Working with & Programme Delivery Requirements

Home , 15 Minute Drama, Archive on 4, A Good Read, BBC Radio 3, BBC Radio 4, Book at Bedtime

WORKING WITH & PROGRAMME DELIVERY REQUIREMENTS

October 2015

1 CONTENTS

INTRODUCTION ...... 3

SCHEDULE FOR PROGRAMME PAPERWORK AND DELIVERY ...... 4

1. PAPERWORK ...... 5 Programme Description ...... 5 Compliance Form ...... 5 Presentation Details ...... 6 PasB’s and Music Reporting ...... 6 Proteus...... 7

2. TITLE CHANGES ...... 7

3. SCHEDULE INFORMATION ...... 7

4. DELIVERY ...... 8

5. REPEATS ...... 9

6. DURATIONS ...... 10

7. ANNOUNCEMENTS ...... 10 Credits...... 11 8. LIVE PROGRAMMES FROM OUTSIDE BROADCAST VENUES ...... 12

9. REFERRALS ...... 13

10. STOCK PROGRAMMES ……………………………………………………………………..…13

11. ROLLING OR 'AD HOC' COMMISSIONS………………………………………………….....14

12. TECHNICAL REQUIREMENTS ...... 15

13. ACTIONLINES and the RADIO 4 INFORMATION LINE ...... 24

14. RADIO 4 INTERACTIVE ...... 25

15. MARKETING ...... 30

16. PUBLICITY ...... 30

17. ON-AIR PROMOTION ...... 32

18. HEALTH & SAFETY ...... 32

19. RADIO 4 CONTACT LIST ...... 34

APPENDICES Appendix A: Topicality status ...... 36 Appendix B: Paperwork templates ...... 45

Introduction

Welcome to the Working with BBC Radio 4 document - essential reading for anyone involved in making programmes for the station. It covers everything from titles to telephone support lines, file transfer to editorial compliance and will, I hope, answer most of the questions that will occur in the course of production. It also includes examples of typical paperwork you will need to supply.

I hope you find this useful. If you have ideas for how it could be improved do let me know. Please bear in mind that adherence to these guidelines is part of our contract with all suppliers: they apply to all programmes commissioned by Radio 4.

If you have any questions don't hesitate to contact me, or one of the team.

Best wishes

Denis Nowlan Head of Station Management BBC Radio 3, Radio 4, Radio 4 Extra

3 Schedule for programme paperwork and delivery

Exceptions for topical programmes only by prior agreement with Network Manager.

WHEN BY ITEM TO BE SENT TO HOW (Week before TX) -5 Programme Description In-house via Proteus Proteus or Indies via link at: via web form http://www.bbcradioresources.com/pr if Indie ogramme/descriptions/

--4 Programme Description In -house via Proteus Proteus or update if necessary. Indies via link at: via web form (This version will be used http://www.bbcradioresources.com/pr if Indie for marketing purposes.) ogramme/descriptions/

-3 Programme Photo iplayerpictureeditors@bbc.co.uk & via email (If iPlayer Picture Editors [email protected] do not have a photo for the programme / the programme team and iPlayer Picture Editors agree that an updated photograph is required)

-3 Programme Delivery In-house via VCS Ingester: Via Ingester (for non-topical \\bbcmedrr006\vcs_ingester$\Radio_ or ftp site if programmes) 4\Radio_4_auto\PROGRAMMES_Rf Indie as wav or flac file TX Indies via link at: ftp.bbc.co.uk Optional: if you want your programme to go up on the Radio Previews site: email [email protected]

-3 Compliance Form In-house via Proteus e-mail or Indies e-mail Word doc to Proteus [email protected]

-3 Final version Programme In-house via Proteus Proteus or Description Indies via link at: via web form update if necessary http://www.bbcradioresources.com/pr if Indie ogramme/descriptions/

-3 Presentation Details R4 Presentation e-mail e-mail: [email protected]

Weeks after TX +2 Music Reporting Forms 1) Independent suppliers email: via e-mail (music reporting intranet [email protected], site:) [email protected] http://home.gateway.bbc.co and [email protected] .uk/mru Music Reporting Unit, 2) In house: via Proteus or email via email or MC4 C4, Media Centre, Music Reporting - Unit Proteus W12 7TQ

+2 P as Bs 1) Independent suppliers email via e-mail [email protected] & both [email protected] & RadioCataloguing/[email protected]. uk via e-mail or 2) (in-house only): via Proteus, ENPS Proteus/ or email both I&A Production Intake & ENPS Radio Cataloguing/Research

4 1. PAPERWORK * Paperwork templates start on page 44.

Programme Description

In order to ensure your programme is publicised on radio and in the press, you must complete a Programme Description. This is not an optional extra but an essential part of delivery requirements. You should fill in a Programme Description at least five weeks before the transmission date. BBC producers should complete their Programme Description in Proteus. Independent producers should complete and submit the following webform and we will transfer this data into Proteus. http://www.bbcradioresources.com/programme/descriptions/

All Programme Descriptions must have a dual sign off by the producer and appropriate senior editorial figure before they can be used. For Indies the Exec sign off will be done in Proteus by the Editor, Editorial Standards. The approval process will ensure the Programme Descriptions gets to everyone who needs it.

Please see the separate document on programme descriptions for Radio 4 for details on how to write them.

Updated Programme Description

If your programme changes, please supply a revised version four weeks before transmission. Please note if there is a substantial editorial change this will need to be re-approved. This is the version which will be used for publicity purposes. Any amendments you make after this will only show on the Radio 4 webpage.

Final version of Programme Description

Every programme on Radio 4 must provide an up to date and approved Programme Description three weeks before transmission, unless it is agreed to be topical.

Daily programmes must provide one by 1600 on the day before transmission. Radio 4 Presentation Operations must be notified of any updates, less than 6 hours before TX, at the address below.

 Contact R4 Presentation-Operational  e-mail [email protected]

Compliance Form

The compliance form must be completed by the producer and signed off by the executive producer or editor at least three weeks before transmission, or, in the case of topical programmes, on a date prior to transmission as agreed in advance with the Editor, Editorial Standards, Roger Mahony.

BBC producers should submit their compliance report via Proteus. If you suspect your programme has not yet been scheduled in Proteus, please contact Amanda Benson.

 contact Amanda Benson, Schedule Manager, BBC Radio 4  tel 020 7765 5485  e-mail [email protected]

Independent producers should submit their report via e-mail to [email protected]. Separate forms are needed for each episode of a series. The indie compliance form is on the BBC commissioning website at http://www.bbc.co.uk/commissioning/radio/network/compliance.shtml

5  contact Roger Mahony, Editor, Editorial Standards, BBC Radio 4  tel 020 7765 5455  e-mail [email protected]

Presentation Details

These are required three weeks before transmission for programmes designated as non-topical. For all other programmes, the Presentation Details should be delivered at the same time as the programme, in accordance with the designated topicality status.

They should be delivered on the standard template, available from Radio 4 Presentation (see template on p. 58), and sent to the R4 Presentation-Operational (r4presop) email account. Please contact the Operations Assistants for further advice if required.

For all programmes, producers must provide a time of transmission contact number on the presentation details.

When emailing Presentation Details, please enter the programme title and transmission date in the email subject field.

 contact Radio 4 Operations Assistants  tel 020 7765 5436/2158  e-mail [email protected]

Please ensure that you provide any relevant pronunciation guidance using the approved modified spellings which can be provided by the I&A Pronunciation Unit.

 contact I&A Pronunciation Unit  tel 020 8008 2277  e-mail [email protected]

Please use the Technical and Presentation Advice section of the form to alert us to anything in the programme which could cause concern at the time of broadcast. This includes unusually long silences, the deliberate use of distortion, poor quality archive material and the use of either Big Ben or the GTS (pips). Please note that use of Big Ben or the GTS must be cleared with the Head of Presentation in advance. The GTS cannot be used in its entirety; a maximum of 3 pips is allowable and this must not include the final long pip.

PasB’s and Music Reporting

BBC producers should submit PasBs (Programmes as Broadcast), PasRs (Programmes as Recorded) in Proteus, ENPS, or via email to both I&A Production Intake and Radio Cataloguing/Research within 14 days of Tx. Music Reporting Forms must be completed in Proteus or emailed to Music Reporting–Unit within 14 days of transmission.

Independent producers must deliver their completed documentation to: [email protected] and [email protected], (as well as [email protected] for both PasBs and Music Reporting, and RadioCataloguing/[email protected] - PasBs only.) Music Reporting forms should be emailed to [email protected] within 14 days of transmission.

For further information and templates, see pp 44-50 for PasBs, and pp 51-57 for Music Reporting Forms.

6 Proteus

For access to Proteus, BBC producers should got to http://proteuslive.radio.bbc.co.uk and click on the "new user" button. Independent producers should go to the Management Assistant for Radio 4 and can also find further info here: http://www.bbc.co.uk/commissioning/radio/pitching- ideas/proteus.shtml

Please Note - if you are accessing Proteus from a non-BBC computer you must use certain browsers/versions to ensure full system functionality. Please view these on the Proteus login page. If you use any other browsers/versions, full functionality cannot be guaranteed.

 contact Proteus Support  tel 020 7765 5937  e-mail [email protected]

2. TITLE CHANGES

All title changes must be approved by Radio 4. Changes should be agreed with the relevant Commissioning Editor at least seven weeks before transmission. Please approach the relevant Commissioning Editor via one of the Commissioning coordinators. Even small changes e.g. ‘a’ or ‘the’ – must be referred.

 Contact Tamsin Green, Commissioning Coordinator  tel 020 7765 1871  email [email protected]

3. SCHEDULE INFORMATION

Scheduling information is supplied from the Radio 4 Scheduling office.

Forward Schedules covering one week’s LW & FM schedules, are issued in two versions and available by email for independent suppliers, and in a shared folder for in-house suppliers.

Notification will be sent via e-mail to in-house suppliers when updated schedules are posted in the folder.

Please contact Amanda Benson to gain access to the shared folder, or to be put on the distribution list for independent suppliers.

 contact Amanda Benson, Schedule Manager, BBC Radio 4  tel 020 7765 5485  e-mail [email protected]

After the initial commission, the scheduling team will communicate schedule confirmations and changes for individual programmes via email.

Should you wish to discuss the rescheduling of your programme, please contact Amanda Benson.

7 Some programmes may be selected for repeat and producers will be contacted individually to confirm that the content is still suitable for broadcast.

 Contact Amanda Benson, Schedule Manager, BBC Radio 4  Tel 020 7765 5485  e-mail [email protected]

4. DELIVERY

Producers are responsible for the safe delivery of programmes to the network and for keeping the network informed of any changes that might affect delivery by the agreed date. The first point of contact is R4 Late Delivery.

Non-topical recorded programmes must be delivered at least three weeks before the transmission date. Other programmes should be delivered in accordance with their designated topicality status.

If the required delivery date cannot be met, a late delivery request must be sent to the network, with the following details:

 Title of programme  Transmission Date  Recording Number  Proposed New Delivery Date  Reason for Delay

Late delivery without prior notification may jeopardise transmission of your programme and may constitute a breach of contract.

 contact R4 Late Delivery  e-mail [email protected]

On-day topical recorded programmes must be delivered and scheduled in the Radio 4 VCS dira! system at least 1 hour before transmission. Programmes which can't be delivered by this time must be played out 'as live' from a studio.

On-day topical programmes which need to be scheduled by the operations team:

 An expected time of delivery and contact number must be supplied to the operations team.

 contact Radio 4 Operations Assistants  tel 020 7765 5436/2158  e-mail [email protected]

 Please note that the team works standard office hours (9.30am - 5.30pm weekdays). Only programmes delivered within those hours can be scheduled by the team. If you cannot deliver within those hours, you should contact Christine Howard, Operations Supervisor, to discuss alternative arrangements.

 contact Christine Howard, Operations Supervisor  tel 020 7765 2631  e-mail [email protected]

8 Topical programmes to be scheduled by production teams:

 Programmes and production teams which fall into this category will have prior agreement with the network to self-schedule. Only those with this agreement should deliver in this way.

