Radio Production Worktext, 5ED is designed to provide an introduction ot the modern radio production studio, the equipment found in that studio, and basic techniques to accomplish radio production work. The text also emphasizes digital equipment but also includes information on the older analog equipment still used in radio. The worktext format combines information, Q&As, and projects, providing a complete resource for teaching and learning, either in a formal classroom setting or as a self-study guide for the individual. The companion CD-ROM provides project material and demonstrations of key concepts. Radio Production Worktext's clear and simple approach makes it a useful reference for the entry-level broadcaster.The new edition focuses on digital technologies but also covers the revelant analog technologies and their role, while continuing to reflect all tools and methods commonly in use. Some chapters have been reordered to strengthen the text, in recognition of the importance of digital technologies to the whole of the production process - and wil bein the front of the book. * Worktext format provides a complete resource for learning & teaching* Compain CD-ROM demonstrates key audio techniques* Chapters have been reordered to address digital production concerns
Author(s): David Reese, Lynne Gross, Brian Gross,
Edition: 5
Year: 2005
Language: English
Pages: 264
front cover......Page 1
copyright......Page 5
table of contents......Page 8
Preface......Page 14
1.2 THE AUDIO CHAIN......Page 18
1.3 THE STUDIO LAYOUT......Page 19
1.5 STUDIO SOUND CONSIDERATIONS......Page 20
1.6 STUDIO CONSTRUCTION MATERIALS......Page 22
1.7 STUDIO SIZE AND SHAPE......Page 23
1.8 STUDIO AESTHETICS......Page 25
1.11 NOISE AND DISTORTION......Page 26
1.12 PRODUCTION STUDIO SETUP......Page 27
1.13 CONCLUSION......Page 28
1 QUESTIONS......Page 29
1 ANSWERS......Page 31
1 PROJECT 2......Page 34
1 PROJECT 3......Page 35
2.2 THE ANALOG AUDIO PROCESS BECOMES DIGITAL......Page 36
2.3 DESKTOP RADIO PRODUCTION - THE DIGITAL AUDIO EDITOR......Page 38
2.5 DIGITAL AUDIO WORKSTATIONS......Page 42
2.6 AUDIO SYNCHRONIZATION......Page 43
2.7 ADVANTAGES OF THE DIGITAL PRODUCTION STUDIO......Page 44
2.8 DISADVANTAGES OF THE DIGITAL PRODUCTION STUDIO......Page 45
2.11 SOUND DEFINED......Page 46
2.12 KEY CHARACTERISTICS OF SOUND WAVES......Page 47
2.13 CONCLUSION......Page 49
2 QUESTIONS......Page 50
2 ANSWERS......Page 52
2 PROJECT 2......Page 55
2 PROJECT 3......Page 56
3.2 THE DIGITAL AUDIO CONSOLE......Page 58
3.3 AUDIO CONSOLE FUNCTIONS......Page 59
3.5 INPUT SELECTORS......Page 61
3.6 INPUT VOLUME CONTROL......Page 62
3.8 CUE......Page 63
3.9 VU METERS......Page 64
3.10 OUTPUT SELECTORS......Page 65
3.14 EQUALIZERS AND PAN POTS......Page 66
3.16 SOUND TRANSITIONS AND ENDINGS......Page 67
3.17 CONCLUSION......Page 68
3 QUESTIONS......Page 69
3 ANSWERS......Page 72
3 PROJECT 2......Page 76
3 PROJECT 3......Page 77
4.3 DYNAMIC MICROPHONES......Page 80
4.4 CONDENSER MICROPHONES......Page 81
4.6 SPECIAL-PURPOSE MICROPHONES......Page 82
4.8 THE OMNIDIRECTIONAL PICKUP PATTERN......Page 83
4.10 THE CARDIOID PICKUP PATTERN......Page 85
4.11 POLAR RESPONSE PATTERNS......Page 87
4.16 MULTIPLE-MICROPHONE INTERFERENCE......Page 88
4.18 STEREO MIKING TECHNIQUES......Page 89
4.19 SURROUND SOUND......Page 90
4.21 SHOCK MOUNTS......Page 91
4.23 MICROPHONE USAGE......Page 92
4.24 CONCLUSION......Page 94
4 QUESTIONS......Page 95
4 ANSWERS......Page 98
4 PROJECT 1......Page 101
4 PROJECT 3......Page 102
5.2 THE CD PLAYER......Page 104
