Making radio, 3rd edition

-noise level of tape generated by the recording process. DROP-OUT Loss of sound in a recording caused by parts of the Making Radio PAGES.indd 343 21/1/11 2:29:10 PM 344 MAKING RADIO magnetic coating of the tape coming off, a bad edit or digital over-modulation. DUB To transfer the sound of a recording from one record or tape to another. ‘Dubbing’ also means to make a copy of a tape or recording. DUB EDIT See EDITING. DUMMY PROGRAM A program not designed for actual broadcast. Generally used for research purposes to check listener reaction to a station’s programming. DYNAMIC RANGE The difference between the softest and loudest sounds which can be recorded without distortion. ECHO Repetition of sound, produced by refl ection from a hard surface, or produced electronically through a reverb unit. EDITING Reordering or correcting a recorded program by cutting and splicing the tape or by selective dubbing of the material onto another tape. EFFECTS Actuality sounds added to a program or a commercial to make it sound more real to the listener. Referred to in a script as ‘FX’, ‘SFX’ or ‘EFF’. ENCODING Part of the audio compression process that takes place within digital equipment. In digital radio transmission encoding is one step in the process of converting signals before transmit- ting them. ENGINEER Station or studio technical staff. EPG Electronic program guide. EQUALISER (EQ) A signal processing device which can boost, attenuate or fi lter the frequency balance of a sound source or sound system (see also GRAPHIC EQUALISER, PARAMET- RIC EQUALISER). ERASE To remove all recorded sound from a tape. EXPANDER A signal processor which expands the dynamic range of a signal. FADE To alter the volume of sound. We talk about fading down, fading up, fading under, fading out, fading in and cross-fading. To ‘fade down’ is to gradually reduce the volume of sound from a record or tape. To ‘fade up’ or ‘fade in’ is to gradually increase the sound level or volume. To ‘cross-fade’ is to fade from one sound or record into another without interruption or announcement. To ‘fade under’ is to bring music or effects down behind a voice. FADER A slide volume control on a mixing desk. FEEDBACK The input of a signal from the output of the same system, causing a high-pitched squeal to develop. This usually Making Radio PAGES.indd 344 21/1/11 2:29:11 PM GLOSSARY 345 happens when a loud speaker or set of headphones is facing an open microphone. FEEDSPOOL Tape recorder spool supplying tape to the recording head (as opposed to take-up spool). FILTER Electrical device for removing unwanted frequencies from a sound source, such as mains hum or surface noise from a record- ing (see HIGH-PASS FILTER, LOW-PASS FILTER). FM (frequency modulation) Broadcasting mode in the VHF broad- casting bands which provides a high-quality analog signal. FREQUENCY RESPONSE A relationship between amplitude (loudness) and frequency, represented graphically. Used to measure a system’s ability to reproduce a range of frequencies with the same relative loudness. FX Abbreviation for ‘sound effects’. GAIN Generally used to mean ‘volume’ (of sound). Gain control means the knob or fader used for controlling the volume of sound. GENERATION (of tape) The original recording is the fi rst gener- ation. The dub of that is the second generation, and so on. In analog recording, each generation is a lesser quality than the previous one. In digital recording there is no quality loss in succes- sive generations. GPI (general purpose interface) A remote control trigger switch on a digital desk. GRAB A recorded voice piece from a reporter or interviewee/talent, usually in a news situation. Can also apply to similar voice pieces from studio interviews. GRAPHIC EQUALISER An equaliser with sliding controls which gives selective equalisation in narrow bandwidths. Named ‘graphic’ because the position of the knobs gives a graphic representation of the frequency response curve selected. HARMONIZER A signal processing device which generates various effects including delay, doubling and pitch shifting. ‘Harmonizer’ is a brand name of the company Eventide Harmonics, rather than a description of an effect. HEAD Part of a tape recorder. The ‘record head’ records the magnetic sound impressions onto tape. The ‘playback head’ deciphers the sound impressions, enabling them to be heard. The ‘erase head’ wipes the recorded sound off the tape. HEADPHONES Small speakers worn over each ear, usually on a headband. HEADSET Headband-mounted earpiece and mouthpiece some- times used by sport commentators. Making Radio PAGES.indd 345 21/1/11 2:29:11 PM 346 MAKING RADIO HERTZ (Hz) One cycle (frequency) per second. Audio frequency is measured in Hz (e.g. 15 000 Hz). One thousand Hz is referred to as one kilohertz (e.g. 1 kHz). HIGH FREQUENCY Sound frequency from 15 000 Hz to far beyond normal hearing ability. HIGH-PASS FILTER A fi lter which attenuates frequencies below a selected frequency and allows those above that point to pass unaffected. Used to reduce or eliminate unwanted low-frequency noise such as traffi c rumble and airconditioning. HISS Also known as ‘white noise’, hiss is the background noise usually heard on analog tape, especially cassettes, when replaying low- level recordings or during blank-tape passages in a recording. IDENTIFICATION The call sign, logo or a jingle identifying the station. Also referred to as station identifi cation, idents or IDs. IN-FILL When referring to radio transmission, in-fi ll is a term that describes the process of placing