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Modern Radio Production : Production, Programming, and Performance (with InfoTrac),9780534563967
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Modern Radio Production : Production, Programming, and Performance (with InfoTrac)

by
Edition:
6th
ISBN13:

9780534563967

ISBN10:
0534563961
Format:
Hardcover
Pub. Date:
7/17/2003
Publisher(s):
Wadsworth Publishing
List Price: $94.66

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This is the 6th edition with a publication date of 7/17/2003.
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Summary

Preface. Foreword. Part One: THE TOOLS. 1. Production in Modern Radio. 2. The Console. 3. CD Players, Recordable CDs and Turntables. 4. Recording and Playback Devices. 5. Microphones and Sound. Part Two: THE TECHNIQUES. 6. Electronic and Physical Editing. 7. Recorded Program Production. 8. Live, On-Air Production. 9. More About the Computer in Radio Production. Part Three: THE APPLICATIONS. 10. Achieving an Effect. 11. Drama and Dramatic Elements in Radio Production. 12. Commercial Production. 13. Radio Production for News and Public Affairs. 14. Remote and Sports Production. 15. Advanced Radio Production. 16. Production, Programming, and the Modern Format. Appendix A: Another Time: A Play by Richard Wilson. Appendix B: A Capsule History of Radio: Past Meets Future for the Modern.

