Peter Eder Verlag

I have this publishing house founded to sell selected literature in the form of unabridged
audio books. We – the speaker and I - strive to make every few weeks a new title to be able
to offer. The experiences of the audio book production are in an information profile, published
regularly (google the company name).

During the technical equipment only the best equipment was good enough. And in case of an
audio book publisher, it is also possible to afford this. For, in contrast to the music studio,
where many audio-tracks to edit, you must edit only one audio-track.

All audiobooks developed after intensive search, after time-consuming tests of several
scripts, after best knowledge. If erroneously in copyright matters protected texts should have
been used, then the spiritual father can contact me.

The idea “to read” books, is, that we have less and less time. We go to work and after a long
day only the tiredness comes home, and then the TV usually the best arguments. The nice
invention of the audiobook, makes possible to get over us the tristen times better: at work (for
some), at home, at sport, at sex.

>>Meaning of literature? Each good book is, how a beautiful woman who never grows old,
and, if she becomes nevertheless once colorless, at any time can be changed! <<

G.S.Bolkonskij

We wish you much fun to hear our audio books!

 Questions and Answers

Why at all a self-audiobook publisher? Are there special books?

The copyright? What sound quality can be achieved?

Where I get the necessary equipment? The correct voice tone quality?

How long does it to produce an audiobook? How to make the right volume?

Do I need a speaker training? How to set up a microphone properly?

What is mp3 actually? How to work with a highly sensitive microphone?

What about the humidity? How to set up the equalizer properly?

Audio CD to MP3-CD - which medium is Which software is meaningful?

better?
Which are the most important technical
How do I hear an mp3 audiobook? parameters?

Why do actually listen and do not read books?  En-Voice MKII

 Mynx (XR 627, XR 418)
 RME Fireface
Why are so many shortened audiobooks  Focusrite ISA One
produced?  Software
 PlugIns
How much money does it cost the own audio  Current preferred plugin list
 Workflow
studio?  Protocol

How does the spoken word come on the cd?

Can I live by my own publishing house?
Which implements are indispensable?

Peter Eder Verlag - Marker

The Studio – Recording Space

Workflow „in extenso“

Equipment - Audio Book Production

Device Comparison (audiobook)

The Two-Part 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 - 13.07.2010)

Question: Why at all a self-audiobook publisher?

1. Because of the many shortened audiobooks.

2. Because of the artistic freedom.
3. To base because of the honour a new branch of profession.
4. Fight against by the state organized disinterest.
5. Fight the drugs - the soma - the television.
6. Because of at present the change liked in such a way.
7. The establishment of an own television station.
8. Because everyone needs some support.
9. Because I cannot paint the fence alone.

10.

In any case, you should take this utopian world idea well in advance even superior –
because a lot of tailwind is not expected. Anyway, it can be assumed that before the rouble
rolls, one with all the scorn and ridicule (envy) consider. It will arrive with security the one or
other verbal assassination attempt in its own post office box of the brave actor. Yes, even
their own friends will shake, and at the end, the audacity of this attempt to punish hard. But
these clumsy attempts to be see merely as a fertilizer; is the back paved with knives, so
there is no room for new ones.The human being is born into this drawer-world, dammed,
from which he can not see beyond. But, for all those that dare to be our world, and still alive!
- Can this work be the elixir of life.
Question: The copyright?

The copyright exists with the work itself, and ends 70 years after the death of the author. In
addition you should watch out for translated works (here, the translator shall be as the
author). If you are not sure whether a work can already be used, simply add: no author
found, please announce (naturally only, if no author were really found!). There is enough
books waiting for a producing, and even (long) are free.

If only a certain level is reached, are also well-known publishers interested and let you make
a production. In this idea is much potential; a budget for a professional audio book
production, with all their participants (speaker, director, sound engineer, editing, mastering)
can devour hundreds of thousands of euros. I heard of a "Harry Potter" production, which
devoured a half million!

So work hard, and make a name!

Question: Where I get the necessary equipment?

Mainly in the Internet! I entered not one music specialist shop. After the usual suspects
„eBay “and „Amazon“ is to be called the music dispatch „Thomann“.

About search engines (google, yahoo, bing, etc.) the necessary expertise to be sought and
found. But, on most counts his own empirical experience! They regulary should be published
on the Internet; good new ideas need much food for their development.

Question: How long does it to produce an audiobook?