 An expected time of delivery and contact number must be supplied to the operations team as above. This is of utmost importance if your programme is due for transmission that evening. The information will be passed on to the continuity announcers on duty and is required by 5.00pm on the day of delivery.

Appendix B: Topicality status shows the respective delivery deadlines expected from producers.

5. REPEATS

Scheduled and Versioned repeats

When we select a programme for repeat, the scheduling team will notify you. They will ask you to confirm by email that the programme is compliant for repeat in the intended slot, and that there are no editorial standards concerns with a repeat, no topicality or rights issues, or need for repeat fees. This email should contain the name of the senior editorial figure responsible for the programme and is filed for compliance audits.

If programmes need to be edited after their first transmission (for editorial reasons or because of a change of duration), please inform Amanda Benson as a versioned repeat programme will need to be created. A new compliance form is required for versioned repeats.

Producers should ensure that time-specific or topical references such as “Good evening”, “tomorrow” or “next Sunday is Easter Day” are removed. It can sometimes be acceptable to leave in topical references, so long as the presentation details make clear that the programme was recorded on an earlier date. If you are unsure whether to leave in a topical reference, please contact Amanda Benson.

You should also inform the network of any event such as the death of a contributor, which may affect the suitability of a programme for repeat. In these circumstances, it is the producer’s responsibility to ensure that appropriate permissions have been obtained.

Programme Descriptions should be checked and updated if necessary. Updated descriptions must be supplied at least five weeks before transmission (unless the repeat is notified by the Scheduling office after this date, in which case they should be supplied as soon as possible).

Presentation details must be updated and supplied at least three weeks before transmission to R4 Presentation. (Where this is editorially relevant these should state when the programme was first broadcast). The final version of the Programme Description should also be submitted at this stage.

Archive repeats

All Archive repeats are classified as non-topical and Presentation details must be supplied three weeks before transmission.

Please remember to maintain programme support material – e.g. if the Radio 4 audience line has been included on transmission of the origination, appropriate arrangements should be made for the repeat transmission, or the reference to the phone service should be removed from Pres details. If you are editing your programme for repeat, please ensure you inform the Scheduling team.

9 6. DURATIONS

When a programme is commissioned, you will be informed of the required duration.

The standard durations are: For a quarter hour slot: 14’ including announcements e.g. Book of the Week For a half hour slot: 28’ including announcements e.g. 1830 Comedy For a 40’ slot: 37’ including announcements e.g. Tuesday Documentary For an hour slot: 57’ including announcements e.g. Classic Serial For a 45’ slot: These can vary – please check your airtime confirmation e.g. Afternoon Drama

Standard audio durations for specific slots including opening and closing announcements:

Afternoon Drama 44’ Saturday Drama 57’ or 87’ 15 Minute Drama 14’ Classic Serial 57’ 1130 Comedy 28’ 1830 Comedy / Sunday Comedy 28’ Entertainment 28’ or 14’ Documentary 28’ Tuesday Documentary 37’ Wednesday Debate 43’ Science (Documentary) 28’ Archive On 4 57’ Four Thought 14’ Mid-Afternoon Formats 28’ 9 O’clock Series / 0902 Docs & Interviews 28' or 42’ 15’ Feature 14’ 1102 Feature 28’ Saturday Feature 28’ Narrative History 14’

7. ANNOUNCEMENTS

Opening and closing announcements

Announcements should be brief, preferably no longer than 15” in total, except when absolutely necessary (e.g. to include phone-in numbers or a serial recap).

Radio 4 Presentation will amend or cut back announcements and/or programmes if required. If you need further information or advice about durations, contact Christine Howard.

 contact Christine Howard, Operations Supervisor  tel 020 7765 2631  e-mail [email protected]

All announcements will be read live by the Continuity announcer. They should not be included in the programme unless by previous agreement with the Head of Presentation.

Please do not make references to other programmes within series which might be repeated on an adhoc basis (see below for definition). This is because episodes may be repeated out of order or

10 as standalone programmes. Other programmes in a series should be referred to only in the Presentation announcements.

Narrative Repeat - a repeat which occurs within a week of the first transmission Adhoc Repeat - any repeat other than a narrative repeat

Credits

Programmes should have only two credits read out by the Continuity announcer. They are normally the presenter and producer. But, if preferred, it can be the producer and researcher, or producer and editor.

Exceptions are drama and some readings (see below), some programmes in which credit must be given to the creator of the format for legal reasons (e.g. Desert Island Discs), and independent productions where the name of the company may be credited.

We do not credit technical contributions or production ‘teams’ which include Broadcast Assistants, Production Co-ordinators, Assistant Producers etc, except when a special case can be made for a contribution significantly beyond the norm. Similarly, we do not credit Editors of programmes or series in addition to the usual credits.

This applies to pre-recorded credits and credits read by Continuity.

NB Any pre-recorded announcements must be mixed over music or sound effects - if it is not appropriate to mix these as part of the programme, please include them in the written Presentation Details.

Requests for any exceptions should go to the Head of Presentation.

 contact Jeremy Evans, Head of Presentation  tel 020 7765 1560  e-mail [email protected]

Drama and readings credits

Actors’ credits

Please remember to put the fictional character first, then the actor, not the other way round. And please ensure that the fictional name in the credits is the one the character is always called. For example, a character may be Mrs Jones, but if in the play everyone calls her Maggie then please call her Maggie in the cast credits and in programme descriptions.

Credits for programmes within a series should include only actors appearing in that episode.

Where original music has been used, the composer and performers may be credited. For a series, this should be done only after the first and last episode.

Authors, writers, adapters and dramatisers may be credited. If they belong to the Writers’ Guild, they should be credited in accordance with the BBC’s agreement with the Guild. Readers should also be credited where there is a contractual agreement to do so.

Serials should always include a recap. This should be included in the overall duration.

11 Drama Documentaries

For drama documentaries, where interviews with live people are an integral part of the programme and are heard on air, we will permit an additional credit of "interviewer" to the person who conducts the interviews, whether that person is heard on air or not. The request for the additional credit should be referred to the Head of Presentation, Jeremy Evans, like all extra credits requests.

Phone numbers, addresses and website information

This should be kept to a minimum. Choose the single most important piece of information you want to get across. Please use standard addresses which identify the programme and the network only - e.g., You and Yours, BBC Radio 4, London W1A 1AA.

Do not give out individual room numbers or internal BBC phone numbers. The only numbers that should be heard on air on Radio 4 are the Action line, the Radio 4 information line and phone-in numbers (see p. 23). Use of any other number must be cleared by the Head of Presentation.

Books, CDs and other merchandise

Radio 4 does not promote any commercial products.

 contact Jeremy Evans, Head of Presentation  tel 020 7765 1560  e-mail [email protected]

8. LIVE PROGRAMMES FROM OUTSIDE BROADCAST VENUES

Outside broadcast producers must provide two contact numbers (one on-site, and one mobile number) for the Announcer in Continuity. Producers are responsible for booking lines from OBs to London, these must include reserve lines. Lines should be booked all the way through to Radio 4 Continuity. Please contact the Radio 4 Operations Assistants for advice on which Continuity studio will be on air at the time of your programme’s transmission.

 contact Radio 4 Operations Assistants  tel 020 7765 5436/2158  e-mail [email protected]

Lines should be booked through the London Control Room Schedules unit, who can also offer advice on the type of lines required for the broadcast.

 contact LCR Schedules  tel 020 7765 5438  e-mail [email protected]

Live programmes using outside broadcasts should conform to the ‘best technical practices’ as outlined in this document: http://www.bbc.co.uk/guidelines/dq/pdf/radio/radio_delivery_contributions.pdf

12 Outside broadcast producers should give Presentation a programme and paperwork (presentation details, script and/or running order) as a standby against line failure. The standby programme should be slightly shorter than the required duration of the live programme and should have suitable pot points to accommodate different line-loss scenarios. These pot points should be clearly indicated on the paperwork.

When long-running strands are broadcast from outside Broadcasting House in London, a substitute/timeless recorded edition of the programme should be given to Radio 4 Presentation, with all the relevant paperwork as outlined above.

 contact Jeremy Evans, Head of Presentation  tel 020 7765 1560  e-mail [email protected]

9. REFERRALS

If your programme carries significant reputational risk (e.g. interviews with particularly controversial figures, impartiality issues, content with the potential to cause offence) you must alert the network, normally through the Commissioning Editor, so it can be included on the Radio programme risk list.

All strong language (f and c words and variants) must be approved by the Controller. It should be referred via the Commissioning Editor, with copy to the Editor, Editorial Standards, Roger Mahony.

Beeping out the offending word is not acceptable as a way of avoiding clearing it. In particular instances we will agree to using a beep but, again, it must be referred to the Commissioning Editor and Editor, Editorial Standards. Please note that 'frigging' is not usually a suitable alternative.

For Radio 4 the words ‘nigger’ and ‘twat’ must also be approved by the Controller, normally via the Commissioning Editor.

Roger Mahony can be consulted for advice on language issues and presentation announcements that inform the audience about content with the potential to offend.

 contact Roger Mahony, Editor, Editorial Standards, BBC Radio 4  tel 020 7765 5455  e-mail [email protected]

10. STOCK PROGRAMMES

We often commission programmes for Radio 4 as ‘stock’ programmes.

The aim is to slot them into the schedule should another programme fall out or get delayed, rather than having to reschedule the whole slot or running out of available slots to fulfil business quotas. Having stock programmes is reducing the number of major reschedules we have to carry out, and therefore reducing the level of inconvenience to suppliers.

Being chosen as a stock programme is in no way a poor reflection on the value of the programme to Radio 4. Stock programmes are chosen on the basis that they do not have a specific TX peg and can more easily TX anywhere within a financial year. If one of your programmes is selected as a stock programme but you feel that there is a specific reason why it should have a confirmed TX, feel free to discuss this with the scheduling team.

13 We will usually be able to confirm TX details of stock programmes with plenty of notice, so there should be no issue with publicity.

Process:

When delivering programmes for stock, please clearly label any correspondence with R4 Presentation, and the audio filename itself, with 'STOCK'. This will help with the smooth processing and payment of the programme. Presentation details without TX details must be provided with the audio to enable Presentation to carry out their normal checks. These should be updated and re-supplied once the TX details are known. Programme descriptions need only be sent / entered once TX has been confirmed at a later date.

Indies will receive payment upon delivery of the programme, rather than on TX.

 Contact Amanda Benson, Schedule Manager, BBC Radio 4  Tel 020 7765 5485  e-mail [email protected]

11. ROLLING (or ‘ad hoc’) COMMISSIONS

All programmes commissioned outside of the main rounds require Proteus proposals before conditional commissions can be confirmed.

These may be for  individual programmes within a batch or output guarantee that your company or department has secured.  an idea you are pitching between rounds because it’s a great idea and can’t wait until the next round. Please note, however, that the scope for pitching between rounds is narrow. In comedy and drama it is extremely narrow and normally related to availability of talent.

Process:

1. Email the relevant commissioning editor, with a copy to the commissioning coordinator. 2. At the same time, enter a Proteus proposal and submit it to the network. Rolling submissions are always entered in round 8 of the current financial year (not necessarily the year in which the programme will transmit).

E.g.- to pitch an idea for Archive on 4 (brief number 47088) to TX in 2015-16, you select:

‘20142015 – 47088 – 8 – Archive on 4’

If you are unsure of which brief number or commissioning year to use, please check with Amanda Benson or Amanda Benson. 3. If entered into Proteus by last thing Friday, this will ensure inclusion in the next weekly meeting of the commissioning team. 4. It is assumed that every programme is offered at the guide price unless you make it clear in your short synopsis that it will be over or under the guide.

14 5. If the proposal is to be commissioned, you will receive a Conditional Acceptance email as normal, and the status in Proteus will be adjusted accordingly. 6. If it is Shortlisted for further consideration, you will receive an email confirming this. 7. If it is Rejected, you will not receive an email but will be able to see this information in Proteus. 8. If you have not heard back in a couple of weeks, or seen a rejection in Proteus, then do contact the commissioning editor to enquire.

