U4
U4
U4
Unit-4
Production and On Air Programming
If you listen to radio at least once in a while, you may remember a few programmes. You
remember them because you liked them. You liked them because they were interesting. You
do not remember a majority of programmes because what is heard is fast forgotten. We have
already discussed about this feature of radio in the lesson on ‘characteristics of radio’. To
make a programme interesting, it has to be produced well. Radio production is a very vast
subject. Due to constant change in technology, the techniques of radio production keep
changing. But the basics remain the same. You may have the best of ideas, the best of scripts
and the best of voices; but if the programme is not produced properly it will not be interesting
to listen to. In this lesson, you will learn about the process of radio production and its
different components.
THE CONSOLE: The control board or console processes the sounds and voices during
recording, editing, and dubbing. This mixes together the various programme sources to form
the broadcast output. This is located in the central control point or control room. Three types
of circuit functions are operated. Programme circuits: A series of channels, their individual
volume levels controlled by separate rotary faders. Monitoring circuits: Visual (meter) and
aural (headphone) means of measuring the individual sources or channels as well as the final
mixed output. Control circuits: Provision of communication with studio or outside by means
of "talk back" or telephone line.
Unidirectional microphones are appropriate for one or two people speaking side by side.
Background noise is undesirable. These are also called cardioid mics because of their
heart-shaped pick-up pattern.
Bi-directional microphones are used when two people directly facing each other.
Omni-directional microphones are used for picking up a large number of people and are
excellent for gathering background noise.
Stereo recording requires specially designed stereo microphones. It can also be achieved by
using at least two microphones. One such approach is M-S (midside) miking. A bi-directional
microphone picks up sound to the left and right and a super cardioid microphone picks up
sound to the front. The output of both microphones is fed through a complicated circuit. X-Y
miking is another method of stereo recording. Two cardioid microphones are placed next to
each other. One angles to the left at a 45-degree angle and other to the right at 45 degree. This
way both the microphones pick up sound from the center.
TURNTABLE: A turntable picks up information recorded on a disc or record and sends this
information to the console for amplification, mixing, processing, and integration with other
sound elements.
COMPACT DISCS AND RECORDS: Vinyl records or LPs are being replaced by high
quality digital recordings made on compact disc. In playing a disc, most control desks have a
"pre-fade", "pre-hear" or "audition" facility which enables the operator to listen to the track
and adjust its volume before setting it up to play on the air. With a record, a glance at the
grooves will often be sufficient to indicate whether there is a wide variation in dynamic
range.
AUDIOTAPE: Sounds can be recorded in the field or in the studio onto audiotape at
standard speeds. The audiotape used in studio may be in the form of continuous loop
cartridges, or carts, or materials may be recorded on reel-to-reel audiotape machines. Digital
Audio Tapes (DAT) record the signal in digital form in which the original electrical
variations are represented by a series of pulses or bits of information.
MUSIC AND SOUND EFFECTS: Music and sound effects may be produced and recorded
in CD or audio tape and may also be prerecorded on disc or audio tape and integrated into the
programme material using the console or control board. Voice Terms: The terminology used
for production describes the placement 9place of origin of voice) and quality of voices. The
voices are indicated using easily understood designations, for instance, Voice 1, character’s
name or Announcer # 1.
On mic (on mike): A voice or character is heard at a normal distance from a microphone.
Off Mic: When we want the voice to be heard as though coming from a distance or from
the back of a room we use this term.
Fading on or fades on: We write this when we want the voice to sound as though is
approaching the centre of action in the minds eye of the listener. Fade off or fading off
could indicate the reverse process, where the voice starts at a normal distance from the
microphone and then slowly moves away.
Reverb: is written to create suspense or heighten a mysterious mood when we want the
voice to be heard with a slight echo or reverberation. It is normally written after the
talents designation. To create the illusion of a telephone conversation, the notations
"filtered a "behind barrier" can be used, or simply indicated as heard through a telephone,
SFX: The common abbreviation for sound effects is "SFX". For sound effects indicate
both the source and the nature of the material, for instances "CART: MUSIC UP FULL
FOR FIVE SECONDS AND THEN UNDER". Music under or sneak under is used when
the music or the sound effect is heard in the "background" (bg.) and then is heard at full
volume after a character finishes a particular word.
Segue: We write, "segue" where one selection ends and the next selection begins
immediately. We write "Cross fade" when one selection gradually fades out and the next
selection gradually fades in.