2 to 3 weeks for a shakespeare and 5 to 6 weeks for a three-hundred page book. This date is
computed for a self-publishing house: text sifting, admission, cut, design and sales
preparation. It should also be worked professionally. The listener immediately noticed when
the text does not sit into the narrators heart (brain).

If only worked part-time, the production consumes more time.

Question: Do I need a speaker training?

According to my opinion not! You learns from Shakespeare, Goethe, Schiller, etc. much
more, than from our normal state teachers (subjects with civil service status in the shade of
correct teachers). Teachers this read, are not meant: „State Teachers “read in their spare
time rather less.

↓
My bad representation of „state school teachers“, I see only as a complaint against unknown.
In real life I would not complain to teachers, because also for bad teachers the life is hard
enough – as for everyone else! However, my publisher, I must give an aura of departure, a
departure into utopian: a world where we selects good and bad teachers, and the bad
teachers removed from the lectern.

Question: What is mp3 actually?

„A standard of the data compression for music files ". The advantage from mp3 is that you
the audio data of 10 CD, with same quality, on one: a mp3 cd can take up a spoken book
with approx 300 pages.

Although nowadays plays nearly every cd-player drive (all computer anyway) the MP3
format, I recommend the exclusive use with MP3 players. Who has the time to hear an
audiobook on his music station, can also read a book immediately – with the own eyes.

What about the humidity?

In the area where a spokesman, lives and works, would be a humidity of 50% (+ - 5) very
good. Now are my publishing offices in a new building, with the [alleged] thoughtful insulation
concept (conserve energy - heating), accommodated. The problem with this construction is
now that not only the temperature is stored, but also the humidity. As a concept suggest the
"planners" that should be aired regularly. Well, I'm not the ownership of my property! – or, I
try not to be. Airing my rooms, every hour! This is for me (because I do not have servants),
no alternative. So I've bought a dehumidifier (Druacraft). He tempered my workrooms around
the clock. My narrator I bought also a device – now is his chronically occurring runny nose
gone too.

Question: Audio CD to MP3-CD - which medium is better?

However, where the tape just a short radio play or a shortened audio book, so it is relatively
unimportant. Which good book fits on one CD? A good audiobook narrator creates
approximately 30 pages per hour (cut)! A complete reading of a three-hundred-page-book
will be the storage capacity of 10 CDs devour. Such an extreme example is the complete
reading of " Leo Tolstoy – War and Peace ": 52 CDs (52 x 30 = 1560 pages). In a larger
audiobook-production (10 CDs), there would be only logical to create it in the MP3 format;
but, for most consumers still carries a normal CD player (16-bit, 44100 hz) to work and to this
the cost´s (CDs, shipping weight) a little to be limited, the space to the edge of the Discworld
exploited.

↓
Since the CD quality is worse at the edge of the CD (do not ask me), can lead to playback
problems; no matter how one plays the CD: in the CD player or MP3 compressed with the
MP3 player. Quite the contrary, to an MP3-production, where are not necessarily to write full
the final rings. The longest conceivable book (Leo Tolstoy – War and Peace) will be placed
on 5 MP3 CDs. Whether 5 or 6 CDs to be taken, then could not care less.

Almost all of audiobook productions are produced but still in the archaic CD format (16-bit,
41100 Hz). Most consumers have become so accustomed to the Compact Disc, that they
very piqued stand, when they insert a MP3 CD into their player. This of course does not play
it.

The music industry in turn does not even think, in any form, to produce an MP3 CD. For them
it is already difficult enough, to hold their artists drug free, for only one audio single; the last
tracks, sounds, are already not matter: because this, are no longer worth listening to. And if
the powerful music industry sells MP3s, then only single tracks, at a price of about 99 cents.
This obliges me to a small calculation: 52 CDs x 70 minutes = 3640 minutes; 3640 minutes /
4 minutes average length = 910 tracks; 910 tracks x 99 cents = € 900.9. – A really fabulous
prize!

Question: How do you hear an mp3 audiobook?

With a hifi system, pc, dvd player+ television, mp3 player, car radio (with autonomous
headphones). – A good MP3 player, with even better headphones! First, it bothers no one
else, and secondly, the movement is not restricted.
Question: Why do actually listen and do not read books?

In all peace a book to read is to be preferred naturally. But completely honestly, when „we
have “time? Under normal conditions we go working in our creative time (in the morning). In
most cases, work, which we do not want; and need nevertheless. – The day has
unfortunately only 24 hours. Therefore the compromise „audiobook“.

