Matakuliah
Tahun
: O0372 - Dasar-Dasar Produksi Siaran Radio
: 2010
PRODUCTION in MODERN RADIO
Books: “Modern Radio Production” by Hausman, Benoit,
Messere, & O’Donnell: Chapter 1
“Radio Production” by McLeish: Chapter 1
Pertemuan 1
ABOUT the RADIO
• The SIGHTS and the SOUNDS of RADIO are created
WITHIN US, and can have greater impact and
involvement.
• Radio on headphones happens literally inside our head.
• Radio is much more a personal thing, coming direct to the
listener.
• The broadcaster talking directly to the individual listener
• Radio is one to one and NOW.
RADIO SIMPLICITY
• The basic units comprises one person with a microphone
and recorder.
• Sound is better understood, there is a recognizable margin
between margin between the excellent and the adequate.
• Flexibility in its scheduling: Items within programmers, or
even whole programmers, can be dropped to be replaced at
short notice by something more URGENT.
THE PERSONALITY OF RADIO
• A voice is capable of conveying much more than reported
speech (the inflection and accent, hesitation and pause,
emphasis and speed).
• The vitality of radio depends on the diversity of voices
which it uses and the extent to which it allows the colorful
turn of phrase and the local idiom.
• Radio is capable of great sensitivity, and of engendering
great trust.
TYPES of RADIO STATION
•
•
•
•
•
•
•
•
PUBLIC SERVICE
COMMERCIAL STATION
GOVERNMENT STATION
GOVERNMENT-OWNED STATION
PRIVATE OWNERSHIP
INSTITUTIONAL OWNERSHIP
COMMUNITY OWNERSHIP
RESTRICTED SERVICE LICENSE-RSL
PRODUCTION in RADIO
•
PRODUCTION in Radio is The assembly of various
sources of sound to achieve a purpose related to radio
programming.
•
You, as a production person in radio, are RESPONSIBLE
for the “sound” of the station.
•
THE SOUND OF THE STATION created by using
various sources of sound to create a specific result, a specific
product that appeals to specific listeners.
Bina Nusantara University
7
SOUND of THE STATION
•
The blend of the sources makes one station different from
the others, that compete for the audience’s attention.
•
The sound emerges from:
1.
2.
3.
4.
5.
Combination of the type of music programmed
The style and the pace of vocal delivery that used by the announcers
Techniques of CSA and PSA
SFX
Other special Recording techniques
Bina Nusantara University
8
FORMATS
• Reaching a Specific Audiences
– Unlike the televisions (tries to appeal to broader, and more
general segments), Radio has developed into a medium that
focuses on smaller group, the so-called TARGET
AUDIENCES – based on Demographic (for example: a
young demographic).
– The word “Demographics” is commonly used in the singular
in the broadcasting industry to designate any given segment
of the audience
– By appealing to one segment of the public (such as people of a
certain age, sex, or income) that shares a preference for a
certain type of music, a station can hope to attract advertisers
wanting to sell products on that group.
FORMAT
• How target Audiences affect Format:
– A Format is essentially the arrangement of program elements,
often musical recordings, into a sequence that will attract and
hold the segment of the audience a station is seeking.
– Example: a format labeled “top 40” or “CHR” (Contemporary
Hit Radio).
– CHR is constructed around records that are the most popular
recordings sold to an audience mostly in its teens and early
twenties. By programming this recordings successfully, a
station will attract a number of these listeners in these age
group.
– The more teenagers and young adults who listen to the
station, the more the station can change the advertisers who
want to use radio to each this valuable target audiences.
FORMAT
• MORE THAN MUSIC
• EXPRESSED as PRODUCTION, PERSONALITY, and
PROGRAMMING. A FORMAT IS THEN SOUGHT THAT
WILL POSITION THE STATION TO ATTRACT A LARGE
SHARE OF LISTENERS IN THAT MARKET.
• The different times of the broadcast day are called
Dayparts.
• Radio production then become a medium that is
still developing rapidly, a medium of great vitality
NONCOMMERCIAL RADIO
• Not tightly weeded to specific formats designed to increase the
listenership.
• Offers many opportunity for radio production people. Depending on
whether you work at a small or large station or at the network level in
public broadcasting, you are quite likely to find a wider variety of radio
production taking place in noncommercial radio than in commercial
radio.
• The major difference between Noncommercial outlets and their
commercial counterparts is that their funding comes from sources other
than advertising revenues.
THE ROLE of the PRODUCER
in MODERN RADIO
• Production skills form the basis of producing a station’s sound.
Without those skills, the unique sound can’t be created.
• PRODUCER is anyone who manipulates sound to create an
effect or deliver a message, who must tailor that production to
reinforce the station’s sound.
• In larger station the bulk of the production may be the
responsibility of the produser who specializes in producing CSA,
PSA (Commercials; Public – Service Announcements), or talk
shows. The particular responsibilities depend on the station
where we employed.
THE ROLE of the PRODUCER
in MODERN RADIO
• The producer at any level may be called on to create and
execute a commercial that sells a product for an advertiser,
to put together a newscast introduction that arrests the
attention of the listeners, or to combine a number of
previously recorded elements with live vocal delivery in a
distinctive package known as an airshift.