Radio Production
module 08
1 The Roles in Radio
2 Radio Sound Editing
3 Radio Interviewing Techniques
4 Radio Script writing
5 Creating a Radio Promo or Radio Feature
History of Radio
James Clerk Maxwell was the bloke who worked out that
electromagnetic waves could travel through free space. We have always been exposed to this
kind of radiation and the radio spectrum is just part of that. Think microwaves, ultra-violet and
light all waves.
Heinrich Hertz among others also worked out that ‘radio
waves’ could be sent and received across a laboratory. It was Telsa in 1893 who demonstrated
that radio waves could be used for telecommunication of information. His experiments and devices were very
basic.
In 1895 Marconi, taking many of the ideas around at the time
created a system that was capable of actually transmitting signals at long
distances.
(From Wikipedia) The term wireless telegraphy is a historical
term used today to apply to early radio telegraph communications techniques and
practices, particularly those used during the first three decades of radio
(1887 to 1920) before the term radio came into use. Guglielmo Marconi
demonstrated application of radio in commercial, military and marine
communications and started a company for the development and propagation of
radio communication services and equipment. The field of radio development
attracted many researchers, and bitter arguments over the true "inventor
of radio" persist to this day.
Probably there was no one ‘inventor’ of radio but Marconi was
the ‘father’ as he put together a working product and developed it.
So what did the British government think this exciting
invention could be used for?
Dah deed ah dah dit dit.
They Postmaster General of the day and the British government
thought that this device could be used for commercial information for shipping
and sending information. There
were some very modest experiments in transmitting ‘telephony’ that is spoken
word and music from gramophone.
On 15th June 1920 Dame Nellie Melba mad the very
first live broadcast from Chelmsford, Essex in the UK. She was paid a sum of one thousand
pounds by The Daily Mail to ‘broadcast’
On 27th August 1920 in Argentina the first
‘telephony’ broadcasts for entertainment were made. At around the same time the first known ‘news’ programme was
transmitted in the US by station 8MK and KDKA in Pittsburgh, Pennsylvania in
October 1920 went on air with again with limited ‘experimental’ broadcasts.
It was the experimental radio station 2MT in Writtle near
Chelmsford that broadcast one of the first proper entertainment and scheduled
broadcasts. Allowed to broadcast once a week on a Tuesday evening, broadcasts
normally consisted of reading from the railway timetable and playing the
occasional gramophone record.
According to Tim Wander author of 2MT Writtle – The Birth of
British Broadcasting; on one of
those evenings the engineers borrowed the local pub’s piano, after first
enjoying a fortifying drink or two.
They brought the piano into the hut where the experiments were taking
place and preceded to play popular music hall tunes, sing and generally have an
entertaining time.
It was reported at the time that the Marconi Company took a
very dim view of their antics but then the post started to arrive from the
‘listeners-in’ who wanted more and photographs of the staff who were
‘broadcasting’ entertainment ‘telephony’ radio was going to be the future of
broadcasting, albeit alongside information telemetry.
The listener and radio
Main motivations for listening to the radio
(from a study published in 1998)
·
Information
·
Entertainment
·
Distraction
·
Company
Radio provided for most of their
information needs, be it news, weather, traffic or what's going on:
"You hear it first on radio and maybe read
about it in the paper or see it on TV."
"You feel in touch listening to the radio.
It sort of goes on all of the time, not like reading the news in the paper or
sitting down to watch the 9'o'clock news."
Radio also provided the daily bulk of their
entertainment needs, be it music, DJ comment or editorial. Stations were
selected and identified for the type of music they play, since it could affect
mood and help the listener "face the day"
"The music cheers me up in the morning and
gets me going."
Radio's unique ability to distract its
listeners from boring or repetitive tasks was particularly valued - these tasks
ranging from driving to housework, or even their daily paid work:
"I don't know how I would get through the
day without the radio. It's on all the time."
"I couldn't face the ironing without
it."
Radio was consistently described as
providing company for the listener - it was often listened to when the listener
was alone or not interacting with others, and as such as valued for providing a
source of personal interaction. It was typically described as being a
"friend". - the relationship was typically one-to-one, as most was
solitary listening, was long term and had been specifically chosen by the
listener
"I have it on all the time for company,
it's the same as having someone there with you to talk to you."
"It's like a friend really. You spend your
time with them and feel they almost know you."
