absolute privilege 86
accidents, reporting of 97, 266
accountability 5, 17, 341; journalists 81; politicians 111; producers 336
accuracy: Codes of Practice 21, 65; in news reporting 91, 92–3; objectivity 66; programme evaluation 361, 362; vox pops 134
acoustics: drama 309–11, 317–18; live music 274, 275; location interviews 127–8
actors: commercials 235; documentaries 326; drama 307–9, 317, 318, 379; eminence 361
actuality 92, 267, 323, 325, 327, 328; see also background noise
ad-libbing 78, 147, 203, 208, 318; see also spontaneity
advertising 6, 23, 228–44; ACMA regulation 22; Codes of Practice 21, 65; copy policy 229–30; ethics 68–9; humour 242–4; music 238–41; premise 231–2; stereo 241–2; target audience 230–1; testing 244; writing copy 232–5
advice programmes 14, 172, 177, 179–81, 184
advisory bodies 19
Africa 12
AIDS 3, 91, 181, 192, 231, 237–8
All India Radio 230
alterations to scripts 154
AM 39
ambiguity, avoiding 76–7, 94–5, 147
American Society of Composers, Authors, and Publishers (ASCAP) 194–5
anonymity 185
assistants 173–4, 177, 181, 340
atmosphere: actuality 92; documentaries 324, 325, 326; drama 314, 316, 317; feature programmes 319; live music 271, 276; location interviews 127; sound effects 241; sport events 262; studio 336, 337; vox pops 138
audience research 3, 346, 362–9
audio labels 142
Australian Communications and Media Authority (ACMA) 22
automated playout systems 9–10
automatic gain control (AGC) 130–1, 138
auxiliary output 30, 32, 33, 37
‘back-announcements’ 143, 145, 146, 147
background noise: cues 146; documentaries 325; drama 314; interviews 127–9, 130; live music 275; vox pops 136–7, 141; see also actuality
backtiming 225
balance 66, 146; discussions 162–3; phone-ins 182–3; see also objectivity
Baraka FM 208
BBC: Broadcasting Code 21; commissioning programmes 351; Dimbleby’s commentary 268–9; feature programmes 330; Guidelines 82; Hillsborough Stadium disaster 269–70; local management structure 24; on location drama recording 317–18; Managing Director 343; mobile devices in news reporting 103; newsroom 80; objectivity 82, 83; SONAR 345–6; stereo metering formula 48; surreptitious recording 326; ViLoR system 39; web analytics 369; website 356
BBC Local Radio 25
BBC Radio 6 Music 58
BBC Radio Derby 207
BBC Radio Nottingham 260
Bennett, Alan 318
Blake–Mouton Grid 344
‘Bomber’ 329
boundary effect mics 279
Boyer, J. H. 66
breakfast shows 57, 72, 78, 126, 198–9
‘bridges’ 218
British Airways 241
Broadcasting Act (1990) 81–2, 351
Broadcasting Code 21
budgets 334, 342, 344, 369–70; see also costs; finance
Cahill, Kim 303
CD players 29, 31, 35, 38, 41, 249
CDs 34, 39, 40, 194, 195; metadata 196; outside broadcasts 250; sound effects in drama 313
celebrations 14
celebrities 54, 80, 204–5, 324
channel delay 285
Charity Commission 22
children: advertising rules 229; Codes of Practice 67, 354; drama 221; giving offence 96; parental consent to interviews 127; vox pops 135, 136, 139
circuits 30
citizenship 18
civil disturbances 97
Codes of Practice 21–2, 351–4, 379; advertising 228, 229–30; ethics 63, 64–5, 67; interviewing children 136; news 81–2
‘cold’ interviews 126
colour, use of 232, 264–5, 376
comedy 298
commercial interests 17, 63, 100
commercial radio 15, 21, 23, 68–9
commercials 228–44, 293; copy policy 229–30; humour 242–4; music 238–41; premise 231–2; stereo 241–2; target audience 230–1; testing 244; voicing and treatment 235–8; writing copy 232–5; see also advertising
commissioning programmes 350–1, 352–3
Communications Act (2003) 82, 229
communications links for outside broadcasts 246–8
community involvement 245
Community Media Association 26
community radio 1, 9, 21, 25–6; finance 23; helplines 190; interviews 114
competitions 187, 190, 192, 193, 220
compression 34, 38–9, 276, 283–4
computers: accurate reading of screens 34; archives 357; digital audio workstations 42; Internet radio 53; live music recording 290, 291; music selection 199; studio software 35–8; training 374; virtual mixers 35, 36; see also laptops; software