5.3 ADVANTAGES OF THE CD PLAYER......Page 105
5.6 THE CD RECORDER......Page 106
5.7 SACD (SUPER AUDIO CD)......Page 107
5.8 DVD-AUDIO......Page 108
5.11 DATA COMPRESSION......Page 109
5.12 COMPACT FLASH AND OTHER DIGITAL RECORDERS......Page 110
5.14 THE DAT RECORDER......Page 112
5.17 CONCLUSION......Page 113
5 QUESTIONS......Page 114
5 ANSWERS......Page 116
5 PROJECT 2......Page 119
5 PROJECT 3......Page 120
6.3 TYPES OF EDITING......Page 122
6.4 DIGITAL AUDIO EDITING......Page 123
6.5 THE DIGITAL MULTI-TRACK RECORDER......Page 125
6.6 OTHER MULTITRACK RECORDERS......Page 126
6.7 OVERDUBBING TRACKS......Page 127
6.8 PUNCHING IN TRACKS......Page 128
6.11 MIXING TO STEREO/MONO COMPATIBILITY......Page 129
6.12 THE MULTI-TRACK COMMERCIAL SPOT......Page 130
6.14 DOVETAILING......Page 132
6.16 CONCLUSION......Page 133
6 QUESTIONS......Page 134
6 ANSWERS......Page 136
6 PROJECT 2......Page 139
6 PROJECT 3......Page 140
7.3 THE GRAPHIC EQUALIZER......Page 142
7.4 THE PARAMETRIC EQUALIZER......Page 143
7.5 EQUALIZER USES......Page 144
7.6 AUDIO FILTERS......Page 145
7.8 REVERBERATION......Page 146
7.11 COMPRESSORS, EXPANDERS, AND NOISE GATES......Page 148
7.14 MULTI-EFFECTS PROCESSORS......Page 149
7.15 CONCLUSION......Page 150
7 QUESTIONS......Page 151
7 ANSWERS......Page 153
7 PROJECT 2......Page 156
7 PROJECT 3......Page 157
8.3 BASIC SPEAKER SYSTEM COMPONENTS......Page 160
8.4 SPEAKER SYSTEM ENCLOSURE DESIGNS......Page 161
8.5 SPEAKER SOUND QUALITIES......Page 162
8.6 SPEAKER PLACEMENT......Page 163
8.9 SPEAKER SENSITIVITY......Page 164
8.10 HEADPHONES......Page 165
8.11 HARDWIRING AND PATCHING......Page 166
8.12 COMMON BROADCAST CONNECTORS......Page 167
8.13 OTHER CONNECTORS AND CONNECTOR ADAPTERS......Page 168
8.14 BALANCED AND UNBALANCED LINES......Page 169
8.16 STUDIO TIMERS......Page 170
8.17 OTHER STUDIO ACCESSORIES......Page 171
8.19 CONCLUSION......Page 172
8 QUESTIONS......Page 173
8 ANSWERS......Page 176
8 PROJECT 2......Page 179
8 PROJECT 3......Page 180
9.3 BASIC TURNTABLE COMPONENTS......Page 182
9.4 VINYL RECORDS - CARE AND CUEING......Page 183
9.6 LEADER TAPE......Page 184
9.8 TAPE RECORDER HEAD ARRANGEMENT......Page 185
9.10 THE TAPE RECORDER TRANSPORT......Page 186
9.11 TAPE RECORDER ELECTRONICS......Page 187
9.13 CROSS TALK AND COMPATIBILITY......Page 188
9.15 THE CASSETTE TAPE RECORDER......Page 189
9.17 AUDIO TAPE EDITING: TOOLS OF THE TRADE......Page 190
9.19 BASIC STEPS IN SPLICING TECHNIQUE......Page 191
9.22 CONCLUSION......Page 193
9 QUESTIONS......Page 194
9 ANSWERS......Page 196
9 PROJECT 1......Page 199
9 PROJECT 2......Page 200
9 PROJECT 3......Page 201
10.2 BASIC RADIO PRODUCTION ELEMENTS......Page 202
10.4 MUSIC ANNOUNCING......Page 203
10.6 NEWS ANNOUNCING......Page 205
10.7 PUBLIC AFFAIRS PROGRAM HOST......Page 206
10.8 TALK SHOW HOST......Page 207
10.10 RADIO DRAMA......Page 208
10.11 CONCLUSION......Page 209
10 QUESTIONS......Page 210
10 ANSWERS......Page 212
10 PROJECT 2......Page 214
10 PROJECT 3......Page 215
11.2 WEB PAGES......Page 218
11.4 ENCODERS......Page 220
11.7 SOFTWARE OPTIONS......Page 221
11.10 INTERNET RADIO STATION LISTING SITES......Page 225
11.11 OTHER DISTRIBUTION MEANS......Page 227
11.14 OVER-THE-AIR BROADCASTING......Page 229
11.15 DIGITAL AUDIO BROADCASTING......Page 230
11.17 CONCLUSION......Page 231
11 QUESTIONS......Page 232
11 ANSWERS......Page 234
11 PROJECT 2......Page 237
11 PROJECT 3......Page 238
GLOSSARY......Page 240
SUGGESTED READING......Page 250
PRODUCTION TIP #13—AUDACITY......Page 251
index......Page 252
