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Modern Radio Production Production, Programming, and Performance

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ISBN-10: 0534561063

ISBN-13: 9780534561062

Edition: 5th 2000

Authors: Carl Hausman, Philip Benoit, Lewis B. O'Donnell

List price: $84.95
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This work provides a current, comprehensive look at radio production and programming, integrating new material on cutting-edge technologies with explanation of traditional equipment and practices.
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Book details

List price: $84.95
Edition: 5th
Copyright year: 2000
Publisher: Wadsworth
Publication date: 7/22/1999
Binding: Hardcover
Pages: 400
Size: 7.57" wide x 9.51" long x 0.80" tall
Weight: 1.738
Language: English

Carl Hausman is the author of more than two dozen books, papers, and journals, many of which focus on metaphor theory and the philosophy of creativity. Some of his best known works include The Complete Small-Business Sourcebook (written with Wilbur Cross); Coping with Hearing Loss: A Guide for Adults and their Families; Crafting the News for Electronic Media: Writing, Reporting and Producing; and A Discourse on Novelty and Creation. Also the co-editor of the Journal of Speculative Philosophy, Carl Hausman has been an adjunct professor at the University of Louisville in Kentucky.

Philip Benoit is an adjunct professor of English at Pennsylvania's Millersville University. He previously served as director of public affairs at Middlebury College in Vermont and associate vice president for communications at Franklin & Marshall College in Lancaster, Pa. With a broad background in radio, television, and public relations, Benoit was the first director of the broadcasting academic program at SUNY Oswego. He also served as executive officer of the American Forces Network in Europe and American advisor to the Vietnamese Armed Forces Radio Network.

Lewis B. O'Donnell was Professor Emeritus of Communication Studies at SUNY Oswego. O'Donnell, a former president of a radio station ownership group, worked in a variety of management and performance positions in radio and television. He was awarded the Frank Stanton Fellowship by the International Radio and Television Society and he received the New York State Chancellor's Award for Excellence in Teaching.