The station/listener relationship
The stations had a clear personality for
their listeners, one which they could ascribe a character and description that
was attractive. They identified with their preferred station(s) almost to the
point of ownership - station stickers were seen as a public demonstration of
this identification/ownership.
However this identifation did not generally
extend to fellow listeners, simply because, with such a one-to-one relationship
they did not think about them.
In comparison with press and TV, radio
stations were seen as more approachable and with greater personality.
Respondents found TV stations difficult to personify as they were often just
seen as ITV. A few national press titles were personified, but they were
generally less attractive and veered towards the caricature.
In contrast, the personalities of radio
stations were easily described and always exhibited positive emotional
involvement. The station/listener relationship waas clearly personal and
emotional. With press, relationships proved to be far less emotional, and with
TV far less personal. Favoured radio stations evoked such comments as:
"Take him home to meet mum."
"It has to be a friend or you wouldn't let
him in your house"...You can't say that because you let the evening paper
in the house too"..."Yes, but it's different. It's like having a
person there with you."
Radio Advertising
The research was not specifically designed
to investigate radio advertising, but respondents were keen to discuss it.
On Broadland listeners felt that it was
dominated by local advertisers, and felt some resentment that national brands
ignored their local station:
"I don't know why they don't advertise
things like Nescafe. We seem to listen more to radio than watch TV."
Listeners in London. where the proportion
of national advertising was higher, could recall a range of commercials,
particularly enthusing about Tooheys and Boost, because of their ability to
continue radio's entertainment function.
"I really like the Tooheys ads, they're
funny. It sort of carries on the enjoyment you get from radio."
It was clear that listeners had assimilated
the messages of most of the commercials they mentioned, being able to posit
explanations for them and their strategies. There was a feeling that the
station could act as a friend's endorsement because of the nature of the
relationship with its listener. As previously stated, the radio station is
valued as a source of information, and consequently could enhance a product or
service:
"You treat it like news. Capital is telling
you about the video camera sale at Alders. I heard it and went to have a
look."
It was felt that the other media had more
of a cut-off point between programming and the advertising that it carried, so
that the aaudience knew it was being advertised at:
"Listening to the ads
on the radio is like listening to the radio whereas on the TV they finish the
programme and then put ads on."
The Radio Industry In
The UK
(From OFCOM)
Radio
industry revenue increased by 2.8% in 2010 to reach £1.1bn
We
estimate that total radio industry income (commercial radio revenue and BBC
expenditure on radio services) in 2010 stood at £1.1bn, up by 2.8% year on
year.
This
was the first increase in total income since 2007.Estimated spending by the BBC
on its radio services was £685m in 2010, up from £660m in 2009. Spending
increased by 3.8% over the year, compared to a 1% increase on estimated BBC TV
expenditure (to £2.7bn) and a 1.4% increase on its online services (£212m).
Commercial
radio revenues were also up in 2010, rising from £432m to £438m, up 1.4% year
on year. National advertising sales were responsible for the commercial revenue
increase, increasing 4.5% on 2009 to £210m. Local advertising sales stabilised
at £136m while sponsorship revenue fell by 5.3% to £89m.
(From the RAB)
The British radio market is split roughly 50/50 between
stations owned and operated by the BBC and stations owned by commercial groups
and licensed by Ofcom.
Most listening is via FM, but digital transmissions via DAB
are growing in popularity and there is still some listening via AM frequencies
(also known as medium and long wave).
In addition there are about 200 community stations, also
licensed by Ofcom, and many student and hospital services.
BBC Radio
BBC Radio is a service of the British Broadcasting
Corporation which has operated in the UK under the terms of a Royal Charter
since 1927.
The BBC is primarily funded by the TV licence fee, currently
£142.50 a year (£11.88 a month), which is payable by everyone in the UK who
watches television programming live. Commercial revenue and grants top up this
figure to £4.6 billion a year. Of the monthly £12 it earns from each licence
fee, the BBC spends £2 on radio.
The BBC runs ten national domestic radio stations, five of
which are only available in a digital format.
Commercial Radio
Commercial Radio has been broadcasting in the UK since 1973.
Stations are funded through sourcing advertising and their broadcasting
licenses are awarded by Ofcom.
There are three national commercial stations broadcasting on
FM or AM throughout the UK as well as via DAB, DTV and online. Most commercial
stations serve a local or regional area and are owned by one of three big
groups which dominate the sector.
