Enhanced descriptions from Syndetics:

A complete working handbook on every aspect of producing radio programmes to a professional standard. From operational techniques to news production, conducting interviews, writing radio scripts, news-reading and presentation, making commercials, producing different types of programme formats, outside broadcasts, music recording, features and drama, and programme evaluation: everything you need to know is laid out in a clear, accessible and readable manner. This hands-on text will suit students on radio and media production courses, staff on in-house training courses and anyone in the field of radio production wishing to brush up on skills and the latest technology.

Table of contents provided by Syndetics

• Preface to the fourth edition (p. xiii)
• 1 Characterstics of the medium (p. 1)
• Radio makes pictures (p. 1)
• Radio speaks to millions (p. 2)
• Radio speaks to the individual (p. 3)
• The speed of radio (p. 3)
• Radio has no boundaries (p. 3)
• The simplicity of radio (p. 4)
• Radio is cheap (p. 4)
• The transient nature of radio (p. 5)
• Radio as background (p. 5)
• Radio is selective (p. 6)
• Radio lacks space (p. 6)
• The personality of radio (p. 7)
• Radio teaches (p. 7)
• Radio has music (p. 8)
• Radio can surprise (p. 8)
• Radio can suffer from interference (p. 8)
• Radio for the individual (p. 9)
• Radio for society (p. 10)
• The public servant (p. 10)
• Types of radio station (p. 12)
• 'Outside' pressures (p. 13)
• Personal motivations (p. 14)
• 2 The radio studio (p. 16)
• Studio layout (p. 17)
• The studio desk, mixer, control panel, or board (p. 17)
• Computers (p. 21)
• Digital audio workstation (p. 24)
• Tape reproduction (p. 27)
• Editing principles (p. 30)
• Editing practice (p. 30)
• CDs, albums, and other discs (p. 33)
• Microphones (p. 35)
• Stereo (p. 36)
• Binaural stereo (p. 38)
• Equipment faults (p. 38)
• 3 Interviewing (p. 39)
• The basic approach (p. 39)
• Types of interview (p. 40)
• Preparation before the interview (p. 42)
• The pre-interview discussion (p. 43)
• Question technique (p. 44)
• Question 'width' (p. 45)
• Devil's advocate (p. 46)
• Multiple questions (p. 46)
• Leading questions (p. 47)
• Non-questions (p. 48)
• Non-verbal communication (p. 49)
• During the interview (p. 49)
• Winding up (p. 50)
• After the interview (p. 51)
• Style (p. 51)
• Interviewing 'cold' (p. 52)
• Location interviews (p. 53)
• Interviewing through a translator (p. 56)
• 4 Being interviewed (p. 58)
• Aims and attitudes (p. 58)
• What the interviewee should know (p. 59)
• Shall I be interviewed? (p. 59)
• Making time for preparation (p. 60)
• Preparing for the interview (p. 60)
• Nerves (p. 61)
• Making an impression (p. 62)
• Non-answers (p. 62)
• The triangle of trust (p. 64)
• 5 Writing (p. 65)
• Writing spoken language (p. 65)
• Purpose of a script (p. 66)
• Visualising the listener (p. 68)
• Structure (p. 69)
• Clarity (p. 71)
• Script marking and layout (p. 72)
• Speed and timing (p. 74)
• A summary (p. 75)
• 6 Cue material (p. 76)
• Information for the broadcaster (p. 76)
• Information for the listener (p. 78)
• 7 News-policy and practice (p. 82)
• Objectivity (p. 83)
• News values (p. 86)
• Investigative reporting (p. 88)
• Campaigning journalism (p. 89)
• The news reporting function (p. 90)
• Civil disturbance or war reporting (p. 90)
• Accuracy (p. 92)
• Intelligibility (p. 93)
• Legality (p. 95)
• Impartiality and fairness (p. 97)
• Good taste (p. 98)
• A summary (p. 99)
• The newsroom operation (p. 99)
• Style book (p. 103)
• Radio car, mobile phone (p. 103)
• Equipment in the field (p. 105)
• The news conference and press release (p. 106)
• 8 Newsreading and presentation (p. 109)
• Newsreading (p. 110)
• Pronunciation (p. 112)
• Vocal stressing (p. 112)
• Inflection (p. 113)
• Quotation marks (p. 114)
• Alterations (p. 114)
• Corrections (p. 114)
• Lists and numbers (p. 115)
• Station style (p. 116)
• Continuity presentation (p. 117)
• Errors and emergencies (p. 117)
• Headphones (p. 118)
• Trails and promos (p. 119)
• 9 Making commercials (p. 121)
• Copy policy (p. 121)
• The target audience (p. 123)
• The product or service 'premise' (p. 123)
• Writing copy (p. 124)
• Voicing and treatment (p. 128)
• Music and effects (p. 130)
• Stereo (p. 132)
• Humour in advertising (p. 133)
• 10 The discussion programme (p. 136)
• Format (p. 137)
• Selection of participants (p. 138)
• The chairperson (p. 139)
• Preparation (p. 139)
• Starting the programme (p. 140)
• Speaker control (p. 140)
• Subject control (p. 141)
• Technical control (p. 142)
• Ending the programme (p. 142)
• 11 The phone-in programme (p. 145)
• Technical facilities (p. 146)
• Programme classification (p. 146)
• The open line (p. 146)
• Support staff (p. 148)
