ByteDance Seed Audio 1.0 is an audio-creation model organized around a sound scene. Speech, effects and ambience can be shaped together through a text brief. This makes it useful for a voiced story, a game encounter, a short dramatic exchange or a scene accompanying an edited video. For voice-only work, describe the speaker and performance; for a fuller scene, also describe the acoustic environment and the relationship between dialogue and surrounding sounds.
Prepare the brief in the order the listener should experience the scene. Identify the characters, their intended emotional state and the words they need to say. Then describe the space, the important sound cues and the way the moment develops. A production brief should distinguish the exact dialogue from the scene description so the result can be checked against both. State which elements are essential to comprehension and which should remain in the background. A quiet room, a crowded station and an open courtyard call for different sound design even when the spoken line is identical.
An original example is a game character reassuring a companion during a brief shelter scene: a restrained voice says “We can wait here,” with low rain ambience and one approaching footstep after the line. The useful listening check is whether the words remain intelligible, the voice carries reassurance and the cue arrives at a sensible point in the scene. A different brief could request a clear narrator introducing a product with no surrounding atmosphere. These are illustrative ways to specify intent, rather than records of generated audio or promises about a finished mix.
The maker documents prompt-level timing control for character dialogue at 100 ms intervals. Use that control to describe when a line should enter in a scripted sequence or to plan spoken material against an existing edit. Keep dialogue timing separate from the placement of effects and ambience: the release identifies character dialogue as the main timing-control focus. Review the actual starts, pauses and overlaps against the intended scene. A timing interval describes the model’s control granularity and does not remove the need to listen to the final performance.
A voice can be specified through a text description, an authorized reference sample or both. The manufacturer presents this as voice shaping without training a separate model for each speaker. Describe stable voice characteristics separately from the emotion of the current line. A recurring character may need a calm introduction and an urgent response while remaining recognizable. As practical preparation, choose a clear reference with the intended voice easy to hear, and identify what should carry into the new performance. Keep that reference and character brief consistent when preparing related scenes.
The release documents generation across more than 20 languages, including Chinese, English, Japanese, Korean, Spanish, Indonesian, German, French, Thai and Vietnamese. It describes adapting a recognizable character voice to the rhythm and expression of different languages. Supply the final-language dialogue and review its names, stress, pauses and emotional tone with a listener who understands that language. For multilingual versions, keep the character’s role and emotional intent stable while allowing each script enough room for natural phrasing. Prepare the translation as part of the script work rather than assuming a sound-scene brief supplies every localization decision.
Seed Audio 1.0 can generate up to two minutes in a single pass and supports continuation, according to the maker’s release. A longer story benefits from scene boundaries and a reusable character brief. At each continuation, listen for changes in voice, background texture and pace as well as for the words that connect the sections. Treat the returned audio as a listening asset: inspect its actual file information when preparing playback or importing it into an editor, and retain the script and scene brief alongside it for revision. A joined production should be checked as a continuous scene, not only as separate clips.
The manufacturer describes a unified framework in which language-level creative intent guides a diffusion-based acoustic generator. The practical implication for a brief is that voice and environment can be considered together. Focus on the few relationships that define the scene: whether a line is foregrounded, whether an effect interrupts it and how the atmosphere supports the emotional moment. Adding many unrelated cues makes it harder to identify which part of a result needs revision. Change the direction for that passage when a cue competes with the dialogue or the performance misses the intended tone.
Voice continuity in long, complex material and finer timing across sound elements remain areas of development identified in the release. Keep the production review specific: exact words, speaker identity, language, entrances, intelligibility and consistency across extensions. This model’s useful output is the audible scene or spoken performance. Separate decisions about editorial cuts, subtitles and delivery format can be made from that actual result and the requirements of the destination production.
