No ID Radio Drama (10)
08WHD07247 8
08WHD04000 8
08WHD00749 7
08WHD07258 8
08WHD06992 7
08WHD03646 8
08WHD02350 7
08WHD04426 7
08WHD09281 7
08WHD02628 8
08WHD01924 8
08WHD01302 7
08WHD01100 8
08WHD05169 8
08WHD08291 7
08WHD01055 8
08WHD13386 7
08WHD03649 7
08WHD12995 8
08WHD06585 8
08WHD03358 8
08WHD01303 8
08WHD13064 7
08WHD13528 8
08WHD04925 7
08WHD09790 8
08WHD07168 7
08WHD04997 9
08WHD00780 7
08WHD02310 9
08WHD08965 9
08WHD01587 7
08WHD04425 7
08WHD05923 9
08WHD02314 9
08WHD01664 0
08WHD06213 7
08WHD02038 9
08WHD01923 7
08WHD02395 7
08WHD12994 7
08WHD04922 9
08WHD02983 7
08WHD13551 9
08WHD03647 7
08WHD11913 9
08WHD00852 7
08WHD03548 9
08WHD01584 9
08WHD02397 7
08WHD07317 7
08WHD13389 9
07WHD01405 9
06WHD11228 7
06WHD05293 9
08WHD04001 9
08WHD00979 8
08WHD01921 8
08WHD09282 9
08WHD05259 8
08WHD06993 9
08WHD02835 8
08WHD02630 9
08WHD02120 9
08WHD01810 9
08WHD06583 8
08WHD02984 8
08WHD01585 9
08WHD07815 9
08WHD02981 9
08WHD01101 9
08WHD02629 9
08WHD07763 8
08WHD06212 9
08WHD03236 8
08WHD01696 8
08WHD06083 8
08WHD09191 8
08WHD06473 9
08WHD13529 7
08WHD13061 9
08WHD05921 9
08WHD09071 7
08WHD04923 7
08WHD06990 9
08WHD06865 7
08WHD06991 7
08WHD09668 7
08WHD13062 9
08WHD01922 9
08WHD08701 7
08WHD01103 9
08WHD01243 7
08WHD06889 9
08WHD02121 7
08WHD08766 7
08WHD04924 9
08WHD02802 9
08WHD06989 8
08WHD04427 8
08WHD03999 8
08WHD13063 8
08WHD01586 8
08WHD10014 8
08WHD01247 8
08WHD03568 8
08WHD08711 8
08WHD03645 8
08WHD08947 8
08WHD04002 8
08WHD05353 8
08WHD09934 8
08WHD13397 8
08WHD02396 8
08WHD11912 8
08WHD07742 8
08WHD02627 8
08WHD06191 8
08WHD02398 8
08WHD02982 8
08WHD09970 8
08WHD02399 8
08WHD06584 8
Thursday, September 10, 2009
Radio Commercial Mark
No ID Radio Commercial (10)
08WHD07247 5
08WHD04000 6
08WHD00749 4
08WHD07258 6
08WHD06992 5
08WHD03646 5
08WHD02350 4
08WHD04426 5
08WHD09281 5
08WHD02628 5
08WHD01924 6
08WHD01302 4
08WHD01100 6
08WHD05169 5
08WHD08291 4
08WHD01055 5
08WHD13386 5
08WHD03649 4
08WHD12995 6
08WHD06585 6
08WHD03358 5
08WHD01303 5
08WHD13064 5
08WHD13528 6
08WHD04925 4
08WHD09790 5
08WHD07168 4
08WHD04997 8
08WHD00780 5
08WHD02310 7
08WHD08965 7
08WHD01587 5
08WHD04425 5
08WHD05923 8
08WHD02314 7
08WHD01664 0
08WHD06213 5
08WHD02038 7
08WHD01923 4
08WHD02395 4
08WHD12994 4
08WHD04922 7
08WHD02983 4
08WHD13551 7
08WHD03647 4
08WHD11913 8
08WHD00852 4
08WHD03548 8
08WHD01584 8
08WHD02397 5
08WHD07317 4
08WHD13389 8
07WHD01405 7
06WHD11228 5
06WHD05293 7
08WHD04001 6
08WHD00979 8
08WHD01921 5
08WHD09282 6
08WHD05259 8
08WHD06993 6
08WHD02835 8
08WHD02630 6
08WHD02120 6
08WHD01810 6
08WHD06583 5
08WHD02984 8
08WHD01585 6
08WHD07815 6
08WHD02981 6
08WHD01101 6
08WHD02629 6
08WHD07763 5
08WHD06212 6
08WHD03236 8
08WHD01696 5
08WHD06083 5
08WHD09191 5
08WHD06473 6
08WHD13529 6
08WHD13061 6
08WHD05921 6
08WHD09071 6
08WHD04923 4
08WHD06990 6
08WHD06865 7
08WHD06991 4
08WHD09668 6
08WHD13062 6
08WHD01922 7
08WHD08701 4
08WHD01103 7
08WHD01243 6
08WHD06889 6
08WHD02121 4
08WHD08766 4
08WHD04924 7
08WHD02802 7
08WHD06989 7
08WHD04427 4
08WHD03999 7
08WHD13063 5
08WHD01586 5
08WHD10014 5
08WHD01247 4
08WHD03568 7
08WHD08711 7
08WHD03645 4
08WHD08947 4
08WHD04002 4
08WHD05353 7
08WHD09934 7
08WHD13397 7
08WHD02396 7
08WHD11912 7
08WHD07742 7
08WHD02627 4
08WHD06191 7
08WHD02398 5
08WHD02982 7
08WHD09970 5
08WHD02399 7
08WHD06584 5
08WHD07247 5
08WHD04000 6
08WHD00749 4
08WHD07258 6
08WHD06992 5
08WHD03646 5
08WHD02350 4
08WHD04426 5
08WHD09281 5
08WHD02628 5
08WHD01924 6
08WHD01302 4
08WHD01100 6
08WHD05169 5
08WHD08291 4
08WHD01055 5
08WHD13386 5
08WHD03649 4
08WHD12995 6
08WHD06585 6
08WHD03358 5
08WHD01303 5
08WHD13064 5
08WHD13528 6
08WHD04925 4
08WHD09790 5
08WHD07168 4
08WHD04997 8
08WHD00780 5
08WHD02310 7
08WHD08965 7
08WHD01587 5
08WHD04425 5
08WHD05923 8
08WHD02314 7
08WHD01664 0
08WHD06213 5
08WHD02038 7
08WHD01923 4
08WHD02395 4
08WHD12994 4
08WHD04922 7
08WHD02983 4
08WHD13551 7
08WHD03647 4
08WHD11913 8
08WHD00852 4
08WHD03548 8
08WHD01584 8
08WHD02397 5
08WHD07317 4
08WHD13389 8
07WHD01405 7
06WHD11228 5
06WHD05293 7
08WHD04001 6
08WHD00979 8
08WHD01921 5
08WHD09282 6
08WHD05259 8
08WHD06993 6
08WHD02835 8
08WHD02630 6
08WHD02120 6
08WHD01810 6
08WHD06583 5
08WHD02984 8
08WHD01585 6
08WHD07815 6
08WHD02981 6
08WHD01101 6
08WHD02629 6
08WHD07763 5
08WHD06212 6
08WHD03236 8
08WHD01696 5
08WHD06083 5
08WHD09191 5
08WHD06473 6
08WHD13529 6
08WHD13061 6
08WHD05921 6
08WHD09071 6
08WHD04923 4
08WHD06990 6
08WHD06865 7
08WHD06991 4
08WHD09668 6
08WHD13062 6
08WHD01922 7
08WHD08701 4
08WHD01103 7
08WHD01243 6
08WHD06889 6
08WHD02121 4
08WHD08766 4
08WHD04924 7
08WHD02802 7
08WHD06989 7
08WHD04427 4
08WHD03999 7
08WHD13063 5
08WHD01586 5
08WHD10014 5
08WHD01247 4
08WHD03568 7
08WHD08711 7
08WHD03645 4
08WHD08947 4
08WHD04002 4
08WHD05353 7
08WHD09934 7
08WHD13397 7
08WHD02396 7
08WHD11912 7
08WHD07742 7
08WHD02627 4
08WHD06191 7
08WHD02398 5
08WHD02982 7
08WHD09970 5
08WHD02399 7
08WHD06584 5
Station ID Mark
No ID Station ID (10)
08WHD07247 7
08WHD04000 7
08WHD00749 7
08WHD07258 7
08WHD06992 6
08WHD03646 7
08WHD02350 7
08WHD04426 6
08WHD09281 6
08WHD02628 7
08WHD01924 7
08WHD01302 7
08WHD01100 7
08WHD05169 7
08WHD08291 7
08WHD01055 6
08WHD13386 6
08WHD03649 7
08WHD12995 7
08WHD06585 7
08WHD03358 7
08WHD01303 7
08WHD13064 6
08WHD13528 7
08WHD04925 7
08WHD09790 7
08WHD07168 7
08WHD04997 7
08WHD00780 5
08WHD02310 9
08WHD08965 9
08WHD01587 5
08WHD04425 5
08WHD05923 7
08WHD02314 9
08WHD01664 0
08WHD06213 5
08WHD02038 9
08WHD01923 6
08WHD02395 6
08WHD12994 6
08WHD04922 9
08WHD02983 6
08WHD13551 9
08WHD03647 6
08WHD11913 7
08WHD00852 6
08WHD03548 7
08WHD01584 7
08WHD02397 5
08WHD07317 6
08WHD13389 7
07WHD01405 9
06WHD11228 5
06WHD05293 9
08WHD04001 8
08WHD00979 9
08WHD01921 7
08WHD09282 8
08WHD05259 9
08WHD06993 8
08WHD02835 9
08WHD02630 8
08WHD02120 8
08WHD01810 8
08WHD06583 7
08WHD02984 9
08WHD01585 8
08WHD07815 8
08WHD02981 8
08WHD01101 8
08WHD02629 8
08WHD07763 7
08WHD06212 8
08WHD03236 9
08WHD01696 7
08WHD06083 7
08WHD09191 7
08WHD06473 8
08WHD13529 6
08WHD13061 8
08WHD05921 8
08WHD09071 6
08WHD04923 6
08WHD06990 8
08WHD06865 6
08WHD06991 6
08WHD09668 6
08WHD13062 8
08WHD01922 6
08WHD08701 6
08WHD01103 6
08WHD01243 6
08WHD06889 6
08WHD02121 6
08WHD08766 6
08WHD04924 6
08WHD02802 6
08WHD06989 8
08WHD04427 6
08WHD03999 9
08WHD13063 8
08WHD01586 8
08WHD10014 8
08WHD01247 6
08WHD03568 8
08WHD08711 9
08WHD03645 6
08WHD08947 6
08WHD04002 6
08WHD05353 8
08WHD09934 8
08WHD13397 9
08WHD02396 8
08WHD11912 9
08WHD07742 8
08WHD02627 6
08WHD06191 9
08WHD02398 8
08WHD02982 9
08WHD09970 8
08WHD02399 9
08WHD06584 8
08WHD07247 7
08WHD04000 7
08WHD00749 7
08WHD07258 7
08WHD06992 6
08WHD03646 7
08WHD02350 7
08WHD04426 6
08WHD09281 6
08WHD02628 7
08WHD01924 7
08WHD01302 7
08WHD01100 7
08WHD05169 7
08WHD08291 7
08WHD01055 6
08WHD13386 6
08WHD03649 7
08WHD12995 7
08WHD06585 7
08WHD03358 7
08WHD01303 7
08WHD13064 6
08WHD13528 7
08WHD04925 7
08WHD09790 7
08WHD07168 7
08WHD04997 7
08WHD00780 5
08WHD02310 9
08WHD08965 9
08WHD01587 5
08WHD04425 5
08WHD05923 7
08WHD02314 9
08WHD01664 0
08WHD06213 5
08WHD02038 9
08WHD01923 6
08WHD02395 6
08WHD12994 6
08WHD04922 9
08WHD02983 6
08WHD13551 9
08WHD03647 6
08WHD11913 7
08WHD00852 6
08WHD03548 7
08WHD01584 7
08WHD02397 5
08WHD07317 6
08WHD13389 7
07WHD01405 9
06WHD11228 5
06WHD05293 9
08WHD04001 8
08WHD00979 9
08WHD01921 7
08WHD09282 8
08WHD05259 9
08WHD06993 8
08WHD02835 9
08WHD02630 8
08WHD02120 8
08WHD01810 8
08WHD06583 7
08WHD02984 9
08WHD01585 8
08WHD07815 8
08WHD02981 8
08WHD01101 8
08WHD02629 8
08WHD07763 7
08WHD06212 8
08WHD03236 9
08WHD01696 7
08WHD06083 7
08WHD09191 7
08WHD06473 8
08WHD13529 6
08WHD13061 8
08WHD05921 8
08WHD09071 6
08WHD04923 6
08WHD06990 8
08WHD06865 6
08WHD06991 6
08WHD09668 6
08WHD13062 8
08WHD01922 6
08WHD08701 6
08WHD01103 6
08WHD01243 6
08WHD06889 6
08WHD02121 6
08WHD08766 6
08WHD04924 6
08WHD02802 6
08WHD06989 8
08WHD04427 6
08WHD03999 9
08WHD13063 8
08WHD01586 8
08WHD10014 8
08WHD01247 6
08WHD03568 8
08WHD08711 9
08WHD03645 6
08WHD08947 6
08WHD04002 6
08WHD05353 8
08WHD09934 8
08WHD13397 9
08WHD02396 8
08WHD11912 9
08WHD07742 8
08WHD02627 6
08WHD06191 9
08WHD02398 8
08WHD02982 9
08WHD09970 8
08WHD02399 9
08WHD06584 8
Wednesday, September 2, 2009
Mid Term Marks
08WHD07247 6
08WHD04000 7
08WHD00749 5
08WHD07258 8
08WHD06992 6
08WHD03646 7
08WHD02350 7
08WHD04426 7
08WHD09281 6
08WHD02628 6
08WHD01924 8
08WHD01302 7
08WHD01100 8
08WHD05169 6
08WHD08291 5
08WHD01055 4
08WHD13386 7
08WHD03649 5
08WHD12995 7
08WHD06585 6
08WHD03358 6
08WHD01303 6
08WHD13064 6
08WHD13528 6
08WHD04925 6
08WHD09790 6
08WHD07168 7
08WHD04997 4
08WHD00780 7
08WHD02310 5
08WHD08965 8
08WHD01587 7
08WHD04425 7
08WHD05923 5
08WHD02314 7
08WHD01664 0
08WHD06213 7
08WHD02038 6
08WHD01923 5
08WHD02395 8
08WHD12994 6
08WHD04922 8
08WHD02983 8
08WHD13551 6
08WHD03647 7
08WHD11913 5
08WHD00852 7
08WHD03548 3
08WHD01584 4
08WHD02397 7
08WHD07317 8
08WHD13389 4
07WHD01405 8
06WHD11228 7
06WHD05293 6
08WHD04001 5
08WHD00979 6
08WHD01921 4
08WHD09282 7
08WHD05259 6
08WHD06993 5
08WHD02835 4
08WHD02630 6
08WHD02120 5
08WHD01810 5
08WHD06583 9
08WHD02984 6
08WHD01585 7
08WHD07815 7
08WHD02981 6
08WHD01101 8
08WHD02629 4
08WHD07763 7
08WHD06212 7
08WHD03236 6
08WHD01696 5
08WHD06083 8
08WHD09191 8
08WHD06473 8
08WHD13529 6
08WHD13061 4
08WHD05921 8
08WHD09071 7
08WHD04923 6
08WHD06990 7
08WHD06865 6
08WHD06991 7
08WHD09668 6
08WHD13062 6
08WHD01922 8
08WHD08701 8
08WHD01103 6
08WHD01243 8
08WHD06889 8
08WHD02121 7
08WHD08766 5
08WHD04924 8
08WHD02802 8
08WHD06989 6
08WHD04427 7
08WHD03999 8
08WHD13063 6
08WHD01586 6
08WHD10014 8
08WHD01247 7
08WHD03568 7
08WHD08711 7
08WHD03645 6
08WHD08947 7
08WHD04002 7
08WHD05353 6
08WHD09934 6
08WHD13397 7
08WHD02396 8
08WHD11912 7
08WHD07742 6
08WHD02627 7
08WHD06191 6
08WHD02398 9
08WHD02982 7
08WHD09970 8
08WHD02399 7
08WHD06584 7
08WHD04000 7
08WHD00749 5
08WHD07258 8
08WHD06992 6
08WHD03646 7
08WHD02350 7
08WHD04426 7
08WHD09281 6
08WHD02628 6
08WHD01924 8
08WHD01302 7
08WHD01100 8
08WHD05169 6
08WHD08291 5
08WHD01055 4
08WHD13386 7
08WHD03649 5
08WHD12995 7
08WHD06585 6
08WHD03358 6
08WHD01303 6
08WHD13064 6
08WHD13528 6
08WHD04925 6
08WHD09790 6
08WHD07168 7
08WHD04997 4
08WHD00780 7
08WHD02310 5
08WHD08965 8
08WHD01587 7
08WHD04425 7
08WHD05923 5
08WHD02314 7
08WHD01664 0
08WHD06213 7
08WHD02038 6
08WHD01923 5
08WHD02395 8
08WHD12994 6
08WHD04922 8
08WHD02983 8
08WHD13551 6
08WHD03647 7
08WHD11913 5
08WHD00852 7
08WHD03548 3
08WHD01584 4
08WHD02397 7
08WHD07317 8
08WHD13389 4
07WHD01405 8
06WHD11228 7
06WHD05293 6
08WHD04001 5
08WHD00979 6
08WHD01921 4
08WHD09282 7
08WHD05259 6
08WHD06993 5
08WHD02835 4
08WHD02630 6
08WHD02120 5
08WHD01810 5
08WHD06583 9
08WHD02984 6
08WHD01585 7
08WHD07815 7
08WHD02981 6
08WHD01101 8
08WHD02629 4
08WHD07763 7
08WHD06212 7
08WHD03236 6
08WHD01696 5
08WHD06083 8
08WHD09191 8
08WHD06473 8
08WHD13529 6
08WHD13061 4
08WHD05921 8
08WHD09071 7
08WHD04923 6
08WHD06990 7
08WHD06865 6
08WHD06991 7
08WHD09668 6
08WHD13062 6
08WHD01922 8
08WHD08701 8
08WHD01103 6
08WHD01243 8
08WHD06889 8
08WHD02121 7
08WHD08766 5
08WHD04924 8
08WHD02802 8
08WHD06989 6
08WHD04427 7
08WHD03999 8
08WHD13063 6
08WHD01586 6
08WHD10014 8
08WHD01247 7
08WHD03568 7
08WHD08711 7
08WHD03645 6
08WHD08947 7
08WHD04002 7
08WHD05353 6
08WHD09934 6
08WHD13397 7
08WHD02396 8
08WHD11912 7
08WHD07742 6
08WHD02627 7
08WHD06191 6
08WHD02398 9
08WHD02982 7
08WHD09970 8
08WHD02399 7
08WHD06584 7
Tips of Exam
Kindly please focus on the following:
1. How to write a good drama?
2. what is Non- commercial radio?
3.Function of radio
4. Microphone Pola and etc.
and others topics that ask about amplitude and etc.
1. How to write a good drama?
2. what is Non- commercial radio?
3.Function of radio
4. Microphone Pola and etc.
and others topics that ask about amplitude and etc.
Magazine Programs
Magazine Programs
Is a mixture of topics, contributors and formats or techniques, but it is aimed at one audience, has one style and one narrator or personality presenter.
Celebrity profiles
Magazine
May deal with one overall topic.
Or deal with a number of different subjects, or different aspects of one subject.
Example: Around China
Magazine
They share characteristics with documentary in that they are factual programs, the primary purpose of which will be to convey information and improve a listener’s understanding about a subject.
Magazine
These characteristics will distinguish magazine programs from documentary:
A magazine program will not contain an overarching story narrative.
Even if it deals with one broad subject matter, it will consider a number of aspects of the subject.
Each aspect will be discrete from others.
Magazine
A mixed magazine combines musical af spoken items.
It aims at a general audience, and its purpose is usually to entertain and easy listening.
How to plan magazine?
Define the purpose, audience and content base on the following:
Frequency
Audience
Scope of content
How to plan magazine?
How frequent?
Daily
Weekly
Fortnightly
Time
Amount of materials
How to plan magazine?
Who will listen?
The educated
Mass audience
Existing listeners
Major language group
How to plan magazine?
Scope of content?
Topic -News/current affairs/sports
Local
Regional
International
Language
Magazine
It may, for example, impart factual information, possibly in conjunction with interviews with experts on the subject matter, without presenting an original thesis or interpretation.
Magazine – infotainment
Infotainment or lifestyle program means a program the sole or dominant purpose of which is to present factual information in an entertaining way, where there is a heavy emphasis on entertainment value.
Magazine – infotainment
An infotainment program is likely to contain all or most of the following characteristics that distinguish it from documentary:
The program will often be episodic in nature, comprising a series of distinct or loosely connected segments rather than an overall story arc.
Magazine – infotainment
The primary purpose of the program may be to highlight goods or services available to the viewer, or to give the viewer advice on ‘how to’ undertake an activity.
Magazine – infotainment
While the fact that a program contains commercial content is not, in itself, a factor in
defining the program as infotainment, infotainment programs will often contain
commercial content, particularly in the form of product endorsements.
Entertainment and news crossovers - Infotainment
Go more in depth of the subjects they cover and can even provide classroom level
instruction in areas such as mathematics, science, biology, or writing, etc.
Entertainment and news crossovers - Infotainment
Cover topics such as:
Health tips or gardening tips,
Exploring television show genres, travel, shopping, yachting
Entertainment and news crossovers - Infotainment
Or exploring new wines—topics that are not actually "news" at all, in the sense of things that are currently happening.
Entertainment and news crossovers - Infotainment
Other stories deal with something that is happening,
A new music genre coming into prominence,
A shift in tide in the political views of the nation,
A new turn in teen attitudes about sexuality,
A commonality among political candidates,
Entertainment and news crossovers - Infotainment
The returning appeal of the retro styles and memories of a past decade, crazes like
Tamagotchi or Furby,
Or a common thread among current events that reveals something about the times.
Sub-genres of Infotainment
Mocumentary- Faux documentary format with satirical purpose
Lifestyle - Entertaining info relevant to audience needs
Sub-genres of Infotainment
Tabloid news - News format with mostly entertaining content
Talk shows - Entertainment format with informative content
Treatment
A good magazine makes use of a wide range of program forms.
Interview
Report
Statement
VOX POP
Audience controbution
Interview
The basic technique.
Conference interview (PC, VIP)
Double interview
Panel discussion
Report
Unscripted report
Can be edited out of an interview if the continuity is satisfactory.
Descriptive commentary
On the spot description of an event, a scene, and the ayes of the listener.
Statement
For formal delivery
Extracted from a delivered speech.
Also as the starter of the follow up item.
VOX POP
Short form of “Vox populi”, the voice of people.
Is a device to sample “public opinion”, placing together random comment on any issue to get a cross section of views.
Used to give variety of presentation, voices, opinion and location.
VOX POP
Involve people, getting “audience participation” to serve the human interest.
Might be not accurate or representative cross section of community’s view.
Audience Contribution
Letter, sms with POV
Studio Guest
Competitions/quiz
Tips for magazine
Actuality
Immediacy
Vividness
contrast
Actuality
A radio actuality is a group of sound bites sent out to radio stations to be used in news reports.
Is a small collection of quotes on various subjects, with a short pause between each
separate quote -- keep in mind that the sound bites are intended to be used individually.
Immediacy
Relate with what is happening.
Vividness
Help the imagination through sound and images for the theater in your mind
Contrast
Show the rich diversity of life, the wide range of experience and thought.
Item selection
Always keep the interest high, keep the paces going smoothly:
What interests audience?
Contrast
Format
Contributor
venue
Sequence
Opening/closing
Flow
Writing for Continuity
Style
Audience
Balance
Understandable/enjoyable
Vary intros and lead-outs
Hook audience attention
No flowering words
Writing for Continuity
A catchy title
Good cut-cue – tag message
The Presentation Script
Set out clear
Make control direction exactly.
Accuracy in all things (duration, spelling)
Cues in CAPS and underline spoken words in lower case
End of narration should not coincide with the end of a page.
The Presentation Script
Write in pronunciation for difficult words
Make a remark- #/* to reduce the chances of error made.
In the studio
Rehearse narration for:
Pace
Pronunciation
Emphases
Inflexion
style
Rehearse with operator: timing and fades
In the studio
Listen to both narrator and operator that might contribute a better program’s idea.
When recording, brief both operator and narrator for the approaching cues (hand signal)
Always put on earphones for narrator to judge the overall program’s effect.
In the studio
Set the goal for recording to aim for:
Efficient use of time
Manpower
Machines in the recording suite
Standard script with clear directions and cues.
Evaluation of production
Post mortem assessment to improve the future recording.
With the questions:
Target audience for the program
Purpose of the program
Ideal broadcast time
Area of Evaluation
Item
Narration
Presentation
Overall Program
Item
Suitability topic for the program.
Selection reason
Treatment suitability
By analyze the following:
Complete facts
Setting of the interview questions to avoid unnecessary mistake.
Item
Voice quality of reporter
Technical quality
Program/technical editing
Structure – beginning, middle and ending
Narration
Writing style quality
Announcer vocal quality
Interpretation
pace
Pulsation
Emphasis
Tone
Technical quality
Overall Program
Serve variety?
Develop Interest?
Leave any Impact?
Have any Audience?
Is a mixture of topics, contributors and formats or techniques, but it is aimed at one audience, has one style and one narrator or personality presenter.
Celebrity profiles
Magazine
May deal with one overall topic.
Or deal with a number of different subjects, or different aspects of one subject.
Example: Around China
Magazine
They share characteristics with documentary in that they are factual programs, the primary purpose of which will be to convey information and improve a listener’s understanding about a subject.
Magazine
These characteristics will distinguish magazine programs from documentary:
A magazine program will not contain an overarching story narrative.
Even if it deals with one broad subject matter, it will consider a number of aspects of the subject.
Each aspect will be discrete from others.
Magazine
A mixed magazine combines musical af spoken items.
It aims at a general audience, and its purpose is usually to entertain and easy listening.
How to plan magazine?
Define the purpose, audience and content base on the following:
Frequency
Audience
Scope of content
How to plan magazine?
How frequent?
Daily
Weekly
Fortnightly
Time
Amount of materials
How to plan magazine?
Who will listen?
The educated
Mass audience
Existing listeners
Major language group
How to plan magazine?
Scope of content?
Topic -News/current affairs/sports
Local
Regional
International
Language
Magazine
It may, for example, impart factual information, possibly in conjunction with interviews with experts on the subject matter, without presenting an original thesis or interpretation.
Magazine – infotainment
Infotainment or lifestyle program means a program the sole or dominant purpose of which is to present factual information in an entertaining way, where there is a heavy emphasis on entertainment value.
Magazine – infotainment
An infotainment program is likely to contain all or most of the following characteristics that distinguish it from documentary:
The program will often be episodic in nature, comprising a series of distinct or loosely connected segments rather than an overall story arc.
Magazine – infotainment
The primary purpose of the program may be to highlight goods or services available to the viewer, or to give the viewer advice on ‘how to’ undertake an activity.
Magazine – infotainment
While the fact that a program contains commercial content is not, in itself, a factor in
defining the program as infotainment, infotainment programs will often contain
commercial content, particularly in the form of product endorsements.
Entertainment and news crossovers - Infotainment
Go more in depth of the subjects they cover and can even provide classroom level
instruction in areas such as mathematics, science, biology, or writing, etc.
Entertainment and news crossovers - Infotainment
Cover topics such as:
Health tips or gardening tips,
Exploring television show genres, travel, shopping, yachting
Entertainment and news crossovers - Infotainment
Or exploring new wines—topics that are not actually "news" at all, in the sense of things that are currently happening.
Entertainment and news crossovers - Infotainment
Other stories deal with something that is happening,
A new music genre coming into prominence,
A shift in tide in the political views of the nation,
A new turn in teen attitudes about sexuality,
A commonality among political candidates,
Entertainment and news crossovers - Infotainment
The returning appeal of the retro styles and memories of a past decade, crazes like
Tamagotchi or Furby,
Or a common thread among current events that reveals something about the times.
Sub-genres of Infotainment
Mocumentary- Faux documentary format with satirical purpose
Lifestyle - Entertaining info relevant to audience needs
Sub-genres of Infotainment
Tabloid news - News format with mostly entertaining content
Talk shows - Entertainment format with informative content
Treatment
A good magazine makes use of a wide range of program forms.
Interview
Report
Statement
VOX POP
Audience controbution
Interview
The basic technique.
Conference interview (PC, VIP)
Double interview
Panel discussion
Report
Unscripted report
Can be edited out of an interview if the continuity is satisfactory.
Descriptive commentary
On the spot description of an event, a scene, and the ayes of the listener.
Statement
For formal delivery
Extracted from a delivered speech.
Also as the starter of the follow up item.
VOX POP
Short form of “Vox populi”, the voice of people.
Is a device to sample “public opinion”, placing together random comment on any issue to get a cross section of views.
Used to give variety of presentation, voices, opinion and location.
VOX POP
Involve people, getting “audience participation” to serve the human interest.
Might be not accurate or representative cross section of community’s view.
Audience Contribution
Letter, sms with POV
Studio Guest
Competitions/quiz
Tips for magazine
Actuality
Immediacy
Vividness
contrast
Actuality
A radio actuality is a group of sound bites sent out to radio stations to be used in news reports.
Is a small collection of quotes on various subjects, with a short pause between each
separate quote -- keep in mind that the sound bites are intended to be used individually.
Immediacy
Relate with what is happening.
Vividness
Help the imagination through sound and images for the theater in your mind
Contrast
Show the rich diversity of life, the wide range of experience and thought.
Item selection
Always keep the interest high, keep the paces going smoothly:
What interests audience?
Contrast
Format
Contributor
venue
Sequence
Opening/closing
Flow
Writing for Continuity
Style
Audience
Balance
Understandable/enjoyable
Vary intros and lead-outs
Hook audience attention
No flowering words
Writing for Continuity
A catchy title
Good cut-cue – tag message
The Presentation Script
Set out clear
Make control direction exactly.
Accuracy in all things (duration, spelling)
Cues in CAPS and underline spoken words in lower case
End of narration should not coincide with the end of a page.
The Presentation Script
Write in pronunciation for difficult words
Make a remark- #/* to reduce the chances of error made.
In the studio
Rehearse narration for:
Pace
Pronunciation
Emphases
Inflexion
style
Rehearse with operator: timing and fades
In the studio
Listen to both narrator and operator that might contribute a better program’s idea.
When recording, brief both operator and narrator for the approaching cues (hand signal)
Always put on earphones for narrator to judge the overall program’s effect.
In the studio
Set the goal for recording to aim for:
Efficient use of time
Manpower
Machines in the recording suite
Standard script with clear directions and cues.
Evaluation of production
Post mortem assessment to improve the future recording.
With the questions:
Target audience for the program
Purpose of the program
Ideal broadcast time
Area of Evaluation
Item
Narration
Presentation
Overall Program
Item
Suitability topic for the program.
Selection reason
Treatment suitability
By analyze the following:
Complete facts
Setting of the interview questions to avoid unnecessary mistake.
Item
Voice quality of reporter
Technical quality
Program/technical editing
Structure – beginning, middle and ending
Narration
Writing style quality
Announcer vocal quality
Interpretation
pace
Pulsation
Emphasis
Tone
Technical quality
Overall Program
Serve variety?
Develop Interest?
Leave any Impact?
Have any Audience?
Interesting Program
Interesting Program
May come through one or more than one of the following elements:
Affects the lives of the listeners, relate them in some ways so that they feel involved.
There are some conflicts that stimulates interest.
The participants are enthusiastic, and sound interest.
Interesting Program
The program are understandable to your audiences, avoid confusion.
Create clear and precise images, avoid abstractions.
The element of variety is present.
Programme Planning
Overall Output
The audience
Program variety
Future programming
Overall Output
Aim for a balance of information and entertainment, music and speech, variety form within each of these (talks, drama, magazine).
Aim for balance of local versus imported music, topics are included local, regional and nonlocal contents, and program materials from the whole country involving the whole audience.
Overall Output
Aim to reflect whatever is happening in the community or in the world.
Aim for topicality reflected in everything, not just in news.
Aim for feedback to measure the audience, to meet their needs and their preferences.
How to achieve the aims
Try to look at the overall program schedule from time to time, and plotting priorities.
Look at the resources: time, and staff capabilities. Organizing one and developing the other to meet these priorities.
