How To Record Audiobooks: Picking The Best DAW
If you record audiobooks, you’re probably familiar with this abbreviation: DAW—digital audio workstation. It’s the software that allows narrators to capture, store, and edit their performances—and to mix and master them, as well. Put simply: You can’t do audiobooks without using a DAW. (Well, you can, but that’s an analog conversation. We’re all digital here.)
The history of the technology is kind of interesting (cool chart here). But the big takeaway is this: It’s unimaginably cheaper and more satisfying to buy these tools today than it was twenty-five years ago. Their quality is wildly improved, and the user interfaces are far easier to manage. They are stable, assuming the DAWs are running on reasonably well-maintained computers. Largely gone are the bad ole days of regular heart-stopping crashes. (Curse you, daisy-chained SCSIs!!!).
How to pick a DAW
There are a lot of DAWs out there, so we’ve added our top-five list to the end of the blog to kickstart your research. Strong opinions abound of love, love, love and hate, hate, hate. I won’t settle any scores here. Instead, I’d like to suggest features and resources that your DAW should include and tap into. The best DAW for you will achieve these two ends: ease of use and delivering what (most) clients want and need.
Finding the best DAW for you: 6 features to keep in mind
There are six things you should look for when shopping for a DAW:
Easy connection to peripherals - First things first. Get your voice from your mic through the pre-amp and converter and into your DAW’s recording track. The user interface should make that easy. A couple of clicks, a couple of selections, and the DAW should enable you to record. (Don’t forget to arm the track.)
Punch and roll functionality - Whether it comes in the form of a user-interface device (say, a transport window) or through a few keystroke shortcuts, you need this feature. In short, P&R entails stopping the recording after you’ve made a mistake, returning the cursor to a set point just before that mistake (punching), and continuing to record from that point (rolling). This assembles all good takes that will constitute the first pass of your recording. There’s clean-up involved, but that’s the general idea. To guide you through this procedure, you’ll find explainer videos on-line for most of the applications I list below. Strong recommendation: Learn the skill of punch and roll recording. Do not attempt to do audiobook (self-)recording without learning it. It’s easy enough to master and will allow you to deliver audio to clients without driving yourself nuts.
Processor integration - Used correctly, processors improve the acoustic quality of your audio—or simply make your tracks conform to spec. Some DAW packages include the basics: EQ, compressor, limiter, gate/expander, de-esser, normalizer, etc. Quality and ease-of-use vary. These can be used as you record (destructively) or after the fact (nondestructively). There are also packages (IZotope makes a popular line of products) that can operate independently of the DAW as well as within the track. Word of warning: Processors can be tricky. (That’s what I meant about “used correctly.”) If you’re not an engineer or don’t play one on TV, see 5. below.
Recording templates - As you expand your client base, you’ll discover that companies want files to be delivered according to particular specifications—for output and RMS levels, for use of EQ and expansion, etc. Recording templates make this simple. You can record into a template for “raw audio,” then bring up those (unprocessed) files in other templates. If X processing specs are required, use X template. If Y specs, use Y template. The software should allow you or a helper (once again, see 5) to set these up quickly, save them, and recall them in a click or two without making adjustments to the processor settings.
Professional set up and support - If you love tech, understand audio engineering, and are handy, curious, and patient, by all means set up the DAW yourself. You’ll get a sense of accomplishment and gain knowledge—and oh, you’ll glow with self-righteousness! But for most of We Mere Mortals, here’s a pro tip: Get help. No shame in that. It saves time and lets you get to the Real Work of narration. There are audio engineers out there who’ll set you up, often via remote link. Find someone who’ll be available for you when something goes wrong. (In audio recording, as in motorcycle riding, accidents and mishaps are questions of when not if.) You’ll probably learn about such people in 6.
Communities of users - Every community of narrators is generally helpful in sharing knowledge and technical contacts. Try FB groups such as Professional Audiobook Narrators, Advanced Audiobook Production, Audio Bookfly, and Author/Narrator Cafe. If you don’t know how to do something, you’re likely to find others who can. Also, every DAW below has its own community of users. You’ll want to check those out as well. Word of Warning: These tend to be dominated by discussions that are more technical than you may want or need.
That’s it! With these six features in mind, you’re well-prepared to find the best DAW for you. As in my blog on mics for audiobooks, the takeaway here is similar: Try different ones, ask around, and see which one works for you.
List: five top DAWs for audiobooks
Want to learn more about How to Record Audiobooks?
More blogs you may enjoy:
8 Tips to Keep in Mind When Directing Actors For Audiobook Narration
Is Audiobook Casting Noisy 4? Talent Marketplace Apps, Now and Soon
So . . . Is there a best microphone for recording audiobooks?
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