RTV 011
Fundamentals of Audio Production
Link to the RTV 11 homework movie
Link to the RTV 11 homework movie -
Instructor: William Story 
Semester/Session: Spring 2010
Semester/Session: Spring 2010Phone: 954-5831 & 954-5581
E-Mail: wstory@deltacollege.edu
Office: Shima 146/135 (office hours by appointment & TBA schedule)
Course website: http://www.deltacollegeradio.com/thisweek.html
Course Title: Fundamentals of Audio ProductionUnits: 3.0
Units: 3.0Department and Course Number: RTV 011
Class Meets: Monday 11:00pm - 12:00pm (Lecture)
Monday 11:00pm - 12:00pm (Lecture)Monday 12:00pm – 1:00pm (Lab) Lecture hours:1.00
Scheduled Lab:1.00
TBA Lab Hours:5.00
Course Description : This course is designed to examine the theory and practice of audio techniques in radio, television, film, and multimedia, including acoustics, audio language and terms, signal flow, use of microphones, use of mixers and related production equipment, and the aesthetic aspects of sound mixing. Students will apply the learned materials to actual audio production. (CSU)
Method of Instruction:
Methods of instruction may include, but are not limited to, the following:
1. Lecture
2. Lab. hours
Textbooks and/or Supplies:
Text Books (Required)
Author: Alten, Stanley. AUDIO IN MEDIA, ISBN: 9780495095682Edition: 8TH 08. Price: Used: $118.50/ New: $158.00
Optional
Author: Hausman. MODERN RADIO PRODUCTION, ISBN: 9780495570493
Edition: 8TH 10. Price: Used: $81.00 / New: $108.00
Supplies (Required)
The student will need to provide several blank CD-recordable discs for their productions (CD-R, CD-RW, etc.). Also, needed are a flash drive and/or external hard drive.Course Goals and Objectives
Upon successful completion of the course the student will be able to:
1. Demonstrate an understanding of the theories utilized in audio production.
2. Demonstrate an understanding of the theories of sound propagation, recording, and reproduction.
Obligation of the Student:
Withdrawal from the Course
Students bear the responsibility of withdrawing from a class if they choose to stop attending class. Students who fail to drop the class and stop attending will receive an "F" for the final course grade. February 1, 2010 is the last date to request refund of fees for full term class/es. February 11, 2010 is the last date to drop a full-term class without a “W” notation on the academic transcript. April 28, 2010 is the last date to drop a full term class with a “W” notation on the academic transcript.
Plagiarism
Students should be aware that there are severe consequences for violations of academic integrity such as cheating or plagiarism (turning in work that is not your own, without proper credit to the original author). Students who are found to have cheated or committed plagiarism will face disciplinary action under the College's Student Conduct Code.
LABS:
In addition to the regularly scheduled class time, students are expected to complete all assigned lab activities in the Radio/TV studio (Shima 146/145) or other equivalent on-campus facility. Students are expected to complete lab work by the assigned due date.
Labs play an important part of this class. In many cases, lab assignments are given during class for completion prior to the next scheduled class meeting. Thus, if you miss a class it is a good idea to check in with the teacher to ensure you do not miss that week’s lab.
The RTV lab is located in Shima 146. Completion of lab may require that you sign up in advance for use of a private audio lab or TV studio. Sign up sheets will often be provided, upon request.
THERE IS NO FOOD OR DRINK ALLOWED IN THE CLASS AREA OR LABS.
TV Studio and RTV labs may only be used to complete class assignments. Students that deliberately cause damage to studio equipment will be banned from labs for the remainder of the semester and may be responsible for the cost of damaged equipment.
LAB HOURS:
The labs are typically open Mon-Fri from 8 a.m.- 3 p.m. effective February 1, 2010. Delta College reserves the right to change the schedule due to lab supervisor illness or equipment failure. In addition, students that have booked excessive studio time may be bumped to give priority to students with project deadlines.
Internet Use Policy:
Lab Internet use should be limited to research and execution of class-related assignments only. Please note that all Internet use is monitored for improper use. In other words, do not assume that your Internet use is private. Examples of improper use include viewing of explicit content and downloading of illegal or copyrighted content. Failure to adhere to these rules will result in suspension from the labs.
NOTES
1. Many lectures will not be taken solely from the text. Regular class attendance and
careful note taking is advised.
2. Make-up quizzes are discouraged.
3. Make-ups must be taken with 7 days of the class date. You are responsible for
making arrangements with the instructor.
4. Unexcused absences on quiz days will result in grade reductions of 2/3 of a grade.
5. Reading assignments and due dates for out-of-class projects will be given in class.
If you are absent, you are responsible for getting the information on readings and
project assignments.
TOLERANCE POLICY:
All class participants are expected to be sensitive to the diverse academic, socioeconomic, cultural, disability, and ethnic backgrounds of community college students. Specifically, this class will not tolerate discrimination relating to race, color, sex, sexual orientation, religious beliefs, disability, age, marital status, creed, or national origin.
Course Content:
1.Introducing Audio Programming and Production
Introducing Audio Programming and Productiona.Production tasks and challenges
Production tasks and challengesb.Programming influences audio production
Programming influences audio productionc.The greater picture
The greater picture2.Understanding Sound and Audio
Understanding Sound and Audioa.Understanding sound
Understanding soundb.Understanding audio and its lexicon
Understanding audio and its lexicon3.Microphones
Microphonesa.Audio sources--playback and recording devices
Audio sources--playback and recording devicesb.Understanding magnetic recording
Understanding magnetic recordingc.Digital options
Digital optionsd.Other on-air audio sources
Other on-air audio sourcese.Audio control devices--the audio console
Audio control devices--the audio console4.Studios and Control Rooms
Studios and Control Roomsa.Defining the control room and studio
Defining the control room and studiob.On-air facilities today
On-air facilities todayc.Production facilities today
Production facilities todayd.News production facilities
News production facilitiese.The integrated radio station
The integrated radio station5.Organizing the Production - The Preproduction Process
Organizing the Production - The Preproduction Process6.Beginning Production Techniques
Beginning Production Techniquesa.Basic orientation to the production facility
Basic orientation to the production facilityb.Basic production techniques
Basic production techniques7.Advanced Production Techniques
Advanced Production Techniquesa.Defining the advanced production
Defining the advanced productionb.Directing a production
Directing a productionc.Using advanced production tools
Using advanced production toolsd.Advanced production techniques
Advanced production techniquese.Production site options
Production site options8.Using Music and Sound Effects
Using Music and Sound Effectsa.Using music creatively
Using music creativelyb.Using prerecorded music in production
Using prerecorded music in productionc.Creating original music for production
Creating original music for productiond.Using sound effects creatively
Using sound effects creatively9.Editing - What is Editing and Why Edit?
Editing - What is Editing and Why Edit?10.Understanding the Radio Station
Understanding the Radio Stationa.The radio station
The radio stationb.Why production?
Why production?c.The people behind the sound
The people behind the sound11.Formats
Formatsa.The new radio audiences
The new radio audiencesb.Music formats for local radio
Music formats for local radioc.Noncommercial formats
Noncommercial formats12.Producing Short Announcements
Producing Short Announcementsa.Introducing the short announcement
Introducing the short announcement b.Producing the commercial
Producing the commercialc.Producing an underwritten message for noncommercial radio
Producing an underwritten message for noncommercial radiod.Producing the public service announcement
Producing the public service announcementSCHEDULE (TENTATIVE):
The following schedule is subject to change. In particular, the test dates are only estimates. Actual dates for lectures and tests will depend on how quickly the material is covered in class. However, this calendar should give you a general idea of what will be covered over the semester.
