Enhanced descriptions from Syndetics:

The Location Sound Bible is a complete guide to recording dialog on location. Topics include audio basics, microphone selection, wireless systems, recording and mixing techniques, and the Ten Location Sound Commandments, but it's more than just cables and connectors. This book takes you behind the scenes of Ric Viers' work on feature films, television shows, broadcast news, courtroom dramas, music videos, and more.

Table of contents provided by Syndetics

• Acknowledgments (p. xii)
• Foreword (p. xiii)
• Preface (p. xv)
• Chapter 1 What Is Location Sound? (p. 1)
• Chapter 2 Sound Basics (p. 5)
• Sound Waves (p. 5)
• Frequency (p. 6)
• Amplitude (p. 7)
• Decibels (p. 7)
• Sound Pressure Level (p. 8)
• Signal Measurement (p. 8)
• Amplitude Versus Volume (p. 10)
• Phase (p. 10)
• Echoes and Reverberation (p. 11)
• Chapter 3 Microphone Basics (p. 13)
• Dynamic Microphones (p. 13)
• Condenser Microphones (p. 14)
• Frequency Response (p. 16)
• Microphone Polar Patterns (p. 18)
• On-Axis/Off-Axis Response (p. 19)
• Inverse Square Law (p. 20)
• Microphone Accessories (p. 21)
• Shock Mounts (p. 21)
• Wind Protection (p. 22)
• Rain Protection (p. 24)
• Chapter 4 Microphones for Location Sound (p. 25)
• Boom Microphones (p. 25)
• Lavalier Microphones (p. 30)
• Boundary Microphones (p. 32)
• Plant Mics (p. 33)
• Handheld Microphones (p. 33)
• Lip Microphones (p. 34)
• Camera Microphones (p. 35)
• The All-Purpose Microphone (p. 36)
• Microphone Placement (p. 37)
• Chapter 5 Boom Techniques (p. 45)
• The Boom Operator (p. 45)
• The Boom Pole (p. 47)
• The Booma Sutra (Booming Positions) (p. 52)
• Boom Operation (p. 57)
• Cueing (p. 60)
• Mixing with the Boom Pole (p. 65)
• Chapter 6 Lav Techniques (p. 67)
• Lav Perspectives (p. 67)
• Acoustical Challenges with Lavaliers (p. 69)
• Hiding/Burying Lavs (p. 69)
• 3:1 Rule (p. 70)
• Lav Placement (p. 70)
• Double Miking (p. 71)
• People Skills (p. 72)
• Clothing Noise (p. 72)
• Strain Relief (p. 74)
• Lav Connectors (p. 74)
• Colored Lavs (p. 76)
• Mounting Techniques (p. 77)
• Mounting Accessories (p. 81)
• Wind Protection (p. 83)
• Chapter 7 Wireless Systems (p. 85)
• Why Use Wireless Mics? (p. 85)
• Radio Waves (p. 86)
• Transmitters (p. 89)
• Plug-On Transmitters/Cubes (p. 92)
• Companding (p. 93)
• Receivers (p. 93)
• Wireless Antennas (p. 94)
• Digital Wireless Systems (p. 97)
• Batteries (p. 98)
• Wireless Hops (p. 99)
• Use Wireless Systems Sparingly (p. 100)
• Chapter 8 Plant Mic Techniques (p. 103)
• Plant Mic Locations (p. 105)
• Plant Mic Mounting Techniques (p. 113)
• Chapter 9 Microphone Selection (p. 115)
• General Guidelines for Choosing Mics (p. 115)
• Sound Perspective (p. 117)
• Camera Angle Versus Camera Perspective (p. 118)
• The Boom's Perspective (p. 118)
• Traveling Dialog (p. 119)
• Multi-Camera Perspective (p. 120)
• Chapter 10 Signal Flow (p. 121)
• The Logical Path (p. 121)
• The Physical Path (p. 124)
• Troubleshooting (p. 132)