condenser microphones 279, 280
conferences: news 108; question-and-answer sessions 193
conflict resolution: drama 294; live music recording 291; producer’s role 342; station management 345
conflicts of interest 69
consistency 210–11, 212, 213, 223
contributors: discussions 165–6; documentaries 329; producer’s role 334–5, 336, 337, 341, 342; see also actors; experts; guests
control circuits 30
control room 29
copyright 86, 334; administration 341; archived material 358; drama 295, 317; music 194–5, 240, 292
correspondence 187, 188, 368–9
costs 9–10, 16; audience research 363, 364, 365; events 193; programme evaluation 359, 369–70; training 374; ViLoR system 39; see also finance
counselling programmes 172, 183–5
Cox, Sir Geoffrey 84
creativity 14, 15, 336, 360–1, 362
credibility: accuracy 92; bias affecting 90–1; community involvement 245; DJs 209; documentaries 325; drama 299; interviews 111, 115; media 132; objectivity and 65, 82, 83; phone-in hosts 177; pronunciation 152; public service 370; specialist programmes 213; vox pops 141
credits 384
crime 80; Codes of Practice 21, 67, 354; giving offence 96; incitement to 351; legal issues in reporting 84–5
culture: cross-cultural differences in meaning 77; radio’s contribution to 14
dangerous environments 99, 270
Decca ‘tree’ 275
decency 351
deception, obtaining stories through 90, 325–6
defamation 176
Deighton, Len 329
delay, channel 285
delay, in programme transmission 179, 180
democracy 8, 14, 65, 67, 81, 84
Department for International Development (DFID) 10–11, 82
dialogue 299, 300–2, 304, 305, 308, 311, 318
diaries: audience research 363, 364; newsroom 100, 102; planning 226
Digital Audio Broadcasting (DAB) 5, 12, 13, 54
digital audio workstations (DAWs) 42–4, 291
digital compression 34, 38–9, 276, 283–4
digital effects 238, 249, 284, 315; see also reverberation
Digital Rights Management (DRM) 53, 54
direct inject (DI) box 282
directional microphones 45–7, 48, 277, 279
disadvantaged communities 10–11
disasters 60–2, 80, 227, 255–6, 269–70, 380–1
discussions 161–70, 188; documentaries 327; feature programmes 330; knowing the audience 333; magazines 218, 224; phone-ins 179
distinctiveness 361
distress, causing 97
DJ shows 205–9, 211, 250, 342, 349
documentary interviews 112
documentary programmes 305, 319–29, 331, 333, 361, 380
drama 2, 221, 293–318; accuracy 361; acoustics 309–11; actors 307–9, 317, 318; adaptation for radio 295; characterisation 299–300; costs 16; dialogue 300–2; feature programmes 319, 330; ideas 296; knowing the audience 333; music in 315–16; from personal stories 302–5; production technique 316–18; script layout 306–7; settings 298–9; sound effects 311–15; story construction 296–8; studio features 310, 311; training 379; truth vs 305
echo 34, 284–5, 286, 288, 311, 340; see also reverberation
editing 44–5, 46, 340; interviews 114, 124–5, 127, 128–9; live music recording 291; ‘studio in a suitcase’ 255; training 376; vox pops 135, 137, 139–41
editorial policy 91, 176, 350, 351
editorial responsibility 329, 342
education 6, 11–12, 17, 189–90
effects see sound effects
‘effects’ microphones 258
emails 171, 188, 217, 219, 365, 368
embargoes 109
emergencies 60–2, 227, 255–6, 269–70, 380–1
eminence 361
emotional interviews 112
engineers 254
entertainment 17
equalisation (EQ) 34, 238, 282–3
equality policies 22
equipment 28, 30–4; borrowed 340; faults 50, 157, 340; live music 282; news reporting 106–8; outside broadcasts 246, 249–50, 251; training on new 372; see also computers; microphones; recorders
errors 157–8, 373; complaints 355; corrections 82, 154; interviews 113, 114; see also faults
ethics 63–78; bad practice 68–70; Codes of Practice 63; declarations of intent 64–5; limitation of harm 67–8; objectivity and impartiality 65–7; status of the media 70–1; watchdog role of media 68; whistleblowers 68
evaluation 359–70; audience 362–9; cost 369–70; production 359–62; training 376, 381–2