low powered transmitters in low signal black spots so that listeners in these areas can hear the station. In digital radio, in-fi ll transmitters can all use the same frequency (see SINGLE FREQUENCY NETWORKS). INPUT The entry socket for a microphone or other piece of equip- ment to allow its signal to be fed into a mixer, amplifi er or other piece of equipment. IPS (inches per second) Relates to audio tape recording speed, that is, the number of inches of tape that pass the record or playback head each second. There are also equivalent metric measurements. The most-used tape speeds in radio are 33⁄4 IPS (9.5 cm), 71⁄2 IPS (19 cm), and 15 IPS (38 cm). JACK The name given to the male plug (single or double pole) on the end of a ‘patch cord’ used to connect pieces of equipment. The unit into which a number of jacks and patch cords can be plugged is called a ‘jackfi eld’. KEY Switch. KILOHERTZ (kHz) A thousand cycles per second. KILOWATT (kw) A thousand watts of electrical power. LEADERTAPE Plastic tape joined or spliced to the start of a reel of magnetic recording tape. Leader- or ‘timing’ tape may also be spliced into various parts of a reel-to-reel tape to show where certain segments of a program start and end. This type of tape is usually coloured green, red, white or yellow. LEADS Lengths of cable or shielded wire (e.g. ‘microphone leads’, ‘power leads’). LEADTIME Time available for the preparation of a program. Making Radio PAGES.indd 346 21/1/11 2:29:11 PM GLOSSARY 347 LEVEL The loudness or volume of sound. LIMITER Device preventing the signal level from exceeding preset values. See AGC. LIVE Broadcast as it happens, as contrasted with a prerecorded program. The term ‘live’ is also used to indicate that a microphone is switched on—a ‘live microphone’ or ‘open microphone’. LIVE LINERS Announcer’s cue cards, usually about in-house promotions but sometimes for community services. Generally no more than two sentences long. LOG Written or printed record of a station’s daily broadcast schedule. Can also refer to a recording of the program, made on a ‘logging’ tape. LOW-PASS FILTER A fi lter which attenuates frequencies above a selected frequency and allows those below that point to pass unaf- fected. Used to reduce or eliminate unwanted high-frequency noise such as hiss or surface noise from records. MAGAZINE Type of program containing many segments, such as music, news, interviews and comment. MASTER TAPE Tape containing the original recording, from which copies or ‘dubs’ may be made if required. MEDIUM Means of communicating an advertising message. MEGA Million units—as in megahertz (MHz), megawatt (Mw). METADATA Additional data attached to a digital radio signal (or an internet stream or website) which carries additional infor- mation such as transmission characteristics, key words, pictures or text. METER Two main types are the VU meter (see VU) and the peak program meter (see PPM). Meters show the level of the program using a moving needle or a series of LEDs (light emitting diodes). MF Medium frequency transmission range. MIC (or MIKE) Abbreviation for microphone. MINIDISC A rerecordable digital-format sound storage device resembling a small CD in a plastic case. MIXER A piece of equipment containing a number of amplifi ers which enables the combining or mixing of sounds from various sources into a single output. MODULATION The application of a radio station’s program material to the carrier wave. Also the control of program levels or volume to an acceptable standard so that equipment works effectively. MONITOR To listen to. We talk of monitoring a program, to hear Making Radio PAGES.indd 347 21/1/11 2:29:11 PM 348 MAKING RADIO how it sounds or to ascertain content. A ‘monitor speaker’ is the loudspeaker which enables an announcer to hear the program. MOOD MUSIC Music specially recorded for use in the production of commercials or in radio drama to set a certain mood or convey a desired feeling or atmosphere. MP3 A popular fi le format for storing sound in digital form. The quality is lower than WAV or MPEG formats because more compression is used in MP3 formats. Because of the greater compression, MP3 fi le format is useful for storing larger numbers of audio fi les and is quicker to transmit over the internet than WAV or MPEG sound fi le formats. MPEG An audio fi le format for storing or transmitting sound. The name is derived from the Moving Picture Experts Group, which developed the encoding standards for this type of fi le. The original DAB digital radio transmission system used MPEG 1 encoding, while the later DAB+ system used MPEG 4 encoding, also known as AAC+. MULTIPLATFORM (also referred to as cross-platform) Modern media are delivered on many platforms such as mobile phones, computers, radio receivers, and so on. This term describes the process of transmitting on more than one platform at the same time. MULTIPLEX (mux) The part of a digital radio transmission system which combines multiple station signals into one transmission stream for broadcast. MUSIC SWEEP A series of songs played together without signifi - cant interruptions, for example ‘a 20-minute music sweep’ is 20 minutes’ worth of songs played back-to-back. Not to be confused with ‘sweepers’, which are short station promotional segments. NARRATOR The person who tells part of the story or verbally links various elements in a radio drama, feature or documentary. NETWORK A group of stations that band together for a particular purpose (sales or programming). They may or may not be owned by the same people. NOISE GATE