Preset

Presets can store common metadata, intros/outros, file format and algorithms settings, external services, etc. for a group of recordings (e.g. a podcast series). You can select your preset when creating a new Production or when using the Auphonic API.

Click here to create a new preset in our web system: https://auphonic.com/engine/preset/
Click here to create a new preset for Multitrack Productions: https://auphonic.com/engine/multitrack/preset/

Intro and Outro

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Automatically add an Intro/Outro to your production.
IMPORTANT: this feature is audio-only and does not work with video productions!

As intros/outros are intended to be used multiple times, they are only Loudness Normalized to match the loudness of your production without further Auphonic processing (no leveling, filtering, noise reduction, etc.). Therefore you should edit/process your intro/outro before.
For a detailed description of our intro/outro feature, please see the blog post Automatic Intros and Outros in Auphonic.

Select Intro File

Select your intro audio from a local file (in productions only), HTTP or an External Service (Dropbox, SFTP, S3, Google Drive, SoundCloud, etc. - please register the service first).
NOTE:
We store audio files only for a limited number of days, therefore you have to use intro/outro files in presets from HTTP or an External Service. In productions, you can upload intro/outro files directly.

Intro Overlap

Set overlap time in seconds of intro end with main audio file start, for details see Overlapping Intros/Outros.
IMPORTANT: ducking must be added manually to intro audio file!

Select Outro File

Select your outro audio from a local file, HTTP or an External Service
(Dropbox, SFTP, S3, Google Drive, SoundCloud, etc. - please register the service first).

Outro Overlap

Set overlap time in seconds of outro start with main audio file end, for details see Overlapping Intros/Outros.
IMPORTANT: ducking must be added manually to outro audio file!

Basic Metadata

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Basic metadata (title, cover image, artist, album, track) for your production.
Metadata tags and cover images from input files will be imported automatically in empty fields!

We correctly map metadata to multiple Output Files.
For details see the following blog posts: ID3 Tags Metadata (used in MP3 output files), Vorbis Comment Metadata (used in FLAC, Opus and Ogg Vorbis output files) and MPEG-4 iTunes-style Metadata (used in AAC, M4A/M4B/MP4 and ALAC output files).

Cover Image

Add a cover image or leave empty to import the cover image from your input file.
If a Video Output File or YouTube export is selected, Auphonic generates a video with cover/chapter image(s) automatically!

Extended Metadata

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Extended metadata (subtitle, summary, genre, etc.) for your production.
Metadata tags from input files will be imported automatically in empty fields!

We correctly map metadata to multiple Output Files.
For details see the following blog posts: ID3 Tags Metadata (used in MP3 output files), Vorbis Comment Metadata (used in FLAC, Opus and Ogg Vorbis output files) and MPEG-4 iTunes-style Metadata (used in AAC, M4A/M4B/MP4 and ALAC output files).

Subtitle

A subtitle for your production, must not be longer than 255 characters!

Summary / Description

Here you can write an extended summary or description of your content.

Append Chapter Marks to Summary

Append possible Chapter Marks with time codes and URLs to your Summary.
This might be useful for audio players which don’t support chapters!

Create a Creative Commons License

Link to create your license at creativecommons.org.
Copy the license and its URL into the metadata fields License (Copyright) and License URL!

Tags, Keywords

Tags must be separated by comma signs!

Output Files

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Add one or multiple output file formats (MP3, MP4, Ogg, WAV, Video, …) with bitrate, channel and filename settings to a production (see Audio File Formats and Bitrates for Podcasts). All Metadata Fields and Chapter Markers will be mapped to multiple output files. See below for a list of other, specialized output formats.
With Auphonic you can process video input files as well, or automatically generate a video output file from input audio using Cover and Chapter images - for details see Video Input and Output.

Supported audio output file formats:

Other output file formats:

Output File Basename

Set basename (without extension) for all output files or leave it empty to take the original basename of your input file.

Output File Format

For an overview of audio formats see Audio File Formats and Bitrates for Podcasts.

