By David Reese, Lynne Gross, Brian Gross
Delivering perception into the impression media convergence has had at the radio undefined, this re-creation offers a good advent to the trendy radio creation studio, the gear present in that studio, and the elemental suggestions had to accomplish radio construction paintings. New chapters addressing the fundamentals of box recording, creation making plans, and sound for video are integrated, in addition to a renewed emphasis on not only radio construction, yet audio creation. that includes a worktext layout adapted for either scholars and lecturers, self-study questions, hands-on tasks, and a CD with undertaking fabric, quizzes, and demonstrations of key innovations, this ebook bargains an excellent origin for an individual who needs to understand extra approximately radio/audio gear and creation concepts. * formerly titled Radio construction Worktext, this re-creation good points certain emphasis at the impression of media convergence, stressing the topic that audio content material is now applied on a number of structures, whereas nonetheless supplying an intensive advent to the fashionable radio creation studio, apparatus, and strategies to complete radio construction paintings * handy, hands-on worktext structure presents an entire source for studying and educating * better half CD-ROM presents undertaking fabric, quizzes, and demonstrations of key audio ideas and ideas
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Extra resources for Audio Production Worktext: Concepts, Techniques, and Equipment
9. Static electricity is not a problem in the modern production studio, because state-of-the-art audio equipment is impervious to static. a) true b) false 10. Which hand signal almost always comes immediately after the standby hand signal? a) b) c) d) 2 minutes to go thumbs up cue talent give mic level 11. If you hold up the index, second, and third fingers of one hand in front of you, what are you telling the announcer? a) b) c) d) There are 3 minutes left in the program. There are 30 seconds left in the program.
Recording “in the field” may simply entail using a single microphone and portable recorder or perhaps a setup consisting of a laptop, audio software, and a microphone. On the other hand, recording in the studio may entail multiple microphones and other sound sources feeding into a large audio mixer or just a basic editing suite. This chapter takes a look at the more formal setting of the traditional audio studio. The room that houses the equipment necessary for audio production work and in which the finished product is assembled is known as the production studio.
Atmosphere sounds are not short or individual. ) 5a. Correct. A news script would answer who, what, when, why, and how. 6a. No. A schedule is not part of a script. ) 7a. No, but you are close. ) 8a. No. NPR might have a target audience, but NPR, itself, is not one. ) 9a. No, quite the opposite. ) 10a. No. Pitch refers to highness and lowness. ) If you answered B to any of the questions: 1b. 2b. 3b. 4b. 5b. 6b. 7b. 8b. 9b. 10b. This answer is correct, but there is a better answer. ) No. One form of these laws does not exist.
Audio Production Worktext: Concepts, Techniques, and Equipment by David Reese, Lynne Gross, Brian Gross