· Contact Amanda Benson, Schedule Manager, BBC Radio 4 · Tel 020 7765 5485 · e-mail [email protected]

12. TECHNICAL REQUIREMENTS

RADIO 4 TECHNICAL & FORMAT REQUIREMENTS FOR PROGRAMME MATERIAL DELIVERED AS AUDIO DATA FILES

Note on the ‘spirit’ of the Radio 4 Technical Guidelines

This is an attempt to capture the sentiments behind the technical guidelines issued to programme suppliers, and to explain the ‘sound’ that the Network is trying to achieve.

Radio 4 is a predominately speech-based Network which relies on programmes that have dialogue that is easy to follow, particularly as the audience is often listening in less than ideal noise environments (in a car, next to a boiling kettle, etc.) It is important therefore that programmes are mixed without too great a dynamic range, are comparable with Continuity output and maximise audibility.

One of the most annoying experiences for our listeners is having to adjust the volume knob during, or between, programmes. Continuity Announcements are not compressed, so heavy use of compression should be avoided, as it produces a tiring listen and sounds out of place on the Network. Heavily compressed programmes provide too great a contrast with other programmes and Continuity. As a general rule, if you can hear compression, you have used too much. (Unless the compression has been used for dramatic effect, of course). The Network does not seek homogeny, but programme producers must be aware that their programme sits with many others, and that the listener is often tuned in across the day and listening to many different styles. Riding the levels of individual elements within a mix is the best way to produce the best overall sound of a programme, and Radio 4 expects programmes to be built in this way. This means not using hard limiting to control levels. Voices should peak between PPM4 and PPM6, but generally keeping voice levels up so that they do peak PPM6 regularly.

RADIO 4 TECHNICAL & FORMAT REQUIREMENTS

This document covers the technical and format requirements for programme material delivered as audio files to Radio 4. It is based on the general document produced by BBC Radio with some network specific additions. A glossary is included for those terms (in italics) requiring further explanation.

The general Radio requirements may be found at: http://www.bbc.co.uk/commissioning/radio/production-and-delivery/technical-standards-and- delivery-requirements.shtml

FILE FORMAT

15 WAV/RIFF format with metadata embedded in header chunk or contained in separate XML file. Programme material for broadcast must be: Linear PCM 44.1Khz 16 bit. (Radio is moving to 48Khz but suppliers will be informed when this happens)

FILE DELIVERY

Process for BWAV delivery – BBC Production departments

Topical programmes which deliver on the day of transmission and outside office hours have been given VCS dira software to deliver direct to the Radio 4 playout schedule.

For everyone else, this is the process: You will need access to the "VCS Ingester" server. To apply for access, please contact W1 Service Desk.

 contact W1 Service Desk  e-mail [email protected]

1. From your digital editor bounce down the programme to a single 16 bit, 44.1kHz, stereo wav file.

2. The naming of this wav file is important. It should include the Title, TX date and recording number. It should not include any punctuation or spaces - use underscore to make the name readable, eg: A_Programme_120605_PLN523_05VQ8010.wav

3. Save the programme BWAV to \\bbcmedrr006\vcs_ingester$\Radio_4\Radio_4_auto\PROGRAMMES_RfTX\

4. In a few minutes, the wav file you saved will have changed to .ren. This means that the file has successfully transferred to Radio 4's VCS dira system.

5. Next, email the presentation details to the Radio 4 Presentation team, notifying them that the audio has been delivered. THIS IS CRUCIAL. They will listen to the in and out of the programme to check that they match the in and out words quoted on the pres details, and that the durations match. They will also spot check the audio for obvious technical faults. If there are no problems, they will schedule it. They will then contact you to give you the all clear or discuss any problems. The presentation office is staffed, Monday to Friday 9.30am – 5.30pm.

 contact Radio 4 Operations Assistants  tel 020 7765 5436/2158  e-mail [email protected]

Process for BWAV delivery – Independent Production Companies

You will need an FTP account to access the BBC's servers. To request an account, please contact the Operations Supervisor, with the following details:

1. Company name 2. Postal address 3. Key contact email address 4. Telephone number

 contact Christine Howard, Operations Supervisor  tel 020 7765 2631  e-mail [email protected]

You will need suitable FTP software. You may also require (free) FLAC encoding software.

1. From your digital editor bounce down the programme to a single 16 bit, 44.1kHz, stereo wav file.

3. If required you may data compress the file to the FLAC format.

4. Send the file to your company’s folder on the BBC’s FTP server.

 contact Radio 4 Operations Assistants  tel 020 7765 5436/2158  e-mail [email protected]

AUDIO PROPERTIES

Audio Quality

The producer has overall responsibility for audio quality. It is essential that consistent levels are maintained throughout the recording.

Distortion, noise, induced hum etc should not be audible.

During the production process, audio should not be subjected to bit rate reduction (also known as “lossy” data compression) Any format that uses such processes should be avoided wherever possible. These include mp2, mp3, AAC, mp4 (common on iPods) and ATRAC (Minidiscs).

If use of any of these “lossy” formats is unavoidable e.g. for covert recording or when using an ISDN line, details of the type of compression and the bit-rate must be noted on the recording report.

Most solid-state audio recorders (e.g. Compact Flash) offer a choice of recording formats, and linear should always be used in preference to any of the data compressed formats.

17 It is possible to apply lossless data compression without compromising sound quality, using FLAC (Free Lossless Audio Codec). This has been adopted as a suitable means of file transfer. For more details of how you could use this to deliver your programme, contact Radio 4.

Take care when moving files between devices. Certain proprietary software may irrevocably damage your audio. Depending on the settings, the software may add data reduction techniques or Digital Rights Management (DRM), either of which could prevent your programme from being broadcast.

Make sure you send us the original file generated by your digital editor, not a version that you've listened to on an mp3 player.

Multiple transfers involving “lossy” data compression should be avoided otherwise coding artefacts are very likely to be audible. When audio is subjected to more than one pass through a lossy data compression encode/decode cycle (cascading), each additional pass results in further degradation of the audio quality, often to an unpredictable degree.

Cascading is a serious issue for BBC Radio. The BBC uses lossy data compression for its digital transmission systems (e.g. DAB, DSAT, DTT and Internet streaming). If lossy data compression is also used during the production process it may interact, resulting in unsatisfactory audio quality as received by the listener.

Even if the quality of compressed audio sounds reasonable in the studio, it probably won't when the listeners hear it. The recording should contain the full audio bandwidth of 20Hz to 20Khz. As mentioned earlier, exceptions to this may include archive material or that gathered under adverse conditions.

Any and all deviations from the normal standards or anything which could be interpreted as a fault or error must be noted on the recording report.

BALANCE & CONTROL

Radio 4 makes use of pre-transmission audio processing. Therefore to ensure consistency in the sound of the network it is desirable that programme makers:

• Make maximum use of available dynamic range • Employ where possible, the minimal use of compression • Avoid where possible, the use of hard limiting at either the recording or editing stage

The overuse of these processes can result in audio that can sound subjectively loud compared to the announcers or other programmes that use very little compression or limiting and therefore contribute to the listeners’ perception of an imbalance in the overall sound of the network. Stereo

Stereo programmes must be supplied as a single wav file with the two channels recorded as A and B (i.e. left and right).

Stereo programmes must be compatible for listeners in mono.

In general signals should be in phase between channels.

18 The S (difference) signal should rarely exceed the M (sum) otherwise cancellation can result when the signal is heard in mono.

Extremes of stereo imagery (panning hard left or right) or “out of phase” effects must be avoided as these will cause problems with mono compatibility.

Mono

If the programme content is entirely mono, it should still be recorded as two identical channels (A and B) with zero phase difference between them.

They must NOT be recorded as M and S (sum and difference).

PROGRAMME & RECORDING LEVELS

Maximum level of programme audio:

With a correctly calibrated PPM (M6 calibration) the programme audio should peak up to PPM6 on M.

With a digital bar-graph meter (see: Meters) regular readings of -10dBFS (10dB below absolute Full Scale or Maximum Coding) are desirable.

Occasional transient readings above this are acceptable. Transients must not be more than 2dB above peak level (PPM6).

The BBC will accept files whose programme level equates to peaks up to PPM 6.

Peak normalisation should not be relied on to control programme levels.

Radio 4 welcomes programmes which are loudness normalised to -23 LUFS as per EBU R 128. http://tech.ebu.ch/docs/r/r128.pdf

Peak limiting or extreme compression (either at the recording, or in edit using plug-ins) should not be solely relied on to control programme levels.

For a wav file demonstrating network specific audio balance and control requirements, contact Radio 4.

TONE Reference tone is not required for Radio 4.

Please ensure that there is no tone on the supplied wav file.

19 GLOSSARY

Channel or Leg: A single audio stream. Stereo comprises two channels.

Linear Audio: Digital Audio that has not been subjected to 'lossy' data compression (bit rate reduction) (see below).

Data Compression (a common term for bit rate reduction): A process of compressing data in order to reduce file size or stream bandwidth. It is usually destructive (“lossy”) and is best avoided.

(Not to be confused with Dynamic Range Compression, where the difference in levels between the quietest and loudest sections of audio is reduced, so that the quieter passages sound louder). There are many recording formats for digital audio, the majority of which use lossy data compression or bit rate reduction. These include mp2, mp3, AAC, mp4 (common on iPods) and ATRAC (Minidiscs).

The use of such lossy data compression should be avoided wherever possible. If it has to be used, e.g. for covert recording or when using an ISDN line, details of the type of compression and the bit- rate should be noted on the recording report. Most solid state audio recorders (e.g. Compact Flash) offer a choice of recording formats, and linear should always be used in preference to any of the data compressed formats.

Make sure you send us the original file generated by your digital editor, not a version that you've listened to on an mp3 player.

Cascade (encoding): Where audio is subjected to more than one pass through a lossy data compression encode/decode cycle. With each additional pass the audio quality is degraded, often to an unpredictable degree. Cascading is a serious issue for BBC Radio. The BBC uses lossy data compression for its digital transmission systems (e.g. DAB, DSAT, DTT and Internet streaming). If lossy data compression is also used during the production process it may interact, resulting in unsatisfactory audio quality as received by the listener.

Even if the quality of compressed audio sounds reasonable in the studio, it probably won't when the listeners hear it.

LEVELS

Peak Programme Level or Peak Level: The highest audio level to which the programme consistently peaks.

Levels are often quoted as read from a BBC Peak Programme Meter (PPM), marked “1” to “7”, each division corresponding to 4dB. See: Meters.

The following reference levels are commonly used within the industry:

“Zero level” - which corresponds to PPM 4

20 “Peak level” - which corresponds to PPM 6

“Maximum Digital Coding” – which is 0dBFS (0dB with respect to Full Scale)

FOR BBC PROGRAMMES, THE PEAK PROGRAMME LEVEL SHOULD BE PPM 6.

If you are using a digital bar-graph meter, regular readings of -10dBFS (10dB below absolute Full Scale or Maximum Coding) are desirable.

Digital Peak Level: The maximum level of audio that can be represented in a digital system. Also called 0dBFS (dB Full Scale) or Maximum Coding. The Digital Peak Level must be below 0dBFS, to avoid distortion.

METERS: Any meter used in the production of programme material should be correctly calibrated.

Digital Meters:

These are usually bar - graphs and their main characteristic is that they respond to programme transients more accurately than analogue meters (e.g. PPMs). PPMs tend to under-read the true level of transient peaks.

Peak Programme Meters (PPMs):

The BBC PPM is defined by an international standard: IEC IIA. It is designed not to show every peak of short duration. This is so that it reflects more accurately the loudness of the broadcast as perceived by listeners.

21 Single-needle PPMs conventionally have a white needle, and each meter will be labelled according to whether it is reading A, B, M or S.

Twin-needle PPM movements have their needles colour-coded as follows: Red = A (Left) channel Green = B (Right) channel

White = M (Sum) Yellow = S (Difference)

Note: In some installations, twin-needle meters can be switched to show either A&B or M&S. In this case, the Red & Green needles may be used to indicate M&S respectively, or White & Yellow to indicate A&B respectively.