Ad lib: Sometimes audio scripts include "ad lib", which allows character or voices
momentarily to create their own words keeping with the general tune, mood and purpose
of the script.
You may have observed that anybody can be a cook, but only the food prepared by some
turnout to be very tasty. Similarly all people who produce radio programmes may not come
out with good and interesting programmes.
You need certain qualities or skills to be a radio producer. The qualities you need include the
following:-
(a) Ability to see and hear what is happening around you. This would mean a keen desire
to know more about things. We may call this inquisitiveness. Unless a person is inquisitive,
he or she cannot be a good radio producer. This is because you need ideas to produce
interesting programmes. How do you get ideas? Let us think. Firstly, we need to observe
things to get ideas. Remember the story of Isaac Newton who observed an apple falling? This
observation led him to wonder why the apple fell down from the tree and why it did not go
up. The result was Newton’s gravitational theory. Let’s take another example. James Watson
was boiling water in a kettle. When the steam gushed out with force, he realized that force or
power could be used. The result of this paved the way for the invention of the steam engine.
So you can get ideas by:
(ii) Drawing from experiences : We have good and bad experiences in life. People
who have written stories, novels, poems and plays draw their ideas mostly from
their experiences. The great poet Kalidasa saw the dying bird and its pair which
was sad and took to writing poems. The English poet Wordsworth observed
flowers (daffodils) dancing in the air and wrote one of the best pieces of poetry.
So from our own experiences or going through the experiences of others, we get
ideas.
(iii) You have just read about the experiences of others. How do you come to know
about them. Well, you need to talk to others to find out and understand their
experiences.
(b) Ability to conceptualise ideas: You may get any number of ideas, but you need to
turn them into concepts and then in to radio scripts.
(c) Creativity : What is creativity ? Are you creative? This is a quality which is found in
almost everyone. But you need to be creative in putting together an idea in a manner
which can attract people .Creativity would mean, doing something new or different. The
same idea can be made into a radio programme differently by different people. If
everyone does it in the same way, they will all be the same and not interesting.
(d) A good user of words. You need the ability to use the right word at the right time in
the right manner. Radio programmes depend on a good script and that depends on your
ability to write well. For this you need a very good knowledge or stock of words or a
good vocabulary. You have to be using words in the appropriate manner. We shall deal
with this aspect later.
Some more qualities:
Good Observation
Managerial Skills
Team spirit
Knowledge in technical matters
Eye for talent
Eye for errors
Coordinating skills
Interest in innovation
Motivating others
You have already studied about the ingredients of a radio format. Can you recall them?
They are:
(a) Human voice or spoken word.
(b) Music
(c) Sound effects
The various elements of radio production flow from the above ingredients of a radio
format. So let us look at the main elements of radio production.
(i) Studio : In the previous lesson, you have learnt that the radio studio is a room
where radio programmes are recorded. For producing a radio programme, you
need a ‘sound proof’ studio where human voice can be recorded or broadcast in
the best manner.
(iii) Sound effects : Sound effects in a radio programme give meaning and sense of
location. It adds realism to a programme and helps a listener to use imagination.
Think of a crowded market or temple. If you are creating that scene in a radio
programme, you do not have to go to a crowded market or temple to record. Well,
you can record those sounds and use them. But in most cases, you use sound
effects which are already recorded.
Sound effects can be used in two ways:
(a) spot effects or effects that are created as we speak and
(b) recorded sound effects.
If you are recording a radio programme in which someone knocks at the door, you
can make a knocking sound either on a door or a wooden partition. Or you want to
show that someone is pouring water from a bottle into a glass; here again you can
use the actual sounds produced on the spot. But if you want a lion roaring or a dog
barking, you probably cannot bring a lion or a dog to the studios! Here we use
recorded sounds which are kept on tapes or discs. Almost all sounds are available
on CDs which you can try and use. There are also certain types of computer
software available for this.
You can use two coconut shells to produce the sound effects of the sounds of
horses’ hooves.
Take a piece of cellophine paper or aluminum wrapper and crush them in front of
a microphone. Record the sound and hear. It will sound as if fire is raging. You
can think and create many such sound effects. However, there is a word of
caution. If you record an actual door opening, you many not get the real feeling of
a door opening when you record it. What matters is what it sounds like and not
what it is.
