Simply the recording of a book read out loud by a voice actor. It’s that simple and that complicated. For instance: the story your parents told you before going to sleep. The reading of a philosophical essay by a professor from his chair. The novel heard with 10 different voices on the radio. These are all forms of audiobook.
The one that has been produced according to DAISY standard, an accessibility standard that allows for visually impaired people to experience a recording as a paper book, searching, adding notes or high lightening as one would normally do in paper.
It is a voice recording aimed to be heard on streaming principally, and with a shorter duration than an audiobook. Normally, it is conceived as a series of chapters that are recorded daily, weekly or monthly and can be downloaded or listened live. In most podcasts the scriptwriter and the speaker are the same person, and the style is more relaxed and radio-like than in an audiobook. However, as in most instances, things are moving fast and boundaries between products are blurring.
It is the audio recording of a training content. Normally they are used by companies or schools and require quick production times.
Audiodecription, normally referred toa as AD, is an audio track that adds to the original soundtrack of a film or program and that describes the actions taking place on the screen for the visually impaired. A voice speaks in the gaps without dialogue and describes what is going on.
We use it to give voice to audiobook users, the only link in the production chain who does not have it.
Tropo is a project developed in collaboration with Germán Sánchez Ruipérez Foundation to find out user preferences prior to audiobook production. The objective: reduce production risks and useless expenses. How? big data and data analytics.
If you are an author, publisher or distributor and wish to know more about the project, just contact us.
With an average production of 250 hours of audiobook per month, and regular collaboration with speakers in 38 languages, we believe that there is no format that cannot be adapted. So, yes we can.
Well, that depends on who you are…currently only editors, authors or those involved in the production process of an audiobook can decide which voice is best for product. Once it has been recorded, as user, you cannot change the voice chosen (yet at least!)
We have produced from children’s cartoons to engineering technical manuals. Your thesis will be well received.
Podcats is an increasingly used format in training. It is not aim to replace other sources, but it is a very effective learning tool. The adaptation work is essential to get an effective product.
No. The synthetic voices are of much higher quality. They yet lack human expressive capacity, but they offer a high level of satisfaction for the end user, especially in particular products.
The idea is granting equal access to culture for all people. Subtitling and audiodescription are the two means used to make audiovisual products accessible.
Audio description is regulated by the UNE 153020: 2005 standard and subtitling for deaf by the UNE 153010: 2012 standard.
Most public channels and streaming content platforms, offer audiodescription. The path to activate it depends on the platform and device you use, if you can’t find the way, don’t hesitate to ask the producer or device brand.
Short answer: Yes. Long answer Yes but.
Technology has become abundant and cheaper. Everything you should need to set a professional home studio is at hand via internet or professional stores. However, making the right decision about what to buy might not be that easy…We advise you to always seek for advice from a professional before investing.
Storytel story in Spain was I came, I saw, I conquered. We are official providers in both European and neutral Spanish, and we hope to continue being part of their journey. We want to be part of those 86,400 seconds of the day that audio can help to multiply. Because, ultimately, audio allows you to be multitask, and add life to your life. If you want to know more about the books have produced for them, just ask us.
ONCE has been for us both a client and a school since 2005. A client because they have steadily trust us to record part of their audiobook production, and a school because it allows improve in every new production, always keeping the end user in mind. Ultimately, the basis of everything.
We were TVE audiodescription official providers in 2016 since then, hundreds of programs have been broadcast on TV where you can hear our audiodescription: Cuéntame, Novéntame, El Señor de los Bosques, Hit, La Magia del Gran Azul, Memoria de España, Olmos y Robles, Master Chef, Brain Games, Central Market, and multitude of Christmas movies or programs. We began our accessibility journey by their side, and they have undoubtedly been crucial to take the leap to other platforms.
We usually walk everywhere, but Mercedes-Benz does not seem to care, because we are Daimler official suppliers since 2004. Daimler is a great client because they act very similar to what they produce: they are honest, reliable and solid. But, above all, they are a great client because they have challenged us to grow. We started recording for them in two languages and currently we record up to 37. To answer the requirements of a client its size, we have woven what today is a solid network of collaborators all around the globe, expanded our product formats and reduced our production times.
After 17 years of collaboration we can say, without hesitation, that we are now better than when we started.