Schedule of Topics & Readings
Week 1 – No Class (Holiday)
Jan. 18 -- READ: Chapter 1 (Sound & Hearing) – Audio in Media
Week 2 – Introduction, Audio & Sound Pre-Test
Jan. 25 -- READ: Chapter 4 (Microphones) – Audio in Media Optional: Chapter 5 – Modern Radio Production
* Explain how you can qualify to be a member of our radio broadcast crew.
Week 3 – Microphone & Basic Radio I (The Radio Air-Check)
Feb. 1 -- READ: Chapter 5 (Consoles & Control Surfaces) – Audio in Media
Assign: LAB Production Project #1 – Create a Radio/Recording Air-Check
Week 4 –The Console & Basic Radio II
Feb. 8 – WATCH: Before The Music Dies (Documentary on the Internet) & complete take home QUIZ
Due: LAB Production Project #1 – Create a Radio/Recording Air-Check
http://www.hulu.com/watch/62945/before-the-music-dies
Week 5-- No Class (Holiday)
-- No Class (Holiday) Feb. 15 – READ: Chapter 5 (Digital Recording) – Audio in Media Optional: Chapter 6 & 9 – Modern Radio
Week 6 – Digital Recording (Audacity, Audition, Logic, ProTools, etc.) & Audio Editing
Feb. 22 – READ: Chapter 18 (Editing) – Audio in Media Optional: Chapter 4 - Modern Radio Production
Assign: LAB Production Project #2 – Recording Project with Tutor (use Audition)
* Return Take Home Quiz
Week 7 – Studio Production & Field Production...Announcing & Interviewing
Mar. 1 -- READ: Chapter 9 (Studio Production: Talk & Voice-overs) – Audio in Media
Due: LAB Production Project #2 – Recording Project with Tutor (use Audition)
Assign: LAB Production Project #3 – Radio/Recording Talent
Week 8 – Basic Radio (Conclude Radio/Recording Talent Project)
Mar. 8 -- READ: (Optional) Chapter 8 (Live, On-Air Production) - Modern Radio Production
Week 9 – Mid-Term Examination Review and Audio Equipment Operation Demonstration
Mar. 15 -- READ: TBA
Due: LAB Production Project #3 – Radio/Recording Talent
Week 10 – Mid-Term Examination and Audio Equipment Operation Demonstration
Mar. 22 – READ: TBA
WATCH: The End of Radio (Documentary on the Internet) & complete take home QUIZ
March 29 – Spring Recess (No Class)
Week 11 – Radio, Recording & Sound Design Careers
Apr. 5 -- READ: Chapter 13 (Sound Effects) – Audio in Media
* Return Take Home Quiz
Week 12 – Sound Effects & Record SFX
Apr. 12 -- READ: Chapter 11 (Sound Design) – Audio in Media Optional: Chapter 10 - Modern Radio
Assign: LAB Production Project #4 – Record SFX Project
Week 13 – Dialogue, ADR & Foley
Apr. 19 -- READ: Chapter 12 (Dialogue) – Audio in Media
Due: LAB Production Project #4 – Record SFX Project
Assign: LAB Production Project #5 – Sound for Video Project
Week 14 – Music Underscoring & Music Production
Apr. 26 -- READ: Chapter 14 (Music Underscoring) – Audio in Media
Week 15 – Mixing and Recording – Take Home Quiz
May 3 – READ: Chapter 19 (Mixing and Recording) – Audio in Media
Assign: LAB Production Project #6 – Recording, Mixing & Mastering Project
Due: LAB Production Project #5 – Sound for Video Project
Assign: LAB Production Project #6 – Recording, Mixing & Mastering Project
Week 16 – Multimedia Audio Production – Interactive Audio Sound Design
May 10 – READ: TBA
*Return Take Home Quiz
Week 17 – Present Audio Projects & Final Examination Review
May 17 -- No readings scheduled
Due: LAB Production Project #6 – Recording, Mixing & Mastering Project
Week 18 – FINAL EXAMINATION (NO REGULAR CLASSES)
May 24 – Monday 10:00am – 11:50am
Method of Evaluation and Grading Options
Student grades will be calculated using the following criteria:
Quizzes 20 percent
Audio Production Projects20 percent
Mid-Term Examination 20 percent
RTV (Lab) Participation 20 percent
Final Examination20 percent
Semester Total100 percent
(90 to 100 = A; 80 to 89.9 = B; 70 to 79.9 = C; 60 to 69.9 = D; under 60 = F) Late audio projects will be penalized 1/3 of a letter grade for each day that they are late. Thus, an "A" project turned in three days late can earn a grade no higher than a "B." Copies of projects that are handed in via electronic means must also be burned onto a CD-R or CD-RW by the student and turned in at the next class session in order to be graded.
The instructor reserves the right to change the preceding information with prior notice.
ASSIGNMENTS:
RTV 11 – ASSIGNMENT # 1 (RADIO)
AUDITION/AIR-CHECK DUE: March 1, 2010
Record your audition/air-check onto the RTV 11 Radio Lab external hard drive (into the RTV 11 Assignment # 1 folder). After recording, burn your audition/air-check onto a CD. Turn your audition/air-check CD (mp3 email) in for grading by placing it in the AIR-CHECK IN box on the Station Manager’s desk (or give it to Marc).
Procedure for producing your air-check:
Recording - Using Adobe Audition create a 3 - 5 minute Air-Check.
Include the following in your Air-Check:
1.Station ID…
Station ID…2.Segue from one song into another…
Segue from one song into another…3.Back Sell…into a spot load (PSA/Promo)
Back Sell…into a spot load (PSA/Promo)4.Out of spot (PSA)…Front Sell
Out of spot (PSA)…Front Sell5.Segue from one song into another…
Segue from one song into another…6.Read News & Weather
Read News & Weather7.Farewell/Close…
Farewell/Close…Project
Signup to Sit in – Radio
•Today, schedule a time to sit in on one of the live FM 89.5 radio programs. On the day and time you are scheduled to visit the station, observe and learn some of the basic radio station operating procedures (turn on/off the mic, adjust mic levels, turn on/off other console pot controls, etc.) If you appear on the radio you will receive a bonus lab hour.
Today, schedule a time to sit in on one of the live FM 89.5 radio programs. On the day and time you are scheduled to visit the station, observe and learn some of the basic radio station operating procedures (turn on/off the mic, adjust mic levels, turn on/off other console pot controls, etc.) If you appear on the radio you will receive a bonus lab hour.•You must complete this assignment by March 1
You must complete this assignment by March 1 •If you have any questions, ask Mr. Story, DJ Lucky and/or DJ JOD
If you have any questions, ask Mr. Story, DJ Lucky and/or DJ JODAudio Lab Project #1
(When you signup to use a LAB - Show-up…or else lose your lab privileges.)
Radio - Using Adobe Audition create a 3 - 5 minute Broadcast Air-Check
Recording - Using Adobe Audition create a 3 - 5 minute Audio Sample (music, SFX, etc.)
How to qualify to be on FM 89.5:
•One-Hour Air-Check
One-Hour Air-Check•Sit in on an advanced student’s show
Sit in on an advanced student’s show•Know the basic FCC broadcast rules
Know the basic FCC broadcast rules•Sign the radio station’s policy & procedure agreement
Sign the radio station’s policy & procedure agreement•Receive permission from the station Program Director and/or Mr. Story
Receive permission from the station Program Director and/or Mr. StoryOne-Hour Air-Check:
Use the Delta College Radio Format Clock and Log as a guide to produce your first one-hour radio audition/air-check. Record your audition/air-check onto the external hard drive (or your external storage device). Create an MP3 or burn onto a CD your air-check/audition and email it to the Station Manager or turn it in by placing it (and logs) in the air-check box on the Program Director’s desk (DJ Lucky).
