Recorded Program Production
Chapter 7
Recorded Program Production
Refers to any radio production work that is
not done live over the air.
In most cases, the recording is done in
preparation for use over the air at a later
date.
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.
Live or Memorex??
Three elements to consider:
•Complexity
•Scheduled Airtime
•Convenience
Complexity
How much stuff do you want to put in it?
Most commercials that are read live are simply
one-voice spots with an announcer reading copy.
Anything more complex should be done in
advance.
Scheduled Airtime
Scheduled airtime often dictates whether
something is done live or is recorded. For
example, a public affairs program that airs
at 5:00 Sunday morning would probably be
recorded ahead of time. If recorded prior,
it’s often easier to get guests to appear.
Convenience
Your production might call for a specific voice,
it’s easier to record that voice and replay when
needed then to have that person come in each
time it needs to be played.
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.
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 production 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.
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)
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 classroom.
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).
Three Basic Building Blocks of
Radio Production
 Music
 Recorded Voice
 Sound Effects
Music
It’s 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
station’s overall format.
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 it’s use in production.
“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.
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
station’s format.
Choosing Music II
Copy that talks about a relaxing vacation won’t be
reinforced by loud, blaring rock music.
A station with a smooth jazz format would not use a
“country” sounding music bed.
Recorded Voice
The most important goal of recording voice in a studio production
is to get a clean recording that accentuates the announcer’s voice
and delivery. Achieving this may involve:
•Selecting a mic that deemphasizes peculiarities of a performer’s
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
Communicating with Speakers
So, you’re on one side of the glass and
your announcer or guest is on the
other…how do you communicate?
Hand Signals! (see Figure 7.7 pg 161)
You’re On
Give me a level
Kill my mic
Wrap Up
Stretch
Sound Effects
Sound effects can be useful in helping the
producer convey a message.
BUT…remember 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, you’ll
need to use sound effects on B-1 and B-2.
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 these
elements is to ensure that the final product
contains as few generations as possible (the
smallest numbers of rerecordings of the same
segment.