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by Craig Stark, Sam Sauls
Audio Production Worktext, 7th Edition
Cover
Halftitle
Title
Copyright
Contents
Preface
Acknowledgments
Chapter 1 Production Planning
1.1 Introduction
1.2 The Idea
1.3 Goals and Objectives
1.4 The Target Audience
1.5 Style
1.6 Production Personnel
1.7 Production Elements
Production Tip 1A—Pick Any Two
1.8 The Script
1.9 Paperwork
1.10 The Importance of Voice
Production Tip 1B—Copy Marking
1.11 Equipment and Facilities
1.12 Laws
1.13 Ethics
1.14 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Undertake Production Planning for a 15-Minute Interview Show
Project 2—Assess Your Skills
Chapter 2 The Studio Environment
2.1 Introduction
2.2 The Audio Chain
2.3 The Studio Layout
2.4 Production Studio Furniture
2.5 Studio Sound Considerations
2.6 Studio Construction Materials
2.7 Studio Size and Shape
2.8 Studio Aesthetics
Production Tip 2A—Static Electricity
2.9 On-Air/Recording Lights
2.10 Hand Signals
2.11 Noise and Distortion
2.12 Is it a Sound Signal or an Audio Signal?
2.13 Sound Defined
2.14 Key Characteristics of Sound Waves
2.15 Frequency Response
2.16 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Tour an Audio Facility and Write a Report Describing It
Project 2—Redesign Your Production Studio
Project 3—Draw an Audio Chain Flowchart for Your Production Studio
Chapter 3 Digital Audio Production
3.1 Introduction
3.2 The Analog Roots of Digital Production
3.3 The Digital Process
3.4 Reasons for Editing
3.5 Desktop Audio Production: The Digital Audio Editor
Production Tip 3A—Audacity
3.6 Digital Audio Workstations and Other Digital Editors
3.7 Strong Points and Weak Points of Digital Production
Production Tip 3B—Maintaining Digital Equipment
3.8 Audio Synchronization
3.9 Latency Issues
3.10 Digital Audio Editing
3.11 Multitrack Editing Techniques
3.12 Multitrack Voice Effects
3.13 Track Sheets
3.14 The Mix Down
3.15 Multitrack Spot Production
3.16 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Undertake Digital Audio Editing
Project 2—Using a Digital Audio Editor, Build a Short Music Bed and Record a “Voice and Music Bed” Spot
Project 3—Write and Record a 60-Second “Concert Commercial”
Project 4—Write and Record a Report that Compares Various Recording/Editing Software Programs
Chapter 4 Microphones
4.1 Introduction
4.2 Classifying Microphones
4.3 Dynamic Microphones
4.4 Condenser Microphones
4.5 Microphone Pickup Patterns
4.6 The Omnidirectional Pickup Pattern
4.7 The Cardioid Pickup Pattern
4.8 Polar Response Patterns
4.9 Impedance of Microphones
4.10 Sensitivity of Microphones
4.11 Proximity Effect and Bass Roll-Off
4.12 Microphone Feedback
4.13 Multiple-Microphone Interference
4.14 Stereo
4.15 Stereo Miking Techniques
4.16 Surround Sound
4.17 Special Purpose and Other Types of Microphones
4.18 Microphone Accessories
4.19 Microphone Usage
Production Tip 4A—Microphone-to-Mouth Relationship and Setting Levels
4.20 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Position Microphones in Various Ways to Create Different Effects
Project 2—With Several Other Students, Make a Recording Using Stereo Miking Techniques
Project 3—Compare Sound from Different Types of Microphones
Project 4—Diagram/Apply Miking Techniques to Various On-Campus or Local Sporting Events
Chapter 5 The Audio Console
5.1 Introduction
5.2 The Digital Audio Console
5.3 Audio Console Functions
5.4 Computers and Audio Consoles
5.5 Basic Audio Console Components
5.6 Input Selectors
5.7 Input Volume Control
5.8 Monitoring: Speakers and Headphones
5.9 Cue
5.10 VU Meters
5.11 Output Selectors
5.12 Output Volume Control
5.13 Remote Starts, Clocks, and Timers
5.14 Equalizers and Pan Pots
5.15 Other Features
Production Tip 5A—Manipulating Faders
5.16 Sound Transitions and Endings
5.17 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Learn To Operate an Audio Console
Project 2—Diagram and Label an Audio Board
Project 3—Record a Two-Voice Commercial
Chapter 6 Digital Audio Players/Recorders
6.1 Introduction
6.2 The CD Player
6.3 CDs and Care of CDs
6.4 The CD Recorder
6.5 Data Compression
6.6 Compactflash and Other Digital Recorders
6.7 Storage
6.8 MP3/Portable Audio Players
6.9 Digital Distribution Networks
6.10 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Record a Public Service Announcement that Uses a Sound Effect
Project 2—Prepare a Report on a Digital Player/Recorder that Is Not Discussed in This Chapter
Project 3—Play and Record Several CD Selections
Project 4—Record a 5-minute Interview with a Classmate and Edit the Interview to 3 Minutes, Using a Portable Digital Recording Device
Chapter 7 Monitor Speakers and Studio Accessories
7.1 Introduction
7.2 Types of Speakers
7.3 Basic Speaker System Components
7.4 Speaker System Enclosure Designs
7.5 Speaker Sound Qualities
7.6 Speaker Placement
7.7 Phase and Channel Orientation
7.8 Monitor Amplifiers
7.9 Speaker Sensitivity
7.10 Headphones
7.11 Hardwiring and Patching
7.12 Common Audio Connectors
7.13 Other Connectors and Connector Adapters
7.14 Balanced and Unbalanced Lines
7.15 Microphone, Line, and Speaker Levels
7.16 Studio Timers
7.17 Telephone Interface
7.18 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Compare Speaker/Listener Placement
