Index

Above-the-line cost, 308, 325

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

Actors, 255–7

Actuality, 179, 220–1, 269, 325

Adaptation, for radio, 243–4

Ad-lib, 166, 169, 263, 325

Administration, 283–4

Advertising, 188–203, 322; codes of practice, 189

Advice programmes, 10, 145–6, 147–8

AGC, 100, 105, 325

Agenda setting, 10, 59

AIDS, 146, 191, 197

Anonymity, 150

‘Any Questions?’, 130

Apologies, 121, 124–5, 165, 296–7

Appraisal, 287, 311

Appropriateness, 301

Archives, 82, 159, 298–9

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

Auxiliary output, 19, 21, 23

Back announcement, 109, 112, 326

Back-timing, 164–5, 185, 326, 334

Background listening, 5

Background noise:; interview, 96–7, 98; vox pop, 105

Backing track, 239–40, 326

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

Bias, 41–2, 43, 55–6, 61

Bi-directional microphone, 35, 233, 256, 326

Blind, programmes for, 174

Board, governing, 15, 16; studio, 19–22, 326

Boundary effect mic, 233, 326

Boyer, J.H., 42

Bribes, 43, 61

British Airways, commercial, 200, 322

Broadcasting Acts 1990 and 1996, 54, 189, 295

Budget, 278, 285, 308–9

Campaigning journalism, 62–3

Car, radio, 75–7

Cardioid, 35, 233, 327

Cassettes, 30, 31, 32, 327

Casting, 130, 255

CDs, 34–5, 327

Cellphone, 77, 207, 208

Chairperson, 130–1, 132–6, 141–3

Characterization, 247–8

Children, in programmes, 104–5

Choir, 226, 227–8

Citizen band, 1

Clean feed, 19, 210, 327

Clock format, 160–2, 176

Codes of practice, 40, 54, 189, 295, 323

Commentary, 213–24, 316

Commercials, 161, 188–203, 242, 322

Commissioning programmes, 291–5

Communications Act 2003, 54, 189

Compact disc, 34–5, 327

Competitions, 156, 180

Compilation CDs, 159

Complaints, 153–4, 296–7

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

Consumer benefit, 190–1

Consumer programmes, 147–8

Contempt of court, 56–7

Contingency plans, 187, 224

Continuity presentation, 123–4; in magazines, 114, 174, 181–2

Contributors, 130, 132, 273, 278–81

Control cubicle, 20

Control lines, 21, 206, 327

Control panel, 19–22

Copy policy, 188–90

Copyright, 327; clearance, 199–200, 244, 278; music, 158, 241; reporting, 284

Correspondence, 153–4, 165–6, 179, 284, 307–8

Costs, 7–8, 278, 308–9

Counselling programmes, 148–9

Course organization, 312–14

Cox, Sir Geoffrey, 56

Creativity, 31, 274, 276, 286, 301

Credits, 320

Critic, 320

Crossfade, 22, 327

Cue, 327; light, 20, 328; line, 328; material, 109–13; sheet, 328

Cume, 328

Current affairs, 54–5

Danger, 69–70, 208–9, 222–4

DAT, 26, 30, 32, 328

Deaths, 289

Decca ‘tree’, 229

Decibel, 328

Dedications, 162–3, 165–6

Defamation, 57–8, 142, 145

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

Dialogue, 248–50, 317

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

Dimbleby, Richard, 221–2

Direct inject box, 235

Directional microphone, 35–6, 233

Disasters, 68–9, 187, 222–4

Disc jockeys, 168–70

Discussions, 128–36, 178

Documentary interview, 82

Documentary programmes, 264–74, 322

Dorris, Bill, 250–4

Double meanings, 48, 50–1

Double tracking, 239–40

Drama, 242–63, 322; inserts, 181; studio, 258

Drive time, 288, 328

Dry run, 262, 328

Dub editing, 32

Ducker, 159, 236, 328

Dynamic control, 19; automatic, 235–6; compression, 230, 235–6, 321, 327

Echo, 236–7, 328

Editing, 31–3, 107–8, 283, 329

Editorial policy, 42, 53, 54–6, 104, 284–5, 294

Educational role, 9, 291

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

Error, 121, 124–5, 296–7

Ethics, 39–45, 54, 321

Evaluation, 286, 300–9, 318

Executive producer, 286–99

