To record an audiobook at home in acceptable quality you will need:
Microphone
I've experimented with many options and the best results so far have been achieved with the Blue Yeti microphone. Its distinctive feature is that it selects sound not from everywhere, but according to the settings: only from the front (when recording a podcast or audiobook), only from both sides (when recording an interview), etc. Plus, the Yeti microphone can be connected directly to your headphones, so you can hear what it's picking up. You can also adjust the sensitivity level on the microphone - which is very useful if you are recording an audiobook in less than ideal conditions.
Pop filter
This thing is needed to prevent puffs, sighs and splashes of saliva from hitting the microphone. You can buy a pop filter (any one will do), or you can make it yourself: take a hoop, old tights and figure out how to secure this entire structure in front of the microphone at a distance of 10-15 cm.
An alternative option is to wrap the microphone head with thin foam rubber and secure it with an elastic band. Or you can buy a special foam cap called a “foam windscreen.”
Sound recording program
Any will do. I use GarageBand for Mac. To understand how your program works, watch training videos on Youtube - everything is explained and shown there.
Headphones
In the headphones you can hear all the flaws that are present in the recording.
Recording booth
When recording an audiobook at home, interference constantly arises: dogs barking, the sound of passing cars, the operation of household appliances, etc. In addition, the walls and objects in your home give off a booming echo. It is impossible to completely get rid of this noise, but if you have a commercial or homemade soundproof booth, the quality of the recording will be much improved.
A soundproof audio booth looks like this:
It can be assembled and disassembled; its walls and bottom are lined with thick foam rubber, and at the back it has a hole through which wires for a microphone can be routed.
If you don’t have the opportunity to buy a portable audio booth, you can make one yourself. My first “soundproof” design was made from rubberized terry bath mats that I held together with paper clips. A thick towel was placed under the microphone so that the microvibrations of the table were not transmitted “upward”.
The sound quality immediately improved, but my booth had a significant drawback - it always fell on its side.
The cheapest of the “for money” options is done like this: buy a large plastic container, glue and thick foam rubber. Line the inner walls of the container with foam rubber - and the booth is ready. The disadvantage of this structure is that the wires will have to be routed from the outside, or a hole will have to be drilled in the back wall. In addition, it is quite difficult to correctly select the height and depth of the booth so that optimal sound is obtained.
How to improve the quality of an audiobook recording
1. To record, choose the quietest place and the quietest time of day. Close the doors, turn off appliances, curtain the windows, and place something soft (such as a towel) under the computer.
2. Trial adjust the sensitivity of the microphone so that external noise is recorded to a minimum.
3. If your microphone is attached to headphones, find a position where your breath will not hit the microphone.
4. The microphone should not be placed on a bare surface. Place foam rubber or fabric folded in several layers under it.
5. Recording an audiobook will take you several days, or even weeks. Try to ensure consistency in the process: all settings and your position in relation to the microphone should be the same.
1. Take your time while reading. Patter and monotonous rhythm kills an audiobook.
2. If you don’t have acting experience and don’t have time to practice, try not to act out the play. Inept pretense sounds much worse than smooth reading.
4. When you read long enough, your mouth becomes dry, resulting in unnecessary smacking in your writing. To avoid this, take a sip of something sour, such as orange juice.
How to record an audiobook
1. Place the soundproof booth on a table or hang it on a stand, then install a microphone with a pop filter attached approximately in the first quarter of the depth of the booth. Your forehead should be level with the top edge of the booth, and your face should be approximately 15 cm away from it. For most microphones, the optimal distance from the mouth is 30 cm. You DO NOT need to stick your head inside the booth.
Either way, you'll need to experiment to find the position that produces the clearest sound. You also need to determine exactly how your microphone picks up sound - from the side or from the top of your head, and tilt it accordingly.
2. Don't interrupt while recording. If you hear extraneous noise, such as a dog barking, it is better to wait and repeat the broken phrase again. This will make it easier to edit the audio track because the recording conditions will be preserved. And if you then apply patches to damaged phrases, you will have to adjust the volume and other technical parameters - and this is extra work.
3. First press the record button, then wait a few seconds and only then start reading. The same applies to finishing work: we say the last phrase, wait, turn off the recording. This is required so that the program does not cut off the beginning and end of the phrase - this happens when the computer starts to slow down.
