| Preface |
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xix | |
| Foreword |
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xxii | |
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1 | (125) |
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Production in Modern Radio |
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1 | (19) |
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Radio Retro: Radio Captures Listeners---and Imaginations |
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2 | (2) |
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4 | (1) |
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4 | (1) |
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Reaching a Specific Audience |
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4 | (1) |
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How Target Audiences Affect Format |
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5 | (1) |
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How Formats Are Constructed |
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6 | (1) |
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7 | (1) |
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Other Programming Developments in Radio |
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7 | (1) |
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Satellite Radio Comes of Age |
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8 | (2) |
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Tuning into Technology: Web Radio |
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10 | (2) |
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12 | (1) |
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12 | (2) |
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The Role of the Producer in Modern Radio |
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14 | (2) |
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16 | (1) |
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You're On! The Role of the Announcer in Modern Radio |
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17 | (3) |
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20 | (28) |
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20 | (1) |
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21 | (1) |
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21 | (1) |
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21 | (1) |
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Understanding Console Function: Some Hypothetical Examples |
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21 | (11) |
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22 | (3) |
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25 | (3) |
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28 | (4) |
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Radio Retro: Potting Down on the Old Pot |
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32 | (1) |
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32 | (1) |
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Summary of the Hypothetical Consoles |
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33 | (1) |
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Understanding Console Functions: Actual Consoles |
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33 | (4) |
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34 | (2) |
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36 | (1) |
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37 | (6) |
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37 | (1) |
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38 | (2) |
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40 | (1) |
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41 | (2) |
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A Final Look at Two Broadcast Consoles |
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43 | (1) |
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43 | (5) |
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45 | (1) |
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46 | (2) |
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CD Players, Recordable CDs, and Turntables |
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48 | (16) |
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49 | (3) |
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52 | (3) |
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Audio CDs, WAV Files, and MP3s |
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53 | (2) |
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55 | (2) |
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Super Audio CDs and Audio DVDs: The Wave of the Future? |
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56 | (1) |
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Structure of the Turntable |
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57 | (2) |
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57 | (1) |
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57 | (1) |
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57 | (2) |
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59 | (2) |
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61 | (1) |
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62 | (2) |
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62 | (1) |
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63 | (1) |
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Recording and Playback Devices |
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64 | (30) |
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65 | (3) |
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68 | (8) |
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69 | (2) |
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Workings of the Digital Tape Machine |
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71 | (1) |
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R-DAT Tape Heads and Controls |
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71 | (2) |
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Tape Machine Controls and Indicators |
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73 | (2) |
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75 | (1) |
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75 | (1) |
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76 | (2) |
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Digital Audio Workstations |
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77 | (1) |
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78 | (2) |
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80 | (1) |
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80 | (3) |
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82 | (1) |
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Tuning into Technology: Digital Sound and Audio Compression |
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83 | (4) |
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The Tape Transport Mechanism |
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84 | (2) |
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Tape Machine Controls and Indicators |
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86 | (1) |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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88 | (1) |
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89 | (2) |
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91 | (1) |
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91 | (3) |
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93 | (1) |
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93 | (1) |
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94 | (32) |
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94 | (6) |
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95 | (3) |
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The Nature of Sound: Frequency |
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98 | (1) |
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The Nature of Sound: Amplitude |
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98 | (2) |
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Tuning into Technology: The Shape of Sound |
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100 | (3) |
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Other Characteristics of Sound |
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102 | (1) |
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Summary of the Basics of Sound |
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103 | (1) |
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The Microphone: How it Works |
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103 | (3) |
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Electronics of the Microphone |
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103 | (1) |
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Pickup (Polar) Patterns of the Microphone |
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104 | (2) |
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Radio Retro: The King of Microphones |
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106 | (7) |
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Frequency Response of Microphones |
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108 | (5) |
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Review of Microphone Workings |
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113 | (1) |
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Physical Types of Microphones |
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113 | (3) |
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113 | (1) |
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114 | (1) |
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114 | (1) |
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114 | (1) |
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114 | (2) |
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Review of the Physical Types |
