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.
