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RADIO WORKSHOP
Assessment (this is in a pdf on AG) Theory and bibliography
- Continuous evaluation: 50% (passing score: 5)
- Group projects: 70%.
- Mid-term test 3 March & individual projects (analyses): 30%
- (^) Final exam; 50% (passing score: 5) Practical training and exercises + Andrea Morán Ferrés Emails:
1. RADIO BROADCASTING: THE BASICS
1.1. DEFINITION AND CHARACTERIZATION OF THE MEDIUM
(McLeish, chapter 1)
- (Almost) universal medium of communication
- "Ordinary"?
- Aural medium: adapt the "formal written language"; rediscover oral traditions. We can communicate more things with the voice that with the written word (i.e. feelings)
- Advantage: the sound of human voice trust
- Coexistence with other media strengths and weaknesses
Radio is one of the cultural industries. Main characteristics:
- Radio makes pictures
- "Blind medium" that can (and must) stimulate the imagination
- No limitations (size, extent)
- Imagery (el imaginario)
- Radio speaks to millions and to the individual
- Radio is one of the so called mass media (broadcasting = wide scattering)
- But at the same time is also person-to-person because is a very personal medium (the presenter speaks directly to the listeners)
- The broadcaster should therefore use radio as a means of talking directly to the individual, multiplied tens of thousands, perhaps millions, of times.
- Speed and simplicity
- Radio is what's happening "now"; is "live"
- Immediacy, mobility, simplicity
- Flexibility (non-professional + sudden changes)
- Radio has no boundaries
- From a technical point of view, there are no limits
- Spectrum (regulation) vs. Internet. Spectrum regulation avoids that a listener can listen a radio broadcasting from France, for example. Technically, we could listen radio from every part of the world but it is regulated to avoid interferences.
- Transient nature
- Ephemeral medium
- Listener must not only hear the programme at the time of its broadcasting but must also understand it then
- There is no second chance: clarity is key
- Radio as a background
- Less demanding that other media, often used as background
- Radio suffers from its own generosity: is easily interruptible
- Company vs. Commitment
- Radio is selective
- Such selection takes part essentially previously, before broadcasting (linear medium). Radio and television comes to us as a flow.
- Limited choice for the listener (switch-off)
- Localness
- Local radio gives a sense of being truly local
- Low cost
- Capital costs, running expenses
- Also cheap for the listener
- More difficult obtaining a frequency than funding the set up of a radio
- Radio can (and should) surprise
- May change our mood and take us "out of ourselves"
why does tout voice sound different...? blabla, Greg Froot (?)
UPLOADED, CHECK IT - shows how to use Audacity
Skywaves vs. groundwaves (ondas terrestres o de superficie vs. ondas reflejadas o ionodféricas)
spacewaves (satellite)
(Explained in McLeish)
1.3. THE LANGUAGE OF RADIO (Ferrington)
Introduction
Society has increasingly relied on images created by others to give form and definition to the world in which we all live.
Rediscover the power of human imagination.
- Explore the concept of the "theatres of the mind"
- Understand the design factors which need to be considered in the creation of audio works for the ear.
What's the essence of human imagination?
Hearing is not the same as listening
The goal of good audio design is to effectively engage the listener in active and attentive listening participation
For designing audio: voice, music, sound effects and silence.
The nature of radio and audio design
Radio (audio) is a participatory medium which actively engages the listener in the on- going processing of aural information.
Audio design is the process of creating meaning through the use of aural imagery.
The audio designer recognizes the limits of the medium and strives to engage interaction between the sound stimulus and the listener's interpretative ability which is multisensory.
Each individual fills-in details beyond the limited audio information provided.
The theatre of the mind
Example of _The Artist._
The power of silent film as "mute" medium.
Generate the missing "visual" details within the scene.
Radio lacks the multi-channel characteristics of other audiovisual media relying only on the elements of the sound and silence. This "blindness" is both the weakness and strength of the medium (Arnheim; Radio: the art of sound - 1936). An effectively designed audio work may facilitate the listener's integration of life-based experiences into a 'movie' created within the 'theater of the mind'. Each individual becomes his or her own movie director.
Good audio production design can expand human experience throughout the multi- sensory image building capability of the mind.