Keep a planning diary of all potential program material.
How to achieve the aims
Decide on how it will be converted for radio, assigning key personnel weeks or months in advance.
Keep an inventory of experts, and potential contributors, in your region.
The audience
We should provide programs with a balance between majority and minority audience,
favoring the mass audience, most of the time.
We should assess the changing needs of the audience:
A large juvenile audience demanding more sophisticated entertainment.
The audience
The changing status of women
Improved standards of education
Increasing fluency in English
Greater political awareness
Program Variety
Within each language, over a specified period, aim to have:
News
Background to news
Public information
Public service programs
Wide variety of music
Account to policy
Program Variety
Educational programming
Stories
Readings
Personality
Drama
Comedy
Audience participation show
Live broadcast
Program Variety
Outside broadcast
Local composition
Writing
Magazine
Personality sessions
Community work
Etc.
Future Programming
Aim to put the permanent form, suitable broadcast material – stories legends, scripts, which might be used again in another form.
Keep on tape a representative sound cover all events of significance, people, and sound; they form the nucleus of historical, anniversary, ort flashback program.
Planning the program resource
Planning consist of:
Deciding
Anticipating
Assessing
Communicating
Deciding
On clear objective
Or program outline
Anticipating
The sequence in which the final product will be realized.
Assessing
The resources needed, and evaluate it.
Communicating
Communicating all this information to everyone involved.
The resources
Information about the subject, the people to be approached, the general community, the society and the cultural environment.
This requires research, which itself needs certain resources, including preliminary
reconnoiter (inspection).
The resources
People with the skills needed to record outside, interview, be interviewed (talent), coach talent, write scripts, narrate, edit tape, and operate technical equipment.
The resources
Equipment like transportation, portable recorder, microphones, tapes, studio mixing, tape editing system and studio recording.
Time to plan the outline, do research, travel to location and back too station, audition, prepare for editing, edit, script, rehearse and recording.
The resources
Money for transportation, facilities fees, hospitality, and performer fees.
These are visible or above the line costs. Some program may have to be assessed for
below the line costs as well.
The resources
Before the production is committed, it might be advisable to ask some questions:
What sources for background information are available?
Are people with the required skills available?
Can suitable, reliable, equipment be committed for the time?
The resources
How can time be saved?
Will the result justify the resources used?
What alternative are there to achieve the program objective?
Is there a simpler way?
The resources
Good planning can save time, money, equipment, people for example for a series of
magazine programs.
Collect a set of times at one visit (maybe an extend interview in segments).
Collect items for other programs from people in the same place. Tape spare tape and
extra batteries.
The resources
Warn people in advance of your visit with a clear brief if possible.
Use other producers to gather material (if they are traveling to your location anyway).
In the studio, have standard opening and closing tracks pre-recorded.
Record with editing in mind: the final presentation planned, plenty of “atmosphere”
record repeats.
May come through one or more than one of the following elements:
Affects the lives of the listeners, relate them in some ways so that they feel involved.
There are some conflicts that stimulates interest.
The participants are enthusiastic, and sound interest.
Interesting Program
The program are understandable to your audiences, avoid confusion.
Create clear and precise images, avoid abstractions.
The element of variety is present.
Programme Planning
Overall Output
The audience
Program variety
Future programming
Overall Output
Aim for a balance of information and entertainment, music and speech, variety form within each of these (talks, drama, magazine).
Aim for balance of local versus imported music, topics are included local, regional and nonlocal contents, and program materials from the whole country involving the whole audience.
Overall Output
Aim to reflect whatever is happening in the community or in the world.
Aim for topicality reflected in everything, not just in news.
Aim for feedback to measure the audience, to meet their needs and their preferences.
How to achieve the aims
Try to look at the overall program schedule from time to time, and plotting priorities.
Look at the resources: time, and staff capabilities. Organizing one and developing the other to meet these priorities.
Keep a planning diary of all potential program material.
How to achieve the aims
Decide on how it will be converted for radio, assigning key personnel weeks or months in advance.
Keep an inventory of experts, and potential contributors, in your region.
The audience
We should provide programs with a balance between majority and minority audience,
favoring the mass audience, most of the time.
We should assess the changing needs of the audience:
A large juvenile audience demanding more sophisticated entertainment.
The audience
The changing status of women
Improved standards of education
Increasing fluency in English
Greater political awareness
Program Variety
Within each language, over a specified period, aim to have:
News
Background to news
Public information
Public service programs
Wide variety of music
Account to policy
Program Variety
Educational programming
Stories
Readings
Personality
Drama
Comedy
Audience participation show
Live broadcast
Program Variety
Outside broadcast
Local composition
Writing
Magazine
Personality sessions
Community work
Etc.
Future Programming
Aim to put the permanent form, suitable broadcast material – stories legends, scripts, which might be used again in another form.
Keep on tape a representative sound cover all events of significance, people, and sound; they form the nucleus of historical, anniversary, ort flashback program.
Planning the program resource
Planning consist of:
Deciding
Anticipating
Assessing
Communicating
Deciding
On clear objective
Or program outline
Anticipating
The sequence in which the final product will be realized.
Assessing
The resources needed, and evaluate it.
Communicating
Communicating all this information to everyone involved.
The resources
Information about the subject, the people to be approached, the general community, the society and the cultural environment.
This requires research, which itself needs certain resources, including preliminary
reconnoiter (inspection).
The resources
People with the skills needed to record outside, interview, be interviewed (talent), coach talent, write scripts, narrate, edit tape, and operate technical equipment.
The resources
Equipment like transportation, portable recorder, microphones, tapes, studio mixing, tape editing system and studio recording.
Time to plan the outline, do research, travel to location and back too station, audition, prepare for editing, edit, script, rehearse and recording.
The resources
Money for transportation, facilities fees, hospitality, and performer fees.
These are visible or above the line costs. Some program may have to be assessed for
below the line costs as well.
The resources
Before the production is committed, it might be advisable to ask some questions:
What sources for background information are available?
Are people with the required skills available?
Can suitable, reliable, equipment be committed for the time?
The resources
How can time be saved?
Will the result justify the resources used?
What alternative are there to achieve the program objective?
Is there a simpler way?
The resources
Good planning can save time, money, equipment, people for example for a series of
magazine programs.
Collect a set of times at one visit (maybe an extend interview in segments).
Collect items for other programs from people in the same place. Tape spare tape and
extra batteries.
The resources
Warn people in advance of your visit with a clear brief if possible.
Use other producers to gather material (if they are traveling to your location anyway).
In the studio, have standard opening and closing tracks pre-recorded.
Record with editing in mind: the final presentation planned, plenty of “atmosphere”
record repeats.
Structure of Drama
Radio Production
Structure of Drama
Action
Dialogue
Plot (beginning, middle, end)
Conflict
Suspense
Exposition
Dramatic elements
Attract attention
Compress time by expressing many thoughts in a small dramatic scene.
Producer consideration: (all accomplished through mic technique)
Creating the illusion of place
Giving the illusion of movement (physical, scene)
Making the background a fabric of believability. (sound perspective)
Radio Drama - Writing
The first requirement is a good story:
With a well defined plot
With clearly defined characters
And a logical movement from beginning to end.
The Plot
The good plots has:
Human interest
Focus on individuals with:
Strong characteristics
Has action
Excitement
Suspense
Conflict (mental/moral)
The Plot
It should build on memories and experiences with listeners can visualize.
It should draw the outlines of situations, leaving something to the imagination of the involved listener.
The structure
Not too many scenes – otherwise it is confusing.
Every scene should carry the plot forward a logical step.
Every scene needs a point of interest … a little climax, a new element in the story, a new character…
The structure
The total number of main characters is limited.
The plot should not depend on one line – it may be missed.
There are no limit of settings – outer space, subterranean, a palace, or mid ocean.
The character
The main characters should contrast: in temperament (nature), vocabulary (words), in
voice (women’s voices are hard to separate).
They should be recognizable on first hearing.
Voice, vocabulary should be consistent with the character, and consistent through out the play.
The character
The sound should give physical picture … what does a fat man sound like? And the lines of character A should not be inter-changeable with character B.
Indentify the character as they enter and leave … address by name, but not every time.
The character
Characters have to develop and changes as a result of the action about them; human
beings do.
Minor characters do not need development. To save confusion, do not even name them;
just use the form of address, for example, a policeman … “good evening inspector”.
The character
Personal characteristics should be mentioned in the dialogue, to help the listener visualize.
Shape
The opening is always vitally important, to attract full attention:
Use sounds to paint the scenery
Early indication of action or conflict
Character quickly sketched (do not keep listener guessing).
Atmosphere quickly created … not wordy or descriptive.
Shape
The climax:
Right at the end
Do not linger on after
All the ends tied up, all the characters played out.
The dialogue
Must be speakable: write aloud.
Natural, containing the attributes of the character … shy? Domineering? Arrogant? Selfish?
Saintly?
Developing the character, reacting to previous experience.
Natural dialogue is not in lengthy chunks or speeches: short and varied for interest’s sake.
The dialogue
It has to:
Tell a story, convey information
Describe the characters, physical features, personalities, emotions.
Indicate the setting.
Indicate the movement of the characters, the action,
Yet attract the listener, by being true to life, so that he shares the experiences of the characters.
Narration
Can be used for speeding up information, but is not as graphic, may be dull.
Better to … use dialogue or make a first person character the narrator.
Narration
Impromptu drama: it is possible with a good actors, to provide the outline of a plot, and a description of character, then they can extemporize, the story, with a natural spontaneity.
With editing and effects dubbed in later, it may be of broadcast quality.
Transcribed and “polished up”, it might provide a well written script.
Narration
The dialogue is a kind of unscripted drama.
The “role play”, used in management training training is also; this gives a clue to the uses to which format might be put in educational broadcasts.
Devices – For Changing Scenes
Silence
Music
Sound effects
Silence
New setting has to be quickly identified
Fade out …silence … fade in.
Narration
Sound effects. (Not every time)
Musical interlude. Suitable music hard to find?
Transitions can be suggested in dialogue … therefore listener is prepared for a new
scene.
A fade gives a smooth transition; a cut gives contrast.
Silence
For reducing characters and scenes
Telephone sequence (speech at both ends is unnatural)
A read letter or telegram, - gets information in speedily.
For clarifying Plot
Refer to absent characters in dialogue – to keep them in the story and remind listeners.
Music
Small groups and light scoring. (we do not have a 100 piece orchestra in the bedroom).
In perspective. If out of perspective, the listener visualizes the musicians.
Do not mix actuality music with atmosphere music.
If no very good logical purpose, cut it out.
Sound Effects
Dialogue should refer to sound to clarify. Many sounds are indistinguishable and confusion.
Can create mood, tell the story 9action), create color, and excite the ear. BUT, they always support the plot, not carry it.
Sound Effects
Like everything else they must move the plot forward, and give vital information.
The more the jumble (mess).
The imagination of the listener needs only suggestions … select sound effects, do not use every natural sound.
Simple effects are the most powerful.
Sound Effects
“Silence can be more expressive than words” – sound effects. Try contrasting silence with sound.
Possible the most important use of sound is to give a sense of place where the action is happening … combine with dialogue and acoustic.
Sound Effects
In producing, the relative level, the acoustic, the perspective of sound effects must be considered as well.
Structure of Drama
Action
Dialogue
Plot (beginning, middle, end)
Conflict
Suspense
Exposition
Dramatic elements
Attract attention
Compress time by expressing many thoughts in a small dramatic scene.
Producer consideration: (all accomplished through mic technique)
Creating the illusion of place
Giving the illusion of movement (physical, scene)
Making the background a fabric of believability. (sound perspective)
Radio Drama - Writing
The first requirement is a good story:
With a well defined plot
With clearly defined characters
And a logical movement from beginning to end.
The Plot
The good plots has:
Human interest
Focus on individuals with:
Strong characteristics
Has action
Excitement
Suspense
Conflict (mental/moral)
The Plot
It should build on memories and experiences with listeners can visualize.
It should draw the outlines of situations, leaving something to the imagination of the involved listener.
The structure
Not too many scenes – otherwise it is confusing.
Every scene should carry the plot forward a logical step.
Every scene needs a point of interest … a little climax, a new element in the story, a new character…
The structure
The total number of main characters is limited.
The plot should not depend on one line – it may be missed.
There are no limit of settings – outer space, subterranean, a palace, or mid ocean.
The character
The main characters should contrast: in temperament (nature), vocabulary (words), in
voice (women’s voices are hard to separate).
They should be recognizable on first hearing.
Voice, vocabulary should be consistent with the character, and consistent through out the play.
The character
The sound should give physical picture … what does a fat man sound like? And the lines of character A should not be inter-changeable with character B.
Indentify the character as they enter and leave … address by name, but not every time.
The character
Characters have to develop and changes as a result of the action about them; human
beings do.
Minor characters do not need development. To save confusion, do not even name them;
just use the form of address, for example, a policeman … “good evening inspector”.
The character
Personal characteristics should be mentioned in the dialogue, to help the listener visualize.
Shape
The opening is always vitally important, to attract full attention:
Use sounds to paint the scenery
Early indication of action or conflict
Character quickly sketched (do not keep listener guessing).
Atmosphere quickly created … not wordy or descriptive.
Shape
The climax:
Right at the end
Do not linger on after
All the ends tied up, all the characters played out.
The dialogue
Must be speakable: write aloud.
Natural, containing the attributes of the character … shy? Domineering? Arrogant? Selfish?
Saintly?
Developing the character, reacting to previous experience.
Natural dialogue is not in lengthy chunks or speeches: short and varied for interest’s sake.
The dialogue
It has to:
Tell a story, convey information
Describe the characters, physical features, personalities, emotions.
Indicate the setting.
Indicate the movement of the characters, the action,
Yet attract the listener, by being true to life, so that he shares the experiences of the characters.
Narration
Can be used for speeding up information, but is not as graphic, may be dull.
Better to … use dialogue or make a first person character the narrator.
Narration
Impromptu drama: it is possible with a good actors, to provide the outline of a plot, and a description of character, then they can extemporize, the story, with a natural spontaneity.
With editing and effects dubbed in later, it may be of broadcast quality.
Transcribed and “polished up”, it might provide a well written script.
Narration
The dialogue is a kind of unscripted drama.
The “role play”, used in management training training is also; this gives a clue to the uses to which format might be put in educational broadcasts.
Devices – For Changing Scenes
Silence
Music
Sound effects
Silence
New setting has to be quickly identified
Fade out …silence … fade in.
Narration
Sound effects. (Not every time)
Musical interlude. Suitable music hard to find?
Transitions can be suggested in dialogue … therefore listener is prepared for a new
scene.
A fade gives a smooth transition; a cut gives contrast.
Silence
For reducing characters and scenes
Telephone sequence (speech at both ends is unnatural)
A read letter or telegram, - gets information in speedily.
For clarifying Plot
Refer to absent characters in dialogue – to keep them in the story and remind listeners.
Music
Small groups and light scoring. (we do not have a 100 piece orchestra in the bedroom).
In perspective. If out of perspective, the listener visualizes the musicians.
Do not mix actuality music with atmosphere music.
If no very good logical purpose, cut it out.
Sound Effects
Dialogue should refer to sound to clarify. Many sounds are indistinguishable and confusion.
Can create mood, tell the story 9action), create color, and excite the ear. BUT, they always support the plot, not carry it.
Sound Effects
Like everything else they must move the plot forward, and give vital information.
The more the jumble (mess).
The imagination of the listener needs only suggestions … select sound effects, do not use every natural sound.
Simple effects are the most powerful.
Sound Effects
“Silence can be more expressive than words” – sound effects. Try contrasting silence with sound.
Possible the most important use of sound is to give a sense of place where the action is happening … combine with dialogue and acoustic.
Sound Effects
In producing, the relative level, the acoustic, the perspective of sound effects must be considered as well.
Live, On Air Production
Live, On Air Production
One of the surest tests of production ability is to pull an airshift.
An airshift usually involves announcing and running the console, although today the shift may be voice-tracked.
Live, On Air Production
During the airshift, you are using all of your skills to produce the flow of sound that marks the unique character of your station.
The primary activity in an on-air situation is mixing sound sources through console.
Live, On Air Production
Those sources go to the transmitter and over the air instead of to a sound file on a
computer hard drive – mistake cannot be avoided.
There are no retakes, and a mistake such as a commercial that doesn’t play because of an miscued audio file, is a big mistake on the air.
Live, On Air Production
For one thing, dead air is sloppy.