An expander with a threshold which can be set to reduce or eliminate unwanted or low-level sounds, such as room ambience, rumble and microphone leakage, without affecting the wanted sounds. NON-LINEAR EDITING Editing using a digital system where the audio grabs can be manipulated at any point of the editing process, rather than the older ‘analog’ method where recordings Making Radio PAGES.indd 348 21/1/11 2:29:11 PM GLOSSARY 349 are on a tape which must be fast-forwarded and rewound to access the appropriate sections for editing. NULL An area within the transmission coverage pattern where the signal cancels out almost entirely. When properly planned, a null is useful for protecting other nearby transmitters from interference. OB (outside broadcast) A program which originates at a place away from the studios. OFF MIC Sounds that are not travelling directly to the microphone. If an announcer turns while speaking into a microphone, the voice will be ‘off mic’. Similarly, ‘on mic’ means talking directly into the microphone in the correct manner. OMNIDIRECTIONAL MICROPHONE A type of microphone sensitive to sounds from all directions. ON AIR ‘On air’ simply means ‘broadcasting’. If an announcer is said to be on air, they are broadcasting a program. OPEN ENDED A recorded program, jingle, interview, commercial, and so on which needs something added to it to be complete. This may be an introduction, ending or ‘tag’, or voice-over, or the questions in an interview may need to be added by an announcer. OVERLOAD A level that’s too high can ‘overload’ a recording or the transmitter. This can cause distortion or breaking up of the recorded sound and can even result in transmitter failure. PA Public address system. PANEL The console or consolette which the announcer operates in order to present a radio program. PAN POT (panoramic potentiometer) A control on a studio desk which allows the placement of a source to the left or to the right in a stereo image. PARAMETRIC EQUALISER An equaliser in which the bandwidth of a selected frequency is continuously variable. PATCH CORD A length of shielded wire with plugs or ‘jacks’ on each end for connecting to equipment. PHASING A musical effect caused by mixing a sound with a delayed version of the same sound and then slowly varying the delay. Phasing also refers to interference caused when two microphones placed close together produce a hollow, pipe-like sound. PICK-UP The head and stylus unit used to pick up sound from a vinyl record. PICK-UP PATTERN The area around a microphone where sound Making Radio PAGES.indd 349 21/1/11 2:29:11 PM 350 MAKING RADIO is received clearly. There are different microphone reception patterns including ‘cardioid’, ‘omnidirectional’ and ‘fi gure 8’. PLATFORM AGNOSTIC Content prepared for broadcast can be transmitted on one or many platforms because it has been made in a way that will transmit successfully on radio, internet, mobile and other transmission platforms. POINTER An announcement broadcast before a certain program or event in order to publicise it. POPGUARD A device to prevent ‘popping’ sounds in a mic. Can be a disc covered in fi ne nylon gauze suspended a few centimetres in front of a broadcast mic, or a foam sphere placed over the front end of the microphone (see also WINDSOCK). POPPING The popping sound on plosive consonants (particularly p, s, t and d) created by someone who’s working too close to a microphone. A strong wind blowing into a microphone in an outdoor situation can also cause popping. This phenomenon is also sometimes called ‘blasting’. PPM (peak program meter) A volume-measuring meter which indi- cates the amount of level being generated (see also VU). A PPM uses green and red LED lights to indicate level rather than a needle. While a VU meter indicates the average level of sound, a PPM indicates the actual level and is more accurate in measuring peaks. PRERECORD To record program material before it’s scheduled for broadcast. PRODUCER A broadcaster who prepares programs for broadcast or who assists a broadcaster on a special program, such as a current affairs or talkback show. PROGRAM-DELAY SYSTEM A device which introduces a time delay between the broadcast studio and the transmitter. Used in talkback radio to allow broadcasters to prevent the broadcast of offensive or defamatory material. PROXIMITY EFFECT A change in audio characteristics as you move closer or further away from a cardioid microphone. PSYCHOACOUSTIC MASKING The effect on human percep- tion of sound when one louder sound masks, or drowns out, another sound. RADIO 2.0 A term used to refer to multiplatform transmission methods. RADIO MIC Microphone requiring no direct cable connection, useful for stage work, outside broadcasts, and so on. Sound from a transmitter inside the microphone is sent to a receiver, which is plugged into the mixer, recorder or PA. Making Radio PAGES.indd 350 21/1/11 2:29:12 PM GLOSSARY 351 REGION A section of sound marked for later placement in the multitrack view of a digital editing program. REVERBERATION (REVERB) A series of refl ections spaced so closely that they are not perceived as discreet echoes. Their cumu- lative effect creates the impression of room liveliness. This effect can be obtained by recording in live spaces (e.g. halls) or by using electronic reverberation devices. RIGHTS/ROYALTIES Payment for creative or performance work by equity. RPM (revolutions per minute) The number of revolutions or turns made by a vinyl record each minute. RUNNING SHEET A sheet of paper showing all segments of a radio