Exhibition, 156

Fabrication, 269–70

Facsimile/Fax, 73

Faders, 19, 22, 23, 237–8

Fair comment, 58

Fair play, 41, 66–7, 148, 301–2, 319

Falklands war, 44, 70

Fault reporting, 38

Features, 180, 264–5, 274–5

Feedback, 286, 315–16, 318

Figure of eight, 35, 233, 329

Fill-up material, 125, 211, 289

Finance, 7–8, 278, 308–9

FM, 10, 200, 329

Foldback, 19, 231, 240, 260, 329

Follow-up materials, 5, 9, 153–4, 155

Francis, Sir Richard, 44

Freberg, Stan, 242

Freelance, 73, 329

Frequency allocation, 8

Frequency response, 35–6, 235, 330

Funding, 13–15

Gandhi, Prime Minister, 289

Gatekeeper, 277, 286

Gavigan, Bart, 247

Gilliam, Laurence, 274, 275

Governing Board, 15–16

Government control, 13, 14, 15, 44–5, 55; interview, 94

Gratuities, 212

Greene, Sir Hugh, 56

GTS, 320, 330

Guests, 130, 132, 168

Hall, Lee, 263

Hammocking, 162, 330

Hand signals, 281, 330

Handout, 71, 78–9, 330

Hanrahan, Brian, 70

Hatch, David, 286

Hazard assessment, 207–8, 284, 322

Headphones, 125, 135

Health Education Authority, 197, 322

Hearing damage, 22, 125, 209

Helpline, 149, 155, 179

Hooks, 47, 181

Howl-round, 140, 230, 233, 330

Humour, 126, 201–3

Hyper-cardioid, 35, 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

Inflection, vocal, 120, 315

Innovation, technical, 302

Intelligibility, 48, 50–1, 64–6

Interference, 10

Internet, 4, 27, 131, 143, 177, 210, 214, 331

Interview, 80–101, 178, 321

Investigative reporting, 60–2

ISDN, 27, 77, 206, 331

Item order:; magazine, 181–2; music, 164; news, 58–60, 314–15

Jones, Peter, 223

Journalism, 39–45, 53–79

Kolb, 310

Law, 54, 56–8

Lead sheet, 238, 331

Lead story, 58–60, 181–2, 314–15, 331

Leading questions, 89–90

Learning objectives, 311–12

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

Libel, 57–8, 142

Limiter, 235–6, 331

Lines, 206–7, 210

Links, 114, 167, 174

Lip microphone, 77, 215

Listener, relationship with, 46, 101, 115–16, 213, 319

Listener participation, 152–7, 179–80

Location interviews, 96–101, 105, 268–9

Log of output, 4, 148, 331

Magazine programmes, 171–87

Managerial role, 284–5, 286–8

Marching box, 260, 332

Marie Curie Cancer Care commercial, 195, 322

Market research, 190

Medical advice, 145–6

Microphone types, 35–6, 233–5

Minidisc, 30, 32, 77, 99, 107, 332

Mixing, 19–22, 211–12, 237–9, 332

Mobile phone, 77, 207, 208

Monitoring:; headphone, 125; loudspeaker, 19, 21–2; music, 229, 238–9

Monologue, 263

Motivation, 16, 17, 41, 64, 68, 316, 319

Multi-track recording, 239–40

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

NAB, 30, 189, 332

Narrator, 250, 263, 268

Nervousness, 115, 132, 279–80

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

Newsroom, 71–4

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

Ofcom, 54, 189, 295, 323, 332

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

Page layout, 51, 183–5, 254–5

Pan pot, 23, 37, 237, 333

Panel, 19–25, 333

Parody, 194, 199–200

Payments, 241, 284; gratuities, 212

Peak distortion, 23, 233, 333

Peak programme meter, 19, 37, 333

Performing Right Society, 127, 158

Personality, 6, 130–1, 169–70

Phone-in, 134, 137–51, 180

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

Pop stopper, 232, 233, 333

Portable recorder, 77, 98–9, 105–6

Post production, 240, 283

Post trauma syndrome, 70

PPL, 158, 333

Prefade, 21, 23, 34, 334

Prefading to time, 126, 164–5, 184, 185, 334

Premise, 190–1

Presence, 23, 197, 235, 334

Presentation, 115–17, 122–4

Presenter:; discussion, 130–1; magazine, 173–4; music, 168–70; news, 117–22; phone-in, 141–3; training, 315–16