Audio Bitrate (all channels)

Set combined bitrate of all channels of your audio output file.
For details see Audio File Formats and Bitrates for Podcasts.

Filename Suffix (optional)

Suffix for filename generation of the current output file, leave empty for automatic suffix!

Filename Ending, Extension

Filename extension of the current output file.

Mono Mixdown

Click here to force a mono mixdown of the current output file.

Split on Chapters

If you have Chapter Marks, this option will split your audio in one file per chapter.
All filenames will be appended with the chapter number and packed into one ZIP output file.

Speech Recognition

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Auphonic built a layer on top of multiple engines to offer affordable speech recognition in over 80 languages:
1. First you have to connect to an external Speech Recognition Service at the External Services page.
2. Then you can select the speech recognition engine when creating a new Production or Preset.

We send small audio segments to the speech recognition engine and then combine the results, add punctuation and structuring to produce 3 Output Result Files: an HTML transcript, a WebVTT/SRT subtitle file and a JSON/XML speech data file.
If you use a Multitrack Production, we can automatically assign speaker names to all transcribed audio segments.

For more details about our speech recognition system, the available engines, the produced output files and for some complete examples in English and German, please see Speech Recognition.

Select Service

Select an external service for Automatic Speech Recognition. Please register a service first!

Select Language

Select a language/variant for speech recognition.

Google Speech API

Word and Phrase Hints

Add Word and Phrase Hints to improve speech recognition accuracy for specific keywords and phrases.
Metadata (chapters, tags, title, artist, album) will be added automatically!

Wit.ai Speech Recognition

Wit.ai Language

The language must be set directly in your Wit.ai App.
IMPORTANT: If you need multiple languages, you have to add an additional Wit.ai service for each language!

Amazon Transcribe

Custom Vocabulary

Add Custom Vocabularies to improve speech recognition accuracy for specific keywords and phrases.
Metadata (chapters, tags, title, artist, album) will be added automatically!

Speechmatics

Speechmatics Language

Select a language/variant for speech recognition with Speechmatics.

Publishing / External Services

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Copy one or multiple result files to any External Service (Dropbox, YouTube, (S)FTP, SoundCloud, GDrive, LibSyn, Archive.org, S3, etc.):
1. First you have to connect to an external service at the External Services page.
2. Then you can select the service when creating a new Production or Preset.

When exporting to Podcasting/Audio/Video Services (SoundCloud, YouTube, Libsyn, Spreaker, Blubrry, Podlove, etc.), all metadata will be exported as well.
For a complete list and details about all supported services, see Auphonic External Services.

Select Service

Select an external service for outgoing file transfers. Please register your service first!

Output Files to copy

Select which Output File should be copied to the current external service.

YouTube Service

YouTube Privacy Settings

Set your video to Public (everyone can see it), Private (only your account can see it) or
Unlisted (everyone who knows the URL can see it, not indexed by YouTube).

YouTube Category

Select a YouTube category.

Facebook Service

Facebook Distribution Settings

Post to News Feed: The exported video is posted directly to your news feed / timeline.
Exclude from News Feed: The exported video is visible in the videos tab of your Facebook Page/User (see for example Auphonic’s video tab), but it is not posted to your news feed (you can do that later if you want).
Secret: Only you can see the exported video, it is not shown in the Facebook video tab and it is not posted to your news feed (you can do that later if you want).

For more details and examples please see the Facebook Export blog post.

Facebook Embeddable

Choose if the exported video should be embeddable in third-party websites.

SoundCloud Service

SoundCloud Sharing

Set your exported audio to Public or Private (not visible by other users).

SoundCloud Downloadable

Select if users should be able to download your audio on SoundCloud, otherwise only streaming is allowed.

SoundCloud Type

Select a SoundCloud type/category.

SoundCloud Audio File Export

Select an audio output file which should be exported to SoundCloud.
If set to Automatic, Auphonic will automatically choose a file.

Spreaker Service

Spreaker Collection / Show

Select your Spreaker Collection where this track should be published.
Each Collection has a separate RSS feed and can be created in your Spreaker Account.

