fundamentals of audio production. chapter 13 1 fundamentals of audio production chapter thirteen:...

Fundamentals of Audio Production. Chapter 13

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Fundamentals of Audio Fundamentals of Audio ProductionProduction

Chapter Thirteen:Chapter Thirteen:

Radio Station OperationsRadio Station Operations

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Origins of Broadcasting

• Radio station KDKA, Pittsburgh, is considered the first regular “broadcast” station—November 1920.

• Prior to 1920, radio was used for point-to-point communications.

• “Golden Age” of radio broadcasting:

1930’s and 1940’s.

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Radio Station Control Room

• During radio’s Golden Age, talent performed in a studio separate from the control room.

• In the disc jockey era, the control room usually acted as the primary studio.

• Talk radio brought back separate air studios.

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Radio Station Control Room

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The Radio Console

• Also known as “mixer” or “board.”

• Modern consoles use linear faders

• Unlike recording studio mixers, the radio console offers cue selectors for most non-microphone sources.

• Typically has a stereo output.

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The Radio Console

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Radio Station Console

Fader in cue position with cue indicator

illuminated

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The Radio Console

• More complex designs offer multiple selectors for each input.

• Turning a studio microphone “on” mutes the studio loudspeaker monitors.

• Frequent and recurring audio peaks should fall between 85 and 100 % on the VU meters.

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The Radio Console

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The Radio Console

Typical wiring scheme for radio control room

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The Radio Console

Meter on radio console at ideal average level of 80% modulation

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Studio Microphones

• The number of microphones varies with the number of persons speaking.

• High quality dynamic microphones are common.

• Condenser microphones are sometimes used.

• Occasionally ribbon microphones

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Studio Microphone Mounts

• Studio microphones are commonly mounted on spring-loaded booms.

• Heavier microphones require booms with stronger springs to hold them in position.

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Studio Microphone Mounts

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Radio Microphone Techniques

• Typically close-miked, with the mouth of the person speaking about four to six inches from the microphone.

• Often positioned slightly to one side in order to avoid “popping p’s,” a result of blasts of air getting into the microphone.

• Back away or turn the head slightly when inhaling to avoid “wheezing.”

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Radio Microphone Techniques

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A Word of Caution

• Treat every microphone as if it is “live.”

• Never say anything near a microphone that would embarrass you.

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Examples of AdditionalControl Room Equipment

• Compact disk (CD) players

• Digital recorders

• Computer-based digital cart systems.

• Less commonly found are analog tape decks, turntables, and tape cartridge players.

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Examples of AdditionalControl Room Equipment

• Satellite receivers.

• Two-way radio units.

• A telephone connected to the console.

• TV set connected to cable.

• Internet-enabled computer.

• Emergency Alert System (EAS) receiver.

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Examples of AdditionalControl Room Equipment

Digital Digital audio audio

workstationworkstation

Compact Compact disksdisks

CartridgesCartridges

TurntableTurntable

Compact Compact disksdisks

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The Radio Production Studio

• Additional studio(s) to prepare materials for later broadcast.

• May be configured to serve as back-up control room/studio.

• More often, production studios are scaled-down versions of the main control room with an emphasis on recording.

• Internet connectivity is a modern necessity, since many commercials and other materials need to be downloaded or accessed via email.

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Radio News Facilities

• Normally radio news anchors deliver their newscasts from small sound-proof booths.

• News booths typically include a computer, a small mixer with one or two microphones, various audio playback devices, a telephone, and a two-way radio.

• For a more “newsy” sound, the working newsroom itself may be equipped for live broadcasts, as well as facilities to write and record news audio.

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Basic Radio ProductionAesthetics

• Good audio levels

• Avoid “dead air”

• Audio elements should transition, or “segue,” smoothly to the next element

• “Tight production” enhances the flow of the program

• The “tighter” the production, the higher the energy level of the program