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BASIC PRODUCTION CONCEPTS There are many ways to put an audio production together. The technique you decide on will depend upon the complexity of the production, the equipment available to you and your ability to put it all together. Although there are many variations to the process, audio productions usually are formed around the following four basic concepts: l Beginning to end l Prerecorded voice l Prerecorded music and sound effects l Segmenting Beginning to End When you are using this method, everything is done nonstop, mixing all the elements onto tape. This means recording the narration, background music and sound effects at one time, as they are called for in the script. Because this method requires many rehearsals and considerable production skill, it is not recommended for the inexperienced broadcaster. Prerecorded Voice If you choose the prerecorded voice method, put one element on an audiotape cartridge (known in the industry as a "cart") and mix the other elements in as you go. This method is best used for a production that requires only a few supportive elements. The prerecorded element is the narration, allowing you to concentrate on mixing the other effects as they are needed. You can add other elements later. A disadvantage to this method is that it limits the announcer's flexibility to interpret the script as it relates to the accompanying music or effects. Therefore, prerecorded voice is not the recommended method of production. It is used sparingly and, generally, only for "straight" copy requiring little interpretation. Prerecorded Music and Sound Effects Although time consuming, the prerecorded music and sound effects method works best in a complicated production, especially if the producer is inexperienced. By placing all the elements onto cartridges and then mixing them on a reel-to-reel tape recorder, you can "build" sound elements by layering one element on another using multiple recordings. The possible combinations of cartridge-to-reel, CD-to-cartridge and cartridge-to-cartridge are many. This method also allows the announcer to adapt the vocal mood to the mood created by the other elements. Segmenting The segmenting method allows the broadcaster to take manageable portions of the production and produce them using the beginning to end method. These separate segments then can be edited together to form a complete production. This method is good for very long and complicated productions but it requires both editing skill and production time. For shorter productions, the prerecorded music and sound effects method is recommended. RECORDER AND REPRODUCER SETUP Before beginning production, you should make sure all the recorders and reproducers have calibrated levels. Commonly, a 1000-cycle tone is used to set all the VU (volume-units) meters (both in record and reproduce modes) to 100 percent. The tone series as a reference point for aligning the different recorders you maybe using. Most studios have the tone hard-wired into the control board or the control room patch panel. Other production studios have the tone prerecorded on a cartridge. SPECIAL EFFECTS In audio production, there are times when an ordinary sound is not enough to convey the message or the intent of the script. Accordingly, you may enhance or change a sound electronically to produce an entirely different effect. The five most commonly used special effects are as follows: Filtering Reverb and echo All of the audio effects covered in this section are produced electronically using studio equipment (except phasing). Filtering A filter is an electronic circuit designed to pass only selected frequencies and to eliminate all others. An audio signal filtering device is often built into the control board or wired into the studio patch panel. Using filters, you can reduce the lows and enhance the highs of a microphone signal to simulate a voice coming from a telephone or radio speaker. Filtering is most commonly used during the recording process. Equalization is similar to, but has more exacting results than, filtering. An equalizer is a piece of equipment that alters the frequency response of an audio signal, allowing for the modification of specific portions of the overall signal. In other words, whereas equalization does not totally eliminate frequencies - it does vary their playback level. You can use an equalizer to match audio originating in-studio with on-location audio by adjusting specific audio frequencies. Another common use of equalization is to correct acoustical problems that occur at remote recording locations. Reverb and Echo The terms reverb and echo are often used interchangeably, but are two distinctly different sounds. Echo is defined as the repetition of sound and is often achieved by using a reel-to-reel recorder. Reverb is the persistence of sound until it fades away and it is usually achieved by using a cartridge machine. The reason for the difference is the distance between the record and playback heads on the two different types of machines. The heads of a cartridge machine are closer than those of a reel tape machine. The closer the heads, the more persistent or reverberated the sound. The farther apart the heads, the more repetitive the sound, giving an echo effect. To get either effect, just open up that particular pot (potentiometer) of the machine while you are recording on that same machine. The more you open the pot, the greater the effect. To achieve the echo effect on a reel-to-reel machine, you must set the machine function switches to both playback and record. This is not necessary when using a cartridge machine because it only has a record switch. Of the two effects, reverb can be distorted more easily. Both effects can be overdone to the point that the message cannot be understood. Therefore, you should use these effects with caution. Phasing is that spacey, wavelike sound you sometimes hear on the voice for rock concert promotions. This effect adds depth to the sound and is usually used to enhance the voice. It is achieved when two identical audio sources are played back at slightly different start times. To get a better idea of what phasing is, try it out for yourself. First, record a piece of copy, then make an identical copy of it on another tape. Record both copies onto a third tape, starting the first two a split second apart. If you start them too far apart, you will have an echo. If you start them too close together, the phase effect will not be pronounced enough. You can produce other effects in the studio using the speed adjustments on the reel-to-reel machines. You can also edit the audiotape, taking out the pauses in the voice and making it sound as if two different sources were used for the same voice. Your experimenting with the equipment might even lead to an audio effect that is unique. Let your creativity guide you. Do not overuse studio effects; they can become tiring to the ear and may cover the intended message of the production An advantage of radio is that it lends itself to the audience's imagination better than television does. Through the clever use of studio effects and radio sound, you can exploit this advantage to take your listener on a trip to Hawaii while he never leaves his living room. ORGANIZATION Organization is the key to making the most of production time. Think the whole process through before you walk into the studio. This will reduce frustration. If you are not prepared and things do not work the way you want them to, frustration sets in and the production becomes that much more difficult. QUALITY CONTROL When completed, the production has made a drastic transformation from a producer's imagination, to a script, and finally to a recorded tape or cartridge. Throughout this gradual change, certain internal checks were applied to make a high-quality product according to aesthetical and technical standards commonly recognized by broadcasters and the specific requirements of the local station. Quality control is the responsibility of every broadcaster and will mean the success or failure of the objectives of the production. |
 
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