Table of Contents

Preface xviii
Foreword xxi
Part One The Tools
1(126)
Production in Modern Radio
2(20)
Sound of the Station
4(1)
Formats
4(3)
Reaching a Specific Audience
5(1)
How Target Audiences Affect Format
5(1)
How Formats Are Constructed
6(1)
Networks
7(1)
Other Programming Developments in Radio
8(1)
Noncommercial Radio
8(3)
Tuning into Technology: Web Radio
9(2)
Economics of Noncommercial Radio
11(4)
Industry Update: Satellite Radio Goes Coast-to-Coast
13(2)
The Role of the Producer in Modern Radio
15(3)
Summary
18(4)
You're On! Techniques for Effective On-Air Performance: The Role of the Announcer in Modern Radio
19(3)
The Console
22(29)
Function of the Console
22(1)
Amplification
23(1)
Routing
23(1)
Mixing
23(1)
Understanding Console Function: Some Hypothetical Examples
23(13)
Hypothetical Console A
24(3)
Hypothetical Console B
27(3)
Industry Update: Simplify, Simplify
30(2)
Hypothetical Console C
32(3)
Hypothetical Console D
35(1)
Summary of the Hypothetical Consoles
36(1)
Understanding Console Function: Actual Consoles
36(4)
Operation of the Console
40(5)
The Virtual Console
40(2)
Submixing
42(1)
Patching
43(2)
A Final Look at Two Broadcast Consoles
45(1)
Summary
45(6)
Applications
47(1)
Exercises
48(1)
You're On! Techniques for Effective On-Air Performance
49(2)
CD Players, Recordable CDs and Turntables
51(17)
Compact Discs
52(4)
Tuning into Technology: How a CD Stores Binary Information
54(2)
Recordable CDs
56(3)
Audio CDs and MP3s
58(1)
Structure of a Turntable
59(2)
Parts of the Turntable
59(1)
The Drive Mechanism
59(1)
The Tonearm
59(2)
The Disc
61(5)
Handling and Cueing a Disc
61(5)
Review of Turntable Operation
66(1)
Summary
66(2)
Applications
66(1)
Exercises
67(1)
Recording and Playback Devices
68(29)
Sampling
69(2)
Magnetic Tape
71(9)
Digital Audiotape
73(1)
Workings of the Digital Tape Machine
74(2)
R-DAT Heads and Controls
76(1)
Tape Machine Controls and Indicators
77(2)
Cueing a Tape
79(1)
DAT Playback
79(1)
Disk Drive Recording
80(2)
Digital Audio Workstations
82(1)
Enter Minidiscs
82(2)
The Digital Cart Machine
84(2)
Tuning into Technology: Digital Sound and Audio Compression
85(1)
Analog Tape Machines
86(5)
The Heads
87(1)
The Tape Transport Mechanism
88(1)
Tape Machine Controls and Indicators
89(1)
Cueing a Tape
90(1)
Heads and Tracks
91(1)
How Tracks Work
91(1)
Cassette Machines
91(2)
Cartridge Machines
93(2)
Bulk Eraser
94(1)
Summary
95(2)
Applications
96(1)
Exercises
96(1)
Microphones and Sound
97(30)
The Basics of Sound
97(8)
The Elements of Sound
98(3)
The Nature of Sound: Frequency
101(1)
The Nature of Sound: Amplitude
101(1)
Other Characteristics of Sound
102(1)
Tuning into Technology: The Shape of Sound
103(2)
Summary of the Basics of Sound
105(1)
The Microphone: How It Works
105(9)
Electronics of the Microphone
105(2)
Pickup (Polar) Patterns of the Microphone
107(4)
Frequency Response of Microphones
111(2)
Review of Microphone Workings
113(1)
Physical Types of Microphones
114(2)
Hand-Held
114(1)
Studio, Mounted
114(1)
Headset
114(1)
Lavalier
114(1)
Shotgun
114(2)
Review of the Physical Types
116(1)
Microphone Selection and Use
116(6)
Selection by Mic Type
117(1)
Selection by Pickup Pattern
117(1)
Selection by Element
117(1)
Selection by Frequency Response
117(2)
Selection by Personality
119(1)
Adding Up Selection Factors
119(1)
Notes on Microphone Use
119(3)
Summary
122(5)
Applications
123(1)
Exercises
123(1)
You're On: Techniques for Effective On-Air Performance: Microphone Techniques for Announcers
124(3)
Part Two The Techniques
127(82)
Electronic Editing
The Basics of Splicing and Dubbing
129(6)
Looking at the Waveform
129(1)
Splicing and Editing a Sound File
130(1)
Marking the Edit Points
131(3)
Nondestructive Editing
134(1)
Copying, Pasting and Looping
135(1)
Editing with a Minidisc
136(6)
Tuning into Technology: The Electronic Edit
137(5)
Dubbing
142(1)
Advantages of Dubbing
143(1)
Review of Dubbing
143(1)
Summary
143(3)
Applications
144(1)
Exercises
145(1)
Recorded Program Production
146(19)
