How to Make a Podcast With AI Voices, End to End

August 8, 2026

You can make a podcast with AI voices without a microphone: write the script, cast your hosts from the voice library, generate the episode, and export an MP3 to hand to your hosting provider. AudioProducer.ai has two different doors into a podcast, and picking the wrong one is the most common way a first episode goes badly. This page walks the whole path, in the order you will actually hit it. If what you are planning is closer to a book than to a feed, our complete guide to making an audiobook with AI walks the equivalent path for long-form narration.

The two ways to make a podcast here, and which one your show needs

AudioProducer.ai has two different doors into a podcast, and picking the wrong one is the most common way a first episode goes badly.

Podcast mode is built around current news. You give it a primary topic ("space flights news"), a maximum article age in days, a free-text constraints field to keep it on the parts you care about, and an editorial angle. The system gathers articles from that window and generates a multi-speaker episode with music beds and sound effects, in the shape of a produced show. You can save the whole configuration as a preset and reuse it next week. Podcast mode synthesizes from news. Hand it a script you wrote yourself and there is nowhere to put it.

The audiobook editor is where a scripted show lives. You paste your script or import an EPUB, the AI tags every line by speaker, you assign a voice to each speaker, add sounds and pauses, and render the whole thing with one button. It is called the audiobook editor because that is what most people use it for, and nothing about it is audiobook-only. A two-host scripted dialogue is a chapter with two speaking characters in it.

So: recurring news roundup with no writing on your part, use Podcast mode. Anything you write yourself, use the editor. Plenty of shows use both, with a news segment generated and a scripted cold open and outro built in the editor.

The formats that work without a microphone, and the one that does not

Four show shapes work cleanly with generated voices.

  • Scripted solo. One host, one voice, an essay or an explainer read aloud. The easiest thing to keep consistent over a year.
  • Two-host dialogue. A host and a cohost trading a topic back and forth. Two speaking characters, two voices, one chapter.
  • Narrative fiction. An audio drama with a cast, sound, and an episode arc. This is the format that gets the most out of the editor, because per-character voices are the whole point of it.
  • News roundup. The thing Podcast mode was built for.

The format that does not work is the interview. A real guest has to be recorded, and we do not record anyone. If your show idea depends on conversations with people who exist, you need a recording setup and this is the wrong tool for that half of it. You can still build the intro, the outro, the sponsor read, and the narration around the interview here, then assemble the episode in whatever editor you already use.

Writing a script that sounds spoken

A page that reads well silently often lands badly out loud. Sentences that hold three clauses together are fine on screen, and a listener loses the thread halfway through the second one. Cut them into separate sentences. Say the subject again instead of leaning on "it" and "that," because a listener cannot glance back up the page.

Write speaker names the way you would in a play, on their own line, and let Auto-Assign Characters do the first pass over the whole chapter. It is a starting point and it will make mistakes, mostly on short unattributed lines, which land on the narrator by default. Fix those by hand in the editor, where you can retag a line or split one that landed on the wrong speaker.

Do not write stage directions into the body expecting them to be performed. "(laughs)" is text, and text gets read aloud. What we do have is per-line dialogue emotion, set on the individual line inside the editor, so the same voice can deliver one line calm and the next one angry. Use that where you were reaching for a direction.

Read your draft out loud once before you generate anything. It is the cheapest edit pass available and it catches the sentences that only work on paper.

Casting hosts and keeping them the same in episode 40

Voices are browsed and previewed on the Voices page on your home screen. Preview against a hard line from your actual script rather than a friendly one, because the hard line is where a voice falls apart. A host voice carries every episode, so weight it toward something you can stand at length over something that impresses you in a ten-second sample.

You can also clone a voice and use the clone like any other voice in the library. Clone your own voice, or one you have written permission to use, and nothing else.