program, including the timing of the cues and various items, to enable smooth presentation. RX Abbreviation for ‘radio receiver’. SCRIPT The written text of a radio play, feature program or commercials to be read by an announcer. SCHEDULE The list of daily programs broadcast by a radio station. Also called a log. SEGUE Pronounced ‘seg-way’. The joining together of two pieces of music or sounds without announcement—similar to ‘cross- fading’. SERIAL A series of programs telling a continuous story broadcast on a regular basis. SERIES A complete set of programs having a common theme or subject. SIBILANCE A hissy distortion often produced by the high energy levels of sibilants in speech (s, z, sh, ch, zh). SIGNAL-TO-NOISE RATIO The relationship between the desired signal level and inherent unwanted electronic noise (e.g. tape hiss). The higher the signal-to-noise ratio the cleaner the sound. SINGLE FREQUENCY NETWORK (SFN) A transmission network where all transmitters use the same frequency without interference. Digital radio is most successful in using single frequency networks, while AM and FM transmissions often cause interference when broadcast on the same frequency in close proximity. SOUND EFFECTS See EFFECTS. SPLICE The join made between two pieces of magnetic recording tape. SPOT ANNOUNCEMENT A short announcement (usually of 15, 30, 45 or 60 seconds’ duration). Can refer to a commercial, a community service announcement, and so on. Making Radio PAGES.indd 351 21/1/11 2:29:12 PM 352 MAKING RADIO STAND-BY Term used to warn a broadcaster that they will go on air in a moment or to tell them to wait a moment for more infor- mation. Also, a stand-by program is a prerecorded program kept on hand for use in an emergency (e.g. equipment failure, landline failure). STEREO SYNTHESISER Artifi cially creating the impression of stereo by the use of fi lters and out-of-phase signals. STL (studio-to-transmitter) LINKS Microwave links which carry the program from the studio to the transmitter site. STOP-DOWN Term used to describe an announcing segment within a program. SURFACE NOISE The noise heard from a worn or badly pressed vinyl record. TAKE-UP REEL The spool on the right-hand side of a tape recorder where the tape is collected. The spool containing the tape waiting to be played is called the ‘supply reel’. TALENT A person being interviewed or appearing on a program or in a commercial. TAPE Commonly used to refer to magnetic recording tape in reel- to-reel, cassette and cartridge formats. THEATRE OF THE MIND A term used to explain the pictures, colour, movement and action that people imagine when listening to well-crafted radio productions. TOC EDIT (‘table of contents’ edit mode) Found in digital record- ers, such as minidiscs, to indicate when the index information for recorded sound is in the process of being stored. TONE The steady sound often recorded onto the start of a tape, enabling levels to be set correctly for the program that follows on the tape. TONE ARM The stylus and arm assembly on a studio turntable. TRACK The various items recorded on a tape or record are called ‘tracks’ or ‘cuts’. TRACKING A term used in research to indicate a station’s perform- ance (e.g. during a ratings period). Also the movement of a stylus along the grooves of a record is called ‘tracking’. TRANSCRIPT The text of a broadcast as transmitted. TRANSCRIPTION High quality tape recording of a program for use by other broadcasting services. T/T Turntable. TURNTABLE The actual ‘deck’ component of a studio record player. TX The abbreviation for transmitter. Making Radio PAGES.indd 352 21/1/11 2:29:12 PM GLOSSARY 353 UHF (ultra high frequency) Radio or television transmission in the range from 300 MHz to 3000 MHz. UNIDIRECTIONAL A microphone that records sound from a single direction only, usually from directly in front. Unidirec- tional mics are the opposite to omnidirectional ones, which have a far wider pick-up pattern. USER-GENERATED CONTENT Similar to citizen journalism, user-generated content is created by non-media personnel and contributed to the station in electronic from. This term is wider than citizen journalism as it can encompass non-news content as well as more serious content. VHF (very high frequency) 30 MHz to 300 MHz. VOICE-OVER Words spoken by an announcer over the instru- mental opening of a record, or over a music bed in a commercial, and so on. We also refer to announcers who ‘voice’ or record commercials regularly as ‘voice-overs’. VOICE REPORT Broadcast news piece in the reporter’s own voice. VOX POPS From the Latin vox populi, meaning ‘voice of the people’. A series of comments, edited together, about the same topic. VU (volume unit) A measurement of sound. The meters in a console which are used to measure the level of program being sent out are called ‘VU meters’. WAV A high-quality fi le format used for storing sound in digital form (see also MP3 and MPEG). WHITE NOISE See HISS. WIPE To erase the recording from a tape. WINDSHIELD The cover for a microphone, used to reduce wind noise when recording outside and to reduce popping. Often covered by a foam popguard to give additional protection. WINDSOCK A foam rubber cover to prevent the plosive ‘p’ sounds from ‘popping’ during broadcast (see also POPGUARD). WOW The sound made when a vinyl record or tape is not cued properly and gradually gathers speed. We also say a tape or record is ‘wowing’ when it’s running at an irregular speed and keeps slowing momentarily. ZERO A function on a recorder which returns the player to the zero point of the