Accountability, 4, 53–4, 273, 284, 320
Accuracy:; actuality, 220–1, 269; facts, 63–4, 79, 301–2; sound effects, 261
Acoustic, 325; poor, 96–7; screen, 231, 325; use in drama, 257–8, 322
Actuality, 179, 220–1, 269, 325
Advertising, 188–203, 322; codes of practice, 189
Advice programmes, 10, 145–6, 147–8
Anonymity, 150
‘Any Questions?’, 130
Apologies, 121, 124–5, 165, 296–7
Appropriateness, 301
Artificial reverberation, 236–7
Artists, 225, 227, 231–2, 241, 279–81
Atmosphere, 22, 96, 105, 259, 325
Audience research, 2, 288, 303–7, 323, 326
Automatic Gain Control, 100, 105, 326
Back announcement, 109, 112, 326
Back-timing, 164–5, 185, 326, 334
Background listening, 5
Background noise:; interview, 96–7, 98; vox pop, 105
BBC policy:; news, 54–5, 56; surreptitious recording, 270
BBC Radio 3, 290; Radio 4, 274, 294, 322; Radio Norfolk, 74, 76, 147, 324; World Service, 137; Website, 323
Beginnings:; discussion, 132–3; documentary, 271; music, 164; phone-in, 146–7; talk, 47; vox pop, 107
Bennett, Alan, 263
Bi-directional microphone, 35, 233, 256, 326
Blind, programmes for, 174
Board, governing, 15, 16; studio, 19–22, 326
Boyer, J.H., 42
British Airways, commercial, 200, 322
Broadcasting Acts 1990 and 1996, 54, 189, 295
Chairperson, 130–1, 132–6, 141–3
Children, in programmes, 104–5
Citizen band, 1
Codes of practice, 40, 54, 189, 295, 323
Commercials, 161, 188–203, 242, 322
Commissioning programmes, 291–5
Communications Act 2003, 54, 189
Compilation CDs, 159
Compression, digital, 26–7, 321, 327; dynamic, 230, 235–6, 321, 327
Computer:; editing, 32–3,; for music, 162; for news, 73; music recording, 236, 239; studio systems, 25–7; training, 312
Condenser microphone, 232, 233, 327
Conflict:; drama, 245; resolution of, 211–12, 241, 285
Continuity presentation, 123–4; in magazines, 114, 174, 181–2
Contributors, 130, 132, 273, 278–81
Control cubicle, 20
Copyright, 327; clearance, 199–200, 244, 278; music, 158, 241; reporting, 284
Correspondence, 153–4, 165–6, 179, 284, 307–8
Cox, Sir Geoffrey, 56
Creativity, 31, 274, 276, 286, 301
Credits, 320
Critic, 320
Cue, 327; light, 20, 328; line, 328; material, 109–13; sheet, 328
Cume, 328
Deaths, 289
Decca ‘tree’, 229
Decibel, 328
Deighton, Len, 273
Delay equipment:; music balance, 237; phone-in, 144, 145
Democracy, broadcasting in a: discussion, 136; interview, 81, 101; news, 42, 53, 56; phone-in, 137
Department for International Development, 8–9, 44–5, 55, 323
Devil's advocate, 88
Diana, Princess of Wales, 289
Digital audio broadcasting, 7, 9, 10
Digital audio tape, see DAT
Digital audio workstation, 27–30, 72; processor, 240
Digital compression, 26–7, 321, 327
Digital editing, 32
Digital effects unit, 208, 236, 260, 322
Digital recording, 25–6, 30, 239–40
Direct inject box, 235
Directional microphone, 35–6, 233
Documentary interview, 82
Documentary programmes, 264–74, 322
Drama, 242–63, 322; inserts, 181; studio, 258
Dub editing, 32
Dynamic control, 19; automatic, 235–6; compression, 230, 235–6, 321, 327
Editing, 31–3, 107–8, 283, 329
Editorial policy, 42, 53, 54–6, 104, 284–5, 294
Effects, sound, 170, 179, 198–9, 200, 259–61, 269
e-mail, 73, 77, 130, 152–3, 329
Embargoes, 79
Embedded reporters, 69
Emergencies, 124–5, 187, 222–4
Eminence, 302
Endings:; commentary, 221; discussion, 136; documentary, 272–3; interview, 93; music, 164–5; talk, 49; vox pop, 108
Equalization (EQ), 23, 25, 206, 235, 329
Equity, 329
Exhibition, 156
Facsimile/Fax, 73
Fair comment, 58
Fair play, 41, 66–7, 148, 301–2, 319
Fault reporting, 38
Fill-up material, 125, 211, 289
Foldback, 19, 231, 240, 260, 329
Follow-up materials, 5, 9, 153–4, 155
Francis, Sir Richard, 44
Freberg, Stan, 242
Frequency allocation, 8
Frequency response, 35–6, 235, 330
Gandhi, Prime Minister, 289
Gavigan, Bart, 247
Government control, 13, 14, 15, 44–5, 55; interview, 94
Gratuities, 212
Greene, Sir Hugh, 56
Hall, Lee, 263
Hanrahan, Brian, 70
Hatch, David, 286
Hazard assessment, 207–8, 284, 322
Health Education Authority, 197, 322
Howl-round, 140, 230, 233, 330
Ideas, development, 176–7, 185–6, 244, 276–7
Imagination, 1–2, 192–3, 242–3, 314
Impartiality, 41–2, 55–6, 61, 129, 134
Innovation, technical, 302
Intelligibility, 48, 50–1, 64–6
Interference, 10
Internet, 4, 27, 131, 143, 177, 210, 214, 331
Item order:; magazine, 181–2; music, 164; news, 58–60, 314–15
Jones, Peter, 223
Kolb, 310