Recorded versus Live, On-Air Production
146(1)
Complexity
146(1)
Scheduled Airtime
147(1)
Convenience
147(1)
Layout of a Production Studio
147(3)
Equipment in the Production Studio
149(1)
Sound Treatment in the Production Studio
149(1)
Working in a Production Studio
150(1)
Music
151(3)
Sources of Music
151(1)
Choosing Music for Production Work
152(1)
Styles of Music
153(1)
Recorded Voice
154(6)
Miking Multiple Speakers
155(3)
Communicating with Speakers
158(2)
Sound Effects
160(1)
Combining Elements in Production
160(3)
Industry Update: The Ultimate Recording Studio
161(2)
Summary
163(2)
Applications
163(1)
Exercises
164(1)
Live, On-Air Production
165(21)
Typical Airshift
165(3)
Duties of the On-Air Producer
166(2)
Typical Schedule
168(1)
Sound of the Station
168(5)
Pace
170(1)
Content
170(1)
Announcing Style
171(1)
Blending the Sound Sources
171(1)
Industry Update: What to Do . . . and What Not To
172(1)
Suggestions for Live, On-Air Production
173(5)
Console Operation
173(1)
Establishing a Routine
174(1)
Planning in Advance
174(1)
Being Aware of False Endings
174(1)
Recueing Carts
175(1)
Listening to the Air Monitor
175(1)
Clearing Equipment
175(1)
Planning for the Worst
175(1)
Tuning into Technology: Automated Software Programs
176(2)
Working with Satellite Services
178(3)
The Satellite Feed
179(1)
Programming from Satellite
179(1)
How to Use Service Material
180(1)
Summary
181(5)
Applications
181(1)
Exercises
182(1)
You're On! Techniques for Effective On-Air Performance: Ad-Libbing
183(3)
More About the Computer in Radio Production
186(23)
Computer Basics
186(2)
Computer-Generated Effects
188(3)
Computer-Assisted Editing
191(8)
Industry Update: SmartSound
192(7)
Computers in Automation
199(5)
Computers in the Programming Function
204(1)
Digital Audio Broadcasting
205(1)
Summary
206(3)
Applications
207(1)
Exercises
207(2)
Part Three The Applications
209(192)
Achieving an Effect
210(17)
What Is an Effect?
210(1)
Kinds of Effects
211(1)
How Production Elements Support a Theme
211(2)
Creating Excitement
212(1)
Creating Immediate Identification
212(1)
Evoking an Emotion
213(1)
Summary of Effects
213(1)
How a Producer Uses Production Elements
213(9)
Music
213(2)
Sound Effects
215(1)
Coloration of Sound
216(1)
Timing and Pace
217(1)
Voice Quality
218(1)
Sound of Words
218(1)
Industry Update: Achieving an Effect and the Bottom Line: Production Promotion
219(2)
Copywriting
221(1)
Using Elements of Sound to Achieve an Effect
222(2)
Putting Voice on Tape
222(1)
Recording Music on Tape
223(1)
Summary
224(3)
Applications
225(1)
Exercises
226(1)
Drama and Dramatic Elements in Radio Production
227(10)
The Structure of Drama
227(2)
Action
228(1)
Dialogue
228(1)
Plot
228(1)
Beginning, Middle, and End
228(1)
Conflict
228(1)
Suspense
228(1)
Exposition
229(1)
Role of Dramatic Elements in Commercial Production
229(2)
Capturing Attention
229(2)
Compressing Time
231(1)
Role of Dramatic Elements in News Production
231(1)
Technical Considerations of Radio Drama
232(2)
Giving the Illusion of Place
233(1)
Giving the Illusion of Movement
233(1)
Making the Background a Fabric of Believability
233(1)
Mic Techniques to Achieve Illusions of Place and Movement
234(1)
Sound Design
234(1)
Summary
234(3)
Applications
235(1)
Exercise
235(2)
Commercial Production
237(20)
What Makes a Commercial Effective?
238(1)
Elements of Effective Radio Advertising
239(1)
A Shoe Store Advertisement
240(1)
A Car Dealership Advertisement
240(1)
Practical Approaches to Radio Commercials
240(8)
Advertising Appeals
241(3)
Execution of Radio Commercials
244(3)
Industry Update: The Home Studio: Technology Makes Big-Time Sound Available to Small Production Agencies
247(1)
Suggestions for Producing Effective Commercials
248(3)
Know Your Audience
248(1)
Avoid Gimmicks
249(1)
Summarize the Thrust
249(1)
Don't Blast the Listener
249(1)
Read the Spot to the Client
249(1)
Don't Force Humor
250(1)
Achieve High Technical Quality
250(1)
Don't Overuse a Particular Piece of Music
250(1)
Keep the Message Simple
250(1)