counter. Also known as ‘return to zero’ (RTZ). Making Radio PAGES.indd 353 21/1/11 2:29:12 PM 1. BIBLIOGRAPHY ANNOUNCING, GENERAL WORKS AND VOICE-OVER ALBURGER, JR, 1999, The Art of Voice-acting: The craft and business of performing for voice-over, Focal Press, Boston. BLAIR, R, 2002, Digital Techniques in Broadcasting Transmission, Focal Press, Boston. BLOOMFIELD, P, 2007, A Face for Radio: Radio station planning and design, Focal Press, Oxford. BODDY, W, 2004, New Media and Popular Imagination: Launching radio, television, and digital media in the United States, OUP, London. GELLER, V, 2007, Creating Powerful Radio, Focal Press, Boston. HALPER, DL, 1991, Radio Music Directing, Focal Press, Boston. HILLIARD, R & KEITH, MC, 1996, Global Broadcasting Systems, Focal Press, Boston. LIST, D, 2005, Know Your Audience: A practical guide to media research, Original Books, Wellington, NZ. McLEISH, R, 2005, Radio Production Focal Press; Elsevier, Boston. MILLS, J, 2004, The Broadcast Voice, Focal Press, Burlington MA. OEI, R, 2005, Riding the Bandwidth: Producing for digital radio, Marshall Cavendish Academic, Singapore. PRIESTMAN, C, 2002, Web Radio: Radio production for internet streaming, Focal Press, Oxford. Making Radio PAGES.indd 354 21/1/11 2:29:12 PM BIBLIOGRAPHY 355 REESE, D, 2006, Radio Production Worktext: Studio and equipment, Focal Press, Burlington, MA. STEWART, P, 2006, Essential Radio Skills: How to present and produce a radio show, A&C Black, London. TREWIN, JANET, 2003, Presenting on TV and Radio, Focal Press, London. WILCOX, J, 2007, Voiceovers: Techniques and tactics for success, Allworth Press, New York. WILLIAMS, R, 1996, Normal Service Won’t be Resumed: The future of public broadcasting, Allen & Unwin, Sydney. JOURNALISM AND INTERVIEWING ADAMS, P & BURTON, L, 1997, Talkback: Emperors of air, Allen & Unwin, Sydney. BELL, P & VAN LEEUWEN, T, 1994, The Media Interview: Confes- sion, contest, conversation, UNSW Press, Sydney. BOYD, A, 2008, Broadcast Journalism: Techniques of radio and television news, Focal Press; Elsevier, Boston. CHANTLER, P & STEWART, P, 2003, Basic Radio Journalism, Focal Press, London. CROOK, T, 1998, International Radio Journalism: History, theory and practice, Routledge, London. JOHNSON, R, 2000, Cash for Comment: The seduction of journo culture, Pluto Press, Sydney. MASTERS, C, 2006, Jonestown: The power and the myth of Alan Jones, Allen & Unwin, Sydney. PHILLIPS, G & LINDGREN, M, 2006, Australian Broadcast Journal- ism, 2nd ed., OUP, Melbourne. QUINN, S & FILAK, V., 2005, Convergent Journalism: An introduc- tion, Elsevier, Boston. SCHWARTZ, J, 2002, Reporting Handbook, Associated Press; McGraw- Hill, London. SEDORKIN, GAIL, 2002, Interviewing: A guide for journalists and writers, Allen & Unwin, Sydney. TURNER, G, 2007, Talkback Radio, UQP, St Lucia, Qld. LEGAL AND REGULATORY ISSUES ARMSTRONG, M, LINDSAY, D & WATTERSON, R, 1995, Media Law in Australia, 3rd ed., Oxford University Press, Sydney. AUSTRALIAN BROADCASTING AUTHORITY, 2000, Commercial Making Radio PAGES.indd 355 21/1/11 2:29:12 PM 356 MAKING RADIO Radio Inquiry: Report of the Australian hearing into Radio 2UE Sydney Pty Limited, Australian Broadcasting Authority, Sydney. ——2002, Survey of Commercial Radio Program Formats 1999–2000 and 2000–01, Austra lian Broadcasting Authority, Sydney. ——2003, Understanding Community Attitudes to Radio Content, Austra- lian Broadcasting Authority, Sydney. AUSTRALIAN COMMUNICATIONS AND MEDIA AUTHORITY, 2008, Media and Communications in Australian Families, Australian Communications and Media Authority, Sydney. DONALD, B, 1997, ABC All-Media Law Handbook: For journalists, present- ers, program makers, authors, editors and publishers, ABC, Sydney. HOUSE OF REPRESENTATIVES STANDING COMMITTEE ON COMMUNICATIONS, Transport and the Arts, 2001, Local Voices: An inquiry into regional radio, Australian Government Publishing, Canberra. MANAGEMENT AND SALES FISHEL, D, 2003, The Book of the Board, The Federation Press, Sydney. JACKSON, K, CHARLEY, P & HOGAN, T, 1997, Manage by the Moment: A handbook for radio managers, Southbound, Penang. KEITH, MC, 1992, Selling Radio Direct, Focal Press, Boston. LIST, D, 2003, Participative Marketing for Local Radio, Original Books, Wellington, NZ. MEDIA FEDERATION OF AUSTRALIA, 2009, An Educational Guideline on the Advertising Media Industry, Sydney. eration.org.au/sites/default/files/pdf/MFA%20Educational%20 Guideline%202009_0.pdf PRINGLE, PK, STARR, MF & McCAVITT, WE, 1995, Electronic Media Management, 3rd ed., Focal Press, Boston. WILLIAMS, RH, 1998, The Wizard of Ads, Bard Press, city unknown. PROGRAMMING AND MARKETING LYNCH, JR & GILLISPIE, G, 1998, Process and Practice of Radio Programming, University Press of America, Lanham, MA. MACFARLAND, DT, 1990, Contemporary Radio Programming Strat- egies, Erlbaum Associates, Hillsdale, NJ. PEREBINOSSOF, P, 2005, Programming for TV, Radio and the Internet: Strategy, development, and evaluation, Focal Press, Amsterdam; Boston. RAGAS, M & BUENO, B, 2002, The Power of Cult Branding, Crown Business, New York. Making Radio PAGES.indd 356 21/1/11 2:29:12 PM BIBLIOGRAPHY 357 RIES, A & L, 2002, The 22 Immutable Laws of Branding, HarperCol- lins, New York. SCRIPTWRITING ADAMS, D, 1995, The Hitch-Hikers Guide to the Galaxy: The original radio scripts, 10th Anniversary Edition, Three Rivers Press, New York. BLAKENEY, R (ed. and comp.), 1984, Script Writing Handbook, Centre for Media Studies, Riverina CAE, Wagga Wagga, NSW. CROOK, T, 1999, Radio Drama: Theory and practice, Routledge, New York. DUNN, I, 1999, The