If we do not, it is very likely that us caught the severely disabled relatives of the book. This
consanguineous is a mighty soul collector, subsidized by the state, constructed by many
masters of technology, from the beginning the education of the people responsible.

If it all do - and it makes extremely clever!

With education has television, although in all state schools are television and video rooms,
the teachers also use this shameless, nothing to do. Of course there is nothing more
pleasant, a crowd of young people to plant in front of the television and thus to be quiet
before the possible questions from the students.

For the makers of the TV (producers, technicians, directors, writers, actors, athletes, et
cetera. ...), it is surely a great job of creating such a complex [sh ...] show. For those
experimentees, that consume this "show", television is just another form of drug addiction: It
has been "formed" for hours, but the next day only know of a volatile time length. In addition,
the television spreading the most part only the hatred of this world – everything bad is again
artificially inflated, worsened again; over the good things, because uninteresting, or does not
exist, is not reported. Such was the 11th September far far far worse than the "Flying Faith-
Brothers" intends; and the ridiculous economic crisis was only through the TV-Media to the
real economic crisis (as the two words "economy" and "crisis" in each head of the planet,
were projected).
Question: Why are so many shortened audiobooks produced?

Many cooperating humans cost much money! The speaker costs, the audio studio costs, the
mental property costs and the publishers does not work also in vain. With „adventure in the
head “, only in the rarest cases, can make money: and then mostly just with mainstream!

On a really good, well-known audio book production are so many people involved (speaker,
producer, director, sound engineer, designer) that it is a mystery to me that it still can get
money. Maybe this audiobook productions are supported by the state to serve the crazy
people well; or, the producers are all crazy idealists. I can understand known narrators
(actors): They promote her ability. But what about the others? Are all these students?

Question: How much money does it cost the own audio studio?

So between ten and twenty thousand euro, very much time and passion, and a good dose of
insanity.

Joke aside, this work is worth each cent and each minute! The feeling of being on the right
track, while so many others go wrong or do not go (see Exhibit "Couchisten on sofa with
giant TV"), is truly priceless.

To keep expenditure to a minimum, everyone audiobook producer should share his

experiences: by writing a book or a internet information (facebook, google profile, scribd). In
a field which is not yet known globally, it can only be beneficial (sales technical) if all
experiences are published.

We have to reverse the existing conditions, replace it. The television and audio book
consumers have to change! The television drones must (I mean that quite seriously) simply
are euthanized out this world – of course, only by peaceful means: the literature. A well-
running audio book production is virtually the best way, to make the reckless purely
economics-government a line through their horrible bill. If we placed the guillotine in front,
before their noses, so that even the best way to make a change; everything else is
government-funded buffer zone policy.

Question: How does the spoken word come on the cd?

Microphone – Audio Interface (Preamp-Converter) – PC/Notebook

Roughly said the audio comes over a good microphone, a good audio converter (audio
interface), to the pc/notebook. Naturally the noise control (absorb the most of sound waves)
must fit!

Through the integration of computers into the work process, it was possible, to make a
audiobook production at home. Previously this was only possible in centralized, very
expensive music studios. Today anyone, a begging street musician, can afford a private
music studio.
Question: Which implements are indispensable?

• Microphone - starting from 300 euros

• Audio Converter - starting from 200 euros
• Noise Control - starting from 1000 euros
• PC/Notebook - starting from 600 euros
• Pop protection – starting from 20 euros
• Microphone Stand - starting from 50 euros
• Microphone Cables - starting from 50 euros
• A precise C-Mouse - starting from 60 euros
• Number-Pad - 20 euros
• Software/Wavelab - starting from 100 euros
• Headphones - starting from 100 euros

Question: Are there special books?

• „Das Sprecher Handbuch" - Uwe Herzog

• „Hörbücher produzieren“ – Eckhart Peter Reichel ( eBook [planned])
• „Die Kunst des Hörbuchsprechens“ – Hans Eckardt
• "Homerecording" - Roland Enders
• „Perfect Vocals“ - Christian Preissig
• „Audio-Mastering", „Internal Mixing“ - Friedemann Tischmeyer
• „Mischen wie die Profis“ , „Mastern wie die Profis“ (english) – Bobby
Owsinski
• „Acting With The Voice“ (english) – Robert Blumenfeld
• „Practical Recording Techniques“ (english) – Bartlett and Bartlett
• „Mini-Verlag“, „Recht für Autoren“ - M.Plinke
• „Mein eigener eBay Shop“ - Ingo & Patricia Böhme
• „Bücher erfolgreich im Internet verkaufen“ - K.Wallner und S.Schönfelder
• „Der Kleine hey“ - J.Hey
• "Die Stimme wirkungsvoll einsetzen" - S.F.Gutzeit
Question: What sound quality can be achieved?

