Brand film and campaign
A cut is locked and the voice-over has to sit inside it to the second. Writing to a running time rather than trimming afterwards is the difference between a read that lands on the edit and one the editor has to fight.
Products · Audio
It writes to the running time you set, casts the voice direction you pick and records it. What comes back is an MP3 you can publish and the text it was read from - both editable, both yours.
One voice, reading your words.
A brand film voice-over, a lookbook walkthrough, a product story for the site.
Which one
Narration reads words that already exist. It will not go and research your subject, and it will not turn a topic into a conversation - the studio next door does both. Start from what you are holding.
You already have the words.
NarrationThis page
A script, a page of body copy, a brief you have signed off. It is read, not rewritten, in one voice at the pace and delivery you set.
One voice · about 2 min to generate
You have a subject.
Podcast
A topic and nothing else. It researches before it writes, turns the read into a two-part script, then casts and records both parts.
Host and expert · about 3 min to generate
PodcastCasting
Every value below is a pill the studio renders, read off the same spec the studio itself reads. Nothing here is a summary of the product; it is the product’s own control panel, written out.
01
Voice
One voice carries the whole read. The pills are direction rather than a provider's voice name, because nobody can audition a name.
02
Delivery
It steers the writing as well as the read, so an energetic brief is written short.
03
Length
Set before a word is written, so the script is written to the running time rather than cut to fit it afterwards.
What lands
Who is holding a script
All of these begin with copy somebody has already signed off. What is left is not deciding what to say; it is getting it read well, to length, without booking a room.
A cut is locked and the voice-over has to sit inside it to the second. Writing to a running time rather than trimming afterwards is the difference between a read that lands on the edit and one the editor has to fight.
A page that reads itself aloud reaches people who will not stop to read, and it does it in the same words the page was signed off in. The catalogue changes weekly, so the read has to be repeatable rather than a session that has to be rebooked.
Training material is mostly correction: a policy moves, a step changes, and the module has to say the new thing. Re-recording one paragraph is trivial when the voice is a setting and expensive when it is a person's diary.
An audio version of what you published is the same document serving a reader who cannot use the first one. Because the script comes back beside the file, the two can be kept in step rather than drifting apart after the first edit.
Get started
One voice, the delivery you set, at the running time you set - you keep the MP3 and the text.
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