Project # 2 (B)
Signup to Sit in – Recording
•Today, schedule a time to sit in and visit a Pro Tools recording session. On the day and time you are scheduled to visit the session, observe and learn some of the basic recording procedures (opening project, saving project, exporting project, etc.) If you appear and/or assist with the recording session, you will receive a bonus lab hour.
Today, schedule a time to sit in and visit a Pro Tools recording session. On the day and time you are scheduled to visit the session, observe and learn some of the basic recording procedures (opening project, saving project, exporting project, etc.) If you appear and/or assist with the recording session, you will receive a bonus lab hour.•You must complete this assignment by
You must complete this assignment by •If you have any questions, ask Mr. Story, Mike D, Robert, and/or Eric.
If you have any questions, ask Mr. Story, Mike D, Robert, and/or Eric.Homework Recording Industry Review
•Before The Music Dies (Docutmentary)
Before The Music Dies (Docutmentary)•http://www.hulu.com/watch/62945/before-the-music-dies
http://www.hulu.com/watch/62945/before-the-music-dies•Overview
Overview•Current state of the music & recording industry
Current state of the music & recording industry•How is it possible to make someone a star (that lacks musical talent)
How is it possible to make someone a star (that lacks musical talent)•What is the tech. device that makes it possible to establish perfect tone/pitch?
What is the tech. device that makes it possible to establish perfect tone/pitch?Homework Radio Industry Review
- The End of Radio (Documentary)
- http://video.google.com/videoplay?docid=-7826115564865754288#
- Current state of the radio industry
- What is Internet radio?
- What is Pandora (radio)?
- What is DAB?
- How much did Fox News Corp pay for Myspace.com?
RTV 11 - SFX ASSIGNMENT
(Building a Sound Effects Library and Making your own Sound Effects)
In the controlled environment of the LAB (Shima 146A or B), create 10 original sound effects. Use Adobe Audition to record your 10 original sound effects.
After recording, burn your sound effects (SFX) onto a CD. Turn your SFX CD in for grading by placing it in the RTV Homework box on the Radio Manager’s desk. Also, you have the option of turning in an mp3 file of your ten-sound effects by sending it as an email attachment to Mr. Story (wstory@deltacollege.edu). Thanks and Good Luck!
To create your 10 original sounds (SFX) you must duplicate the assigned sounds without using the original source of that particular sound. In other words to create the sound of a crackling fire…DO NOT START AND RECORD AN ACTUAL FIRE (crumpling cellophane will work)!
The 10 sounds you are to create are:
•1.5 seconds of a Crackling Campfire
1.5 seconds of a Crackling Campfire•2.5 seconds of at least two Dogs Barking
2.5 seconds of at least two Dogs Barking•3.A Car Horn (repeated twice)
3.A Car Horn (repeated twice)•4.5 seconds of various Train Sounds (train on tracks, train engine, train whistle, etc.)
4.5 seconds of various Train Sounds (train on tracks, train engine, train whistle, etc.)•5.A Ticking Bomb with Bomb Explosion
5.A Ticking Bomb with Bomb Explosion•6.5 seconds of random sounds of people visiting a Zoo
6.5 seconds of random sounds of people visiting a Zoo•7.A Car Crash
7.A Car Crash•8.5 seconds of Thunder and Rain Drops
8.5 seconds of Thunder and Rain Drops•9.5 seconds of a Crowded Night Club
9.5 seconds of a Crowded Night Club•10. Any Wild and Fun sounding Cartoon/Animation SFX
10. Any Wild and Fun sounding Cartoon/Animation SFXLast RTV 11 Assignment
RTV 11 – The Last Audio Project Assignment
Audio (for Mediafest) Project - The main purpose of this project is to allow you to showoff your preferred Audio-Video media creating skills. In other words, you may use any of your Audio/Video creating skills (you may use Audition, Pro Tools, Final Cut, Flash, etc.) to create and submit (by assigned due date) any style of Audio/Video project.
Completed Project Due: May 17, 2010
RTV 011
The Basics of
Radio & Recording
The Microphone
Operating Principles
•The microphone is a transducer. It changes acoustic energy into electric energy.
The microphone is a transducer. It changes acoustic energy into electric energy.•Transducer - A device that converts one form of energy into another.
Transducer - A device that converts one form of energy into another.•Acoustics - The term used to describe the physical behavior of sound waves in a room.
Acoustics - The term used to describe the physical behavior of sound waves in a room.Operating Principles
The device that does the transducing in a microphone is in the mic head and is called the element. Each type of mic gets its name from the element it uses.
Operating Principles
The elements in professional microphones operate on one of two physical principles: magnetic induction and variable capacitance.
Operating Principles
Magnetic induction (Moving-Coil Microphone) - uses a fixed magnet and a movable diaphragm to which a small, lightweight coil is attached. The coil is placed in the magnetic field; when it moves through the magnetic field in response to the sound waves hitting the diaphragm, it produces voltage proportional to the sound-pressure level.
Operating Principles
Variable Capacitance (Capacitor Microphone - officially, not a Condenser) Microphones operating on the variable capacitance principle transduce energy using voltage variations, instead of magnetic variations.
Mics that use the magnetic induction principle are classified as Dynamic Microphones. The moving coil mic is referred to as a dynamic mic.
Key Elements:
Dynamic Microphone
* Dynamic microphones are popular in broadcast circumstances because they are fairly rugged.
•Dynamic microphones also provide accurate voice reproduction and fall within a reasonable budget range for broadcasters.
Dynamic microphones also provide accurate voice reproduction and fall within a reasonable budget range for broadcasters.Capacitor Microphone
(Condenser Mic?)
The capacitor microphone
(also known as a condenser microphone) employs an internal structure consisting of a diaphragm-like front plate, a fixed back
plate, and an electronic circuit to change sound into an electrical signal
(Mic requires a power supply).
Capacitor microphones are popular microphones because they are of high quality and clarity.
Microphone Pickup Pattern
The Most Common Patterns:
1.Omnidirectional
Omnidirectional1.Bidirectional
Bidirectional2.Cardioid
CardioidPickup pattern, formally known as polar response pattern, refers to the direction(s) which a mic hears sound.
Omnidirectional – Picks up sound equally well in any direction (nondirectional).
Bidirectional – Picks up sound from the front and back of the microphone.
Cardioid – Picks up sound from one direction (unidirectional). Most broadcast studio microphones are cardioid.
Working With A Microphone:
Mic-to-Mouth Distance – A good mic-to-mouth distance is about 6 inches (too close – may distort).
Mic-to-Mouth Position – Talking slightly off axis to the microphone.
Levels – Speak into the microphone so that proper volume levels can be set.
Mic Fright – Caused by: 1. Disliking one’s voice,
3.Fear of Failure, 3. Being Inexperienced, 4. Being Unprepared
Fear of Failure, 3. Being Inexperienced, 4. Being UnpreparedPeak & In the Mud
•Peak - over modulated
Peak - over modulated•Mud - under modulated
Mud - under modulatedRadio Terminology:
Segue - Blending from one song to another
ID - Station identification
Front Sell - Introduce song or feature
Back Sell - Back announce a set of songs
Format - programming format describes the overall content broadcast on a radio station (Format Clock - Hot Clock).
Radio Rules
It’s Against the Law
It is a violation of federal law to air obscene programming at any time. It is also a violation of federal law to air indecent programming or profane language during certain hours. Congress has given the Federal Communications Commission (FCC) the responsibility for administratively enforcing these laws. The FCC may revoke a station license, impose a monetary forfeiture, or issue a warning if a station airs obscene, indecent, or profane material.
Obscene Broadcasts Are Prohibited at All Times
Obscene material is not protected by the First Amendment to the Constitution and cannot be broadcast at any time. The Supreme Court has established that, to be obscene, material must meet a three-pronged test:
1.An average person, applying contemporary community standards, must find that the material, as a whole, appeals to the prurient interest;
2.The material must depict or describe, in a patently offensive way, sexual conduct specifically defined by applicable law; and
3.The material, taken as a whole, must lack serious literary, artistic, political, or scientific value.