events 192–3; commentary 258–70; cost of coverage 370; outside broadcasts 245–57
experts 14, 172, 175, 179, 181, 182, 184–5, 188
fabrication 325
facts 66, 92, 270, 319, 355; see also truth
faders 30, 33, 34, 35, 36; drama 309; live music 276, 286, 288; stereo recording 49
fair comment 86
fairness 82, 95–6, 146, 383; Codes of Practice 21, 65; phone-ins 182–3; programme evaluation 361
Farming Today 329
faults 50, 157, 340; see also errors
feature programmes 319–20, 330–1
Federal Communications Commission (FCC) 20–1, 229–30, 346
feedback: executive producer’s role 345; from listeners 341, 365, 368–9; producer’s role 335, 337; programme evaluation 360; training 374, 377–8, 381; see also howl-round
‘fills’ 158
finance 9, 23, 344; commissioning programmes 350; resource planning 334; see also budgets; costs
First Response Radio (FRR) 255–6, 257
foldback 314
follow-up 6, 189–90; discussions 164; helplines 191; phone-ins 185, 186
Francis, Sir Richard 69
freedom of speech/expression 64, 84, 354
frequency allocation 9
funding 23
Future Radio (Norwich) 25, 160
Gavigan, Bart 299
Gervais, Ricky 54
government 17, 19, 23, 63, 82, 83; investigative reporting into 89; political interviewing 125; relationship with media 70; sources of news 99, 100
gratuities 255
Greene, Sir Hugh 83
guests: discussions 161–70; guest programmes 204–5; studio layout 31; visitors to the station 191; see also experts
guitars 282
Hall, Lee 318
Handbook for Journalists 98
handheld/portable recorders 8–9; commentary 265; drama 317; interviews 127, 129, 130–2; outside broadcasts 249; ‘studio in a suitcase’ 255; vox pops 133, 137–8, 139
Harcup, Tony 66
Hatch, David 343
hazard assessment 249
headphones 31, 32, 131, 158–9; discussions 168–9; drama 309; live music 277; monitoring 29; news reporting 107; outside broadcasts 249; ‘studio in a suitcase’ 255
headroom 288
Health Education Authority 237–8
Hillsborough Stadium disaster 269–70
holistic quality 361
‘hooks’ 221
humour 159, 213, 355; advertising 236, 242–4; drama 221
hyper-cardioid microphones 47, 272, 279
ideas: documentary programmes 320; drama 296; producers 332–3; sequences and magazines 216–17, 226
idents see station identification
imagination 1–2, 294, 301, 330
impartiality 65–7, 83, 91, 109; Broadcasting Code 21; discussions 168; interviews 112; see also objectivity
Independent Press Standards Organisation 68
indexing 357
information content 214
informational interviews 111
‘informed naivety’ 117
inserts 31, 142, 146, 168, 209, 336; see also pre-recorded items
instant messaging 59
‘interesting’, definition of 79–81, 144
interference 13
International Federation of Journalists 63
International Principles of Professional Ethics in Journalism 64
Internet 2, 4, 6, 51–62, 339; ACMA regulation 22; audience research 365; FCC regulation 20; Internet radio 13, 40, 52–4; news reporting 106; online presence 52; online safety 56; podcasts 6, 54–5; research 55–6; as source of ideas 216; transfer of audio data via 39; web analytics 369; see also social media; websites
internships 27
interpretive interviews 111–12
interviews 110–32; audience research 363; Codes of Practice 354; ‘cold’ 126; cues 143, 145; definition of 110; devil’s advocate 119; documentaries 322–3, 324–5, 327–8; editing 44; feature programmes 330; information provided to the interviewee 113–14; location 127–32; magazines 216, 222; misrepresentation 69, 82, 132; newsroom operation 102; non-verbal communication 122; post-interview activities 124–5; pre-interview discussions 115–16; preparation for 114–15; questions to ask 115, 116–22, 123; role of the interviewer 110–11, 116, 119; securing the interviewee 113; sequences and magazines 217; stereo recording 49; style 125–6; training 372; translation in 126–7; ‘triangle of trust’ 132; types of 111–13; winding up 124; see also vox pops
item order: music 201; news 87; sequences and magazines 221–5; see also running order
ITN 84
It’s Your World 171
