Three layers of rights
A released audiobook usually combines: (1) copyright in the text, (2) neighbouring rights in the narrator’s performance, and (3) producer rights in the sound recording. Who holds what depends on contracts — not automatically on who hires the studio.
Mislikervyraxi B.V. supplies recording, editing and level consistency; we do not become a rights holder in your book unless agreed in writing. See article 10 of the terms on ownership of recordings after payment.
Text: author and publisher
The writer generally keeps copyright; publishers receive exclusivity or licences for certain formats (e-book, print, audio) by contract. Check whether audio exploitation is already in your publishing deal or must be licensed separately.
Translated editions: clear rights in the translation and credit for the translator. Before recording, send confirmation you may record — publisher email or self-publishing statement often suffices, but we cannot schedule without documentation. For reprints or series, check whether audio exclusivity follows the print edition or needs its own extension.
Narrator and performance rights
The narrator has neighbouring rights in the performance (Dutch Copyright Act). Employment or contractor agreements should assign exploitation rights explicitly to producer, publisher or author — including duration, territory (EU, worldwide) and exclusivity.
Reading your own book? You combine roles; state whether you invoice a separate narrator fee. Our rates: €79 per recording hour or €95 per finished hour of audio; pilot €320 for four hours incl. edit — that is studio work, not a rights sale.
Producer of the recording
Who initiates and is responsible for the first fixation may hold producer neighbouring rights in that recording. In our standard terms, those rights in the recording pass to you as client once the invoice is paid, so you can distribute via platform or publisher.
Distributing via an aggregator (Storytel, Audible, Apple Books etc.), check their model release and metadata rules before mastering. We deliver technical specs; platform contracts are yours to sign.
Music and sound effects
Chapter themes, stings or ambient beds need separate licences — stock with commercial terms, custom composition with assignment, or CC only if the licence explicitly allows audiobooks. No commercial hits without sync clearance.
Our booth focus is dry speech and steady levels; music mixing only if scoped. Post-production music: mixing and mastering are separate services with their own rates.
Privacy and personal data
Scripts may contain personal data or sensitive stories. Share only what recording needs; we process contact and billing data under privacy policy. Data processing agreement for publishers: data processing agreement on request. Flag sensitive passages upfront if several engineers rotate — we can limit access to what is strictly required.
Minimum age for independent bookings in our studio: 16; younger narrators only with parent/guardian and appropriate consent.
Practical checklist before booking
| Topic | Action |
|---|---|
| Text rights | Written OK from publisher or own work |
| Narrator rights | Contract with territory and term |
| Recording rights | Agree who distributes after payment |
| Music/SFX | Licences cleared before mix |
| Platforms | Check metadata and loudness specs |
Send documentation with your request via contact; we reply within 3 business days. Long projects run in blocks — Mon–Fri 09:30–18:30, Sat 10:00–16:00 — with chapter marking as on audiobook recording.
Where to get help
For contract review: a lawyer with IP experience in the Netherlands. Site liability limits are in disclaimer; cookie choices via .
Voice prep overlaps prepare your voice. File handover after edit resembles deliver mix stems, though audiobooks usually ship chapter WAVs or a platform-specific export. In doubt, call 020 789 3462 before booking a long session. Keep publisher contracts separate from studio invoices — they cover different obligations.