Prefacep. xvi
Forewordp. xviii
The Toolsp. 1
Production in Modern Radiop. 2
Sound of the Stationp. 4
Formatsp. 4
Reaching a Specific Audiencep. 4
How Target Audiences Affect Formatp. 5
How Formats Are Constructedp. 6
Networksp. 7
Other Programming Developments in Radiop. 8
Noncommercial Radiop. 8
Tuning into Technology: Web Radiop. 9
Economics of Noncommercial Radiop. 12
Industry Update: Digital Becomes the Workhorse of Radio...But Don't Throw Away the Old Stuff Just Yetp. 14
The Role of the Producer in Modern Radiop. 17
Summaryp. 20
You're On! Techniques for Effective On-Air Performance: The Role of the Announcer in Modern Radiop. 21
The Consolep. 25
Function of the Consolep. 25
Amplificationp. 26
Routingp. 26
Mixingp. 26
Understanding Console Function: Some Hypothetical Examplesp. 26
Understanding Console Function: Actual Consolesp. 39
Operation of the Consolep. 42
The Virtual Consolep. 43
Submixingp. 45
Patchingp. 46
A Final Look at Two Broadcast Consolesp. 47
CO Players and Turntablesp. 53
Compact Discsp. 54
Tuning into Technology: How a CD Stores Binary Informationp. 56
Structure of a Turntablep. 60
The Platep. 60
The Switchp. 60
The Speed Controlp. 60
The Drive Mechanismp. 62
The Tonearmp. 63
The Discp. 63
Handling Discsp. 63
Cueing a Discp. 65
Review of Turntable Operationp. 60
Tape Recording and Playback Unitsp. 73
Magnetic Tapep. 73
Workings of the Reel-to-Reel Tape Machinep. 74
The Headsp. 76
The Tape Transport Mechanismp. 77
Tape Machine Controls and Indicatorsp. 77
Cueing a Tapep. 78
Heads and Tracksp. 79
How Tracks Workp. 79
Why There Are Different Head Mechanismsp. 79
Cassette Machinesp. 81
Cartridge Machinesp. 81
The Digital Cart Machinep. 85
Special Problems Associated with Cartridge Machinesp. 86
Sound over Soundp. 86
Recueingp. 86
Wowingp. 86
Other Features of Cart Machinesp. 86
Relation of Record Units to the Consolep. 88
Digital Processingp. 88
Digital Audiotapep. 90
Tapeless Recordingp. 92
Microphones and Soundp. 95
The Basics of Soundp. 95
The Elements of Soundp. 96
The Nature of Sound: Frequencyp. 98
The Nature of Sound: Amplitudep. 99
Other Characteristics of Soundp. 100
The Microphone: How It Worksp. 103
Electronics of the Microphonep. 103
Condenserp. 103
Pickup (Polar) Patterns of the Microphonep. 105
Frequency Response of Microphonesp. 109
Physical Types of Microphonesp. 111
Hand-Heldp. 111
Studio, Mountedp. 111
Headsetp. 113
Lavalierp. 113
Shotgunp. 113
Microphone Selection and Usep. 114
Selection by Mic Typep. 114
Selection by Pickup Patternp. 114
Selection by Elementp. 115
Selection by Frequency Responsep. 115
Selection by Personalityp. 116
Adding Up Selection Factorsp. 116
The Techniquesp. 125
Physical and Electronic Editingp. 126
The Basics of Splicing and Dubbingp. 127
Splicingp. 127
Marking the First Edit Pointp. 127
Marking the Second Edit Pointp. 128
Cutting the Tapep. 129
Making the Splicep. 131
Leader Tapep. 133
Dubbingp. 134
Problems Associated with Dubbingp. 134
Advantages of Dubbingp. 135
Computer-Assisted Editingp. 135
Editingp. 137
Establish Music, Music Under, Voice Upp. 143
Cross-Fadep. 144
Voice Out, Music Upp. 144
Music Wrapp. 144
Voice Wrapp. 144
Using Editing and Production Structuresp. 145
Recorded Program Productionp. 149
Recorded versus Live, On-Air Productionp. 149
Complexityp. 149
Scheduled Airtimep. 150
Conveniencep. 150
Layout of a Production Studiop. 150
Equipment in the Production Studiop. 152
Sound Treatment in the Production Studiop. 152
Working in a Production Studiop. 153
Musicp. 154
Sources of Musicp. 154
Choosing Music for Production Workp. 155
Styles of Musicp. 155
Recorded Voicep. 157
Miking Multiple Speakersp. 157
Communicating with Speakersp. 160
Sound Effectsp. 162
Combining Elements in Productionp. 162
Live, On-Air Productionp. 167
Typical Airshiftp. 167
Duties of the On-Air Producerp. 168
Typical Schedulep. 171
Sound of the Stationp. 171
Pacep. 171
Contentp. 171
Announcing Stylep. 171
Blending the Sound Sourcesp. 174
Suggestions for Live, On-Air Productionp. 174
Console Operationp. 174
Establishing a Routinep. 174
Planning in Advancep. 176
Being Aware of False Endingsp. 176
Recueing Cartsp. 176
Listening to the Air Monitorp. 177
Clearing Equipmentp. 177
Planning for the Worstp. 177
Working with Satellite Servicesp. 177
The Satellite Feedp. 178
Programming from Satellitep. 178
How to Use Service Materialp. 179
More About the Computer in Radio Productionp. 185
Computer Basicsp. 185
Computer-Generated Effectsp. 187
Computer-Assisted Editingp. 190
Computer Applications in On-Air Productionp. 196
Computers in Automationp. 197
Computers in the Programming Functionp. 201
Digital Audio Broadcastingp. 202
The Applicationsp. 205
Achieving an Effectp. 206
What Is an Effect?p. 206
Kinds of Effectp. 207
How Production Elements Support a Themep. 207
Creating Excitementp. 208
Creating Immediate Identificationp. 208
Evoking an Emotionp. 208
How a Producer Utilizes Production Elementsp. 209
Musicp. 209
Sound Effectsp. 211
Coloration of Soundp. 212
Timing and Pacep. 212
Voice Qualityp. 213
Sound of Wordsp. 217
Copywritingp. 217
Using Elements of Sound to Achieve an Effectp. 218
Putting Voice on Tapep. 218
Recording Music on Tapep. 218
Drama and Dramatic Elements in Radio Productionp. 223
The Structure of Dramap. 223
Actionp. 224
Dialoguep. 224
Plotp. 224
Beginning, Middle, and Endp. 224
Conflictp. 224
Suspensep. 224
Expositionp. 225
Role of Dramatic Elements in Commercial Productionp. 225
Capturing Attentionp. 225
Compressing Timep. 226
Role of Dramatic Elements in News Productionp. 228
Technical Considerations of Radio Dramap. 228
Giving the Illusion of Placep. 228
Giving the Illusion of Movementp. 229
Making the Background a Fabric of Believabilityp. 229
Mic Techniques to Achieve Illusions of Place and Movementp. 229
Commercial Productionp. 233
What Makes a Commercial Effective?p. 234
Elements of Effective Radio Advertisingp. 235
A Shoe Store Advertisementp. 236
A Car Dealership Advertisementp. 237
Practical Approaches to Radio Commercialsp. 238
Advertising Appealsp. 238
Execution of Radio Commercialsp. 240
Suggestions for Producing Effective Commercialsp. 244
Avoid Gimmicksp. 244
Summarize the Thrustp. 244
Don't Blast the Listenerp. 244
Read the Spot to the Clientp. 245
Don't Force Humorp. 245
Achieve High Technical Qualityp. 245
Don't Overuse a Particular Piece of Musicp. 245
Keep the Message Simplep. 246
Avoid the "Big Five"p. 246
Production Applications in Station Promotionp. 246
Radio Production for News and Public Affairsp. 253
News Gatheringp. 254
News Writingp. 255
News Assemblyp. 271
Choosing Stories and Story Orderp. 271
Choosing Sound Elementsp. 271
News Reading and Reportingp. 271
News and Public-Affairs Programmingp. 272
Newscastsp. 272
Exclusively Local Newsp. 273
Local News with Wire Copyp. 273
News with Wire Copy and Network Audiop. 278
Talk Showsp. 278
Special Eventsp. 280
Production Techniques for News and Public Affairsp. 280
Interviewingp. 280
Story and Actuality Editingp. 281
Using Sound Sources in Radio News Productionp. 281
Using the Telephone to Maximum Benefitp. 281
Adding Production Elements to Public-Service Announcementsp. 283
Using Modern News-Gathering Technologyp. 283
Making the Newscast a Cohesive, Unified Wholep. 284
Remote and Sports Productionp. 299
Remote Radio Equipmentp. 300
Tuning Into Technology: Getting the Signal from There to Herep. 301
Telephone Linesp. 302
Other Equipmentp. 303
Planning the Remotep. 305
Preparing the Sitep. 305
Preparing the Equipmentp. 306
Preparing a Communication Systemp. 307
The Sports Remotep. 307
Baseballp. 308
Hockeyp. 308
Footballp. 308
Basketballp. 308
Field Sportsp. 309
Boxingp. 309
Advanced Radio Productionp. 313
Multichannel Recordingp. 313
Input Modulesp. 315
Output Busesp. 317
Monitor Controlsp. 317
Further Note About Multichannel Consolesp. 317
Role of Multitrack Recordingp. 317
Stereop. 320
Recording Musicp. 320
Total-Sound Recording Microphone Techniquesp. 321
Isolated-Component Recordingp. 323
Electronic Equipment and Its Use in Radio Productionp. 324
Equipmentp. 325
Techniquesp. 328
Production, Programming, and the Modern Formatp. 331
The Audience and the Formatp. 331
The Audiencep. 332
Methods of Measuring Audiencep. 333
Calculating How Efficiently a Station Reaches Its Audiencep. 335
Paying for Efficiencyp. 336
The Specifics of the Radio Formatp. 338
Defining Current Formatsp. 338
Filling the Niche: Today's Trendsp. 341
On-Air and Off-Air Production in the Modern Formatp. 343
Production and Tune-Outp. 344
Production for Adult Contemporaryp. 345
Production for News/Talkp. 346
Production for Countryp. 347
Production for Top 40/CHRp. 348
Production for Urban/Churbanp. 348
Production for Album Rockp. 349
Production for Easy Listeningp. 349
Putting a Format on Airp. 350
The Format and the Sound Hourp. 350
Constructing the Playlistp. 351
Troubleshooting Chartp. 357
Another Time: A Play by Richard Wilsonp. 361
A Capsule History of Radio: Past Meets Future for the Modern Producer and Programmerp. 371
The Beginnings of the Magic Mediump. 371
Radio Finds a Voicep. 372
Radio After World War Ip. 374
Radio Carries a Tunep. 374
Radio After KDKA: The Coming Chaosp. 376
ATandT Develops Toll Broadcastingp. 377
Exit ATandTp. 378
Development of the Networksp. 378
NBC and CBSp. 379
New Competitors Set Their Sights on NBCp. 379
Paley Takes Over CBSp. 379
Advertising Comes of Agep. 380
The Golden Age and Mass Entertainmentp. 380
Sidebar: David Sarnoff and William S. Paleyp. 381
Radio Comes of Agep. 384
Television Lowers the Boomp. 387
Rock Saves Radiop. 388
Radio Tunes into Its Audiencep. 389
Glossaryp. 391
Suggested Readingsp. 403
Indexp. 407
Table of Contents provided by Syndetics. All Rights Reserved.