There is a recent variant of the M & S meter that has the yellow needle replaced with a black needle with a Day-Glo orange tip.

M6 CALIBRATION: M and S needles are normally aligned so that M = L + R − 6 dB and S = L − R − 6 dB; this is known as the M6 standard. A signal, equal in amplitude and phase in the left and right channels will show the same meter deflection for M as it does for L and R.

22 REFERENCE TONE:

Please note Radio 4 does not require tone. The following is provided for information only.

Single frequency audio (usually 900Hz or 1kHz sine wave) whose level is relative to that of programme audio (as opposed to an absolute level). The level of the tone and its relationship to the programme audio should be stated in the metadata, for example: “reference tone recorded at 8dB below the peak level of this programme." See: Peak Programme Level or “tone at PPM 4 per leg”. If submitting material with reference tone, tone and programme material must be have been monitored and measured through the same technical chain. The level of the tone must be equivalent to 0dBu and no less than 8dB below peak audio level for the programme material.

Listen to a sample of standard level tone at 900 Hz.

If you import this file into your programme equipment you should be able to reference your programme level to the level of tone:

On a BBC PPM, this tone should read 4:

On a digital bar graph meter, this tone should read -18:

On a VU meter, this tone should read -4 per leg:

On a BBC PPM, Peak Programme Level should be up to 8dB higher than this tone.

23 13. ACTIONLINES and the RADIO 4 INFORMATION LINE Two off-air services are provided free for programme-makers by Audience Services in partnership with Capita.

1) Radio 4 Information line 03700 100 400 This is the general 24/7 enquiry/information service for Radio 4 listeners and uses a ‘network- branded’ number provided for Radio 4 by Audience Services in partnership with Capita. It is not the same as the free automated Actionlines trailed for specific purposes.

You should normally provide supporting programme information online and trail the online site first alongside the number. The information line is a back-up to online information and call handling staff use the published online information to give to listeners. The line gives listeners general information about Radio 4 programme content but with prior notice can sometimes be used to let them comment/interact if there is no Actionline element requiring ‘tailored’ support. The line is answered by people but it may also use pre-recorded information depending on demand or requirements. Audiences typically want to know book/guest details, significant incidental music, topics covered and contact details for featured organisations or events etc. If you anticipate listener demand, please arrange to publish and trail online and contact Capita with information beforehand. You should not use 03700 100 400 to trail specifically for particular types of calls without advance notice because extra staff cannot be allocated at short notice. Contact details for Capita staff are below.

2) Actionline (normally 0800 044 044) Programmes often deal with sensitive subjects ranging from cancer, bereavement and domestic abuse to addiction and debt. Information about organisations which can offer information and support off-air can be prepared and then trailed in or after the programme. For sensitive or complex issues, we can offer audiences off-air information about organisations which have agreed to offer further information or help and in some cases support.

Actionline trails should only be used with agreement of the Editor, Editorial Standards, Roger Mahony.

Information about the organisations willing to help should normally be published on the programme’s /radio4 website with the pre-recorded phone information provided as an alternative, mainly for those without internet access. This is now recorded information only, so it needs to be planned ahead both to get prior agreement with relevant charities/organisations and co-ordinate with other concurrent Actionline trails. The on-air ‘call to action’ therefore needs to be carefully phrased with Capita to steer audiences to the right places and manage their expectations. Lead times to set this up vary but should normally be 10 days to obtain agreement with the organisations.

Setting up online and recorded off-air information Willing organisations need both to be ready and also prepared in advance to deal with any demand this may create. Publishing web-based information is the most cost-effective service. There are options depending on the urgency and sensitivity of the subject matter:

1. Contact/referral information can be sourced by Capita in collaboration with you. Capita will discuss with you, suggest and contact possible organisations for you before drawing up the proposed list. The producer has to sign-off this content for compliance purposes. 2. The information should be published online on the appropriate page of www.bbc.co.uk/radio4 but www.bbc.co.uk/actionline will also link to it. 3. The summary of information is recorded and made available for listeners to hear via the Radio 4 Actionline.

The on air ‘call to action’ trail wording needs to be carefully agreed with Capita and where possible be included in the programme. It should point first to online information, with an option ‘to hear

24 recorded information’ via the Actionline number as the back-up. If it follows the programme, it must fall within your airtime. To request this service please complete the web form on this site: https://bbcinternal.metafaq.com/forms or use the contact details below.

3) Planning for on-air campaigns which may generate audience reaction Audience Services normally require 1 month’s notice of on-air campaigns which may need to offer support or solicit audience reaction. The minimum notice required to make resourcing changes to match anticipated demand from trails is 2 weeks. If this is not possible please contact Capita colleagues as soon as possible and they will try to respond positively.

Audience Services numbers can be included in your the long description field of your Programme Description, with agreement of Audience Services/Capita. It is the programme-maker’s responsibility to ensure major projects are agreed well in advance with the Network Manager, Denis Nowlan.

To request this service please complete the web form on this site: https://bbcinternal.metafaq.com/forms or use the contact details below.

 Contact Karen Scott or David Spottiswoode, Capita Client Services  tel 01375 303662 or 303663  e-mail [email protected] [email protected] (NB neither are on the internal BBC global email address list)

4) Ticketing All free ticketing for R4 shows is co-ordinated through the Studio Audiences team, which is not part of Audience Services. Contact Studio Audience Managers for further information: 020 8576 1514, or [email protected]. SUMMARY

Online information and support via bbc.co.uk/radio4 Information/factsheets/actionline details about organisations who have agreed to help audiences can be published on the R4 website

Recorded information Actionline 0800 044 044 Free phone* number providing recorded information to hear about organisations who agree to support subjects of a social action / public service nature * 24 hours a day, all calls confidential and free from a landline (mobile operators will charge)

Radio 4 Information Line 03700 100 400 Provides general network and programme information and answers enquiries not of a social action nature. 0370 is 'UK Wide' and costs the same as normal 01 or 02 geographic numbers

Phone-in programmes 03700 100 444 Phone-ins may only be run by agreement with the Controller.

14. RADIO 4 INTERACTIVE

How do I get a website for my programme?

Every programme will automatically receive a webpage for each edition, available 7-10 days before tx. This page will contain a programme description (based on the text sent out in your programme description) and will offer seven-day audio on demand. You can email updates to this programme description to [email protected] at any point up to TX, and during the seven days beyond.

25 All programmes require an image. This will appear on the BBC iPlayer, as well as the Radio 4 website. It may also be used by the BBC for publicity purposes. To discuss imagery, please email [email protected].

Should you and the iPlayer Picture Editors agree that your programme requires an image (i.e. if there is no existing image on file / it is agreed that a new image is required), please note:

1. iPlayer Picture Editors are the only point of delivery for your Radio stills 2. Stills must be submitted in landscape orientation 3. Photographs must be taken to a professional standard and at the highest resolution setting possible on a minimum of a 5megapixel (5MP) camera (not a smart phone). Images will not be acceptable if smaller than 1024 x 576 pixels 4. Any necessary approvals (e.g. from Talent) must be obtained prior to sending them in to iPlayer 5. No photographer credit is possible in the iplayer 6. All copyright must cleared for use by the BBC in perpetuity

For any extra web content, please apply to the Radio 4 Interactive team by emailing [email protected]. It is unlikely that one-off programmes or short series will be able to have a large amount of extra functionality but the Interactive Team may be able to assist you, or offer you training, to place a limited amount of extra material on the site (e.g. extended text, links), ideally with two to three weeks notice.

Increasingly, the Interactive Team are providing production teams with the tools or training to enhance their own programme page on the web. Programmes interested in working in this way will need to contact the appropriate editor in their department and also the Radio 4 Editor, Digital (details below).

Compliance

Content delivery has fragmented in the past few years over an increasing number of platforms, and the scope of compliance arrangements has therefore increased in response.

Radio’s policies on Multiplatform editorial compliance are available at the following wiki link, or on request from the Editor, Digital. This information should be read in conjunction with Radio's Editorial Compliance Guidelines for pre-recorded linear content, as well as the Guidance Note summarising the editorial judgements on which we decide a programme is suitable for broadcast. http://wikis.gateway.bbc.co.uk/confluence/display/COMP/Multiplatform+Compliance+Home

Guiding Principles

1. The responsibility for ensuring compliance and sign-off lies with the team originating the content - including cases where the content is eventually published by a different team (e.g. where Interactive staff publish podcasts originated by Production staff).

2. Extra non-broadcast short-form audio or video needs to be complied separately by the Editor, Digital.

3. The Programme Executive should be satisfied that each member of their team has the appropriate training and experience to carry out the tasks they are given.

4. Any concerns about Multiplatform compliance should be discussed with the Editor, Digital at the earliest opportunity.

26 Linking to external sites from the Radio 4 website

We encourage you to include links on your webpages. Links should be selected on the basis of their editorial value for the audience.

In most cases, the links you already include are appropriate but we need to ensure that we apply a consistent and fair policy across the Radio 4 website.

Here is a simple checklist to help you to do that, with particular reference to sites about services, products or events that have a commercial value (e.g. tickets, books).

Firstly, note that:  Guidelines around taste, appropriateness and impartiality apply to all links.  Links to transactional commercial sites are NOT permitted outside of the Commercial User- journeys project – refer to Editor, Digital for details.  Links are not acceptable purely as a form of credit or recognition of a content provider’s or contributor’s role.  A link must never be included on the public service website in return for cash, services or any other consideration in kind. http://www.bbc.co.uk/guidelines/editorialguidelines/onguide/editorial/linkstoexternal.shtml

And the answers to these three questions need to be YES!

1. Is the content of the page you’re linking to discussed or reviewed in your programme? Or does it relate to a subject covered in your programme? e.g. if an actor or comedian performs on a programme, it may be appropriate to link to their own website for more information about them and their work. It probably wouldn’t be appropriate to link direct to venues where they are performing in the future, unless those performances were a subject of the programme (and see point 2 below).

2. Does the page you link to have editorial value related to the on air content? e.g. if the CEO of British Airways was talking about his company on a Current Affairs programme, it may be appropriate to link to the “About the Company” section of the BA website. This would be more appropriate than a link to the ba.com homepage which is about buying tickets. e.g. if a programme has (p)reviewed an opera at the Royal Opera House, it may be appropriate to link to a section of the ROH site which gives more information about that production, rather than the ROH homepage (which won’t relate to the production for very long) or a “Buy Tickets” page.

3. Is this the only site about this product/service/event OR does it have significantly more editorial value or relevance than other similar sites? If not, you should also consider linking to other sites of similar editorial value. Your linking criteria should be clear so that, if challenged, you could demonstrate a consistent approach. It may be appropriate in some cases to offer a way for other companies to suggest links for your consideration. eg http://www.bbc.co.uk/radio4/memory/relatedlinks/

Where you think that links which don’t meet all of these criteria would form a valuable element of your online programme support, you should refer to the Editor, Digital.

Streaming of programmes on the website

Radio 4 FM and Radio 4 LW are streamed on the internet. It is each producer’s responsibility to ensure that their programme does not infringe copyright. Radio 4 expects simulstreaming rights to be cleared for all programming, and this is a condition of the programme commissioning agreement. If this is not possible, we reserve the right to cancel the commission. Where

27 simulstreaming rights are not available, please inform Denis Nowlan, Network Manager ([email protected]), who will consult with the relevant Commissioning Editor over whether the commissioning should continue. Radio 4 will not be liable for production costs incurred before rights have been cleared.

The BBC has included the rights to simulstream in the collective agreements with recognised talent unions and collecting societies. However you should check any third-party material e.g. clips from archive or film soundtrack, and any contributors, agents or copyright holders who will not sign contracts incorporating standard talent union/collecting society clearances. The BBC Talent & Rights Negotiation Group can advise on individual contracts with actors and authors (http://home.gateway.bbc.co.uk/rights/rights_expert_search/rightsexpert_holdpage.html). Independent companies can get advice from the BBC Legal & Business Affairs team (http://www.bbc.co.uk/commissioning/radio/how-we-work/business-requirements.shtml).