", "aboutText": "ByteDance Seed Audio 1.0 is an audio-creation model organized around a sound scene. Speech, effects and ambience can be shaped together through a text brief. This makes it useful for a voiced story, a game encounter, a short dramatic exchange or a scene accompanying an edited video. For voice-only work, describe the speaker and performance; for a fuller scene, also describe the acoustic environment and the relationship between dialogue and surrounding sounds.\n\nPrepare the brief in the order the listener should experience the scene. Identify the characters, their intended emotional state and the words they need to say. Then describe the space, the important sound cues and the way the moment develops. A production brief should distinguish the exact dialogue from the scene description so the result can be checked against both. State which elements are essential to comprehension and which should remain in the background. A quiet room, a crowded station and an open courtyard call for different sound design even when the spoken line is identical.\n\nAn original example is a game character reassuring a companion during a brief shelter scene: a restrained voice says “We can wait here,” with low rain ambience and one approaching footstep after the line. The useful listening check is whether the words remain intelligible, the voice carries reassurance and the cue arrives at a sensible point in the scene. A different brief could request a clear narrator introducing a product with no surrounding atmosphere. These are illustrative ways to specify intent, rather than records of generated audio or promises about a finished mix.\n\nThe maker documents prompt-level timing control for character dialogue at 100 ms intervals. Use that control to describe when a line should enter in a scripted sequence or to plan spoken material against an existing edit. Keep dialogue timing separate from the placement of effects and ambience: the release identifies character dialogue as the main timing-control focus. Review the actual starts, pauses and overlaps against the intended scene. A timing interval describes the model’s control granularity and does not remove the need to listen to the final performance.\n\nA voice can be specified through a text description, an authorized reference sample or both. The manufacturer presents this as voice shaping without training a separate model for each speaker. Describe stable voice characteristics separately from the emotion of the current line. A recurring character may need a calm introduction and an urgent response while remaining recognizable. As practical preparation, choose a clear reference with the intended voice easy to hear, and identify what should carry into the new performance. Keep that reference and character brief consistent when preparing related scenes.\n\nThe release documents generation across more than 20 languages, including Chinese, English, Japanese, Korean, Spanish, Indonesian, German, French, Thai and Vietnamese. It describes adapting a recognizable character voice to the rhythm and expression of different languages. Supply the final-language dialogue and review its names, stress, pauses and emotional tone with a listener who understands that language. For multilingual versions, keep the character’s role and emotional intent stable while allowing each script enough room for natural phrasing. Prepare the translation as part of the script work rather than assuming a sound-scene brief supplies every localization decision.\n\nSeed Audio 1.0 can generate up to two minutes in a single pass and supports continuation, according to the maker’s release. A longer story benefits from scene boundaries and a reusable character brief. At each continuation, listen for changes in voice, background texture and pace as well as for the words that connect the sections. Treat the returned audio as a listening asset: inspect its actual file information when preparing playback or importing it into an editor, and retain the script and scene brief alongside it for revision. A joined production should be checked as a continuous scene, not only as separate clips.\n\nThe manufacturer describes a unified framework in which language-level creative intent guides a diffusion-based acoustic generator. The practical implication for a brief is that voice and environment can be considered together. Focus on the few relationships that define the scene: whether a line is foregrounded, whether an effect interrupts it and how the atmosphere supports the emotional moment. Adding many unrelated cues makes it harder to identify which part of a result needs revision. Change the direction for that passage when a cue competes with the dialogue or the performance misses the intended tone.\n\nVoice continuity in long, complex material and finer timing across sound elements remain areas of development identified in the release. Keep the production review specific: exact words, speaker identity, language, entrances, intelligibility and consistency across extensions. This model’s useful output is the audible scene or spoken performance. Separate decisions about editorial cuts, subtitles and delivery format can be made from that actual result and the requirements of the destination production.", "editorialOverlay": { "copy_fields": null, "copy_sha256": null, "copy_source": null, "html_sha256": "9788617682b70c9ab69a608e5bafd49c7b3c86b3bee9b4b21f6f20cdd257bd5f", "module_sha256": "ee9dc1c50b1e6a8fb7fa062030fcb4646b9aaaeb08be513b723a5a92a7290f06", "raw_model_unchanged": true, "schema": "ailoot-native-model-editorial-v1" }, "locale": "en", "methods": [ { "html": "bytedance-seed/seed-audio-1-0ByteDance Seed Audio 1.0 generates spoken performances and sound scenes from a creative brief. It coordinates voices, effects and ambience, supports dialogue timing at 100 ms intervals, and covers more than 20 languages. The maker describes up to two minutes per generation with continuation.