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116 | (1) |
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Microphone Selection and Use |
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116 | (6) |
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116 | (1) |
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Selection by Pickup Pattern |
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117 | (1) |
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117 | (1) |
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Selection by Frequency Response |
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117 | (1) |
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118 | (1) |
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Adding Up Selection Factors |
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119 | (1) |
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119 | (3) |
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122 | (3) |
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123 | (1) |
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123 | (2) |
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You're On! Microphone Technique for Announcers |
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125 | (1) |
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126 | (84) |
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126 | (18) |
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The Basics of Editing Audio |
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127 | (8) |
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128 | (1) |
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Splicing and Editing a Sound File |
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128 | (2) |
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130 | (1) |
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131 | (4) |
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Copying, Pasting, and Looping |
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135 | (2) |
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137 | (3) |
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140 | (1) |
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141 | (1) |
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141 | (1) |
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141 | (3) |
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141 | (1) |
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142 | (2) |
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Recorded Program Production |
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144 | (22) |
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Recorded versus Live, On-Air Production |
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144 | (1) |
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144 | (1) |
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145 | (1) |
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145 | (1) |
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Layout of a Production Studio |
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145 | (3) |
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Equipment in the Production Studio |
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146 | (2) |
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Sound Treatment in the Production Studio |
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148 | (1) |
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Working in a Production Studio |
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148 | (2) |
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Radio Retro: The Development of Audio Tape, or How to Spend More Time on the Golf Course |
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150 | (1) |
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151 | (4) |
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151 | (1) |
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Choosing Music for Production Work |
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152 | (1) |
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153 | (2) |
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155 | (6) |
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156 | (3) |
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Communicating with Speakers |
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159 | (2) |
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161 | (1) |
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Combining Elements in Production |
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161 | (1) |
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Industry Update: The Ultimate Radio Recording Studio |
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162 | (1) |
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163 | (3) |
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164 | (1) |
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164 | (2) |
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166 | (20) |
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167 | (3) |
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Duties of the On-Air Producer |
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167 | (3) |
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170 | (1) |
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170 | (3) |
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170 | (2) |
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172 | (1) |
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172 | (1) |
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Radio Retro: Hello Everybody in Radioland, This is Your Announcer Speaking |
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173 | (1) |
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Blending the Sound Sources |
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174 | (1) |
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Suggestions for Live, On-Air Production |
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174 | (1) |
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174 | (1) |
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174 | (1) |
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Industry Update: What to Do . . . But More Importantly, What Not To |
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175 | (3) |
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176 | (1) |
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Being Aware of False Endings |
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176 | (1) |
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Listening to the Air Monitor |
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177 | (1) |
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177 | (1) |
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177 | (1) |
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Working with Satellite Services |
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178 | (3) |
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178 | (1) |
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Programming from Satellite |
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179 | (1) |
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How to Use Service Material |
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179 | (2) |
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181 | (1) |
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182 | (4) |
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184 | (1) |
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185 | (1) |
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More About the Computer in Radio Production |
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186 | (24) |
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186 | (2) |
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Computer-Generated Effects |
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188 | (2) |
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Computer-Assisted Editing |
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190 | (1) |
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Industry Update: SmartSound and GarageBand |
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191 | (7) |
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Computers in Automation and Satellite Services |
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198 | (2) |
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Radio Retro: Early Automation---Radio in a Can |
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200 | (5) |
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Computers in the Programming Function |
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205 | (1) |
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Digital Audio Broadcasting |
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206 | (1) |
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207 | (3) |
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208 | (1) |
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208 | (2) |
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PART THREE THE APPLICATIONS |
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210 | (167) |
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210 | (18) |
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210 | (1) |
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211 | (1) |
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How Production Elements Support a Theme |
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211 | (2) |
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212 | (1) |
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Creating Immediate Identification |
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212 | (1) |
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213 | (1) |
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213 | (1) |
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How a Producer Uses Production Elements |
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213 | (6) |