Spreaker Sharing

Set your exported audio to Public or Private (not visible by other users).

Spreaker Downloadable

If disabled, listeners won’t be able to download this track and it won’t be included in your RSS feed.

Audio Algorithms

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Enable/disable audio algorithms. For more details see Auphonic Post Production Algorithms!
Please don’t change our default values if you don’t know what these parameters mean - they should be a good starting point for most content!
For more control, please use our Advanced Audio Algorithm Parameters.

Adaptive Leveler

Corrects level differences within one file between speakers, music and speech, etc. to achieve a balanced overall loudness.
For more see Adaptive Leveler Details and Advanced Leveler Parameters.

Global Loudness Normalization with True Peak Limiter

Adjusts the global, overall loudness to the specified Loudness Target (using a True Peak Limiter), so that all processed files have a similar average loudness.
For more see Global Loudness Normalization with True Peak Limiter Detail and Advanced Loudness Normalization Parameters.

Loudness Target

Set a loudness target in LUFS for Loudness Normalization, higher values result in louder audio outputs.
The maximum true peak level will set automatically to -1dBTP for loudness targets >= -23 LUFS (EBU R128) and to -2dBTP for loudness targets <= -24 LUFS (ATSC A/85).
For details and examples see Global Loudness Normalization and True Peak Limiter.

High-Pass Filtering

Classifies the lowest wanted signal (male/female speech, base in music, etc.) and adaptively filters
unnecessary/disturbing low frequencies in each audio segment.

Automatic Noise and Hum Reduction

Classifies regions with different backgrounds and automatically removes noise and hum in each region.
For more see Noise Reduction, Hum Reduction Details and Advanced Noise&Hum Reduction Parameters.

Noise Reduction Amount

Maximum noise and hum reduction amount in dB, higher values remove more noise. In Auto mode, a classifier decides if and how much noise reduction is necessary (to avoid artifacts).
Set to a custom (non-Auto) value if you prefer more noise reduction or want to bypass our classifier, but be aware, this might result in artifacts or destroy music segments!

Advanced Audio Algorithms

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Enable/disable advanced parameters for our Audio Algorithms.

Warning

Please don’t use our advanced algorithm parameters if you don’t understand them!
Use our default settings instead, they are a good starting point for most content.

Note

Advanced audio algorithms are only available for paying users! Please add some credits if you want to use them.

Leveler Parameters

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The Adaptive Leveler normalizes all speakers to a similar loudness so that a consumer in a car or subway doesn’t feel the need to reach for the volume control. However, in other environments (living room, cinema, etc.) or in dynamic recordings, you might want more level differences (Dynamic Range, Loudness Range / LRA) between speakers and within music segments.
Our parameters let users control the Leveler Strength to adjust mid-term level differences, similar to a sound engineer using the faders of an audio mixer, Compressor Settings for short-term dynamics control, and enables individual processing of music and speech segments.

Leveler Mode

The Leveler can be used in three different Modes, which show different parameters to control the leveling algorithm:

  • Default Leveler:
    Shows parameters for Leveler Strength (to adjust mid-term level differences) and Compressor (for short-term dynamics).

  • Separate MusicSpeech Parameters:
    In addition to the Default Leveler parameters, independent settings for music and speech segments (Music Leveler Strength, Music Compressor) can be selected. These settings allow you to use, for example, more leveling in speech segmets while keeping music and FX elements less processed.
    This mode also shows the parameters MusicSpeech Classifier and Music Gain.

  • Broadcast Mode:
    The Broadcast Mode uses different parameters, which are often used by broadcasters and in regulations, to control the strength of our Leveler: Maximum Loudness Range (MaxLRA), Maximum Short-term Loudness (MaxS), and Maximum Momentary Loudness (MaxM).
    Volume changes of our leveling algorithms will be adjusted to meet the given MaxLRA, MaxS, or MaxM target values (if not possible, you will receive a warning message via email and on the production page).
    The parameters Compressor and Music Gain are also available in this mode.