Profane Broadcast Restrictions
The FCC has defined profanity as “including language so grossly offensive to members of the public who actually hear it as to amount to a nuisance.”
Like indecency, profane speech is prohibited on broadcast radio and television between the hours of 6 a.m. and 10 p.m.
Enforcement Procedures and Filing Complaints
Enforcement actions in this area are based on documented complaints received from the public about obscene, indecent, or profane material. FCC staff will review each complaint to determine whether it contains sufficient information to suggest that there has been a violation of the obscenity, indecency, or profanity laws. If it appears that a violation may have occurred, the staff will start an investigation, which may include a letter of inquiry to the broadcast station.
If the description of the material contained in the complaint is not sufficient to determine whether a violation of the statute or FCC rules regarding obscene, indecent, and profane material may have occurred, FCC staff will send the complainant a dismissal letter explaining the deficiencies in the complaint and how to have it reinstated. In such a case, the complainant has the option of re-filing the complaint with additional information, filing either a petition for reconsideration, or, if the decision is a staff action, an application for review (appeal) to the full Commission.
Enforcement Procedures and Filing Complaints
If the facts and information contained in the complaint suggest that a violation of the statute or FCC rules regarding obscenity, indecency, and profanity did not occur, FCC staff will send the complainant a letter denying the complaint, or the FCC may deny the complaint by public order. In either situation, the complainant has the option of filing either a petition for reconsideration or, if the decision is a staff action, an application for review (appeal) to the full Commission.
If the FCC determines that the complained-of material was obscene, indecent, and/or profane, it may issue a Notice of Apparent Liability (NAL), which is a preliminary finding that the law or the FCC's rules have been violated. Subsequently, this preliminary finding may be confirmed, reduced, or rescinded when the FCC issues a Forfeiture Order.
Context
In making obscenity, indecency, and profanity determinations, context is key. The FCC staff must analyze what was actually aired, the meaning of what was aired, and the context in which it was aired. Accordingly, the FCC asks complainants to provide the following information:
Information regarding the details of what was actually said or depicted during the broadcast.
The complainant may choose the format for providing the information, but it must be sufficiently detailed so that the FCC can determine the words or language used, or the images or scenes depicted during the broadcast and the context of those words, language, images, or scenes. Subject matter alone is not sufficient to determine whether material is obscene, indecent, or profane. For example, stating only that the objectionable programming “discussed sex” or had a “disgusting discussion of sex” is not sufficient. Moreover, the FCC must know the context when analyzing whether specific, isolated words or images are obscene, indecent, or profane. The FCC does not require complainants to provide tapes or transcripts in support of their complaints. Consequently, failure to provide a tape or transcript of a broadcast, in and of itself, will not lead to automatic dismissal or denial of a complaint. Nonetheless, a tape or transcript is helpful in processing a complaint and, if available, should be provided.
The date and time of the broadcast.
Under federal law, if the FCC assesses a monetary forfeiture against a broadcast station for violation of a rule, it must specify the date the violation occurred.
Accordingly, it is important that complainants provide the date the material in question was broadcast. Indecent or profane speech that is broadcast between the hours of 10 p.m. and 6 a.m. is not actionable. Consequently, the FCC must know the time of day that the material was broadcast.
The call sign, channel, or frequency of the station involved.
To take enforcement action for the airing of prohibited material, the FCC must be able to identify the station that aired the material. By providing the call sign, channel, or frequency of the station, you will help us to quickly and efficiently process your complaint.
•Personal Attacks, Editorials, and Equal Opportunity
Personal Attacks, Editorials, and Equal OpportunityFederal - State – Local
• Payola & Plugola
Payola & Plugola Pay for Play & Pay for Products
Unprotected Speech
Broadcasters subject to criminal & civil laws…
No False or Deceptive Advertising (FTC)
Radio Station Staff
STATION MANAGER - The chief operating officer of the station. The station manager must have effective personnel management skills and a thorough knowledge of all aspects of broadcast operation. This position requires business knowledge, leadership ability and a technical understanding of how a station operates.
ASSISTANT STATION MANAGER – Assists station manager.
PROGRAM DIRECTOR - Responsible for the entire on-air product, the program director governs the sound of the stations. With responsibility over production, talent, work schedules, and program schedules, the program director's programming objectives support the goals of the station manager.
ASSISTANT PROGRAM DIRECTOR - Assists program director.
MUSIC DIRECTOR - Manage the station's music library and work with the program director in selecting new recordings to be played as they are submitted by record companies and members of the community.
ASSISTANT MUSIC DIRECTOR – Assists music director.
NEWS DIRECTOR - The news director runs the news department. The news director assigns stories to reporters on staff, monitors the wire service and is involved with identifying the important news issues within the community.
ASSISTANT NEWS DIRECTOR - Assists news director.
•Station Manager- Operations Mng.
Station Manager- Operations Mng.•Sales Manager- Program Director
Sales Manager- Program Director•Account Executive- Music Director
Account Executive- Music Director•Continuity/Traffic Dir.- Production Dir.
Continuity/Traffic Dir.- Production Dir.•Promotion Director- News Director
Promotion Director- News Director•Multimedia/Web- Sports Director
Multimedia/Web- Sports Director•Reception- On-Air Talent
Reception- On-Air Talent•Production Assistant - Producer
Production Assistant - Producer•Information Services - IT – Engineer
Information Services - IT – EngineerA
AIRCHECK: A recorded copy of a radio broadcast.
AMPLIITUDE MODULATION (AM) - The modulation process for AM stations that results in variation of the amplitude or height of the carrier wave; also, the first system of braodcasting technology to be developed.
AVERAGE QUARTER HOUR (AQH) - Radio listening is tracked using 15-minute increments called Average Quarter Hour (AQH); it measures an estimate of the number of people listening to a particular station during any f15-minute interval in a particular daypart.
One-Hour Air-Check
Use the Delta College Radio Format Clock and Log as a guide to produce your first one-hour radio audition/air-check. Record your audition/air-check onto the external hard drive (or your external storage device). Create an MP3 or burn onto a CD your air-check/audition and email it to the Station Manager or turn it in by placing it (and logs) in the air-check box on the Program Director’s desk (DJ Lucky).
Radio Rules
It’s Against the Law
It is a violation of federal law to air obscene programming at any time. It is also a violation of federal law to air indecent programming or profane language during certain hours. Congress has given the Federal Communications Commission (FCC) the responsibility for administratively enforcing these laws. The FCC may revoke a station license, impose a monetary forfeiture, or issue a warning if a station airs obscene, indecent, or profane material.
Consoles & Control Surfaces
A console (board) takes input signals and amplifies, balances, processes, combines and routes them to broadcast or recording.
Analog & Digital Consoles
•In an analog console, audio signals flow in and out of physical modules through inboard wires and circuits.
In an analog console, audio signals flow in and out of physical modules through inboard wires and circuits. •In a digital console, incoming analog audio signals are converted to digital information at the inputs, and interfaces handle the routing and the signal processing.
In a digital console, incoming analog audio signals are converted to digital information at the inputs, and interfaces handle the routing and the signal processing.On-Air Broadcast Consoles
A console used for on-air broadcasts is designed to handle audio sources that are immediately distributed to the audience.
On-Air Broadcast consoles, in general, have at least 3-basic control sections:
1.Input
Input2.Output
Output3.Monitor
MonitorProduction Consoles
Production consoles are necessary for producing and post-producing music, film, and video sound tracks, sports, and live-to-recording programs.
Must be capable of handling many sound sources simultaneously and employing the diversity of tasks involved in dynamics processing - equalization, compression, noise gating, reverberation, and delay - necessary for “sweetening” and mixing.