Reschedule commercial (make good), in some case refer to an apology to the angry
sponsor.
An over consideration of on-air production is the rapid transition from source to source.
Live, On Air Production
Tight board (fast moving format) refer to that there is hardly any space (overlap) between sound sources.
Experience on-air produces develop a rhythm, a sixth sense of timing.
Typical Airshift
On-air ion is done by 3 types of radio station employees:
The announcer who runs a board combo
The engineer who runs a board for an announcer
A board operator at a station that may have automated part of its programming.
Duties of the On-air Producer
Handles the combo operation that usually involves most of the following:
Running the console
Cueing discs and tape, if the music and commercials are not programmed into a
computer (on systems that program music and commercials, the on-air talent frequently
plays bumpers and stingers and announces live).
Duties of the On-air Producer
Riding levels on sound sources going over the air.
Selecting filler music
Announcing music, reading commercial copy, providing weather and traffic updates, and , in some case, reading news.
Taping programs coming in from networks for delayed broadcast.
Answering the telephone.
Duties of the On-air Producer
Monitoring the emergency Alert System.
Checking for important news items, monitoring the news computer, and saving
appropriate material for others in the station.
Doing general maintenance, such as filling CDs, filling commercial logs, dubbing sound files between the digital audio workstation and the playback machine, and sometimes doing a vacuuming.
Duties of the On-air Producer
Taking meter readings if this task is not automated.
Keeping the program log.
Playing back news actualities during newscasts.
Performing off-air production work (sometime done on the audition channel) when a
long program, such as a baseball game or prerecorded show, is airing.
Duties of the On-air Producer
In some cases, assembling and reading the local newscast.
Emergency Alert System (EAS)
A government system established in 1994 that is designed to allow officials to warn public about the emergency situation.
Emergency Alert System (EAS)
Replaced Emergency Broadcast System (EBC) that linked the radio station to the federal government through a “tree” method where large stations would re-transmit it to smaller stations.
Only transmit a brief system.
Emergency Alert System (EAS)
Even though the system was originally designed for notification of national emergencies, broadcasters found that using smaller branches of the tree system allowed transmission of vitally needed weather emergency information.
Emergency Alert System (EAS)
When the new EAS was designed, officials decided take advantage of these local
capabilities and allow radio stations to more fully customize their emergency inputs.
Emergency Alert System (EAS)
Now, EAS alert can trigger several different sources, including weather stations, and the radio operator can receive and rebroadcast highly localized reports.
The EBS monitor in the control room is activated by a databurst, which send a message that can be digitally stored and replayed moments after reception.
Emergency Alert System (EAS)
In the recent past, most EAS alerts have involved weather emergencies and natural
disasters, such as hurricanes and tornadoes.
Radio able to provide vital disaster relief information to victims while other media such as newspapers and television stations were unable to do so.
Emergency Alert System (EAS)
Also provide information under AMBER (America’s Missing: Broadcast Emergency Response)Plan which use the alert system to provide the information about missing children.
Interrupt programming to provide a description of the abducted child and suspected
abducted, and details of the abductions are broadcast to millions of listeners.
Emergency Alert System (EAS)
Monitoring the EAS system is an important duty for on-air producer, each station’s
equipment system is slightly different, and you will receive specific briefings from station’s management.
Typical Schedule
Broken down the duties into on-air and off-air tasks.
Both of this schedules reflect the beginning of a typical shift, though there can be infinite variations on the themes presented.
Typical Schedule
The announcer is also responsible for introducing the music and must be informative and entertaining in the bargain.
Typical Schedule
Morning Schedule
Typical Schedule
Evening schedule
Sound of the station
The primary responsibilities of the on-air producer is to provide programming that
reinforces the format and goals of the station.
The identifying characteristics of the radio station are encompassed and expressed in what’s known, as the station’s sound.
Sound of the station
Are not only the music played.
Also dictating the sound are:
Pace
Content
Announcing style
Blending of the program.
Pace
In many of the more frenetic station, the program elements can come fast and furious – a jingle here, a joke there, and then a spot or commercial cluster.
Maintaining a pace means checking yourself to ensure that your on-air segments are not too long/ too short, depending on the station.
Pace
The delivery will vary according to the pace of the programming at your particular station.
Content
Is what you say and play.
For an on-air producer, continuity of content is maintained by not playing a modern rock song on an easy listening station, or by not using a rapid-fire delivery when you are host of a Saturday Night oldies program.
Content
DJs usually develop feel for matching song tempos and announcing.
Announcing Style
In combo stations, announcing and production duties are intertwined. The announcer is producer, and vice versa.
Achieving the proper style of delivery is a matter of matching the style of the station’s format.
Announcing Style
DJ may talk over the music at the beginning of a recording and talk about the artistes who performed the music being played by different style of communication (formal/informal).
To develop the skills that will help you become competent as an announcer, try to get as much practical as possible.
Announcing Style
Take every opportunity to read copy in various radio styles, constantly striving for a conversational style.
Develop your ad-lib skills, keep in mind that very few people are naturals at broadcast announcing, hard work and constant practice are necessary for everyone.
Blending the Sound Sources
Some fast-moving rock stations have almost no on-air silence; in fact, some of these
stations frequently combines as many sound sources as possible.
The weather for example is read over the instrumental lead-in to music; commercials
always have music beds; another sound sources always brought up as a pieces of music
fades.
Blending the Sound Sources
Blending technique applied still depend on the station programming strategy
AC, Country and Rock applied different concept.
Make sure your production values and techniques integrate with the sound of the station is one of the keys to successful on-air production.
Suggestion for Live, On-air Production
Console operation
Establishing a routine
Planning in advance
Being aware of false endings
Listening to the Air Monitor
Clearing Equipment
Planning for the worst
Console operation
Set the pot at appropriate level for:
Digicart
miniDics
CD players
Make sure zero the fader to avoid cueing over the air.
Console operation
Careful of the faders and selectors switches that control the network lines and telephones.
Avoid habit being left open when nothing is on line.
When a signal is fed, it can come as sth of a shock to the air person who left the channel open.
Establishing a Routine
Always checking to make sure the mic is not up on the console before you say anything.
Check the routing switches and make sure that everything that is supposed to normal does normal.
Barnish cuss word from your vocabulary the moment you get near a mic.
Planning in Advance
Planning in advance to avoid getting into position of not having a good shot.
Make sure the following:
Pre-selected music
Script/copy is ready
Plan schedule – indicate different segment and tasks
Etc.
Be Aware of False Endings
A false ending on a song is music that sound as though it’s going to wrap up, but doesn’t.
Checking the time-elapsed feature on a program computer can sometimes help you to
avoid this problem.
Avoid silence known as dead air.
Listening to the Air Monitor
Always keep the air monitor playing at a good volume.
A low volume from the air monitor won’t allow you to hear, for example, the network line leaking over the air or a CD that is skipping.
It is also important to monitor the station’s broadcast through the off-air or air monitor source.
Listening to the Air Monitor
Usually, audio console allow you to choose between program, audition, and off-air source.
Clearing Equipment
Don’t let the CDs, Discs, Tapes, pile up on the equipment; clear them as soon as possible.
If you don’t, sometime you will need a playback machine in a hurry, and there won’t be one available.
Clearing the equipment as you go along is one of the best habit for efficient on-air
production.
Planning for the Worst
Standby audio source to avoid dead air problems.
Keep the emergency materials on standby (a one minute public services announcement, an extra CD cut, and etc).
One of the surest tests of production ability is to pull an airshift.
An airshift usually involves announcing and running the console, although today the shift may be voice-tracked.
Live, On Air Production
During the airshift, you are using all of your skills to produce the flow of sound that marks the unique character of your station.
The primary activity in an on-air situation is mixing sound sources through console.
Live, On Air Production
Those sources go to the transmitter and over the air instead of to a sound file on a
computer hard drive – mistake cannot be avoided.
There are no retakes, and a mistake such as a commercial that doesn’t play because of an miscued audio file, is a big mistake on the air.
Live, On Air Production
For one thing, dead air is sloppy.
Reschedule commercial (make good), in some case refer to an apology to the angry
sponsor.
An over consideration of on-air production is the rapid transition from source to source.
Live, On Air Production
Tight board (fast moving format) refer to that there is hardly any space (overlap) between sound sources.
Experience on-air produces develop a rhythm, a sixth sense of timing.
Typical Airshift
On-air ion is done by 3 types of radio station employees:
The announcer who runs a board combo
The engineer who runs a board for an announcer
A board operator at a station that may have automated part of its programming.
Duties of the On-air Producer
Handles the combo operation that usually involves most of the following:
Running the console
Cueing discs and tape, if the music and commercials are not programmed into a
computer (on systems that program music and commercials, the on-air talent frequently
plays bumpers and stingers and announces live).
Duties of the On-air Producer
Riding levels on sound sources going over the air.
Selecting filler music
Announcing music, reading commercial copy, providing weather and traffic updates, and , in some case, reading news.
Taping programs coming in from networks for delayed broadcast.
Answering the telephone.
Duties of the On-air Producer
Monitoring the emergency Alert System.
Checking for important news items, monitoring the news computer, and saving
appropriate material for others in the station.
Doing general maintenance, such as filling CDs, filling commercial logs, dubbing sound files between the digital audio workstation and the playback machine, and sometimes doing a vacuuming.
Duties of the On-air Producer
Taking meter readings if this task is not automated.
Keeping the program log.
Playing back news actualities during newscasts.
Performing off-air production work (sometime done on the audition channel) when a
long program, such as a baseball game or prerecorded show, is airing.
Duties of the On-air Producer
In some cases, assembling and reading the local newscast.
Emergency Alert System (EAS)
A government system established in 1994 that is designed to allow officials to warn public about the emergency situation.
Emergency Alert System (EAS)
Replaced Emergency Broadcast System (EBC) that linked the radio station to the federal government through a “tree” method where large stations would re-transmit it to smaller stations.
Only transmit a brief system.
Emergency Alert System (EAS)
Even though the system was originally designed for notification of national emergencies, broadcasters found that using smaller branches of the tree system allowed transmission of vitally needed weather emergency information.
Emergency Alert System (EAS)
When the new EAS was designed, officials decided take advantage of these local
capabilities and allow radio stations to more fully customize their emergency inputs.
Emergency Alert System (EAS)
Now, EAS alert can trigger several different sources, including weather stations, and the radio operator can receive and rebroadcast highly localized reports.
The EBS monitor in the control room is activated by a databurst, which send a message that can be digitally stored and replayed moments after reception.
Emergency Alert System (EAS)
In the recent past, most EAS alerts have involved weather emergencies and natural
disasters, such as hurricanes and tornadoes.
Radio able to provide vital disaster relief information to victims while other media such as newspapers and television stations were unable to do so.
Emergency Alert System (EAS)
Also provide information under AMBER (America’s Missing: Broadcast Emergency Response)Plan which use the alert system to provide the information about missing children.
Interrupt programming to provide a description of the abducted child and suspected
abducted, and details of the abductions are broadcast to millions of listeners.
Emergency Alert System (EAS)
Monitoring the EAS system is an important duty for on-air producer, each station’s
equipment system is slightly different, and you will receive specific briefings from station’s management.
Typical Schedule
Broken down the duties into on-air and off-air tasks.
Both of this schedules reflect the beginning of a typical shift, though there can be infinite variations on the themes presented.
Typical Schedule
The announcer is also responsible for introducing the music and must be informative and entertaining in the bargain.
Typical Schedule
Morning Schedule
Typical Schedule
Evening schedule
Sound of the station
The primary responsibilities of the on-air producer is to provide programming that
reinforces the format and goals of the station.
The identifying characteristics of the radio station are encompassed and expressed in what’s known, as the station’s sound.
Sound of the station
Are not only the music played.
Also dictating the sound are:
Pace
Content
Announcing style
Blending of the program.
Pace
In many of the more frenetic station, the program elements can come fast and furious – a jingle here, a joke there, and then a spot or commercial cluster.
Maintaining a pace means checking yourself to ensure that your on-air segments are not too long/ too short, depending on the station.
Pace
The delivery will vary according to the pace of the programming at your particular station.
Content
Is what you say and play.
For an on-air producer, continuity of content is maintained by not playing a modern rock song on an easy listening station, or by not using a rapid-fire delivery when you are host of a Saturday Night oldies program.
Content
DJs usually develop feel for matching song tempos and announcing.
Announcing Style
In combo stations, announcing and production duties are intertwined. The announcer is producer, and vice versa.
Achieving the proper style of delivery is a matter of matching the style of the station’s format.
Announcing Style
DJ may talk over the music at the beginning of a recording and talk about the artistes who performed the music being played by different style of communication (formal/informal).
To develop the skills that will help you become competent as an announcer, try to get as much practical as possible.
Announcing Style
Take every opportunity to read copy in various radio styles, constantly striving for a conversational style.
Develop your ad-lib skills, keep in mind that very few people are naturals at broadcast announcing, hard work and constant practice are necessary for everyone.
Blending the Sound Sources
Some fast-moving rock stations have almost no on-air silence; in fact, some of these
stations frequently combines as many sound sources as possible.
The weather for example is read over the instrumental lead-in to music; commercials
always have music beds; another sound sources always brought up as a pieces of music
fades.
Blending the Sound Sources
Blending technique applied still depend on the station programming strategy
AC, Country and Rock applied different concept.
Make sure your production values and techniques integrate with the sound of the station is one of the keys to successful on-air production.
Suggestion for Live, On-air Production
Console operation
Establishing a routine
Planning in advance
Being aware of false endings
Listening to the Air Monitor
Clearing Equipment
Planning for the worst
Console operation
Set the pot at appropriate level for:
Digicart
miniDics
CD players
Make sure zero the fader to avoid cueing over the air.
Console operation
Careful of the faders and selectors switches that control the network lines and telephones.
Avoid habit being left open when nothing is on line.
When a signal is fed, it can come as sth of a shock to the air person who left the channel open.
Establishing a Routine
Always checking to make sure the mic is not up on the console before you say anything.
Check the routing switches and make sure that everything that is supposed to normal does normal.
Barnish cuss word from your vocabulary the moment you get near a mic.
Planning in Advance
Planning in advance to avoid getting into position of not having a good shot.
Make sure the following:
Pre-selected music
Script/copy is ready
Plan schedule – indicate different segment and tasks
Etc.
Be Aware of False Endings
A false ending on a song is music that sound as though it’s going to wrap up, but doesn’t.
Checking the time-elapsed feature on a program computer can sometimes help you to
avoid this problem.
Avoid silence known as dead air.
Listening to the Air Monitor
Always keep the air monitor playing at a good volume.
A low volume from the air monitor won’t allow you to hear, for example, the network line leaking over the air or a CD that is skipping.
It is also important to monitor the station’s broadcast through the off-air or air monitor source.
Listening to the Air Monitor
Usually, audio console allow you to choose between program, audition, and off-air source.
Clearing Equipment
Don’t let the CDs, Discs, Tapes, pile up on the equipment; clear them as soon as possible.
If you don’t, sometime you will need a playback machine in a hurry, and there won’t be one available.
Clearing the equipment as you go along is one of the best habit for efficient on-air
production.
Planning for the Worst
Standby audio source to avoid dead air problems.
Keep the emergency materials on standby (a one minute public services announcement, an extra CD cut, and etc).
Recorded Program Production
Recorded Program Production
Refer to loosely to any radio production work that is not done live (over the air).
The recording is done in preparation for use over the air at a later date.
Recorded Program Production
The producer has the freedom to do several retakes of the same production element, to try different blends and mixes, or to scrap the whole project and start over again if it’s not working out.
Recorded Program Production
Mixing a narration, multiple sound effects, and a music bed would be next to impossible all in one take, it become a simple matter in the recording studio because the tasks can be attempted one at a time, with the various elements divided into a logical steps.
Layout of Production Studio
Many of the digital audio workstation programs have multitrack mixing capabilities.
Most medium to large studio setups feature a glassed-in area between the main control room and the studio.
Layout of Production Studio
In large music production studios, the glass divides the performance area of the studio from the control area.
The glass is typically double layered, and the panes are not set parallel to each other or to studio wall, to prevent internal and external reflections of sound.
Equipment in the Production Studio
The minimum equipment usually includes:
Console
A computer
A Mic
A Cart Machine
CD Player
Equipment in the Production Studio
Also finds:
Tape recorders
Turntables
Portable mixers
Routing switcher
Talkback system
Sound Treatment in the production Studio
Sound-deadening material is commonly used to dampen sound reflection in the production
studio.
