Frequently asked

questions

Audio post-production is all the sound work done after the picture has been shot or edited. Think of dialogue editing, sound design, Foley, ADR, music and the final mix. The goal is sound that carries the story and sounds good on every platform. For the film Bad Slippers, we handled the full audio post-production, from sound design and ADR to a Dolby Atmos mix. Read more about our audio post-production.

An audio post-production house is a studio that finishes all the sound for film, commercials, series and podcasts under one roof. It brings together sound designers, mix engineers, voice recording rooms and often music and rights management as well. That gives you one point of contact and one consistent sound. TFA is such an audio post-production house, with three control rooms, two live rooms and a Dolby Atmos studio in Amsterdam. Read what an audio post-production house actually does.

Audio production is creating new sound: recording voices, composing music or recording a podcast. Audio post-production is editing and finishing sound for existing picture or material: cleaning up, adding sound design, syncing and mixing. In practice, the two overlap. For a TV commercial, we record the voice-over (production) and mix it with music and effects under the picture (post-production). See our services.

Sound design is creating and assembling sounds that enhance a picture, brand or story. These can be realistic sounds, such as footsteps or traffic, but also abstract sounds that evoke an atmosphere or emotion. A good sound designer chooses what you hear and what you do not. For the film Bad Slippers, we handled the complete sound design. Read more about audio post-production and sound design.

In a commercial, you often have just 15 to 30 seconds. Sound design makes every second count: a recognizable product sound, a transition that holds attention or an effect that lands the joke. It has to work alongside the voice-over and the music without clashing. For Don't Be a Douchebag, we handled sound design, mixing and mastering in one process. Read the Don't Be a Douchebag case.

Music production is about melody, harmony and rhythm: a composition you experience as music. Sound design covers all other sounds: effects, ambiences and sounds that make a picture believable or exciting. The line sometimes blurs, for example with a sonic logo or a musical soundscape. At TFA, sound designers and composers work together, so effects and music do not compete with each other. Read more about music production.

Sound post-production is cleaning up and finishing the audio captured on set or during a recording. We remove noise and distracting sounds, make dialogue intelligible, add effects and music and mix everything into one whole. That way your video sounds equally clear on TV, in the cinema and on a phone. It is another term for audio post-production. Read more about audio post-production.

Dialogue editing is cleaning up and matching all spoken dialogue in a film, series or commercial. The editor selects the best takes, removes clicks and background noise and makes sure the sound does not jump between shots. If a recording cannot be saved, ADR follows. You do not notice good dialogue editing: you simply follow the story. Read more about audio post-production.

ADR stands for Automated Dialogue Replacement. An actor re-records lines in the studio, precisely in sync with the picture. This is necessary when the production sound is unusable (because of wind, traffic or a faulty microphone) or when a line needs to change afterward. The new audio has to blend seamlessly with the rest, in emotion and in acoustics. For the film Bad Slippers, we recorded ADR in our studios in Amsterdam. Read about Bad Slippers.

Foley is the reenactment and recording of everyday sounds in sync with the picture: footsteps, rustling clothes, a cup being set down on a table. A Foley artist does this in the studio using all kinds of materials. This gives a scene body and makes it believable. The name comes from Jack Foley, who developed the technique at Universal in the late 1920s. For Bad Slippers, we handled all the Foley. Read more about audio post-production.

Foley is recorded specifically for a scene, in sync with what the actors do: their footsteps, their clothing and the objects they touch. Sound effects are often existing or designed sounds from a library, such as an explosion, a car or thunder. Foley makes a scene human; effects make it big. In a good mix, they complement each other. Read more about sound design.

A soundscape is a sonic landscape: a layer of ambient sounds and textures that establishes a place or mood. Think of a busy market, a quiet forest or a futuristic city. In film and commercials, the soundscape tells you where you are before anyone says a word. Brands also use soundscapes, for example in stores or at events. In Dolby Atmos, we build a soundscape all around the listener. Read more about sound design and Dolby Atmos.

