Audio Production Review

1. Audio Production
Unit Review

2. Microphones
 Microphone (mike or mic): A device that
converts sound waves into electrical
modulations for recording.

3. Sound Converting Systems
 There are three major types of sound-converting
systems which are used to
classify microphones.
 Dynamic
 Condenser
 Ribbon

4. Dynamic Microphones
 These are the most rugged.
 They can be used close to the sound
source and still withstand high sound
levels without damage to the
microphone or sound distortion.
 They can also withstand fairly extreme
temperatures so they are an ideal
outdoor microphone.

5. Condenser Microphones
 Much more sensitive to physical shock,
temperature change, and distortion
than dynamic microphones.
 Usually produce higher quality sound
when used at greater distances from
sound source.
 Can be used outdoors under certain
circumstances.

6. Ribbon Microphones
 Similar in sensitivity and quality to the
condenser microphones.
 Produce a warmer sound, frequently
preferred by singers.
 Strictly for indoor use.

7. Pickup Pattern
 A pickup pattern is the directions (in
three dimensions) in which a
microphone is most sensitive to sounds.

8. Omnidirectional
 Omnidirectional microphones have a
pickup pattern in which the microphone
can pick up sounds equally well from all
directions.

9. Unidirectional
 Unidirectional microphones have a
pickup pattern in which the microphone
can pick up sounds better from the
front than from the sides or back.

10. Foldable
 In your own words write a definition for
 Dynamic Microphones
 Condenser Microphones
 Ribbon Microphones
 Omnidirectional
 Unidirectional
 Attach to page 29 in your interactive
notebook.

11. ACC Credit for This Class
 80% final grade for the year.
 80% on all practicums.
 80% on final exam.
 My approval.

12. Discuss Radio Commercial
 With your table, discuss ideas for your
radio commercial.

13. Mobile Microphones
1. Lavaliere
2. Hand
3. Boom
4. Headset
5. Wireless

14. Stationary Microphones
1. Desk
2. Stand
3. Hanging
4. Hidden
5. Long-Distance

15. Lavaliere
 The most frequently used on-camera
microphone in TV.
 Can be fastened to clothing with a small
clip.
 Omnidirectional or unidirectional with a
dynamic or condenser sound-generating
element.
 Designed for voice pickup.

16. Hand Microphones
 Microphones that are handheld by the
performer.
 Some are made specifically for outdoor
or indoor use.

17. Boom Microphones
 Is highly directional and has a far reach
with little loss of presence.
 Is usually suspended from some kind of
boom or is handheld with your arms
acting as a boom.

18. Headset Microphone
 The headset microphone consists of a
small but good-quality omni- or
unidirectional mike attached to
earphones.

19. Wireless Microphones
 For use in situations in which complete
and unrestricted mobility of the sound
source is required.
 Can be handheld or lavaliere mikes.

20. Desk Microphone
 Microphones put on tables or desks.
 Used for voice pickup only.

21. Stand Microphones
 Stand microphones are used whenever
the sound source is fixed and the type
of programming permits them to be
seen.
 Can be dynamic, ribbon, or condenser.

22. Hanging Microphones
 The microphone is hung by its cable.
 Does not usually produce the best
sound quality.

23. Hidden Microphones
 Lavalier microphones can be hidden in
or behind objects.

24. Long-Distance Microphones
 When a microphone, such as a shotgun
mike, is placed in a location and pointed
at something in the distance.

25. Boom Microphones
Types of Boom Microphones
 Handheld shotgun
 Fishpole Boom
 The giraffe or tripod boom
 The big or perambulator boom

26. Boom Microphones
 You Tube
 http://www.youtube.com/watch?v=i-
0o6miil9E
 Videomaker - Boom Mikes

27. Handheld & Fishpole Boom
 The most common ways of using the
boom mike in small studio productions
or in the field are to hold it by hand or
to suspend it from a fishpole boom.

28. Fishpole Boom
 A fishpole boom is an extendible metal
pole that lets you mount a shotgun
mike. It is used mostly outdoors but can
be used in a studio.
 Fishpoles are relatively easy to handle
but using long fishpoles can be tiring.

29. Recording Ambient Audio
 http://www.youtube.com/watch?v=A4x
X0sYTAjs
 Videomaker - Recording Ambient
Noise II

30. Giraffe Boom
 Also called the tripod boom.
 A small boom used by most studios.
 An extendable horizontal boom arm
that is mounted on a tripod dolly.

31. The Big Boom
 Also called the Perambulator Boom.
 Used in large studio production.
 Requires two operators.
 A boom operator who works the
microphone boom
 The dolly operator who helps reposition the
whole boom assembly.

32. When to use a Lavaliere
 Indoor and outdoor news production.
 Interviews
 Panel Shows
 Instructional Shows
 In-studio television dramas
 Music

33. Disadvantages
 Not close to the mouth so it picks up outside
noise.
 Each person must wear their own.
 Wired lavaliers restrict mobility.
 May pick up rubbing noises from clothing it is
attached to.
 If clothing generates static electricity, the
discharge may be picked up as loud, sharp
pops.

34. Advantage of Lavaliere
 Do not have to light around a boom to
avoid shadows.

35. Outdoor Use
 Attach the windscreen.
 Cheesecloth can be used as a
windscreen.

36. Good Quality Audio
 Three simple tips for recording better-sounding
audio:
1. Stay close to the subject.
2. Minimize background noise.
3. Direct silently.

37. Stay Close to the Subject
 When using a camera’s build in
microphone (mike), stay as close as
possible to the subject.
 The farther away the microphone is,
the more interfering background noise
will be heard.

38. Minimize Background Noise
 Set up your shoot so that the camera is
aimed away from major noise sources.
 Do not place talent in front of a busy
street because the mike will be pointed
directly at the traffic noise behind them.
 Instead, position your subjects so that
the camera mike points away from the
traffic.

39. Direct Silently
 Do not give verbal instructions from the
camera position while recording.
Camera mikes pick up sounds to the
sides as well as in front.

40. Audio
 Audio: The sound components of an
audiovisual program.

41. Sound
 Sound: The noises recorded as audio.

42. Sound Effects
 Sound effects: (SFX) Specific noises
added to a sound track.

43. Dialogue
 Dialogue: Speech by performers on-screen.

44. Voiceover
 Voiceover: Narration or dialogue
recorded independently and then paired
with related video.

45. Equalization
 Equalization: The adjustment of the
volume levels of various sound
frequencies to balance the overall
mixture of sounds.

46. Mixing
 Mixing: The blending together of
separate audio tracks, either in a
computer or through a sound mixing
board.

47. Production Track
 Production track: The “live” sound
recorded with the video.

48. Straight Cut
 Straight cut: An edit in which audio and
video change simultaneously. Also, an
edit that does not include an effect
such as a fade or dissolve.

49. Split Edit
 Split edit: A cut in which audio and
video do not change together.
 When “audio leads” the sound with the
incoming video is heard over the end of
the outgoing video; when “video leads”
the sound with the outgoing video
continues over the incoming video.