4. If you hear a quiet hum in the recording, almost inaudible live, most likely the problem lies in the fact that all your equipment is connected to the same outlet. Try connecting devices to different outlets using extension cords.
5. Always listen to what you got right after recording and apply the necessary patches without leaving the cash desk. The earlier an error is noticed, the easier it is to correct it, because later there will be other conditions - the weather, your well-being, etc.
6. Name all files with recordings according to the same principle - so that you don’t get confused later about what is what. For example, files with the audiobook “The Horn of Ram” may look like this: 01-1-baraniy-rog, 01-2-baraniy-rog, etc., where “01” is the chapter number, and the second digit is the audio file number.
7. Record the first version of the audiobook in maximum quality - this will make it easier to edit later. For PC the optimal format is .wav, for Mac - .aif
The final product is best saved in .mp3 format in mono - stereo sound in audiobooks without the need.
8. If you don’t understand programs that edit sound, and you don’t have time to study them, call professionals for help. The services of sound engineers are quite inexpensive, and the quality of editing will improve by an order of magnitude.
A professional sound engineer can:
Remove unnecessary repetitions and pauses
Eliminate clicks, sighs and other interference
Equalize sound on patches
Make sure that the recording of the entire work sounds smooth - from the first chapter to the last
Tidy up the echo
Remove from the recording the uniform hum that is produced by the fan of your computer or other equipment
However, you shouldn't expect miracles: if the recording is initially bad, it can only be slightly cleaned up. In any case, send the sound engineer uncorrected files: inept editing will not help him in any way, but will only complicate the matter.
From time to time I receive letters with the following content: “I want to record an audiobook. Where should I start, how should I continue and how should I end? Or, in other words, “how do you do it”?
- Basically, at random. But it has been repeated at random over and over again for quite some time, so it makes sense to talk about a habit. Habits can be bad or good; the latter are also called algorithms. It is difficult to distinguish one from another, but it is possible, and everyone solves this issue in their own way.
I’ll try to describe in detail, in several steps, my personal view of how you can record audiobooks. I’ll try to write it in such a way that it’s clear even to complete beginners (but without explaining how audio editors work, that’s on their own). Let's leave aside the artistic and performing aspect; it practically does not lend itself to algorithmization. Let's focus on purely technical issues for now. So:
Microphone selection
This question is asked quite often. We will not consider options for cheap and low-quality headsets, since I had no experience working with them. I myself use professional studio equipment, which includes a condenser (U87) or tube (U57) microphone path Neumann, tube microphone preamp-compressor UniversalAudio, mixing console, external digitizing device (ADC) and the computer itself.
Needless to say, my version is very expensive and non-mobile, it’s just something I have on hand if I have free time in the studio. These are opposite poles, and, obviously, for a beginning reader-reciter you need to find something in between. And it does exist, it’s called a USB microphone. Its undeniable advantage: it plugs directly into the USB input of your computer, bypassing the preamp and digitizing device. In combination with a laptop, you get a very mobile and low-noise (which is important!) option. Many models of such microphones have a monitor output for headphones, so you can immediately hear your voice as it sounds into the microphone, which is also very important. My colleagues Dmitry “digig” Ignatiev (InfrasonicUFO) and Semyon Yanishevsky (Samson) use these microphones, the quality of their work speaks for itself.
Room
The next important factor is the place where you record your voice. Probably everyone who has tried to record knows how booming a voice sounds in an apartment. Then it is almost impossible to remove. Someone is soundproofing the storage room. Some hang themselves with blankets and carpets. All of this can work quite well. But you can try something like this:
I have already filled in the empty fields at the top and clicked Save. Now the most interesting part: we need to extract the chapter names from the file names. Open the Get Tags From File Names tab at the top and fill in the image below. Click Write tags - and again:
All chapter and part titles are in place. All that remains is to number everything by clicking the button to the right of track#, and rename the files themselves. Open the Rename Files tab at the top and enter:
Here, instead of Samolyot, enter the short name of your book - and you’re almost done. On the Multi Tag File Editor tab there is a button Edit All Supported Tag Fields. By clicking it, you can enter a lot of other tags and embed texts and pictures into each file.
Don’t forget to select Options » Tags from the menu at the very beginning and check the Write Unicode Data box...
But now you can wipe away the sweat of work and relax. The book is ready!!!