An audio mix brings all sound layers together into one balanced whole: voices, music, effects and ambiences. The mixer decides how loud each element is, where it sits in the space and how it relates to the picture. Every mix is made for a specific medium, such as radio, TV, online or cinema. Each medium has its own requirements. For the SIRE campaign, we created a Dolby and cinema mix. Read about that cinema mix.

Mixing brings the separate tracks together: you balance voices, music and effects and give each sound its place. Mastering is the final step. You process the complete mix as a whole, so it plays at the right volume and with the right sound on every platform. For commercials, that includes meeting loudness standards. For Don't Be a Douchebag, we did both. Read more about audio post-production.

The final mix is the definitive audio version of a commercial, ready for broadcast. Voice-over, music and sound design are balanced, and the mix meets the technical requirements of the broadcaster or platform, such as the EBU R128 loudness standard for TV. We often deliver multiple versions: different lengths, tag-ons or a version without voice-over. For Lidl and TeamNL, we handled the entire process up to and including the final mix. Read about Lidl and TeamNL.

Sonic branding is the strategic use of sound to make a brand recognizable. It goes beyond a jingle: voice, music, sonic logo and sounds in apps or stores together form one consistent sound. Just as a logo and visual identity make your brand visible, sonic branding makes it audible. One example is Lidl's signature voice, Thomas van Luyn: you recognize the brand before the name is even mentioned. Read the interview with Thomas van Luyn.

Audio branding is the set of sound elements a brand uses to be heard: a sonic logo, brand music, a signature voice, hold music, app sounds or sound at events. The goal is for your brand to sound the same everywhere, so it is recognized and remembered faster. The terms audio branding and sonic branding are often used interchangeably. Read more about sonic branding at TFA.

In practice, they mean almost the same thing. Those who do make a distinction usually use sonic branding for the strategy and identity: what does your brand stand for and how does that sound? Audio branding then covers the application: the actual sounds in commercials, apps, podcasts and stores. We treat it as one process. First we define how your brand sounds, then we create all the assets that follow from it. Read more about sonic branding at TFA.

A sonic identity is the complete sound identity of a brand, documented as a kind of audio style guide. It describes which instruments, tempos, voice characters and timbres suit your brand and which do not. It also includes the sonic logo, the brand theme and the usage guidelines. That way every agency or producer works within the same sound, from radio commercial to TikTok video. Read Sound is not an afterthought.

Auditory brand identity is another term for sonic identity: everything that makes your brand audible and recognizable. It is the audio counterpart of your visual identity. Sound reaches people even when they are not looking, for example on the radio, in a podcast or through a smart speaker. That is why a distinctive sound is just as important as a distinctive logo. Read more about sonic branding at TFA.

A sonic logo (also called a sound logo or audio logo) is a short, recognizable sound, usually two to four seconds long, that introduces or closes your brand. Think of the few notes at the end of a commercial or when a device starts up. A good sonic logo is short and distinctive and works on any speaker, from phone to cinema. It also fits with the rest of your sonic identity. Read more about sonic branding at TFA.

A sonic logo is a short sound of a few seconds, usually without lyrics, designed as a permanent brand signature. A jingle is a short piece of music, often with sung lyrics that include the brand name, which runs longer and carries a message. A jingle can change from campaign to campaign; a sonic logo usually stays the same for years. Many brands use both: the jingle tells the story, the sonic logo signs off. Read more about music production.

Brand sound is the recognizable sound of a brand across all its communications. It is the result of consistent choices in music, voice, sound design and mix. You can recognize a brand with a strong brand sound even without a logo or name. That takes discipline: the same voice, a fixed musical signature and a consistent mix, campaign after campaign. Read Sound is not an afterthought.

Sound works fast and largely unconsciously. If your brand always sounds the same, listeners link that sound to your name, even when they are not looking. That works on the radio, in podcasts, in online video and in stores. The more often and consistently you use the elements, the stronger the recognition. A signature voice like Lidl's shows how this works in practice. Read about Lidl, TeamNL and the power of a recognizable voice.

A sonic branding strategy defines how your brand sounds and how you use sound to achieve your brand goals. We start by analyzing your brand values, target audience and competitors. We then translate those into a sonic direction, choose voice and music and develop elements such as a sonic logo. Finally, we set out guidelines so that every touchpoint sounds the same, from commercial to podcast. Contact us for an initial conversation.