The language of radio: The elements of audio design
Storytelling is the art of oral communication and is integral to the design of effective audio. Effective design begin with a well written script.
Scripting begins with understanding the effective use of words. And spoken words are framed and accompanied by music. In addition to music, sound ____
Words (voice)
Talk is almost always described as the "primary code". But it is not simply a matter of the words themselves which are being spoken: words are provided by a particular voice. Words, as used in audio, are written to be spoken and have paralinguistic characteristics which the designer must consider:
- The tone of the voice, vocal emphasis, pacing, and regional accent, all have an effect on listener perception.
- Continuity from spoken narrative.
The spoken word is more effective when approximates that of daily speech compared to that of being read aloud from a printed page (pre-scripted performed ≠ theatrical; delivery should sound natural ).
Music
Used as a void, creates the impression that something may have gone wrong. On the other hand it may facilitate a listener's ability to imagine completion of an action that, for one reason or another, cannot be represented through sound. The silent pause will suggest that a transaction has taken place between 2 individuals.
Don't underestimate the value of silence.
1.4. WRITING AND READING FOR THE EAR (McLeish; Chantler &
Stewart)
Introduction
[Not assessed in the exam, but during the recordings. - Uploaded to AG]
Writing words to be heard by the ear ≠ words to be read by the eye layout of sentences, their order and construction must be totally clear and unambiguous at their first hearing.
Today basic rules after some general considerations:
- The listener comes first: Avoid talking about your listener but to the listener.
- The aim must be clear: Grab the attention in the first sentence, tell something in the second.
- Write conversational language: It is about the storage of talk.
- Presentation is about reading a script properly: Reading, presenting, is the art of retrieving talk out of storage.
The idea is that:
- Writing for radio is not writing to be read but to be spoken and heard.
- If we want people to listen, we have to make programmes listenable-to.
- So, the key to radio scriptwriters is to write in a way that sounds natural when spoken.
Writing for the ear: the basics
- Simple thoughts simply expressed:
- Simple and short words and sentences
- Logic structure and order of ideas
- Reiteration
- Pictures and stories
Simplicity
- Know what you want to say (a)
- Express it simply (b)
- Use short sentences and short words
- Follow the basic sentence structure S-V-O
- But avoid telegraphic writing ("joining words")
- Express it logically
- Ideas must be in the right order (cause-effect)
- One idea per sentence which logically links into the next sentence
Aim to be simple but avoid being simplistic.
(a) The ability of some people to die more than once is illustrated in this headline: A suicide bomber has struck again in Jerusalem.
The afterlife seems to exist according to this writer: Sixty women have come forward to claim they have been assaulted by a dead gynecologist.
(b) With what his political opponents called a leap in the dark, the Prime Minister today committed Britain to a European daylight saving regime. Whose political opponents? Who are the political opponents? What leap in the dark?
Instead of Jim, who is about to leave school, where he’s been for five years, which included a time as head boy, is looking for a job → Jim has been at school for five years. This included a time as head boy. He’s now about to leave and is looking for a job.
Reiteration
- Importance of repeating main ideas (radio is ephemeral). Clarity!
- Reiteration ≠ simple repetition
- Avoid using the same words twice.
The hurricane swept across the Florida coastline at midday, bringing 120 miles an hour wind. By the evening the hurricane will be well inland.
It sounds better if the second "hurricane" is replaced by storm.
- Take it into consideration at the ending of your talk.
You must match your strong opening with a memorable ending: give the listener something to hold on.
9.8% → nearly 10% €50 → 50 Euros 400,000 → 4 hundred thousand
- As regards news (feature stories ≠ news stories)
- Don't describe news as good, bad, shocking or horrendous. Tell the story and let the listener decide.
- Never start a news report with a question.
- Keep adjectives to a minimum and use them only when they give additional info.
- Facts must be preserved
- Quotation marks should be avoided.
- (^) Read Basic "Radio Journalism", chapter 4.
STRUCTURE
A way of producing news. Headlines with/without examples.
- Intro (program, date, presenter,...)
- Story 1 + 1 clip (expert, witness, whatever)
- Story 2 + 2 clip
- ...
After the headlines (2 min more or less) the presenter explains in detail the news.