Here you can download the full package of plugins for Sound Forge mentioned in the article.
The person who wrote the text has a desire to read it to the listeners personally. He cannot get rid of this desire, spending sleepless nights in thought and tormented by the inability to realize the desire in life. Readers categorically do not want to come to meetings with the author, making him suffer even more. It’s not their fault, they are busy people, they don’t have time to go to meetings with a little-known writer.
Is there a way out? Eat! You can create an audio version of your immortal work and post it on the Internet for everyone to read and listen to. Many people believe that this is only possible by investing a lot of money and spending long hours in a recording studio. I should make you happy - this can be done with your own hands in a cozy home environment. To work, you will need headphones with a microphone, a computer and a couple of programs for working with sound. Naturally, you will need enthusiasm and a burning desire to reach the end of this new adventure for you.
The Samplitude Music studio 2014 program is suitable for recording and editing sound. It takes some getting used to, but in principle it is a fairly simple and convenient program.
For final output to a file, I recommend using the Sound Forge Audio Studio program. It allows you to add volume to the sound by adding some echo, simulating a recording in the room. This gives the sound richness and color. In addition, it will help you level and set the volume level, as well as obtain an output audio file of optimal quality and size in the format you need.
Effects, additional sounds and music can be found on the Internet - there is a lot of this stuff nowadays, it’s difficult to choose what you need from the variety, but there is plenty to choose from. Don't forget about copyrights if you plan to sell your creations.
You need to immediately understand that if the entire text is read in one large piece, it will be read by ONE person, one character, one emotion, no matter how hard you try to highlight it when reading. You need to be a great actor to sight-read the entire text at once. This is difficult for an ordinary person to do.
Practice speaking like your hero, imagine him completely, enter the image of “an old man sitting in a chair with a pipe in his hands,” “a young girl full of life,” “a moth flying into the room.” Right now you will understand that it is very difficult to switch from one image to another on the fly - this requires many years of actor practice or natural talent.
Practice the speech of each character so that you can do it easily and naturally, otherwise you will inevitably fall on your own character of speech in each subsequent fragment. Don’t try to read everything for one character first, and then for another, hoping in this way to avoid the problems of getting out of character. Each scene has its own emotion, it is difficult to remember all the emotions at once.
You will have to switch automatically to the author's speech, but this is quite easy, because it is as simple as “letting go of the reins.” If the author's speech comes in a large fragment, you can make it a separate block.
Please note that in the audio version the author's speech may be shortened if it contains something that is already clear from live speech. It makes no sense to say “the old man coughed” if in the recording the old man does just that. Therefore, review the text again before reading and cross out what is unnecessary.
So, about blocks. Your text needs to be dissected, that is, prepared for reading. The fact is that reading from a sheet and speaking at the same time, maintaining the desired character, is difficult - this has been tested in practice. Therefore, regular text formatting will not work for you. It is advisable to use a larger font and clearly separate blocks from each other with large separators. Believe me, you will want to close your eyes altogether in order to more accurately convey the character and emotions of the hero, but then you will definitely fall out of the author’s text, unless, of course, you have learned it by heart.
Prepare the text for reading by performing special formatting. This will save you a lot of time and feelings.
Having turned on the recording of the text from the microphone, start reading, trying to maintain character and volume. No need to whisper, no need to shout, it is better to stick to approximately the same volume level, using the stage techniques of “loud whispering” and “quiet screaming” :). Please note that then you will need to “assemble” the final audio clip from various pieces and the issue of volume uniformity will arise in full force. Additionally, there is natural noise from the equipment you use to record audio, as well as natural noise from the environment around you, and your voice needs to be louder than that.
Practice your reading pace: don’t rush, don’t slow down unnecessarily, choose a reading pace that suits the meaning and essence of your story. This applies both to the work as a whole and to the voicing of individual characters.
It is advisable to have something soft behind your back that muffles the sound: a carpet, a curtain, a special sound-absorbing coating. All this will improve the quality of the final audio clip, but you shouldn’t go to extremes - after all, you don’t plan to record a MASTER level video! This is your personal creation and desire for self-realization. The main thing is to do all the work from start to finish!
The microphone is on, recording is in progress! Learn to cope with the anxiety of this fact. Nothing catastrophic will happen if you do something wrong: you sneeze, miss a word, lose your voice, lose the mood, or a cat suddenly sits in front of you. And this happens, because the people and animals around you love you and miss you!