Some of them have been collected into networks, sharing some
programmes and syndicated output.
Independent Producers
There is a buoyant independent production sector, mostly
making programmes for the five main BBC networks. They are represented by the
Radio Independents Group (RIG).
For details of how to sell programme ideas to the BBC click
here.
Community & Voluntary Radio
There are upwards of 200 small-scale not-for-profit stations
now operating under Ofcom licenses for the benefit of local communities and
interest groups. There is a full list of stations on the Ofcom website.
For information about community radio, student radio and
hospital radio please visit our voluntary radio section.
Audience Figures
rajar
All sections of the industry recognise and support RAJAR
(Radio Joint Audiences Research Ltd) which publishes quarterly listening
figures at www.rajar.co.uk.
Approximately 90% of UK residents listen to the radio at
some time each week, that's 46 million people.
The BBC's share of listening (*Feb 2010) is 55%, commercial
radio takes 43%.
Regulation & Licensing
Radio in the UK is regulated by the BBC Trust and the Office
of Communications (Ofcom).
All radio stations must hold the relevant licenses to play
or included performances of any music.
To find out about licensing copyright music contact:
PPL (Phonographic Performance Ltd)
PRS for Music (Performing Right Society)
Commercial radio in
the UK
Commercial Radio
Most commercial stations serve a local or regional area and
are owned by one of three big groups which dominate the sector. There are over
300 in the UK, mostly using FM frequencies and DAB.
There is a full list of UK commercial stations and their owners here.
You can find out about DAB reception of commercial services in your area
here.
The trade body for commercial radio is RadioCentre.
National Commercial Radio
There are three national commercial stations broadcasting on
FM or AM throughout the UK as well as via DAB, DTV and online.
Classic FM (100-103 FM) - classical music
Absolute Radio (AM [mostly 1215 medium wave]) - rock and pop music
talkSPORT (AM [mostly 1089/1053 medium wave]) - live sport and debate
Commercial Radio in London
The most popular local commercial stations in London are:
Heart 106.2
Capital 95.8
LBC 97.3
Magic 105.4
* according to RAJAR Q4 2009
National Brands
Some stations have been collected into networks, sharing
some programmes and syndicated output.
Global Radio
Heart
Galaxy
Gold
Xfm
Bauer Media
Kiss
Magic
Guardian Media Group
Real Radio
Rock Radio
Smooth Radio
Radio
Imaging
Jingles, sweepers and stabs are used to brand a
radio station, giving it its own sound.
Imaging is how you position a Radio
station within the marketplace. For instance: "103.4 - Classic Rock
24/7" or "The Oldies Station - Always Old, Always Gold...
WWWX-FM" .
Imaging defines the station as a
product so that the listener (consumer) knows what he/she will get when tuning
in.
You will generally hear the same handful of
voice overs used on the productions to keep the feel of the station consistent.
Production Director/Manager -
Employee responsible for overseeing the creation and implementation of
commercial content, promotional announcements and any other audio element that
must be created for broadcast.
Glossary:
Jingle – a produced
programming element which is usually produced by professional studio singers
who sing DJ names or station positioning phrases (i.e. "The Most Music!");
will refer to spoken ID’s as well.
Bed
– music with no vocals that you can talk over.
Dry –
a vocal only jingle with no music.
Strap Line
– the phrase that describes the station – i.e. “Your More Music Mix”.
Ramp
– section of music at the beginning of a jingle, which can be talked over
before the vocal (station name and/or strap line) come in.
Stab
– very short jingle dry or with a bed that quickly name checks the station or
show.
Sweeper
– Usually a recorded element (voice or voice over music or sound effects) that
bridges two songs together, or creates a transition from commercials, back to
music. Usually longer than a stab.
Segue
[latin] (pronounced segway) – the playing of 2 items together without any live
speech between. A segue might be 2 music tracks together or a music item in or
out of a recorded speech package.
RADIO COMMERCIALS
Commercials are sponsored radio dramas. Drama in 30 seconds.
In other words a mini-drama.
Commercials can vary in length from 15", 30", 40",
45" or longer. This time is bought in chunks from the radio station and
the commercial is tailor made for that allotment of time.
It’s best to have a background in Marketing if you want to write copy or
produce radio commercials as you have to match up to the Company’s brand values
and what they stand for.