(iv) Music : Music is the soul of radio. It is used in different ways on radio as already
discussed in the earlier lesson. Film songs and classical music programmes are
independent programmes on radio. Music is also used as signature tunes or theme
music of various radio programmes.
For example, you have to create a bright early morning situation. This can be done
by playing a pleasing note on the flute along with the sound of chirping birds.
(v) Artificial echo:- If you enter an empty building or fort and shout, your voice will
come back to you. This is called on echo. An echo is used in radio programmes.
This is a technical input.
(vi) Filter or distort: If you listen to someone speaking to you on phone, the voice
would not sound normal. This sort of effect called distort is produced using
technology. Some times distort is used along with echo. Think of someone
speaking from a mine 100 feet below the earth. To make it realisitic, distort and
echo are used.
(vii) Human voice: The main stay in any radio programme is the human voice. Think
of the voice of an announcer or newsreader on radio. You often find them very
pleasant and nice to listen to. That is because of the quality of their voice and the
proper use of it. There are two aspects of the use of human voice in radio
production. Firstly, there has to be a well written script to be spoken and then
someone has to speak or read it before a microphone in a studio.
Now let us learn about the different stages of radio programme production. Whatever we do,
there has to be a clear plan. In the case of radio production also, there is a well accepted
process of production which is carried out in three stages.
a) Pre-production
b) Production and
c) Post-production
a) Pre-production:As the title suggests, this is the first stage before the actual production.
An idea is born : This phase includes how a programme is born as an idea and its
conceptualization. The topic or subject matter is decided.
Plan of action : After the topic is decided, a plan of action is worked out. Here the
format of the progamme is determined i.e whether the programme is a talk,
discussion, interview, drama, documentary etc.Once that is clear, the right person for
writing the script and the performers are decided. The plan of action would also
determine the equipment for outside recordings that are required. The time and venue
of the recording are also worked out.
The script is examined to make it suitable for broadcast. It is examined according to
the principles of writing for radio or in other words ‘for the ear’. We will discuss this
is detail in the next section.
Paper work : If people who are not working in the radio station are involved for
writing or providing voice for the programmes, they have to be invited with an
agreement to accept the job or assignment. This type of agreement is referred to as a
contract. Similarly, permission is often required to interview certain people if the
programme is based on such interviews. Therefore, as you can see, there is a lot of
paper work at the pre-production stage.
Rehearsing the voices of speakers is also part of this stage.
b) Production: This is the actual process of recording and editing a radio programme. Proper
studios, microphones and computers are required to record and edit the programme.
b) Post production: Writing to inform people involved in the production is a major activity
during this phase. The programme has to be given publicity both on radio and in other
media. This is done to ensure that people know about the programmes and also listen to
them. The announcements for the presentation of the programme are also written and
provided for the actual broadcast of the programme.
A radio studio is a place to live broadcast or record audio professionally. Often it’s a
soundproofed room which gets rid of unwanted noises that would often get mixed into
broadcasts. However, studios vary depending on location and use.
Building a radio studio can be challenging. No two studio setups are the same. The good
news is there are plenty of existing studios to model yours on. We recommend these 3
different types of radio studios.
A basic radio studio may not have all the bells and whistles of a professional studio, but it
does have everything you need to broadcast online.
Imagine trying to read a book in a noisy library or talk to a friend in a crowded elevator. It’s
not impossible to do, just very difficult. Having your own dedicated space gives you a major
sense of creative freedom. Broadcast your shows without noisy distractions. Organise your
studio the way you want it. Best of all, be at home in your own radio studio.
Now when it comes to actually choosing a space you often hear bigger is better. That’s not
always true. Large rooms with high ceilings tend to echo audio. You either need to absorb
that sound or find a smaller room.
You might not have much of a choice if you’re broadcasting from home. In which case
choose the best spot that has minimal noise.
Minimising Noise
It’s easy to forget just how noisy everyday life can be. Car doors slamming outside, loud next
door neighbours, or even a rainy afternoon. All could potentially get picked up on your
broadcasts or recordings.
When finding the right spot pay attention to which rooms are the best at minimising noise, for
example, a basement is ideal. It has small windows and underground, so it’s out of the way
from most everyday sounds.
Improving Acoustics
Ideally, the room you choose is acoustically perfect, which means when you talk or clap there
are no echoes. If that’s not the case then try laying down carpets or hanging up dense
blankets. These should minimise reverberations, that way you don’t get distorted background
noise on your broadcasts.
