Introduction to the second edition
Introduction to the first edition
How to use this book
Acknowledgements
1 Sound and video
The sound teams
– The studio sound team
– The location sound team
What is sound?
Sound outdoors
– Sync problems
Sound indoors
– Reverberation
– Absorption
Sound measurements
How we hear
The ear
– Frequency and loudness
2 Microphones
What is a microphone
Working principle
– The moving coil principle
– Advantages and disadvantages
– The electrostatic principle
Same principle - different name
– The ribbon microphone
– The electret microphone
– The RF capacitor microphone
Impedance
Phase
Polar response
– Omni-directional
– Bi-directional
– Uni-directional
– The ‘other’ cardioids
Specialist microphones
– Highly directional microphones
– Boundary microphones
– Radio microphones
– Underwater microphones
3 Audio connectors and connecting
Audio connectors
Balanced lines
Phantom power
4 Recording the sounds
Magnetic recording
Analogue recording
Digital recording
Video recorder formats
5 Loocation recording
Outdoors
– The problems
Back to sound cupboard
The one person shoot
– No power
– The interview
– small-scale drama
Indoors
– Limited Power
– The office scene
– Power
6 Audio post-production
Tape-based editing
The logging suite
The off-line suite
The on-line suite
Audio editing
– The simple option
– The more complex option
– The ideal solution
Non-liner editing
Hybrid editing
7 Studio recording
Studio sound equipment
– The sound mixer
– Setting up the mixer
– The reverberation unit
– The compressor
– The noise gate
The recording
– The discussion
– The drama
– The pop group
Glossary