When writing copy for a realistic commercial you have to think
'mini-drama'. Think about your target listener and speak the language he or she
can relate to. If you are writing a story/drama scenario make sure you have a
clear story line with a beginning, middle and ending.
When creating characters ask yourself WHO they are, WHERE they are, and
WHAT they are doing.
Ask Yourself:
a. Will the listener zone in?
b. Is what they zone in for linked to the brand or offer?
c. Does the advertising dramatise the benefit in a way the listener can relate
to?
d. Does it sound like the brand?
e. Instinctively, how do you believe your listener will react/feel/think?
f. Will it generate the Desired Response?
g. What overall brand impression will it leave with the listeners (including
those who may not yet be in the market)?
Companies that produce radio commercials:
Tips for you when reading or recording commercial:
On radio, your voice lives in the mind of the listeners. Each listener will create a different
picture inspired by the voice and performance they hear. It's a remarkably intimate medium and
requires speed, commitment and accuracy.
Only when you 'lift the words off the page', will you be able to create
a bond with the listener.
Your task is to communicate not to read. To make it sound real and natural, you have to forget that
you are reading a script. When
reading your copy you must grasp the interrelations between all the
characters. You have to know who
you are and where you are and what you are doing. You have to invent the scene's
environment in your mind's eye, using your imagination.
At the centre of any radio performer's technique is the microphone, a sort
of sound telescope. Keep your
focus on the mic or you risk masking your voice. Accidentally holding your script in between your mouth and
the mic is a common blunder. The
direction of your voice or voice-line replaces the eye-focus relationship you
have with another person, and it helps to keep this in mind when you have to
deliver your performance.
PROMOS AND ADS
A good promo should
be:
“What’s in it for
me?” (The listener)
- Be a foreground listen not a background
noise.
- Move an emotion – make you laugh, make
you angry, make you sad, make you excited.
- Touch the listener; speak to them in
their language.
- The message should not get lost in the
production. (Too many effects)
Be a foreground listen
Use AIDA to help
structure a promo.
A = Attention – Win
a million pound holiday.
I = Interest – At a
top hotel in the Caribbean
D = Desire – Sun
kissed beach, warm blue sea.
A = Action – Call
now.
Move an emotion
Also helps to make
this a foreground listen. If you
can make your listener laugh, get excited. Angry or sad (if it is a serious
trail/promo say for a charity.) Note of
warning – don’t force the humour.
Touch the listener
Speak their
language. With LBC - listeners
think they can change the world by calling Nick Ferrari therefore the tone of a
promo might sound pompous and word heavy to someone who listens to Capital or
Heart who just wants to hear a good tune.
Lost in production
Just because it is
easy to add loads of effects does not mean you should. Don’t lose the message in sound effects
that sound great in the studio and rubbish on the radio.
Always remember ‘What’s in it for me?’
Cliché Corner
Ads are often recorded in a formulaic way using a brief structure called
AIDA (as mentioned above) here is an interesting blog from someone in the
industry about some of his pet hates:
‘I’m sure that many of us have been guilty of using them in
a script at one time or another.
No? Are you
sure? Not even the time when you
were given that S&P brief at 4.30pm on a Friday for a “garden tool winning
weekend”?
There are loads of annoying clichés used in radio ads and
promos. I know, so many of you
told me when I asked on Twitter earlier this week (@alistairmiskin)
So… To celebrate the fact that they annoy the heck out of
you (See what I did there?), here are YOUR suggestions for some of most
irritating ones heard in radio commercials and promo trails.
“To celebrate the launch of…”
“Calling all (insert demographic)“
(you could win) “Cold… Hard… Cash”
“That’s Right” (that’s right, only 9.99)
“(Ample) Free Parking”
“What’s that number again?”
Two people talking to each other
Two people talking about a BOGOF (Buy one get one free) deal and one of
them thinking the other is being rude to them
Using record scratches
Using drones
“*radio station* has teamed up with *company*“
“Now is the time…”
“For all of your _____ needs”
“They won’t last long”
“Savings throughout the store”
“The sale you’ve been waiting for!”
Starting an ad with a question
“Your chance to win it” / “Chance to win”
“A
family run business”
“Over 20 years experience”
“Free car parking and face painting”
“Open Bank Holiday Monday”
“Fred Bloggs’ garage… Keeping you on the right road”
“Get down to (insert club) for the biggest and best night in (insert
place)“
Weather sponsorship tag line: ”Whatever the weather”
“No 1 for….”