Leveler Strength

The Leveler Strength controls how much leveling is applied: 100% means full leveling, 0% means no leveling at all. Changing the Leveler Strength increases/decreases the dynamic range of the output file.

For example, if you want to increase the dynamic range of your output by 3dB compared to 100% leveling, just set the Leveler Strength parameter to 70% (~3dB).
We also like to call this concept Loudness Comfort Zone: above a maximum and below a minimum level (the comfort zone), no leveling is applied; the higher the Leveler Strength, the smaller the comfort zone (more leveling necessary). So if your input file already has a small dynamic range (is within the comfort zone), our leveler will be just bypassed.

Example Use Case:
Lower Leveler Strength values should be used if you want to keep more loudness differences in dynamic narration or dynamic music recordings (live concert/classical).

Two special parameter values (> 100%) are also available:

  • 110% (Fast Leveler):
    Here the Leveler reacts much faster. It is built for recordings with fast and extreme loudness differences, for example, to amplify very quiet questions from the audience in a lecture recording, to balance fast-changing soft and loud voices within one audio track, etc.

  • 120% (Amplify Everything):
    Amplifies as much as possible. Similar to Fast Leveler, but more extreme and also amplifies non-speech background sounds like noise.

Another way to control the strength of the Leveler (in Broadcast Mode) is to use targets for Maximum Loudness Range, Maximum Short-term Loudness or Maximum Momentary Loudness.

Compressor

Select a preset value for micro-dynamics compression:
A compressor reduces the volume of short and loud spikes like the pronunciation of “p” and “t” or laughter (short-term dynamics) and also shapes the sound of your voice (making the sound more or less “processed” or “punchy”).

Possible values are:

  • Auto: The compressor setting depends on the selected Leveler Strength. Medium compression is used for strength values <= 100%, Hard compression for strength values > 100% (Fast Leveler and Amplify Everything).

  • Soft: Uses less compression.

  • Medium: Our default setting.

  • Hard: More compression, especially tries to compress short and extreme level overshoots. Use this preset if you want your voice to sound very processed, our if you have extreme and fast-changing level differences.

  • Off: No short-term dynamics compression is used at all, only mid-term leveling. Switch off the compressor if you just want to adjust the loudness range without any additional micro-dynamics compression.

Leveler Strength for Music Segments

Select separate Leveler Strength values for music and speech segments.
The default setting is Same as Speech (same strength for music and speech segments).

Compressor for Music Segments

Select separate Compressor Presets for music and speech segments.
The default setting is Same as Speech (same compressor preset for music and speech segments).

MusicSpeech Classifier Setting

Use our speech/music classifier to level music and speech segments separately (default setting), or override the classifier decision and treat the whole audio file as speech or music.

Music Gain

Add a gain to music segments, to make music louder or softer compared to the speech parts.
Use the default setting (0 dB) to give music and speech parts a similar average loudness.

Maximum Loudness Range (LRA)

The loudness range (LRA) indicates the variation of loudness throughout a program and is measured in LU (loudness units) - for more details see Loudness Measurement and Normalization or EBU Tech 3342.
The volume changes of our Leveler will be restricted so that the LRA of the output file is below the selected value (if possible).
High LRA values will result in very dynamic output files, whereas low LRA values will result in compressed output audio. If the LRA value of your input file is already below the maximum loudness range value, no leveling at all will be applied.

Loudness Range values are most reliable for pure speech programs: a typical LRA value for news programs is 3 LU; for talks and discussions, an LRA value of 5 LU is common. LRA values for features, radio dramas, movies, or music strongly depend on the individual character and might be in the range of 5 to 25 LU - for more information, please see Where LRA falls short.
Netflix, for instance, recommends an LRA of 4 to 18 LU for the overall program and 7 LU or less for dialog.

Example Use Case:
The broadcast parameters can be used to generate automatic mixdowns with different LRA values for different target environments (very compressed environments like mobile devices or Alexa, or very dynamic ones like home cinema, etc.).

