An independent voice-over and audio production studio. You work with the people who record and edit your project — no account-manager telephone game.
A lot of projects fall into an awkward gap. They're too small and too fast-moving to justify a full post-production house with its day rates and its booking calendar, but they're too important to hand to whoever has a USB mic and a spare bedroom. That gap — professional voice and clean audio, without the overhead and the wait — is exactly what Yuntaku was built to fill.
In practice that means a two-line radio tag and a forty-module e-learning course get the same treatment: a directed read, a disciplined edit, and a file that's genuinely ready to place. We don't pad the process to justify a bigger invoice, and we don't cut the parts that actually make audio sound finished.
The loop is deliberately short. You send a script and a note on tone. We come back with two or three directed reads of a sample section so you can hear the direction before we commit the whole thing. You pick, we record the full script, then it goes through edit, noise cleanup, de-essing, leveling and mastering to your target loudness. You get delivery in the formats you asked for, plus one round of revisions built into every quote. Most jobs turn around in 48 to 72 hours; rush is possible when the calendar allows.
The difference between a competent read and a memorable one is direction, and direction is included in everything we do — it is not an upsell. We treat the script the way an actor treats a scene: where's the emphasis, where does the energy lift, where does it need to slow down and let a point land. A flat, technically-clean read is easy and forgettable. We're after the version that makes the copy feel true.
Post-production is where amateur audio gives itself away — room hum, plosive pops, uneven levels, sibilance that stabs on cheap speakers. Every delivery goes through the same chain: edit for pacing and breaths, remove noise, tame the harsh frequencies, level the dynamics, and master to the loudness target for where it'll actually play (broadcast, web, in-app). The goal is a file your editor can drop onto the timeline without a single corrective step.
A treated booth kills the room reflections that make home recordings sound like home recordings. A large-diaphragm condenser through a clean preamp captures the voice honestly. A calibrated monitoring and mastering setup means what we hear is what you get, and the loudness targets are hit on purpose, not by luck. We mention the gear only because it's the practical difference between "sounds fine on my laptop" and "sounds finished everywhere."
Standard turnaround is 48–72 hours from an approved script. Short spots are often same-day or next-day. If you have a hard air date, tell us up front and we'll confirm whether rush is possible before you commit.
Whatever your platform needs — WAV or MP3, any common sample rate, mono or stereo, mastered to the loudness target you specify (for example −16 LUFS for web or −24 LUFS for broadcast). If you're not sure what you need, tell us where it'll play and we'll pick sensible defaults.
Yes. Every quote includes one round of revisions on the delivered read. If a change is because a script line changed after recording, that's a small re-record rather than a revision, and we'll be clear about that up front.
We quote with usage in mind — broadcast, paid social, internal training — because usage affects the licence. Delivered audio is licensed for the usage stated in your quote; if the campaign later expands to bigger placements, we'll sort out an extended licence rather than leave it ambiguous.
Often, yes. Send a reference of the voice or the previous recordings and we'll tell you honestly whether we can match it closely or whether you're better served picking a consistent new voice to own going forward.
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