Workflow luce clarius

The two-part production

Work distribution
The two-part production Your part (narrator) My Part (producer) Wich texts Cooperation Quality optimization Data delivery

Workflow in extensa
1. Script writing - numbering, sentence separation, a sense of separation, the main emphasis, minor emphasis,information. 2. Recording - voice warm-up, short session, 32-bit format. 3. Cut - provisionally (distance from waste material), cut (cut-set / AKG-K271MKII AKG-K702), 32-bit format.

Percentage 4. Backup Expectancy 5. Protocol

>> I have translated the text "The two-part production" as an example. I only work in my native language (German). <<

Peter Eder Verlag - Marker The Studio Recording Space Audiobook Production Questions and Answers Equipment - Audio Book Production Tests MP3 Player, Headphone Linkpartner Audiobook Narrators, Sound Engineers, Editors, Publishers

( The latest innovation are only on the main page - 24.06.2011)

The two-part production

I produce in their own studio and publish in the specially established publishing house. My experience, I regularly published on my website and in characteristic forums (hoertalk.de lemonload.de). For efficient reasons, I prefer to working independently. But not everyone can work every day, in his most creative period (first hours of the day), for his intentions. Unfortunately, most are intended only to the "great" money-making, before we have time for our own ideas For me, is this unhuman working a thorn in the eye [brain]. >>The typical compulsive and unnatural working week, of the people, is the rock of the conservative state! GSB (Georg Bchner, ...)<<. Therefore I turned my rhythm of life and do all things, that are important for me, in the creative phases, and the trivial (making money), in the "before bedtimes".

Consequently, I would also like to take over the production of other narrators: Mastering, design, sales. Reading and cutting would make the artist: Here is a recording-room and professional equipment needed (from five thousand euros, comes you into an area where higher quality is no longer possible).

Your part (narrator)

You bring the full reading and the cut. For the reading is the construction of a recording space needed. This does not need much yards! Is not being recorded, it just fills the field of a desk. In rails guided curtains (2-3 layers), ensure a sound absorbing room. On admission, it is customary to work very puristic: A good preamp, perhaps somewhat compressed, and also a good converter (interface). This short signal path allows the editor or mastering engineer to create a higher quality product (audiobook). And it saves in the recording area, a lot of money! The cut can be performed with any reasonably good PC / laptop. A heavily armed editing / mastering PC is not needed. Just follow the workflow to the point "cut" - from there I work. If you have enough time - the first hours of the day (6-8) - of course, the whole production is taken over. My proposal is directed only to all those who only have time for the artistic part.

Required equipment (basic equipment)

Narrator room - Special construction (1000 to 2000 Euro) Micro - Neumann TLM 103 (500 to 900 Euro) Preamp, compressor, converter MindPrint EnVoice MKII Digital (500 Euro) Headphone Amplifier Kid Brodcast Headphone Set (170 Euro) Recording / cutting PC - quite Appel Mini with firewire und VGA port. (500 Euro) Others - Headphone, micro cable, micro stand, ... (500 to 1000 Euro) Recording software - Audacity, Cubase Essential, Cubase, e.g. (0 to 500 Euro) Cutting software - Wavelab Essential, Wavelab, e.g. (100 to 500 Euro)

My part (producer)
I take then the recorded and cutted material and bring it with the most modern means to the highest audio book quality. Mastering (Cut 2, Harmony 1 / 2). Master-Cd (MP3). CD / Coverdesign. Listen Audio. Listen Video. ISBN Number. VLB Data Delivery (Index Deliverabel Books). The whole audiobook appears only as "tangible product", a download sale (except listen audio / listen video), I have not planned. For the best use I produce only in MP3 format (see test "MP3 player, headphones"). About "VLB" the audio books to all German bookstores (Germany, Switzerland, Austria) are offered. My own publishing house sale takes place at several online shops - from Amazon even worldwide! To ensure a professional production, I work only with more experienced narrators; but of course, I help any beginner to be learn. Lack of routine you get at best by work (Build narrator room, and there you go). A spoke-teacher for training is not necessary - more of a speech training. Speak we learn since the earliest years! In a two-part production, a similar settlement, the right thing will be: fifty-fifty - of the profits!