Press councils, 40, 323

Press release, 71, 78–9

Primacy effect, 59, 191

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

Promos, 125–7, 200, 322, 334

Pronunciation, 116, 118–19, 165–6

Propaganda, 41–2, 55

PRS, 127, 158, 334

Public address, 205, 210, 233, 237

Public relations, 71, 78, 143

Public service, 12–13; announcements, 125, 189–90, 317

Publicity, 211, 284

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

Q and A, 178, 334

Quality, definition of, 301–3, 317–18

Question technique, 86–91, 103–4, 106–7

Questionnaire, research, 305–7

Quotes, 120–1, 322

Racing results, 122

Radio car, 75–7

Radio mic, 36, 75, 205, 233, 334

Radio station, types, 14–16

Rate card, 190

Ratings, 43, 277, 303–7, 334

Reach, 2, 303–7, 334

Reading speed, 57, 116

Real time, 273–4

Recency effect, 59, 191

Reconstruction, 270

Recording off transmission, 4, 148, 151, 211, 216, 335

Reduction, 240, 334

Reference sources, 143, 214, 267

Rehearsal, 239, 262, 279–81

Remotes (OBs), 204–12 Repeats, 289

Reporting, 60–70, 222–4; equipment, 77–8

Request programmes, 162–8

Research:; audience, 2, 303–7; market, 190; panels, 305; questionnaires, 305–7

Reverberation, 236–7, 257–8, 322, 335

Reverse talkback, 129, 335

Ribbon microphone, 233, 335

Risk, 69–70, 207–8, 208–9, 284, 322

Roadshow, 156

RSL Station, 14, 335

Running order, 26, 335; documentary, 266–7; magazine, 181–5; outside broadcast, 211

Safety, 207–8, 208–9, 235

Sampling rate, 27, 321

Scheduling, 289–90

Scripting, 46–52; dialogue, 248–53, 316–17; layout, 51, 254–5

SEAT commercial, 200, 322

Secret recording, 43, 62, 270, 295

Segue, 167, 335

Self-op, 19, 24, 25

Selling point, 190–1

Sequence programmes, 171–80

Setting, drama, 246–7

Share, 2, 335

Signature tune, 172–3, 335

Signposting, 49, 111, 112, 243

Simulation, 269

Site visit, 205–6, 214, 216

Solid state, 8, 77, 99, 335

Sound effects, 179, 198–9, 200, 259–61, 269

Spin doctor, 78

Speed of reading, 51, 116

‘Spoonface Steinberg’, 263

Sports:; commentary, 216–17, 219–20; results, 121, 122

Spot information, 174–5

Staff development, 287

Stand-by material, 125, 211, 289

Station sound, 122–4, 125–7

Statistics, 63–4

Stereo, 36–8, 97, 200–1, 237

Story, 245–6, 250–3

Strategic planning, 290–1

Stress, 85, 132, 142, 279

Stressing vocal, 119–20

Studio discipline, 279–82

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

Style book, 74–5

Subbing, 73

Success criteria, 17, 286

Talkback, 20, 21, 118, 129, 135, 233, 241, 280, 336

‘Talking Heads’, 263

Talk-over, 159, 166, 167

Talks table, 128, 129, 336

Tape, care, 298–9

Target audience, 46, 213, 277; commercials, 190; commissioning, 291–5; evaluation, 300–1; music, 160; news, 58–60; scheduling, 288–9

Taste, 282, 296

Television, comparison with, 2, 3, 5, 8, 112

Terrorism, 54, 56, 222–4

Tie clip mic, 36, 226, 258

Titles, 172

Top 40, 9, 160, 161

Trails, 125–7, 282–4, 322, 336

Training, 287, 288, 310–18

Translation, in interviews, 95–6

Transmission slot, 173, 277, 289

Triangle of trust, 101

Tri-media, 73, 336

TV, closed circuit, 210, 233

Two-way, 147, 178, 337

UN, 39–40

Union agreements, 239

Voice-over, 159, 166, 167, 236, 337

Voice projection, 116, 119–20, 356–7, 315–16

Voice report, 177, 337

Voicework, 315–16

Vox pop, 102–8, 183, 316, 322, 337

War, 41–2, 44, 69–70

Warm-up, 241, 337

Watchdog, role of media, 42–3, 60–1, 130

WAVE 105, 127, 322, 324

Website, 4, 73, 297–8, 323–4, 337

Windshield, 77, 101, 337

Writing, 46–52; commercials, 191–5; drama, 243–4, 245–6, 248–54; news, 64–6; press release, 78–9