Writer’s Guide: A companion to writing for pleasure or publication, Allen & Unwin, Sydney. TECHNICAL AND PRODUCTION BARTLETT, B & BARLETT, J, 1999, On-location Recording Tech- niques, Focal Press, Boston. HUBER, DM, 2005, Modern Recording Techniques, Focal Press, Boston. REECE, D, GROSS, LS & GROSS, B, 2006, Radio Production Worktext, Focal Press, Boston. TALBOT-SMITH, M, 1999, Sound Assistance, Focal Press, Boston. HISTORY Australia ADAMS, P & BURTON, L, 1997, Talkback Emperors of the Air, Allen & Unwin, Sydney ANG, I, 2008, The SBS Story: The challenge of cultural diversity, UNSW SBS Press, Sydney. CROCKER, P, 1989, Radio Days, Simon & Schuster, Sydney. ELDER, B & WALES, D, 1984, [Radio] With Pictures, Hale & Iremon- ger, Sydney. GRIFFEN-FOLEY, B, 2009, Changing Stations: The story of Australian commercial radio, UNSW Press, Sydney. HODGE, E, 1995, Radio Wars: Truth, propaganda, and the struggle for Radio Australia, Cambridge University Press, Oakleigh, Vic. INGLIS, KS, 2006, Whose ABC? The Australian Broadcasting Corpor- ation 1983–2006, Black Ink, ABC, Melbourne. JONES, C, 1995, Something in the Air: A history of radio in Australia, Kangaroo Press, Sydney. Making Radio PAGES.indd 357 21/1/11 2:29:13 PM 358 MAKING RADIO LANE, R, 1992, Stay Tuned: The Australian broadcasting reader, Allen & Unwin, Sydney. ——1994, The Golden Age of Australian Radio Drama 1923–1960: A history through biography, MUP, Melbourne. ——1996, The Golden Age of Australian Radio Drama 1923–1960, MUP, Melbourne. MAC, W, 2005, Don’t Touch That Dial: Hits ’n’ memories of Australian Radio, WDJM Press, Canberra. MARSDEN, S, 1999, Talkback Trash & Treasure: Wit, wisdom and wireless, R & R Publications Marketing, Melbourne. MUSCIO, WT, 1984, Australian Radio: The technical story 1923–1983, Kangaroo Press, Sydney. PETERSEN, NH, 1993, News Not Views: The ABC, the press, & politics 1932–1947, Hale & Iremonger, Sydney. WALKER, RR, 1973, The Magic Spark: The story of the fi rst 50 years of radio in Australia, Hawthorn Press, Melbourne. General BARRETT, M (ed.), 1982, Broadcast Journalism 1979–1981, Everest House, New York. DALTON, WM, 1975, The Story of Radio, Adam Hilger, Bristol. LEINWOLL, S, 1979, From Spark to Satellite: A history of radio com munications, Scribners, New York. MARCONI, MC & E, 1999, Marconi My Beloved, Dante University of America Press, Boston. RESEARCH AND COMMENTARY FULTON, H (ed.), HUISMAN, R, MURPHET, J, DUNN, A, 2005, Narrative and Media, CUP, Melbourne. LANGHAM, J, 1986, Radio Research: A comprehensive guide, 1975–85: An annotated bibliography of radio research resources, BBC Data, London. REGULATION AND CURRENT ISSUES: WEBSITES Making Radio PAGES.indd 358 21/1/11 2:29:13 PM NOTES Preface The section ‘The people who make radio’ is sourced from the ‘On Radio’ column by Steve Ahern, Australian, 27 May 1999 and is repro- duced with permission. Chapter 1 John Laws radioinfo quote see: . For additional reading on the history of Australian radio see Inglis, K.S., This is the ABC, MUP, Melbourne, 1983. Griffen-Foley, B. Changing Stations: The Story of Australian Commercial Radio, UNSW Press, Sydney, 2010 Mac, W., Don’t Touch that Dial, WDJM Press, Canberra, 2005. Chapter 2 See for technical details of digital radio transmission. For more reporting of the introduction of digital radio see <www. radioinfo.com.au/news.php>. Chapter 5 Chapter reviewed by Sydney media lawyer Bruce Donald. Armstrong, Mark, Broadcast Law and Policy in Australia, Butterworths, Sydney, 1982. Used for case-law background. Making Radio PAGES.indd 359 21/1/11 2:29:13 PM 360 MAKING RADIO Donald, Bruce (ed.), ABC All-Media Law Handbook: For journalists, presenters, program makers, authors, editors and publishers, 3rd ed., ABC, Sydney, 1997. Used in defamation section. Corrs Chambers Westgarth, Media Live Newsletter, Summer 2006. Used for uniform defamation laws. Chapter 6 This chapter is based on original notes by Phil Charley and Bryon Quigley in Guide to Radio Production, ed. Lois Baird, AFTRS, Sydney, 1992. John Brennan and Dean Buchanan quotes are reproduced with permission. Chapter 7 This chapter is based on original notes by Phil Charley and Bryon Quigley in Guide to Radio Production, ed. Lois Baird, AFTRS, Sydney, 1992. Dave Cameron quotes are reproduced with permission. Chapters 8, 9 and 10 All quotes in this chapter were specifi cally sought from each radio presenter for this book. Chapter 12 The information on the Journalists’ Code of Ethics is sourced from the Media Entertainment and Arts Alliance website <www.alliance.org. au> accessed 10 April 2010. Steve Ahern article reproduced with permission. <www.radioinfo.com. au>. Chapter 14 McNair Ingenuity 2004 research study on community radio listening. . Matthew Ragas, NAB Conference Presentation, Philadelphia, October 2003, based on his book The Power of Cult Branding, Crown Business, New York, 2002. Chapter 15 Radio and online information contained on the Commercial Radio Australia website at <www.commercialradio.com.au/fi les/uploaded/ file/Advertising%20on%20Radio/radio%20%20%20online/ radio%20+%20online%20-%20we%20just%20click!