My equipment
Narrator room - Special construction (see drawing). Micro - AKG C 4500 B-BC, AKG 414 B-XLII, Neumann U87. Preamp, compressor, converter Focusrite ISA ONE, Kid Broadcast Advocis M, MindPrint EnVoice MKII USB, SSL Mynx (XR 627, XR 418), TC Konnekt 8, RME Fireface 400, Sinn 7 Status 24/96. Headphone amp Kid Broadcast Kopfhrerset, Millenium HA 4. Recording Mac quite Appel Mini with firewire und VGA port. Cut PC Samsung Notebook RF710 (Intel Core i5 CPU 2.53GHz, 4GB RAM, 2 by 300 GB, Windows 7 64) Mastering PC HP Pavilion a6045.at (Intel Core 2 CPU 2.40 GHz, 4GB Arbeitsspeicher, Festplatte 2 by 300 GB, Windows Vista 32) Headphone AKG K 272 HD, AKG K 171 MKII, AKG K 271 MKII, AKG K 702, Beyerdynamic DT770 Pro. Monitore Yamaha HS80 M Microphone cable Vovox, Cordial. Microphone stands - K&M. Recording software - Audacity, Cubase 5. Cut a. Masteringsoftware - Wavelab Essential 6, Wavelab 6. DSP UAD, Powercore. Plugins (used.) - DeNoiser, Q , UV 22HR TC, PultecPro, 1176LN, Fairchild, Precision DeEsser, Dynamic EQ , EQSat, MD3, MD3 Brickwall Limiter, SSL X-Comp, SSL X-EQ, Vitalizer MK-2T, Waves Channel, Waves L3. Sonstiges special disc printer, cutting equipment (inlay), experience,

Workflow in extenso

1. Script writing
The preparatory work of script writing is an annoying necessity. But we shall see that it does not go without proper sheet music. Such sheets of music to help us to present the text as a liquid. Reading from notes? More or less.The recording should proceed smoothly as possible; but not like in a live reading, where passages are easily interpreted incorrectly. In a computerized voice a questionable proposition can certainly be read several times. Has it made a skilled speaker, so it is heard no more after the cut. And a audiobook narrator in his self-producing audiobook publishing house (editing, mastering) knows immediately when recording, whether the material is good or not. - In a recording session is to gather enough material (with surplus), with the highest quality, in order to transform it afterwards, in a harmonious end product. Moreover, it is completely normal that more material is recorded. In the music industry stands the artist so long in front of the microphone - and be it that the song is sung twenty times until the engineer has sufficient material and end the recording session. If the recording on tape, cut it into a most perfect song (mixed and mastered). And it does not occur that a final song is produced from a 3-minute recording. In this business is only the success important! But back to the pesky task of script writing. Everyone should be to learn his own musical notes and write themselves. So we learn (autodidactic) the text, and require less studio time later.This makes the whole reading professional. There are many ways for a variety of occasions: for live readings, audio book readings, radio plays, etc. I write my scripts in two stages: First Stage Numbering of script notes (1,2,3, ). Separation Theorem (). Sense of separation step (I). Pronunciation (pronunciation dictionary). Useful Information (director's instructions, knowledge, ).

Second Stage

Accentuation (with text markers).

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2. Recording
First, I perform a microphone test, to ensure the correct volume and a quiet recording room (see questions and answers). The warm-up of the speech organ (whole body) I do not describe further, because so many authors do this well, and I want to write about this ridiculous sums not. - Am I ready, so I'm taking a short passage of text (the most demanding part) of the planned daily workload and talk them through a few times. Then, I'll speak ten or twenty pages.The entire recording lasts no longer than one hour; a longer working time harms the voice and we must take a break for a few days. Whether the planned amount of work can be done, we recognize at the warm up, or in the first minutes of recording - in a negative sense should be discontinued. Such princely recording times can only be enjoyed in our own recording studio; must be rented a studio (plus sound engineer), we working until the voice break (3 to 4 hours) - and then the narrator must, with his voice, two days in rehab. To provide the entire text - I make a few short breaks (drink - lukewarm water without gas) - should be fairly quickly worked. If the voice does not want (working), we must stop and look for the reasons (too little sleep, sick, blond, etc.).

The recording with Cubase is quite straightforward. Effects are not added! And since because of technical advantages (see questions and answers) in 32-bit format editing, we used the 32-bit format when recording. The correct volume! (see questions and answers)

(first page)

3. Cut
Once we have finished the recording session and the material is good enough (the audiobook narrator knows that), then the data to the editing and mastering computers are delivered. There is firstly the temporary cut, where everything is cut out what definitely does not belong: belch, cough, drink break, etc. After each step, a save is performed. For this section, several folders are created (see backup).

Then the cut. Its working with a special plug-in setting (see questions and answers). Without interfering work! The audiomaterial is brought, with predefined "ether" time units (0.50, 1.00, 2.00, 5.00 seconds) and the very good wavelab tools in the right order. Cut 1 "Bringing in the right order" means that now everything is removed from the record, which is not needed (surplus). We have previously an "ether" recorded: Recording without recording a recording space-time quasi. This filling material, we divide it into different lengths of time; once saved in Wavelab program they are always available. If an "ether" is copied, it can be with the Paste command, used repeatedly where one wants them: Select a certain length of time that should be removed, press insert, and already a long time, has replaced the other (the "ether" is stored). Or simply choose a time length, and press delete. Would we explain the various complex steps, that borders on insanity - so "learning by doing".