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214 | (1) |
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215 | (1) |
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216 | (1) |
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217 | (1) |
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218 | (1) |
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Industry Update: Achieving an Effect and the Bottom Line: Production Promotion |
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219 | (3) |
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221 | (1) |
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221 | (1) |
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Using Elements of Sound to Achieve an Effect |
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222 | (1) |
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222 | (3) |
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222 | (3) |
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225 | (3) |
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225 | (1) |
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226 | (2) |
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Drama and Dramatic Elements in Radio Production |
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228 | (11) |
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228 | (2) |
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229 | (1) |
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229 | (1) |
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229 | (1) |
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Beginning, Middle, and End |
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229 | (1) |
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229 | (1) |
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229 | (1) |
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230 | (1) |
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Dramatic Elements in Commercial Production |
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230 | (2) |
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230 | (1) |
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231 | (1) |
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Dramatic Elements in News Production |
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232 | (1) |
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Technical Considerations of Radio Drama |
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232 | (4) |
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Giving the Illusion of Place |
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233 | (1) |
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Giving the Illusion of Movement |
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234 | (1) |
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Making the Background a Fabric of Believability |
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234 | (1) |
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Mic Techniques to Achieve Illusions of Place and Movement |
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234 | (1) |
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235 | (1) |
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236 | (3) |
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237 | (1) |
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238 | (1) |
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239 | (23) |
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What Makes a Commercial Effective? |
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240 | (1) |
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Elements of Effective Radio Advertising |
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241 | (4) |
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A Shoe Store Advertisement |
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242 | (1) |
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A Car Dealership Advertisement |
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242 | (2) |
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A Humorous Pizza Commercial |
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244 | (1) |
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Practical Approaches to Radio Commercials |
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245 | (3) |
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Radio Retro: You Can't Sell That on the Air |
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248 | (4) |
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Execution of Radio Commercials |
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249 | (3) |
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Industry Update: Technology Makes Big-Time Sound Available to Small Production Agencies |
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252 | (1) |
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Suggestions for Producing Effective Commercials |
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253 | (1) |
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254 | (2) |
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254 | (1) |
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254 | (1) |
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254 | (1) |
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Read the Spot to the Client, or Better Yet, Play a Good Demo |
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254 | (1) |
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255 | (1) |
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Achieve High Technical Quality |
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255 | (1) |
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Don't Overuse a Particular Piece of Music |
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255 | (1) |
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255 | (1) |
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Avoid These Five Common Mistakes in Commercials |
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256 | (1) |
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Production Applications in Station Promotion |
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256 | (2) |
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258 | (2) |
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258 | (1) |
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259 | (1) |
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You're On! How Announcers Can Read to Time |
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260 | (2) |
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262 | (46) |
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263 | (1) |
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264 | (1) |
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265 | (1) |
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Choosing Stories and Story Order |
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265 | (1) |
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265 | (1) |
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A Quick Primer on Radio News Writing |
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266 | (15) |
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Script Convensions for Radio |
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267 | (1) |
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267 | (2) |
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269 | (1) |
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270 | (1) |
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270 | (2) |
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272 | (2) |
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274 | (2) |
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276 | (2) |
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278 | (1) |
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Jargon and Technical Words |
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278 | (1) |
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278 | (1) |
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``Says'' and the Use of Present Tense |
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279 | (1) |
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Numbers and Abbreviations |
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280 | (1) |
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280 | (1) |
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Symbols and Abbreviations |
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280 | (1) |
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281 | (1) |
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News Reading and Reporting |
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281 | (1) |
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News and Public-Affairs Programming |
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282 | (1) |
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282 | (6) |
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283 | (1) |
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Local News with Wire Copy |
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283 | (4) |
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News with Wire Copy and Network Audio |
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287 | (1) |
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288 | (1) |
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288 | (1) |
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Production Techniques for News and Public Affairs |
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289 | (5) |
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289 | (1) |
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Story and Actuality Editing |
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290 | (1) |
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Using Sound Sources in Radio News Production |
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290 | (1) |