Consistency across a season is mostly a project-organization problem. Inside the three-dot menu next to Add Character, you can import the full character list, with their assigned voices, from another of your projects. Episode 40 gets episode 1's host by pulling the cast across rather than by remembering which voice you picked in January. For a fiction show with a large cast, group characters into folders so the panel stays readable.

The parts that repeat every week

Every show has furniture: a cold open, a title read, a sponsor slot, an outro. Set what you can once, in Edit Project, so you are not rebuilding it weekly.

The chapter intro runs before every chapter and takes a custom text template, with ${name} standing in for the chapter title. Write it once as something like "Episode ${name}. Let's get into it." and every episode inherits it. You can attach an uploaded intro sound that plays before the text, which is where a theme sting goes. The book intro reads once before the first chapter and can speak the show name, the author, the narrator, and the publisher, each toggled independently.

Pacing is set with pauses at four levels: an inline pause dropped anywhere in the text, a project-wide default paragraph pause set under Edit Project, a per-paragraph override for one transition that needs more air, and the configurable pauses between intro elements. One trap worth knowing: multiple consecutive line breaks count as one pause, so hammering the return key does not buy you a longer gap. Use an inline pause for that.

Getting the MP3 out, and the half of podcasting we do not touch

Sound comes from the Sounds panel: music beds and ambient soundscapes that run under a stretch of text, and one-shot effects placed at a moment. Auto-Assign Sounds will do a dense first pass over a chapter, and thinning that pass is usually the work. You can upload your own music and effects into your personal sound library and use them in any project, subject to your having the rights to them.

There is no per-cue volume control and no automatic ducking. The levers we give you are which sound and where it sits. A bed that fights the voice is the wrong bed, or it belongs in the gap between two lines rather than underneath them.

The export unit is the chapter. One button renders a whole chapter to one finished MP3, and each chapter downloads as its own file. For a podcast this maps cleanly: one chapter is one episode, and a project is a season or a show. There is no per-line export and no bulk exporter.

Then you are done with us. We do not host, publish, list, submit, or upload anything anywhere. You take the MP3 to a podcast host, that host generates your RSS feed, and you submit the feed to Spotify and Apple Podcasts once. After that, uploading a new episode to your host is the whole publishing step forever. Cover art, episode metadata, and the show description all live at the host rather than here.

Starting costs nothing to test: the free account gives you 1,200 words a month with no card, which is enough for a short episode and a real answer about whether the voices work for your show. Paid plans start at $39.99 a month.

The rest of the podcast library, organized by where you are

Thirty-seven posts, grouped by the part of the job they cover, alongside the full guide index for everything outside podcasting.

Formats and show types

Start here if you know you want a show and are still choosing its shape.

Scripting and source material

Where the words for each episode come from.

Voices and production

Everything between a finished script and a finished render.

Distribution and hosting

The part that happens after the MP3 downloads, all of it outside AudioProducer.ai.

Naming, growth, and cost

The decisions around the show rather than inside it.

Frequently asked questions

Do I have to write a script for every episode?
No, if your show is a news roundup. Podcast mode takes a topic, a maximum article age in days, a constraints field and an editorial angle, gathers articles from that window and generates a multi-speaker episode with music and sound effects. You can save the settings as a preset and reuse them each week. For any show where you write the words yourself, use the audiobook editor instead: paste the script, let Auto-Assign Characters tag the speakers, assign a voice to each one and render the chapter.
Does AudioProducer.ai publish my episodes to Spotify or Apple Podcasts?
No. We generate the audio and you download each chapter as its own MP3 file. Everything after that is your own pipeline: you take the MP3 to a podcast host, the host generates your RSS feed, and you submit that feed to Spotify and Apple Podcasts once. We do not host, list, submit or upload anything anywhere, and your cover art and episode metadata live at your host.
Can I make an interview show this way?
Not the interview itself. A real guest has to be recorded, and we do not record anyone. What you can build here is everything around the conversation: the cold open, the intro, the sponsor read, the narration between segments and the outro, each rendered to MP3 and assembled with your recorded audio in whatever editor you already use.

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