In the exceptional circumstance where Radio 4 has authorised production of a programme that is not cleared for simulstreaming, you must inform the Radio 4 Interactive Team, with a minimum of 72-hours notice. This will allow for sufficient time for the team to arrange blanking of the programme from the internet stream at the point of transmission. Please send this information to [email protected].

If you have any other queries regarding streaming rights, they should be directed to the Legal and Business Affairs Manager, 020 7765 1078.

On-air web trailing

The URL given out on air is the Radio 4 address: www.bbc.co.uk/radio4. Programmes should not trail microsites with a second forward slash, e.g. www.bbc.co.uk/radio4/makinghistory. It is preferable for the web site to be mentioned in the body of the programme, rather than at the end or beginning by Continuity. Please say “slash Radio 4” not “forward slash Radio 4”.

Audio on Demand

All new programming should be cleared for Audio on Demand (AOD), and this is a condition of the programme commissioning agreement. It is our intention to put as many programmes as possible available to listen again on the iPlayer via the Radio 4 website. We have now extended this service to nearly all our output.

Radio 4 reserves the right to cancel any commission where AOD rights are not available. Where AOD rights are not available, please inform Denis Nowlan, Network Manager, who will consult with the relevant Commissioning Editor over whether the commission should continue. Radio 4 will not be liable for production costs incurred before rights have been cleared.

For talks and factual programming, unlimited internet rights should be cleared. For other genres, the BBC has reached agreement with recognized talent unions and collecting societies to secure AOD rights for 30 days following transmission either as part of the engagement fee or subject to a supplement. However you must check any third party material e.g. clips from archive or film soundtrack, and any contributors, agents or copyright holders who will not sign contracts incorporating standard talent union/collecting society clearances. The BBC Rights Group can advise on individual contracts with e.g. actors or authors (http://home.gateway.bbc.co.uk/rights/rights_expert_search/rightsexpert_holdpage.html).

Independent companies can get advice from Legal & Business Affairs team http://www.bbc.co.uk/commissioning/radio/how-we-work/business-requirements.shtml.

28  contact Radio 4 Interactive Team  tel 020 7765 4900  e-mail [email protected]

 contact Rhian Roberts, Editor, Digital, Radio 4  tel 020 7765 5319  e-mail [email protected]

Text Messaging

Radio 4 uses a single number for SMS/text messages (84844) which should be used to gather listener comments, votes etc. Before giving out the number on air, you will need to discuss your plans with the Radio 4 Interactive Team so access can be arranged to the number and a webpage set up for you to view messages. The number is only used in live programmes.

 contact Radio 4 Interactive Team  tel 020 776 54900  e-mail [email protected]

Podcasts & Downloads Many Radio 4 & Radio 4 Extra programmes are offered as downloads giving our audience the opportunity to consume programmes where and when they want.

Can my programme have a download (podcast)? If you would like to make your programme available as a download please contact [email protected] as any new download offering (current programming or archive) needs to be signed off by the Editor, Digital.

How do I publish my download? Podcast Maker is the tool that manages the BBC download offering for Radio – downloads need to be published by a member of the Radio 4 Interactive team as this tool doesn’t work on non BBC computers.

How do I series stack my programme? Series catch-up, also known as series stacking, extends the online catch-up availability window for individual episodes beyond the usual seven days after their transmission. This allows you the chance to listen to an entire series, until a week after the final episode is broadcast.

The decision on whether a series is stacked MUST be made at the point of commission and rights MUST also be secured (Equity etc) at this stage. Once you have ensured all rights are in place, please fill in this form and email [email protected]

29 15. MARKETING

The role of marketing in Radio 4 is to increase listening and reach by helping existing and new listeners access our programmes and have a wider understanding of the diversity of our output. Marketing priorities for each year are selected in the context of wider BBC Marketing & Communications objectives and in consultation with the Controller and management team. This ensures we focus limited resources to support key network objectives and where marketing effort can really influence the public. This naturally limits the opportunity to support individual programmes and initiatives beyond the priorities agreed at the start of the year. However, as part of the BBC marketing team working across all services and media, we can help to utilise BBC airtime to generate cross promotions where appropriate and ensure that Radio 4 and its programmes are included in wider activities.

Marketing are also responsible for the Radio 4 logo and ensuring we reinforce and protect the brand at all times. This means working with third parties such as event organisers, publishers and BBC Worldwide to ensure our brand is only used with approval and is correctly re-produced, as well as ensuring that outside broadcasts, events or exhibitions are branded appropriately to promote the BBC. We have some branding materials available which producers are encouraged to use these for events or exhibitions. If you wish to borrow these, contact Richard Culver.

Programme-makers should also be aware that there are strict regulations relating to programmes generating their own marketing materials and using the Radio 4 logo. This is available to download from the Marketing and Audiences page on Gateway or, for indies, via Richard Culver. All plans to do so should be passed by Marketing and any logo must be approved by Marketing before going to print. Contact should be via e-mail in the first instance.

 contact Richard Culver, Brand Marketing Manager, BBC Radio 4 and 4 Extra  tel 07734966220  e-mail [email protected]

16. PUBLICITY

The aim of Radio 4 Publicity is to inform the public of Radio 4 content via the media, to defend Radio 4’s reputation and to explain Radio 4's position within the broader BBC.

All press activity must be agreed by the Radio 4 Publicity team. Producers (both independent and in-house) must speak to a member of the team and agree a strategy before speaking to a journalist or issuing a press release. All written materials (including press releases and authored pieces from presenters, contributors or producers) must be approved by the team before being issued to media. There may be a broader BBC issue at stake and the media outlet might have an agenda which is not immediately apparent. The Publicity team are there to advise.

The work of the Publicity team essentially breaks down into two areas – proactive communications and reactive communications.

Proactive Communications There are numerous ways in which the Publicity team proactively promotes Radio 4 content: PI (Programme Information – more details below); distribution of audio via the BBC Radio Previews website (details below); placing features off the back of programme content; presenter/cast or contributor interviews; news stories if there is a strong news line; interviews with senior management; release of audio clips/transcribed quotes; announcements of major new commissions/initiatives, e.g. A History of The World, the rebrand of BBC 7 to Radio 4 Extra, the Desert Island Discs archive, etc.

30 The onus is on production to tip Publicity off about strong content, news lines, initiatives, etc.

Reactive Communications Reactive issues can arise from virtually anywhere – the network falling off air; a programme with strong language; a presenter/schedule change; a presenter/announcer breaking down in laughter; a wrong episode being aired; a contributor feeling they have been unfairly treated; live interviews with sensitive content, etc.

Wherever possible the Publicity team tries to anticipate potential issues, e.g. if a programme has sensitive content the Publicity team will prepare a line against enquiry in conjunction with the producer/commissioning editor. The Publicity team also liaises closely with Audience Services to ensure a consistent line is issued to press and listeners alike, where necessary.

Other enquiries We also receive numerous media enquiries everyday which might be along the lines of – is a preview of a programme ready? How many panellists have ever been used on Gardeners’ Question Time? What’s the longest running radio programme in the world? How many books/plays do you broadcast a year? How much did you spend on dramas made by indies in Wales in the first six months of 2011 compared with this year? etc.

And finally… Due to limited resources, not every programme can be publicised proactively. There is a strict system of prioritisation in place, agreed in conjunction with the network.

If you have any enquiries, please e-mail the team on [email protected] or contact them on the numbers below.

PI (Programme Information) PI is a summary of a programme – 150 words maximum – which the Radio 4 Publicity team pull together from Programme Descriptions in Proteus (see p.5). Please ensure all details in the Programme Descriptions – facts, figures, spellings, etc. – are accurate.

PI is collated on the Monday three weeks before the week of tx (e.g. if your programme is scheduled for September 26th, complied Programme Descriptions will need to be available in Proteus on September 3rd).

Not every programme will be picked up in PI; the focus lies on new programmes, new series, returning series and the Controller’s priority programmes. PI goes out to feature editors and writers, radio writers and numerous other journalists, who use it to see what highlights are coming up and what news lines and programmes they might prioritise on their radio pages. PI is also posted on the BBC Media Centre, which is accessed by an extremely broad range of journalists.

BBC Radio Previews website The BBC Previews site is a platform for journalists to preview BBC programmes ahead of their transmission. This service is a business to business resource available to journalists who have registered and applied for access. Once access is approved, the journalist can log in and listen to BBC content and we also notify our previewers about your production through our newsletter.

The Previews team uploads audio to the BBC Radio Previews website. Wherever possible audio should be delivered to the team 3 weeks ahead of TX, direct to the radio previews. At times, rough cuts will be also accepted. Please email [email protected] for guidance.

 Contact Laura Zetterberg, Head of Communications, Radio 4 (Controller & Corporate issues)  tel 07590 306807

31  contact Conor Dwan, Publicist, Radio 4 (Factual) - until 29th July 2015  tel 07714 956797  contact Sophie West, Publicist, Radio 4 (Factual) – from 10th August 2015  tel 07718 117 723  contact Kimberly Williams, Publicist, Radio 4 (Drama, The Archers, Readings)  tel 07889 308 712  contact Harriet Murdoch, Assistant Publicist, Radio 4 (Comedy, Music, 4 Extra)  tel 07885 232 049  email Publicity group email [email protected]

17. ON-AIR PROMOTION

Four weeks before transmission, programmes are selected as Promotional Priorities for the whole network. If you have not submitted a Programme Description five weeks in advance, your programme will not be selected.

If your programme has been selected, a member of the Radio 4 Promotions Team will contact you.

To produce the on-air promotion, a broadcast-quality copy of the programme will be required. Please also bear in mind that programmes which have a complicated music mix under the speech are almost impossible to clip. In these circumstances trails makers will often need a clean speech mix of your programme as well.

Occasionally we may ask you to make a trail with your presenter. If you are recording a trail for us, please do not assume announcers will introduce or back-announce them. Your trail should do the whole job itself, ideally ending with the day and time of TX. This is why we ask you to give us multiple variations of the ending, so that the trail is always current.

Trails must tell the listener clearly and precisely the name and TX details of the programme.

If your presenter is doing a voice piece, he or she really ought to be able to do this within 30 seconds.

Please include the correct network branding in your trail. We work for two excellent organisations: the BBC and Radio 4, both steeped in broadcasting history. Take advantage of this, give your programme a head start and make sure your trail clearly allies the programme to both.

It is essential that producers meet the three week programme delivery requirement (see Delivery) for the Radio 4 Promotions Team to produce the most effective on-air promotion.

 contact Jeremy Evans, Head of Presentation  tel 020 7765 1560  email [email protected]

18. HEALTH & SAFETY

Equal Opportunities and Health and Safety Policies

The BBC is an equal opportunity employer and is also conscious of the need to ensure that all staff and suppliers operate safe and secure working environments. We seek to ensure that all our

32 independent suppliers take seriously their responsibilities with regard to Equal Opportunities and Health & Safety.

The BBC requires that all suppliers comply with all current anti-discrimination legislation (race relations, sex discrimination, equal pay, fair employment and disabled persons employment) and all applicable Health & Safety legislation together with the respective codes of practice related to the legislation.

The Business Affairs team send all new suppliers a Health & Safety questionnaire (which can also be found here: http://www.bbc.co.uk/commissioning/radio/how-we-work/business- requirements.shtml). This must be completed and approved before work on a commission can start. For advice, contact the Legal & Business Affairs team http://www.bbc.co.uk/commissioning/radio/how-we-work/business-requirements.shtml.