%20Brochure. pdf>. Making Radio PAGES.indd 360 21/1/11 2:29:13 PM NOTES 361 The Radio Effectiveness study results presentation is at 203.63.5.202/ files/uploaded/file/Radio_Effectiveness/01%20Regional%20 Radio%20Effectiveness%20Study%20Presentation.pdf>. Media Federation of Australia, 2009, An Educational Guideline on the Advertising Media Industry, Sydney. Available online at <http:// mediafederation.org.au/sites/default/files/pdf/MFA%20Educa- tional%20Guideline%202009_0.pdf>. Chapter 16 All quotes in the Nova launch section from <www.radioinfo.com.au/ news.php>. Chapter 19 See for Digital Transmission quotes. Making Radio PAGES.indd 361 21/1/11 2:29:13 PM 2BE, 5 2BL, 4, 16 2CC, 11, 12 2CH, 8, 261 2EA, 13 2FC, 4 2GB, 5 - 7, 17, 172, 177, 191, 210–211, 242 2HD, 5, 11 2KY (Racing Radio), 6, 46 2MBS-FM, 13 2NX, 11, 12 2OO, 12 2SB, 4 2SM, 5, 11, 235, 254–255 2UE, 5, 7, 10, 11, 14–16, 177, 235, 242, 2UW, 6, 11–12 2WS, 12, 235 3AK, 11–12, 14 3AR, 4 3EA, 13 3MBS-FM, 13 3MP, 12, 17 3MTR, 17, 261 3UZ, 6.11 3XY, 11 4BK, 11 4GG, 12 4GR, 5, 6 4IP, 11 4QG, 5 5AD, 10, 11 5DN, 6, 11 5KA, 11 5UV, 13 6PM, 11 6WF, 4 7EX, 11 7HO, 5, 11 AAP, 210 ABC, 7, 8, 13, 14, 16–17, 18, 31, 122, 153 digital radio 31, 36–37, 44–45 features, 295–304 music, 150 news, 209–210 newsreading speed, 153 programming, 278–289 Radio Australia, 7, 16, 287–288 talkback, 171–2 ACMA (previously ABA), 14, 16, 17, 35, 120–122 acoustics, 59 actuality, 214, 218–219 Index Making Radio PAGES.indd 362 21/1/11 2:29:13 PM INDEX 363 ad libs, 143–145, 276–277 Adobe Audition™, 85, 93, 99 ads, 121, 193–199 humour in, 195, 201 production, 203–207 Trade Practices Act 1974, 120–121 writing, 193–199 advertising agencies, 7, 262 airchecking, 87, 154, 278 allegations, 108, 222 AM transmission, 325–7, 329 AM transmitter maintenance, 331–332 Amalgamated Wireless (Australasia) Limited, 3 AMCOS, 116 analog equipment, 58–59, 70, 98–93 analog spectrum, 14, 19, 21– 23, 26–27, 35 angle of interviews and news stories, 151, 159–160, 163, 169–170, 218 announcers and announcing, 125–139 talkback, 170 antennas, 258–261 apologies, corrections and clarifi cations, 112–113 APRA, 116 ARIA, 116 ARN, 15 Associated Radio Company, 4 atmos, see background noise/sounds Audacity™, 93, 105 audience, see listeners (audience) audio content creation, 140, 145–148 audio features, 295–304 audio processor, 324–326, 333, 334 audio production, 200–209 audio storage, 87, 90–91 ‘audition/program’, 64–65 auditorium music tests, 279 Austereo Limited, 15, 17, 18, 44–46, 145–147, 260 Australasian Mechanical Copyright Owners Society, 116 Australian Associated Press, 210 Australian Broadcasting Authority, 14, 30 Australian Broadcasting Commission/ Corporation, see ABC Australian Broadcasting Company, 6 Australian Broadcasting Corporation Act 1983, 14 Australian Film Television and Radio School (AFTRS), 37 Australian Performing Rights Association, 116 Australian Radio Network, 15, 45, 261 Australian Record Industry Association, 116 automated studio computer systems, 61, 80, 83–85 AWA, 3–4, 6–7 background noise/sounds actuality, 9, 80, 214, 218–219 comedy, 277, 305–322 features, 298 balance, 58, 70–71 BBC, 3, 30, 53, 303 Bell, Tony, 16 bit and sample rates, 97–99 bit rates (Digital Radio), 21, 24 Blackman, John, 311 block formats, 176–177, 287–288 Bragg, William, 2 breakfast radio, 317–320 breathing, when speaking, 133–135 Brennan, John, 138–139 broadcast law and regulations, 106–124 Broadcasters Sydney Limited, 4 Broadcasting Services Act 1992, 14, 32, 106 Brumpton, Kevin, 135–139 Buchanan, Dean, 17, 139, 287, 290–291 Burgin Electric Company, 5 call signs, 5, 11–13, 16, 143 cardioid mics, 73–75, 303 Carlton, Mike, 169, 173 cassette tape recorders, 90–92, 226 cast, see talent CBAA, 116, 122 CDs and CD players, 61–65, 67, 77–80 censorship regulation, 120 ‘channel 1/channel 2’, 64–66, 76 children’s programming, 8, 51 citizen journalism, 50–52, 225–226 clarifi cations, corrections and apologies, 122–123 clocks (in consoles), 67 Making Radio PAGES.indd 363 21/1/11 2:29:14 PM 364 MAKING RADIO code of ethics, 223–224, 245 journalists, 223–224 research, 245 codes of practice and conduct, 16, 106, 122, 257 Colgate Palmolive, 7 comedy, 7, 46, 305–322 comfort, 60 comment, 109–110 editorials, 185–186 commercial content, 281, 283–284 commercial radio, 9, 18, 122, 245, 261, 283 Commercial Radio Australia, 33, 38, 122, 268, commercials, see ads Commonwealth Electoral Act 1918, 120 communicating on radio, 127–128 communications satellites, 15, 23, 28 community announcements, 145, 151–152 community broadcasting, 12–13, 269 Community Broadcasting Association of Australia, 122 compressors, 104 computer hard disk recorders, 85–87 consoles, 59, 61–67 contempt of court and parliament, 106–111,104, 117–119 content, 48–57, 121, 126, 140–141, 144 content creators, 51, 54, 140 convergence of technology, 14, 48, 121, 148, 187 copyright, 115–117, 245 copywriting, 193–199 corrections, clarifi cations and apologies, 112–113 court proceedings, 109–111, 114, 118–119 cue, 30 CDs, 79 console, 64–65, 94 playout computer, 81–83 records, 90 cut editing, 92 DAT recorders, 89–90 Davey, Jack, 7 de–esser, 104 defamation, 107–112 delay units, 76–77 Delroy, Tony, 242 Denton, Andrew, 158,167, 169 desks, 59–70 digital delay, 76–77 Digital Radio, 9, 13–14, 16–18, 19–47, 49, 66, 68, 77, 97, 148, 188, 208, 248, 260, 271, 288, 289, 294 digital radio transmission, 335–336 digital recording and playback, 77–78, 96–97 directing voice talent, 204–205 comedy, 305–322 directional mics, 73 disc jockeys, 10 DMG Radio, 15, 18, 44, 289–294 documentaries, 295 Dolby™, 105 Doogue, Geraldine, 17, 158, 229 Douglas, Harry, 5 downward infl ection of voice, 130–131 drama, 6, 8, 9, 12 dub editing, 92 ‘ducker’, 75, 232 dump, 76, 232 Dundas, Kate, 51 Dyer, Bob, 7 echo effect, 99, 101, 104 editing, on hard disk, 85–87 on minidisc, 88 on tape, 92 editorials, 110, 235–239 election material, 121 electronic effects, 206 emphasis, when speaking, 128–129, 132–133 enthusiasm, 148 equalisation (EQ), 95, 207 equipment, 