Audiobook samples are judged on three things: noise floor, consistency and the absence of mouth noise. Production quality matters less than you would expect; a clean phone recording in a quiet room passes more often than a noisy studio take.

The technical bar

Publishers generally specify 44.1 or 48 kHz, 16 or 24 bit, mono, with a noise floor below -60 dB and peaks around -3 dB. Those numbers are achievable with a phone in a wardrobe.

Parameter	Requirement
Sample rate	44.1 or 48 kHz
Bit depth	16 or 24 bit
Channels	Mono
Noise floor	Below -60 dB
Peaks	-3 dB maximum

Consistency across the sample

Record the whole sample in one session without moving the microphone. If the tone changes halfway through, the publisher hears it as an inability to maintain a performance, which is the core skill of audiobook work.

• One session, one position
• Same gain throughout
• No editing of breaths unless asked

Mouth noise

Clicks and lip smacks are the most common rejection reason. Stay hydrated, avoid dairy and caffeine before recording, and speak slightly across the microphone rather than directly into it.

• Water at room temperature
• No dairy or coffee beforehand
• Speak across the capsule, not into it

Pronunciation and pacing

Read slower than conversational speed, around 150 words per minute, and mark difficult names in the script before recording. A sample that stumbles on a proper noun tells the publisher the whole book will need retakes.

• Mark names and technical terms first
• 150 words per minute
• Pause at paragraph breaks

Delivering the file

Export WAV, not MP3, and name the file with the title, chapter and your name. The WO Mic client turns the phone into a standard Windows recording device, which keeps the export settings identical to whatever you use for the rest of the book.

Frequently Asked Questions

Is a phone acceptable for audiobook submissions?

For a sample, often yes if the noise floor is low. For a full book, publishers usually expect a treated space.

How long should a sample be?

Two to five minutes. Follow the brief; longer samples are rarely listened to in full.

Should I process the audio?

Minimal processing. Publishers want to hear the raw performance; heavy compression hides problems they need to assess.

What about accents?

Accents are welcome. Consistency and intelligibility are what matter.