Avoid the ``Big Five''
250(1)
Production Applications in Station Promotion
251(2)
Summary
253(4)
Applications
253(1)
Exercises
254(1)
You're On! Techniques for Effective On-Air Performance
255(2)
Radio Production for News and Public Affairs
257(50)
News Gathering
258(1)
News Writing
259(1)
News Assembly
260(18)
Choosing Stories and Story Order
260(1)
Choosing Sound Elements
260(1)
Industry Update: A Quick Primer on Radio Newswriting
261(17)
News Reading and Reporting
278(1)
News and Public-Affairs Programming
279(1)
Newscasts
279(7)
Exclusively Local News
281(1)
Local News with Wire Copy
281(4)
News with Wire Copy and Network Audio
285(1)
Talk Shows
286(1)
Special Events
287(1)
Production Techniques for News and Public Affairs
287(6)
Interviewing
287(1)
Story and Actuality Editing
288(1)
Using Sound Sources in Radio News Production
289(1)
Using the Telephone to Maximum Benefit
289(2)
Using Modern News-Gathering Technology
291(1)
Making the Newscast a Cohesive, Unified Whole
292(1)
Summary
293(14)
You're On! Techniques for Effective On-Air Performance
294(11)
Applications
305(1)
Exercises
305(2)
Remote and Sports Production
307(16)
Remote Radio Equipment
308(6)
Telephone Lines
308(2)
Tuning into Technology: Getting the Signal from There to Here
310(2)
Other Equipment
312(2)
Planning the Remote
314(3)
Preparing the Site
315(1)
Preparing the Equipment
316(1)
Preparing a Communication System
316(1)
The Sports Remote
317(3)
Baseball
318(1)
Hockey
318(1)
Football
318(1)
Basketball
319(1)
Field Sports
319(1)
Boxing
319(1)
A Final Note
320(1)
Summary
320(3)
Applications
321(1)
Exercises
321(2)
Advanced Radio Production
323(20)
Multichannel Recording
323(8)
Input Modules
326(2)
Output Buses
328(1)
Monitor Controls
328(1)
Further Note About Multichannel Consoles
329(1)
Role of Multitrack Recording
329(1)
Industry Update: A Simple Multichannel Console
329(2)
Stereo
331(1)
Recording Music
331(4)
Total-Sound Recording Microphone Techniques
332(2)
Isolated-Component Recording
334(1)
Electronic Equipment and Its Use in Radio Production
335(6)
Equipment
336(3)
Techniques
339(2)
Summary
341(2)
Applications
341(1)
Exercises
342(1)
Production, Programming, and the Modern Format
343(58)
The Audience and the Format
343(7)
The Audience
344(1)
Methods of Measuring Audience
345(3)
Calculating How Efficiently a Station Reaches Its Audience
348(1)
Paying for Efficiency
348(2)
The Specifics of the Radio Format
350(4)
Defining Current Formats
350(4)
Filling the Niche: Today's Trends
354(1)
On-Air and Off-Air Production in the Modern Format
354(10)
Production and Tune-Out
354(1)
Industry Update: Format Trends and What the Producer Needs to Know About Them
355(4)
Production for Adult Contemporary
359(1)
Production for Album-Oriented Rock
360(1)
Production for Country
360(1)
Production for Easy Listening
361(1)
Production for News/Talk
361(1)
Production for Top 40/CHR
362(1)
Production for Urban/Churban/Rhythmic Top 40
363(1)
Putting the Format on Air
364(1)
The Format and Sound Hour
364(1)
Constructing the Playlist
365(1)
Conclusion
365(1)
Summary
365(6)
You're On! Rotating New Music
366(3)
Exercises
369(2)
Appendixes
A Another Time: A Play
371(10)
Richard Wilson
B A Capsule History of Radio: Past Meets Future for the Modern Producer and Programmer
381(20)
The Beginnings of the Magic Medium
381(1)
Radio Finds a Voice
382(1)
Radio After World War I
383(2)
Radio Carries a Tune
385(1)
Radio After KDKA: The Coming Chaos
386(1)
AT&T Develops Toll Broadcasting
387(1)
Exit AT&T
388(1)
Development of the Networks
388(1)
NBC and CBS
389(1)
New Competitors Set Their Sights on NBC
389(1)
Paley Takes Over CBS
390(1)
Advertising Comes of Age
390(1)
The Golden Age and Mass Entertainment
391(1)
Sidebar: David Sarnoff and William S. Paley
392(3)
Radio Comes of Age
395(3)
Television Lowers the Boom
398(1)
Rock Saves Radio
399(1)
Radio Tunes into Its Audience
400(1)
Glossary 401(12)
Suggested Readings 413(4)
Web Links 417(3)
Credits 420(1)
Index 421


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