Maximum Short-term Loudness (MaxS)

Set a Maximum Short-term Loudness target (3s measurement window, see EBU Tech 3341, Section 2.2) relative to your Global Loudness Normalization Target.
Our Adaptive Leveler will ensure that the MaxS loudness value of the output file, which are loudness values measured with an integration time of 3s, will be below this target (if possible).
For example, if the MaxS value is set to +5 LU relative and the Loudness Target to -23 LUFS, then the absolute MaxS value of your output file will be restricted to -18 LUFS.

The Max Short-term Loudness is used in certain regulations for short-form content and advertisements.
See for example EBU R128 S1: Loudness Parameters for Short-form Content (advertisements, promos, etc.), which recommends a Max Short-term Loudness of +5 LU relative.

Maximum Momentary Loudness (MaxM)

Similar to the MaxS target, it’s also possible to use a Maximum Momentary Loudness target (0.4s measurement window, see EBU Tech 3341, Section 2.2) relative to your Global Loudness Normalization Target.
Our Adaptive Leveler will ensure that the MaxM loudness value of the output file, which are loudness values measured with an integration time of 0.4s, will be below this target (if possible).

The Max Momentary Loudness is used in certain regulations by broadcasters. For example, CBC and Radio Canada require that the Momentary Loudness must not exceed +10 LU above the target loudness.

Loudness Normalization and True Peak Limiter Parameters

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Advanced parameters for our Global Loudness Normalization and True Peak Limiter algorithms.

Loudness Target

Set a loudness target in LUFS for Loudness Normalization, higher values result in louder audio outputs.

Maximum Peak Level

Maximum True Peak Level of the processed output file. Use Auto for a reasonable value according to the selected loudness target: -1dBTP for EBU R128 and higher, -2dBTP for ATSC A/85 and lower.

Dual Mono

If a mono production is played back on a stereo system (dual mono), it should be attenuated by 3 dB (= 3 LU) to sound as loud as the equivalent stereo production. The EBU Guidelines for Reproduction require that this -3 dB offset should be applied in the playback device - however, most devices don’t do so (but some do).

Please select the dual mono flag, to automatically add a -3 LU offset for mono productions.
This means, if you select a loudness target of -16 LUFS and the dual mono flag, your stereo productions will be normalized to -16 LUFS, but mono productions to -19 LUFS.

For details, please see Loudness Normalization of Mono Productions.

Normalization Method / Anchor-based Normalization

Perform loudness normalization according to the whole file (Program Loudness) or according to dialog / speech parts only (Dialog Loudness, anchor-based loudness normalization).
For details, please see Dialog Loudness Normalization for Cinematic Content.

Noise and Hum Reduction Parameters

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In addition to the parameter (Noise) Reduction Amount, we offer two more advanced parameters to control the combination of our Noise and Hum Reduction algorithms.
Behavior of our Noise and Hum Reduction parameter combinations:

Noise Reduction Amount

Hum Base Frequency

Hum Reduction Amount

Auto

Auto

Auto

Automatic hum and noise reduction

Auto or > 0

Disabled

No hum reduction, only denoise

Disabled

50Hz

Auto or > 0

Force 50Hz hum reduction, no denoise

Disabled

Auto

Auto or > 0

Automatic dehum, no denoise

12dB

60Hz

Auto or > 0

Always do dehum (60Hz) and denoise (12dB)

Noise Reduction Amount

Maximum noise and hum reduction amount in dB, higher values remove more noise. In Auto mode, a classifier decides if and how much noise reduction is necessary (to avoid artifacts).
Set to a custom (non-Auto) value if you prefer more noise reduction or want to bypass our classifier, but be aware, this might result in artifacts or destroy music segments!

Hum Reduction Base Frequency

Set the hum base frequency to 50Hz or 60Hz (if you know it), or use Auto to automatically detect the hum base frequency in each speech region.

Hum Reduction Amount

Maximum hum reduction in dB, higher values remove more hum.
In Auto mode, a classifier decides how much hum reduction is necessary for each speech region.
Set it to a custom value (> 0), if you prefer more hum reduction or want to bypass our classifier.
Use Disable Dehum to disable hum reduction and use our noise reduction algorithms only.