes your audiobook, they strip out these frequencies anyway, so you don’t need them. Listen to a segment of room noise through this filter. Odds are you’ve dropped a few decibels. Lots of machines in your home emit very low rumbles below 80 Hz (your furnace, AC, refrigerator, washer, dryer, etc).

If your noise floor is below -60dB now, you may be able to skip steps 5.

5. Consider an Expander

AutoExpand by Stillwell AudioAn Expander makes quiet things get quieter. So, make note of your original noise floor before step 4. Set the Expander’s threshold a just a bit above that number. And set its ratio to 2.1:1 as a good starting point.

If you don’t have an Expander, avoid using a Gate if possible. Gates are not as gentle as Expanders and are much easier to detect in spoken word recordings where there is no background music to help hide the edit.

6. Do you still need to remove noises?

If room noise is still an issue for you at this point, you need to consider changes to your space. Sound treating materials or even a vocal booth may be the real long term solution.

Take a look at my series of articles on solving that exact problem.

Acon Digital Restoration Suite DeNoiseThis is the point in the process for Noise Removal Tools and DeClick/DeCracklers if you need them. You have removed all of the extraneous noises from your audio. So, a Noise Removal Tool can focus on just the true problem sounds. That way, you can use it with to the lowest possible settings. This will have the lowest possibility of introducing sonic artifacts (odd/unnatural sounding spaces in the audio). The same holds true for tools that attenuate mouth noises.

If your noise removal tool allows you to submit a sample of the room noise, record a good 30 seconds to a minute of how your room sounds without you speaking. Save it as a noise profile. Remember, the goal here is to reduce the ambient sound of your room to below -60dB, not to remove it entirely. So, adjust your settings accordingly.

Mouth noises are best addressed with non-technical solutions in your mouth, not on the recorded audio file. The interesting thing is that most of the “folk remedies” (green apples, water with lemon, black tea, neti pots, saline nasal sprays, etc) do seem to actually work. In addition to the lubricating qualities of these remedies, they also serve to make you more conscious of the problem. That consciousness is key in developing the skill to eliminate the problem on your own.

Most tools that we use to reduce mouth noises were not actually designed for use on the human voice. For the most part, they were designed to remove clicks, crackles, and pops from old vinyl phonograph recordings. Keeping that in mind may help you understand how the tools affect your recordings.

Again, the goal is to reduce, not eliminate, sounds. Silence rooms are unnatural. Human beings breathe, and breathing is a sloppy business. Natural recordings are easier to listen to for long periods of time. And, an audiobook is a long form interaction with your audience. You want to be as natural as possible.

7. Maybe add a bit of Compression

Major Tom by Stillwell AudioFind a transparent compressor set at 2.1:1 at most. In this context, transparent means that it doesn’t add any of its own flavor to the audio. Set the threshold a few dB under your peak. This will tighten up your audio without giving it that BIG RADIO sound.

8. Get Equalized?

Niveau by Elysia - a Tilt EQMost people get a bit too heavy handed when given an equalizer. For most voiceover, you want to keep it as natural as possible. I recommend using an EQ with fewer controls (like a tilt EQ). This will help you learn to use a light touch (since small changes will impact the whole spectrum).

9. De-Ess (but only if you really need to)

LiteOn De-EsserIf you feel that you are just too sibilant, this is the point in your chain when you should run a De-Esser. Essentially, a De-Esser is a compressor designed to squish S-like sounds. Over doing it can make you sound like you are lisping. So, once you think it sounds good, its best for you to run it by someone else before permanently saving the settings.

Q: But wait! Since the De-Esser is a kind of Compressor, shouldn’t it go right after the regular Compressor? Or maybe before the Compressor to squish those S’s beforehand?

A: Those are all good thoughts. And, on your particular voice (with your particular software) you may be right. Try it at this point in the chain first. Because this is the place that you will really hear those S’s pop if they are actually a problem. Once you have a setting that you like, move it around in the chain of things. Find what sounds best to you.

If you do add a De-Esser to your chain, I strongly suggest that you find a vocal coach to help you address the problem at its source.

10. Add another Limiter

Event Horizon by Stillwell AudioConfigure a hard limiter with a Ceiling of -3dB and bring down your threshold so it is near the output level from your equalizer. You are not trying to force all of the peaks up to -3dB. You are just trying to guarantee that the peaks will never exceed -3dB. What you really care about is being as close to -20dB for your Average RMS. The further you bring down that threshold, the louder the final recording will seem. Since RMS measures perceived loudness, a file with peaks of -3dB with an average RMS of -23dB will seem quieter than a file that peaks at -5dB with an average RMS of -20dB.

Q: But isn’t a Hard Limiter a kind of Compressor? Do I really need up to 4 Compressors to get the job done?

A: Yes, a Hard Limiter is a kind of Compressor. We are using each of the 4 Compressors differently: the first one keeps you from spiking your input level, the second tightens up your mix, the third reduces sibilance, and this one makes your sound louder without changing its shape or texture. You could turn off all of the other compressors and just keep this one if all you need to do is bring up your volume. Compare how your audio sounds with each compressor turned on and off. Decide for yourself what sounds best.

11. Save Everything

command-sNo, seriously. Stop right here and save everything! Go into each plugin, effect, and app and make sure that you save all of your presets. Use a unique name like “Audiobook Settings – 29 January 2015“. Please consider adding dates to your settings files. It is very helpful if you are ever asked to match the sound you had on a previous project.

12. Measure and tape your space

Use tape to mark locations of your equipmentGrab a ruler and some masking tape. Use them to measure and mark the distance between your desk, chair, mic stand, and anything else that is in the booth. If you are using a boom arm, use tape to mark how extended you have each section. You’ve just done a lot of work that is dependent upon you maintaining a consistent distance between all of your components. You should never put yourself in a position where you don’t know if something moved. Save yourself worry later, take the measurements now.