journalists 99, 342; accountability 81; background of 95, 96; bias 65–6; campaigning journalism 91; Codes of Practice 64–5, 82; equipment in the field 106–8; ethics 63, 64–5; investigative reporting 89–90; legal issues 85; limitation of harm 67–8; newsroom operation 100–1, 102; online safety 56; personal motivations 17, 95, 109; scepticism 70; training 374; war reporting 98–9; see also news
Kolb, David 371
laptops 4, 12, 106; digital compression 39; Internet radio 53; ‘studio in a suitcase’ 255; virtual mixers 35; see also computers
leadership 226; see also executive producers
legal issues: blogs 60; consumer affairs 182; copyright 194–5, 334; data protection 59, 204; executive producer’s role 351; interviewing children 136; location interviews 127; news 81–2, 84–6, 103; phone-ins 176, 181; recording off transmission 183; terrorism 82; triggers for training 372; see also Codes of Practice; regulation
library material 348
lip microphones 261
listeners: audience research 3, 346, 362–9; commentator’s attitude to 258–9; complaints from 189, 354–5, 373; cost per 9, 370; definition of 363; discussions 164; drama 294, 299; expectations 210, 355; information for 144–7, 159; Internet radio 53; interviews 111, 132; items of interest to 79–81, 87–8, 144, 159; joining 156; knowing the audience 26, 93, 333–4; music programming 196, 200, 202–3, 204; participation 9, 187–93, 219–20; personal enhancement 361; phone-ins 169, 171–86; relationship with 148–9, 187, 189, 203, 349, 383; scheduling 346–8; social media 56–8; staying in touch with 332; vox pops 141; writing for 72–3; see also target audience
‘live’ broadcasts 246, 253, 272, 337, 340, 381
live streaming 53; see also streaming
local radio 21; DJ shows 209; live music 271; newsroom operation 101; selection of news items 88
location: drama recording on 317–18; interviews on 127–32; see also outside broadcasts
loudspeakers 30, 31, 32–3, 35; drama 314; live music 277, 288; outside broadcasts 249, 250
Makenda 208
malpractice 5
Marie Curie Cancer Care 235
McArdle, Fiona 303
metadata 196
metering formula 48
microphones 29, 31, 45–8; commentary 261, 262, 267; digital audio workstations 42; discussions 168; drama 308, 309, 311, 314; ‘effects’ 258; interviews 123, 127–8, 129–31; live music 272–5, 277, 279–82, 283, 285, 286; news reporting 107; outside broadcasts 246, 249, 250, 251; stereo 48; ‘studio in a suitcase’ 255; USB 55; vox pops 138
‘mind maps’ 321
mixers 29, 30, 31, 32, 33; anti-howl facility 279; digital 34–5, 37; digital audio workstations 42; effects 284; live music 282–3, 284, 285, 290; outside broadcasts 249, 251, 252, 254; pan-pots 48–9; ‘studio in a suitcase’ 255; virtual 35, 36
mobile devices 53, 103; see also smartphones; tablets
monitoring 29, 30, 31, 32; headphones 158–9; live music 275, 288; outside broadcasts 252; ‘studio in a suitcase’ 255
mono 48
monologue 318
mood: commentary 258, 262–3, 268; drama 295, 297; feature programmes 319; music 238, 316
motivation 17–18, 95, 109, 378, 383
MPEG (Moving Pictures Experts Group) 39
‘multi-faceted’ discussions 161, 163, 218
Munich Charter (1971) 65
music 12, 40–1, 194–209; administration 341; attitudes to 195; background noise in interviews 129; BBC Radio 6 Music 58; ceremonial events 259; choosing 200–1, 205; clock format 197–9; Codes of Practice 354; commercials 238–41; computerised selection of 199; copyright 194–5, 240, 292; digital audio workstation 43–4; DJ shows 205–9; documentaries 326, 327; in drama 2, 294, 297, 306, 315–16; editing 45; guest programmes 204–5; item order 201; likes and dislikes 196; ‘live’ 16, 195, 271–92; metadata 196; outside broadcasts 254; prefading to time 202; preparation of listeners’ material 202–3; requests 187, 200, 201, 203, 204; sequences and magazines 218; signature tunes 212; sound levels 34; standby 158, 348; trails 160
musical directors (MDs) 287–8, 289, 291, 292
narrators: documentaries 324, 327, 328; drama 298, 302, 304, 318
national regulator 19, 20–2, 68, 82, 346, 351