• Choosing the calls (p. 148)
• The role of the presenter (p. 149)
• Reference material (p. 149)
• Studio operation (p. 150)
• Additional telephone facilities (p. 150)
• Use of 'delay' (p. 150)
• The specific subject (p. 152)
• 'Early lines' (p. 153)
• Consumer affairs (p. 153)
• The need to be fair (p. 154)
• Linking programmes together (p. 154)
• Personal counselling (p. 155)
• The presenter as listener (p. 156)
• Non-broadcasting effort (p. 156)
• Anonymity (p. 156)
• Phone-in checklist (p. 157)
• 12 The vox pop (p. 158)
• Phrasing the question (p. 159)
• Choosing the site (p. 160)
• The recorder (p. 161)
• Putting the question (p. 161)
• The editing (p. 162)
• 13 Listeners' letters (p. 165)
• On-air use (p. 165)
• Off-air correspondence (p. 167)
• 14 Music programming (p. 169)
• Attitudes to music (p. 170)
• Clock format (p. 171)
• Computerised selection (p. 173)
• Requests and dedications (p. 173)
• Choosing music (p. 174)
• Item order (p. 175)
• Prefading to time (p. 175)
• Preparing letters and cards (p. 176)
• Programme technique (p. 178)
• Guest programmes (p. 179)
• DJ programmes (p. 179)
• 15 Magazines and sequences (p. 183)
• Programme title (p. 184)
• Signature tune (p. 184)
• Transmission time (p. 185)
• The presenter (p. 185)
• Linking style (p. 186)
• Information content (p. 186)
• Programme construction (p. 187)
• Programme variety (p. 187)
• Programme ideas (p. 188)
• Voice piece (p. 189)
• Interview (p. 190)
• Discussion (p. 190)
• Music (p. 190)
• Sound effects (p. 191)
• Listener participation (p. 191)
• Features (p. 192)
• Drama (p. 193)
• Item order (p. 193)
• Production method (p. 198)
• Responding to emergency (p. 199)
• 16 Outside broadcasts (remotes) (p. 200)
• Planning (p. 201)
• Visiting the site (p. 201)
• Communications to base (p. 201)
• People (p. 203)
• Hazard assessment (p. 203)
• Equipment (p. 204)
• Accommodation (p. 204)
• Programme research (p. 204)
• Liaison with the base studio (p. 205)
• Publicity (p. 205)
• Safety (p. 205)
• Conflicts of approach (p. 207)
• Tidiness (p. 207)
• Gratuities (p. 208)
• 17 Commentary (p. 209)
• Attitude to the listener (p. 209)
• Preparation (p. 210)
• Working with the base studio (p. 211)
• Sport (p. 211)
• Actuality and silence (p. 216)
• The ending (p. 216)
• An example (p. 217)
• Coping with disaster (p. 218)
• 18 Music recording (p. 220)
• Reproduction of internal balance (p. 222)
• Creation of a synthetic balance (p. 225)
• Studio layout (p. 225)
• Microphones for music (p. 227)
• Frequency control (p. 229)
• Dynamic control (p. 230)
• Echo (p. 230)
• Mixing technique (p. 232)
• Recording technique (p. 233)
• Production points (p. 236)
• 19 Drama-principles (p. 238)
• The idea (p. 239)
• Story construction (p. 240)
• The setting (p. 242)
• Characterisation (p. 243)
• Dialogue (p. 244)
• Script layout (p. 246)
• The actors (p. 248)
• The acoustic (p. 249)
• Sound effects (p. 250)
• Music (p. 253)
• Production technique (p. 254)
• 20 Documentary and feature programmes (p. 257)
• The documentary (p. 258)
• Planning (p. 258)
• Research (p. 261)
• Structure (p. 261)
• Collecting the material (p. 261)
• Impression and truth (p. 262)
• Music (p. 263)
• Compilation (p. 263)
• Programme sequence (p. 265)
• The ending (p. 265)
• Contributors (p. 266)
• Programmes in real time (p. 266)
• The feature (p. 267)
• 21 The work of the producer (p. 269)
• Ideas (p. 269)
• The audience (p. 270)
• Resource planning (p. 270)
• Preparation of material (p. 271)
• The studio session (p. 272)
• Taste (p. 275)
• Ending the session (p. 276)
• Post-production (p. 276)
• Programme administration (p. 277)
• Technician, editor, administrator and manager (p. 277)
• 22 The executive producer (p. 279)
• Scheduling (p. 280)
• Rescheduling (p. 281)
• Strategic planning (p. 281)
• Commissioning programmes (p. 283)
• Complaints (p. 286)
• Codes of Practice (p. 287)
• Involving the audience (p. 288)
• Website (p. 289)
• Archival policy (p. 290)
• 23 Programme evaluation (p. 293)
• Production evaluation (p. 293)
• Programme quality (p. 294)
• Audience evaluation (p. 296)
• Research panels (p. 297)
• Questionnaires (p. 298)
• Letter response (p. 300)
• Cost evaluation (p. 301)
• 24 Training (p. 303)
• Triggers for training (p. 304)
• Learning objectives (p. 304)
• Course organisation (p. 305)
• Stretching imagination (p. 306)
• Editorial selection (p. 306)
• News priorities (p. 307)
• News exercise (p. 307)
• Voicework (p. 308)
• Personal motivation (p. 309)
• Vox pop (p. 309)
• Commentary (p. 309)
• Drama (p. 310)
• New challenges for old producers (p. 310)
• Maintaining output (p. 310)
• Assessing quality (p. 311)
• Training evaluation (p. 311)
• 25 Back-announcement (p. 313)
• Glossary (p. 315)
• Further reading-a selection (p. 324)
• Index (p. 329)