Matakuliah
Tahun
: O0372 - Dasar-Dasar Produksi Siaran Radio
: 2010
RECORDED PROGRAM PRODUCTION
Books: “Modern Radio Production” by Hausman, Benoit,
Messere, & O’Donnell: Chapter 7
and “Radio Production” by McLeish: Chapter 14
Pertemuan 6
RECORDED VS LIVE, ON-AIR PRODUCTION
• COMPLEXITY; a production containing many elements must be
done in advance. Commercials are read live, but these are almost
always one-voice affairs, with the announcer simply reading copy or
ad-libbing from a fact sheet.
• SCHEDULED AIRTIME; newscast generally are not recorded
(and when they are, they’re done as close to airtime as possible),
because they become outdated quickly, as the news changes.
• CONVENIENCE; the same rationale applies to the need for
repetition of a production. Though the use of music and narration
for the introduction of a show might be done live if the program is a
one-time affair, prerecording the introduction will be far more
convenient if it is to be repeated weekly or daily.
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LAYOUT of a PRODUCTION STUDIO
EQUIPMENT in the PRODUCTION STUDIO
• The production equipment may be hand-me-downs from the
on-air control room.
• The minimum equipment usually includes some sort of
console, a computer, a mic, perhaps a cart machine or two,
and a CD player. The console may be a portable mixer or the
portable console the station uses for remotes.
• A patchbay is almost always a fixture of the production
studio. The patchbay allows interconnection of the
production studio with other studios, with the network, or
even with the transmitter.
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LAYOUT of a PRODUCTION STUDIO
SOUND TREATMENT in the PRODUCTION STUDIO
• A commercially available sound-deadening material is
commonly used to dampen sound reflection in the
production studio. (sometimes, egg cartons are cut up and
attached to the walls, serving the same effect).
• A carpet is very helpful for deadening sound reflection. On
occasion, the carpet is applied to walls to create a dead
environment.
• Studio designed for music recording often have curtains,
which can be spread to deaden sound or pulled back to
expose the bare walls when a livelier sound is desired.
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WORKING in a PRODUCTION STUDIO
• A producer must understand the methods of constructing a
spot or program (for example, it may be more efficient to
break the production down into a number of discrete tasks,
such as doing all the music work first and all the narration
next, even tough that is not the sequence in which the
components will appear in the final product.
• Time demands on a studio are usually high, you’ll be able to
get in and out much faster if you learn to plan work in taskoriented sequence. If, for instance, you have three similar
commercials to produce, it may prove useful to do the
announcing for all three first and add the music beds to all
three next.
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WORKING in a PRODUCTION
STUDIO
• Always structure the task s according to the most
convenient and efficient methods for the best use of
the production studio available. Understanding the
principles of working in task-oriented sequence
(multitasking, do all tasks at a time) will separates a
producers from someone who just records a sound
file or puts something down on tape.
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MUSIC
SOURCE OF MUSIC:
• CD (have been downlinked from a satelite)
• The ASCAP (American Society of Composers,
Authors, and Publishers)
• The BMI (Broadcast Music Incorporated)
• Production Libraries (-music beds- run exactly 60 or
30 seconds)
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MUSIC
CHOOSING MUSIC for PRODUCTION WORK:
• Many stations segregates music libraries into vocal and
instrumental selections. Some stations designate a shelf for
good production CDs which is handy but may entail the risk
of causing a few pieces of music become overused. There is
very danger of overusing popular music.
• A catchy, popular tone might attract more attention than the
message, the listener will be hearing the music, NOT THE
MESSAGE!
• The music must reinforce the message, not distract or detract
from it. The style has to fit both the message and the
station’s format.
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MUSIC
STYLES OF MUSIC
•
ROCK: usually features drums and electric guitars. There’s generally
distinctive rhythms, which is maintain by bass drum and bass guitar; use
repetitively for high energy commercials.
•
COUNTRY: the twang of country music is its most recognizable
attribute, though much of the country music repertoire is orchestrated
and virtually indistinguishable from general popular music. It is use
extensively introduction on country format station.
•
JAZZ: the style of music can run the gamut from traditional big band
dance music to be-bob, from latin to bizarre and highly experimental
compositions. It is use a syncopated rhythm.
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MUSIC
STYLES OF MUSIC
• CLASSICAL: something of amaze number because classical
really refers to one type of music in the spectrum popularity
understood as “classical”. This include the typified of music
by Mozart, Baroque period, until the Romantic period that’s
characterized by the works of Tchaikovsky and by the later
works of Beethoven.
• URBAN: noted for its heavy bass riffs and highly percussive
nature. It has repetitive beat, which making it easy to edit.
Rap, hip-hop, soul and RnB also fall into this category.
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MUSIC
STYLES OF MUSIC
• GENERAL POPULAR MUSIC; such as Henry
Mancini Music and The Hollywood Strings.
• SPECIALITY MUSIC: this category includes
Polkas, Waltz, and Marches, which are used in
production work when a specific effects is called for.
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RECORDED VOICE
• The most important goal of recording voice in a
studioproduction setting, is to get a clean recording that
accentuate the announcer voice and delivery. This may
involve a consideration as:
– Selecting a mic that deemphasizes peculiarities of a performer speech,
such as p-popping or excessive sibilance.
– Replacing highly sensitive mic with aless sensitive model to cut down
a noise from AC.
– Eliminating table noises (table tapping or clicking pens) by hanging
the mic from a boom rather than attaching it to the table stand.
– Don’t speak to close to the mic.
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RECORDED VOICE
MIKING MULTIPLE SPEAKERS
• The viewer mics you can get away with, the better (offer
abundance of mics can cause difficulties in engineering the
show and in phasing).
• Every time you open a mic the room tone or noise present in
the studio increase.
• The solution of the miking problem is to avoid, as much as
possible, any overlap among pick up patterns.
• Moving the mic around (sharing mic) will usually solve the
problem.
• Always come earlier to rehearsal the program before airtime,
and use the rehearsal to set levels.
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RECORDED VOICE
COMMUNICATING WITH SPEAKERS (symbols you need to learn and remember)
• YOU’RE ON: this signal consist of a finger pointed directly at the speaker.
• GIVE ME A LEVEL: a chattering motion with the fingers indicates that
you would like the announcer to give you a voice level.
• KILL MY MIC: draw a finger across your throat. If you using a headset mic,
point to the mike too.
• WRAP UP: this signal is accomplish by a circular (winding up) motion of
the hands.
• STRETCH: make a motion with your hands as tough stretching a rubber
band. This tell the person on mic to keep talking and stretch up the program.
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SOUND EFFECTS
• Most of the SFx can be found in CD libraries sold
by various firms
• It can also be downloaded from various internet
sites (RESPECT –make sure- you check the
COPYRIGHT of EACH results)
• When you can’t find the effect that you need, then
make them! (Be Creative)
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COMBINING ELEMENTS in PRODUCTION
• The process of mixing music, voice, and SFx is, essentially, a
matter of feeding signal through the console or manipulating
them with an editing process to construct the ultimate
product.
• The principal is to do as many operations in one step as
possible.
• Another aspects of combining element in production is to
keep an open mind and use as many as option available to
you as possible; such as : remove flubs from an existing tape,
insert question or breaks, insert actually sound, tighten up
and remove lapses in any program. Or you can use a dub to
makes two or more sources together.
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