You have started reading a block of text! There was a glitch during the reading process - no problem, just repeat this fragment again without stopping writing the text. If necessary, do this several times, separating the fragments with silence - this will help you later easily visually trim off the bad piece when editing the sound. The fact is that “entering” reading is an emotionally difficult moment. It is much easier to “jump into cold water” and “swim” further. And the volume level is already stabilized, there is no characteristic rise of the voice at the “input”. For a professional actor this is not a problem, but for a beginner it is the scourge of God!
For each recording, feel free to open a new track in your recording program. The excess can then be removed, but maneuvering fragments of the recording within one track is much more difficult.
Having finished recording a fragment, move it to the desired position in the time plan, so that later the listening takes place in a normal time frame. Usually, by default, all recordings on a new track start “from the stove,” that is, from the zero mark.
Before recording a new track, temporarily turn off all the others so that they do not disturb you while recording, otherwise you will hear them in your headphones. This is usually done by turning on the “Mute” checkbox. The exception is something in the background that you want to adjust to, or a simultaneous conversation for which it is important when exactly the other person cuts in. When writing a text, it looks like a broken dialogue, but in life it’s quite normal for people to speak at the same time. You have the opportunity to implement this, but there is one unpleasant feature - you need to really, really transform yourself so that the listener can distinguish your characters in the stream of speech. Otherwise, everything will merge into one voice stream. In the text it is easier in this regard - I simply broke up the dialogue and the reader himself will complete everything in his head.
So, you have spoken all the fragments of text, you have a huge set of tracks and recording fragments. It's time to arrange them carefully on a time scale (time plan) and turn on all the tracks for playback. You don’t need any effects or backgrounds yet, just your voice and nothing more.
If you have several options for scoring a fragment within one track, choose the best one and limit the fragment to only that section. If the error is located within the best fragment, you will have to use the services of a special program for fine-tuning work with audio recordings. Usually, audio editing programs do not have great capabilities in terms of editing recordings - at most, you can trim a fragment from left to right, although in principle you can sometimes even cut out a piece from a recording.
If the voiceover options for a fragment are located on different tracks, listen to each fragment first and leave only the track with the highest quality sound on. Before the final assembly, you can remove unnecessary tracks, but sometimes it happens that a previously rejected fragment turns out to be better than the selected one. Therefore, do not rush to delete your work.
You collected all the fragments into a single sequence and listened to it several times. Please note that it is up to you to create pauses between fragments!!! This is exactly what many people forget about when gluing fragments together end-to-end. In ordinary life, a person needs time to comprehend what he has heard and prepare an answer, except, perhaps, for true choleric people who are ready to talk continuously. This is also character and this must be taken into account when assembling the sequence. Play with pauses, imagine exactly how the dialogue is going, feel the internal rhythm of your narrative.
A lot depends on the internal rhythm of the story. We say “at the tempo of a waltz”, “a solid hopak”, “at the rhythm of a tango” and the like, without thinking that we are talking about the tempo inherent in the event. It is this tempo that the musical background, background, and musical accompaniment of your narrative should correspond to. But it’s difficult to choose the right musical backing, so immediately decide for yourself – do you need it?
If you decide to add a musical background, you will certainly understand that it is extremely difficult to do this, because you do not have the skills of a professional sound engineer or composer who can hold thousands of musical works in memory and are ready to offer the only correct version of the musical background based on a minimum set of criteria. There are only two options: you search on the Internet for music that suits you or turn to experts.
The musical background will depend on many factors and only experience or a professional will help you here. But you will also need to work with it, since the timing, that is, the duration of the music itself and your audio clip may not match. Moreover, you can use fragments from different music sources or repeat fragments of the same music. But God forbid you to pile heterogeneous musical fragments into the context of the narrative for, as it seems to you, a better emphasis on events. Try listening to an orchestra in which each musician plays something different, not obeying the general plan of the conductor and composer. Would you like to listen to this? Therefore, less is more!
It is important to follow the rule - in an audio clip, the main thing is not the music, but the text, so you should not choose music that draws attention away from the text.
When working with a musical background, it is important to understand how the accents in the music correspond to the accents of the narrative. It would be strange if the apotheosis of Mozart’s 40th symphony came with the author’s speech about the gray rain falling outside the window and the dull life of the granny looking out the window.
