Introduction to Radio,-, Production and Programming
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Introduction to Radio , Production and Programming 010 /PS e Ye • ge. 10111e mieb 4Vie °le MICHAEL H. ADAMS A KIMBERLY K. MASSEY • Regarding Introduction to Radio - Production and Programming... "Its basic how-to approach is very appealing. Beginning radio production students could actually take the textbook into the production studio and teach themselves....The book is comprehensive, progresses logically, and covers virtually all subject matter required by the beginning student." —Jim Cathey, Arkansas State University Introduction to Radio —Production and Programming can serve as the only text needed to lead students toward acomplete understanding of radio production and programming. With its step-by-step approach, this text walks students through production techniques and programming applications and provides insight into daily tasks at aradio station. Introduction to Radio —Production and Programming features: •Current information on present and future computer use in radio production •Graphic illustrations of the latest technology and astep-by-step editing demonstration •A full chapter on formats to help students see how all elements of radio programming work together to create the final product •A realistic view of post-deregulation 90s radio stations and radio broadcasting careers A ISBN 0-697-15354-1 90000 McGraw-Hill ADivision of The McGrawIliil Companies Recycled 110 9 780697 153548 V Introduction to Radio Production and Programming • ;.4k1V4'‘7.11fIV .. /0.7; • •.•' •••<, • . ••C: , y ht• 4e Y • •• x. Introduction to Radio,-, Production and Programming A MICHAEL H. ADAMS San Jose State University KIMBERLY K. MASSEY, Ph.D. San Jose State University. The McGraw-Hill Companies, Inc. Primis Custom Publishing New York St. Louis San Francisco Auckland Bogota Caracas Lisbon London Madrid Mexico Milan Montreal New Delhi Paris San Juan Singapore Sydney Tokyo Toronto McGraw A Division of The McGraw:gel Companies Book Team Executive Editor Stan Stoga Developmental Editor Mary E. Rossa Production Editor Jayne Klein Photo Editor Shirley M. Lanners Visuals/Design Developmental Consultant Marilyn A. Phelps Visuals/Design Freelance Specialist Mary L. Christianson Marketing Manager Pamela S. Cooper Advertising Coordinator Susan J. Butler Executive Vicc President/General Manager Thomas E. Doran Vicc President/Editor in Chief Edgar J. Laube Vicc President of Marketing and Sales Systems Eric Ziegler Director of Production Vickie Putman Castghron Director of Custom and Electronic Publishing Chris Rogers President and Chief Executive Officer G. Franklin Lewis Corporate Senior Vice President and Chief Financial Officer Robert ('hesterman Corporate Senior Vice President and President of Manufacturing Roger Meyer 'Cover and intcrior designs b) Tara Banta Cover photo courtesy of Michael Adams Copyedited by Marilyn Frey Copyright 1995 by Wm. C. Brown Communications. Inc. All rights reserved Library of Congress Catalog Card Number: 93-79350 ISBN 0-697-15354-1 No part of this publication may be reproduced, stored in aretrieval system, or transmitted, in any form or by any means, electronic. mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States of America 10 9 8 7 6 5 4 3 2 CONTENTS y Preface, ix • S E C T ION 0 N E The Excitement of Radio CHAPTER 1 Introducing Radio Programming Radio Programming Influences Radio Production, 3 and Production, 2 The Greater Picture, 4 How to Use This Book, 4 Production Tasks and Challenges, 2 • SECTION T W 0 The Technology and Tools of Production CHAPTER 2 Understanding Sound and Audio, 8 CHAPTER 3 Audio Production Tools, 22 Understanding Sound, 8 Microphones, 22 How and Why Do You Hear?, 8 Operating Principles, 23 Defining What You Hear. What's in a Wave?, 9 Microphone Pickup Patterns, 26 Psychoacoustics—How Sound Affects You, 15 Accessories and Mounting Devices, 30 Understanding Audio and Its Lexicon, 16 Audio Sources—Playback and Recording Devices, 32 Transducers, 16 Turntable, 32 Frequency Response, 17 CD, 33 Volume Levels, 18 Cart, 35 Summary, 20 Reel-to-Reel Tape Recorder, 37 Activities, 21 v vi Contents Understanding Magnetic Recording, 38 CHAPTER 4 Studios and Control Rooms, 55 Audiotape, 39 Defining the Control Room and Studio, 55 Tape Heads, 39 In the Beginning, 56 The Mechanical Transport, 42 On-Air Facilities Today, 57 Digital Options, 44 Selecting Equipment for an On-Air Facility, 59 Other On-Air Audio Sources, 46 Audio Control Devices—The Audio Console, 47 Getting the Audio to the Transmitter, 59 Production Facilities Today, 60 Patching, 48 Cables and Connectors, 49 Selecting Equipment for aProduction Facility, 62 Production Storage Devices, 65 VU Meter, 49 News Production Facilities, 71 