This description covers the model’s capabilities. Available in Ailoot inputs, outputs and options are listed for the selected method below.
ByteDance Seed Audio 1.0 is an audio-creation model organized around a sound scene. Speech, effects and ambience can be shaped together through a text brief. This makes it useful for a voiced story, a game encounter, a short dramatic exchange or a scene accompanying an edited video. For voice-only work, describe the speaker and performance; for a fuller scene, also describe the acoustic environment and the relationship between dialogue and surrounding sounds.
Prepare the brief in the order the listener should experience the scene. Identify the characters, their intended emotional state and the words they need to say. Then describe the space, the important sound cues and the way the moment develops. A production brief should distinguish the exact dialogue from the scene description so the result can be checked against both. State which elements are essential to comprehension and which should remain in the background. A quiet room, a crowded station and an open courtyard call for different sound design even when the spoken line is identical.
An original example is a game character reassuring a companion during a brief shelter scene: a restrained voice says “We can wait here,” with low rain ambience and one approaching footstep after the line. The useful listening check is whether the words remain intelligible, the voice carries reassurance and the cue arrives at a sensible point in the scene. A different brief could request a clear narrator introducing a product with no surrounding atmosphere. These are illustrative ways to specify intent, rather than records of generated audio or promises about a finished mix.
The maker documents prompt-level timing control for character dialogue at 100 ms intervals. Use that control to describe when a line should enter in a scripted sequence or to plan spoken material against an existing edit. Keep dialogue timing separate from the placement of effects and ambience: the release identifies character dialogue as the main timing-control focus. Review the actual starts, pauses and overlaps against the intended scene. A timing interval describes the model’s control granularity and does not remove the need to listen to the final performance.
A voice can be specified through a text description, an authorized reference sample or both. The manufacturer presents this as voice shaping without training a separate model for each speaker. Describe stable voice characteristics separately from the emotion of the current line. A recurring character may need a calm introduction and an urgent response while remaining recognizable. As practical preparation, choose a clear reference with the intended voice easy to hear, and identify what should carry into the new performance. Keep that reference and character brief consistent when preparing related scenes.
The release documents generation across more than 20 languages, including Chinese, English, Japanese, Korean, Spanish, Indonesian, German, French, Thai and Vietnamese. It describes adapting a recognizable character voice to the rhythm and expression of different languages. Supply the final-language dialogue and review its names, stress, pauses and emotional tone with a listener who understands that language. For multilingual versions, keep the character’s role and emotional intent stable while allowing each script enough room for natural phrasing. Prepare the translation as part of the script work rather than assuming a sound-scene brief supplies every localization decision.
Seed Audio 1.0 can generate up to two minutes in a single pass and supports continuation, according to the maker’s release. A longer story benefits from scene boundaries and a reusable character brief. At each continuation, listen for changes in voice, background texture and pace as well as for the words that connect the sections. Treat the returned audio as a listening asset: inspect its actual file information when preparing playback or importing it into an editor, and retain the script and scene brief alongside it for revision. A joined production should be checked as a continuous scene, not only as separate clips.
The manufacturer describes a unified framework in which language-level creative intent guides a diffusion-based acoustic generator. The practical implication for a brief is that voice and environment can be considered together. Focus on the few relationships that define the scene: whether a line is foregrounded, whether an effect interrupts it and how the atmosphere supports the emotional moment. Adding many unrelated cues makes it harder to identify which part of a result needs revision. Change the direction for that passage when a cue competes with the dialogue or the performance misses the intended tone.
Voice continuity in long, complex material and finer timing across sound elements remain areas of development identified in the release. Keep the production review specific: exact words, speaker identity, language, entrances, intelligibility and consistency across extensions. This model’s useful output is the audible scene or spoken performance. Separate decisions about editorial cuts, subtitles and delivery format can be made from that actual result and the requirements of the destination production.