__
_
SEGUIR COPIANDO DE LAS SLIDES GUARDADAS
5 tips radio theintern.co.uk by trevor nelson (video youtube) "how to make it" ¿?
2. PRODUCTION, BROADCASTING AND RECORDING. - Definitions
and techniques. The Script (AG). The making of a programme (McLeish)
Definitions
Radio production
(Broadcasting, recording, editing)
Radio production
Is the action of making radio from component or raw materials, but also the process of being so made. So, it is a process that involves a set of activities aiming to create, design and elaborate a radio outcome (from programmes to formats). This is a creative process whose starting point is the theoretical and technical knowledge of radio possibilities.
Radio production phases are: conception, selection, design, and making. Or, in other words, pre-production, (actual) production, post-production.
Complex process, many roles.
Involves more than just recording and mixing.
- McLeish dedicates a whole chapter to the producer. Very important, powerful, knows people, lot of knowledge blabla... *
- Pre-production
- Creation
- Resource planning
- Preparation of the material (script!)
- Production (recording/broadcasting)
- The studio session and/or outside broadcasts (remotes)
- Ending the production
- Post-production
Techniques
Techniques recording/broadcasting
- Sense of space, sense of time and place. The communicative capacity of radio
- Point of listening, listening zone. Audio design
- Possibilities of combining sounds. Fade in/out, crossfade...
To really communicate, radio must create a sense of space through place and time. So before considering the different techniques there are to create time and place in radio, it is important to remember the concepts of: communicative capacity of radio and effective audio design.
1. Communicative capacity
In Spain we usually make a difference between what we call a literary/narrative vs. technical script and an American vs. European-style script.
Examples and tips in AG.
A good script should include for each element:
- Name or identifier of sounds and place where they will be found
- Duration
- Fade information (in or out... techniques!)
- (Start/End time)
It is very important to be consistent in using the same catch-lines for a particular piece of audio, both on the play out computer and the running order/script.
Cue sheet (Escaleta)
Simple and schematic (usually technical) script.
"Contemporary/alternative" to the regular script; "summarized"
Refer to a specific programme. Lists all the items and the times at which they will appear.
Running order (Pauta)
A running order is a detailed list of items and the times/sections at which they usually appear in a programme.
Many programmes have a running order template that makes it easier to construct everyday broadcasting: the producer puts in the times and duration of fixed items (news bulletin, ad breaks) and then fills the gaps with programme items (interviews, music, etc.)
Previous to the script; structure; summary of content
CONTROL STUDIO "IntroSong" PC, FADE IN M1: Opening "Clip" PC (15") M2: News story 1
"Ceasefire fails in Ukraine /.../ xxx" "NewSong" PC M3: "And now we move on to /.../ of the attack" "NewSong" PC M4 : "xxxxx /.../ xxxx" "IntroSong" PC, FADE M5: Goodbye
Script layout
- Prepare your material so that the path between your eyes, brain and mouth remains clear:
- Type or write it out clearly. Use and easy-to-read font in a large size.
- When possible write hard-to-pronounce words phonetically in brackets. ()
- Write names or figures in full
- Leave wide margins to that there is room to write notes
- Also double space all copies for easy reading and to have space to write in any corrections
- Type on one side of the page only
- Number the pages clearly
- End each page on a full top so that when you move from one page to the nets, you and do so with natural pause. Never break a sentence at the bottom of a page!
- Exaggerate where the paragraph begins by spacing
- DON'T WRITE THE SCRIPTS IN UPPER CASE. This makes more difficult to see when a new sentence begins.
- Use clear punctuation. Less punctuation is better.
Delivery
- Mark your copy to guide your delivery: if you want a word emphasized,
- underline it. Also, put slash marks after the sentenced where pauses are required.
- Lay it out on one side of the paper so that you don't make unnecessary noise when turning pages
- Make sure you have the whole script, check that the pages are in the right order, the right way up, and remove any samples or paper clips.
3. RADIO PROGRAMMING
3.1. Genres,...____
Preparation of a radio programme
March 17 (upload 21/3). Produce drama (6/8 min).
- Produce to record during the practical session (write the script, select necessary sound effect and music... )
- You are free to choose a topic of interest to you.