Try a few other techniques. Remove hard surfaces like a large coffee table which can bounce
sound waves. Add furniture and decor to reduce those sound waves like couches and
bookshelves.
Where would a radio studio be without a computer? They are the essential hub to manage and
mix shows together. Most will do the job as long as they have spare USB ports, a headphone
jack, and run relatively quickly.
Hardware and Software Requirements
Studio Equipment
The source equipment in a studio may include CD players, cassette players,turntables, and/or
minidisc players. Of course, none of this equipment is required for a radiostation - you only
need as much of it as you want to use.
Computers
There are a number of uses for computers in the studio, and the requirements for thecomputer
will depend on the intended use. If you only want a computer for internet access, youwon't
need a fast processor, a giant hard drive, a fancy soundcard, or really anything beyondthe
bare minimum. If you want to stream your programming over the internet, you won'tneed a
fancy computer, but you'll need one computer dedicated for encoding and streamingwhenever
you're on the air. For playback of recorded music, you'll want a good chunk ofstorage space -
audio les take up a lot of space and accumulate quickly, so a 250 GB or largerhard drive isn't
a bad idea. For audio editing and production, you should have a computerwith a nice
processor (Pentium 4 / AMD Athlon 64 or higher) with at least 1 GB of RAM,and again, a
large hard drive. Some stations also use computers for automated playback toallow
unattended programming. For more information on automations, see the \
AutomationSystems' section in the Notes portion of this document.
Microphones
A studio should have one microphone for each DJ or host, and a few for the guests.Try not to
have more than 4 microphones total in the studios - having lots of microphonesactive at once
leads to a lot of background noise. Guests can share microphones if need be!Microphones can
be either directional or omni-directional. Directional microphones only pickup sound waves
from one direction, and as a result pick up less ambient noise. Omni-directional microphones
pick up sound from all directions,and are therefore useful for speakers who don't have
experience using microphones or will bemoving a lot while talking.Microphone booms or
stands. It is important to have an arm to position each microphone ata comfortable position
relative to the speaker's mouth. You can buy professional mic arms,but you can also probably
fashion one from parts, such as from a lamp arm.
Console or mixer
An audio mixer takes input from multiple audio channels and lets the userdetermine which
channels to use in the output, and at what levels. A console is generallythe same thing as a
mixer, but sometimes has some additional fancy features used just forradio. A mixer or
console is essential for any station that will broadcast using multiple audiosources. A nice
mixer should have ample channels to accommodate all audio sources andeasily visible level
meters with sliding controls. Another useful feature is monitor muting,which automatically
mutes the studio monitor speakers whenever a microphone channel ison. If the mixer does
not include automatic monitor muting, you can make or buy a speakermuting device that does
this automatically, or the DJ can mute the speakers manually toavoid feedback through the
microphone.
FM tuner
It is important to have an FM tuner so the DJ can listen to the signal that is beingsent over the
airwaves. The receiver should be tuned to the frequency at which the station isbroadcasting.
The DJ can switch between the air signal and the console signal to make sure
the station is broadcasting loud and clear.
Audio monitors
A monitoring system consists of monitor speakers and headphones, so the RJ orhost can
listen to what they are playing. The monitor speakers might be internally amplified,or might
require an external amp for power. There should be enough headphones for the DJsor Hosts,
and as many guests as will be in the studio. Headphones tend to wear out quickly,so
durability is an important consideration if you want to avoid replacing them frequently.
Ifthere are lots of headphones in the studio, you might want a Headphone amplifier to split
upthe signal and allow all of the guests to set their listening level to whatever is comfortable
for
them.
Telephone system
Most studios will have at least one telephone. If you plan to put callers on theair, you will
need a Telephone Hybrid. The hybrid feeds the signal from the phone line intothe console,
and feeds another signal back to the caller. More complex (and more expensive)caller
management systems are also available to handle multiple calls in cue, and sometimesdo
audio processing with the phone signal as well.
An on-air light notices others outside of the studio when theRJ has microphones on in the
studio. There is usually relay circuitry outside of the consoleto turn the lights on and on. It is
usually controlled by some switches inside of the console -mixers not designed for radio
probably won't have this feature. An on-air light is not essential,but it will make things easier
for the RJ and for any visitors to the studio.
Distribution amplifier
A distribution amplifier splits the signal from the audio console and sendsit in multiple
directions without overloading the console output. If you have many destinationsfor your
signal - for instance, a cassette recorder, minidisc recorder, CD recorder, streamingcomputer,
production studio and transmitter - you might need one of these.
Furniture
Some companies provide pre-built studio furniture, and others will custom build furnitureto
suit your studio's specific needs. However, the cost for custom-built furniture froma specialty
company can be exorbitant, so we recommend contracting local carpenters if youwant custom
furniture.
There’s plenty of radio production software on the market ranging in price and quality. You
can get free radio production software that can record and perform a few basic tricks up to a
fully fledged studio suite with hardware included. Here’s a look at some of the most popular
radio production packages out there.
Audacity
It’s simple, easy to use and what more would you like for free? As the software is
open source a team of code junkies are always endeavouring to improve it.
The display is clear and very straight forward to understand especially for radio
production beginners. It is also uses a low amount of memory allowing you to record
a long piece of audio in the background while working away on another project.
There are some good basic effects in Audacity, you can cut, copy and paste your
audio and the major audio standards (WAV, MP3, AIFF, OGG) are supported. The
only factor about this software that loses a star is the fact that it is geared towards
beginners with the simple layout and professional radio producers would soon get
frustrated at the things it can’t do.
Adobe Audition
Adobe Audition wins the crown for best radio production software out there (tied with
Pro Tools). It’s easy to learn and use with one of the best looking displays of all the
radio production software available.
You can view your wave in many different ways, send it to multitrack, mix it, cut it,
loop it and more. The set of effects included are mind blowing.
What’s even better is that there is now the opportunity to add new effects along with
the fact you could always make tweaks to create your own custom effects.
You’ll find Adobe Audition in most radio production studios around the world and I
believe that tells you plenty about how radio producers rate this software.
Sound Forge
This is certainly one of the most stable packages I’ve ever used. However, that comes
at a price, the memory usage is pretty heavy.
Sound Forge is geared heavily towards editing audio for video which is why it gets a
lower rating with radio production being the main focus of this review.
There are many good features and you can cut, copy, edit and mix but there is nothing
outstanding that places Sound Forge above the rest. I like to use Acid Pro (also from
Sony) on occasion and find it easy to use and found getting to grips with Sound Forge
a similar straight forward experience.
FL Studio
The program is available in three different editions for Microsoft Windows, including
Fruity Edition, Producer Edition, and the Signature Bundle. Image-Line offers
lifetime free updates to the program, which means customers receive all future
updates of the software for free. Image-Line also develops FL Studio Mobile for iPod
Touch, iPhone, iPad and Android devices.
Version 11, Introduced in April 2013, included multi-touch support, improved tempo
automation, new plugins such as BassDrum, GMS, Effector, Patcher, and new piano
roll features (VFX Key Mapper, VFX Color Mapper).
Version 10, introduced on March 29, 2011, included a new project browser, fixed
some bugs, and smoothed envelope points. It also introduced a patcher.
Version 9 introduced support for multi-core effects processing and improved support
for multi-core instrument processing.
The mixer interface allows for any number of channel configurations. This allows
mixing in 2.1, 5.1, or 7.1 surround sound, as long as the output hardware interface has
an equivalent number of outputs. The mixer also supports audio-in, enabling FL
Studio to record multitrack audio.
FL Studio supports time stretching/pitch shifting, beat slicing, chopping, and editing
of audio, and as of version 8 it can record up to 64 simultaneous audio tracks. Other
key features include a digital piano roll. Audio can be imported or exported as WAV,
MP3, OGG, MIDI, ZIP, or the native project format with an .FLP filename extension.
The demo is very functional, even allowing users to save their compositions for
opening in the registered version, and mix their tracks to any of the popular formats.
USE OF MUSIC
It can be used in two basic ways:
Background Music
Foreground Music
Think in musical metaphors: It’s important to be able to articulate why you are using a
piece of music to illustrate a particular moment; if you can’t do that, it’s probably not going
to sound right. I’ll often think of an underlying theme or emotion I want to convey. If
it’s nervous anticipation, I could use something fast-paced and percussive. If the feeling is
introspection, I could use a drone or pad without rhythm. Jonathan Mitchell of The Truth has
a composing background, and he articulates this idea well in his Transom piece describing
using music to illustrate a pattern-based engineering theory. If you don’t think in terms of
metaphor, you may be tempted to use, for example, generic electronic ambient music —
sounds like public radio! — to juice up moments when your story starts to drag. Resist that
impulse. If your piece drags, then you need to fix the writing or structure.