news 2, 13, 79–109, 368; archival policy 357; bad practice 69; bias 65–6; campaigning journalism 90–1; causing distress 97; Codes of Practice 81–2; commentary 264, 265–6; complaints 354; costs 16; crisis reporting 97–9; definition of 79; equipment in the field 106–8; fairness 95–6; featurettes 220; getting the facts right 92–3; giving offence 96–7; intelligibility in the writing 93–5; interest to listeners 79–81, 87–8; investigative reporting 89–90; legal issues 84–6; magazine item order 222; news screen 143; newsroom operation 99–103; objectivity 82–4; policy 82–3, 91, 101, 103–4; press releases 100, 108–9; quality 361, 362; routine activities 91; Search Engine Optimisation 357; selection of news items 86–9, 101–2; smartphones and mobile devices 103; studio layout 31; style books 103–4; training 374, 376–7; use of vehicles 104–6; values 86–9, 109; websites 356; see also journalists
news conferences 108
newspapers: comparison with 7–8, 99; podcasts 54
newsrooms 99–103; BBC 80; copy flow 102; diaries 100, 102; training 377
non-questions 121
non-verbal communication 122, 167, 168, 338
normalisation of music tracks 196
objectives: commercial radio 21; executive producers 345; producer’s role 341–2; training 373–4, 375; see also programme aims
objectivity 65–7, 69–70, 82–4, 95, 109, 146
offence, giving 21, 22, 96–7, 177, 179, 339, 351, 354, 355
Office of Communication (Ofcom) 82, 346; advertising 229; community radio 25; music 196; regulation 12; research 3, 7, 8, 21
omni-directional microphones 45, 47, 107, 129, 275
Open University 12
orchestras 273
organisational structure 24, 25
out-cues 124
outside broadcasts (OBs) 192, 245–57; commentary 258–70; echo plates 284; live music 272; see also location; remote locations
‘over-production’ 334
‘padding’ 121
panels: discussions 162; phone-ins 179, 181, 182; research 365–6
Parker, Charles 330
parody 240
payments 68–9, 114, 194, 255, 341
performance management 345
Performing Right Society (PRS) 194
personal counselling 172, 183–5
personal enhancement 361
personal motivations 17–18, 95, 109, 378, 383
personality 8; DJs 208–9; phone-in hosts 176; presentation 149
‘personality interviews’ 110
phone-ins 86, 169, 171–86, 220
phone-outs 183
phoneBOX solo 172
Phonographic Performance Ltd (PPL) 194
planning: commentary 262; documentary programmes 320–1; lesson plans 375–6; outside broadcasts 245–6; resources 334; sequences and magazines 225–6; strategic 349; see also preparation
politics 4, 14, 17; fairness in reporting 82; FCC regulation 20–1; interviews with politicians 111, 125; political discussions 162, 163
portable recorders 8–9; commentary 265; drama 317; interviews 127, 129, 130–2; outside broadcasts 249; ‘studio in a suitcase’ 255; vox pops 133, 137–8, 139
posture 149
pre-interview discussions 115–16
pre-recorded items 145, 146, 209, 336; see also inserts
prefading to time 40–1, 202, 204, 224, 225
premise, product or service 231–2
preparation 384; commentary 259–60; discussions 164–5; DJs 208–9; interviews 113, 114–15; listeners’ material 202–3; newsreading 150; producers 334–6
presenters 148–60, 342; cues 142–4; discussion chairpersons 164, 166–70; DJs 205–9; links 147; listener participation 187, 188; live music 279; music programming 197, 198–9, 200, 202–3, 205; phone-ins 172–4, 176–7, 180, 184–5; sequences and magazines 212–13, 222, 223, 226; Twitter accounts 58–9
press releases 100, 108–9, 341
primacy effect 87
Pritikin, Robert 232
private ownership 23
producers 24, 28–9, 332–42; campaigning journalism 91; commercials 228; complaints 355; documentaries 323, 328, 329; drama 300, 316–18; ideas 217, 332–3; knowing the audience 333–4; legal issues 86; live music recording 291–2; magazines 226; monitoring of interviewing style 125–6; outside broadcasts 252, 254; phone-ins 172, 174, 181; preparation of material 334–6; programme evaluation 360, 370; resource planning 334; selection of news items 86–8; talkback 168–9; training 372
product placement 21