Studio quality! With sufficiently diligence and money (10 to 20 thousand euros) you can
achieve the best audio quality. Because the music industry, we use something, has
developed very powerful technic. What have been developed here for technical means, that
is terrific. And best of all, we need only a fraction of it. We need to bring only one audio track
to normality; at a music production on the other hand, must often be combined 20 30 and
more sound tracks.

Because less equipment is needed, can be purchased the best. My first attempt with a
„Podcast microphone“ around 60 euros failed pitifully: I heard an intolerable background
noise, as if one stands apart from the BIG BANG (sorry H.Lesch).

When I started there were no related reference books; but a few years later, it rumbles a bit.
More and more insiders are beginning to publish.

Question: The correct voice tone quality?

Because you should not rags, and with the best speakers - Christian Brückner, Hans
Eckardt, Thomas Holtzmann, Achim Höppner, Ulrich Matthes, Ulrich Noethen, Wolfgang
Pampel, Katharina Thalbach etc. - compare his audiobooks. Not only that these professional
speaker, years of practical experience, usually working (worked) it with the best directors,
producers and sound engineers together. Just at the end of a project, the sound quality with
the best buy audiobooks compare and slowly work up to this.

Tip: As a reference material, I'll take me a few professional voices into the wavelab. That's
very easy (even from mp3 format!) with the software: switch sound file converter
Question: How to make the right volume?

The final volume has with the actual recording volume is not much in common. It is
deliberately recorded more quietly, to have more flexibility at the mastering. The volume of
an audio book from page one to page finalis, should be relatively the same volume. The
listener set the volume at the beginning, and does not want constantly readjust.

To identify the correct volume, everyone should at first,

guided by professional audiobook productions. With a
converter software convert various audio books into wave
format and compares the average volume (Wavelab / RMS
level average); the result is – the "exceptions to the rule"
not included – are so between -18.00 to -22.00 dB average.
This final volume is also sufficient completely!

I set my records at -22.00 to -26.00 dB. In Mastering the

volume is then raised in a first phase (Rendering - Audio
editing) to -21 to -23 dB, and then, in the second phase
(Rendering – Volume) to -20.00 dB average (+ / -2 dB).
Trust their own ears – so do not stubbornly stick to a
volume point.

In no case should be copied from the music industry. Audio volumes, which they produce,
are only a public danger. In the enormous success oriented "battle of rock and pop music,"
the volumes are as near to the zero level (as loud as possible), and even exceeded by far
that they end up cut off (with brickwall limiters) and viewed with Wavelab, as a single straight
line looks like.

↓
The wave of a well-mastered audio book should look like after the final edit in something like this.

Not one height is touching the zero level, and it´s not harmful for the ears. Thus an outstanding
dynamics ensured with sufficient volume. With good equipment is now in daily life, a good book to
be [read] heard (see "Test - MP3 Player, Headphones). If there was only enough audiobook
producers!

Question: How to set up the equalizer properly?

For this purpose, must first be declared the frequencies, that humans can listen. In order to save
us a long and bulky text, I have created a snapshot (Wavelab), and then I have made a
descriptive drawing (rather amateurish). It shows a voice (already processed) which reflect the
different frequencies from 10 Hz to 22 kHz; the vertical axis is not pregnant – but you can see the
different dB values, climbing to the zero level. The significant qualities of character to show,
where should be rectified.

↓
Required increases are at the bass and the speech quality (Bass 25-400 HZ / Intelligibility 1.5 - 5
kHz); the exact area where these increases are carried out varies from voice to voice. Increases
should rather broad band, and reductions are made rather high selective. Otherwise there are no
mandatory rules. It can be set lowcut and highcut; in the nasal area can be lowered; and the
heights (ether) can be raised slightly. The pop-and s-sounds are either manually edited with
Wavelab tools or with special plug-ins (deesser, dynamic eq).

A setting "all unisono" does not exist! It must be from voice to voice, each time re-adjusted finely.
Only helpful is his own hearing. Later in this text, I show an end to such a fine adjustment; from
these values can be assumed, if this necessary – but without guarantee!

For a fine adjustment, you take all available headphones – the studio headphones as a reference
– and agree the sound, until all relatively good.