A voice-over is a voice you hear without the speaker appearing on screen. You hear it in commercials, corporate films, documentaries, e-learning and apps. A voice-over tells, sells or explains and gives a brand a human character. At TFA, we record voice-overs in our studios in Amsterdam, with voice actors or with AI voices. For example, we produced the voice-over for Voetbal International's 2026 World Cup campaign. Read about that recording.

Voice-over casting is finding the voice that best fits your brand, message and target audience. We translate your brief into a voice profile: age, energy, warmth, pace and accent. Then we select voices from our network, play you demos or record test takes. That way you don't choose on gut feeling alone, but on what works for your story. Learn more about voice-over casting and recording.

Voice direction is guiding a voice actor during the recording. The director steers tone, pace, emphasis and emotion, so the script lands exactly as intended. Small cues make a big difference: a smile in the voice, a pause at the right moment. At TFA, our producers and engineers direct every session. You are welcome to listen in at the studio. Hear what actor and director Hugo Metsers thinks about it in Spatial Stories.

Voice-over is the work: the voice you hear without a speaker on screen. A voice actor is the person who does that work. In Dutch, 'voice-over' is often used for both. A voice actor also plays characters in animation, games or audiobooks, which involves more acting. Read the interview with Thomas van Luyn about voice acting and acting on camera.

A voice-over is spoken over the picture, without having to match lip movements. In dubbing, a voice actor replaces a character's original dialogue, matched precisely to the lip movements. You see this in animated films and foreign series. Dubbing therefore requires extra precision in timing and performance. With a voice-over, it is mainly about tone and story. Learn more about voice-overs at TFA.

In a multilingual voice-over production, you create the same production in several languages, with a native voice for each language. It involves more than translation. The script has to fit the same timing, the tone has to be right in every culture and the mix has to sound the same everywhere. We handle casting, recording and direction for each language and deliver all versions in one consistent mix. AI voices can help add extra languages quickly. Learn more about voice-overs at TFA.

Tone of voice is the way a voice sounds: businesslike or playful, warm or energetic, calm or urgent. That tone has to match your brand and the message of the moment. An insurance company calls for something different than a festival. We describe the desired tone in the brief and steer it during the recording through voice direction. For Voetbal International, we looked for rhythm and energy to carry the tournament. Read about that recording.

A buyout is the fee you pay a voice actor for the use of the recording, on top of the recording costs. The amount depends on the medium (radio, TV, online, cinema), the duration, the territory and the number of channels. A national TV commercial running for a year therefore costs more than an internal video. We set the buyout in advance, so you know exactly where you stand. Learn more about voice-overs at TFA.

Usage rights determine where, for how long and in which media you may use a voice-over recording. They are set out in the agreements with the voice actor and arranged through the buyout. If you later want to run the commercial for longer or in more channels, you need an extension or expansion. With AI voices, consent to use someone's voice also plays a role. We make sure all rights are clear in advance. Learn more about voice-overs at TFA.

A brand voice is a consistent voice that carries your brand across all its communications over a longer period. By always using the same voice, you build recognition: listeners know who is speaking before the logo appears. Lidl's regular voice, Thomas van Luyn, is a strong example. Choose a brand voice carefully, because you will be working with it for years. Read about Lidl and the power of a recognizable voice.

An AI voice is a synthetic voice created with artificial intelligence. The model is trained on real speech and converts text into natural-sounding audio, with intonation, breathing and emotion. AI voices are fast, scalable and available in many languages. TFA has worked with AI voices since 2020 and uses ElevenLabs as its standard platform, always with human direction. Read AI is the tool. The ear remains ours.

An AI voice-over is a voice-over performed by an AI voice instead of a voice actor. You use it for commercials, e-learning, explainer videos, podcasts or product videos in many variants and languages. The advantage is speed: script changes are processed immediately. At TFA, we direct AI voice-overs on tone, pace and character and compare variants until the voice fits the story. Learn more about AI voices at TFA.

