Prompting guide
How to prompt Seed Audio
How to prompt Seed Audio: a quick start, a fill-in template, and expert tips for voices, timed dialogue, saved voices, music beds, and sound effects.
Quick start
Your first great Seed Audio prompt
Everything a beginner needs in one minute: what to know first, the rules that matter most, a template to fill in, and prompts to copy.
What to know first
Seed Audio is not text-to-speech: it makes a whole scene of sound from one prompt, with voices, dialogue, music, and effects together. Write the place and what we hear there, then each voice like a casting note, then the exact words in quotes. The clip is exactly the length you choose in the settings, so write enough to fill it and no more: whatever runs long is cut off at the end.
The rules that matter most
Set the scene before the words
Start with the place and its sound: a rainy platform, a roaring stadium, a quiet studio. Only the words in quotes are spoken; everything else is direction.
Describe each voice once, fully
The first time someone speaks, give their gender, age, accent, timbre, emotion, and pace: Leo (a man in his forties, low and gravelly, tired, slow). After that, the name and a short delivery note are enough.
Write to the length you pick
Choose the duration first. English speech runs about 2.5 words a second, so a short clip holds one short line. Too many words get cut off mid-word; too few leave silence at the end.
Write the prompt in the language of the lines
A Spanish scene gets a Spanish prompt, from the description to the dialogue. Mixing an English prompt with lines in another language confuses the delivery.
Generate a few takes
Every run is a new performance, even with the same seed. Run a line two or three times and keep the best.
Fill in this template
Replace each part in square brackets with your own idea, and leave out a part you do not need.
[Place and ambience]. Background music: [instruments, mood, and how it moves]. [Name] ([gender, age, accent, timbre, emotion, pace]) [how they say it]: "[the exact words]" [How it ends].A laundromat at midnight, dryers thumping, a fluorescent light buzzing overhead. Background music: a slow upright bass and brushed drums, low and lazy. Nora (a woman in her thirties, soft Irish accent, husky, amused, unhurried) says under her breath: "Third sock this week. Somebody in here is a thief." A dryer buzzer sounds and the music fades out.[Place and ambience]Where we are and what we hear there: a laundromat at midnight, dryers thumping, a fluorescent light buzzing.[instruments, mood, and how it moves]A slow upright bass and brushed drums, low and lazy. Leave out the whole sentence when you want no music.[Name]Who speaks. The name is direction and is never spoken.[gender, age, accent, timbre, emotion, pace]A casting note: a woman in her thirties, soft Irish accent, husky, amused, unhurried.[how they say it]The delivery: says under her breath, calls out across the room, whispers.[the exact words]The line exactly as it should be spoken, sized to the length of the clip.[How it ends]What the last second sounds like: the music fades out, a door closes, the rain carries on.
Prompts to start from
A narrator over ambience
A quiet forest at dawn, birdsong slowly building, a stream running somewhere close. A narrator (a man in his sixties, standard British accent, warm and slightly gravelly, unhurried) says softly: "Every spring, the river remembers its way back to the sea." The birdsong continues to the end.Why it works: The scene comes first, the voice is a casting note, and the birdsong carries on so the clip ends on sound rather than on a cut. A 10-second duration fits it.
Two voices, timed to the second
A small radio studio late at night, the hum of equipment, rain against the window. Theo (a man in his late twenties, bright, quick, a little nervous) says: "[0.3s:3.2s] Okay, we're live. Say hi to everyone." June (a woman in her fifties, low, smoky, completely calm, slow) answers: "[3.8s:8.6s] Good evening, night owls. Pour something warm and stay a while." A soft jingle chimes; the rain continues to the end.Why it works: Each line opens with its own time window, sized to its words, with a short gap between the speakers and a quiet second at the end. Set the duration to 10 seconds.
A music bed with no voice
Generate pure background music and sound effects only. No voice, no dialogue, no narration, no lyrics. Style: warm, hopeful acoustic folk for a travel video. Create original music only. Background music: fingerpicked acoustic guitar, soft hand claps, a gentle upright piano, a light shaker. Sound effects: a car door closing, gravel under tires, wind on an open road. Keep effects clear but balanced under the music. Duration: about 30 seconds. Structure: [0:00-0:08] Guitar alone, light and curious; a car door closes. [0:08-0:20] Piano and shaker join, gravel under the tires, the tempo lifts. [0:20-0:27] The full band with hand claps, wind rushing past. [0:27-0:30] The music settles on one ringing guitar chord. Final mix: No vocals or spoken words. Bright and open, ready to sit under a travel montage.Why it works: Saying "no voice" at the start and again in the final mix keeps it instrumental, and the sections add up to the 30 seconds set in the settings.