Signal Processing, 52 Remote Start Switch, 52 The Integrated Radio Station, 71 Summary, 72 Mixing and Routing, 53 Summary, 54 Activities, 72 Activities, 54 • SEC T 10 N THR E E The Techniques of Production CHAPTER 5 Organizing the Production, 75 CHAPTER 7 Advanced Production Techniques, 101 The Preproduction Process, 75 Defining the Advanced Production, 101 Goals and Outcomes, 75 Directing aProduction, 103 Audience Analysis, 76 In the Studio, 103 Content or Idea, 77 In the Control Room, 105 Treatment, 77 The Directing Process, 107 Script, 77 Using Advanced Production Tools, 109 Selecting Talent, 78 Microphones for Special Applications, 109 Selecting Music, 80 Signal Processing Options, 110 Selecting Sound Effects, 80 Other Specialized Equipment, 115 Budgeting—What Will Your Idea Cost?, 80 Advanced Production Techniques, 115 Summary, 81 Multitrack Recording, 116 Activities, 81 Digital Audio Workstations, 119 Production Site Options, 120 CHAPTER 6 Beginning Production Techniques, 82 Going on Location, 120 When to Go into a Major Facility, 121 Basic Orientation to the Production Facility, 83 Summary, 121 Identifying the Equipment, 83 Activities, 122 Identifying Needed Materials, 84 Basic Production Techniques, 85 CHAPTER 8 Using Music and Sound Effects, 123 Using aMicrophone, 85 Using Turntable and CD, 87 Using Music Creatively, 124 Using the Console, 89 Determining Your Needs, 124 Using Reel-to-Reel, 94 Developing aPlan, 125 Using the Cart, 95 Using Prerecorded Music in Production, 127 A Beginning Assignment, 98 Copyrighted Music, 127 Summary, 100 Cleared Libraries, 128 Activities, 100 Contents vii Creating Original Music for Production, 129 CHAPTER 9 Editing, 142 Finding a Musician, 129 Finding the Music, 130 What Is Editing and Why Edit?, 142 Manual Editing, 143 Scoring and Timing, 131 Electronic Editing, 148 Recording Live Music for aProduction, 132 Computer Assisted Editing, 149 Using Sound Effects Creatively, 136 Checking Your Edits, 151 Selecting Sound Effects for Your Production, 138 Summary, 153 Using Sound Effects in aProduction, 140 Activities, 153 Summary, 141 Activities, 141 S EC TIO N FOUR Turning Radio Programming into Production CHAPTER 10 Understanding the Radio Music Formats for Local Radio, 180 Station, 156 Vintage Rock and Roll, 180 Middle of the Road, 180 The Radio Station, 156 Adult Contemporary, 181 The FCC, 156 Album Oriented Rock, 181 The Community, 159 Contemporary Hit Radio, 181 The Business, 159 Urban Contemporary and African American, 182 The Structure of the Station, 160 Jazz, 183 Why Production?, 161 Hispanic, 183 Live or Recorded?, 162 Asian, 183 Marketing the Station, 163 Easy Listening, 183 Selling the Product, 170 Classical, 184 Serving the Community, 171 Country, 184 The People Behind the Sound, 172 Religious, 185 Program Director, 172 Talk, 185 Promotions Director, 173 News, 185 Production Director, 173 Noncommercial Formats, 186 Sales Manager, 174 Public Radio, 187 News and Public Affairs Director, 174 College Radio, 187 Traffic Director, 174 Community Radio, 188 Business Manager, 175 Summary, 189 Chief Engineer, 175 Activities, 189 General Manager, 175 Summary, 175 CHAPTER 12 Producing Short Announcements, 190 Activities, 176 Introducing the Short Announcement, 190 CHAPTER 11 Formats, 177 Producing the Commercial, 193 Working with Sponsors, 194 The New Radio Audiences, 177 Writing the Script, 195 Niche Programming, 177 Doing the Production, 197 Demographics, 178 Producing an Underwritten Message for How Formats are Constructed, 179 Noncommercial Radio, 198 Writing and Production Strategies, 199 viii Contents Producing the Public Service Announcement, 201 Talent, 231 Why Public Service?, 201 Sound Effects, 233 Script and Production Strategies, 202 Music, 234 Producing aStation Promo, 203 Drama Production, 234 Promotional Strategies, 204 Before the Taping, 234 Writing and Producing the Promo, 205 In the Studio, 235 Summary, 205 Comedy on Radio, 236 Activities, 206 Summary, 237 Activities, 237 CHAPTER 13 Producing News and Information, 207 CHAPTER 15 The Disc Jockey, 238 A Changing Role for Radio News and Information, The Very Slow Rise of the DJ, 238 207 The Activities of the DJ, 242 The Five "W's" and an "H" of Informational Radio, What a DJ Does, 242 208 What aDJ Says, 245 Who, 209 When the Music's Over, 247 What, 211 Nonformat DJ Programming, 247 When, 213 Producing an Audition Package, 251 Where, 214 Summary, 253 Why, 215 Activities, 253 How, 215 Radio News Production, 215 CHAPTER 16 Radio in Transition, 254 The Newsroom, 216 Producing the Package, 219 Whither Radio?, 254 Producing a Radio Documentary, 222 The Truth about Radio, 256 The Process, 223 Business, 256 The Production, 226 Programming, 257 Summary, 227 Technology, 259 Activities, 227 Radio as Your Career, 263 CHAPTER 14 Producing