A human voice actor brings interpretation, performance and spontaneity. They respond to direction and sense what a text needs. An AI voice is faster, cheaper when you need many variants and always available, but lacks that insight of its own. That's why we choose per project: emotional brand campaigns often call for a human, while personalized or multilingual production is a good fit for AI. Sometimes we combine the two. Read AI is the tool. The ear remains ours.

Voice cloning is replicating an existing voice with AI. Based on recordings of a speaker, a model learns their timbre, rhythm and pronunciation. The cloned voice can then speak new texts. This means a brand voice or a CEO can be available even when they don't have time themselves. We only do voice cloning with the explicit consent of the owner of the voice and with clear agreements about its use. Learn more about AI voices at TFA.

Text-to-speech (TTS) converts text into speech using a standard voice from a library. Voice cloning goes a step further: the model learns to replicate a specific, existing voice, so that voice can speak new texts. TTS is generic and ready to use. A cloned voice is unique to you or your brand, but requires consent, recordings and careful agreements. We use both techniques at TFA, always with human review of the result. Learn more about AI voices at TFA.

A personalized AI voice is a voice developed specifically for you or your brand, often based on your own voice. You can use it, for example, to turn your newsletter, blog or report into audio without having to be in the studio yourself. We first record a base, train the voice and then direct every production. That way it keeps sounding like you. Read Listening is the new reading.

An AI voice does what you ask, but doesn't know what a text needs to achieve. Without direction, it quickly sounds flat, puts the stress in the wrong places or doesn't quite fit your brand. Our engineers first describe the desired character, then steer tone and pace and listen critically to every take. After that comes the mix with music and sound design. AI is the tool; the ear remains ours. Read our story about AI voices.

Text-to-audio is turning written content into a listening version, such as articles, newsletters, reports or manuals. With an AI voice, this can be done quickly and at scale, while direction, music and mixing make it pleasant to listen to. That way you reach people who are on the go or prefer listening to reading. Read Listening is the new reading.

An AI podcast is a podcast in which the voice or voices are created with AI. For example, a weekly summary of your newsletter, voiced by an AI version of your own voice. The advantage is consistency without having to go into the studio every week. At TFA, we make AI podcasts with the same care as regular podcasts: with direction, music and a professional mix. Read Listening is the new reading.

An audio column is a column you listen to instead of read. It is a short, personal piece with a clear opinion or observation, voiced by the author or by an AI version of their voice. With music and a good mix, it becomes a recognizable format you can share via your website, newsletter or podcast platform. TFA turns existing texts into audio columns, with direction and mixing. Read Listening is the new reading.

Dolby Atmos is a sound format from Dolby that lets you place sounds as individual objects in a three-dimensional space, including above the listener. Instead of using fixed channels, the mixer decides for each sound where it sits and how it moves. The playback system translates that to the available speakers, from cinema to headphones. TFA has an officially Dolby Atmos-certified studio in Amsterdam. Read Enter the Atmos: inside our new Dolby Studio.

Immersive audio is the umbrella term for sound that surrounds you from every direction, including from above. You don't just listen to a story: you are right in the middle of it. Dolby Atmos is the best-known format, but binaural recordings and other 3D formats also fall under it. TFA creates immersive mixes for films, commercials, podcasts, streaming platforms, branded content and music. Learn more about Dolby Atmos at TFA.

Spatial audio is three-dimensional sound: audio mixed so that you can hear direction and distance. The term is mainly used by Apple and other tech companies for 3D sound on headphones, often with head tracking. The sound then stays in place when you turn your head. Much spatial audio content is mixed in Dolby Atmos. Our podcast Spatial Stories was recorded in Dolby Atmos and binaural. Read about Spatial Stories.

Stereo uses two channels: left and right. Surround, such as 5.1 or 7.1, adds speakers beside and behind the listener, plus a subwoofer. Dolby Atmos adds height and works with objects instead of fixed channels. That lets you place sound precisely in the space and move it around. An Atmos mix sounds as good as possible on any system, from home theater to soundbar or headphones. Learn more about Dolby Atmos at TFA.

