Recorded Program Production Chapter 7

Recorded Program Production Refers to any radio production work that is not done live over the air. In most cases, the recording is done in preparation for use over the air at a later date.

What the difference between recorded production and live, on-air production? Live on-air production is live, you only get one chance to get it right. In recorded production, you (the producer) have the freedom to do several retakes of the same production element, try different mixes or throw out everything and start over again. This allows you to do more complex things.

Live or Memorex?? Three elements to consider: Complexity Scheduled Airtime Convenience

Complexity How much stuff do you want to put in it? Most commercials that are read live are simply one-voice spots with an announcer reading copy. Anything more complex should be done in advance.

Scheduled Airtime Scheduled airtime often dictates whether something is done live or is recorded. For example, a public affairs program that airs at 5:00 Sunday morning would probably be recorded ahead of time. If recorded prior, it’s often easier to get guests to appear.

Convenience Your production might call for a specific voice, it’s easier to record that voice and replay when needed then to have that person come in each time it needs to be played.

Layout of a Production Studio Depends on the station, some smaller stations could be a little corner in another office at the station with a mic and reel to reel, others may have several large production facilities capable of multi-track recording.

Most large facilities feature a glassed in area dividing the main control room and the studio. This glass is typically double layered and the panes are not set parallel to each other or the studio wall. This prevents internal and external reflections of sound. Look at the windows in this room. The more typical radio station production is one room designed for combo use (meaning that one person runs the board, controls the equipment and acts as talent). Generally, there is a hard-wired link between this room and the main control room, allowing it to be used in case of technical difficulties in the control room. This setup also allows it be used by an announcer booth for the news department.

Equipment in the Production Studio In most cases, the equipment in a production studio is the exact same as what is in the on-air studio. It usually includes: Board (or console) Microphone Two cart machines (one of which is a record deck) Tape recorders (cassette, DAT, mini-disc) Two CD Players Turntables?? Patchbay (allows interconnectivity with other studios)

Sound Treatment Commercial available sound deafening material is commonly used to dampen sound reflection in a studio (production and master control). Could be something as inexpensive as egg cartons or carpet. This material can be found in the classroom.

Working in a Production Studio The studio is used by anyone who has to construct a production for later airplay. All staff members assigned such duties are producers. You are acting as a producer when you do your modules. A producer must understand the methods of constructing a spot or program. It may be more efficient to break the production down into a discrete number of tasks such as doing the voiceovers first, then music (this is just an example, there is no right or wrong order).

Three Basic Building Blocks of Radio Production Music Recorded Voice Sound Effects

Music It’s important for a producer to have an understanding of music. Good producers can use music to their advantage by manipulating it to create a mood. They understand the kinds and varieties of music and thus can fit productions into the station’s overall format.

Sources of Music The music a producer will use will almost always be prerecorded. Use of the music is licensed to a radio station by means of a fee paid to music licensing organizations. The two primary organizations are ASCAP (American Society of Composers, Authors and Publishers) and BMI (Broadcast Music Incorporated). These fees cover both the music played on the station as part of their format as well as it’s use in production.

“Popular” music is commonly used in production work. Sometimes, though, popular music may not be appropriate for the spot. Specialized musical selections found in a Production Library can be used. These selections fit most common production and time requirements (no music editing!) Generic vocal selections are available as well. Advertising agencies, which commission the composition of original music for clients, are another source of music. Such music usually takes the form of a jingle.

Choosing Music Music can make or break a production!! It should reinforce the message, not distract or detract from it. The style has to fit both the message and the station’s format.

Choosing Music II Copy that talks about a relaxing vacation won’t be reinforced by loud, blaring rock music. A station with a smooth jazz format would not use a “country” sounding music bed.

Recorded Voice The most important goal of recording voice in a studio production is to get a clean recording that accentuates the announcer’s voice and delivery. Achieving this may involve: Selecting a mic that deemphasizes peculiarities of a performer’s speech Replacing a highly sensitive mic with a less sensitive one to cut down on background noise Using hanging mics instead of table mics to eliminate table noises Instructing speakers on proper mic position and use of the mic

Communicating with Speakers So, you’re on one side of the glass and your announcer or guest is on the other…how do you communicate? Hand Signals! (see Figure 7.7 pg 161)

You’re On

Give me a level

Kill my mic

Wrap Up

Stretch

Sound Effects Sound effects can be useful in helping the producer convey a message. BUT…remember that it should add to the message. Never use sound effects just for the sake of using sound effects. The VML has a sound effects library available to you on CD. Remember, you’ll need to use sound effects on B-1 and B-2.

Combining Elements of Production The process of mixing music, voice and sound effects is, essentially, a matter of feeding signals through the console or manipulating them with an editing process to construct the ultimate product. A major consideration in combining these elements is to ensure that the final product contains as few generations as possible (the smallest numbers of rerecordings of the same segment.