Lay it under a picture lock
A video editor can drop the MP3 on the timeline at 00:00:00. Cue 1’s speech then sits where the SRT said it should, without nudging each line by hand.
The download is a single MP3, not a folder of lines. It is encoded at 192 kbps from a 44.1 kHz, 2-channel, 16-bit mix, and each subtitle sits at the timestamp it had in the SRT.
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Upload the .srt
The file can come from a subtitle editor, a caption export, or a transcript you saved as SubRip.
Choose the voice, leave MP3 selected
MP3 is the default format. Switch to WAV, FLAC, or Opus in the same menu if the delivery spec asks for something else.
Download one MP3
The browser saves the finished file. Drop it on a video timeline or send it as the review copy.
The timing is decided before the encode. Changing MP3 for WAV does not move the cues. How the speech is fitted to each window is on the SRT-to-speech page.
A video editor can drop the MP3 on the timeline at 00:00:00. Cue 1’s speech then sits where the SRT said it should, without nudging each line by hand.
An MP3 is small enough to attach or drop in a chat. Reviewers hear the timed read without installing the editor that made the SRT.
Store the MP3 next to the SRT. If the wording changes, edit the subtitle and export again; the previous file stays a record of what shipped.
When a sound engineer wants the uncompressed mix, generate WAV from the same cues. The speech does not have to be timed a second time.
Starting from VTT or ASS insteadSome converters hand back a separate audio clip for every subtitle, and you still have to place each clip. Recastr writes the placement into the file: one MP3 whose playhead matches the SRT clock.
MP3, WAV, FLAC, and Opus are encodes of the same mix. Generate again in another format and the cue start times stay where the SRT put them.
If the project began as a video, the app can also return that video with the new audio. The MP3 is the standalone voice track for everything else: editors, review, and archive.
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