 Some Quick Notes

For my example, I used plugins with very simple interfaces. I did that so you could easily see what each plugin is doing. Many of the plugins I chose were simplified versions of plugins that can be found at Stillwell Audio. They make some wonderful plugins at a fair price. You should really check them out.

The Stillwell plugins used in this example include Event Horizon (Limiter) and Major Tom (Compressor). While you’re there check out 1973 (EQ). I think you’re going to like that one too.

The Noise Removal tool above is part of Acon Digital’s Restoration Suite. The suite includes a DeNoise, DeClick, DeHum, and a DeClip tool. (See my article detailing it here.)

The Tilt EQ I used in this example is the Niveau Filter by Elysia. While not formally labelled as an Equalizer, as you can see in the video below, it does affect audio in a similar way. It is a free download and should work with just about every program that can use plugins.

Also, please note that I avoided discussing things that would apply only to a particular DAW or recording program. The only feature that may not exist in the program that you are using is Input FX. While incredibly helpful, Input FX are not absolutely necessary to get the job done.

A Cup of Coffee

A ridiculous amount of caffeine was consumed while researching all of this stuff.
Add some fuel if you would like to help keep me going!
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Adding Punch & Roll to Adobe Audition

Just like my scripts that add this functionality to both TwistedWave and Audacity, it is possible to get Audition to do a basic Punch & Roll.

My script is written for Mac OSX, it should be possible to implement a similar script on Windows using a program called Auto HotKey.

1. On your Mac, please click here to download my script.

2. Once that is complete, double click to open the file. It should open on your computer using AppleScript Editor.

3. When opening, it will probably ask you to locate the Adobe Audition program. Browse through your Applications Folder and find the right executable. (NOTE: This will change “Adobe Audition” listed below to reflect the exact name of your file. example: “Adobe Audition CC 2014”)

The AppleScript Editor window should show you the following code:

tell application "Adobe Audition"
   activate
   tell application "System Events"
      keystroke "m" -- add a marker
      keystroke "m" using {option down} -- custom keystroke to toggle Mute
      keystroke "j" -- scrub backward
      delay 5 -- wait 5 seconds
      keystroke "k" -- stop scrub
      keystroke "m" using {option down} -- custom keystroke to toggle Mute
      keystroke " " -- play audio
      delay 5 -- wait 5 seconds
      keystroke " " using {shift down} -- start recording
   end tell
end tell

You can see that I added a Custom Keystroke to toggle Mute. This is to prevent you from hearing Audition scrub during its rewind. If you would like to add this custom shortcut, please follow instructions from Adobe found here. If you don’t mind hearing the scrub, leaving this code in has no negative effects.

4. At this point, open Adobe Audition and create a new session.

5. Record about 30 seconds of audio into your new session.

6. Place the cursor at the point that you’d like to do a pickup.

7. Press the Run button on the AppleScript Editor window.

Audition will now rewind 5 seconds, playback the 5 seconds of Pre-Roll audio, then start recording from where you placed the cursor.

To modify the length of the Pre-Roll feel free to change “delay 5” to your desired value. Remember to make both values identical, or the script will no longer work as designed.

Congratulations! You’ve just done Punch & Roll in Adobe Audition! 😉

If you would like to assign a Keyboard Shortcut to the script, use this same script and follow the directions given here for TwistedWave.

Please note that this script is leveraging functions that are already built into Audition. I am not adding any new functionality. And, be aware that scripts like these will never be as smooth as native functionality within an application.

Feel free to post your questions or improvements below.

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A ridiculous amount of caffeine was consumed while researching all of this stuff.
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Audiobook characters are more than just their accent

 

Ted Saves the World - book cover

Accents are often used as a kind of character shorthand. Though accents can help differentiate who is speaking, they should never be the totality of a characterization. They are a simple place to begin, to shape your journey as an actor.

Changing the “shape” of your voice can bring different physical shapes into other parts of your body. These shapes create a physicality for a voice actor. And that physicality can become the key to switching between characters during a read. Small physical cues create a muscle memory. And, when you need to jump from criminal psychopath to hero to innocent bystander and back to hero, physical cues can facilitate that process.

In my current project, chapter 3 sees our hero (Ted, the title character in Ted Saves the World by Bryan Cohen) face off against a gang of baddies — much to his own shock and amazement.

The accents range wide in this YA/Sci-Fi adventure. Here’s a bit from the end of the chapter for your enjoyment…

Ted Saves the World – a YA/SciFi ACX project – Chapter 2

Ted Saves the World - book coverChapter 2 introduces Erica, a recently murdered teenaged cheerleader. In this book, being murdered does not necessarily end your storyline. Depending upon the circumstances of your death, you might come back — either as an agent of the Dark or the Light.

Below, for your enjoyment, I give you a piece of Erica’s reanimation…

Ted Saves the World – my newest ACX project – Chapter 1

I’m enjoying this current project so much that I just had to share!

Ted Saves the World - book coverTed Saves the World is a fun YA/sci-fi adventure where unlikely hero, Ted Finley, gets dumped by his girlfriend and gets super powers all in the same day.

The opening chapter gives us Ted and Natalie just as she’s about to break things off. It’s a nervous, fidgety scene. And, I hope that my reading brings some of that out.

I connected with author Bryan Cohen (no relation 😉 ) on ACX, the Audiobook Creation Exchange. After my audition, he and I discussed the project, and needless to say, I was excited. Ted Saves the World is Book 1 of a really neat series.

I’ve decided to journal my progress throughout producing this title. Feel free to ask any questions (artistic or technical), and I’ll answer them all the best I can.