For information about BBC safety policy, go to: http://www.bbc-safety.co.uk/

33 19. RADIO 4 CONTACT LIST

For all (non-mobile) numbers please dial 0207 76 followed by the extension number below:

Name Job Title Extension Fax no Room No Management Gwyneth Williams Controller 53836 Gill Carter Assistant to Controller 53836 4028 BH 53822 Denis Nowlan Head of Station Management 54615 Lea Lauvray Management Assistant 53366 Scheduling 07712 Tony Pilgrim Head of Planning & Scheduling 490 484 4028 BH 53822 Amanda Benson Schedule Manager 55485 Elsie Martins Schedules Coordinator 53558 Finance 1st Floor, Githa Weerasinghe Finance Partner 07738 396 368 Brock House Commissioning Mohit Bakaya Commissioning Editor, Factual 52660 Jeremy Howe Commissioning Editor, Drama 54505 Sioned Wiliam Commissioning Editor, Comedy 51870 Tony Phillips Commissioning Editor, Arts 53840 Sara Sund Commissioning Coordinator 51871 Vanessa Morris & Assistants to Tony Phillips 3rd Floor, 020 361 40333 Zone D, Karen Howe (diary queries only) New BH Compliance 55455 / Roger Mahony Editor, Editorial Standards 07736 53822 4028 BH 481218 Audience Insight Peter Zezulka Senior Audience Planner 07718118201 1st Floor, Elizabeth Lane Research Manager 07711016594 Brock Kenny Cunniffe Senior Research Executive 07711349129 House Marketing Richard Culver Brand Marketing Manager 07734966220 122 HWH

Publicity Head of Communications, Radio 4 Laura Zetterberg 07590 306 807 (Controller & Corporate issues) Publicist Sophie West 07718 117 723 (Factual) 1st Floor, Publicist Brock Kimberly Williams 07889 308 712 (Drama, The Archers, Readings) House Assistant Publicist Harriet Murdoch 07885 232 049 (Comedy, Music, 4 Extra) Radio 4 Publicity [email protected] 0203 614 3888 Radio Previews [email protected] Presentation Jeremy Evans Head of Presentation 51560 Moy McGowan Presentation Producer 50592 4045 BH Christine Howard Operations Supervisor 52631 53822

07730 Lee Butterley Media Scheduler 751 880 Interactive Rhian Roberts Editor, Digital 55319 4015 BH 51723 Paula McDonnell Senior Content Producer 51303 Legal and Business Affairs Emma Trevelyan Head of Legal & Business Affairs 0771 2399 509 4th Floor, Lesley Eaton Business Manager 07711 348 751 Brock Chris Hutchinson Business Affairs Executive 07718 423223 House Proteus Support Proteus Support [email protected] 55937 Presentation numbers for broadcast critical issues Duty Producer/ Office Announcer 52822 / 52821

35 APPENDICES

Appendix A: Topicality status

Please check the attached chart for the delivery requirements for each R4 programme.

The deadline for non-topical programmes is three weeks ahead of their transmission date and time. The following guidelines indicate the deadlines for topical programmes and the types of programme which fall into the various categories.

Delivery up to 5 days before Transmission Date/Time (Week Topical programmes)  A programme with ‘week specific’ elements in its content  People-of-the-week chat shows

Delivery up to 1 day (24 hours) before Transmission Date/Time (Day Before Topical programmes)  A programme with a ‘news’ element  Weekly review programmes  Spin-offs linked to live shows  Current repeats linked to live programmes  Investigative journalism programmes  Reflection on current events

Delivery up to 2 hours before Transmission Date/Time (On Day Topical programmes):  A news programme (but not other factual documentary series unless another criterion is met)  Highlights programmes connected to earlier sports or other live event

36 Topicality spreadsheet

NTR = Non Topical (3 weeks) WTR = Week Topical (5 days) DBT = Day Before (24 hours) DAY = On Day Topical (2 hrs) LIV = Live DAY TIME TITLE TOPICALITY STATUS SAT 0032 Book of the Week rpt of Fri 0945 SAT 0543 Prayer for the Day DBT SAT 0545 iPM DBT SAT 0607 Open Country rpt of Thu 1502 Ramblings rpt of Thu 1502 SAT 0632 Farming Today This Week DAY SAT 0902 Saturday Live LIV SAT 1031 Feature NTR SAT 1102 The Week in Westminster DAY Beyond Westminster SAT 1131 FOOC LIV SAT 1204 Money Box LIV SAT 1204 Money Box replacement DBT SAT 1229 Comedy rpt of Fri 1830 SAT 1312 Any Questions? rpt of Fri 2002 DAY (orig is LIV) SAT 1402 Any Answers? LIV SAT 1433 Saturday Drama NTR SAT 1531 Music Documentary rpt of Tue 1130 SAT 1602 Weekend Woman's Hour DBT SAT 1730 The Bottom Line rev rpt of Thu 2030 DBT SAT 1730 iPM DBT SAT 1816 Loose Ends DAY (SOME LIV BY AGREEMENT) SAT 1902 Profile DBT SAT 1902 From Fact to Fiction DAY SAT 1917 Saturday Review DBT SAT 2002 Archive on Four NTR SAT 2102 The Classic Serial rpt of Sun 1502 SAT 2216 Moral Maze rpt of Wed 2002 DBT (orig is LIV) SAT 2216 Debate rpt of Wed 2002 SAT 2302 Quiz rpt of Mon 1502 SAT 2331 Poetry rpt of Sun 1630

DAY TIME TITLE TOPICALITY STATUS SUN 0543 Bells NTR SUN 0545 Profile rpt of Sat 1902 SUN 0606 Something Understood NTR SUN 0635 Living World WTR On Your Farm SUN 0710 Sunday LIV SUN 0754 Radio 4 Appeal NTR SUN 0810 Sunday Worship LIV (SOME DBT BY AGREEMENT) SUN 0850 A Point of View rpt of Fri 2050 SUN 1001 Archers Omnibus WTR SUN 1117 Desert Island Discs WTR SUN 1117 The Reunion NTR SUN 1204 Comedy rpt of Mon1830 SUN 1233 The Food Programme DBT SUN 1331 Feature NTR SUN 1402 Gardeners’ Question Time rpt of Fri 1502 SUN 1445 Feature NTR SUN 1502 Classic Serial NTR SUN 1602 Open Book DBT SUN 1602 Bookclub WTR SUN 1631 Poetry NTR SUN 1702 File on Four rpt of Tue 2002 SUN 1702 Documentary rpt of Tue 2002 SUN 1740 Profile rpt of Sat 1902 From Fact to Fiction rpt of Sat 1902 SUN 1815 Pick of the Week DBT SUN 1903 The Archers WTR SUN 1916 Comedy NTR SUN 1945 Reading NTR SUN 2002 Feedback rpt of Fri 1630 More or Less rpt of Fri 1630 SUN 2031 Last Word rpt of Fri 1602 DBT (orig is LIV) SUN 2102 Money Box rpt of Sat 1204 DAY (orig is LIV) SUN 2102 Money Box replacement rpt of Sat 1204 SUN 2126 Radio 4 Appeal rpt of Sun 0755 SUN 2130 In Business rpt of Thu 2030 Analysis rpt of Mon 2030 SUN 2302 The Film Programme rpt of Thu 1602 SUN 2331 Something Understood rpt of Sun 0605

DAY TIME TITLE TOPICALITY STATUS MON 0017 Thinking Allowed DBT (orig is LIV) MON 0045 Bells rpt of Sun 0543 MON 0543 Prayer for the Day DBT MON 0545 Farming Today DBT (SOME LIV BY AGREEMENT) MON 0902 Start the Week LIV MON 0945 Book of the Week WTR FM MON 0945 Daily Service LIV LW MON 1002 Woman's Hour LIV MON 1045 15 Minute Drama NTR MON 1102 Feature NTR MON 1131 Comedy Narrative NTR MON 1204 You & Yours LIV MON 1345 Narrative History NTR MON 1402 The Archers rpt of Sun 1902 MON 1416 Afternoon Drama NTR MON 1502 Quiz NTR MON 1531 The Food Programme rev rpt of Sun DBT 1230 MON 1602 Popular Arts NTR MON 1631 Beyond Belief DBT Digital Human MON 1631 The Infinite Monkey Cage DAY

MON 1831 Comedy NTR MON 1902:30 The Archers WTR MON 1915:30 Front Row LIV (SOME DAY BY AGREEMENT) MON 1945 15 Minute Drama rpt of 1045 MON 2002 Documentary NTR MON 2031 Crossing Continents rpt of Thu 1102 MON 2031 Analysis DAY MON 2102 Shared Planet rpt of Tue 1102 Nature rpt of Tue 1102 MON 2131 Start the Week rev rpt of 0902 DAY (orig is Live) MON 2246 Book At Bedtime NTR MON 2302 Word of Mouth rpt of Tue 1602 MON 2331 TIP DAY

DAY TIME TITLE TOPICALITY STATUS TUE 0032 Book of the Week rpt of Mon 0945 TUE 0543 Prayer for the Day DBT TUE 0545 Farming Today DBT (SOME LIV BY AGREEMENT) TUE 0902 The Life Scientific DBT The Long View TUE 0930 One-to-One NTR TUE 0945 Book of the Week WTR FM TUE 0945 Daily Service LIV LW TUE 1002 Woman's Hour LIV TUE 1045 15 Minute Drama NTR TUE 1102 Shared Planet WTR TUE 1102 Nature NTR TUE 1131 Music Documentary NTR TUE 1204 You & Yours LIV TUE 1345 Narrative History NTR TUE 1402 The Archers rpt of Mon 1902 TUE 1416 Afternoon Drama NTR TUE 1502 Making History DBT

TUE 1502 The Kitchen Cabinet DBT TUE 1531 Costing the Earth WTR TUE 1531 The Philosopher’s Arms DAY TUE 1531 Mastertapes NTR TUE 1602 Word of Mouth DAY Law in Action TUE 1631 A Good Read NTR Great Lives TUE 1831 Comedy NTR TUE 1902:30 The Archers WTR TUE 1915:30 Front Row LIV (SOME DAY BY AGREEMENT) TUE 1945 15 Minute Drama rpt of 1045 TUE 2002 File On Four DAY TUE 2002 Documentary NTR TUE 2040 In Touch DAY TUE 2102 Inside Health DAY All In The Mind TUE 2102 Other Science NTR TUE 2131 Interview rpt of 0902 TUE 2246 Book At Bedtime NTR TUE 2302 Comedy NTR TUE 2302 The Infinite Monkey Cage rpt of Mon 1630

40 DAY TIME TITLE TOPICALITY STATUS TUE 2331 TIP DAY

DAY TIME TITLE TOPICALITY STATUS WED 0032 Book of the Week rpt of Tue 0945 WED 0543 Prayer for the Day DBT WED 0545 Farming Today DBT (SOME LIV BY AGREEMENT) WED 0902 Midweek LIV WED 0945 Book of the Week WTR FM WED 0945 Daily Service LIV LW WED 1002 Woman's Hour LIV WED 1045 15 Minute Drama NTR WED 1102 Feature NTR WED 1131 Comedy Narrative NTR WED 1204 You & Yours LIV WED 1345 Narrative History NTR WED 1402 The Archers rpt of Tue 1902 WED 1416 Afternoon Drama NTR WED 1502 Money Box Live LIV WED 1531 Inside Health rpt of Tue 2102 All In The Mind rpt of Tue 2102 WED 1602 Thinking Allowed LIV WED 1631 The Media Show LIV WED 1831 Comedy NTR WED 1902:30 The Archers WTR WED 1915:30 Front Row LIV (SOME DAY BY AGREEMENT) WED 1945 15 Minute Drama rpt of 1045 WED 2002 Moral Maze LIV WED 2002 Debate WTR WED 2045 Four Thought NTR Lent Talks WED 2102 Frontiers WTR WED 2102 Costing the Earth rpt of Tue 1530 WED 2131 Midweek rev rpt of 0902 DAY (orig is Live) WED 2246 Book At Bedtime NTR WED 2302 Comedy NTR WED 2316 Comedy NTR WED 2332 TIP DAY