Sometime egg cartons are cut up and attached to the walls, serving the same effect.
A carpet is very helpful in deadening the sound reflection.
Music
Important element in radio production.
Good producer
Have the ability to use music to their advantage, to manipulate music to create an effect.
Understand the kinds and varieties of music, and thus can fit productions into the
station’s overall format.
Source of Music
Usually:
Pre-recorded in CDs
Downlink from a satellite or download off the internet
Licensed music/ paid music
Licensing fees cover the performance right to the music (the right to play it on the
radio).
Music libraries
Ad Agency
Choosing Music for Production Work
Can be formidable task:
Gain significant impact through the selection of background music that reinforces the message.
Detract from the message or even be at odds with it.
Music Overused
Listener hears the music not the message
Choosing Music for Production Work
Segregate the music libraries into vocal and instrument selections
Exclusive right
Style of Music
Characteristic of some major style of music:
Rock
Country
Jazz
Classical
Urban
General Pop Music
Specialty Music
Rock
Usually features drums and electrical guitars
Generally a distinctive rhythm, which is maintained by bass drum and bass guitar.
More avant-garde types of rock music include elaborate electronic effects.
Rock
Snippets of percussive sounds are used repetitively for high-energy commercials.
Country
A combination of Nashville, folk, Appalachian, and western swing music
The steel guitar was once the cornerstone of country music, but now almost any
combination of instruments can be used.
To achieve special effects (as a music neb for a rodeo music), is used extensively
Jazz
This style of music can run the gamut from traditional big-band dance music to Dixieland to bebop, from Latin to bizarre and highly experimental compositions.
Generally uses a syncopated rhythm.
Jazz
Has many uses in production and is particularly helpful because so much of it is
instrumental.
Classical
Refers to only one the music in the spectrum popularly understood as “classical”.
The classical period is typified by the music of Mozart, baroque, Bach.
The romantic period of music followed the classical period and is characterized by the works of Tchaikovsky and by the later works of Beethoven.
Classical
Light opera and some Broadway also falls into this category.
Occasionally is useful in production as it quickly sets a mode and is generally used to
achieve a special effect.
Urban
Is a subgenre of rhythm and blues (R&B).
Is noted for its heavy bass and highly percussive nature.
Has a repetitive beat, making it easy to edit.
Rap, hip hop, and soul also considered subgenre of R&B.
Urban
Urban beds can frequently cut through programming clutter on pop and contemporary
stations but they may not be appropriate for all formats.
General Popular Music
General popular music tends to be more melodic and orchestral than rock.
Violin and other bowed strings are used, as are woodwinds.
Piano is a typical feature of general popular music.
Many of the low key rock music selections certainly fit into this category.
General Popular Music
Beautiful music is especially useful in general production duties because much of it is
instrumental.
Specialty Music
Includes polkas, waltzes, seasonal music, and marches which are used in production work
when a specific effect is called for.
Recorded Voice
Voice, the second element of production, can be recorded by an announcer running a
combo operation or by a producer running the console while others speak into a mic/mics.
Recorded Voice
The most important goal of recording voice in a studio setting, though, is to get a clean
recording that accentuates the announcer’s voice and delivery.
Achieving this goal may involve such consideration:
Selecting a mic that deemphasizes peculiarities of a performer’s speech, such as ppopping
or excessive sibilance.
Recorded Voice
Replacing a high sensitive mic with a less sensitive model to cut down on noise from air
conditioning or from the clicking of the speaker’s denture.
Eliminating table noises (nonprofessional speakers are notorious for table tapping or
clicking pens) by hanging the mic from a boom rather than attaching it to a table stand.
Recorded Voice
Instructing speakers, professional and nonprofessional alike, on positioning and use of
the mic. Nonprofessional speakers frequently need to be cautioned about speaking too
closer or too far away to the mic.
Recorded Voice
Two of the common difficulties encountered in production work are miking multiple
speakers and communicating with speakers when the mics are open.
Miking Multiple Speakers
An overabundance of mics can cause difficulties in engineering the show (trying to find the
right pot to adjust, for example, when you are dealing with six or seven) and in phasing.
Phasing problems plague the multiple mic setup.
Cancels sound by means of an acoustic network inside the mic.
Miking Multiple Speakers
Every time you open mic, the room tone, or noise present in the studio, increase.
The solution to phasing problems is to avoid, as much as possible, any overlap among the
mic pick up patterns.
Miking Multiple Speakers
The concept of phase problems will become crystal clear when you hear an out-of-phase
broadcast, solution – additional separation of the mic pick up pattern, moving the mic.
Distance between mic should be 3 times that of a speaker from the mic to the speaker.
Miking Multiple Speakers
Another difficulty is sound level.
Overpowering voice VS whispering (trial and error maneuvering).
Set the pot at the proper level.
Communicating with Speakers
How to communicate with announcers and guests when mics are open.
Some simple cues and signal can prevent the inconvenience of having to stop tape to give
an instruction.
Communicating with Speakers
The following hand signal represent a standard way of communicating in the studio.
You are on
Give me a level
Kill my mic
Wrap up
Strech
You are on
Consists of a finger pointed directly at the speakers
Give Me Level
A chattering motion with fingers indicates that you would like the announcer to give you a
voice level.
Kill My Mic/Cut
Draw a finger across your throat. If you are using a headset mic, point to the mic too.
Wrap Up
This signal is accomplished by a circular (winding up) motion of the hands.
Stretch
Make a motion with your hands as though stretching a rubber band. This tells the person
on-mic to keep talking and stretch out the program.
Stand By
Indicate a stand by mode from the announcer or guest.
Two Minutes Left
To indicate there are 2 more minute left for the recording.
Sound Effects
Available as:
Computer files
WAV
AIFF
MP3
Downloaded from various internet sites
Combining Elements in Production
The process of mixing music, voice, and sound effects is, essentially, a matter of feeding signals through the console or manipulating them with an editing process to construct the ultimate product.
Combining Elements in Production
A major consideration in combining these elements in a production studio setting is to ensure that the final product come as close to the original sound as possible.
Refer to loosely to any radio production work that is not done live (over the air).
The recording is done in preparation for use over the air at a later date.
Recorded Program Production
The producer has the freedom to do several retakes of the same production element, to try different blends and mixes, or to scrap the whole project and start over again if it’s not working out.
Recorded Program Production
Mixing a narration, multiple sound effects, and a music bed would be next to impossible all in one take, it become a simple matter in the recording studio because the tasks can be attempted one at a time, with the various elements divided into a logical steps.
Layout of Production Studio
Many of the digital audio workstation programs have multitrack mixing capabilities.
Most medium to large studio setups feature a glassed-in area between the main control room and the studio.
Layout of Production Studio
In large music production studios, the glass divides the performance area of the studio from the control area.
The glass is typically double layered, and the panes are not set parallel to each other or to studio wall, to prevent internal and external reflections of sound.
Equipment in the Production Studio
The minimum equipment usually includes:
Console
A computer
A Mic
A Cart Machine
CD Player
Equipment in the Production Studio
Also finds:
Tape recorders
Turntables
Portable mixers
Routing switcher
Talkback system
Sound Treatment in the production Studio
Sound-deadening material is commonly used to dampen sound reflection in the production
studio.
Sometime egg cartons are cut up and attached to the walls, serving the same effect.
A carpet is very helpful in deadening the sound reflection.
Music
Important element in radio production.
Good producer
Have the ability to use music to their advantage, to manipulate music to create an effect.
Understand the kinds and varieties of music, and thus can fit productions into the
station’s overall format.
Source of Music
Usually:
Pre-recorded in CDs
Downlink from a satellite or download off the internet
Licensed music/ paid music
Licensing fees cover the performance right to the music (the right to play it on the
radio).
Music libraries
Ad Agency
Choosing Music for Production Work
Can be formidable task:
Gain significant impact through the selection of background music that reinforces the message.
Detract from the message or even be at odds with it.
Music Overused
Listener hears the music not the message
Choosing Music for Production Work
Segregate the music libraries into vocal and instrument selections
Exclusive right
Style of Music
Characteristic of some major style of music:
Rock
Country
Jazz
Classical
Urban
General Pop Music
Specialty Music
Rock
Usually features drums and electrical guitars
Generally a distinctive rhythm, which is maintained by bass drum and bass guitar.
More avant-garde types of rock music include elaborate electronic effects.
Rock
Snippets of percussive sounds are used repetitively for high-energy commercials.
Country
A combination of Nashville, folk, Appalachian, and western swing music
The steel guitar was once the cornerstone of country music, but now almost any
combination of instruments can be used.
To achieve special effects (as a music neb for a rodeo music), is used extensively
Jazz
This style of music can run the gamut from traditional big-band dance music to Dixieland to bebop, from Latin to bizarre and highly experimental compositions.
Generally uses a syncopated rhythm.
Jazz
Has many uses in production and is particularly helpful because so much of it is
instrumental.
Classical
Refers to only one the music in the spectrum popularly understood as “classical”.
The classical period is typified by the music of Mozart, baroque, Bach.
The romantic period of music followed the classical period and is characterized by the works of Tchaikovsky and by the later works of Beethoven.
Classical
Light opera and some Broadway also falls into this category.
Occasionally is useful in production as it quickly sets a mode and is generally used to
achieve a special effect.
Urban
Is a subgenre of rhythm and blues (R&B).
Is noted for its heavy bass and highly percussive nature.
Has a repetitive beat, making it easy to edit.
Rap, hip hop, and soul also considered subgenre of R&B.
Urban
Urban beds can frequently cut through programming clutter on pop and contemporary
stations but they may not be appropriate for all formats.
General Popular Music
General popular music tends to be more melodic and orchestral than rock.
Violin and other bowed strings are used, as are woodwinds.
Piano is a typical feature of general popular music.
Many of the low key rock music selections certainly fit into this category.
General Popular Music
Beautiful music is especially useful in general production duties because much of it is
instrumental.
Specialty Music
Includes polkas, waltzes, seasonal music, and marches which are used in production work
when a specific effect is called for.
Recorded Voice
Voice, the second element of production, can be recorded by an announcer running a
combo operation or by a producer running the console while others speak into a mic/mics.
Recorded Voice
The most important goal of recording voice in a studio setting, though, is to get a clean
recording that accentuates the announcer’s voice and delivery.
Achieving this goal may involve such consideration:
Selecting a mic that deemphasizes peculiarities of a performer’s speech, such as ppopping
or excessive sibilance.
Recorded Voice
Replacing a high sensitive mic with a less sensitive model to cut down on noise from air
conditioning or from the clicking of the speaker’s denture.
Eliminating table noises (nonprofessional speakers are notorious for table tapping or
clicking pens) by hanging the mic from a boom rather than attaching it to a table stand.
Recorded Voice
Instructing speakers, professional and nonprofessional alike, on positioning and use of
the mic. Nonprofessional speakers frequently need to be cautioned about speaking too
closer or too far away to the mic.
Recorded Voice
Two of the common difficulties encountered in production work are miking multiple
speakers and communicating with speakers when the mics are open.
Miking Multiple Speakers
An overabundance of mics can cause difficulties in engineering the show (trying to find the
right pot to adjust, for example, when you are dealing with six or seven) and in phasing.
Phasing problems plague the multiple mic setup.
Cancels sound by means of an acoustic network inside the mic.
Miking Multiple Speakers
Every time you open mic, the room tone, or noise present in the studio, increase.
The solution to phasing problems is to avoid, as much as possible, any overlap among the
mic pick up patterns.
Miking Multiple Speakers
The concept of phase problems will become crystal clear when you hear an out-of-phase
broadcast, solution – additional separation of the mic pick up pattern, moving the mic.
Distance between mic should be 3 times that of a speaker from the mic to the speaker.
Miking Multiple Speakers
Another difficulty is sound level.
Overpowering voice VS whispering (trial and error maneuvering).
Set the pot at the proper level.
Communicating with Speakers
How to communicate with announcers and guests when mics are open.
Some simple cues and signal can prevent the inconvenience of having to stop tape to give
an instruction.
Communicating with Speakers
The following hand signal represent a standard way of communicating in the studio.
You are on
Give me a level
Kill my mic
Wrap up
Strech
You are on
Consists of a finger pointed directly at the speakers
Give Me Level
A chattering motion with fingers indicates that you would like the announcer to give you a
voice level.
Kill My Mic/Cut
Draw a finger across your throat. If you are using a headset mic, point to the mic too.
Wrap Up
This signal is accomplished by a circular (winding up) motion of the hands.
Stretch
Make a motion with your hands as though stretching a rubber band. This tells the person
on-mic to keep talking and stretch out the program.
Stand By
Indicate a stand by mode from the announcer or guest.
Two Minutes Left
To indicate there are 2 more minute left for the recording.
Sound Effects
Available as:
Computer files
WAV
AIFF
MP3
Downloaded from various internet sites
Combining Elements in Production
The process of mixing music, voice, and sound effects is, essentially, a matter of feeding signals through the console or manipulating them with an editing process to construct the ultimate product.
Combining Elements in Production
A major consideration in combining these elements in a production studio setting is to ensure that the final product come as close to the original sound as possible.
Wednesday, July 1, 2009
Assignment Report Format
For assignment (Station ID)
Please write down the following:
1.The station ID copy (script)
2.The duration of the ID
3. Sound source that used, please list out all, including the vocal (name).
Last but not least, all group members name and ID.
Make it in 1 page (A4).
Please write down the following:
1.The station ID copy (script)
2.The duration of the ID
3. Sound source that used, please list out all, including the vocal (name).
Last but not least, all group members name and ID.
Make it in 1 page (A4).
Monday, June 29, 2009
Lec 4
6/30/2009
1
The Machine
Compact Discs
The compact disc has replaced the vinyl record (black label disc) for mist applications in
radio.
The advent of recordable CDs – compact discs can be recorded at the station – offers
exciting possibilities because it allows for storage and quick retrieval of sounds specific to
the station, such as station ID’s or jingles.
Compact Discs
The compact disc in 2 sizes (both less than 5 inches in diameter), the CD resembles a
traditional vinyl disc.
The information on the CD is read by a laser beam contained in a special CD player.
Compact Discs
Unlike a vinyl record, a CD does now have grooves. And because the disc itself is no
touched physically by a stylus. It is less subject to wear than a standard phonograph
record.
Compact Discs
But there is another, more profound difference between the conventional phonograph
record and the CD which is the phonograph record is an analog recording, whereas the CD
is a digital recording.
The word analog means sth that shows a resemblance or similarity to do sth else.
Compact Discs
In the case of analog recording, it means to produce a series of sound waves that closely
resemble the sound waves of the original signal.
We use the term analog recording to refer to any conventional transduction techniques
involving audiotape or vinyl records.
Compact Discs
Digital recoding means using samples of sound to produce a recording that is stored in
computer language – the on and off binary code of digital technology.
The exact method by which sounds are transcuced into digital information is not
particularly relevant to radio work,
Compact Discs
But the following basic points are important.
Digital recordings actually comprise numerically transcribed samples of the original
sounds, so in engineering terms, the digital recording is a collection of samples of sound
and not an analog of sound – hence the difference un a word usage.
Compact Discs
Digital recording produces a cleaner-sounding signal. Very little (if any) extraneous noise
is introduced into the system during digital recording and playback – no tape hiss, no
scratching of a stylus in worn grooves.
The cleaner technology produces a different sound than analog, many listeners
characterize it as ‘cleaner’ and unquestionably noise is reduced.
Compact Discs
However, some listeners claim not to like the digital sound as much as analog. Many
listeners think that it is too harsh, too mechanical or too unnatural.
Compact Discs
The preceding points have contributed to an explosion of compact disc in radio. Even
though the CD is only one link in the audio chain (since the signal still must pass through
many analog devices). Listeners feel that the CD sound I superior and many radio stations
have converted entirely to playing CD.
Compact Discs
Professional-quality compact disc-players can store many disc with virtually instant access to any cut on any disc. This make CDs an excellent choice for automation applications or in
situations where partial automation is used to assist the on air operator.
Compact Discs
Moreover, CDs provide what listeners seems to want in audio quality. Many stations
advertise themselves as being ‘all-CD’, and ratings reflect the all-CD format’s initial success
in the so called fidelity wars.
Compact Discs
Difficulty in handling CDs was once viewed as a drawback to the advancing technology, but
that perception changed as the hardware became more thoroughly established and refined
and as production and air staff become more accustomed to handling the CDs.