Features of the Production Console
•Input/output (I/O) channelChannel routing
Input/output (I/O) channelChannel routing•Input selector controlDirect switch
Input selector controlDirect switch•Phantom powerPan Pot
Phantom powerPan Pot•Microphone preamplifierEqualizer
Microphone preamplifierEqualizer•Trim or GainDynamics section
Trim or GainDynamics section•PadChannel control
PadChannel control•Overload IndicatorCue and effects
Overload IndicatorCue and effects•Polarity reversalSolo & prefader
Polarity reversalSolo & prefader•MuteMonitor faders
MuteMonitor fadersMeters
It is a paradox in sound production that the only way to determine levels in consoles and mixers is visually…by watching a meter that measures the electric energy passing through an input or output.
VU Meter
The volume-unit (VU) meter is a voltage meter originally designed to indicate level as it relates to the human ear’s perception of loudness. The VU meter uses a linear scale.
Peak Meters
Whereas the VU meter is mechanical, most peak meters are electronic. A peak meter is able to track peak program levels, thereby making it more accurate.
Recording Industry
The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry.
SoundExchange is a non-profit performance rights organization that collects royalties on the behalf of sound recording copyright owners (SRCOs — record labels, generally) and featured artists for non-interactive digital transmissions, including satellite and Internet radio.
The Digital Performance in Sound Recordings Act of 1995 and the Digital Millennium Copyright Act of 1998 together granted a performance right for sound recordings.
•ASCAP - American Society of Composers, Authors and Publishers
ASCAP - American Society of Composers, Authors and Publishers•http://www.ascap.com/legislation/jointstatement.html
http://www.ascap.com/legislation/jointstatement.html •BMI - Broadcast Music, Inc.
BMI - Broadcast Music, Inc.-http://www.bmi.com/
http://www.bmi.com/ •NMPA - National Music Publishers’ Association
NMPA - National Music Publishers’ Association•http://www.nmpa.org/home/index.asp
http://www.nmpa.org/home/index.aspB
BUMPER - A pre-recorded audio element consisting of voice over music that acts as a transition from a stop set (commercials).
CALL LETTERS - The official, legal name of a Radio station.
CARRIER WAVE - The frequency on which the station operates. The station’s programing is placed on the carrier wave through modulation and then broadcast through the air for listener reception.
C
COST PER GROSS RATING POINT - The average cost for one GRP in an ad schedule; it is calculated by dividing the total cost of the schedule by the total number of GRPs.
COST PER THOUSAND (CPM) - A figure that compares the cost of reaching the targeted audience either on a single station or across different media. The simplest way to calculate CPM is to divide the cost of the ad by the number of listeners (in thousands) who are expected to hear the ad.
CUME LISTENERS - Cumulative audience, an estimate of the total number of listeners reached by a radio station during a typical week. Cume estimates indicate the level of reach or penetration in a market. Rather than count listeners multiple times during the day, this calculation allows the station to know how many different people listen to the station during a day.
D
DAYPART - Divisions of the broadcast day created to track radio listening and aid in program scheduling. Dayparts include morning drive, midday, afternoon drive, nighttime, and all-night/overnight.
DEAD AIR - Silence on the radio which can be due to either to operator error, computer error or an act of nature. During dead air, there is no audible transmission.
EXTRA Mid-Term Notes
Assignment (Project) #1
Radio Air-Check
Recording Audition Demo
Assignment #2
Sit in – Radio
Sit in – Recording
Assignment # 3
Homework Recording Industry Review
Before The Music Dies (Documentary)
Assignment # 4
Homework Radio Industry Review
The End of Radio - Due Date - 10/19/09
SFX ASSIGNMENT (Project) #5
Making your own Sound Effects - DUE DATE - 10/26/09
Recording Industry Review
•Before Music Dies (Documentary)
Before Music Dies (Documentary)•http://video.google.com/videoplay?docid=-856606244008931882
http://video.google.com/videoplay?docid=-856606244008931882•Overview
Overview•Current state of the music & recording industry
Current state of the music & recording industry•How is it possible to make someone a star (that lacks musical talent)
How is it possible to make someone a star (that lacks musical talent)•What is the tech. device that makes it possible to establish perfect tone/pitch?
What is the tech. device that makes it possible to establish perfect tone/pitch?The End of Radio
(Documentary)
•http://video.google.com/videoplay?docid=-7826115564865754288#
http://video.google.com/videoplay?docid=-7826115564865754288# • Current state of the radio industry
Current state of the radio industry• What is Internet radio?
What is Internet radio?• What is Pandora (radio)?
What is Pandora (radio)?• What is DAB?
What is DAB?•How much did Fox News Corp pay for Myspace.com?
How much did Fox News Corp pay for Myspace.com?Recording Industry
The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry.
SoundExchange is a non-profit performance rights organization that collects royalties on the behalf of sound recording copyright owners (SRCOs — record labels, generally) and featured artists for non-interactive digital transmissions, including satellite and Internet radio.
The Digital Performance in Sound Recordings Act of 1995 and the Digital Millennium Copyright Act of 1998 together granted a performance right for sound recordings.
•ASCAP - American Society of Composers, Authors and Publishers
ASCAP - American Society of Composers, Authors and Publishers•http://www.ascap.com/legislation/jointstatement.html
http://www.ascap.com/legislation/jointstatement.html •BMI - Broadcast Music, Inc.
BMI - Broadcast Music, Inc.-http://www.bmi.com/
http://www.bmi.com/ •NMPA - National Music Publishers’ Association
NMPA - National Music Publishers’ Association•http://www.nmpa.org/home/index.asp
http://www.nmpa.org/home/index.aspVocal Development
Improper breathing causes a thin-sounding voice or tenseness in the voice.
Diaphragmatic breathing will relax the larynx and vocal cords, which will result in a slightly lower pitch (pleasant sound – speak for long periods of time).
The proper breathing posture – STANDING or sit towards the edge of the chair (maximum expansion of the diaphragm).
Thoracic breathing is a less efficient way of breathing (raise shoulders as you inhale – small lung capacity – thin, unenergetic sound).
KEY ELEMENTS OF VOCAL DEVELOPMENT:
Volume
PITCH
RATE
TONE
Volume is the loudness or softness of your voice (amplitude).
PITCH is the highness or lowness of your voice (frequency).
RATE is the number of words you deliver during a given
period of time as you speak or read a script.
TONE is the quality of sound that is made, also know as the voice’s timbre (Sound "quality" or "timbre" describes those characteristics of sound which allow the ear to distinguish sounds which have the same pitch and loudness).
First Script - read out loud (No RIP & READ)
Normal Conversation…OLD SCHOOL – Deep voicePRESENT – Pleasant voice
PRESENT – Pleasant voiceVocal Elements – (Pro):
- Inflection - pitch/tone – high, middle, low (life to copy)
* Emphasis – loudness (don’t over use)- Volume - loudness/Softness
- Pause (pattern - choppy) - Breath/Interest (not evident)
- Phrasing - No Sing-Song
- Flow
- Mood…Energy
Word Usage…correct pronunciation…jargon/slang…
Cliché (overused or worn out expressions)…Ain’t…
grammatically correct speech…Political correctness…
http://www.howjsay.com/
Beginning announcers often hesitate slightly before reading or saying a difficult word (keep word flow
constant). Don’t let the voice trail off on the last word
of a sentence (throw away).
- Practice
- Rapport
- Integrity
Common Vocal Problems…Fillers…Monotone…
Energy…Sing-song
Today – a pleasant, energetic voice is the broadcast
standard.