Project 2—Identify Common Connectors Found in the Audio Production Studio
Chapter 8 Signal Processing Equipment
8.1 Introduction
8.2 Why Use Signal Processing Effects?
8.3 Software or Black Box Signal Processing
8.4 Equalizers
8.5 The Graphic Equalizer
8.6 The Parametric Equalizer
8.7 Audio Filters
8.8 Noise Reduction
8.9 Reverb and Digital Delay
Production Tip 8A—World Wide Web Effects
8.10 Dynamic Range
8.11 Compressors, Expanders, and Noise Gates
8.12 Limiters
8.13 Other Signal Processors
8.14 Multi-Effects Processors
8.15 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Record a Commercial Spot that Uses a Signal Processing Effect
Project 2—Use Multitrack Recording to Create a Chorusing Effect
Project 3—Restore an Audio Clip Using Noise-Reduction Software
Chapter 9 Production Situations
9.1 Introduction
9.2 Producing Commercials
Production Tip 9A—Music Punctuators
9.3 Enhancing Image
9.4 Announcing Music
9.5 Recording Music
Production Tip 9B—Miking a Guitar
9.6 Preparing and Announcing News
9.7 Reporting Sports, Traffic, and Weather
9.8 Hosting Talk Shows
9.9 Performing Drama and Variety
9.10 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Record an Air-Check Tape
Project 2—Record a 5-Minute Radio Interview Show in Which You Are the Interviewer
Chapter 10 Location Sound Recording
10.1 Introduction
10.2 Types of Field Production
10.3 Common Location Sound Problems
Production Tip 10A—How to Get Rid of a Hum
10.4 Site Planning for Location Recording
10.5 Using Microphones
10.6 Using Recorders
10.7 Using Mixers
10.8 Using Headphones
10.9 Getting the Signal Back to the Studio
10.10 Handling Vehicles
10.11 Providing for Your Own Needs
Production Tip 10B—How to Pack a Survival Bag
10.12 Postproduction Concerns for Location Recording
10.13 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Listen and Plan for Sounds
Project 2—Record Atmosphere Sound, Room Tone, and Walla Walla
Chapter 11 Sound Production for the Visual Media
11.1 Introduction
11.2 The Importance of Sound to a Visual Production
11.3 The Need to Accommodate the Picture
11.4 Recording Speech
11.5 The Fishpole
Production Tip 11A—Holding a Fishpole
11.6 The Lavaliere
11.7 Other Forms of Microphone Positioning
11.8 Continuity and Perspective
11.9 The Recording Procedure
Production Tip 11B—Recording with Your Eyes Shut
11.10 Recording Sound Effects
11.11 Recording Ambient Sounds
11.12 Recording Music
11.13 Recording ADR
11.14 Recording Foley
11.15 Recording Voice-Overs
11.16 Postproduction Considerations
11.17 Final Mix
11.18 Conclusions
Self-Study
Questions
Answers
Projects
Project 1—Determine the Importance of Sound and Picture
Project 2—Record Sound for a Video Project
Chapter 12 Internet Radio and Other Distribution Platforms
12.1 Introduction
Production Tip 12A—Love Manifests to Digital
12.2 Web Pages
12.3 Overview of the Audio Process for Streaming
12.4 Encoders
12.5 Servers
12.6 Playback Software and Apps
12.7 Software Options
Production Tip 12B—Internet Audience and On-Air Talent Interaction
12.8 On-Demand Files and Podcasting
12.9 Building a Home Studio for Internet Audio Production
12.10 Copyright
12.11 Internet Radio Station Listing Sites
12.12 Other Distribution Means
12.13 Satellite Radio
12.14 Cable and Satellite TV Radio
12.15 Over-the-Air Broadcasting
12.16 HD Radio
12.17 Conclusion
Self-Study
Questions
Answers
Projects
Project 1—Report on the Differences and Similarities among Six Radio Station Websites
Project 2—Tour a Broadcast Radio Station Transmitting Facility
Project 3—See What You Have and What You Need to Build Your Own Audio Recording and Editing Facility in Your Home or Dorm Room
Glossary
Appendix Analog and Digital Audio Equipment
A.1 Introduction
A.2 Turntables
A.3 Turntable Use
A.4 Reel-to-Reel Audio Tape Recorders
A.5 Reel-to-Reel Recorder Use
Production Tip A.A—Sel Sync
A.6 Cassette Tape Recorders
A.7 Cassette Recorder Use
A.8 Cartridge Tape Recorders
A.9 Cartridge Recorder Use
A.10 Tape-Based Digital Recorders
A.11 Analog Tape Editing Tools
A.12 Making Edits
A.13 Analog Audio Consoles
A.14 Analog Audio Console Use
A.15 The MD Recorder/Player
A.16 The MiniDisc
A.17 Conclusion
Index
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