“We’re bringing you…”
“Open 7 days, including Sundays”
“Up for grabs”
“Goody bags”
“We’re proud to announce…”
Anything described as “exciting”
I feel sorry for the voiceovers who probably have to read
many of these day in, day out.
What I would say though is that I never personally considered some of
the above as clichés, but hey, they’re your suggestions.
If you’re rushed for time or have hit a creative wall it’s
all too easy to reach out for a worn-out phrase or concept. My belief is that it’s probably best to
walk away, do something else and come back to the script with fresh eyes.
Right… It’s time for you to cleanse yourself of the tired,
the repeated and oft used phrases.
Leave your suggestions for clichés below and I’ll update the article
with your comments.
Remember, it’s only a bit of fun, so no naming and shaming
of specific ads or stations!
Thanks to @ChrisSigsworth @codoherty @KarlSvenson @aldupres
@lisamccormick @ellisstuart @rickilee @johnfoster257 @dicannell Michelle
Dignan, Matthew Lomax, Brian Place and so many more for their help via twitter
#radiocliches and Facebook.
Al
PS –
I know this blog is supposed to be about production, but I had so much fun with
this I’m thinking of doing one on presenter clichés. If you have any suggestions please leave them below,
thanks!Alistair is a radio producer and sound effects composer. More details here. About Alistair
Alistair
Miskin is a UK radio producer who has worked in the industry for over 15 years.
He has produced work for both the BBC and commercial radio. He also produces
imaging sound fx via www.miskaudio.com which have been heard across the world.
TYPES OF INTERVIEWS
1. Vox Pops - "Vox pop"
is short for the Latin term "vox populi" - literally "voice of
the people".
The idea is that it's an instant
response from the "person in the street" to a subject people are likely
to hold different views about.
This could be something happening locally, in the national news, an
ongoing debate (i.e. legalisation of cannabis or capital punishment)
When you collect your vox pops, you
must only ask ONE question which must be an OPEN question (i.e. not one
demanding a yes/ no answer).
So you're NOT asking "Do you think
opening pubs for longer is a good idea?" - instead you'll need to ask
something like "What do you think about proposals to have pubs opening for
longer hours?"
You'll need to ask about a subject
which you reasonably expect people to hold quite strong opinions on.
You're looking for a balance of ages,
gender, races/ accents.
2. Informational Interviews - use this style to present the facts, not about feelings. Use – Who, What, Where, Why and How
questions.
i.e. How much has gun crime risen in
the UK in the past 5 years?
3. Interpretive Interviews – used to
interpret and give opinions on facts already presented in the programme.
i.e. Why do you think that gun crime
has risen so much? What in your
opinion has led to this rise in gun crime?
4. Emotional Interviews – used to add
an element of feeling into the feature; works best when contrasted with some
facts. Note: be sensitive to your
interviewee and don’t push them too far if the subject is sensitive to
them. You can also include
positive feelings too!
When Interviewing:
1. Prepare the Interviewee:
- discuss
in general the areas you want to cover but don't rehearse the interview -
avoid providing the questions in advance
- give
your interviewee time to get to know you a little
- make
any additional notes of information gained in the chat
2. The Interviewee Itself:
- begin
with prepared questions but listen to the content of their reply and be
prepared to follow up answers with relevant further questions
- if
the interviewee is hesitant, use appropriate cue words such as
"why?", "why not?",
"tell
me more about that"
- maintain
eye contact and use facial expressions to show interest and encourage the
interviewee
- if
you mess up a question, pause with the tape running and repeat it - this
makes editing easier
- don't
record more than you need; too much material will create more work later!
- ON COMPLETION: check your recording,
thank the interviewee and explain that the interview may be
edited
Other Tips:
1. Check all of the equipment,
batteries and mini-disc prior to setting out to the interview
2. Try not to interrupt the interviewee
mid-sentence
3. Steer the interview back to the
point by saying "Let's go back to..."
4. Avoid double-barreled questions -
it's better to ask 2 single ones in a row
5. Look at the interviewee but still
check the record levels
6. Don't say "yes",
"mmm", "right" while the interviewee is talking as it makes
editing difficult
Radio
Links
Linking is when the presenter talks in-between music, jingles, news or
other production elements.