programme aims: discussions 161; documentaries 321–3; drama 294; evaluation 359–60, 370; interviews 110, 111–12, 123; magazines 211; music 200, 205; phone-ins 171, 172, 181, 186; see also objectives
programme circuits 30
programme evaluation 359–70; audience 362–9; cost 369–70; production 359–62
programme structure: documentaries 324, 328; sequences and magazines 214–16, 222, 224
programme titles 211, 321, 349
pronunciation 149, 150, 151–2, 203
provocative material 21
public address (PA) systems 45–7, 253, 272, 279, 284
public interest 17, 64, 65, 67, 84, 109; discussions 161, 170; interviews 112; investigative reporting 89; vox pops 133
public opinion 69, 133, 196; see also vox pops
public relations (PR) 254–5, 341
public service 15–17, 23, 227, 370
public service announcements 158, 230, 380
public sources of news 100
punctuality 384
qualified privilege 86
quality: programme 360–2, 381; sound 28
question-and-answer sessions 193
questions: interviews 115, 116–18, 123; vox pops 134–6, 138–9
quiz programmes 349
Radio Abracadabra 191
radio conferences 193
Radio Data System (RDS) 12
Radio Joint Audience Research (RAJAR) 363
rapport 113, 122, 159, 209, 244, 361
rate card 230
recency effect 87
recorders (handheld/portable) 8–9; commentary 265; drama 317; interviews 127, 129, 130–2; outside broadcasts 249; ‘studio in a suitcase’ 255; vox pops 133, 137–8, 139
recording 5; commentary 261; drama 317; formats 41–2; interviews 123, 124–5, 127, 129, 130–2; live music 271–92; news reporting 107; outside broadcasts 253; permissions 335; phone-ins 183; training 378, 380; vox pops 137–8, 139
recording off transmission (ROT) 183, 186
reference material 177
regulation: advertising 228, 229–30; national regulator 19, 20–2, 68, 82, 346, 351; outside broadcasts 250; see also Codes of Practice; legal issues
rehearsal 336, 337; commentary 260; drama 295, 307, 317; live music 276, 288, 289, 291
religion 23, 82; advertising rules 229; Codes of Practice 21, 354; follow-up services 189–90; giving offence 96; religious festivals 346; signature tunes 212
remote locations 39, 42, 104–6, 245–57; see also location; outside broadcasts
repeats 348
requests 187, 200, 201, 203, 204
research: audience research 3, 346, 362–9; commentary 259; discussions 164; documentaries 323–4; Internet 55–6; interviews 113, 126; music 196; outside broadcasts 252–3; phone-ins 175, 177; sequences and magazines 219
resource planning 334
Restricted Service Licence (RSL) 23
reverberation 274, 275, 284–5, 310–11, 312; see also echo
ribbon microphones 279
‘rifle’ mics 47
rights of listeners 81, 92, 354
roadshows 192
role models 14
Roosevelt, Theodore 384
‘rubber banding’ 43
running order 34, 36–7, 336, 340; documentaries 321; music programming 201; news values 87; outside broadcasts 252–3; sequences and magazines 220, 221–5, 226
running stories 183
safety: dangerous environments 99, 270; live music 282; outside broadcasts 246, 249, 250–1
satellite technology 13, 104, 248
scheduling 9, 346–8; see also time of day considerations; transmission times
School of the Air 12
scoops 90
scripts 73, 74, 77–8; alterations to 154; commentary 260, 268; documentaries 328; drama 221, 296, 306–7, 316, 317; editing 340; feature programmes 330–1; newsreading 151, 155; outside broadcasts 250; producer’s role 335, 336, 337–8
selectivity of radio 7
self-operation (self-op) 29, 42, 175
self-organisation 34
seven Ps of presentation 149–50, 378
sex 80
signposting 75, 144; commentary 268; documentaries 328; drama 294; sequences and magazines 214
silences 44–5, 149; commentary 267; drama 294, 300
‘Singing the Fishing’ 330
site visits 246, 247, 259, 262
smartphones 4, 39, 227; commentary 260; Internet radio 53; interviews 131; news reporting 103, 104, 106, 107; outside broadcasts 249; ‘studio in a suitcase’ 255; texting 190; vox pops 138, 139, 140
‘social gain’ 21
social media 56–8, 227; blogs 59–60; case study 60–2; listener participation 188; personal Twitter accounts 58–9; as source of ideas 216