Question: How to set up a microphone properly?

Now if all equipment purchased, studied and assembled, there are still questions that are not
answered, or, as especially in the audio book production, are not even asked. Here one uses
simple the physic and one of their discoveries: the background radiation. When we make
microphone level settings, this term is used as "background noise". Each microphone records up
a certain room noise. This noise can be measured best with your own studio microphone: Just
record a short track (30-60 seconds) in complete room-quiet, and move, if possible, the display in
direction to time line.

There is a scale that runs from the zero line (time line) in very small steps towards "Zero Level"
(0.00, 0.04, 0.08, etc.). Now you have a volume to be found that captures one part loud enough
and the other as little as possible background noise takes. A studio, as I describe, a value of 0.04
is very good. Does one follow a completely sealed – except air supply – recording booth , that
value is perhaps even deeper. A value of 0.08, 0.12 however, is already too loud! This has two
possible reasons: Either the level is set on the preamp too loud, or the recording room is to loud (
PC / notebook, power or light sources, thermal, ...).

Such a "volume test" before every recording session is highly recommended. The
warm up (voice) just run in recording mode, and control with Wavelab. I recorded many times
with an electrical appliance switched in the background - all the work was for the bucket.
Question: How to work with a highly sensitive microphone?

A highly sensitive microphone is a nature similar to the one or other superficial pedantic woman.
"IT" will not forgive the slightest mistake! Should therefore be handled with all possible tricks, to
this volcano, not bring to outbreak.

[PS: I am not a misogynist! – do not like any, medial produced, superficial "Paris Hilton" twins. Please
forgive my little taunts – they relate to women of "Past"; here cavort exclusively women of "Future".]

Initially, a good distance to be found. 10-25

centimeter. At best you take the headphones
of your confidence and narrate the distance
and maximum sensitivity in the right position.
Many narrators also work in the recording
with headphones. I use this only to find the
correct position: When learning the text or at
the warmup of the voice. So I can control the
pronunciation better. Each, as he can and
will!

The speaking direction should not pass

directly into the microphone ... in the
membrane. Then we hear more breath
"pop". When speaking on the mic
(membrane) over (up, down, right and left),
because the volume is not low – extremely
sensitive microphones –, only the mouth
output is better guided, and compensate the
delicate air moves better. Below I've
included a few "YouTube" videos to also
serve the unimaginative people – in times,
I'm also very lazy.
Talk direction (up, down, right and left)

Microphone techniques Example: Neumann U87 Example: RODE NT1, E-MU 0404
Question: Which software is meaningful?

• Audacity - admission
• Steinberg Cubase - admission
• Steinberg WaveLab Essential - cut, mastering >> For masters not suitable, because only four
plug-in places available.<<
• Steinberg WaveLab - cut, mastering, finishing >>That's expensive, but it is not otherwise.<<

For professionals: TC-Powercore, Uad, Sonnox, Sonalksis, Waves.

Question: Which are the most important technical parameters?

En-Voice MKII:

Interface setting - MindPrint En-Voice MKII

• Mic Gain - +30 to +35 dB (as described level setting)

• Low Cut - ON
• LF Bass - +1 dB at 200Hz
• MF - +1 dB at 4,4 KHz, Q 1 to 2
• HF - +1 dB at 8 KHz
• Tube Saturation - 25 to 50%
• Treshold - -16 to -20dB
• Ratio - 3:1 to 4:1
• Filter – ON

↓
The Equalizer from the “MindPrint En-Voice MKII” - I would with all other interfaces are doing - I
use no more, because I am editing in retrospect more like it. In retrospect, on can multiple cuts
compare. But this is only with enough DSP power possible. In that case are UAD and Powercore
mandatory!

Interface setting without EQ and compressor

• Mic Gain - +42 to +52 dB

• 48V phantom power - ON
• Low Cut - ON
• All others – OFF

Interface setting (tube) without EQ and compressor

• Mic Gain - +42 to +52 dB (as described level setting)

• 48V phantom power - ON
• Low Cut - ON
• LF Bass - OFF
• MF - OFF
• HF - OFF
• Tube Saturation - 25 to 50%
• Treshold - +- 0 dB
• Ratio - 1:1
• Filter - OFF
• Compression Mode - V1 or. V3

Interface setting (tube) to work with an ext. Preamp

 Line Gain - 0 dB
 48V phantom power - OFF
 Low Cut - ON
 LF Bass - OFF
 MF - OFF
 HF - OFF
 Tube Saturation - 25 to 50%
 Treshold - +- 0 dB
 Ratio - 1:1
 Filter - OFF
 Compression Mode - V1 or. V3
SSL Mynx (XR 627, XR 418)