Tips:
Don’t READ the links. Say
your links as you would tell your best mate.
Make bullet points and add your personality and experiences to
them.
Connect emotionally with the song so the audience will too. (i.e.
remember the first time you heard this track?)
Ask yourself: Would you stay listening to what’s coming up on the
station based on your links? Make
the teases good.
Don’t crash the vocal. That
is, don’t talk over the vocals in a song or a jingle unless it is a fade out
and sounds alright. Similarly, if
the song has a really strong instrumental beginning, don’t talk over it.
If the song ends with a definite end, let it and then speak.
The 4 P's:
PITCH - Using intonation in the voice whilst
speaking, as opposed to sounding monotone. Usually intonation goes up at the beginning of a sentence
when introducing a new topic; and goes down when concluding a point.
* UNDERSTAND WHAT YOU ARE READING. Your voice must
have confidence and authority if the information is to be believed.
* USE YOUR NATURAL VOICE AND INFLECTIONS. Don't try
to be someone else. Just be yourself.
PACE - Think about your speed - too slow sounds
patronising; too fast is difficult to understand.
PAUSES - Using pauses after bunches of words, aids
listener's understanding. Don't be
afraid of a little bit of silence.
PASSION! - SOUND INTERESTED in what you are saying.
If you are bored, the listener will assume what you are saying is boring.
SCRIPTWRITING
Radio is an effective way to communicate to
people. There are a variety of
styles of programming from news and sport to comedy and drama. But where does it all begin? Programmes of any kind, even live
discussions or debates, are planned and key questions scripted, to help the
interviewer or presenter chairing the discussion to bring out the relevant
points for the listener.
1. LAY-OUT
a) Leave a wide margin on the left-hand side
of the page. This wider
than usual margin gives you space to write in additional information which can
give instructions to the technical operator, such as the addition of music
under the person reading the script.
Because space is still limited on the left-hand side with more of the
page occupied by the script, a number of codes and abbreviations common to
radio are used.
b) Codes and abbreviations:
FX or SFX -
special effects
Tape in -
beginning of script
Voice in -
beginning of voice
Music in -
beginning of music
Music over -
music mixed over sound
Music out -
end of music
Fade in -
sound faded up gradually
Fade out -
sound faded down gradually
Fade under -
fade sound under indicated section
In cue -
first few words of taped insert (material on tape/mini-disc)
Out cue -
last few words of taped insert
FVO -
female voice-over
MVO -
male voice-over
ANNR -
announcer
Any additional abbreviations can be used if it
provides helpful, such as 'dur' for duration or length of a programme.
c) Clearly identify each sound in the left-hand
margin- e.g. MVO1, MVO2, or identify by using persons name, music in, FX, etc
d) Write on one side of the paper only
e) Where possible the script should be typed or
printed and the lines double-spaced (joined up handwriting can be difficult to
read)
f) Space out the script to leave room for the
person reading it to mark where they can pause, add emphasis or read advice
such as delivery of a particular line of script that should be whispered or
shouted, rather than just spoken normally
g) Number each section, starting at one, and number
each page. Then sections can be referred to during the recording as page no.
and item no.
h) Start each new item on a new page, and do not
split words from line to line or page to page; this will avoid script noise on the
recording from turning pages mid-item
2. LANGUAGE AND STYLE
The language and style used in your script is your
only way of conveying to the listener, the meaning of what you are saying,
apart from music and sound effects, which can help to put across an overall
picture.
With radio, the listener has only one opportunity
to hear what you are saying, so as well as using simple language, you need to
be clear in its delivery. Newspaper articles do not make good radio where there
are long quotes of what someone has said, and where the sentence structure can
be long and complex. The radio
listener cannot re-read something they did not understand, and instead can lose
the sense of what is being said, and the station may lose the listener as they
re-tune to something they can follow.
Some Helpful Guides:
- remember you are writing live speech and not an
essay or letter; read it aloud as you write
- use contractions wherever possible, e.g. isn't,
can't I'll, won't, etc
- use simple vocabulary in use in everyday
conversation
- avoid lengthy sentences
- read your sentences out loud to see whether they
sound as we would speak
- in your script, don't just address the listener,
involve them by posing questions
Radio Job Roles
ANNOUNCER - Announcers are a radio
station's "voice" and are often the people with whom the public
identifies. This person introduces programs and music, reads commercial copy
and public service announcements, and is involved in the overall public
presentation of the station.