Another rule when working with a musical background is to monitor the volume level of the music in relation to the main text. The voice should sound clear, the music should not overlap it and interfere with its perception. Music can increase the volume to maximum at the beginning, during pauses, and at the end. But even in this you need to observe moderation, as in everything in life.
Your text may explicitly or implicitly contain some sound effects, such as coughing, the sound of a hammer, the sound of rain outside the window, creaking floorboards, birdsong, the whistle of a bullet, and the like. Reading your text, you can imagine all this, and the image will be drawn by the author’s remarks and the reader’s memories. You can embed the necessary sounds into your audio clip, but these will be completely unambiguous sounds that leave no room for imagination.
For this reason, you need to be very careful when choosing an effect and integrating it into an audio clip. The general rule is the same as for a musical background - monitor the volume level and the adequacy of the effect to the scene. A gun shot would be inappropriate, like the effect of a pistol shot with a silencer. And you won’t be able to mute it, since each sound effect has its own “portrait”, easily recognized by the ear. You shouldn’t get carried away with effects to impress the listener, because you don’t have a blockbuster, but just an audio version of your text. Keep everything in moderation!
Once we've got everything in one big pile and all the details of your audio collage have been properly arranged, it's time to polish it up.
The fact is that the studio voice sounds dry, but in fact we are used to being surrounded by extraneous noise and echo! Yes, exactly an echo, that is, the reflection of sounds from surfaces. When recording, all this is superfluous, but when listening, this is exactly what is missing. We can say that a studio recording is a preparation for future live speech. The living water for studio recording is the reverberation effect, which allows you to convince the listener that the conversation is taking place in a small cozy kitchen or on the stage of a concert hall. Just a little reverberation and the voice gains volume and richness.
Using additional processing, you can change the timbre of the voice, but this should be done with care so as not to distort the sound into complete gibberish filled with gurgles or growls. Nothing can replace a live voice, so more artistry and self-confidence!
You've finished polishing the audio clip, you've listened to it several times and found no flaws in it, then it's time to save it in a single file. Miracles are also possible here, and there are also possibilities for additional sound processing.
Specifically, you can apply reverb to the entire file, meaning your entire performance with voice, effects, and music will be “performed” in the appropriate environment.
You can set the overall volume level, and also perform volume equalization if you did not bother to do this previously.
When saving to a file, you can select different versions of audio files, as well as select compression options if a compressed codec is used when saving. The degree of audio compression determines its quality and the size of the resulting file. You can save the audio in its pure form without compression, but it will be a completely unmanageable file that hardly anyone in their right mind will decide to download.
Therefore, if you literally step on the throat of your own song, try different compression options until your own ear begins to distinguish between interference and distortion. Compression means a loss of quality in any case. But there are losses that are practically indistinguishable by ear. In addition, the inimitable color of the author’s voice, combined with the inspiration that sounds in it, can compensate for almost any compression flaws. And the small size of the resulting file will allow you to listen to your imperishable work even on a mobile phone with poor internet.
I would be glad if my short notes inspire you to create your own audio versions of your texts, because only the author knows exactly how they should sound! Do not give up! You can do it! The world is waiting for your voice, don't make it wait in vain!
There are more professional notes on the same topic from my great friend Jerry Lee:
I recommend reading it if you have decided to blaze your own path into new knowledge and skills!
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For example, you can listen to the audio versions of my own texts I made:
“Tender feelings” http://linear.ucoz.ru/NegnyeChuvstva.mp3
“Buttercups-flowers” http://linear.ucoz.ru/lutiki-cvetochki.mp3
“Muse on call” http://linear.ucoz.ru/MuzaPoVyzovu.mp3
“Palenka” http://linear.ucoz.ru/palyonka.mp3
“Suicide” http://linear.ucoz.ru/samoubiyca3.mp3
“SPIRIT” http://linear.ucoz.ru/souls.mp3
“Venechka, not this!” http://linear.ucoz.ru/venechka_tolko_ne_eto.mp3
"Odnoklassniki.ru" http://linear.ucoz.ru/odnoklassniki.mp3
“About low and high with Vladimir Vysotsky” http://linear.ucoz.ru/VladimirVysotskiy.mp3
What do you need to do to voice a book yourself? What equipment should you have and what qualities should you have? We have identified three components of success, these are the rules for recording audiobooks:
- Careful work by the reader on the text of the work;
- Correct diction, articulation and breathing;
- Good equipment and quality sound.
