Audio Production Worktext: Concepts, Techniques, and by David Reese, Lynne Gross, Brian Gross

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By David Reese, Lynne Gross, Brian Gross

Delivering perception into the influence media convergence has had at the radio undefined, this new version supplies an exceptional advent to the fashionable radio construction studio, the apparatus present in that studio, and the elemental strategies had to accomplish radio construction paintings. New chapters addressing the fundamentals of box recording, creation making plans, and sound for video are incorporated, in addition to a renewed emphasis on not only radio creation, yet audio construction. 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 techniques, this booklet deals an outstanding starting place for somebody who needs to grasp extra approximately radio/audio gear and construction innovations. * formerly titled Radio construction Worktext, this re-creation good points exact emphasis at the influence of media convergence, stressing the subject that audio content material is now applied on a number of systems, whereas nonetheless supplying an intensive creation to the fashionable radio construction studio, gear, and strategies to complete radio construction paintings * handy, hands-on worktext layout presents a whole source for studying and educating * significant other CD-ROM offers undertaking fabric, quizzes, and demonstrations of key audio ideas and ideas

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A) b) c) d) 34 reflection absorption penetration diffusion 17. 50 will absorb half the sound striking it and reflect back half the sound. a) true b) false 18. Posters and other radio station paraphernalia should not be put up in a production studio as they will distract the announcer from doing good production work. a) true b) false 19. Which term describes what happens when the irregular surfaces of acoustic tiles break up sound reflections? a) b) c) d) absorption reflection penetration diffusion 20.

Directions to the talent regarding the microphone. To get the talent to give mic level, for example, hold one hand in front of you and open and close the thumb and fingers in a “chattering” motion to indicate that he or she should talk into the microphone so that levels can be checked. Other hand signals are often used during a production to let the talent know how things are going or to convey some necessary information. Timing cues are given with the fingers with each finger indicating one minute.

In essence, decay, sustain, and release refer to the time it takes a sound to die out. Some sounds, like a percussive drum beat, have a very fast attack; other sounds, like a piano chord, have a long decay-sustain-release. Audio equipment must be able to accurately reproduce any sound wave envelope. 15 FREQUENCY RESPONSE In audio production, we often mention the frequency response of equipment or, for that matter, the frequency response range of human hearing. In very general terms, the human ear is able to hear frequencies within the range of 20 to 20,000 cycles per second.

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