3 Key Elements of Vocal Development
1.Lower range of your individual vocal capacity
Lower range of your individual vocal capacity2.Comfortable, but steady pace
Comfortable, but steady pace3.Clarity of content
Clarity of contentInflection
•Inflection is an upward or downward pitch change
Inflection is an upward or downward pitch change•Adds variety to your presentation
Adds variety to your presentation•Avoid monotone delivery
Avoid monotone deliveryPacing
•Speak at a steady pace
Speak at a steady pace•Normal rate: 145-180 words/minute
Normal rate: 145-180 words/minuteCopy Marking
•You can “copymark” your script before reading it on-air
You can “copymark” your script before reading it on-air•This serves as an easy guide to help you remember what inflection and pacing to use for an announcing segment
This serves as an easy guide to help you remember what inflection and pacing to use for an announcing segmentAvoid Popping
•Popping is caused by a pop of air in words with p, b, t, d, k, and g.
Popping is caused by a pop of air in words with p, b, t, d, k, and g.•It happens when you speak too closely to the microphone
It happens when you speak too closely to the microphoneB
BUMPER - A pre-recorded audio element consisting of voice over music that acts as a transition from a stop set (commercials).
CALL LETTERS - The official, legal name of a Radio station.
CARRIER WAVE - The frequency on which the station operates. The station’s programing is placed on the carrier wave through modulation and then broadcast through the air for listener reception.
C
COST PER GROSS RATING POINT - The average cost for one GRP in an ad schedule; it is calculated by dividing the total cost of the schedule by the total number of GRPs.
COST PER THOUSAND (CPM) - A figure that compares the cost of reaching the targeted audience either on a single station or across different media. The simplest way to calculate CPM is to divide the cost of the ad by the number of listeners (in thousands) who are expected to hear the ad.
CUME LISTENERS - Cumulative audience, an estimate of the total number of listeners reached by a radio station during a typical week. Cume estimates indicate the level of reach or penetration in a market. Rather than count listeners multiple times during the day, this calculation allows the station to know how many different people listen to the station during a day.
D
DAYPART - Divisions of the broadcast day created to track radio listening and aid in program scheduling. Dayparts include morning drive, midday, afternoon drive, nighttime, and all-night/overnight.
DEAD AIR - Silence on the radio which can be due to either to operator error, computer error or an act of nature. During dead air, there is no audible transmission.
FINAL EXAMINATION NOTES - The RTV 011 Final Exam is on Monday (May 24 @ 10AM)
Sound effects (SFX) have specific functions within the general contextual and narrative categories. They break the screen plane, define space, focus attention, establish locale, create environment, emphasize and intensify action, humor, symbolize meaning, create metaphor, and unify transition.
•Sound effects can be classified as anything sonic that is not speech or music.
Sound effects can be classified as anything sonic that is not speech or music.•Contextual Sound emanates from and duplicates a sound source as it is. It is also referred to as diegetic sound - coming from within the story space. Nondiegetic sound comes from outside the story space: music underscoring is an example.
Contextual Sound emanates from and duplicates a sound source as it is. It is also referred to as diegetic sound - coming from within the story space. Nondiegetic sound comes from outside the story space: music underscoring is an example.•Narrative sound adds more to a scene than what is apparent and so performs an informational function. It can be descriptive or commentative.
Narrative sound adds more to a scene than what is apparent and so performs an informational function. It can be descriptive or commentative. •Descriptive sound describes sonic aspects of a scene, usually those not directly connected with the main action. A conversation in a hot room with a ceiling fan slowly turning is contextual sound.
Descriptive sound describes sonic aspects of a scene, usually those not directly connected with the main action. A conversation in a hot room with a ceiling fan slowly turning is contextual sound.Breaking the Screen Plan
•A film or video without sounds, natural or produced, detaches an audience from the on-screen action.
A film or video without sounds, natural or produced, detaches an audience from the on-screen action.•Defining Space
Defining Space•Sound defines space by establishing distance, direction of movement, position, openness, and dimension.
Sound defines space by establishing distance, direction of movement, position, openness, and dimension.Doppler Effect
With moving objects, frequency also helps establish distance and direction of movement. As a moving object (siren, car, etc.) approaches, its pitch gets higher (away, lower).
Focusing Attention
In shots, other than close-ups, in which a number of elements are seen at the same time, how do you know where to focus attention? Of course directors compose shots to direct the eye, but the eye can wander. Sound, however, draws attention and provides the viewer with a focus. In a shot of a large room filled with people, the eye takes it all in, but if a person shouts or begins chocking the sound directs the eye.
Sound Effects
•Sounds can establish locale.
Sounds can establish locale.•Establishing locale begins to create an environment.
Establishing locale begins to create an environment.•Sounds can emphasize or highlight action.
Sounds can emphasize or highlight action.•Depicting identity is perhaps one of the most obvious uses of sound.
Depicting identity is perhaps one of the most obvious uses of sound.•Sounds, or the lack of them, help set pace.
Sounds, or the lack of them, help set pace.•Sounds provide counterpoint when they are different from what is expected, thereby making an additional comment on the action.
Sounds provide counterpoint when they are different from what is expected, thereby making an additional comment on the action.•Sounds can be funny.
Sounds can be funny. •Sound can be used symbolically.
Sound can be used symbolically. •Sound can create a metaphorical relationship between what is heard and what is seen.
Sound can create a metaphorical relationship between what is heard and what is seen.•Sounds provide transitions and continuity between scenes, linking them by overlapping, leading-in, segueing, and leading out.
Sounds provide transitions and continuity between scenes, linking them by overlapping, leading-in, segueing, and leading out.•Overlapping occurs when the sound used at the end of one scene continues, without pause, into the next.
Overlapping occurs when the sound used at the end of one scene continues, without pause, into the next.•A lead-in occurs when the audio to the next scene is heard before the scene actually begins and establishes a relationship to it.
A lead-in occurs when the audio to the next scene is heard before the scene actually begins and establishes a relationship to it.•A segue - cutting from one effect to another with nothing in between (links scenes)
A segue - cutting from one effect to another with nothing in between (links scenes)•Lead-out sound is audio to an outgoing scene that carries through to the beginning of the following scene but with no visual scene-to-scene relationship.
Lead-out sound is audio to an outgoing scene that carries through to the beginning of the following scene but with no visual scene-to-scene relationship.Silence
•In situations where we anticipate sound, silence is a particularly powerful element.
In situations where we anticipate sound, silence is a particularly powerful element.•The silence preceding sound is equally effective.
The silence preceding sound is equally effective.•Silence is also effective following sound.
Silence is also effective following sound.Live Sound Effects
Although prerecorded sound libraries are readily available - some are quite good - most audio designers, particularly for theatrical film and television, prefer to produce their own effects because doing so allows complete control in shaping a sound to meet a precise need.
Live sound effects are collected in
three ways:
1.Create them in a studio
Create them in a studio2.Record them on the set during shooting
Record them on the set during shooting3.Record them directly from the actual source
Record them directly from the actual sourceFoley Recording
Producing and recording sound effects in the studio (preferably) in synchronization with picture (video).
Spotting - going through a script or work print and deciding on the placement of music and sound effects - takes place at different times in the production process because sound effects can be produced during and after shooting.
Foley Effects (SFX)
•Using a feather duster in the spokes of a spinning bicycle wheel to create the sound of gently beating wings - or flapping a leather glove to generate a more aggressive wing sound.
Using a feather duster in the spokes of a spinning bicycle wheel to create the sound of gently beating wings - or flapping a leather glove to generate a more aggressive wing sound.•Twisting stalks of celery to simulate the sound of tendons being stretched.
Twisting stalks of celery to simulate the sound of tendons being stretched.•Taking the rubber ball from a computer mouse and dragging it across the face of a computer monitor to create the sound of a bat.
Taking the rubber ball from a computer mouse and dragging it across the face of a computer monitor to create the sound of a bat.•Crumpling Styrofoam near the mic for the effect of crackling ice.