BROADCAST
ASSISTANTS
Broadcast assistants undertake key administrative activities as
well as assisting in planning, researching and producing live and pre-recorded
radio programmes. They often have creative input in the development of new
shows or features.
· undertaking
general research for programmes;
· arranging
and overseeing guest visits and freelance staff;
· maintaining
up-to-date contact lists;
· producing
transcripts, programme logs and running orders;
· recording
programme costs;
· preparing
contracts and payments for guests and contributors;
· answering
and archiving details of calls for 'phone ins' and competitions;
· booking
resources, facilities, studio time and equipment;
· editing
audio 'packages' with digital editing software;
· assisting
the studio producer with time-keeping;
· assisting
with the recording of transmissions;
· 'driving
the desk' for some pre-recorded or live programmes;
· contributing
to the creative input of a show, for example writing cues and updating scripts;
· liaising
with publicity departments about programme trailers and competition prizes.
· updating
the programme/station website and ensuring that the on-air and online content
are the same.
PRODUCERS
Radio producers are responsible for controlling the output of
radio programmes. From generating ideas to editing (and sometimes even
presenting), they are involved in the entire process of broadcasting content
for radio. They manage small teams of broadcast assistants, studio engineers
and DJs. Selecting music, scheduling, scriptwriting and researching are key
aspects of the role.
· deciding
on content and programme scheduling;
· controlling
programme output/'desk-driving', approving final versions of recorded features;
· selecting
music appropriate to the programme, the audience and the station;
· managing
and training small creative teams, working with DJs and sound engineers;
· choosing,
sourcing and researching guests and bands;
· generating
ideas for programmes/features and pitching these to commissioning editors;
· researching
material for programme content and writing interview questions;
· editing
recorded material using digital equipment and understanding technical
procedures;
· resolving
scheduling issues which includes editing down materials recorded by colleagues;
· managing
budgets;
· meeting
with record company 'pluggers' and other industry professionals;
· some
smaller local stations may require producers to double up as presenters;
· dealing
with legal issues including negotiating contracts, completing documentation
relating to the Performing Right Society (PRS)
and guests' consent, ensuring the demands of relevant artists' unions are
considered etc;
· taking
responsibility for the health and safety of colleagues and guests;
· responding
to listeners' comments and questions;
· conducting
interviews either in the studio or on location;
· if
working in the production of radio commercials/adverts, liaising with local
businesses and helping to create an audio identity for them, as well as casting
actors for voice-overs.
Job descriptions
PROGRAMME
DIRECTOR/CONTRTOLLER - Responsible for the entire on-air product, the PD
governs the sound of the stations. With control over production, talent, work
schedules, and program schedules, the PD's programming objectives support the
goals of the station manager and the general sales manager.
STATION
MANAGER - The person responsible for the overall operation of a station. This
position requires business knowledge, leadership ability and a technical
understanding of how a station operates.
PRODUCERS/BROADCAST
ASSISTANTS - The production manager assigns announcers, schedules studios,
arranges recording sessions, produces commercials, and directs programs. Role includes researching stories,
booking guests, writing cues, compiling show running orders and directing
presenters whilst on air.
TRAFFIC
DIRECTOR - Collects data from other departments in order to prepare a
minute-by-minute schedule for the broadcast day. The traffic person is the
daily link between the sales department and programming department, keeping
up-to-date commercial time availability.
MUSIC
DIRECTOR - This person manages the station's music library and works with the
program director in selecting new recordings to be played as they are submitted
by record companies.
NEWS
DIRECTOR - The news director runs the news department. The news director
assigns stories to reporters on staff, monitors the wire service and is
involved with identifying the important news issues within the community.
SPORTS
DIRECTOR - This position is similar to the news director position. Sports
directors often handle the play-by-play coverage of local sporting events.
Stations that do a lot of sports sometimes hire a "color" announcer
to complement the play-by-play talent.
ANNOUNCER
- Announcers are a radio station's "voice" and are often the people
with whom the public identifies. This person introduces programs and music,
reads commercial copy and public service announcements, and is involved in the
overall public presentation of the station.
PROMOTION
DIRECTOR - This position promotes the station's image, programs and activities.