Compact Discs
Most experts maintain that the majority of CD ‘crashes’ have been due to poor handling by
production personnel. CDs are no immune to damage; surface scratches can badly impair
playback, and damage to the disc can result in poor audio quality, skipping, or shutdown of
the playback.
Compact Discs
CD playback is generally quite simple. Insert the disc into a mechanized drawer, which
closes automatically and brings the disc into position for playback.
The laser-reader works in reverse of a typical stylus, reading the disc from the inside out
toward the edge.
Compact Discs
CDs have several cuts, and a selector on the machine allows you to pick the cut you want
to play (select track 3, for example).
Unlike standard records, CDs have information only on one side, but that one side can hold
up to an hour of program material.
Compact Discs
When CDs are automated, the cut members are programmed into the computer. Methods
of programming range from a simple computer instruction, to play at random without
repeating any cuts for a certain time, to complete program control cut-by-cut and hour-byhour.
Compact Discs
Recordable CD-Rom, known as CD-R, allows you to ‘burn’ your own recording.
Although the technology is still not universal to radio stations, many produces do want to
‘burn their own’ in order to put frequently used sound elements on a durable and easily
accessible medium.
Compact Discs
The process is fairly complex, requiring not only a burner but also a computer with a
healthy hard drive. For example, atypical burnable CD-Rom holds 74 mins of data – data
that must first be loaded into your computer hard drive. Seventy-four mins of studio will
occupy about 718MB.
Structure of Turntable
A turntable operates in the same way as a record player, except that it is heavier-duty
device and uses a different type of mechanism to turn the record.
The broadcast turntable has several components. Although some minor operational and
cosmetic differences exist among various turntable models, all work in much the same
fashion.
The plate
The disc us plated on the plate; this is the part of the turntable that actually turns around.
The Switch
The switch, also known as start switch, is a smooth action, noiseless switch that turns the
turntable on and off.
It is noiseless because you do not want a click sound while the microphone is turned on.
The Speed Control
The speed control on some turntable resembles the gearshift in a manual-transmission
auto.
The operator can select from among speeds 33 1/1, 45 and 78 rpm (revolutions per
minute) by merely pressing one of the three buttons.
The Speed Control
The 12-inch discs play at 33 1/3 (sometimes shortened to read 33 on turntables settings),
whereas the smaller discs with the large holes play at 45 rpm.
Although 78rpm ate not made anymore; many turntable units retain the option of playing
the speed.
The Speed Control
On some models (particularly older models), there is a neutral position too, which allows
the motor to idle out of gear.
The Drive Mechanism
The gearshift controls a rubber drive wheel, which makes contact with a rim on the inside
of the plate.
Some newer broadcast turntables are known as direct-drive turntables, that is, the motor
drives the plate directly.
With these turntables, there is no neutral position, and speed change is accomplishes
electronically.
The Tone-arm
The tone-arm is the movable device that is put onto the disc.
At the end of the tone-arm are the stylus and cartridge.
The stylus is usually a pointed piece of diamond; some people call it a needle, but it really
is not one.
The Tone-arm
The stylus is attached to a strip metal called cantilever, which in turn is attached to the
cartridge.
The cartridge translates the physical vibration of the stylus into an electrical signal.
The Tone-arm
The process of changing one form of energy into another is called transduction; this is a
very important concept, as similar to the process of a microphone.
The Disc
Where do the vibration picked b the stylus come from? They are impressed into the
grooves on the disc.
The vibrations cut into grooves correspond to variations in the sound that was recorded.
Actually, the vibration patterns are pressed into the grooves of the dics.
The Disc
At the beginning of the manufacturing process, the master disc is cut with a stylus, which is
connected to the output of a tape machine.
When the master disc is cut, an electrical signal is transduced into a physical vibration.
The Disc
There are gaps between the cut (tracks), or individual pieces of music, on the disc; these
separating grooves and the groove at the beginning of the disc) carry no sound. They are
called lead grooves.
The Disc
During the operation of the turntable, you will want to place a disc on the plate, place the
stylus at the beginning of the cut you select, and position the disc so that the beginning of
the music will start immediately, or at least within a second or so or you starting the turntable.
The Disc
Positioning the disc is called cueing.
Handling Disc
Putting your fingers on the grooves of the disc will coat the grooves wear out, or worse,
the stylus may picked up that oil, causing the sound quality of the playback to deteriorate.
Handling Disc
You can avoid this problem by handling the disc shown. To turn the disc over, hold the
edge of the disc with the palms of your hands and flip it.
Handling Disc
These ways of handling discs may seem awkward at first, but with practice, you will find
that they become second nature.
Good handling, with clean, static-free disc will produce much better audio quality.
Cueing a Disc
The first step in cueing the disc is to select the cut you wish to play and place the stylus in
the lead grooves (the gape preceding the cut).
If the cut that you wish to play is the first on the disc, place the stylus at the beginning
groove.
Cueing a Disc
All cueing operations involve a backtracking of the disc. You will spin the record backward
and forward until you have pinpointed the spot where the sound begins.
Cueing a Disc
There are 3 methods of cueing a disc:
Spinning the plate
Spinning the disc
Slip cueing
Spinning the plate
Put the turntable speed control into neutral, as this will enable the heavy metal plate spin
freely.
Start the plate spinning with your hand; you should try to spin it at approximately the same
speed at which it normally spins.
Spinning the plate
The plate is heavy and will keep up to speed for a surprising amount of time.
Drop the stylus in the beginning or separating grooves and let the disc turn until the sound
begins. (Remember to use the sue or audition channel of the console so that the cueing
noises ill not go out over the air.)
Spinning the plate
Then stop the motion of the disc with you hand, and move the plate in the opposition
direction, backtracking the disc.
By rocking the disc clockwise or counterclockwise, you will be able to pinpoint the exact
spot where the sound bagins.
Spinning the Disc
The pieces of hard rubber or (on very old turntable) felt covering the turntable plate
provides just the right amount of friction. This materials holds the disc as the plate spins
but also allows the operator to spin the disc separately from the plate.
Spinning the Disc
To cue up by spinning the disc, leave the speed selector in gear; this way, the plate will not
spin freely.
Drop the stylus into the grooves preceding the cut you want to play.
Then, placing your finger on the label, spin the disc until you hear the first sound.
Spinning the Disc
This method is somewhat difficult to do, and it is not as popular as spinning the plate.
Slip-cueing
To perform slip-cueing, first find the point where the sound begins, either by spinning the
plate or spinning the disc.
With the turntable in gear, and the motor started, hold the disc by the very edge.
The
Slip-cueing
Then, at the instant you want the music to start, release the disc.
With slip-cueing, of course, you do the actual cueing in the cue or audition channel. You
hold up the turntable before releasing the disc.
Tape Recording and Playback Units
Magnetic tape
Workings of the Reel-to-Reel Tape machine
The heads
The tape transport mechanism
Tape machine controls and indicators
Magnetic tape
Audiotape is a strip of material with a thin coating of iron oxide (a fancy name for rust) on
one surface.
The iron oxide particles line up when they are an electromagnetic field and are the
elements that hold the magnetic information.
Magnetic tape
The backing of the tape – the material over which the coating is applied – is made of
acetate or Mylar.
Acetate is similar in composition to Scotch tape. It is somewhat brittle and can be snapped
easily.
Mylar us a resilient, extremely tough substance that will stretch before it breaks.
Magnetic tape
This is not necessarily an advantage because a snapped tape can be repaired, whereas a
stretched tape can’t.
The most commonly used tape in radio is ¼ inch wide although there are different sizes for
specialized applications.
Magnetic tape
The larger reels need special kind of hub arrangement to hold them on the tape machine.
Workings of the Reel-to-Reel Tape machine
The process if magnetic tape recording will happens when a tape passes by an
electromagnet which arranges the pattern in the particles to correspond of that of the
sound message being fed into the decoder.
Workings of the Reel-to-Reel Tape machine
A device called a head is the electromagnet in the tape machine. The head in a typical tape
recorder perform three functions, but before describing them, let’s see where the heads are
and how the tape is brought into contact with them.
Workings of the Reel-to-Reel Tape machine
A reel-to-reel tape machine, regardless of their design differences, operate in pretty much
the same way.
The tape machine draws the tape from the left reel to the right reel. The technical names
of the left and the right components respectively are supply reel and take-up reel.
Workings of the Reel-to-Reel Tape machine
As tape passes from the supply reel to take-up reel, it is drawn across the heads, where a signal is implanted on the tape or played back from the tape.
The Heads
The heads perform 3 distinct function:
Erase
Record
play
The Heads
The erase head produces a magnetic field, called a flux that scrabbles the pattern of the
iron oxide particles and obliterates any information previously stored on them.
The Heads
The record head produces magnetic filed that arranges the iron oxide particles in a
particular order, storing the information on tape.
The Heads
The playback head reads the patterns formed by the arrangement of the iron oxide
particles and produce an electrical signal carrying the sound information on the tape.
The Heads
The head are always arranged this order, from left to right.
Erase, must come first; if the erase head were sound in line, you would erase whatever had
just been recorded on tape.
The Heads
And it makes sense to have the record head in the second position because this allows the
tape to pass over the playback head, which is in the third position.
The Heads
Since the tape passes the record head immediately before the playback head, the operator
of the tape machine can play back what was just recorded to make sure that there is
indeed a recording on the tape.
Remember: Erase, Record and Playback
The Tape Transport Mechanism
Despite the differences among models, the goal of all tape machines is the same; to pass a
tape across the heads at a constant rate of speed.
The Tape Transport Mechanism
The supply reel contains the tape that will be drawn across the heads.
The take-up reel draws the tape up after it passes across the heads.
The tape guides are precision designed to keep the tape exactly in position.
The Tape Transport Mechanism
The capstan is a revolving metal post that determines the speed of the tape’s movement. It
turns the next piece of equipment – the pinch roller.
The Tape Transport Mechanism
The tape passes between the pinch roller, which is made of rubber and the capstan and is
pulled along at the proper speed. The capstan and the punch roller keep the tape moving
at a constant speed; they are connected to the feed and take-up reels through a series of
clucthes.
The Tape Transport Mechanism
The tape idler arm drops down if the tape breaks; when the idler drops, it shut down the
tape machine’s drive mechanism. This prevents tape from spilling out onto the floor if there
is a break, and it shuts down the drive mechanism when the tape runs completely off either
reel.
Tape Machine Controls and Indicators
Play
Record
Volume- Unit Meter
Fast Forward (FF)
Rewind (REW)
Stop
Speed Select
Play
Depressing the play button, will cause the machine to play back the recording on the tape.
The tape moves from the supply reel, across the heads, to the take-up reel.
The erase and record heads do not operate when the machine is in play.
Record
Usually record button is pushed along with the play button.
When recorded is activated, the record head impresses a signal on the iron oxide particles
on the tape; this is the signal that can be read back by the play head.
Record
When the machine is in record mode, the erase head is also activated there would be no
point in recording if the pervious information on the tape were not removed.
Volume-Unit Meter
Like the meter on the console, the tape machine’s VU meter monitors the signal coming
into the tape machine so that proper levels can be maintained when recording.
There are also separate controls on the tape machine to govern the level of the incoming
signal.
Volume-Unit Meter
It is very important to maintain a proper level on this meter.
Fast-Forward (FF)
The FF control moves the tape forward at a high rate of speed.
Cue
The cue control brings the tape into contact with the heads by defeating the tape lifter; it
allows you to cue the tape when it is in Fast-Forward or in Rewind.
Rewind (REW)
Activating the rewind control causes the tape to move backward, that is, from the take-up
reel to the supply reel.
Stop
Pressing stop brings the motion of the reels to a halt.
Speed Select
This control go governs how quickly the tape moves past the heads.
1
The Machine
Compact Discs
The compact disc has replaced the vinyl record (black label disc) for mist applications in
radio.
The advent of recordable CDs – compact discs can be recorded at the station – offers
exciting possibilities because it allows for storage and quick retrieval of sounds specific to
the station, such as station ID’s or jingles.
Compact Discs
The compact disc in 2 sizes (both less than 5 inches in diameter), the CD resembles a
traditional vinyl disc.
The information on the CD is read by a laser beam contained in a special CD player.
Compact Discs
Unlike a vinyl record, a CD does now have grooves. And because the disc itself is no
touched physically by a stylus. It is less subject to wear than a standard phonograph
record.
Compact Discs
But there is another, more profound difference between the conventional phonograph
record and the CD which is the phonograph record is an analog recording, whereas the CD
is a digital recording.
The word analog means sth that shows a resemblance or similarity to do sth else.
Compact Discs
In the case of analog recording, it means to produce a series of sound waves that closely
resemble the sound waves of the original signal.
We use the term analog recording to refer to any conventional transduction techniques
involving audiotape or vinyl records.
Compact Discs
Digital recoding means using samples of sound to produce a recording that is stored in
computer language – the on and off binary code of digital technology.
The exact method by which sounds are transcuced into digital information is not
particularly relevant to radio work,
Compact Discs
But the following basic points are important.
Digital recordings actually comprise numerically transcribed samples of the original
sounds, so in engineering terms, the digital recording is a collection of samples of sound
and not an analog of sound – hence the difference un a word usage.
Compact Discs
Digital recording produces a cleaner-sounding signal. Very little (if any) extraneous noise
is introduced into the system during digital recording and playback – no tape hiss, no
scratching of a stylus in worn grooves.
The cleaner technology produces a different sound than analog, many listeners
characterize it as ‘cleaner’ and unquestionably noise is reduced.
Compact Discs
However, some listeners claim not to like the digital sound as much as analog. Many
listeners think that it is too harsh, too mechanical or too unnatural.
Compact Discs
The preceding points have contributed to an explosion of compact disc in radio. Even
though the CD is only one link in the audio chain (since the signal still must pass through
many analog devices). Listeners feel that the CD sound I superior and many radio stations
have converted entirely to playing CD.
Compact Discs
Professional-quality compact disc-players can store many disc with virtually instant access to any cut on any disc. This make CDs an excellent choice for automation applications or in
situations where partial automation is used to assist the on air operator.
Compact Discs
Moreover, CDs provide what listeners seems to want in audio quality. Many stations
advertise themselves as being ‘all-CD’, and ratings reflect the all-CD format’s initial success
in the so called fidelity wars.
Compact Discs
Difficulty in handling CDs was once viewed as a drawback to the advancing technology, but
that perception changed as the hardware became more thoroughly established and refined
and as production and air staff become more accustomed to handling the CDs.
Compact Discs
Most experts maintain that the majority of CD ‘crashes’ have been due to poor handling by
production personnel. CDs are no immune to damage; surface scratches can badly impair
playback, and damage to the disc can result in poor audio quality, skipping, or shutdown of
the playback.
Compact Discs
CD playback is generally quite simple. Insert the disc into a mechanized drawer, which
closes automatically and brings the disc into position for playback.
The laser-reader works in reverse of a typical stylus, reading the disc from the inside out
toward the edge.
Compact Discs
CDs have several cuts, and a selector on the machine allows you to pick the cut you want
to play (select track 3, for example).
Unlike standard records, CDs have information only on one side, but that one side can hold
up to an hour of program material.
Compact Discs
When CDs are automated, the cut members are programmed into the computer. Methods
of programming range from a simple computer instruction, to play at random without
repeating any cuts for a certain time, to complete program control cut-by-cut and hour-byhour.
Compact Discs
Recordable CD-Rom, known as CD-R, allows you to ‘burn’ your own recording.
Although the technology is still not universal to radio stations, many produces do want to
‘burn their own’ in order to put frequently used sound elements on a durable and easily
accessible medium.
Compact Discs
The process is fairly complex, requiring not only a burner but also a computer with a
healthy hard drive. For example, atypical burnable CD-Rom holds 74 mins of data – data
that must first be loaded into your computer hard drive. Seventy-four mins of studio will
occupy about 718MB.
Structure of Turntable
A turntable operates in the same way as a record player, except that it is heavier-duty
device and uses a different type of mechanism to turn the record.
The broadcast turntable has several components. Although some minor operational and
cosmetic differences exist among various turntable models, all work in much the same
fashion.
The plate
The disc us plated on the plate; this is the part of the turntable that actually turns around.
The Switch
The switch, also known as start switch, is a smooth action, noiseless switch that turns the
turntable on and off.
It is noiseless because you do not want a click sound while the microphone is turned on.
The Speed Control
The speed control on some turntable resembles the gearshift in a manual-transmission
auto.
The operator can select from among speeds 33 1/1, 45 and 78 rpm (revolutions per
minute) by merely pressing one of the three buttons.