Interface setting SSL Mynx XR 627

 VHD - Off or. IN (after taste "Driven")

 48V - ON (when connected [micro - preamp])
 HI Z - OFF (normally)
 Pad - OFF
 Gain „grob“ - ON
 Line - OFF
 Gain „trim“ - On (gently set - key word: space!)
 HF - OFF
 LF - IN (Depending the voice image [Wavelab - 3D analysis])
 L Comp - OFF
 Rec L - OFF
 Rec R - OFF

On admission, it is essentially important that, first, a loud signal, in second, with the lowest
possible level (preamp), come out. A loud sound signal (-22.00 to -26.00 dB RMS average) can
be mastered better than a quiet (from -30.00 dB RMS average) – and with lower level (preamp),
less space is recorded.

↓
With Cubase and Wavelab, the recording window can be moved in the direction of zero/time line.
This will done before every recording session! This forward running audio sausage should not be
too thick. Of course, must be recorded with a great sound volume. Therefore, where appropriate,
a compromise must be made, and work simply closer to the microphone. Dear little too bassy or
too much exaggerated S-sounds (which can be edited with Wavelab), as too much room.

Interface setting SSL Mynx XR 418

 Ratio - Low (to taste - 9, 10 or 11 clock)

 Lin Rel - Off
 Treshold - Low (start at +10 - then as required)
 Release - 9, 10 or 11 clock
 Fast Att - Off

At first we make a preliminary test recording (working volume / without compressor). Then with
the threshold slider, carefully cut the tips off. A gentle compression is usually sufficient.
RME Fireface

Here is not much! Scarcely you've unpacked it, has the Fireface already connected to the
computer. When working with an external channel strip, then must, the volume of the Interface
(software control), be set to zero. The connection with Cubase is a bit tricky, but doable (device
control).

Focusrite ISA One

Setting - Preamp

• Gain Input - As described level setting

• +48V - ON
• 30-60 - 30 or. 60
• HPF - ON
• Phase - OFF
• Insert - OFF
• Input - Mic
• Z In - ISA 110
Software:

Audacity

• Default Sample Format - 32-Bit • High Quality Sample Converter – High

• Default Sample Rate - 44100 Hz Quality
• Real-time Sample Conversion - High • Dithering - No
Quality • High Quality Dither - No
• Export Format - Wav 32-bit float

The free recording, editing and mastering software Audacity, I used only for the recording process.
The wave files were then delivered directly to Steinberg (Wavelab). Of course, an audio book can
be edited and mastered with Audacity, but the best quality can not obtained. When already a
relatively high output (money) for a proper recording studio was spent, then it is not foolhardy to
invest a little more for the software. Once you are used to working with Wavelab, these high
expenses will only be regarded as peanuts.

Cubase

• Frame Rate – 30 fps • Sample size - 32-bit

• Sampling frequency - 44100 Hz • Recording file type - Wave file

By Cubase is not set much as one without effects, only recorded. The calculated RMS level
average values (statistics), compared with Wavelab, are different - must therefore be factored in
with Cubase. All of mine in some texts specified RMS level averages were calculated only with
Wavelab!
WaveLab Essential and WaveLab

• Format - 32 Bit Float

• Frequency - 44100 Hz

All essential steps after recording are performed with Wavelab. This professional software allows a
precise cutting in the "cut", a plug-oriented editing in "mastering", the various changes of audio
format and the final compression to the audio CD/MP3 format. Wavelab is also a very good
analysis software with which the recording will be reviewed and will be placed the end-volume
(average RMS level - see the second image).

I work in the cut at 512 samples per pixel and change after the cutting to 128 samples per pixel.
The following WaveLab tools I have opened: level change (+ -), time correction (+ -), parametric
EQ (S-sounds, nasal).

