Recorded Program Production

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Recorded Program Production

• Chapter 7

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

• Three elements to consider
• Complexity
• Scheduled Airtime
• Convenience

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Complexity
How much stuff do you want to put in it?
Most commercials that are read live are simply o
ne-voice spots with an announcer reading copy.
Anything more complex should be done in advance.
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Scheduled Airtime
Scheduled airtime often dictates whether
something is done live or is recorded. For
example, a public affairs program that airs at
500 Sunday morning would probably be recorded
ahead of time. If recorded prior, its often
easier to get guests to appear.
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Convenience
Your production might call for a specific voice,
its easier to record that voice and replay when
needed then to have that person come in each time
it needs to be played.
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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.
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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 produ
ction 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.
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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)

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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 class
room.
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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).
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Three Basic Building Blocks of Radio Production

• Music
• Recorded Voice
• Sound Effects

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Music
Its 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 stations overall format.
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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 its use in production.
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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.
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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 stations format.
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Choosing Music II
Copy that talks about a relaxing vacation wont
be reinforced by loud, blaring rock music.
A station with a smooth jazz format would not use
a country sounding music bed.
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Recorded Voice

• The most important goal of recording voice in a
  studio production is to get a clean recording
  that accentuates the announcers voice and
  delivery. Achieving this may involve
• Selecting a mic that deemphasizes peculiarities
  of a performers 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

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Communicating with Speakers
So, youre on one side of the glass and your
announcer or guest is on the otherhow do you
communicate? Hand Signals! (see Figure 7.7 pg
161)
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Youre On
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Give me a level
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Kill my mic
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Wrap Up
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Stretch
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Sound Effects
Sound effects can be useful in helping the
producer convey a message. BUTremember 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, youll need to use
sound effects on B-1 and B-2.
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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 the
se elements is to ensure that the final product
contains as few generations as possible (the
smallest numbers of rerecordings of the same
segment.