The reader's work on the work
The main question that an actor must answer before recording an audiobook is: “What do I want to say?” or “What did the author want to say?” (if we are talking about recording a work that is not your own).
The second question, to which it is also important to find an answer: “Who do I want to tell this to?”
And finally, the third: “For what?” What, in the opinion of the actor or the author’s intention, should the book push the reader to, what emotion should it evoke, what should it make him think about.
Having answered these questions for yourself, the manner of presentation, the mood becomes clear, and the subtexts that should be conveyed by voice become visible. You understand the problem, know the solution, and are almost ready to write the book yourself.
It is also important to highlight the climax of the work and read, gradually “rising” towards it, strengthening the presentation, in order to then firmly put the last point.
Only this way and no other way. Otherwise, we will hear not an audiobook, not a literary audio work, but a “reading of the text.”
These are, perhaps, the most important skills that a reader must possess in order to captivate the listener with his performance and turn a printed work into a unique audio work. We will stop at these basic concepts, because by continuing, we risk going into the subtleties of stage speech, but our task is different.
Diction, articulation, breathing
As you understand, without correct and clear sound production, all attempts to immerse yourself in a book, even the most successful ones, and “transmit” it to the listener seem empty. What's the point if he doesn't hear half the sounds?
On store shelves and on the Internet you will find many detailed books and courses on stage speaking, but we don’t have much time, right?
Therefore, we bring to your attention a short but extremely effective video course from the Russian Speech Theater Center. The course consists of four short lessons, performing exercises from which you will significantly increase the clarity of sounds, gain the basis of breathing and confidence in speech. By practicing constantly, you will be able to voice any book yourself (well, or almost any).
Happy studying!
Lesson 1 - Articulation
Lesson 2 - Relaxation
Lesson 3 - Breathing
Lesson 4 - Diction
Hardware and programs for creating audiobooks
To record an audiobook you will need:
- Computer;
- Microphone and sound card (or USB microphone);
- Program for recording and editing sound;
- A prepared room without echo or extraneous sounds.
Any modern computer is suitable for recording, because sound does not require serious computing resources. The main thing is to pay attention to the noise of the fans, because the microphone will also record it.
Microphone and card
The microphone-card connection can seem not only complicated, but also quite expensive, so we recommend starting with a USB microphone. This microphone has a built-in sound card and is easily connected and detected by the system. From the budget models we can safely name Recording-Tools MCU-02, from the more expensive line – Shure PG42 USB. However, many manufacturers now have USB models to suit every taste and budget. As for audio cards, the undisputed leaders in terms of price/quality ratio are PreSonus, Focusrite and, of course, Roland.
Programs for creating and recording audiobooks
Sound software manufacturers delight with variety. And not only paid products, but, most importantly, free ones and no less high quality - except that usually the tools they contain are a little poorer:
- Audacity – classic home recording, free program for creating audiobooks;
- Ocenaudio is my personal discovery last year, an excellent program for recording audiobooks.
Both programs are cross-platform, i.e. work on all major operating systems. The first has much richer functionality, but the second, in my opinion, is more convenient to use. Try both and choose what you like.
I also recommend the paid, but inexpensive Reaper - this is a full-fledged multi-tracker in which it is convenient not only to write a speech, but also to combine it with music and noise (important - the trial period is endless). And if funds allow, then you can pay attention to the Sony product line - Vegas and Sound Forge - programs for creating audiobooks.
Room
We put the room in fourth place on our list, although it undoubtedly deserves first. Because neither excellent clear speech nor professional equipment will save you from extraneous noise and echo, which is almost impossible to get rid of. This ultimately has a catastrophic effect on the overall impression of the book.
If you are taking your first steps in scoring and do not want to spend money on professional treatment of the room, for example, Ikea U-shaped hangers and thick blankets will help you: the structure can enclose the recording area and partially eliminate reflected sound. Of course, you can read under the covers, but believe me, it is very difficult.
And don't forget about extraneous noise! The room should be quiet.
Now you have the basic knowledge of how to record an audiobook yourself.
And if you need professional voice acting, contact us using this button:
