Preface | p. xvi |
Foreword | p. xviii |
The Tools | p. 1 |
Production in Modern Radio | p. 2 |
Sound of the Station | p. 4 |
Formats | p. 4 |
Reaching a Specific Audience | p. 4 |
How Target Audiences Affect Format | p. 5 |
How Formats Are Constructed | p. 6 |
Networks | p. 7 |
Other Programming Developments in Radio | p. 8 |
Noncommercial Radio | p. 8 |
Tuning into Technology: Web Radio | p. 9 |
Economics of Noncommercial Radio | p. 12 |
Industry Update: Digital Becomes the Workhorse of Radio...But Don't Throw Away the Old Stuff Just Yet | p. 14 |
The Role of the Producer in Modern Radio | p. 17 |
Summary | p. 20 |
You're On! Techniques for Effective On-Air Performance: The Role of the Announcer in Modern Radio | p. 21 |
The Console | p. 25 |
Function of the Console | p. 25 |
Amplification | p. 26 |
Routing | p. 26 |
Mixing | p. 26 |
Understanding Console Function: Some Hypothetical Examples | p. 26 |
Understanding Console Function: Actual Consoles | p. 39 |
Operation of the Console | p. 42 |
The Virtual Console | p. 43 |
Submixing | p. 45 |
Patching | p. 46 |
A Final Look at Two Broadcast Consoles | p. 47 |
CO Players and Turntables | p. 53 |
Compact Discs | p. 54 |
Tuning into Technology: How a CD Stores Binary Information | p. 56 |
Structure of a Turntable | p. 60 |
The Plate | p. 60 |
The Switch | p. 60 |
The Speed Control | p. 60 |
The Drive Mechanism | p. 62 |
The Tonearm | p. 63 |
The Disc | p. 63 |
Handling Discs | p. 63 |
Cueing a Disc | p. 65 |
Review of Turntable Operation | p. 60 |
Tape Recording and Playback Units | p. 73 |
Magnetic Tape | p. 73 |
Workings of the Reel-to-Reel Tape Machine | p. 74 |
The Heads | p. 76 |
The Tape Transport Mechanism | p. 77 |
Tape Machine Controls and Indicators | p. 77 |
Cueing a Tape | p. 78 |
Heads and Tracks | p. 79 |
How Tracks Work | p. 79 |
Why There Are Different Head Mechanisms | p. 79 |
Cassette Machines | p. 81 |
Cartridge Machines | p. 81 |
The Digital Cart Machine | p. 85 |
Special Problems Associated with Cartridge Machines | p. 86 |
Sound over Sound | p. 86 |
Recueing | p. 86 |
Wowing | p. 86 |
Other Features of Cart Machines | p. 86 |
Relation of Record Units to the Console | p. 88 |
Digital Processing | p. 88 |
Digital Audiotape | p. 90 |
Tapeless Recording | p. 92 |
Microphones and Sound | p. 95 |
The Basics of Sound | p. 95 |
The Elements of Sound | p. 96 |
The Nature of Sound: Frequency | p. 98 |
The Nature of Sound: Amplitude | p. 99 |
Other Characteristics of Sound | p. 100 |
The Microphone: How It Works | p. 103 |
Electronics of the Microphone | p. 103 |
Condenser | p. 103 |
Pickup (Polar) Patterns of the Microphone | p. 105 |
Frequency Response of Microphones | p. 109 |
Physical Types of Microphones | p. 111 |
Hand-Held | p. 111 |
Studio, Mounted | p. 111 |
Headset | p. 113 |
Lavalier | p. 113 |
Shotgun | p. 113 |
Microphone Selection and Use | p. 114 |
Selection by Mic Type | p. 114 |
Selection by Pickup Pattern | p. 114 |
Selection by Element | p. 115 |
Selection by Frequency Response | p. 115 |
Selection by Personality | p. 116 |
Adding Up Selection Factors | p. 116 |
The Techniques | p. 125 |
Physical and Electronic Editing | p. 126 |
The Basics of Splicing and Dubbing | p. 127 |
Splicing | p. 127 |
Marking the First Edit Point | p. 127 |
Marking the Second Edit Point | p. 128 |
Cutting the Tape | p. 129 |
Making the Splice | p. 131 |
Leader Tape | p. 133 |
Dubbing | p. 134 |
Problems Associated with Dubbing | p. 134 |
Advantages of Dubbing | p. 135 |
Computer-Assisted Editing | p. 135 |
Editing | p. 137 |
Establish Music, Music Under, Voice Up | p. 143 |
Cross-Fade | p. 144 |
Voice Out, Music Up | p. 144 |
Music Wrap | p. 144 |
Voice Wrap | p. 144 |
Using Editing and Production Structures | p. 145 |
Recorded Program Production | p. 149 |
Recorded versus Live, On-Air Production | p. 149 |
Complexity | p. 149 |
Scheduled Airtime | p. 150 |
Convenience | p. 150 |
Layout of a Production Studio | p. 150 |
Equipment in the Production Studio | p. 152 |
Sound Treatment in the Production Studio | p. 152 |
Working in a Production Studio | p. 153 |
Music | p. 154 |
Sources of Music | p. 154 |
Choosing Music for Production Work | p. 155 |
Styles of Music | p. 155 |
Recorded Voice | p. 157 |
Miking Multiple Speakers | p. 157 |
Communicating with Speakers | p. 160 |
Sound Effects | p. 162 |
Combining Elements in Production | p. 162 |
Live, On-Air Production | p. 167 |
Typical Airshift | p. 167 |
Duties of the On-Air Producer | p. 168 |
Typical Schedule | p. 171 |
Sound of the Station | p. 171 |
Pace | p. 171 |
Content | p. 171 |
Announcing Style | p. 171 |
Blending the Sound Sources | p. 174 |
Suggestions for Live, On-Air Production | p. 174 |
Console Operation | p. 174 |
Establishing a Routine | p. 174 |
Planning in Advance | p. 176 |
Being Aware of False Endings | p. 176 |
Recueing Carts | p. 176 |
Listening to the Air Monitor | p. 177 |
Clearing Equipment | p. 177 |
Planning for the Worst | p. 177 |
Working with Satellite Services | p. 177 |
The Satellite Feed | p. 178 |
Programming from Satellite | p. 178 |
How to Use Service Material | p. 179 |
More About the Computer in Radio Production | p. 185 |
Computer Basics | p. 185 |
Computer-Generated Effects | p. 187 |
Computer-Assisted Editing | p. 190 |
Computer Applications in On-Air Production | p. 196 |
Computers in Automation | p. 197 |
Computers in the Programming Function | p. 201 |
Digital Audio Broadcasting | p. 202 |
The Applications | p. 205 |
Achieving an Effect | p. 206 |
What Is an Effect? | p. 206 |
Kinds of Effect | p. 207 |
How Production Elements Support a Theme | p. 207 |
Creating Excitement | p. 208 |
Creating Immediate Identification | p. 208 |
Evoking an Emotion | p. 208 |
How a Producer Utilizes Production Elements | p. 209 |
Music | p. 209 |
Sound Effects | p. 211 |
Coloration of Sound | p. 212 |
Timing and Pace | p. 212 |
Voice Quality | p. 213 |
Sound of Words | p. 217 |
Copywriting | p. 217 |
Using Elements of Sound to Achieve an Effect | p. 218 |
Putting Voice on Tape | p. 218 |
Recording Music on Tape | p. 218 |
Drama and Dramatic Elements in Radio Production | p. 223 |
The Structure of Drama | p. 223 |
Action | p. 224 |
Dialogue | p. 224 |
Plot | p. 224 |
Beginning, Middle, and End | p. 224 |
Conflict | p. 224 |
Suspense | p. 224 |
Exposition | p. 225 |
Role of Dramatic Elements in Commercial Production | p. 225 |
Capturing Attention | p. 225 |
Compressing Time | p. 226 |
Role of Dramatic Elements in News Production | p. 228 |
Technical Considerations of Radio Drama | p. 228 |
Giving the Illusion of Place | p. 228 |
Giving the Illusion of Movement | p. 229 |
Making the Background a Fabric of Believability | p. 229 |
Mic Techniques to Achieve Illusions of Place and Movement | p. 229 |
Commercial Production | p. 233 |
What Makes a Commercial Effective? | p. 234 |
Elements of Effective Radio Advertising | p. 235 |
A Shoe Store Advertisement | p. 236 |
A Car Dealership Advertisement | p. 237 |
Practical Approaches to Radio Commercials | p. 238 |
Advertising Appeals | p. 238 |
Execution of Radio Commercials | p. 240 |
Suggestions for Producing Effective Commercials | p. 244 |
Avoid Gimmicks | p. 244 |
Summarize the Thrust | p. 244 |
Don't Blast the Listener | p. 244 |
Read the Spot to the Client | p. 245 |
Don't Force Humor | p. 245 |
Achieve High Technical Quality | p. 245 |
Don't Overuse a Particular Piece of Music | p. 245 |
Keep the Message Simple | p. 246 |
Avoid the "Big Five" | p. 246 |
Production Applications in Station Promotion | p. 246 |
Radio Production for News and Public Affairs | p. 253 |
News Gathering | p. 254 |
News Writing | p. 255 |
News Assembly | p. 271 |
Choosing Stories and Story Order | p. 271 |
Choosing Sound Elements | p. 271 |
News Reading and Reporting | p. 271 |
News and Public-Affairs Programming | p. 272 |
Newscasts | p. 272 |
Exclusively Local News | p. 273 |
Local News with Wire Copy | p. 273 |
News with Wire Copy and Network Audio | p. 278 |
Talk Shows | p. 278 |
Special Events | p. 280 |
Production Techniques for News and Public Affairs | p. 280 |
Interviewing | p. 280 |
Story and Actuality Editing | p. 281 |
Using Sound Sources in Radio News Production | p. 281 |
Using the Telephone to Maximum Benefit | p. 281 |
Adding Production Elements to Public-Service Announcements | p. 283 |
Using Modern News-Gathering Technology | p. 283 |
Making the Newscast a Cohesive, Unified Whole | p. 284 |
Remote and Sports Production | p. 299 |
Remote Radio Equipment | p. 300 |
Tuning Into Technology: Getting the Signal from There to Here | p. 301 |
Telephone Lines | p. 302 |
Other Equipment | p. 303 |
Planning the Remote | p. 305 |
Preparing the Site | p. 305 |
Preparing the Equipment | p. 306 |
Preparing a Communication System | p. 307 |
The Sports Remote | p. 307 |
Baseball | p. 308 |
Hockey | p. 308 |
Football | p. 308 |
Basketball | p. 308 |
Field Sports | p. 309 |
Boxing | p. 309 |
Advanced Radio Production | p. 313 |
Multichannel Recording | p. 313 |
Input Modules | p. 315 |
Output Buses | p. 317 |
Monitor Controls | p. 317 |
Further Note About Multichannel Consoles | p. 317 |
Role of Multitrack Recording | p. 317 |
Stereo | p. 320 |
Recording Music | p. 320 |
Total-Sound Recording Microphone Techniques | p. 321 |
Isolated-Component Recording | p. 323 |
Electronic Equipment and Its Use in Radio Production | p. 324 |
Equipment | p. 325 |
Techniques | p. 328 |
Production, Programming, and the Modern Format | p. 331 |
The Audience and the Format | p. 331 |
The Audience | p. 332 |
Methods of Measuring Audience | p. 333 |
Calculating How Efficiently a Station Reaches Its Audience | p. 335 |
Paying for Efficiency | p. 336 |
The Specifics of the Radio Format | p. 338 |
Defining Current Formats | p. 338 |
Filling the Niche: Today's Trends | p. 341 |
On-Air and Off-Air Production in the Modern Format | p. 343 |
Production and Tune-Out | p. 344 |
Production for Adult Contemporary | p. 345 |
Production for News/Talk | p. 346 |
Production for Country | p. 347 |
Production for Top 40/CHR | p. 348 |
Production for Urban/Churban | p. 348 |
Production for Album Rock | p. 349 |
Production for Easy Listening | p. 349 |
Putting a Format on Air | p. 350 |
The Format and the Sound Hour | p. 350 |
Constructing the Playlist | p. 351 |
Troubleshooting Chart | p. 357 |
Another Time: A Play by Richard Wilson | p. 361 |
A Capsule History of Radio: Past Meets Future for the Modern Producer and Programmer | p. 371 |
The Beginnings of the Magic Medium | p. 371 |
Radio Finds a Voice | p. 372 |
Radio After World War I | p. 374 |
Radio Carries a Tune | p. 374 |
Radio After KDKA: The Coming Chaos | p. 376 |
ATandT Develops Toll Broadcasting | p. 377 |
Exit ATandT | p. 378 |
Development of the Networks | p. 378 |
NBC and CBS | p. 379 |
New Competitors Set Their Sights on NBC | p. 379 |
Paley Takes Over CBS | p. 379 |
Advertising Comes of Age | p. 380 |
The Golden Age and Mass Entertainment | p. 380 |
Sidebar: David Sarnoff and William S. Paley | p. 381 |
Radio Comes of Age | p. 384 |
Television Lowers the Boom | p. 387 |
Rock Saves Radio | p. 388 |
Radio Tunes into Its Audience | p. 389 |
Glossary | p. 391 |
Suggested Readings | p. 403 |
Index | p. 407 |
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