POST /v1/audio/speechtextaudio| Field | Type | Requirement | Values & limits | Default |
|---|---|---|---|---|
Fieldmodel | Typestring | RequirementRequired | Values & limits bytedance-seed/seed-audio-1-0 | Default— |
Fieldinput | Typestring | RequirementRequired | Values & limits Minimum length: 1 | Default— |
Fieldvoice | Typestring | RequirementOptional | Values & limits Minimum length: 1 | Default— |
Fieldresponse_format | Typestring | RequirementOptional | Values & limits mp3, pcm | Defaultpcm |
Fieldprovider | Typeobject | RequirementOptional | Values & limits | Default— |
| Parameter | Contract |
|---|---|
Parametercontent_type | Contractapplication/json |
Parameterrequired | Contractmodel, input |
Parametermaterial_types | Contracttext |
Lifecycle: synchronous_result_then_owned_library
GET /v1/media/tasks/{task_id} · actual returned task_id or media library record
GET /v1/media/assets/{asset_id}/content
GET /v1/media/assets
GET /v1/media/assets/{asset_id}
Tariff references do not add request options. Supported parameters are listed for the selected method.
Match each charge to the conditions shown. Use one rate for each set of alternative configurations.
| Configuration | Rate schedule | Billing unit | Charge |
|---|---|---|---|
| ConfigurationBase token rates | Rate scheduleBase rate | Billing unit— | Charge Input · Input tokens — / 1K tokens Output · Output tokens — / 1K tokens Input · Cache read — / 1K tokens Input · Cache write — / 1K tokens Input · Cache write, 1 hour — / 1K tokens |
| Configurationoutput audio second | Rate schedule— | Billing unitper output audio second | Charge Output · output audio second $0.005 per output audio second |
Ailoot reserves an estimated amount before a request. After the result, it settles the final charge from measured usage. Streaming settlement uses the final usage record. How reservation and settlement work →
set -eu\n: "${AILOOT_API_KEY:?Set your Ailoot API key}"\n: "${AILOOT_INPUT_TEXT:?Set the actual documented input value}"\nexport AILOOT_INPUT_TEXT\npython3 - <<'PY_REQUEST'\nimport json,os\nfrom pathlib import Path\nrequest={'model': 'bytedance-seed/seed-audio-1-0', 'input': '${ACTUAL_INPUT_TEXT}'}\nrequest['input']=os.environ['AILOOT_INPUT_TEXT']\nPath('request.json').write_text(json.dumps(request,ensure_ascii=False),encoding='utf-8')\nPY_REQUEST\ncurl --fail-with-body --silent --show-error https://api.ailoot.ai/v1/audio/speech \\\n -H "Authorization: Bearer $AILOOT_API_KEY" -H 'Content-Type: application/json' \\\n --data-binary @request.json -D response-headers.txt -o response.bin\n# Retain the complete response and headers, every actual output, original returned identifiers and all usage fields. Recover the original operation without submitting creation again.\nComplete binary audio or original audio_url response, headers and every owned asset.
GET /v1/media/tasks/{task_id}GET /v1/media/assets/{asset_id}/contentGET /v1/media/assetsGET /v1/media/assets/{asset_id}set -eu\n: "${AILOOT_API_KEY:?Set your Ailoot API key}"\ncurl --fail-with-body --silent --show-error https://api.ailoot.ai/v1/media/assets \\\n -H "Authorization: Bearer $AILOOT_API_KEY" -o owned-assets.json\n# Preserve every returned asset and follow its exact signed content URL. Do not construct a signed token.\nKeep every complete returned response, file and content part.
Retain the complete response and headers, every actual output, original returned identifiers and all usage fields. Recover the original operation without submitting creation again.
Keep the returned X-Client-Request-ID for reconciliation. Read only actual returned task_id/asset_id values or the owned media library; never build a task URL from the operation ID and never resubmit creation.
Ailoot Ultra bytedance-seed/seed-audio-1-0
Use the method paths shown above.