The Speed Control
The 12-inch discs play at 33 1/3 (sometimes shortened to read 33 on turntables settings),
whereas the smaller discs with the large holes play at 45 rpm.
Although 78rpm ate not made anymore; many turntable units retain the option of playing
the speed.
The Speed Control
On some models (particularly older models), there is a neutral position too, which allows
the motor to idle out of gear.
The Drive Mechanism
The gearshift controls a rubber drive wheel, which makes contact with a rim on the inside
of the plate.
Some newer broadcast turntables are known as direct-drive turntables, that is, the motor
drives the plate directly.
With these turntables, there is no neutral position, and speed change is accomplishes
electronically.
The Tone-arm
The tone-arm is the movable device that is put onto the disc.
At the end of the tone-arm are the stylus and cartridge.
The stylus is usually a pointed piece of diamond; some people call it a needle, but it really
is not one.
The Tone-arm
The stylus is attached to a strip metal called cantilever, which in turn is attached to the
cartridge.
The cartridge translates the physical vibration of the stylus into an electrical signal.
The Tone-arm
The process of changing one form of energy into another is called transduction; this is a
very important concept, as similar to the process of a microphone.
The Disc
Where do the vibration picked b the stylus come from? They are impressed into the
grooves on the disc.
The vibrations cut into grooves correspond to variations in the sound that was recorded.
Actually, the vibration patterns are pressed into the grooves of the dics.
The Disc
At the beginning of the manufacturing process, the master disc is cut with a stylus, which is
connected to the output of a tape machine.
When the master disc is cut, an electrical signal is transduced into a physical vibration.
The Disc
There are gaps between the cut (tracks), or individual pieces of music, on the disc; these
separating grooves and the groove at the beginning of the disc) carry no sound. They are
called lead grooves.
The Disc
During the operation of the turntable, you will want to place a disc on the plate, place the
stylus at the beginning of the cut you select, and position the disc so that the beginning of
the music will start immediately, or at least within a second or so or you starting the turntable.
The Disc
Positioning the disc is called cueing.
Handling Disc
Putting your fingers on the grooves of the disc will coat the grooves wear out, or worse,
the stylus may picked up that oil, causing the sound quality of the playback to deteriorate.
Handling Disc
You can avoid this problem by handling the disc shown. To turn the disc over, hold the
edge of the disc with the palms of your hands and flip it.
Handling Disc
These ways of handling discs may seem awkward at first, but with practice, you will find
that they become second nature.
Good handling, with clean, static-free disc will produce much better audio quality.
Cueing a Disc
The first step in cueing the disc is to select the cut you wish to play and place the stylus in
the lead grooves (the gape preceding the cut).
If the cut that you wish to play is the first on the disc, place the stylus at the beginning
groove.
Cueing a Disc
All cueing operations involve a backtracking of the disc. You will spin the record backward
and forward until you have pinpointed the spot where the sound begins.
Cueing a Disc
There are 3 methods of cueing a disc:
Spinning the plate
Spinning the disc
Slip cueing
Spinning the plate
Put the turntable speed control into neutral, as this will enable the heavy metal plate spin
freely.
Start the plate spinning with your hand; you should try to spin it at approximately the same
speed at which it normally spins.
Spinning the plate
The plate is heavy and will keep up to speed for a surprising amount of time.
Drop the stylus in the beginning or separating grooves and let the disc turn until the sound
begins. (Remember to use the sue or audition channel of the console so that the cueing
noises ill not go out over the air.)
Spinning the plate
Then stop the motion of the disc with you hand, and move the plate in the opposition
direction, backtracking the disc.
By rocking the disc clockwise or counterclockwise, you will be able to pinpoint the exact
spot where the sound bagins.
Spinning the Disc
The pieces of hard rubber or (on very old turntable) felt covering the turntable plate
provides just the right amount of friction. This materials holds the disc as the plate spins
but also allows the operator to spin the disc separately from the plate.
Spinning the Disc
To cue up by spinning the disc, leave the speed selector in gear; this way, the plate will not
spin freely.
Drop the stylus into the grooves preceding the cut you want to play.
Then, placing your finger on the label, spin the disc until you hear the first sound.
Spinning the Disc
This method is somewhat difficult to do, and it is not as popular as spinning the plate.
Slip-cueing
To perform slip-cueing, first find the point where the sound begins, either by spinning the
plate or spinning the disc.
With the turntable in gear, and the motor started, hold the disc by the very edge.
The
Slip-cueing
Then, at the instant you want the music to start, release the disc.
With slip-cueing, of course, you do the actual cueing in the cue or audition channel. You
hold up the turntable before releasing the disc.
Tape Recording and Playback Units
Magnetic tape
Workings of the Reel-to-Reel Tape machine
The heads
The tape transport mechanism
Tape machine controls and indicators
Magnetic tape
Audiotape is a strip of material with a thin coating of iron oxide (a fancy name for rust) on
one surface.
The iron oxide particles line up when they are an electromagnetic field and are the
elements that hold the magnetic information.
Magnetic tape
The backing of the tape – the material over which the coating is applied – is made of
acetate or Mylar.
Acetate is similar in composition to Scotch tape. It is somewhat brittle and can be snapped
easily.
Mylar us a resilient, extremely tough substance that will stretch before it breaks.
Magnetic tape
This is not necessarily an advantage because a snapped tape can be repaired, whereas a
stretched tape can’t.
The most commonly used tape in radio is ¼ inch wide although there are different sizes for
specialized applications.
Magnetic tape
The larger reels need special kind of hub arrangement to hold them on the tape machine.
Workings of the Reel-to-Reel Tape machine
The process if magnetic tape recording will happens when a tape passes by an
electromagnet which arranges the pattern in the particles to correspond of that of the
sound message being fed into the decoder.
Workings of the Reel-to-Reel Tape machine
A device called a head is the electromagnet in the tape machine. The head in a typical tape
recorder perform three functions, but before describing them, let’s see where the heads are
and how the tape is brought into contact with them.
Workings of the Reel-to-Reel Tape machine
A reel-to-reel tape machine, regardless of their design differences, operate in pretty much
the same way.
The tape machine draws the tape from the left reel to the right reel. The technical names
of the left and the right components respectively are supply reel and take-up reel.
Workings of the Reel-to-Reel Tape machine
As tape passes from the supply reel to take-up reel, it is drawn across the heads, where a signal is implanted on the tape or played back from the tape.
The Heads
The heads perform 3 distinct function:
Erase
Record
play
The Heads
The erase head produces a magnetic field, called a flux that scrabbles the pattern of the
iron oxide particles and obliterates any information previously stored on them.
The Heads
The record head produces magnetic filed that arranges the iron oxide particles in a
particular order, storing the information on tape.
The Heads
The playback head reads the patterns formed by the arrangement of the iron oxide
particles and produce an electrical signal carrying the sound information on the tape.
The Heads
The head are always arranged this order, from left to right.
Erase, must come first; if the erase head were sound in line, you would erase whatever had
just been recorded on tape.
The Heads
And it makes sense to have the record head in the second position because this allows the
tape to pass over the playback head, which is in the third position.
The Heads
Since the tape passes the record head immediately before the playback head, the operator
of the tape machine can play back what was just recorded to make sure that there is
indeed a recording on the tape.
Remember: Erase, Record and Playback
The Tape Transport Mechanism
Despite the differences among models, the goal of all tape machines is the same; to pass a
tape across the heads at a constant rate of speed.
The Tape Transport Mechanism
The supply reel contains the tape that will be drawn across the heads.
The take-up reel draws the tape up after it passes across the heads.
The tape guides are precision designed to keep the tape exactly in position.
The Tape Transport Mechanism
The capstan is a revolving metal post that determines the speed of the tape’s movement. It
turns the next piece of equipment – the pinch roller.
The Tape Transport Mechanism
The tape passes between the pinch roller, which is made of rubber and the capstan and is
pulled along at the proper speed. The capstan and the punch roller keep the tape moving
at a constant speed; they are connected to the feed and take-up reels through a series of
clucthes.
The Tape Transport Mechanism
The tape idler arm drops down if the tape breaks; when the idler drops, it shut down the
tape machine’s drive mechanism. This prevents tape from spilling out onto the floor if there
is a break, and it shuts down the drive mechanism when the tape runs completely off either
reel.
Tape Machine Controls and Indicators
Play
Record
Volume- Unit Meter
Fast Forward (FF)
Rewind (REW)
Stop
Speed Select
Play
Depressing the play button, will cause the machine to play back the recording on the tape.
The tape moves from the supply reel, across the heads, to the take-up reel.
The erase and record heads do not operate when the machine is in play.
Record
Usually record button is pushed along with the play button.
When recorded is activated, the record head impresses a signal on the iron oxide particles
on the tape; this is the signal that can be read back by the play head.
Record
When the machine is in record mode, the erase head is also activated there would be no
point in recording if the pervious information on the tape were not removed.
Volume-Unit Meter
Like the meter on the console, the tape machine’s VU meter monitors the signal coming
into the tape machine so that proper levels can be maintained when recording.
There are also separate controls on the tape machine to govern the level of the incoming
signal.
Volume-Unit Meter
It is very important to maintain a proper level on this meter.
Fast-Forward (FF)
The FF control moves the tape forward at a high rate of speed.
Cue
The cue control brings the tape into contact with the heads by defeating the tape lifter; it
allows you to cue the tape when it is in Fast-Forward or in Rewind.
Rewind (REW)
Activating the rewind control causes the tape to move backward, that is, from the take-up
reel to the supply reel.
Stop
Pressing stop brings the motion of the reels to a halt.
Speed Select
This control go governs how quickly the tape moves past the heads.
Sunday, June 21, 2009
Lec 3
Console
A complex network of switches, knobs and meters – or sometimes, a dauntingly complex
computer screen.
Amplification
Boosting of a signal to a usable level.
Routing
The console allow the producer to determine the path of signal or, in other words, to route
it.
Mixing
The console can put two signals out at once – the announcer’s voice and music, for
example.
Example of console setting
Hypothetical console A
Hypothetical console B
Hypothetical console C
A complex network of switches, knobs and meters – or sometimes, a dauntingly complex
computer screen.
Amplification
Boosting of a signal to a usable level.
Routing
The console allow the producer to determine the path of signal or, in other words, to route
it.
Mixing
The console can put two signals out at once – the announcer’s voice and music, for
example.
Example of console setting
Hypothetical console A
Hypothetical console B
Hypothetical console C
Lec 2
Microphone and Sound
The elements of Sound
Cycle
Frequency
Amplitude
The nature of Sound: Frequency
The nature of Sound Amplitude
Other Characteristics of Sound
Duration is a characteristic of sound.
Refer to the amount of time a sound exists and to the amount of time individual harmonies exist within a complex waveform.
Velocity and distance also play a role in the way we hear sound.
Velocity – how fast sound travels through different medium, can perceive echoes (the
immediate bounce back of sound), reverberation ( the continues bouncing of sound) in an enclosure with reflective wall.
A large room with reflective walls will cause reverberations to take longer to decay, or die out.
Distance also make different in how loud the sound is when it reaches us.
When the sound travels 2 times a specified distance, it arrives at one-quarter of its original intensity. This behavior is said to comply with the inverse square law.
Sound quality – timbre, how ears and mind perceive sound.
The way harmonics are combined and with the relative intensities of those harmonics.
Microphone : How it works
Dynamic/moving coil
Condenser
Ribbon
Microphones Polar Pattern
Omnidirectional
Cardioid
Hypercardioid
Bi-directional
Shotgun
Frequency Response of Mic
Range
shape
Physical types of mic
Hand-held microphone
Studio mounted
Headset microphones
lavalier microphone or lavalier (or lav or lapel mike) .
Shotgun
Contact microphone
Throat microphone
Physical types of mic
Parabolic microphone
Boundary microphones
Hanging microphones
Hidden Microphones
Mic selection and Use
5 factors that determine or affect the choice of mic use:
Type (hand-held, studio)
Pickup pattern (polar pattern)
Element (compression, rarefactions)
Frequency response (range, shape)
Personality (richeness)
Sound aesthetics
Five basic aesthetic factors:
Environment
Figure/ground principle
Perspective
Continuity
Energy
Music
Background music
Foreground music
The elements of Sound
Cycle
Frequency
Amplitude
The nature of Sound: Frequency
The nature of Sound Amplitude
Other Characteristics of Sound
Duration is a characteristic of sound.
Refer to the amount of time a sound exists and to the amount of time individual harmonies exist within a complex waveform.
Velocity and distance also play a role in the way we hear sound.
Velocity – how fast sound travels through different medium, can perceive echoes (the
immediate bounce back of sound), reverberation ( the continues bouncing of sound) in an enclosure with reflective wall.
A large room with reflective walls will cause reverberations to take longer to decay, or die out.
Distance also make different in how loud the sound is when it reaches us.
When the sound travels 2 times a specified distance, it arrives at one-quarter of its original intensity. This behavior is said to comply with the inverse square law.
Sound quality – timbre, how ears and mind perceive sound.
The way harmonics are combined and with the relative intensities of those harmonics.
Microphone : How it works
Dynamic/moving coil
Condenser
Ribbon
Microphones Polar Pattern
Omnidirectional
Cardioid
Hypercardioid
Bi-directional
Shotgun
Frequency Response of Mic
Range
shape
Physical types of mic
Hand-held microphone
Studio mounted
Headset microphones
lavalier microphone or lavalier (or lav or lapel mike) .
Shotgun
Contact microphone
Throat microphone
Physical types of mic
Parabolic microphone
Boundary microphones
Hanging microphones
Hidden Microphones
Mic selection and Use
5 factors that determine or affect the choice of mic use:
Type (hand-held, studio)
Pickup pattern (polar pattern)
Element (compression, rarefactions)
Frequency response (range, shape)
Personality (richeness)
Sound aesthetics
Five basic aesthetic factors:
Environment
Figure/ground principle
Perspective
Continuity
Energy
Music
Background music
Foreground music
Lec 1
Radio Production
Production in Modern Radio
Sound of the station
Formats
Network
Non-commercial Radio
The role of producer in Modern Radio
The Role of Radio
Radio and DJ
Radio also undergone a major revamp when television has become commercialized. Radio
introduced a more variety formats too attract more listeners.
Production as in radio term is the assembly of various sources of sound to achieve
purpose related to radio programming.
Sound of the station
Is the overall blending of music, vocal delivery, timing, pacing, and other production elements that combine to create a cohesive, identifiable signature. It is how these sources blend that makes one station different from the others that compete for the attention of the listeners.
The unique sound of a station emerges out of a combination of the type of music
programmed, the style and pace of vocal delivery used by the station’s commercials and public service announcements, the sound effects used in the presentation of newscasts, and other special recording techniques and sound production methods.
Format
Is the radio programming method and has become a highly specialized field of its own.
Networks
The impacts of networks declined considerably after the golden age, but satellite
transmission capabilities and other technical advances have given a new life to the network concept. Many stations now integrate network programming in a blend that complements their formats, allowing stations to localize the network feed.
Network also offers block programming.
Non-commercial Radio
There are 3 type of non-commercial radio station:
Public radio stations
College radio
Community station programming
The role of produces and radio station organization
Producers in modern radio still do their work in the theater of mind. Today, they use a wise variety of elements from traditional radio sources (as well as new digital computer-based equipment) to create effects. Despite technical advances, the skill of the producer is still paramount or important.
Regardless of the size of a radio station, it tends to share an organizational pattern. There are typically four core departments at each station: operations, programming, sales and engineering.
Operation department is responsible to place advertising on the station in accordance with the contracts signed with advertisers.
Program department has the responsibility for the sound of the station, including music, news and public affairs.
Sales department is responsible for the sale of commercial time to local, regional and national advertisers.
Lastly the engineering department keeps the station on the air with the best signal
possible.
The top hierarchy of a radio station is normally headed by general manager, or station manager. He or she is responsible for business and financial matters. Including station revenues and expenses, short and long term planning, budgeting, forecasting and profitability.
Radio Programming format
Music format
Country
Adult contemporary (AC)
Contemporary Hit Radio
Soft Adult Contemporary
Album Rock: Modern and Classic
Middle of the Road (MOR)
Information format
Speciality Format
The role and functions of Radio
Following are some of the roles, advantages, and functions of having a radio set:
Radio makes pictures
Radio speaks to millions
Radio speaks to individual
The speed of radio
Radio has no boundaries
The simplicity of radio
Radio is cheap
Radio as background
Radio is selective
Radio teaches and has music simultaneously
Production in Modern Radio
Sound of the station
Formats
Network
Non-commercial Radio
The role of producer in Modern Radio
The Role of Radio
Radio and DJ
Radio also undergone a major revamp when television has become commercialized. Radio
introduced a more variety formats too attract more listeners.
