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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