- Upload and publish the piece in your blog attaching the script.
Introduction
Three levels of formats:
- Station formats (3)
- Programme formats (1)*
- Programme components (genres) (2)*
Interconnected with concepts of:
- Type of station (4) --- i.e.: commercial/non-commercial
- Way of programming /scheduling (5)
(*) today
--David Hendy, definition of format-
What's a format?
Formats multiple definitions (Hendy's):
- devices to enable radio stations to deliver to advertisers a measured and defined group of consumers.
- means of institutionalizing standardization and predictability.
Producing a format implies creating templates for each individual programme, setting boundaries of an entire station and programming to fit them into regularized patterns of scheduling across each day and week programme formats, station formats and scheduling.
- connected, shaped by each other
1) Programmes & formats
Programme formats: "free" vs. closed
I. The clock format repetitive structure: the programme "clock", or programme "pizza" or programme "wheel".
- "Template"; its content will vary from one edition to the next but the structure and style will essentially be the same.
- Identity and familiarity.
- Structure is build by running order based on a clock format; fixed points! [formula programming]
II. "Free" format (though sections) ≠ anarchy
- Types of programmes. Classifications:
- According to functions (Merayo): informative, entertaining, cultural, educational...
- Depending commonest types: Fleming/UK, phone-in and sports programmes; McLeish/Spain, magazines
- Magazine: often daily (lengthy), design with a specific audience in mind and tightly structure, with the emphasis on certain content and presentation - Main challenge: balance between consistency and variety (structure + newness); programme title, signature tune, transmission time, presenter, linking styles key elements - Content: programme construction (structure) & programme variety (overall style + item treatment + item order) Right mix.
Magazines in Spain offers information and information (mainly).
Omnibus, people jumping in and out, people only listening radio only in the car. Other type of audience is who works with radio as background so you need to offer variety.
2) Genre
DESUPÚES DE 15 MINUTOS EL ORDENADOR SE HA ENCENDIDO Y NO HE
COPIADO EL TITULO
3.2. Types of radio stations and scheduling - McLeish; Bonini.
Drama
Applies to the well-made programme trail, dramatized reading, five-minute serial or two-minute teaching point in a programme for schools: is about conflict and resolution, relationships and feelings.
Adapting for radio challenge: staying faithful to the original yet conveying it in this different medium.
How to begin?
- Plot, form; suitable? feasible?
- Aim; what's the intention?
- Limitations; is technically and financially possible?
the irrelevant show, comedy/ comedy factory,...
Editorial commentary - comentario
Refers to the expression of opinions, offering of interpretative explanations about event/ situation.
Not necessarily linked to the description of an ongoing event (political commentary, social commentary; essay)
Usually live; reviews...
It's someone's opinion about something. Not need to be about something that is [currently] going on.
The discussion / debate - Tertulia / Debate
Broadcast exchange of opinions... Between how many? With which purpose?
Matter in which there is genuine public interest or concern.
Argument and counter-argument expressed in conversational form by people actually holding those views with conviction.
Usually live. But... what about the presenter?
(Usually no more than 4 people bc it's difficult for the listener to distinguish who's speaking.)
Vox pop (vox populi)
Different kind of interviewing that looks for the views of "ordinary" members of the public; street interview.
Collection of opinions on a particular subject.
Getting the right question.
Recorded: tight edition; collective; anonymous stream.
Choosing the site.
Equipment.
Spontaneity, variety, insight, and humor broadly reflect the public response.
3) Stations & formats
Vast majority stations adopt particular format, an overall style and range of programming standardization and predictability.
Format is not (symbol) style
- Stylistic framework: package of jingles; typo of music played, package of scripted "liners" spoken by presenter to identify the station, the same fixed points on the "clock" in terms of news, travel info and ad-breaks, its logo, king of competitions run.
- The format, in part defined by style, is in truth very much more concerned with content.
- In which organization for which type of content
- Once a station decides on the format it will broadcast, it_________
Some of the most frequently employed formats in US (Keith):
- Adult contemporary (AC)
- Country
- Rock and alternative
- News, talk, and sports
- Urban contemporary ("melting point")
- Religious
- Contemporary hit radio (CHR)
- Easy listening / Smooth Jazz
- Ethnic