For best performance, I use professional headphone from the Austrian company AKG (excuse my patriotism - but here it is appropriate). In the edit section, I use both studio headphones (cut 1 - AKG K271MKII / cut 2 - AKG-K702), because they sound completely different: The first one delivers more bass, the other gives the sound dry and razor sharp again. As a WaveLab audio editing tool, I am counting only the level change; but even in the flyby (the audio cut should run relatively smoothly) - the manual editing done later.

>> From here, I work. A "cut 2" can also be made by the speaker, and I'll do this out as well before I work with plug-ins. <<

Cut 2 To finish the cut, will run a complete working-process: the so-called "cut 2". I open all useful tools (Level change, Parametric EQ, Time Correction) and work, in the cut-setting, the whole record from beginning to end. Level Change with this tool can the volume will be raised and lowered (selectively). Parametric EQ this EQ is used in the problem areas to perform in different frequency ranges increases and reductions. Time Correction with the "Time Machine" can the runtime (selectively) in one direction or another to be postponed.

After cutting, the fine adjustment is made (rendering - audio editing). And I'm taking all available headphones (Studio-and MP3 player headphones, nearfield monitors) and try the best possible audio quality for all kinds of hearing aids to elicit; I compare with the familiar voices of other audiobook productions (but without plug-ins!). But this I do only once per project (audiobook)! This would, also only once per project and the specific hardware devices, possible - but the fine-tuning does not cost much time and will also sharpen the senses.

To the full workflow "in extenso" leads this link

(first page)

4. Backup
After each step, a save is performed. For this section, several folders are created: I. II. III. Studio. Provisionally. Cut 1.

5. Protocol

It would be recommended to lead from the outset a written protocol (volume [average RMS level], level amplification, plug-ins, hardware, software). With this written work-route, can always be traced like the sound originated. Through this permanent secretary-work, mature over time the experience. And after a tedious development time, we come the goal, bit by bit closer: the approximate perfection! In addition, a potential client could need such a protocol.

(first page)

Wich texts
At first it's best you uses the "free" books - the copyright exists with the work itself, and ends 70 years after the death of the author - of legendary authors. One can not expect that at the outset, the latest literary creations can be availed - these are spoken only by the best narrators or in the future by the authors themselves through "The two-part production". The choice is of course a matter of taste! A small selection: Aristoteles, Austen, Balzac, Bchner, Burgess, Carroll, Cervantes, Cicero, Dante, Darwin, Defoe, Descartes, Dickens, Dostojewskij, Dumas, Fitzgerald, Fontane, Freud, Goethe, Gogol, Heidegger, Hegel, Herzl, Hobbes, Homer, Hoffmann, Huxley, Jean Paul, Kafka, Kant, Kleist, Lessing, London, Machiavelli, Marx, Melville, Mill, Milton, Morus, Musil, Nietzsche, Novalis, Ovid, Platon, Plutarch, Puschkin, Remarque, Rousseau, Saint-Exupry, Schiller, Schnitzler, Schopenhauer, Seneca, Shakespeare, Shelley, Sophokles, Stevenson, Stoker, Storm, Swift, Tolstoi, Mark Twain, Vergil, Verne, Voltaire, Wells, Wilde, Wittgenstein, Xenophon, Zweig. For questions on copyright (author, translator) I give you useful guidance.

Cooperation
To ensure a professional production, I work only with more experienced narrators; but of course, I help any beginner to be learn. Lack of routine you get at best by work (Build narrator room, and there you go). A spoketeacher for training is not necessary - more of a speech training. Speak we learn since the earliest years!

Quality optimization
At the beginning of our cooperation is the improvement of quality. It will be shipped small recording samples back and forth, analyzed and optimized. This is important! A mastering engineer can only see through a short voice recording, a lot of mistakes: too close or too far away (from the mic); recording room acoustics; recording level; too inexperienced; etc. Small samples can flow naturally over the Internet!

Data delivery
The finished-cut audio book comes at a CD or memory stick (waveformat) - over the Internet the 32-bit "sausage" would be for too long. The whole time on should already be in the 32-bit format to work. This is the best possible way! Wavelab, and many plugins work in the 32-bit level.

Percentage
As I said, I think an equal distribution of profit involved for the most productive. How it would work exactly, we negotiate personally and individually. Probably I will pay the bonus on a prediction: It is estimated how many audiobooks can be sold in the quarter, and the resulting profit is calculated as a advance payment; this value is similar to the electricity bill, adapted to the consumption (success).

Expectancy
At first no one should calculate to high expectations! In our world, at first is important, the "winged" name; and then the quality - and to get both, a long empirical work is mandatory. If much quality work with enough perseverance produced, so will also be the pecuniary success - but seriously, money is secondary for us (as long as sufficient for the ongoing work).

If interested you can contact me:

Peter Eder Verlag Willendorferstrae 350 A 2732 Wrflach sterreich bezigoal@gmail.com

>> I have translated the text "The two-part production" as an example. I only work in my native language (German). <<