For compliance and legal reads the goal is that exact wording lands, not that the voice sounds grave. A speed near 0.9 improves intelligibility more than any casting choice.

Worth saying plainly: nothing in the catalog records pitch, so these six were chosen by ear rather than filtered. There is no pitch control either, so depth is a casting decision.

Corporate narration needs consistent terminology more than it needs a particular tone. Pronunciation dictionaries fix brand and product names once, so every module in a library matches the first one.

Eighty six voices are tagged mature, and twenty also carry the narrative tag. That overlap is the usual starting point for audiobooks and documentary work, where consistency shows over hours rather than seconds.

Announcements are heard in reverberant halls and repeated thousands of times. Pronunciation dictionaries fix station and place names permanently, ulaw and alaw feed public address hardware directly, and one voice carries a full multilingual chain.

Commercial reads are short, fast, and worth testing in variants. A thirty second spot is one or two requests, which makes producing four versions cheaper than booking one session.

Speed is the reliable lever here, not casting. Settings between 1.2 and 1.4 lift almost any voice in the catalog, though longer sentences start to blur past roughly 1.5.

Calm comes from pace more than from voice. Speed runs down to 0.5, and pauses come from punctuation rather than a parameter, so the script does as much work as the casting.

Only six voices in the catalog show cheerful or positive markers, the thinnest tone signal available. Speed slightly above 1.0 lifts almost any voice, which is the more dependable route.

There is no emotion parameter, so range comes from the voice and from how the line is written. Fourteen voices carry the character tag, and those have the widest delivery available.