Dolby Atmos is a specific format and technology from Dolby. Spatial audio is a broader term for all forms of three-dimensional sound. On Apple Music and AirPods, spatial audio is usually Dolby Atmos content rendered for headphones. So every Atmos mix is spatial audio, but not all spatial audio is Dolby Atmos. Read Why audio is the difference between watching and experiencing.

A 7.1.4 setup is a speaker layout for Dolby Atmos. The first number stands for the seven speakers around the listener at ear level, the second for one subwoofer and the third for four speakers in the ceiling. It is the common standard for professional Atmos mixing. Our Dolby Atmos studio in Amsterdam has a professional 7.1.4 monitoring setup. Read When technology is right, emotion has room to speak.

A Dolby Atmos mix is a mix in which voices, music and effects are placed as objects in a three-dimensional space. The mixer works in a studio with speakers all around and overhead. The result is a single master file that adapts to the playback system: cinema, home theater, soundbar, phone or headphones. Among other projects, we created an Atmos mix for the film Bad Slippers and for the SIRE campaign in cinemas. Read about Bad Slippers.

An immersive podcast is recorded and mixed in 3D sound, such as Dolby Atmos or binaural. With headphones, you hear voices and sounds all around you, which makes you feel like you are right there. It works especially well for narrative formats, documentaries and branded podcasts. Our own podcast Spatial Stories was recorded in Dolby Atmos and binaural in Studio 1. Read Spatial Stories: a podcast you don't just hear, but feel.

Production music is music composed specifically for use with picture and audio: commercials, films, TV, podcasts and online video. It is held in a library and the rights are arranged in advance, so you can license a track quickly and on fixed terms. There is production music in every genre and mood. With TRX Music, TFA has its own library full of production music. Read The sound behind the story.

A music library is a catalog of production music that you can search by genre, mood, tempo or instrument. The tracks are pre-cleared compositions, often available in different lengths and versions, such as an instrumental version or a short cut. This helps you quickly find music that fits and know right away how you may use it. Read more about the TRX Music Library.

TRX Music is TFA's own production music library. It features tracks by composers in every genre, from cinematic tension to lo-fi and from epic anthems to minimal cues. The music is pre-cleared and ready to use right away for commercials, trailers, film, podcasts, branded content and online video. If a track is not quite right, we adapt it or create a custom version. Read more about the TRX Music Library.

Library music already exists: you pick a track from a catalog and license it. That is fast and affordable, and the rights are already arranged. Custom music is composed by us specifically for your project or brand. It fits the picture, message and timing exactly and is unique. Library music works well for tight deadlines and smaller budgets; custom music suits brand campaigns and sonic branding. Read more about music production at TFA.

Custom music is music composed and produced specifically for your brand. It reflects your brand values and makes you recognizable in every expression. Think of a brand theme, a sonic logo or a campaign track that comes back in different lengths and versions. Because the music is yours, you will not hear it anywhere else. At TFA, we compose and produce in-house. Read more about music production at TFA.

A jingle is a short, catchy piece of music for a brand or product, often with sung lyrics that include the brand name. A good jingle sticks in your head and links a melody to your brand. Jingles are widely used in radio and TV commercials and by radio stations themselves. Unlike a sonic logo, a jingle can change from campaign to campaign. Read more about music production at TFA.

A music bed is the music that plays underneath the voice-over in a commercial. It sets the mood and the pace without drawing attention away from the message. A good music bed leaves room for the voice, has a clear start and a strong ending, often timed to the logo. We select a music bed from TRX Music or compose one to order. Read more about music production at TFA.

Pre-cleared music is music whose rights have been arranged in advance. The composer and publisher have given permission for use with picture and audio, so you do not have to negotiate per track yourself. You pay for a license that fits your use and can get started right away. All tracks in TRX Music are pre-cleared. Read more about the TRX Music Library.

Music rights determine who may use music, in what way and for what fee. Every existing song has two layers. The composition (melody and lyrics) is usually managed by a music publisher. The recording, the master, is usually owned by a record label. If you want to use music in a commercial or film, you need permission for both. TFA arranges this for you. Read more about music rights and licensing.

