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.
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