TV Sound Operations

INTRODUCTION THE NATURE OF SOUND = 10 Sound intensity Loudness The subjective nature of sound NATURE OF TELEVISION SOUND = 12 Relative importance of picture and sound Relative complexity of picture and sound Comparison between sound and light THE TELEVISION SOUND SUPERVISOR = 14 Sound balance and control Staff control PRESSURE OPERATED MICROPHONES = 16 Moving coil microphone Electrostatic (capacitor) microphone Electret diaphragms PRESSURE GRADIENT MICROPHONES = 18 Ribbon microphone Directional characteristics Unidirectional ribbon microphones Unidirectional electrostatic microphones DOUBLE ELEMENT MICROPHONES = 20 Combination of pressure and pressure-gradient types Back-to-back electrostatics SUPER-DIRECTIONAL MICROPHONES = 22 The reflector microphone The rifle microphone STAND AND HAND-HELD MICROPHONES = 24 Hand held microphones LAVALIER MICROPHONES = 26 Supplying necessary HF lift Miniature electrostatic microphones RADIO MICROPHONES = 28 Transmission systems Site surveys FISHING RODS = 30 Type of microphone Microphone suspension Operation SLUNG MICROPHONES = 32 Microphones in shot Method of suspension HIDDEN MICROPHONES = 34 Maintaining microphone characteristic Sound perspective SOUND BOOMS = 36 Operation of the boom The boom pram BOOM MICROPHONES = 38 Directional characteristic Acceptance angle Construction and mounting THE SCOPE OF THE BOOM = 40 Advantages Disadvantages BOOM OPERATING = 42 Operator's responsibilities BASIC LIGHTING REQUIREMENTS = 44 Lamp functions THE BOOM AND LIGHTING = 46 Multi key lights Heat problems Lamp sing THE BOOM AND CAMERA MOVEMENT = 48 Cable arrangements Boom positioning PLANNING FOR THE BOOM = 50 The studio plan The elevations PRODUCTION TALKBACK ARRANGEMENTS = 52 Director's talkback Floor manager's talkback Camera talkback SOUND AND LIGHTING TALKBACK = 54 Sound talkback Reverse talkback Lighting talkback Wall points SOUND CONTROL = 56 Basic requirements Use of loudspeakers The importance of listening levels THE POINTS OF CONTROL = 58 Pre-set (or balance) attenuator Channel fader Group fader Main fader THE SOUND CONTROL DESK = 60 Programme volume control Frequency response control Multiway clean feed PROGRAMME METERS = 62 AUTOMATIC CONTROL = 64 The limiter The compressor F REQUENCY RESPONSE CONTROL = 66 Filters Response selection amplifier The octave filter Notch filters STUDIO ACOUSTICS = 68 Reverberation time Decay curve Diffusion Television studio acoustics THE ACOUSTIC EFFECT OF SCENERY = 70 Acoustic planning Design consideration Acoustic effect of materials The importance of shape ARTIFICIAL REVERBERATION = 72 The echo room The reverberation plate Reverberation springs AMBIOPHONY = 74 Assisted resonance Ambiophony Reverberation Setting up procedure TALKS AND LECTURES = 76 Introductory music Microphone arrangements INFORMAL DISCUSSIONS = 78 FORMAL DISCUSSIONS AND PANEL GAMES = 80 PLANNING FOR STUDIO AUDIENCES = 82 Visibility Operator discipline Production routine AUDIENCE REINFORCEMENT = 84 High level system Low level system Compromise arrangement PA CONNECTION POINTS = 86 Before the fader PA After the fader PA Combined arrangement AUDIENCE REACTION = 88 Sound character Separation from PA Milking the audience AUDIENCE PARTICIPATION = 90 Set up arrangement Hand held microphones Rifle microphones Booms Parabolic microphones DISCUSSIONS BETWEEN REMOTE CENTRES = 92 Deaf aids Loudspeakers Line up routine PLANNING FOR DRAMA = 94 Filming or pre-recording Planning meeting CO-ORDINATING SOUND AND PICTURE = 96 Perspective Distance DIALOGUE AND SPLIT SOUND = 98 Split sound Up stage — down stage split GROUPING PROBLEMS = 100 Tables HEIGHT DISCREPANCY = 102 Long shot to upper room or balcony Action on rostra CEILINGS, BEAMS AND WINDOWS = 104 Windows Reverse angles COLUMNS, ARCHES AND DOORWAYS = 106 Arches Doorways VEHICLES = 108 railway carriages Lifts Motor cars BACK PROJECTION AND CSO = 110 Back projection Colour separation overlay WEATHER AND SOUND PROBLEMS = 112 Wind Wind machines Trick lines Rain GUNSHOTS = 114 Real guns Electronic effects Foldback TELEPHONE AND INTERCOM EFFECTS = 116 Telephone distort effects Effects switching Intercoms EXTERIOR SEQUENCES IN THE STUDIO = 118 Exterior scenes in the studio Use of super-directional microphones Footsteps LOCATION SHOOTING ON FILM = 120 The synchronising methods ELECTRONIC CAMERAS ON LOCATI0N = 122 Weather Noise Use of booms Camera mounted microphones Radio microphones SOUND EFFECTS IN THE STUDIO = 124 Unreal 'props' Off stage sounds Bells Telephones GRAMOPHONE OPERATING = 126 Groove locating Turntable mechanism Finding cues Effects discs Slip mats TAPE RECORDING = 128 Incidental music recording TAPE EDITING = 130 Cutting the tape Joining the tape Leader tapes TELEVISING THE PIANO = 132 Tone production Energy distribution Choice of microphone position TELEVISING THE RHYTHM PIANO = 134 The piano in a dance band Microphone techniques Multitone (jangle box) pianos Microphone positioning VARIOUS KEYBOARD INSTRUMENTS = 136 Harpsichord Clavichord Celeste Organ STRINGS = 138 Violin Viola Cello Double bass Rostrum resonance WOODWIND INSTRUMENTS = 140 Type of approach Flute and piccolo Oboe Clarinet Bassoon BRASS INSTRUMENTS = 142 Trumpets and trombones Mutes Horns Euphonium and tubas CHAMBER ORCHESTRA = 144 Pictorial presentation String quartet Classical orchestra SYMPHONY ORCHESTRA = 146 The factor of size Television perspective Orchestral balance for television OPERA = 148 Studio opera Separate orchestral studio Theatre relays of opera THE LIGHT ORCHESTRA = 150 Light music balance Multi microphone techniques DANCE BAND = 152 Rhythm section Rhythm piano Double bass Drums Guitar VARIETY ORCHESTRA = 154 Out of shot orchestra In shot orchestra Vocal separation CONCERT ORCHESTRA OR SHOWBAND = 156 String treatment Dance band section Visual considerations POP GROUPS = 158 The 'folk' group Electronic' groups Recording technique Technical treatment SOUND AND VTR = 160 Discontinuous recording Types of VTR machine Helical scan VTR SOUND AND VT EDITING = 162 Cut editing Use of audio tape recorders SOUND AND ELECTRONIC EDITING = 164 Studio editing Insert mode Dub editing DOLBY NOISE REDUCTION SYSTEM = 166 Dolby 'A' system IN CONCLUSION = 168 The sound operation The effect of the picture FURTHER READING = 169 GLOSSARY = 170

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