society, benefits of radio for 14
Society of Professional Journalists 67
software 35–8; browsers 52; editing 45; EQ 283; multi-tracked music recording 290; music playout 40; music selection 199; outside broadcasts 249
solid state technology 10, 41, 54
SONAR (Sharing Opportunities in Nations and Regions) 345–6
sound effects 241, 340; documentaries 325; drama 2, 294, 306, 307, 311–15, 317; sequences and magazines 219
speakers 30, 31, 32–3, 35; drama 314; live music 277, 288; outside broadcasts 249, 250
special involvement of listeners 192
specialist programmes see magazines
speech: drama 294, 295; editing 44–5; mixed with music 195, 207, 209, 218, 225, 240; sound levels 34
speed of radio 4
Spoonface Steinberg 318
sport 80; commentary 262, 266–7; jargon 155; reading results 154–5
‘spot’ effects 313
staff development 345–6; see also training
stakeholders, radio station 19–20
standards 9, 63; advertising 228; production evaluation 359
station identification 156, 157, 159
stereo 48–50; commercials 241–2; discussions 169; interviews 129; live music 277, 286
stories 76, 165–6, 293–4, 296–7; see also drama
strategic planning 349
streaming 2, 6, 40, 52–3, 54, 55
structure, organisational 24, 25
studio layout 29, 31; drama 310; live music recording 277–9
studio operations 28–50; digital audio workstations 42–4, 291; digital development 39; editing 44–5; equipment 30–4, 50; faults and errors 50; microphones 45–8; music playout 40–1; phone-ins 177–8; recording formats 41–2; software 35–8; stereo 48–50
style: commentary 258, 259; consistency 210, 212, 213, 223; DJs 205; interviews 125–6; links 147; newsreading 153; phone-in hosts 176; presentation 149; station 148, 155–6
subscription stations 23
subtitles 331
tablets 4, 7, 12, 196; commentary 260; news reporting 103, 106; outside broadcasts 249
‘talk-overs’ 195
talkback 31, 168–9, 337; commentators 261, 262; live music recording 279, 291
tape, storage of 358
target audience 2, 333–4, 339; commercials 228, 230–1, 239; commissioning programmes 351; drama 296; magazines 211, 213; music 196, 205; news 87; outside broadcasts 257; programme evaluation 360; scheduling 346–8; writing 93; see also listeners
team building 345
technical innovation 361
telephone facilities 172, 178–9
television: ‘back-announcements’ 145; comparison with 2, 3, 6, 9; personal meters 364–5; smart televisions 53
testing of commercials 244
texts 188, 190, 217, 220, 227, 368
time of day considerations 185, 198–9, 212, 333, 346–8; see also transmission time
timing: commentary 262, 267; continuity presentation 156–7; discussions 169; interviews 114, 122, 123; magazines 223–5; music 202, 204; newsreading 151; producer’s role 337
topicality 217
training 371–82; see also staff development
translation in interviews 126–7
transmission times 185, 198–9, 212, 333; see also time of day considerations
travelling roadshows 192
trust, triangle of 132
truth 64, 221, 305; documentaries 320, 325; feature programmes 330; news reporting 79, 83, 109; objectivity 65, 66
Twitter/tweets 51, 56, 57, 58–9, 61, 188, 227
United Nations Cultural Organization (UNESCO) 64, 98
Universal Declaration of Human Rights 64
USB connections 34
USB microphones 55
values 14; investigative reporting 89; news 86–9, 109
Vardon, Harry 383
ViLoR (Virtualisation of Local Radio) system 39
vision 349
visitors 191
voice-overs 178
voice projection 149, 308, 309, 311
vox pops 127, 133–41, 217, 327; feature programmes 330; training 378–9, 380
war 69, 80, 83, 97, 98–9, 269, 348
watchdog role of media 68, 109
web analytics 369
websites 6, 52, 53, 56, 58, 355–7, 369
whistleblowers 68
windshields 103, 107, 131, 138, 249, 279
writing 72–8; advertising copy 232–5; conversational language 73–4; double meanings 76–7; drama 296; intelligibility 93–5; for listeners 72–3; pictures and stories 76; press releases 108; structure and signposting 75–6; subject matter 73; use of words 74–5; see also scripts
written programme responses 368–9
younger listeners 58
YouTube 51