Sound design and soundscapesSound terms and proceduresAcoustics and the hand-clap testHeadphones to monitor your workSignal, noise and signal-to-noise ratioAmbienceHow sound behavesSignal decay over distanceResonance and echoMicrophonesTransducersMicrophone axis and directionalitySound perspectiveDefensive measuresSound environments and signal-to-noise ratioWhy sound consistency mattersSound recordingUsing multiple inputsBalanced and unbalanced inputsStrain reliefDigital peak metersAutomatic sound levelSetting sound levels manuallyMonitoringMicrophone types and pickup patternsPower suppliesPickup patternsOmnidirectional micsCardioid micsShotgun micsLavalier, lapel, or body micsBody mic precautionsRoll-offWireless micsWired micsSpares, accessories and first aidMicrophone handlingHolding the boom poleWindscreens and shock mountsWhen sound and picture subjects divergeThe recordist in contact with the camera operatorSafety coverVirtuoso performancesShootingLocation spotting and ambient noiseSounds on the setReference trackShooting interiorsPresence track recordingSound to help the editorHow the editor uses presence tracksAmbience inconsistenciesWild tracksSound effectsSoundscape constructionHands-on learning