DAY TIME TITLE TOPICALITY STATUS THU 0032 Book of the Week rpt of Wed 0945 THU 0543 Prayer for the Day DBT THU 0545 Farming Today DBT (SOME LIV BY AGREEMENT) THU 0902 In Our Time LIV (SOME DBT BY AGREEMENT) THU 0945 Book of the Week WTR FM THU 0945 Daily Service LIV LW THU 1002 Woman's Hour LIV THU 1045 15 Minute Drama NTR THU 1102 FOOC LIV (SOME DBT BY AGREEMENT) THU 1102 Crossing Continents DBT THU 1131 Feature NTR THU 1204 You & Yours LIV THU 1345 Narrative History NTR THU 1402 The Archers rpt of Wed 1902 THU 1416 Afternoon Drama NTR THU 1502 Open Country DBT THU 1502 Ramblings WTR THU 1526:30 Radio 4 Appeal rpt of Sun 0755 & 2126 THU 1531 Open Book rpt of Sun 1602 Book Club rpt of Sun 1602 THU 1602 The Film Programme DAY THU 1631 Inside Science DAY THU 1831 Comedy NTR THU 1902:30 The Archers WTR THU 1915:30 Front Row LIV (SOME DAY BY AGREEMENT) THU 1945 15 Minute Drama rpt of 1045 THU 2002 The Report DAY THU 2002 Law in Action rpt of Tue 1602 THU 2031 In Business DAY THU 2031 The Bottom Line DAY THU 2102 Inside Science rpt of 1631 THU 2131 In Our Time rev rpt of 0902 DAY (orig is Live) THU 2246 Book At Bedtime NTR THU 2302 Comedy NTR (SOME DAY BY AGREEMENT) THU 2331 TIP DAY

DAY TIME TITLE TOPICALITY STATUS FRI 0032 Book of the Week rpt of Thu 0945 FRI 0543 Prayer for the Day DBT FRI 0545 Farming Today DBT (SOME LIV BY AGREEMENT) FRI 0902 Desert Island Discs rpt of Sun 1115 The Reunion rpt of Sun 1115 FRI 0945 Book of the Week WTR FM FRI 0945 Act of Worship LIV LW FRI 1002 Woman's Hour LIV FRI 1045 15 Minute Drama NTR FRI 1102 Feature NTR FRI 1131 Comedy NTR FRI 1204 You & Yours LIV FRI 1345 Narrative History NTR FRI 1402 The Archers rpt of Thu 1902 FRI 1416 Afternoon Drama NTR FRI 1502 Gardeners’ Question Time DBT

FRI 1545 Reading NTR FRI 1602 Last Word LIV FRI 1631 Feedback DAY More or Less FRI 1831 Comedy – Satire DAY FRI 1902:30 The Archers WTR FRI 1915:30 Front Row LIV (SOME DAY BY AGREEMENT) FRI 1945 15 Minute Drama rpt of 1045 FRI 2002 Any Questions? LIV FRI 2050 A Point of View DAY FRI 2102 Friday Drama NTR FRI 2102 Narrative History Omnibus NTR FRI 2246 Book At Bedtime NTR FRI 2302 Great Lives rpt of Tue 1630 A Good Read rpt of Tue 1630 FRI 2331 TIP DAY

44 Appendix B: Programme paperwork templates

PROGRAMME AS BROADCAST FORMS

The Value of PasB Information to the BBC

Programme as Broadcast information (PasB) is an essential business requirement for all programmes broadcast by the BBC. A PasB must be completed for all originations & repeats. The information contained in a PasB supports research, re-use, and commercial exploitation of audio material.

PasB information is stored in Proteus for Radio productions. PasBs not created in Proteus can be sent to I&A Production Intake for archiving.

Listed below are the reasons PasB information is a vital element of the production process:

Cataloguing

 When audio is selected for archiving the PasB information is the primary source of cataloguing information on INFAX. Without it, it is very difficult to produce a comprehensive cataloguing entry, making research and re-use of the material difficult if not impossible.  This is particularly important given the BBC’s commitment to making archival content available to the public through the iPlayer. The public will use the metadata you provide to search & access content.

Evidence

 The PasB is the primary record of the content of programmes. It is the ‘evidence’ of each programme the BBC has broadcast, and the relevant rights & agreements it has reached to do so.

 PasB information is classified by the BBC as a ‘core record’. All PasBs are kept permanently by I&A on behalf of the BBC.  PasBs are an historical record of the format and content of programmes. They are an indication of the ‘look and feel’ of a network.

 All output on all BBC network radio is archived for 90 days by the Control Room to meet legal requirements. Should a legal case be brought on any of these programmes, the PasB may be required as evidence of: o Copyright material used o Agreements for payment with contributors to the programme o The production team responsible for each programme

Exploitation of Audio Material

 BBC Worldwide find it extremely difficult, if not impossible, to exploit audio material when there is no supporting PasB rights information.

 In the context of the financial constraints imposed by the licence fee settlement, there will undoubtedly be a need to repeat more programmes/re-use content. PasB information will be vital to support the re-use of programme material.

45 HOW TO COMPLETE A PasB FORM

Programme Title: Full name of the programme as billed in the Radio Times etc.

Programme number: As provided by BBC Commissioning.

Service: Network on which the programme was made to TX

Platform: e.g. FM, LW

Week: BBC week during which the programme TX’d

Day: Day the programme TX’d.

Date: Date of TX

Start/Finish: Time of TX e.g. 19:30 – 20.00 (use 24 hr clock)

Stereo: Y or N

Pre – Record: Y or N

Pre – Record Date: Date recording made, if applicable. Otherwise leave blank.

Tx Slot: Length of the commissioned programme, e.g. 28’30.

Recording number: This has a prefix e.g. PLN (for London) followed by a digit for the year e.g. 2 for 2012 & the BBC week no. This is followed by a forward slash / & then the programme number minus the last 3 characters. It should look like this: PLN201/124AHK2026

Duration: Actual length of the recorded programme, e.g. 28’07.

Music Used: Y or N. Please note you must complete a Music Reporting form for the programme even if no music was used.

Producer: Name of the producer/s who made the programme

Address: Name and address of independent company / BBC department

PABX: Contact details for the Producer: office / mobile number

Running Order Description: Description of the programme content. This must describe what the programme is about, and list ALL contributors and their roles. It must also include details of ALL copyright material used, including BBC archive, bought in material, or material where no fee is required.

If the programme is a magazine programme or a sketch show, then each running order item should be recorded separately. Include the contributors and details of any music used for each item in the running order. Programmes such as Dramas and Documentaries can be reported as one running order item. However, all contributors, copyright material and music used should be recorded on the PasB.

Do not include any financial or personal details (e.g. home address and phone numbers) in the PasB.

46 Production details form – used for P as B report.

PASR PASR BILLING PASB ISSUE DATE 2 3 4 5

PRODUCTION NO TX DETAILS SERVI CE W/B WEEK DAY DATE START/FINISH 6 ORIGINATION 7 R 8 REPEAT R 9 10 R

STEREO PRE- PRE-REC TX SLOT FINAL TAPE NUMBER TAPE DUR R.O.T. MUSIC REC DATE USED 11 12 13 14 15 16 18

PRODUCER ADDRESS PABX

START TIME PROGRAMME TITLE AND RUNNING ORDER INSERT INSERT DUR TAPE NO

47 Production Details (Continuation sheet)

Programme Title: Production Number: TX Date: Sheet of

Insert Tape No: Insert Dur:

48 *SAMPLE* Production details form – used for P as B report.

Production details form – used for P as B report.

PASR PASR BILLING PASB ISSUE DATE 2 3 4 5 07/01/2012

PRODUCTION NO TX DETAILS SERVI CE W/B WEEK DAY DATE START/FINISH 6 ORIGINATION 7 R 02 SATURD 07/01/ 10:00 - 10:30 AY 12 8 REPEAT R 9 10 R

STEREO PRE- PRE-REC TX SLOT FINAL TAPE NUMBER TAPE DUR R.O.T. MUSIC REC DATE USED 11 Y 1 Y 1 29/12 14 15 PLN202/124AHK2026 16 28:14 18 2 3 /2011

PRODUCER WILLIAM O'HARE ADDRESS POPULAR FRONT PRODUCTIONS, 15 PABX O208 7641316 CASTLE STREET, TOOTING, LONDON SW17 2LA

START TIME PROGRAMME TITLE AND RUNNING ORDER INSERT INSERT DUR TAPE NO Brave New World

Presented by Quentin Cooper

Produced by William O’Hare

Sig. tune - 2001 Space Odyssey- Also Sprach Zarathrusta. 0:22 City of Prague Orchestra, from the album 2001: Music from the Films of Stanley Kubrick, Silver America

Ice on Mars - interview 05:48 Dr Joshua Bandfield discusses a new spectrometer fixed to the orbiting Mars Odyssey spacecraft that measures

gamma rays coming from a planet to detect different

materials. Initial data has shown up to half of the surface of Mars may contain ice.

Dr Joshua Bandfield, Professor of Earth & Space Science, University of Washington.

Detox Dangers – Discussion 07:49

The current popularity of detox diets which recommend

drinking many litres of water a day, and drinking even when not thirsty, could cause problems if taken to extremes. Discussion on the benefits & dangers of detox diets.

Ursula Arens, dietician, British Dietetic Association Professor Graham MacGregor, Professor of Cardiology, St George's Hospital, London.

Arctic Oil Reserves - Package 04:36

The Arctic is estimated to hold 90bn barrels of untapped oil and three times as much natural gas according to figures from the US Geological Survey (USGS). Janine Jones weighs up the potential benefits of extracting this massive resource against the perceived threat to the environment and wildlife.

Janine Jones Producer & presenting own factual script 00:47 Archive clip Material World 10/06/2010 Recording No. PLN023/10QM0236

00:20 Music – Staral Fur. Sigur Ross from the album Agaetis Byrjun, Fat Cat

10:01 The Science of Surfing - Interview

Surf Science is the one of the first books to explain waves from a surfer's point of view. It shows how waves are formed, what makes each wave different, why some waves peel nicely and others just close-out, and why, on some days, the waves are weak and gutless and on others are perfect tubes. Caroline talks to Dr. Paul Russell surfer and scientist, and co-author Dr Tony Butt about their new book.

01:06 Features a short extract from the book - read by Dr Tony Butt. Surf Science: An Introduction to Waves for Surfing, published by Alison Hodge Publishers.

Dr Paul Russell, Professor of Coastal Dynamics, University of Plymouth Dr Tony Butt – Research Fellow, University of Plymouth Dr Tony Butt – Reading (non-dramatised) 00:12

– Wipeout, Surfaris , from the album Guitar Heroes, Disky

50 Production Details (Continuation sheet)

Programme Title: Production Number: TX Date: Sheet of

Insert Tape No: Insert Dur:

51 MUSIC REPORTING

YOU MUST SEND A FORM TO THE MUSIC REPORTING UNIT EVEN IF YOUR PROGRAMME HAD NO MUSIC AT ALL.

Background

The BBC negotiates agreements with the music copyright collecting societies which give permission to broadcast music; in return, the BBC is legally required to report to the copyright bodies all music used after transmission.

The Music Reporting Unit (MRU) is the facility that processes the music usage, via a computer system (MRS), to the copyright societies - who then pay the copyright holders.

What you need to do

All music and all commercial recordings of speech and commercial sound effects must be reported, no matter how brief or incidental, within 14 DAYS of transmission. Music in trails/promos, background, live or locally recorded, music picked up on location e.g. crowds, singing in the street - even presenters humming 2 bars of “Happy Birthday” must be reported. Failure to do this will put the BBC in breach of the agreements with the copyright societies.

The details required for music reporting are a) transmission/programme details and b) music details. The music used must be in the order transmitted. Incidental music must not be aggregated - individual timings must be reported. All repeats must be reported.

How do you do it?

Many areas are using electronic links to send music reporting details to the MRU and will not need to send paper. However, if you still need to use paper, please copy and use the music reporting form at the end of this document.

The address of the Music Reporting Unit is: MC4 C4, Media Centre, W12 7TQ.

In house productions should use Proteus to record Music Reporting details or alternatively email the details to Music Reporting-Unit using the templates on pages 54 & 55.

Independent productions should email the details to [email protected], [email protected] and [email protected] using the templates on pages 54 & 55.

52 HOW TO COMPLETE A MUSIC REPORTING FORM

Programme Title: Enter the programme or strand title

Episode Title: If a series, enter the title of the episode.