Tip:
• As punctual “DeEsser" - mastering - is to be used beside the pegel-tool, the parametric Equalizer
from Wavelab. (Bandpass /4000 Hz/- 6 dB/Q 4)
Interesting plug-ins:
• WaveLab - DeNoiser, EQ-1, Q,
Multiband Compressor, Crystal
Resampler, CleanComp, Spectralizer
• UAD - Cambridge, PultecPro,
Fairchild, 1176LN, Precision DeEsser
• Powercore – Denoise, VoiceStrip,
EQSAT, Dynamic EQ, MD3, Brickwall-
Limiter, Tube-Tech CL 1B, Voicemodeler,
Intonator
This is just a small selection of effects plug-ins! I have almost all the plugins that I know are
thoroughly tested and only those, which I think would be useful in these selections recorded.
Some "plugin" settings:
Cut - Monitor
• Wavelab Essential - DeNoiser, EQ-1,
Spectralizer, Clean Comp
• Wavelab – DeNoiser, Q, Q, Multiband
Compressor, Crystal Resampler, Spectralizer,
CleanComp
• Wavelab, UAD - DeNoiser, Q, Q, PultecPro,
Compressor (Fairchild or 1176), Spectralizer,
Precision DeEsser
Endmastering „Rendern“
• Wavelab Essential – DeNoiser, EQ-1,
Spectralizer, Clean Comp
• Wavelab - DeNoiser, Q, Q, Multiband
Compressor, Crystal Resampler, Spectralizer,
CleanComp
• Wavelab, UAD - DeNoiser, Equalizer (Q or
Cambridge), PultecPro, Kompressor (Fairchild or
1176), Precision DeEsser, Spectralizer, Clean
Comp
•SPL - Vitalizer MK-2T
• Sonnox - Oxford Dynamics, Oxford
EQ,Oxford SuprEsser, Oxford Inflator.
• Sonalksis - SV-315 Mk2
Compressor, SV-517 Mk2 Equaliser
• Waves (Renaissance) –
Compressor, EQ, DeEsser, Vox.
• Wavelab, UAD, Powercore - DeNoiser
oder Denoise (Uad,Powercore), Equalizer (Q,
Cambridge, Dynamic EQ oder Oxford EQ),
PultecPro, CL 1B, Precision DeEsser, Spectralizer,
TC EQSat, Brickwall Limiter
• Wavelab, UAD, Powercore, Sonnox,
Sonalksis – DeNoiser oder Denoise
(Uad,Powercore), Equalizer (Q ,Cambridge,
Dynamic EQ, Oxford EQ or SV-517), PultecPro,
Kompressor (Fairchild, 1176, MD3, CL 1B or SV-
315), DeEsser (Precision DeEsser or Oxford
SuprEsser), Spectralizer, TC EQSat, Brickwall
Limiter
• Wavelab, UAD, Powercore, Sonnox,
Sonalksis – DeNoiser oder Denoise
(Uad,Powercore), Equalizer (Q ,Cambridge,Oxford
EQ, Dynamic EQ or SV-517), Equalizer (Q
,Cambridge, Dynamic EQ, Oxford EQ or SV-517),
Kompressor (Fairchild, 1176, MD3, CL 1B oder SV-
315), DeEsser (Precision DeEsser oder Oxford
SuprEsser), Spectralizer
Current Plugin preferred list

• Cut

DeNoiser, Q, Q, UAD PultecPro, UAD

1176LN, UAD Precision DeEsser, Vitalizer
MK-2T

• Rendering (audio-editing)

DeNoiser, Q , TC Dynamic EQ, Renaissance

EQ, UAD PultecPro, UAD 1176LN,
Renaissance Compressor, TC EQSat, UAD
Precision DeEsser, Renaissance DeEsser,
Vitalizer MK-2T, Renaissance Vox.

• Rendering (volume)

TC MD3 Brickwall Limiter, Renaissance

Compressor, Renaissance Vox

• Dithering

Steinberg UV 22HR

Render 1 (audio-editing)

The Steinberg DeNoiser is used as a

noise reduction. – This useful tool, we
would need in normal life also very urgent!

The Steinberg Equalizer (only Wavelab

Full Version) I use as a low-and HighCut
filter, and as an alternative equalizer. It
replaces the TC-equalizer in the cut-
setting. The harmony between UAD and
TC is very difficult, because they work with
different timing (24-bit, 32-bit, 48-bit).
The TC Dynamic EQ is a very nice
sounding equalizer. From this we can not
get enough. – It is governed by a multi-
band compression unit and can make
targeted reductions and increases. He
could also be used eg as DeEsser. I set
him only as an EQ.

Another alternative EQ. These Waves

emulation, I use mainly in order to
compare with the TC Dynamic EQ. Which
sounds better, is pure subjective taste.

UADs Pultec Pro is a very important plugin

in the audio processing. With him, the
bass set, the speech clarity will be raised,
lowered the hoarseness – in short, this
tool provides the voice with the necessary
clarity and warmth. It is in the cutting as
well as rendering a support pillar of the
audio book production.

