Audiobook listeners forgive the odd stumble; they will not forgive fatiguing sound. Clean edits, even tone from
chapter to chapter, and masters that sit comfortably on headphones and smart speakers are what make a book easy to
live with. This guide walks through a simple, repeatable approach to audiobook editing and mastering. It is DAW
agnostic, works whether you record at home or in a studio, and aligns with common distribution checks such as ACX.

Editing versus mastering

• Editing is the surgical part. Remove mistakes, tighten long pauses, fix clicks or mouth noise,
  smooth crossfades, and keep performances consistent.
• Mastering is the finishing part. Set overall loudness, manage peaks, reduce noise where
  appropriate, and make chapters match so the listener hears one coherent book.

Think of editing as getting the story right, and mastering as getting the sound right.

Targets most platforms care about

These ranges keep dialogue comfortable across devices. ACX uses very similar figures.

• RMS average between −23 dBFS and −18 dBFS
• True peak at or below −3 dBFS
• Noise floor at or below −60 dBFS in pauses
• WAV deliverables at 44.1 kHz; MP3 exports at 192 kbps CBR or higher when required

A clean editing workflow

1. Assemble and label

   One chapter per file. Name consistently (e.g., BookTitle_Chapter_01.wav). Keep a short tone or room sample from each session.

2. Dialogue clean-up, light first

   • Remove obvious errors and long gaps
   • Fix pops and mouth clicks only where they distract
   • De-ess gently (wideband or split band); keep consonants intelligible
   • Repair clipped words with clip-restore where possible

3. Noise decisions

   If noise is low and stable, leave it. If noise distracts, use broadband reduction in moderation, then verify that
   the voice still sounds natural. Spectral repair is often safer for isolated issues than heavy noise reduction.

4. Crossfades and room tone

   Use short equal-power fades to hide edits. Underbed silence with room tone so pauses feel natural, not dead.

5. Consistency pass

   Keep mic position, distance, and gain notes. If sessions vary, match tone and level to a chosen reference chapter.

A simple mastering approach

You can master dialogue with a short chain. The exact tools do not matter; the order and intent do.

1. High-pass filter

   Roll off sub-rumble that is not part of the voice (e.g., 60–80 Hz for a typical male voice, a little higher for a
   typical female voice), only if needed.

2. Broad EQ trims

   Gentle, wide moves only. Tame boxiness around 200–400 Hz if present; soften harshness around 3–6 kHz if required.
   Avoid big notches that change the character of the reader.

3. Light compression

   Slow attack, medium release, low ratio. Aim to catch peaks while keeping the natural shape of words. If compression
   pumps, back it off.

4. True-peak limiting

   Set the limiter so true peak stays under −3 dBFS. Leave a little headroom; clipped sibilants are tiring.

5. Loudness set

   Adjust makeup gain so chapter RMS sits between −23 and −18 dBFS. Check several spots, not only the loudest paragraph.

6. Noise floor check

   Measure a pause. If floor is above −60 dBFS and audible, review the chain. Often a little reduction earlier is
   safer than a heavy gate later.

7. Match chapters

   Use one chapter as a reference. Compare EQ tone, dialog density, and loudness. Tweak by ear first, then confirm with
   meters.

Common mistakes and simple fixes

• Hard-gating breaths — Gated silence draws attention to itself. Prefer gentle expansion, or reduce breath level a few dB rather than removing every one.
• Over-de-essing — Dialogue loses clarity quickly. Work in context, check on small speakers, and listen for lisping.
• Limiter set by music habits — Music settings can create inter-sample peaks. Use a true-peak limiter and oversampling if available.
• Fixing noise last — Heavy reduction at the end of the chain exaggerates artifacts. Tackle noise early, and in small steps.
• Inconsistent monitoring — Move between headphones and small speakers. Keep a moderate monitoring level so your ear does not drift.

File preparation that saves time

• Record at 24-bit, 44.1 kHz WAV
• Keep one mic, one position, and document settings
• Capture room tone at the start of each session
• Export per-chapter WAVs; add the required opening and retail sample files when the platform asks for them
• Keep a small QC sheet for notes, retakes, timing marks, and pronunciation decisions

A quick QC checklist

• Peaks below −3 dBFS across the chapter
• RMS between −23 and −18 dBFS in several spots
• Noise floor near or below −60 dBFS in pauses
• No loud clicks, thumps, or digital glitches
• Consistent tone and level compared to the reference chapter
• File name, sample rate, and bit depth match the brief

Helpful tools and ideas

• Any DAW with region editing, clip gain, and loudness metering works: Nuendo, Reaper, Pro Tools, Audition, Logic, etc.
• Loudness meters that show integrated and short-term RMS or LUFS are useful for quick checks
• Spectral repair is great for mouth clicks, light plosives, and chair creaks
• A calm recording space is still the biggest win—blankets and placement beat plug-ins when noise is the real problem

Frequently asked questions

Should you remove every breath?

No. Reduce obvious gasps; leave natural breathing so the read feels human.

Do you normalise to a fixed LUFS value?

Audiobook platforms care about a range, not one number. Work inside the range, then confirm with the ear.

How much noise reduction is safe?

As little as you can get away with. If artifacts appear, step back and look for mechanical fixes, mic placement, or room treatment.

What bit depth should you export?

If not specified, 24-bit WAV gives headroom for any future corrections; 16-bit is sometimes requested by specific distributors.

Final thoughts

A steady workflow makes audiobook post feel calm. Fix what is distracting, match chapters to a clear reference, and
measure only to confirm what you already hear. Keep simple notes as you go—your future self will thank you during the
final QC.