Episode Number: If a series, enter the number of the series.

Programme/Costing Number. Enter the number which is valid for the programme to be reported.

Transmission Date and Time: Enter the date and time of the programme transmitted.

First Transmission Date: If a repeat, enter the broadcast date of the first transmission.

Programme Type: Enter a letter to represent one the following categories:

Letter Definition Letter Definition A BBC Production E BBC Production Repeat B Independent Production G Co-Production repeat C Co-Production H Acquired Programme repeat D Acquired Programme

Source: For an Independent, Co-Production or Acquired Programme, enter the name of the Company/Co-Producer/programme supplier.

Repeats: Please note that when reporting a repeat, you need to update the Programme/Costing number, Transmission Date and Time, First Transmission Date and Programme Type.

Music Code For each item one code must be entered to show the origin of the performance.

A Music on archive material from the BBC Archives. C Commercial disc, tape, cartridge or compact disc. F BBC Radioplay Collection H Specially composed Radiophonic Workshop material K Commercial recordings published over 50 years ago (not re-pressings) L Live performance (and miming on live programmes for TV) M Publisher Mood music N Non-commercial private tapes P Video use R BBC, or other studio or location recording (not specially composed) 2 2nd or further use of “R” code within 28 days of the 1st transmission T Soundtrack tape (from BBC’s Film Unit or film soundtrack from Programme Acquisitions) U Stock music (e.g. EBU tapes) X Specially composed music, excluding Radiophonic Workshop

53 Additional Codes

S If the music item has been used as a signature tune for your programme. D If an A, C, M or T code (above) has been dubbed (or you it is a pre-recorded programme)

Visual music forms a part of the programme in as much as it appears to be or is audible to those taking part in the programme, e.g. any music sung or played in vision, music which characters in a play can hear even if it comes from a performer or record player not in vision, music heard by people sitting in a cafe even though to those in the programme it would be background music. All actuality music is visual.

Music Title Enter in full the title as shown on the recording or sheet music (if used). Where only a part of a long work is used the overall title of the work, followed by the details of the movement(s) used must be given. When in the course of production, new words are added to a piece of music, or replace the original lyrics, e.g. in a parody, the title of the original music must be given. Permission for the use of a parody must be granted from the publishers before the broadcast.

Composer Enter the surname first, then forename(s). If every effort has been made but no information is available, enter “NFI” (No Further Information). If the item is a traditional piece with no known composer(s), enter “Trad”. Lyricists should be entered in the Composer field. Separate each composer name with a “/”.

Publisher Company names may be shortened by omitting the descriptive detail, e.g. “...Publishing Company Limited”. If an item is unpublished or played from manuscript, enter “MS”. If there is no publisher, enter “NA”. Separate each publisher with an “/”.

Arranger Enter the surname first, and forename(s). If there is no arranger, enter “NA”.

Performer The Performer(s) must be entered, surname first. Separate each performer with “/”. If there are many performers, enter them in order of importance, e.g. Band/Orchestra name first, Conductor, Soloists, etc.

Label This must be completed for all items coded C, F, K, M or P. For commercial recordings it is important to use the label name and not the name of the distribution company. For Radioplay (F code) enter the descriptive title for the code, i.e. BBC Radioplay.

Prefix and Number The number must be completed for all items coded C, F, K, M or P. In the case of commercial recordings, this is the catalogue number and normally appears at the top right hand corner of the back of the CD, or on the spine. Do not confuse this with the barcode number. The Prefix often contains letters and appears before the number. The ISRC number must be entered for video use.

LP Title The title must be entered for all items which have label details.

Track The track number must be entered for all items with label details.

Duration Enter as minutes and seconds using 5 digits, separating the minutes from the seconds with a space, e.g. 003 41.

Total Music Items In Programme Count the individual durations reported and enter them after the four question marks, e.g. ???? 27

MUSIC REPORTING FORM

PROGRAMME TITLE:

EPISODE NAME/SUBTITLE:

EPISODE NUMBER:

PROGRAMME COSTING/IDENT NO.:

TRANSMISSION DATE/TIME: CHANNEL:

FIRST TX DATE (IF REPEAT):

TOTAL PROGRAMME DURATION:

PROGRAMME TYPE: A = BBC Production E = BBC Production Repeat [use one code only] B = Independent Production F = Independent Production C = Co-Production Repeat D = Acquired Programme G = Co-Production Repeat H = Acquired Programme Repeat

SOURCE: For INDEPENDENT or ACQUIRED PROGRAMMES or any CO-PRODUCTIONS, give name of Independent company/purchased programme supplier/Co-producer here:

PRODUCER/DIRECTOR(BBC Production):

ROOM NO: EXT: DEPARTMENT:[or commissioning department]

IF NO MUSIC TICK BOX

Distribution :

Music Reporting Unit MC4 C4, Media Centre, W12 7TQ WITHIN 14 DAYS AFTER TRANSMISSION

Production Intake 390 Drama Building, White City (Music Reporting and P as B) WITHIN 14 DAYS AFTER TRANSMISSION

MUSIC REPORTING FORM PROGRAMME NUMBER TOTAL MUSIC ITEMS IN PROGRAMME SHEET OF ??? ?

CODE(S): TITLE:

COMPOSER: PUBLISHER:

ARRANGER: LABEL: PREFIX = = NUMBER PERFORMER(S):

LP TITLE: SIDE, BAND:

DURATION(S) :

CODE(S): TITLE:

COMPOSER: PUBLISHER:

ARRANGER: LABEL: PREFIX = = NUMBER PERFORMER(S):

LP TITLE: SIDE, BAND:

DURATION(S) :

CODE(S): TITLE:

COMPOSER: PUBLISHER:

ARRANGER: LABEL: PREFIX = = NUMBER PERFORMER(S):

LP TITLE: SIDE, BAND:

DURATION(S) :

CODE(S): TITLE:

COMPOSER: PUBLISHER:

ARRANGER: LABEL: PREFIX = = NUMBER PERFORMER(S):

LP TITLE: SIDE, BAND:

DURATION(S) :

*SAMPLE* MUSIC REPORTING FORM

PROGRAMME TITLE: Brave New World

EPISODE NAME/SUBTITLE: n/a

EPISODE NUMBER: 1

PROGRAMME COSTING/IDENT NO: 124AHK2026LHO

TRANSMISSION DATE/TIME: 07/01/2012 10.00

FIRST TX DATE (IF REPEAT):

TOTAL PROGRAMME DURATION: 28:14

PROGRAMME TYPE: B [use one code only]

SOURCE: For INDEPENDENT or ACQUIRED PROGRAMMES or any CO-PRODUCTIONS, give name of Independent company/purchased programme supplier/Co-producer here: Popular Front Productions Popular Front Productions 14 Castle Street Tooting London SW17 2LA

PRODUCER/DIRECTOR: William O’Hare

ROOM NO: EXT: 0207 764 1316 DEPARTMENT: INDEPENDENT COMPANY

IF NO MUSIC TICK BOX

*SAMPLE* MUSIC REPORTING FORM PROGRAMME NUMBER TOTAL MUSIC ITEMS IN PROGRAMME SHEET OF 08WB0590 3 1 1

CODE(S): C TITLE: 2001 SPACE ODYSSEY – ALSO SPRACH ZARATHRUSTA

COMPOSER: RICHARD STRAUSS PUBLISHER: PETERS

ARRANGER: LABEL: Silva America PREFIX = B000/7KTBCG = NUMBER PERFORMER(S): City of Prague Philharmonic Orchestra

LP TITLE: 2001: MUSIC FROM THE FILMS OF STANLEY KUBRICK SIDE, BAND: 1/1

DURATION(S) 00::22 :

CODE(S): C TITLE: STARAL FUR

COMPOSER: SVEINSSON KJARTAN/ BIRGISSON JON THOR/ PUBLISHER: UNIVERSAL MUSIC PUBLISHING HOLM GEORG/ GUNNARSSON AGUST AEVAR ARRANGER: LABEL: Fat Cat PREFIX = FATCD/011 = NUMBER PERFORMER(S): SIGUR ROS

LP TITLE: Agaetis Byrjun SIDE, BAND: 1/3

DURATION(S) 00:20 :

CODE(S): C TITLE: WIPEOUT

COMPOSER: WILSON/FULLER/BERRYHILL/CONNOLY PUBLISHER: AMBASSADOR

ARRANGER: n/a LABEL: Disky PREFIX = CD/880192 = NUMBER PERFORMER(S): SURFARIS

LP TITLE: GUITAR HEROES SIDE, BAND: 1/11

DURATION(S) 00:22 :

Presentation Details

Title: CD/Tape No: Subtitle: Studio/OB Venue (if live): Date & Time of Tx: Rpt Date & Time of Tx: Contact phone number at Time of TX

Origination: …………………………………. Repeat: …………………………………..

Opening Announcement [from Continuity]

In: Out: Dur:

Closing Announcement [from Continuity]

Pronunciations [approved modified spellings supplied by Pronunciation Unit Tel: 020 8008 2277]

Technical and Presentation Advice

BA: Office Tel No/Ext: Name of Producer: Date of Issue:

59 GUIDELINES FOR ON-AIR DIGITAL LANGUAGE

Awareness of what’s available on the Radio 4 website and the iPlayer Radio app remains low amongst our listening audience. The most effective way to raise awareness and tell listeners what’s online is by talking about the website in a comfortable way during your programme. Often. Additional details read by the presentation team in junctions are useful but shouldn’t be relied upon. Some listeners might have ‘tuned out’ to what your programme’s about by then so pres dets should not be relied upon to push website content and if you use them they must be attention grabbing and highly specific with only one call to action. What follows are some ‘Golden Rules’ for on-air mentions about website content and some good and bad examples. If you have questions, please ask Rhian Roberts in the Multiplatform Team or Jeremy Evans in presentation about ‘house style’.

GOLDEN RULES

Don’t tell people to listen to what they’ve just heard  Never use the phrase ‘listen again’  Sell the podcast offer; don’t just tell listeners that the programme they’ve just heard is available to download

Be specific  The words ‘clip’, ‘blog’, ‘gallery’ etc mean little to most of our audience. If there’s additional material on the website, tell the audience exactly what it is.  Remind listeners that they can hear the brilliant bit from last week’s/yesterday’s show online. Most won’t have heard it.

Make it easy to find  We no longer have to tell people to find specific programme pages “via the Radio 4 website”. Instead you should use the most logical call to action, i.e. “Go to the Woman’s Hour website” or “search for Front Row”.

Think about audience behaviour  More listeners are accessing Radio 4 online via tablets and mobiles. Remind people about the ease with which they can download a podcast in the iPlayer Radio app etc

60 ACCEPTABLE LANGUAGE

Podcasts The P-word is no longer banned iPlayer Radio Encourage downloads and usage of the iPlayer Radio app

The Archers website etc Our programme pages perform very well in search engines. It’s easier for people to find the page they want rather going via the Radio 4 homepage, especially as the experience is different on desktop, mobile and tablet.

Search online for… If your content is easily findable it is fine to tell people to find it via search.

EXAMPLES GOOD BAD If you missed our interview with Joe Blogs You can hear clips from this programme yesterday you can hear it on name of on the Radio 4 website Programme website.

You can catch up with all of the series so Listen again to series on the Radio 4 far. Search for ‘name of programme’ online website. or in the iPlayer Radio app.

Chris Watson has written about the To read the Tweet of the Day blog go to challenges of recoding the bearded tit on the Radio 4 website. the Radio 4 blog. Just search for ‘Radio 4 blog’.

“You can hear more of my interview with “To hear a longer clip of our Janelle Monae Janelle Monae in which the singer talks interview visit the Woman’s Hour website.” about the challenges of facing women in the music industry, on the Woman’s Hour website. Simply search for ‘Woman’s Hour’.”

There’s an amazing photo of a panda Go to the Radio 4 website to our photo dressed as a clown on the Inside Science gallery website

”There are dozens more editions of In Our You can download this and previous Time about the Renaissance available editions of In our Time via the Radio 4 online. Search website