Sound effects, no music
Inside a blacksmith's forge at night. The bellows wheeze and the coals roar up bright; a hammer rings on hot iron in a steady rhythm, three strikes and a pause, then the blade hisses as it plunges into a bucket of water and steam bursts up. Rain drums on the tin roof throughout. No music, no voices.Why it works: Every sound has a concrete source and a place in time, and the last line rules out what you do not want.
A clean voice to save for a Character
Clean, close-miked studio voice recording. No music, no background sound, no effects. Mara (a woman in her early thirties, standard American accent, low, warm, slightly husky, calm and assured) says at an even pace: "[0.2s:8.8s] I grew up on this coast. The tide always tells you something, if you are patient enough to listen."Why it works: One speaker, no background, and words from the first moment: the best kind of clip to save as a voice and give a Character. Set the duration to 10 seconds.
A voice from a picture
The old fisherman in the picture says warmly, a little amused, unhurried: "Well, look who finally showed up."Why it works: Upload a portrait as the Image and Seed Audio designs a voice to fit the face, so the prompt needs only the delivery and the words. A 5-second duration fits one short line.
Advanced
Advanced Seed Audio prompting
Techniques for more control once the basics work.
Structure: write a radio scene
A full Seed Audio prompt has five parts, in this order: the environment (the place, the weather, the situation); the background music and sound effects; what the characters are doing; each voice; and the exact words.
Write it as one scene in time order, like a radio-drama script: the opening ambience and music, then each line with its speaker, voice, and delivery, with the effects placed where they happen, and finally how it ends: the music swells, fades, or cuts, or the ambience carries on to the last second.
- Describe a voice fully the first time, then use the name and a short delivery note: "Maya, softer now:".
- Only the quoted words are spoken. Names, voice notes, and scene description are never read aloud.
- Give every speaker in a conversation a name and a voice note. Unlabeled speakers swap voices.
- Keep the prompt under about 3,000 characters.
A short battle scene
A burning harbor at night, flames crackling, a ship's bell clanging wildly, waves slapping the stone quay. Background music: pounding low drums and a single horn, rising in tension. Captain Rhea (a woman in her forties, Scottish accent, hoarse and commanding, shouting over the noise) calls out: "Cut the lines! Every ship that can still float, get it out of the harbor!" A beam cracks and crashes into the water. Finn (a boy of about fourteen, high voice, terrified but trying to sound brave) answers: "Aye, Captain!" The drums break off and only the fire remains.Why it works: Place, music, and effects come first, each speaker gets a casting note, the crash lands between the lines, and the last sentence says how the clip ends.
Describing a voice
Write a voice like a casting note: gender and age, accent, timbre, emotion, and pace. Add a treatment when the voice comes through something: a television, a radio, a phone.
Show emotion through how the line is delivered, not only by naming it: "softly, forcing herself to stay composed" and "his words speeding up as he panics" carry more than "sad" and "scared".
| Write | What it does |
|---|---|
raspy, low, gravelly | A rough, deep voice: weathered, tired, or tough. |
clear, bright, crystalline | A clean, high, ringing voice. |
deep and resonant | A full, booming voice with weight in the chest. |
rapid, soaring, full-throated | Excited, loud, and fast, like live sports commentary. |
as if from a television, with slight reverberation | The voice comes from a TV in the room. |
as if over a walkie-talkie | A crackly, narrow, radio voice. |
a mechanical quality | A robotic or synthetic edge on a human voice. |
whispered close to the microphone | An intimate, breathy whisper. |
Timing dialogue to the second
To place a line in time, put its window at the start of the quoted words, in seconds with one decimal: "[5.5s:8.0s] Maya! Wait, you're really leaving tonight?" Time every line of dialogue; music and effects follow the order of the scene.
Size each window to its words. Natural English runs about 2.5 words a second, so a 10-word line needs about 4 seconds; excited delivery runs faster and grave delivery slower.
- Leave 0.3 to 0.6 seconds between speakers for natural turn-taking.
- End the last line at least half a second before the clip ends, so the closing fade falls on silence or ambience.
- Keep every time inside the length of the clip. Never write a window for the whole clip, such as "[0.0s:10.0s]": Mage already adds one.
- Timing is precise for dialogue. Times in a music bed are a guide, not a promise.
Music beds and sound effects
For music with no voice, say so at the start and again at the end, and lay the piece out in sections: "Generate pure background music and sound effects only. No voice, no dialogue, no narration, no lyrics." Then the style, the instruments, the effects, the duration, the sections with their times, and a final-mix line. Make the sections add up to the duration you set.
Name instruments and how the music changes over time, not just a genre: "deep war drums and low brass, the drums quickening as a choir rises", "it thins to a lone clarinet that fades into silence".
- Ask for original music in a genre and mood, never a known song or theme: "Create original music only."
- Give every effect its source and its sound: "a sword slides back into its sheath with a crisp shhhk", "chains drop into the dust with a heavy clatter". A sound word with its source reads as sound, not speech.