• Chapter 11 Recorders (p. 135)
• Digital Audio (p. 135)
• File Formats (p. 138)
• Metadata (p. 139)
• Digital Recorders (p. 139)
• Two-Track Recorders (p. 141)
• Recording to the Camera (p. 142)
• Cameras with Multiple Channels (p. 146)
• Consumer Cameras (p. 146)
• Multitrack Recorder (p. 149)
• ISO Tracks (p. 150)
• The Mix Track (p. 150)
• Track Assignment (p. 151)
• Media Delivery (p. 153)
• Meters (p. 154)
• Calibrating Equipment (p. 155)
• What to Look for in a Professional Recorder (p. 156)
• Backup Recorders (p. 157)
• Chapter 12 Sync (p. 159)
• Single System (p. 159)
• Double System (p. 160)
• Double System Protocol (p. 161)
• Sound Reports/Sound Logs (p. 165)
• Prepping Audio For Post (p. 169)
• Timecode - Be Prepared to be Confused (p. 170)
• Frame Rates (p. 170)
• Drop-Frame (p. 172)
• Record Run (p. 174)
• Free Run (p. 174)
• Setting up Timecode (p. 175)
• Slates/Clapboard (p. 177)
• Timecode Slates (p. 177)
• Wild Sound (p. 179)
• Room Tone (p. 180)
• Wild Tracks (p. 180)
• Wild Sound Effects (p. 181)
• Voiceovers (p. 182)
• Chapter 13 Mixers (p. 185)
• Types of Mixers (p. 185)
• Mixer Basics (p. 188)
• Mixer Setup (p. 203)
• Mixing Techniques (p. 205)
• Chapter 14 Monitoring (p. 209)
• Sound Quality (p. 209)
• Sound Levels (p. 209)
• Headphones (p. 212)
• Monitoring a Multitrack Recorder (p. 218)
• Confidence Monitoring (p. 219)
• The Boom Operator's Feed (p. 220)
• Communicating with the Boom Operator (p. 222)
• Headphone Distribution (p. 222)
• IFB (p. 224)
• Comtek (p. 227)
• Wireless Headphones (p. 228)
• Chapter 15 Power (p. 229)
• Internal DC Power (p. 229)
• External DC Power (p. 230)
• External AC Power (p. 230)
• Only Use Fresh Batteries! (p. 231)
• Rechargeable Batteries (p. 233)
• Battery Types (p. 234)
• Chapter 16 Building a Sound Package (p. 237)
• Purchasing Gear (p. 237)
• Working in the Field (p. 240)
• Portability (p. 242)
• Sound Bags (p. 242)
• Cases/Protecting Gear (p. 247)
• Traveling with Gear (p. 248)
• Gear Maintenance (p. 249)
• Owning Gear Versus Renting Gear (p. 250)
• Chapter 17 The Ten Location Sound Commandments (p. 255)
• Chapter 18 Applications (p. 291)
• One-Man Band Productions (p. 291)
• ENG (p. 292)
• EFP (p. 296)
• Feature Film Production (p. 297)
• When the Sound Mixer is the Sound Designer (p. 299)
• The Sound Crew (p. 299)
• Chapter 19 Set Etiquette (p. 305)
• Understanding the Role of the Sound Mixer (p. 305)
• Film Sets (p. 314)
• Know When to Cut (p. 316)
• Working with the Talent (p. 317)
• NDAs (p. 319)
• Chapter 20 The Business of Show Biz (p. 321)
• Freelancing (p. 323)
• Getting Hired (p. 324)
• Deal Memos (p. 325)
• Rates (p. 326)
• Overtime (p. 327)
• Turnaround Time (p. 328)
• Half-Day Rates (p. 329)
• Travel (p. 330)
• Working for "Credit" (p. 331)
• Rental Rates (p. 332)
• Cancellations (p. 333)
• Billing (p. 334)
• Collections (p. 335)
• Firing a Client (p. 338)
• Chapter 21 That's a Wrap! (p. 341)
• Index (p. 344)
• About the Author (p. 355)