Workflow „luce clarius“

The two-part production

Work distribution Workflow „in extensa“

The two-part production 1. Script writing - numbering, sentence separation,

a sense of separation, the main emphasis, minor

Your part (narrator)
emphasis,information.
My Part (producer)

2. Recording - voice warm-up, short session, 32-bit

Wich texts
format.
Cooperation

Quality optimization 3. Cut - provisionally (distance from waste material),

cut (cut-set / AKG-K271MKII – AKG-K702),

Data delivery
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

Inventory List – Peter Eder Verlag

Linkpartner – Audiobook Narrators, Sound Engineers, Editors, Publishers

( The latest innovation are only on the main page - 25.04.2010)

 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
Büchner, ...)<<. 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

 Narrator room - Special construction (1000 to 2000 Euro)

 Micro - AKG C 4500 B-BC, AKG 414 B-XLII, Microtech Gefell M 930, Neumann U87,
Neumann TLM 103, e.g. (500 to 2000 Euro)
 Preamp, compressor, converter - Focusrite ISA ONE, SPL Goldmike 9844; MindPrint
EnVoice MKII USB, Aphex 230 Mastervoive Channel, Focusrite ISA 220, Focusrite ISA
430 MK II, Universal Audio 6176, Avalon VT-737SP, SPL Frontliner (Channel One / Track
One), SSL Mynx (XR 627, XR 418), e.g. (500 to 3000 Euro)
 Converter (Interface) - FOCUSRITE Saffire, MOTU Ultralite MKIII, RME Fireface,
STEINBERG MR816, e.g. (500 to 1000 Euro)
 Recording / cutting PC - Quite notebook with firewire and VGA port … if feasible, with an
SSD hard drive. (500 to 2000)
 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.
 Preamp, compressor, converter – Focusrite ISA ONE, SPL Goldmike 9844; MindPrint
EnVoice MKII USB, SSL Mynx (XR 627, XR 418); TC Konnekt 8, RME Fireface 400.
 Recording PC - Quite Notebook with Firewire and VGA port.
 Cut / Mastering PC – HP Pavilion a6045.at (Intel Core 2 CPU 2.40 GHz, 4GB Ram, HDD
2 mal 300 GB, Windows Vista 32)
 Headphone – AKG K 272 HD, AKG K 271 MKII, AKG K 702.
 Microphone cable - Vovox.
 Microphone stands - K&M.
 Recording software - Audacity, Cubase 5.
 Cut / 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, Vitalizer MK-2T.
 Others – 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).

(first page)
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. It´s 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. Studio.
II. Provisionally.
III. 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, Büchner, 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-Exupéry, 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 spoke-
teacher 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 >> I have translated the text "The two-part

Willendorferstraße 350 A production" as an example.

2732 Würflach – Österreich I only work in my native language (German). <<

bezigoal@gmail.com