Production as in radio term is the assembly of various sources of sound to achieve
purpose related to radio programming.
Sound of the station
Is the overall blending of music, vocal delivery, timing, pacing, and other production elements that combine to create a cohesive, identifiable signature. It is how these sources blend that makes one station different from the others that compete for the attention of the listeners.
The unique sound of a station emerges out of a combination of the type of music
programmed, the style and pace of vocal delivery used by the station’s commercials and public service announcements, the sound effects used in the presentation of newscasts, and other special recording techniques and sound production methods.
Format
Is the radio programming method and has become a highly specialized field of its own.
Networks
The impacts of networks declined considerably after the golden age, but satellite
transmission capabilities and other technical advances have given a new life to the network concept. Many stations now integrate network programming in a blend that complements their formats, allowing stations to localize the network feed.
Network also offers block programming.
Non-commercial Radio
There are 3 type of non-commercial radio station:
Public radio stations
College radio
Community station programming
The role of produces and radio station organization
Producers in modern radio still do their work in the theater of mind. Today, they use a wise variety of elements from traditional radio sources (as well as new digital computer-based equipment) to create effects. Despite technical advances, the skill of the producer is still paramount or important.
Regardless of the size of a radio station, it tends to share an organizational pattern. There are typically four core departments at each station: operations, programming, sales and engineering.
Operation department is responsible to place advertising on the station in accordance with the contracts signed with advertisers.
Program department has the responsibility for the sound of the station, including music, news and public affairs.
Sales department is responsible for the sale of commercial time to local, regional and national advertisers.
Lastly the engineering department keeps the station on the air with the best signal
possible.
The top hierarchy of a radio station is normally headed by general manager, or station manager. He or she is responsible for business and financial matters. Including station revenues and expenses, short and long term planning, budgeting, forecasting and profitability.
Radio Programming format
Music format
Country
Adult contemporary (AC)
Contemporary Hit Radio
Soft Adult Contemporary
Album Rock: Modern and Classic
Middle of the Road (MOR)
Information format
Speciality Format
The role and functions of Radio
Following are some of the roles, advantages, and functions of having a radio set:
Radio makes pictures
Radio speaks to millions
Radio speaks to individual
The speed of radio
Radio has no boundaries
The simplicity of radio
Radio is cheap
Radio as background
Radio is selective
Radio teaches and has music simultaneously
Replacement Lecture
Kindly inform the following:
1. Replacement on Week 1 - 22nd June (DK ABF)
2. Replacement on Week 2 - 29th June (DK ABF)
1. Replacement on Week 1 - 22nd June (DK ABF)
2. Replacement on Week 2 - 29th June (DK ABF)
Tuesday, June 16, 2009
Sunday, June 14, 2009
Topic
Lecture Topic
Radio Production
Microphones and Sounds
The console and Mixer
The Machines
Recorded VS Live
Radio Programs
Do, Don’t and Cautions
Radio Ethical Issues
Radio Production
Production in Modern Radio
Sound of the station
Formats
Network
Non-commercial Radio
The role of producer in Modern Radio
The Role of Radio
Microphones and Sounds
The basic of sounds
The microphones: How it works
Physical type of Microphones
Microphone selection and Use
The console and Mixer
Function of the console
Console operation
The Machines
CD players and Turntables
Tape recording and Playback units
Recorded VS Live
On air Production
Working in a Production Studio
Recorded Voice
Sound effects
Radio Programs
Radio Commercial
Radio Documentary
Radio Drama
Radio Magazine
Do, Don’t and Cautions
Go for your Goals
Moving Up and Out
Making connections
Practice and creativity
Setbacks and Mistakes
Radio Ethical Issues
Copyright
Laws and Regulations in Radio Industry
Radio Production
Microphones and Sounds
The console and Mixer
The Machines
Recorded VS Live
Radio Programs
Do, Don’t and Cautions
Radio Ethical Issues
Radio Production
Production in Modern Radio
Sound of the station
Formats
Network
Non-commercial Radio
The role of producer in Modern Radio
The Role of Radio
Microphones and Sounds
The basic of sounds
The microphones: How it works
Physical type of Microphones
Microphone selection and Use
The console and Mixer
Function of the console
Console operation
The Machines
CD players and Turntables
Tape recording and Playback units
Recorded VS Live
On air Production
Working in a Production Studio
Recorded Voice
Sound effects
Radio Programs
Radio Commercial
Radio Documentary
Radio Drama
Radio Magazine
Do, Don’t and Cautions
Go for your Goals
Moving Up and Out
Making connections
Practice and creativity
Setbacks and Mistakes
Radio Ethical Issues
Copyright
Laws and Regulations in Radio Industry
Guide to Pro Tools
Create and save a Pro Tools Session
1. Once Pro Tools is open, select File > New Session…
2. Give the project a name, select the hard drive where you want to save your project, and make the following selections in the "Session Parameters" box to ensure maximal compatibility and minimal processing:
o Audio File Type: BWF (.WAV)
o Sample Rate: 44.1 kHz
o Bit Depth: 16 bit
o I/O Setting: Last Used should be fine
o Fader Gain: choose +12 dB (ProTools 6 only)
o Enforce Mac/PC Compatibility: Sure, why can’t we all just get along? (ProTools 6 and below)
3. When done, click "Save" to create your new session.
Each time you create a new session, Pro Tools automatically creates the following files and folders in your save location
1. a main project folder named after your session
2. a session file with the extension ".ptf"
3. Audio Files and Fade Files folders, and new in Pro Tools 7, a Region Groups folder
Make a track to record into
1. Create a new session, then from the Track menu, choose new track (mono/stereo)
Find the white bar at the top left of the track in the edit window (or at the bottom of this new track of the mixer window) in most cases called “track1” by default, and double-click it to name the track.
Set on your right box table under I/O
1. Set to ADAT 1 (mono) if vocal
2. Set to ADAT 1-2 (stereo)
3. Set to ADAT 1-2 (stereo)
4. Set to ADAT 1-2 (stereo)
Then press on REC button , and you shall start to record the sound into the track by press both Apple and spacebar together.
1. Once Pro Tools is open, select File > New Session…
2. Give the project a name, select the hard drive where you want to save your project, and make the following selections in the "Session Parameters" box to ensure maximal compatibility and minimal processing:
o Audio File Type: BWF (.WAV)
o Sample Rate: 44.1 kHz
o Bit Depth: 16 bit
o I/O Setting: Last Used should be fine
o Fader Gain: choose +12 dB (ProTools 6 only)
o Enforce Mac/PC Compatibility: Sure, why can’t we all just get along? (ProTools 6 and below)
3. When done, click "Save" to create your new session.
Each time you create a new session, Pro Tools automatically creates the following files and folders in your save location
1. a main project folder named after your session
2. a session file with the extension ".ptf"
3. Audio Files and Fade Files folders, and new in Pro Tools 7, a Region Groups folder
Make a track to record into
1. Create a new session, then from the Track menu, choose new track (mono/stereo)
Find the white bar at the top left of the track in the edit window (or at the bottom of this new track of the mixer window) in most cases called “track1” by default, and double-click it to name the track.
Set on your right box table under I/O
1. Set to ADAT 1 (mono) if vocal
2. Set to ADAT 1-2 (stereo)
3. Set to ADAT 1-2 (stereo)
4. Set to ADAT 1-2 (stereo)
Then press on REC button , and you shall start to record the sound into the track by press both Apple and spacebar together.
Prac references
Tracks
Pro Tools tracks are where audio, MIDI, video, and automation data are recorded and edited. Pro Tools tracks also provide audio channels for routing internal busses, and physical inputs and outputs for audio and MIDI. Pro Tools provides seven types of tracks: audio, Auxiliary Input, Master Fader, VCA Master, MIDI, Instrument, and video.
Audio File
When you record audio into a Pro Tools session,audio files are created.
Regions
A region is a segment of audio, MIDI, or video data. A region could be a drum loop, a guitar riff, a verse of a song, a recording take, a sound effect, some dialog, or an entire sound file. Regions are especially useful for arranging audio and MIDI. A region can also have associated automation data. In Pro Tools, regions are created from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped and looped.
Playlist
A playlist is a sequence of regions arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists.
Channel
The first example of channel refers to a physical input or output of your Pro Tools system.
refers to a channel strip in the Pro Tools Mix window.
Signal Routing
Pro Tools provides software-based mixing and
signal routing controls, which are located in the Mix window. Some of these controls can also be accessed from the Edit window.
A common signal routing task is to submix multiple tracks to a single channel strip (such as an Auxiliary Input) for shared processing and level control. The following example shows three audio tracks submixed to a stereo Auxiliary Input.
Options
Track Input and Output (I/O) Controls The most basic type of signal routing is track input and output. A track needs to have an assigned input path to record audio, and an assigned output path in order to be audible through a hardware output. Signals can also be routed to or from other tracks in Pro Tools (or hardware inputs and outputs) using internal busses.
Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers, and bus masters. Master Fader tracks are used as bus and output master level controls. Both Auxiliary Input and Master Fader tracks can have plug-in and hardware inserts.
Instrument Tracks Instrument tracks let you
route sound from a physical input or instrument plug-in to outputs, sends and busses, or other inserts.
Sends Sends route audio from tracks to hardware outputs, or to internal busses that are in turn routed to other tracks within Pro Tools. Master Fader and VCA Master tracks do not have sends.
Plug-in and Hardware Inserts Plug-in processing occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and outputs, for traditional insert routing to and from external effects and other devices.
Paths Paths are any routing option in Pro Tools, including internal or external inputs, outputs, busses, and inserts. Pro Tools lets you name these paths, and these path names appear in the Audio Input and Output Path selectors and other menus. See Chapter 6, “I/O Setup” for more information.
Mixing Formats Sessions can include combinations of mono, stereo, and greater-than-stereo multichannel format tracks, busses, inputs, outputs, and inserts. Greater-than-stereo multichannel formats are supported on Pro ToolsHD systems only.
Pro Tools tracks are where audio, MIDI, video, and automation data are recorded and edited. Pro Tools tracks also provide audio channels for routing internal busses, and physical inputs and outputs for audio and MIDI. Pro Tools provides seven types of tracks: audio, Auxiliary Input, Master Fader, VCA Master, MIDI, Instrument, and video.
Audio File
When you record audio into a Pro Tools session,audio files are created.
Regions
A region is a segment of audio, MIDI, or video data. A region could be a drum loop, a guitar riff, a verse of a song, a recording take, a sound effect, some dialog, or an entire sound file. Regions are especially useful for arranging audio and MIDI. A region can also have associated automation data. In Pro Tools, regions are created from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped and looped.
Playlist
A playlist is a sequence of regions arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists.
Channel
The first example of channel refers to a physical input or output of your Pro Tools system.
refers to a channel strip in the Pro Tools Mix window.
Signal Routing
Pro Tools provides software-based mixing and
signal routing controls, which are located in the Mix window. Some of these controls can also be accessed from the Edit window.
A common signal routing task is to submix multiple tracks to a single channel strip (such as an Auxiliary Input) for shared processing and level control. The following example shows three audio tracks submixed to a stereo Auxiliary Input.
Options
Track Input and Output (I/O) Controls The most basic type of signal routing is track input and output. A track needs to have an assigned input path to record audio, and an assigned output path in order to be audible through a hardware output. Signals can also be routed to or from other tracks in Pro Tools (or hardware inputs and outputs) using internal busses.
Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers, and bus masters. Master Fader tracks are used as bus and output master level controls. Both Auxiliary Input and Master Fader tracks can have plug-in and hardware inserts.
Instrument Tracks Instrument tracks let you
route sound from a physical input or instrument plug-in to outputs, sends and busses, or other inserts.
Sends Sends route audio from tracks to hardware outputs, or to internal busses that are in turn routed to other tracks within Pro Tools. Master Fader and VCA Master tracks do not have sends.
Plug-in and Hardware Inserts Plug-in processing occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and outputs, for traditional insert routing to and from external effects and other devices.
Paths Paths are any routing option in Pro Tools, including internal or external inputs, outputs, busses, and inserts. Pro Tools lets you name these paths, and these path names appear in the Audio Input and Output Path selectors and other menus. See Chapter 6, “I/O Setup” for more information.
Mixing Formats Sessions can include combinations of mono, stereo, and greater-than-stereo multichannel format tracks, busses, inputs, outputs, and inserts. Greater-than-stereo multichannel formats are supported on Pro ToolsHD systems only.
Assignment Requirement
AHMC 2314 Radio and DJ
Assignment 1: Station ID
Coursework mark- 10%
Objective:
1. To help the students to understand the better of studio operation.
2. To develop an understanding on how a radio production is done.
3. Able to work as a team in a radio production.
Task
In this assignment, create your own radio station ID based on your programming preferences. The duration for the station ID should be 10-30 seconds.
In your station ID, you should be able to demonstrate the good flavor and listening pleasure and able to promote your station effectively. The radio station ID should be appealing to mass audience, at the same time remember your station for a long time to come.
Your production may include any of the following elements: music, sound effect or voices.
Dateline: 26 June 2009
Judging criteria:
Creativity
25%
Sound effect/Music
25%
Announcing Performances/ Voice Over
25%
Overall Presentation
25%
Remark: Late submission will not be entertained.
AHMC 2314 Radio and DJ
Assignment 2: Radio Commercial
Coursework mark- 10%
Duplicate an existing radio commercial from an English radio station. After that, reproduce the copy in the studio that sounds exactly the one that you have duplicated.
Note the following, such as the duration, music, sound effects, script have to be the same, if you encounter problem in searching the same music pieces, please look for another radio commercial. You have to make sure your production have to be as similar as the original duplicated.
Dateline: 17 July 2009
Judging criteria:
Creativity
25%
Sound effect/Music
25%
Announcing Performances/ Voice Over
25%
Overall Presentation
25%
Remark: Late submission will not be entertained.
AHMC 2314 Radio and DJ
Assignment 3: Radio Drama (LIVE)
Coursework mark- 10%
Task
Produce a 30 minutes radio drama (LIVE) on week 12. Please note the following:
1. Insertion of station ID X2
2. Insertion of commercial X4 (different version)
The drama production at least have 5 voice characters, that come together with background music, sound effects and theme songs (full versions) that play at the opening and ending of the production.
Judging criteria:
Creativity
25%
Coordination
15%
Cooperation
15%
Transition
10%
Voice performances
20%
Overall presentation
15%
Assignment 1: Station ID
Coursework mark- 10%
Objective:
1. To help the students to understand the better of studio operation.
2. To develop an understanding on how a radio production is done.
3. Able to work as a team in a radio production.
Task
In this assignment, create your own radio station ID based on your programming preferences. The duration for the station ID should be 10-30 seconds.
In your station ID, you should be able to demonstrate the good flavor and listening pleasure and able to promote your station effectively. The radio station ID should be appealing to mass audience, at the same time remember your station for a long time to come.
Your production may include any of the following elements: music, sound effect or voices.
Dateline: 26 June 2009
Judging criteria:
Creativity
25%
Sound effect/Music
25%
Announcing Performances/ Voice Over
25%
Overall Presentation
25%
Remark: Late submission will not be entertained.
AHMC 2314 Radio and DJ
Assignment 2: Radio Commercial
Coursework mark- 10%
Duplicate an existing radio commercial from an English radio station. After that, reproduce the copy in the studio that sounds exactly the one that you have duplicated.
Note the following, such as the duration, music, sound effects, script have to be the same, if you encounter problem in searching the same music pieces, please look for another radio commercial. You have to make sure your production have to be as similar as the original duplicated.
Dateline: 17 July 2009
Judging criteria:
Creativity
25%
Sound effect/Music
25%
Announcing Performances/ Voice Over
25%
Overall Presentation
25%
Remark: Late submission will not be entertained.
AHMC 2314 Radio and DJ
Assignment 3: Radio Drama (LIVE)
Coursework mark- 10%
Task
Produce a 30 minutes radio drama (LIVE) on week 12. Please note the following:
1. Insertion of station ID X2
2. Insertion of commercial X4 (different version)
The drama production at least have 5 voice characters, that come together with background music, sound effects and theme songs (full versions) that play at the opening and ending of the production.
Judging criteria:
Creativity
25%
Coordination
15%
Cooperation
15%
Transition
10%
Voice performances
20%
Overall presentation
15%
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