Crumpling Styrofoam near the mic for the effect of crackling ice.•Spotting - going through a script or work print and deciding on the placement of music and sound effects.
Spotting - going through a script or work print and deciding on the placement of music and sound effects.•Spotting Sound Effects involves going through the script or edited work print and specifically noting on a spotting sheet each effect that is called for.
Spotting Sound Effects involves going through the script or edited work print and specifically noting on a spotting sheet each effect that is called for.•ADR: "Additional Dialogue Recording" or, depending who you ask, "Automated Dialogue Replacement." It also goes by names including "looping," and "post-sync.” Whatever the name, it means replacing spoken lines recorded on set or on location with audio recorded in the studio.
ADR: "Additional Dialogue Recording" or, depending who you ask, "Automated Dialogue Replacement." It also goes by names including "looping," and "post-sync.” Whatever the name, it means replacing spoken lines recorded on set or on location with audio recorded in the studio.Making your own Sound Effects - Assignment
•In the controlled environment of the recording/radio LAB, create 10 original sound effects using Adobe Audition (Building a Sound Effects Library, and Making your own Sound Effects).
In the controlled environment of the recording/radio LAB, create 10 original sound effects using Adobe Audition (Building a Sound Effects Library, and Making your own Sound Effects).•After recording, burn your sound effects (SFX) onto a CD. Turn your SFX CD (or send it as an email mp3 attachment to Mr. Story - wstory@deltacollege.edu) in for grading by placing it in the FM 89.5 box on the Station Manager’s desk.
After recording, burn your sound effects (SFX) onto a CD. Turn your SFX CD (or send it as an email mp3 attachment to Mr. Story - wstory@deltacollege.edu) in for grading by placing it in the FM 89.5 box on the Station Manager’s desk.•To create your 10 original sounds (SFX) you must duplicate the assigned sounds without using the original source of that particular sound. In other words to create the sound of a crackling fire…DO NOT START AND RECORD AN ACTUAL FIRE (crumpling cellophane will work)!
To create your 10 original sounds (SFX) you must duplicate the assigned sounds without using the original source of that particular sound. In other words to create the sound of a crackling fire…DO NOT START AND RECORD AN ACTUAL FIRE (crumpling cellophane will work)!The 10 sounds you are to create are:
1.5 seconds of a Crackling Campfire
5 seconds of a Crackling Campfire2.5 seconds of at least two Dogs Barking
5 seconds of at least two Dogs Barking3.A Car Horn (repeated twice)
A Car Horn (repeated twice)4.5 seconds of various Train Sounds (train on tracks, train engine, train whistle, etc.)
5 seconds of various Train Sounds (train on tracks, train engine, train whistle, etc.)5.A Ticking Bomb with Bomb Explosion
A Ticking Bomb with Bomb Explosion6.5 seconds of random sounds of people visiting a Zoo
5 seconds of random sounds of people visiting a Zoo7.A Car Crash
A Car Crash8.5 seconds of Thunder and Rain Drops
5 seconds of Thunder and Rain Drops9.5 seconds of a Crowded Night Club
5 seconds of a Crowded Night Club10.Any Wild and Fun sounding Cartoon/Animation SFX
Any Wild and Fun sounding Cartoon/Animation SFXMore notes for the Final Exam
Jobs
Assistant, Setup (Second Engineer) - In music recording, sets up the studio and the control room before a session, checks and readies the equipment, and assists engineer during production.
Audio Engineer - Depending on the medium - radio, television, film, or music recording - maintains the audio equipment, operates the console and other control gear, and performs the recording, editing, and mixing functions.
Automated Dialogue Replacement (ADR) Editor - Edits the ADR recording.
Board Operator - Operates the console and the other control room equipment during a broadcast and production session.
Boom Operator - Operates the boom microphone during a broadcast/film and production session.
Concert Sound Reinforcement Engineer - Sets up, tests, and operates the sound equipment for live concerts
Duplication Technician - Duplicates client audio recordings, determines if material is suitable for duplication, handles packaging, and checks and readies the recording and playback equipment.
Entry-level trainee (Intern) - Does whatever is asked in the execution of studio and control room activities and in helping during a production session; performs routine housekeeping duties; takes the opportunity to observe and learn.
Foley Artist - Creates and performs sound effects in a Foley studio.
Librarian - Receives, catalogs, files and mails a studio’s audio material: obtains authorization for releasing a recording.
Machine Room Operator - In film, loads and operates the magnetic film recorder/playback machines. In television, handles the loading operation of the recorders.
Playback Operator - Plays any needed prerecorded music or dialogue on the set.
Radio Production Engineer/Producer - Operates the equipment and produces audio material, such as spot announcements, promos, jingles, and IDs.
Sound Designer - Creates, directs, and is usually involved in the production of the overall sonic character of a work, such as a film, video, etc.
Sound Transfer Engineer - Transfers audio from one recording medium to another.
Theatre Sound Designer - Records, edits and mixes the audio for plays and musicals; handles the audio at the theater’s mixing console during performances.
Jargon
Acoustics - The study of sound. Also, the properties of a studio, room, or concert hall that contributes to the quality of the sound heard in it.
Ad-lib - To speak over the air without a prepared script.
ASCAP - American Society of Composers and Publishers, a music licensing agency.
Audition - A mode of console operation in which sound can be channeled into a speaker without being fed to the on-air transmitter.
BMI - Broadcast Music International, a music licensing agency.
Channel - The route followed by a signal as it travels through the components of a system.
Combo - Simultaneously operating the audio console and announcing over the air (working combo).
Compression - Process used to minimize distortion by reducing the differences in level between low and high volume segments of a recorded or broadcast sound.
Digital Audio Workstation (DAW) - A computer with audio recording software or a stand-alone digital interface connected to a computer designed to record, edit, and play back digital sound files.
Distortion - A change or alteration in the quality of sound that impairs the listener’s ability to identify it with its source.
Dolby - Trade name of noise-reduction system.
Doubletracking - Recording a voice and then recording another version of the voice that has been slightly altered electronically. When both voices are mixed and played back, an eerie effect results.
Dubbing - Recording sound from one recorded source to another. Also, the process of copying a digital sound file.
Ducking - Fading music or sound effects track under voice.
Emergency Alert System (EAS) - A federal network for broadcasting information to the public. (EBS - Emergency Broadcast System).
Feedback - Reamplification of a sound, resulting in a loud squeal.
Gross Impressions - The total number of exposures to a commercial.
Log - The station’s official record of what was aired during a broadcast day.
Modulation - The electrical imprint of a sound signal on an audio or radio wave.
MP3 format (MPEG-1, Audio Layer III) - Audio sound file format developed for use of Motion Picture Experts Group (MPEG) video. The format is a compressed audio format that lends itself well to Internet transmission.
Overdub - To add another audio element to an existing one.
Pitch - The ear’s and mind’s imprecise interpretation of the frequency of a sound.
Pot - Short for potentiometer. A device on an audio console that controls volume.
Public Service Announcements (PSAs) - Program elements designed to provide the public with needed information.
Riding levels - Keeping close watch on the strength of signals to ensure that the program is not overmodulated (riding gain).
Sibilance - The noticeable prominence of hissy S sounds.
Signal-to-noise ratio - The ratio (expressed in decibels) between the intended sounds of a recording or broadcast and the undesirable noise of a system.
Stinger - A brief musical opening designed to attract attention.
Transducer - Any device that performs the function of converting energy from one form into another.
WAV format - Digital sound files stored in a Windows pulse code modulation format
Wild Sound - Ambient sound used to enhance the atmosphere of an actuality or a sound bite.
More Jargon (terms)
AFTRA - American Federation of Radio and Television Artists. The union for Radio/Television Performers.