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Using the Telephone to Maximum Benefit |
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290 | (1) |
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Using Modern News-Gathering Technology |
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291 | (1) |
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Making the Newscast a Cohesive, Unified Whole |
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292 | (2) |
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294 | (1) |
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294 | (1) |
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You're On! Techniques for Effective On-Air Performance |
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295 | (13) |
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307 | (1) |
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Remote and Sports Production |
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308 | (19) |
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309 | (3) |
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309 | (2) |
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Other Equipment for a Remote |
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311 | (1) |
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Tuning Into Technology: Getting the Signal from Here to There |
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312 | (5) |
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317 | (2) |
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318 | (1) |
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318 | (1) |
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318 | (1) |
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Preparing a Communication System |
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319 | (1) |
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319 | (3) |
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320 | (1) |
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321 | (1) |
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321 | (1) |
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321 | (1) |
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Radio Retro: Calling the Game You Don't Really See |
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322 | (2) |
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323 | (1) |
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324 | (1) |
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324 | (3) |
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325 | (1) |
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325 | (2) |
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Advanced Radio Production |
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327 | (24) |
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327 | (7) |
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330 | (2) |
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332 | (1) |
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332 | (1) |
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A Further Note about Multichannel Consoles |
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332 | (1) |
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Role of Multichannel Recording |
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333 | (1) |
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334 | (1) |
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Radio Retro: The Birth of Multitrack Recording |
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335 | (1) |
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336 | (4) |
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Total-Sound Recording Microphone Techniques |
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336 | (1) |
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Isolated-Component Recording |
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337 | (3) |
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Electronic Equipment and Its Use in Radio Production |
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340 | (8) |
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340 | (5) |
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345 | (3) |
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348 | (3) |
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350 | (1) |
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350 | (1) |
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Production, Programming, and the Modern Format |
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351 | (26) |
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The Audience and the Format |
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352 | (6) |
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352 | (1) |
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Methods of Measuring Audience |
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353 | (3) |
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Calculating How Efficiently a Station Reaches Its Audience |
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356 | (1) |
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356 | (2) |
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The Specifics of the Radio Format |
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358 | (1) |
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358 | (1) |
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Radio Retro: Where Did Formats Come From? |
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359 | (5) |
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360 | (3) |
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Filling the Niche: Today's Trends |
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363 | (1) |
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On-Air and Off-Air Production in the Modern Format |
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364 | (6) |
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364 | (2) |
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Production for Adult Contemporary |
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366 | (1) |
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Production for Album-Oriented Rock |
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367 | (1) |
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367 | (1) |
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368 | (1) |
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Production for Top 40/CHR |
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369 | (1) |
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Production for Urban/Churban/Rhythmic Top 40 |
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370 | (1) |
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Putting the Format On Air |
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370 | (2) |
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The Format and Sound Hour |
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371 | (1) |
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Constructing the Playlist |
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371 | (1) |
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Tuning into Technology: New Music and College Radio |
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372 | (3) |
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375 | (1) |
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375 | (2) |
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376 | (1) |
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377 | (25) |
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Another Time: A Play by Richard Wilson |
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377 | (9) |
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A Capsule History of Radio: Past Meets Future for the Modern Producer and Programmer |
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386 | (14) |
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The Beginnings of the Magic Medium |
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386 | (1) |
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387 | (1) |
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388 | (1) |
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389 | (1) |
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Radio After KDKA: The Coming Chaos |
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390 | (1) |
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AT&T Develops Toll Broadcasting |
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391 | (1) |
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392 | (1) |
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Development of the Networks |
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392 | (1) |
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393 | (1) |
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New Competitors Set Their Sights on NBC |
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393 | (1) |
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394 | (1) |
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394 | (1) |
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Sidebar: David Sarnoff and William S. Paley |
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395 | (1) |
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The Golden Age and Mass Entertainment |
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396 | (1) |
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397 | (2) |
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Television Lowers the Boom |
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399 | (1) |
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400 | (1) |
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Radio Tunes into Its Audience |
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|
401 | (1) |
| Glossary |
|
402 | (12) |
| Suggested Readings |
|
414 | (4) |
| Web Links |
|
418 | (4) |
| Index |
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422 | |
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