Lead story, 58–60, 181–2, 314–15, 331
Legal advice, 146
Letters, listeners, 152–3, 165–6, 179, 284, 307–8
Levels, 19, 21–2, 29, 92, 96–7, 134–5, 230, 235–6, 331
Listener, relationship with, 46, 101, 115–16, 213, 319
Listener participation, 152–7, 179–80
Location interviews, 96–101, 105, 268–9
Marie Curie Cancer Care commercial, 195, 322
Market research, 190
Minidisc, 30, 32, 77, 99, 107, 332
Mixing, 19–22, 211–12, 237–9, 332
Monitoring:; headphone, 125; loudspeaker, 19, 21–2; music, 229, 238–9
Monologue, 263
Motivation, 16, 17, 41, 64, 68, 316, 319
Music:; in commercials, 198–200; contracting out, 226; in documentary, 270; in drama, 261; fades, 159; in magazines, 172, 178–9; recording, 225–41; selection, 162, 163–4
Musicians, 158–9, 225–6, 227–32, 241, 261
News, 53–79; reading, 115–22, 322; reporting, 63–70; sources, 71; values, 58–60, 314–15
News booth, 72; copy flow, 73; diary, 71–2; training, 312, 314–15
News conference, 78
Newspapers, comparison with, 5–6, 59, 67, 71, 73, 171–2
Non-verbal communication, 91–2, 281
Objectives, 16–17, 276–7, 286–7, 300–1, 319; documentary, 265 drama, 243; interview, 80, 81; training, 311–12
Objectivity in news, 40, 41–2, 54–6, 67
Omni-directional, 35, 77, 98, 332
Opera, 233
Operational technique, 18–35, 237–40
Oral history, 82, 299, 321, 342
Outside broadcasts, 204–12; interviews, 96–101, 105
Outside pressures, 15–16, 61–2
Overload distortion, 23, 233, 333
Package, 28
Payments, 241, 284; gratuities, 212
Peak programme meter, 19, 37, 333
Performing Right Society, 127, 158
Phonographic Performance Ltd, 158
Piano balance, 234
Planning, 130–2, 185–6, 205–6, 214–15, 265–8, 277–9, 290–1
Playguide/Playlist, 162
Polar diagrams, microphone, 35, 333
Portable recorder, 77, 98–9, 105–6
Post trauma syndrome, 70
Prefading to time, 126, 164–5, 184, 185, 334
Presenter:; discussion, 130–1; magazine, 173–4; music, 168–70; news, 117–22; phone-in, 141–3; training, 315–16
Pritikin, Robert, 192
Private grief, 40, 68–9, 82, 222–4
Privilege, 58
Programme aims, 276–7, 286, 300–1, 319; discussion, 128; documentary, 265; interviewing, 80, 81; music, 163; phone-in, 137; writing, 46–7
Programme analysis, 300–3, 317–18
Pronunciation, 116, 118–19, 165–6
Public address, 205, 210, 233, 237
Public service, 12–13; announcements, 125, 189–90, 317
Purpose, statement of:; commissioning, 292; documentary, 264–5; personal, 16–17, 319; programmes, 276–7, 288–9, 300–1; station, 74–5, 286; training, 313
Quality, definition of, 301–3, 317–18
Question technique, 86–91, 103–4, 106–7
Questionnaire, research, 305–7
Racing results, 122
Radio mic, 36, 75, 205, 233, 334
Rate card, 190
Reconstruction, 270
Recording off transmission, 4, 148, 151, 211, 216, 335
Reference sources, 143, 214, 267
Remotes (OBs), 204–12 Repeats, 289
Reporting, 60–70, 222–4; equipment, 77–8
Research:; audience, 2, 303–7; market, 190; panels, 305; questionnaires, 305–7
Reverberation, 236–7, 257–8, 322, 335
Risk, 69–70, 207–8, 208–9, 284, 322
Roadshow, 156
Running order, 26, 335; documentary, 266–7; magazine, 181–5; outside broadcast, 211
Scripting, 46–52; dialogue, 248–53, 316–17; layout, 51, 254–5
Secret recording, 43, 62, 270, 295
Signposting, 49, 111, 112, 243
Simulation, 269
Sound effects, 179, 198–9, 200, 259–61, 269
Spin doctor, 78
‘Spoonface Steinberg’, 263
Sports:; commentary, 216–17, 219–20; results, 121, 122
Staff development, 287
Stand-by material, 125, 211, 289
Studio layout, 20, 24–5; drama, 258; music, 230–2
Studio operations, 18–38; errors, 124–5; music, 237–40; phone-in, 138–41, 143–5
Style:; commentary, 217–19; magazine, 173–4; news, 59; station, 122–4
Subbing, 73
Talkback, 20, 21, 118, 129, 135, 233, 241, 280, 336
‘Talking Heads’, 263
Target audience, 46, 213, 277; commercials, 190; commissioning, 291–5; evaluation, 300–1; music, 160; news, 58–60; scheduling, 288–9
Television, comparison with, 2, 3, 5, 8, 112
Titles, 172
Trails, 125–7, 282–4, 322, 336
Translation, in interviews, 95–6
Transmission slot, 173, 277, 289
Triangle of trust, 101
Union agreements, 239
Voice-over, 159, 166, 167, 236, 337
Voice projection, 116, 119–20, 356–7, 315–16
Vox pop, 102–8, 183, 316, 322, 337
Watchdog, role of media, 42–3, 60–1, 130
Website, 4, 73, 297–8, 323–4, 337
Writing, 46–52; commercials, 191–5; drama, 243–4, 245–6, 248–54; news, 64–6; press release, 78–9
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