The promotion director works closely with the program director to create on-air
promotions and also with the sales department in securing new clients and
maintaining current advertisers.
RADIO
IMAGING - Creating the station's sound image; creating idents and jingles.
COPY
WRITER - This staff member writes commercial and promotional copy in support of
the station's sales, marketing and promotion efforts.
CHIEF
BROADCAST ENGINEER - The chief engineer is responsible for the technology
necessary to put the station's broadcast on the air. The engineer works to
maintain broadcasting capabilities and provide quick solutions to problems that
may arise with the transmitter, tower, satellite receiver and other related equipment.
MAINTENANCE/BROADCAST
ENGINEER - The maintenance engineer installs and performs preventive
maintenance on the station's control consoles, boards, recording equipment,
microphones, and a wide variety of other station equipment and electronic
systems.
GENERAL
SALES MANAGER - This person hires and supervises the sales staff, reviews
programming for the best sales opportunities, develops sales plans and goals,
oversees billing, studies and understands the station's market and approves all
sales promotion campaigns. Some stations have multiple levels of sales
managers, including National, Regional and Local sales managers who focus on
various aspects of sales.
SALES
ASSISTANT - This position offers support to the sales staff and managers by
handling much of the office work, including drafting proposals, which allows
the sales staff to focus on meeting with clients and developing business.
ACCOUNT
EXECUTIVE - The person who sells advertising time and works closely with
businesses to help them market themselves to the station's listeners or
viewers.
RECEPTIONIST
- The duties of the receptionist vary according to the size of the station.
This position is ideal for understanding all the aspects of how a station
operates.
Radio Industry Information
OFCOM/RADIO AUTHORITY
The Authority licenses and regulates all commercial radio
services. These comprise national, local, cable, satellite and restricted
services, on both analogue and digital platforms. Restricted services include
all short-term, freely radiating services (for example, 'special event' radio)
and highly localised permanent services such as hospital and student
radio. www.ofcom.org.uk
MEDIA UK - A great source of radio industry
information and job postings.
www.mediauk.com/
The Local Radio Company - http://www.thelocalradiocompany.com/
http://www.thisisglobal.com/radio/
BBC - www.bbc.co.uk/jobs/
SCOTTISH MEDIA GROUP -
http://www.smg.plc.uk/
GUARDIAN MEDIA GROUP RADIO –
www.gmgradio.co.uk
CHANNEL 4 - http://www.channel4radio.com/
COMMUNITY MEDIA ASSOCIATION
The CMA is a non-profit membership association for community
radio, television and Internet projects.
www.commedia.org.uk
HOSPITAL BROADCASTING ASSOCIATION
The HBA is the national charity that looks after and promotes hospital
radio and TV in the UK. It is run by volunteers drawn from hospital
broadcasting stations around the country and offers members a variety of
services and professional advice.
www.hbauk.com
RADIO ADVERTISING BUREAU
Tel: 0207 306 2500
The RAB is funded by UK Commercial Radio stations and
operates autonomously as a business. This business is "to guide
national advertisers and their agencies towards effective advertising on Commercial
Radio".
www.rab.co.uk
RADIO ADVERTISING CLEARANCE CENTRE - The
RACC is commercial radio's advertising clearance body.
www.racc.co.uk
COMMERCIAL RADIO COMPANIES ASSOCIATION
The Commercial Radio Companies Association (CRCA) is the trade body for
commercial radio companies in the United Kingdom. It is a voluntary, non-profit
making body, formed by the first radio companies when Independent Radio began
in 1973. Training tips are provided on this site.
www.crca.co.uk
Other Links:
http://jobs.guardian.co.uk
www.studentradio.org.uk
www.radiopresenting.com
www.tvandradiojobs.com
www.grapevinejobs.co.uk/
www.radioacademy.org
www.irdp.co.uk - Radio Drama
www.ukradio.com
www.radio-now.co.uk/
www.broadcastnow.co.uk
Creating Powerful Radio:
1. Speak visually, in terms your
listener can ‘picture’
2. Start with your best material.
3. Tell the truth
4. Never be boring
5 Listen to your station
6. Make it matter
7. Address and individual as YOU
talk to ONE listener at a time.
8. Do engaging transitions and hand-
overs
9. Promote, brag about your stuff
10. Brag about other peoples
stuff
11. Be who you are on the radio.
12. TAKE RISKS – DARE TO BE GREAT