The second gold piece from UAD. He is

probably the most popular compressor for
vocal and speech recording. The UAD
1176LN was as a hardware device so
successful that he has also in the virtual
world, a fixed place.
Similar to the EQ comparison. Only this
compressor is actually, emulated for idiots.
The Waves-Comp you can also on sight,
work with the eyes – even without the
sense of hearing. Easier to compress does
not work! Which compressor I will probably
take?

The TC EQSat I use only as master

enhancer. He spices up the recording
(adding virtual sounds).

The UAD DeEsser away next to the

manual processing of the pop sounds that
also automatically. Gently set!

Very popular software DeEsser! But I work

rather with the UAD-counterpart. Probably
because I know him better – damn racist.
One would think? But no! I am an
Austrian. They need a lot of time – years,
decades, centuries, ...

The hardware SPL Vitalizer has been
developed in the nineties of last century. It
should be with a simple way, to improve
the signal. – Now is this sound optimizer
also calculated as a software adaptation.
For my strict refusal to convert again after
recording, this plug-in is very well suited.
Voices sound after the processing a bit
clearer, louder – and better!

The only Waves emulation that has

prevailed against my Austrian narrow-
mindedness. But only because there was
no competition. The Renaissance Vox, I
use as a gate (at -48). Actually, as a
downward expander; because I do not
want to cut away the whole room.

This plug-in installation, I only use at audio rendering, because UAD-TC at the manual
editing does not go so well – Wavelab plunges off more often. If Wavelab, in common
UAD/TC use crashes, all the work is gone. So only use – of course for the fine tuning – when
rendering! For the cut, I have my own cut-set, which sounds similar, and waived on TC plug-
ins.
Render 2 (volume)

By TC Brickwall Limiter I create the final

volume. The volume, should already be
considered in the admission and the audio
processing. So think when recording to the
desired end volume! Correct level setting,
so be increased after the audio processing
by only 2-3 dB.

Dithering

Finally, the UV22 HR added a slight

murmuring. In this process, I convert the
32-bit wave file to a 16-bit standard file.
Although I think the MP3 standard are the
future (for audio books), I do not rule out
that my audio books also appear once in
the archaic CD-Audio format. Most
consumers are even always totally
focused on this standard.

A "First" setting does not exist! Each project is newly mastered and receives its own tuning.
Various hardware components (microphones, amplifiers, interface) have a different sound.

All the above Plugin settings, were currently, only at a certain time! Now they are out of date
... with security!
Workflow „luce clarius“

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.
4. Backup - original cut CD and external hard drive.
5. Rendering (audio-editing) – appropriate plugin-setting (fine-tuning with all available
headphones), rendering, 32-bit format.
6. Mastering – harmony 1 (AKG-K271MKII), 32-bit format.
7. Backup - original master CD or external hard drive.
8. Rendering (volume) - brickwall limiter (or a similar plug-in), 32-bit format.
9. Mastering – harmony 2 (AKG-K702MKII), 32-bit format.
10. Backup - original master CD and external hard drive.
11. Rendering (CompactDiscNorm) – dithering, 16-bit format, 44100 Hz.
12. MP3 conversion - >>I use the switch sound file converter.<<
13. End -Original CD

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.

These data resulted from long empirical work, and were constantly developed further. All
interested employees are free to use these data and further develop itself, and then,
hopefully even published. If a veteran audio editor runs the paper over the way, and he
acknowledges mistakes or better solutions, I would be delighted if he tells me this.
Question: Can I live by my own publishing house?

At first surely not! Above all you need, if no fortune exists, a well paid additional occupation.
Additional occupation, because the „audiobook production“ should be considered as main
profession. In this additional occupation you should be able to work as independently as
possible: since this time can be used for the correction listening.

In Ray Bradbury's book on writing (Zen the art of writing) the author describes how he could
eventually prevail: He has quite simply, regardless of losses, ten years, only unsaleable crap
written. With this courage, you can achieve anything!

I, as an Austrian, know only too well that such big plans, can expand for good and for evil –
just an Austrian knows this too well! We have in this world ...

It must be very carefully made sure that more will be increased to the better world – and not
in to the bunker. In our capitalist nightmare, this is unfortunately not given. It is rather the
downward route.

That is why we need this idea! No matter whether it is profitable or not.

I wish you much success and fun!

Last Revision: 13.07.2010