A music license is written permission to use music in a specific way. It states which track it covers, for which medium, in which territory, for how long and at what fee. Without a license, you risk claims or having your content taken down. For commercials, this usually involves a sync license and a master license. We negotiate and put everything in writing. Read more about music rights and licensing.

Synchronization rights (sync rights) give permission to pair a composition with moving images, such as a commercial, film, series or online video. You request them from the music publisher that manages the rights of the composer and lyricist. The price depends on how well known the song is, the medium, the term and the territory. Read the conversation with Aron van der Ploeg of Warner Chappell Music: Before the music starts.

Master rights are the rights to a specific recording of a song, known as the master. They are usually owned by the record label or by the artist. If you want to use the original recording, you need a master license in addition to the sync rights. If you have the song re-recorded, you do not need the master rights to the original, but you still need the sync rights. Read more about music rights and licensing.

Sync rights cover the composition: the melody and lyrics, managed by the publisher. Master rights cover the recording: that one version you know, usually owned by the record label. To use an existing song in a commercial, you therefore need two licenses from two parties. If you choose a new recording or music from TRX Music, it becomes simpler. Read What music is truly worth.

Music clearance is the entire process of securing the music rights for a production. You find out who the rights holders are, ask for permission, negotiate the price and put everything down in licenses. Only once everything is settled can the production be broadcast. Clearance takes time, so start early. TFA handles the complete clearance, for example for Don't Be a Douchebag with three synchronized tracks. Read the Don't Be a Douchebag case.

Royalties are payments that creators and rights holders receive when their music is used. Think of broadcasts on radio and TV, streams or music played in stores. In the Netherlands, Buma/Stemra (for composers, lyricists and publishers) and Sena (for artists and record labels) collect these payments and distribute them among their members. For broadcasts, the station or platform usually pays, separately from the license you take out as an advertiser. Read What music is truly worth.

'Copyright-free music' is a confusing term. People usually mean royalty-free music: you pay once for a license and do not have to pay per use afterward. The rights still exist, though. Only music whose copyright has expired is truly free of rights; in the Netherlands, that is seventy years after the composer's death. Even then, the recording may still be protected. So always read the license terms. Read more about music rights and licensing.

Audio production for a radio commercial covers everything from script to broadcast-ready spot: casting the voice, recording with direction, music, sound design and the final mix to the station's specifications. Radio has no picture, so the sound has to tell the whole story. A spot usually runs 10 to 30 seconds, often with tag-ons for changing promotions. For Beukenhorst Coffee, we made a 15-second spot with three tag-ons for BNR. Read Coffee at the office deserves attention.

For a TV commercial, the sound comes after the picture edit. We record the voice-over, select or compose the music, add sound design and Foley and create the final mix. That mix meets the loudness standard for TV, and we deliver it in every version you need, such as different lengths and online cut-downs. We also take care of the music rights. For Lidl and TeamNL, we handled the entire audio process. Read about Lidl and TeamNL.

An audio brief is the assignment description for an audio production. It states what you want to achieve, for whom, in what tone and for which media. It also covers practical details: the script, the lengths, the type of voice, the musical mood, the deadline and the budget. The clearer the brief, the fewer rounds of revisions. With SpotFlow, you fill in your brief through a smart AI interface that goes straight to our producers and sound engineers. Read How SpotFlow works.

Hyper-personalization means tailoring a commercial to the individual listener or the moment. Using live data and AI, the message adapts to factors such as location, weather, time of day or interests. This way, you can create thousands of variants of a single spot. It is still a craft: casting, direction and a consistent mix make sure every version sounds like your brand. Read Hyper-personalization in commercial production.

In automated audio production, software and AI take over repetitive steps, such as creating variants, filling in changing copy or delivering in different formats. This lets you produce faster and at a larger scale, for example for regional promotions or personalized campaigns. At TFA, we automate where it saves time and keep people in charge where taste and quality matter. Read SpotFlow: how we are reinventing commercial production.

SpotFlow is how TFA produces radio and TV commercials. Your brief goes through a smart AI interface straight to our producers and sound engineers. In seven steps, you go from brief and script to voice, music, review and delivery. This lets us make commercials faster, with less back-and-forth and the same quality. Read how SpotFlow came about and how it works.