Design speech, music, and sound

Audio is not one task. Speech, dialogue, music, environmental sound, and isolated effects need different briefs and different review criteria.

Pick the mode before writing

For speech, write the script and direct voice, pace, energy, pronunciation, and pauses. For dialogue, make speaker changes unmistakable and listen for consistency between turns. For music, define mood, instrumentation, energy curve, and role in the edit. For a sound scene, describe the space and the relative prominence of its elements. For an effect, name the event, material, intensity, and ending.

The selected model determines which modes and voices are available. Preview voices when the interface offers previews, and test them with language representative of the brand.

Separate content from direction

Make it clear which text should be spoken and which phrases are performance notes. Read the script aloud before generation. Awkward writing rarely becomes natural merely because the voice sounds polished.

Review in context

Listen once without looking at the screen. Check intelligibility, noise, clipping, pacing, and emotional fit. Then place the sound beside the intended visual or edit. A strong standalone music cue can still compete with dialogue; a clear voice can still be too slow for the shot.

Use headphones and ordinary phone speakers. The latter often exposes speech or mix problems that disappear on studio equipment.

Keep generated dialogue as its own audio asset when it will drive lip sync. Keep clip audio in mind when planning a later video assembly.