Use instrumental music: Look for music that feels “incomplete,” that has left sonic room for
another element. It’s almost like the music in your piece is the backing band, and your
narration and tape will “complete” the composition. Avoid music that’s so busy it
competes with the voices and sounds in your story. And in most cases, you’ll want to avoid
music with vocals since it will often compete with your narration and make the piece sound
jumbled and confusing. Similarly, instruments that inhabit the same frequency as the voice
are problematic (trumpets, etc.) A lot of ambient music works well, but can be overused. Solo
instruments can be nice choice, especially if used to illustrate one character’s emotions or
journey.
Only use music you love: If the music doesn’t move you, why would you tarnish your work
with it?
Commit to the music: If you are going to use music, make sure to introduce it early in the
piece. This will set listeners expectations that this is a scored piece of storytelling. Music can
seem jarring and distracting if it’s introduced too late. Also, don’t hesitate to let the music
play in the clear for 5-10 second stretches — it can help your piece breathe and give listeners
a chance to reflect on what they’ve heard.
Fade the music out to create tension or highlight important events: When you fade music
out in a piece, the silence has the subtle effect of spotlighting whatever comes directly after.
This is a great way to set the stage for a particularly arresting piece of tape.
Avoid using music to amplify simple emotions — and avoid musical cliches! Resist the
urge to run a mournful cello sonata under tape of someone weeping. Resist the urge to run the
Rocky theme as someone fights through obstacles (unless you’re being ironic of course).
Music is best used to amplify more subtle underlying emotions or moods. Think “pensive” or
“hopeful” — avoid “sad” or “happy.”
Use music to control the pace of your story: You can use slow or ambient music to focus
on a particular moment or fast music to create a sense of urgency. Whenever you use music,
make sure it matches the tone and pace of your story.
Consider using music from the same artist or album: Using songs from the same album
can give your piece a cohesive, soundtrack feel.
Use dynamic music that builds and releases: Music that shifts in dynamic ways can be
used to naturally emphasize dramatic points in your story. If you want control over when the
music changes, you can often cut out (or copy and repeat) bars of repetitive sections. To do
this, count along with the music until you find the first beat of a bar (you can often see the
beats as peaks on a wave form), then cut out (or copy and paste) as many bars as you need,
starting at the end of one bar and picking up again at the opening of another.
Nudge your tape so it’s in rhythm with the music: You can give the feel that the music and
the narration are integrated by having the words fall on the beat. You can do this by subtly
shifting when you introduce tape or by adjusting the spaces between words. From Transom’s
“Using Music” columns, Snap Judgement’s Pat Mesiti-Miller explains how he takes an
almost hip-hop approach to melding words and beats.
Use an equalizer and reverb to get the sound you want: Instead of just fading the volume,
you can use your equalizer to pull out the high frequencies of the music so it doesn’t clash
with voice but stays present in the mix (that’s a “low-pass” filter, you can also experiment
with the opposite, a “high-pass filter.”) You can use reverb to change the feeling of where the
music is being played (for instance, you could make it sound like it’s outside or in a cathedral
or a small room).
Compose your own music: This gives you an incredible amount of control over how the
music interacts with your story. Beyond being able to create the right sound, you can time the
music to transition at exactly the right times. It’s best if you’re a musician, but that’s not
necessary for simple sound beds. Programs like Ableton Live or Native Instruments come
with pre-programmed pads and drones that you can customize for your needs.
The Leitmotif: In classical music, themes will return that are linked to characters or places
(think “Peter and the Wolf”). You can also use musical themes to connect ideas in your piece.
For instance, in this piece by Emily Harris, she uses a returning theme to emphasize the
generational aspect of a Palestinian family’s resistance and, in another, a memory that haunts
an Israeli soldier.
Find fresh ears: Musical choices are always subjective, but it’s still a good idea to get a
second opinion. It can be very easy to get so focused that you lose sight of what’s working or
not. Get a range of opinions and then trust your gut.
Check your mix: Mixing voices over music can sometimes be tricky. Mixing with
headphones will often make you think the music is just right — but when you listen back on
speakers it’s definitely too low. Ensure you’ve got the right balance by checking your mix in
multiple listening environments.
Foley is the art of creating sound effects for radio, film, and television.