- Describe the space as well as the sounds: "footsteps echo in a stone hall", "a small tiled bathroom", "inside a huge stadium, the roar of the crowd throughout".
Saved voices and pictures
Mention a saved voice clip by its @handle, and say three things: what to generate, which voice, and what the clip is for, such as its timbre, accent, or emotion. Describe the voice in words beside the handle too: Marcus (a smooth, confident broadcaster voice; the voice of @marcus-voice), upbeat:.
Or upload one picture of a person or a creature as the Image, and Seed Audio designs a voice that fits it. A picture and saved voice clips cannot go in the same generation.
- A good voice clip has one speaker, no music or noise, and speech from the very first second.
- The same voice from take to take comes from reusing the same saved clip. A description alone drifts between runs.
- Write the handle, never a slot name like "@Audio1". Any @ followed by letters must be a voice you saved, or the generation stops before anything is charged.
- Characters cannot be mentioned in Seed Audio, which takes voices, not faces. Mention the voice clip you saved for them instead.
Two saved voices in a street interview
Busy city sidewalk at lunchtime: passing cars, chatter, a light breeze. Marcus (a smooth, confident broadcaster voice, warm and playful; the voice of @marcus-voice), upbeat, says: "[0.5s:4.5s] Quick question: what's the best advice you've ever ignored?" Tyler (a younger man, a little nervous, expressive; the voice of @tyler-voice) laughs, then sighs: "[5.2s:12.5s] Oh, easy. My dad told me never to buy a used boat. I now own two used boats." Marcus bursts out laughing: "[13.2s:14.4s] Two?" Tyler, defeated: "[15.0s:21.5s] Two. Neither one floats. I keep them in the driveway as a warning to others." Marcus, to his listeners: "[22.2s:27.0s] And that, folks, is why we listen to our dads." Both laugh; the street noise swells and fades out.Why it works: Each saved voice is named, described in words, and bound to a speaker, and the timed lines fill the clip with a short gap between turns. Replace the handles with your own saved voices, and set the duration to 30 seconds.
Voices and sound for video
To give a video Character a voice, generate a clean line here (a studio recording, no music, no background), save it, and attach it to the Character or keep it as a voice Reference. Then mention the Character in a video model with voices, such as Cherry. Video models may keep only the opening seconds of a voice clip, so make the clip speak from its first moment.
To fit a clip you already have, measure its length, choose the next duration up, time the lines to the picture, and trim the result in an editor.
- For a long scene, generate one part at a time with the same saved voices in each, and join them afterwards.
Speech Rate, Pitch Rate, and Loudness Rate
Speech Rate, Pitch Rate, and Loudness Rate change the whole clip, every voice at once. Set each speaker's pace and pitch in words instead, and use the settings only for a global nudge, such as a slightly faster read of a finished script.
The Seed setting does not repeat a result: every run is a new take.
Languages
Seed Audio speaks English, Chinese, Japanese, Korean, Mexican Spanish, Castilian Spanish, Indonesian, German, Brazilian Portuguese, French, Thai, Vietnamese, Malay, Filipino, Italian, Russian, Dutch, Polish, Turkish, and Swedish. One voice can carry across languages.
Write the whole prompt in the language of the lines, the scene description included, and name the accent you want in the voice note.
Common mistakes
Avoid this, do this instead
Avoid: Only the words, when you want a scene.
Welcome back to the show.Instead: The place, the sound, and the voice, then the words.
A late-night talk show studio, a live audience settling down, a house band finishing a riff. The host (a man in his fifties, warm, polished, a little mischievous) says: "Welcome back to the show."Avoid: A clean voice clip with no instructions.
Mara says: "I grew up on this coast."Instead: Say that it is a clean recording.
Clean, close-miked studio voice recording. No music, no background sound, no effects. Mara (a woman in her early thirties, low and warm) says: "I grew up on this coast."Avoid: A script longer than the clip.
Instead: Fewer words, or a longer duration.
Avoid: A time window for the whole clip, such as "[0.0s:10.0s]".
Instead: Windows on individual lines only. Mage adds the whole-clip one.
Avoid: "@Audio1", or a saved voice with no description.
Instead: The voice's @handle, with the voice described beside it.
Avoid: Speakers without names in a conversation.
Instead: A name and a voice note for every speaker.
Avoid: An English prompt with lines in French.
Instead: The whole prompt in French.
Avoid: "The theme from a famous film."
Instead: Original music in that genre and mood.
FAQ
Seed Audio prompting questions
How long should a Seed Audio prompt be?
How do I keep the same voice across Seed Audio clips?
Can Seed Audio make music without vocals?
Why is my Seed Audio clip cut off mid-word?
How do I time dialogue in Seed Audio?
What languages does Seed Audio speak?
Can Seed Audio give a voice to a picture?
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