Ambient Noise - Naturally occurring sounds recorded on the scene (Nat Sound)
Attenuator - Reduces the amplitude or loudness of an audio signal (effectively the opposite of an amplifier).
Audition Package (Air-Check) - An audio that demonstrates a performer’s ability.
Bumper - Short bit or musical interlude that goes between segments of a show.
Crank up the gain - Reference to bringing the fader up on the audio console so that there is more signal strength.
Cue tone - Audio signal that indicates the beginning of a pre-recorded program.
Defamation - False statement that damages the reputation of a person or group (Libel - written...Slander - spoken).
Donut commercial - Commercial that already has recorded copy at the beginning and end, leaving a hole in the middle for the local announcer to fill.
Drive time - Period of the day, morning or afternoon, when people are going to work or coming home; most important times of day for reaching the radio audience.
Fairness Doctrine - FCC policy that required stations to present all sides of a controversial issue (no longer in effect).
Fidelity - The accuracy of signal reproduction.
Gain - An increase in signal power through amplification; another term for volume.
Hook - Beginning of a commercial, designed to capture listener.
Inflection - Raising and lowering the pitch of the voice for emphasis.
Lead-in - One show that proceeds another; also an introduction to a song.
Malapropism - Misuse of words or expressions with usually humorous results.
Mixer - Equipment that allows an operator to combine various audio sources.
Music sweep - A group of songs played without commercial interruption.
Outcue - Last four or five words of a recorded program, used to alert the announcer that the segment is over.
Outro - The ending of a song, program, or script.
Personal attack rule - FCC rule in which it is the responsibility of the local station to notify a person who is verbally attacked on-air and to give the opportunity to reply.
Phantom power supply - Means of powering microphones utilizing the audio lines and an external amp built into an audio console.
Plosive - Sudden burst of air produced when pronouncing letters such as P, B, or T
Signal processing - Altering sound characteristics to make sound more to our liking, such as adding reverb, equalizing, and using noise reduction.
Slander - Oral defamation; spoken words that harm someone’s reputation.
Sweetening - Correction of audio in post-production.
Talk-up - Announcing material over the instrumental beginning of a song; speaking right up to the point when the vocal part of the song starts.
Theater of the mind - Use music and sound effects to create images in the minds of the audience.
Tight board - Ability to operate an audio board so that numerous program elements are played one after the other with no dead air (no break in flow).
Tone - The quality of sound; also a steady tone on the audio board to check levels.
Vocal Elements - The techniques for making a voice interesting and effective, including inflection, emphasis, pausing, rate, and phrasing.
Sound Design for Games
Interactive Media allows a user to be a participant in the viewing experience instead of just a spectator. A user can directly manipulate and control the picture and the sound.
Interactive Media includes a number of genres, such as simple Web pages, informational CD-ROMs, educational software, and dynamic Web sites. Video games are an advanced form of interactive media employing high-end sound as well as video and graphics.
Video games include any interactive medium in which the focus is on entertainment rather than on productivity, instruction, or information dissemination.
Little is predictable in interactive sound design. The best video games give users complete control, allowing them to go where they want, go when they want, to do what they want. This means that nothing, including sound, can play back linearly.
In creating an interactive sound design, the sound designer has to develop a sound track that will never play back in the same way twice. It has to react to changing user input and be able to accommodate all conceivable user actions seamlessly. This is referred to as interactive sound, or dynamic sound.
Linear Sound Design
–Based on a fixed picture
Based on a fixed picture–Sound track will play back in exactly the same way every time it plays
Sound track will play back in exactly the same way every time it plays–Fixed picture can help designers determine what sounds to use
Fixed picture can help designers determine what sounds to useMany traditions and standards for proper design and production
Interactive Sound Design
–Picture is not fixed
Picture is not fixed–Sound track will never play back in exactly the same way
Sound track will never play back in exactly the same way–Picture is often not helpful when designing sound
Picture is often not helpful when designing soundTechnical and computer knowledge are required in addition to sound design expertise
An effective interactive sound design creates an immersive environment through which a user can travel and explore.
In a conventional production, the user is unable to explore a location at will. In an interactive design, the sounds can change dynamically as a user moves though the environment. Interactive media and games also allows music to affect mood and pacing in a dynamic way.
Shared system resources - the need for all parts of the video game - sound control and playback, picture display, game play and game control, and control of various hardware components - to use simultaneously the same finite set of system resources.
Today’s high-end computer systems help alleviate some of the technical challenges presented by shared system resources. Hardware has improved dramatically from the early days of video game development, and now most home computers and video games consoles have the CPU processing power, system memory, and storage space to allow for advanced graphics and improved sound design.
File compression technology is commonly used to reduce the file size of audio files, improving performance and playback.
Interactive sound designers must also become familiar with various audio file formats…MP3, WAV and WMA (and many others).
The production process for interactive sound design can be roughly divided into the standard phases of preproduction, production and postproduction.
Most video game production environments include four distinct teams, which take the game from concept to completion - design, artistic, programming, and testing.
The sound crew on most video game or interactive productions is small.
The sound crew comprises five principal functions: designer, engineer, composer, recording engineer, and recording support specialist.
Development:
Most creative decisions made during preproduction have technical ramifications that must be considered. One is the game’s release platform. Platform refers to what type of computer system the game will be played on.
Collecting and Recording Audio:
·As with a linear production, an interactive sound crew gathers the audio through traditional methods.
As with a linear production, an interactive sound crew gathers the audio through traditional methods.·Once the audio is collected and recorded, the similarities end: the interactive sound crew handles it differently from the sound crew of a movie/TV program because game sound must be dynamic.
Once the audio is collected and recorded, the similarities end: the interactive sound crew handles it differently from the sound crew of a movie/TV program because game sound must be dynamic.Assets:
·In a video game or any interactive production, every piece of sound is referred to as an asset.
In a video game or any interactive production, every piece of sound is referred to as an asset.·Assets are data that can be referenced and used at various points in the game.
Assets are data that can be referenced and used at various points in the game.·Video games may reference thousands of sound assets during game-play.
Video games may reference thousands of sound assets during game-play.·To maintain the required level of organization, most sound assets and individual audio files are stored in an organization structure called a - sound library.
To maintain the required level of organization, most sound assets and individual audio files are stored in an organization structure called a - sound library.·Many interactive development companies use file management software or proprietary sound library software.
Many interactive development companies use file management software or proprietary sound library software.·Basic Interactivity, one of two types of interactive sound design, is characterized by a simple relationship between user actions and audio playback.
Basic Interactivity, one of two types of interactive sound design, is characterized by a simple relationship between user actions and audio playback.·In a sound design using basic interactivity, a user action - a button press or a mouse click - results in specific sound playback.
In a sound design using basic interactivity, a user action - a button press or a mouse click - results in specific sound playback.·On (release) (_root.sound.attachsound(“sfx.wav”); _root.sound.start (0,10);
On (release) (_root.sound.attachsound(“sfx.wav”); _root.sound.start (0,10);Complex Interactivity, also called adaptive, or interactive sound, is a more complex and dynamic way of handling interactive audio. The complex sound asset will run stored algorithms or function that can play back sound in a variety of dynamic ways.
Game State - is a collection of all useful information about the game at any given point during play.
Game state information is accessed by complex sound assets to control and manipulate audio in different ways.
·Once sound effects (& other sounds) are cataloged, they can be referenced as assets and used in the game. In a basic interactive design, the files are often accessed directly by the game programming code.
Once sound effects (& other sounds) are cataloged, they can be referenced as assets and used in the game. In a basic interactive design, the files are often accessed directly by the game programming code.·Music
Music·Dialogue & Narration
Dialogue & NarrationPostproduction in interactive media is the production phase least like its counterpart in linear media.
When sound assets play simultaneously according to the audio engine’s instructions, the full audio track is automatically created, mixed and played back.
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