The term actually comes from a man, Jack Donovan Foley, who
made sound effects for live radio broadcasts. He focused on creating
realistic sounds with the tools he had around him rather than using generic
sounds made in other programs. This was reminiscent of the theatrical
sounds of vaudeville shows.
Jack Foley started working for Universal Studios in 1914. By the time
“talkies” came around in the 1920s, studios wanted to create authentic
sound effects for their films. On set, microphones were only used to record
dialogue. Therefore sound effects would have to be recorded after the
film was shot.
Foley assembled a team that would project the film onto a screen while
recording an audio track of sound effects — mostly footsteps. The earliest
films had them adding the sounds of walking and doors opening and
closing.
Foley artists do not create every sound in a film. Complex sounds like car
engines or computer noises fall under the direction of a Sound FX
Editor, who uses a library of sounds. The foley artists focus on three key
areas: footsteps, movement, and specific props.
1. Footsteps
This category is self-explanatory. The footsteps of the main character are
recorded very early in the process. This isn’t as easy as walking by a
microphone. Foley artists wear certain shoes and walk on specific
surfaces to attain the right sounds for a film.
These surfaces are called foley pits, which offer all sorts of different
flooring types. This allows the foley artist to instantly record the sounds of
a character walking across a lawn, onto a sidewalk, and into a home. This
also includes footsteps of animals, like the famous sound of galloping horse
hooves.
2. Movement
Movement focuses on the sounds of clothing a character is wearing. This
isn’t just loud clothes like a knight’s armor — even denim blue jeans make
a sound when a character crosses their legs or squirms in a chair.
3. Props
Creating the sounds made by props can fall under the foley artist or sound
editor. Foley artists tend to work with props that characters interact with,
like a sword being unsheathed.
In this video from CBS Sunday Morning, foley artist Marko Costanzo shows
how he used leaves to create the swirling sound of the witch from Into the
Woods and how he cracked celery to create the sound of breaking
bones for The Big Lebowski.
If you see a film in a movie hall, it is generallya feature film, which is story based and not
real. But there are also features/documentaryfilms which are based on real people and issues.
A lot of programmes you seeon television are educational and public service documentaries.
Radio alsohas this format. Unlike documentary films, radio documentaries have onlysound –
i.e. the human voice, music and sound effects.
So a radio documentaryis a programme based on real sounds and real people and their views
andexperiences. Radio documentaries are based on facts presented in an attractivemanner or
dramatically. Radio documentaries are radio’s own creative format.The producer of a
documentary needs to be very creative to use human voice,script, music and sound effects
very effectively. Radio documentaries are alsocalled radio features.
Selecting music
Music is used to set the mood for a production. It can create a feeling of excitement,
tranquility, suspensor sadness.
Bridge
Bridge music connects or “bridges” two ideas or thoughts. Bridge music, also called
transitional music, was used in radio theater to change the scene. A short instrumental fanfare
can signal a change in topics — or, a new scene can be introduced with a short musical theme
that suggests a particular location.
Fill
Fill music is often called “pad” music and is usually an unrecognizable instrumental song. If
your feature production is required to be a certain length, you can use fill music to eat up time
at the end. This also allows the person airing the production an opportunity to transition to the
next program element gracefully with less chance of lapsing into dead air.
Saves time
Can be used when there is no program scheduled or ready
As it takes time in scripting and recording of features they have to be pre recorded
Emerging trends in Radio Industry
Of all media, radio will undergo the most dramatic change in the coming decade, and these
changes will radically transform the industry.
Below are some of the most important of those changes, based in insights by various
media media buyers, and the Media Life radio advisory panel.
1) The collapse of Big Radio.
Radio is a local medium and is most efficiently managed locally. Large players may reap
efficiencies of scale but are very difficult to manage. Cases in point: IHeart and Cumulus, the
two largest, are struggling under debt and are on the verge of collapse. They will be broken
up, their stations sold off to small, locally managed radio operators.
7) An opportunity for radio to grab a larger share of consumers’ time and attention. The
mobile phone has freed Americans from having to be in a particular place to stay in touch.
But is has also freed us as media consumers from the couch and the TV set. TV is a couch
medium; radio is a moving-about medium. It is a mobile medium. You can be in your car,
walking down the street, riding in a train or on a plane, and enjoy radio. The more mobile our
society gets, the greater the opportunity for radio to become the medium of choice. Media
people marvel over the strength of outdoor ad spending at a time when other media are
suffering. Out of home is benefiting from society’s increasing mobility. Radio stands to as
well.