58–105 errors, see mistakes ethical issues, 55–56, 156, 222–223 Eureka 147 system, 20, 25, 35, 335 expander, 104–105 faders, 61–63, 67, 72 pan pots, 70 family court proceedings, 118 Farmer and Company, 4 features, 295–304 Making Radio PAGES.indd 364 21/1/11 2:29:14 PM INDEX 365 Federation of Australian Radio Broadcasters (FARB), 6 feedback, 71–72, 74 Fessenden, Professor Reginald, 3 fi lters, 74, 105 Fisk, Sir Ernest, 3 fl ow-formats, 296 FM, 12–17, 21, 23, 25–26, 67–68 FM transmitter maintenance, 323, 330–331 focus groups, 250–252, 278 forced line-break method, 152 formats, 9, 10–12, 22, 30, 270–278, 286–289, 295 Francis, Bob, 10, 177 ‘friend’ test, 141 FX, see sound effects gain controls, see faders gambling and lottery laws, 120 George Patterson Pty Ltd, 7 Gold, Ted, 5 graphic equalisers, 104 Grundy, Reg, 15 hard disk digital recorders, 70, 77–78, 85 harmonizers, 105 headphones, 65, 71–72 history, 1–18 Holleran, Rhys, 16 Hope, Ron, 5 humour, 305–322 ideas, 77–178 identifi cation jingles, 11 identifi cation of people, 107–108 in-band digital radio systems, 26–27 infl ection (voice), 130–131 input level control (consoles), 62–62 interaction, 39, 50, 148, 230, 250 interchange links (STL), 67, 326 internet, 4, 7, 14, 16, 17, 19, 21–22, 34, 48, 52–55, 177–178, 188, 211, 225–6, 248, 325 defamation, copyright on internet, 115–117 internet radio streaming, 28–29, 41, 66, 68 show–prep sites, 144 time and place shifting, 49–50 interviews and interviewing, 157–175 introductions to interviews, 167–69, 182–185 iPods, 24, 41, 77, 87.91, 272, J Walter Thompson Company, 7 Jason and the Thunderbirds, 301 jaw muscles, limbering up, 135–136 Jenvey, Henry, 2 Jones, Barry, 12 journalists and journalism, 50–52, 213–4, 223–226 future of journalism, 225–226 protection of sources, 119 junction points, 142 Kennedy, Graham, 311 Klotz™ desk, 71–72 Lane, Terry, 168 law and regulations, 106–124 Laws, John, 10, 12, 15, 17, 230, 242 lead pars, 215 Letters to Myself, 303 levels, 65–66, 68–70 Lever Brothers, 7 ‘liar’, 115, 119, 122 licences, 5–6, 12–17, 32, 120, 327 limiters, 104 Links (STL), 326 lip muscles, limbering up, 135–136 listeners (audience), 127–133 callers, 148,162, 228–243 grabbing attention, 127 research, 244–253 to interviews, 157 to talkback, 228–229 listening by talkback presenters, 133 listening to airchecks, 154 ‘live news event’, 210 last.fm, 55–56 live production, 186–187 location interviews, 165–166 log, see playlists logging tape (logger), 87, 114 Longwell, Bob, 15 lottery and gambling laws, 106 McCutcheon, Sandy, 234–235, 242 Macquarie Network, 7, 14–15 Making Radio PAGES.indd 365 21/1/11 2:29:14 PM 366 MAKING RADIO Macquarie News, 211 MacRae, Ian, 254 magazine-style interviews, 170 Mann, E A, 209 Marconi, Guglielmo, 2, 3 Marconi School of Wireless, 3 marketing, 27, 37, 40, 244–245, 255, 257 master level faders, 67–68 meta tags, 52 Metadata, 52–53 meters and metering, 68–70 microphones, 73–75 minidisc recorders, 88 mistakes, 113–115, 154 MIX-FM, 15 MIX 101 HO–FM, 5 mixers, 60–61 mixing console, 58, 85, 95 monitoring, 62–3 using delay, 76–77 ‘More Music’, 11 Mp3 audio fi les, 20, 24, 41, 78, 87, 97 Muir, Rod, 10, 12 multilingual services, 13 multisyllable emphasis, 133 multitrack recorders, 96–98 Murphy, P C, 209 Murray, Paul, 163, 170, 175, 243 music, 3, 4, 8–10, 11–12, 150–151 accompanying voice, 142, 153 automation, 80–81 auditorium tests, 279 copyright, 115–117 in ads, 147–8 music on digital radio, 48 music on internet, 57, 117 voice breaks, 142–143 programming, 206–8 music composer software, 99 ‘Music Radio’, 11 ‘mute–to–call’ button, 241 national broadcasting, 6 news, 209–227 NewsRadio, 16, 211 newsreading speed, 153 NEWSTALK 2GB, 210 Nielsen surveys, 245 noisegates, 105 Nova, 17, 18, 44, 289–294 NXFM 106.9 (2NX), 11, 12 offensive material, dumping before heard, 76–77 omnidirectional mics, 73–4 on-air console, 61–67 on-air studios, 58–61 open-line (talkback), 12, 239–243 opinions, 109–110 output master volume controls, 57 outputs from console, 62–65 pace, when speaking, 128–139 pan pots, 70–71 Pandora, 55 parametric equalisers, 104 parliamentary proceedings, 110–111 patch rack, 93–96 pauses, when speaking, 128–129 PDs, 270–294 peak meters, 68–69 Pearce, John, 12 performers, see talent performing rights, 116 personalities, 8–10, 231 Phonographic Performance Company of Australia, 116 phrasing, when speaking, 128 pick-up patterns (mics), 73–74 pitch (voice), 128–131 playlists, 272–272 automated playlist systems, 61, 80–85 plays, 6 podcasting and copyright, 116–117 polar response (mics), 73–74 pop fi lters, 74–75 portable transistor radios, 9 position statements, 11 pots, see faders Powell, Russell, 172, 209–227 PPCA, 116 PPMs, (Peak Program Meters), 69 (Personal People Meters), 249 presentation, 140–156 privileged reports, 110–111 prizes and giveaways, 122 producers and production, 8, 51, 54, 176–193 Making Radio PAGES.indd 366 21/1/11 2:29:14 PM INDEX 367 production consoles, 93–95 production studios, 93–94 acoustics, 59–60 production values, 146, 197, 207 professionalism, 155–156 program junction points, 142 ‘program/audition’, 64 programming, 7, 270–294 projection of voice, 128–133 promos, sweepers and idents, 207–208 promotions, 254–258 protection of sources, 119 Protools™, 93–94, 99–100, 102–103 proximity effect (mics), 138 ‘publication’, 51, 107 qualities announcers, 125–127, 138–139 journalists and interviewers, 174–175 program directors, 279–282 questions at interviews, 164–173 quiz shows, 6 racial vilifi cation, 106 radiation, 323, 327, 330, 332, 337 radio announcing, 125–139 Radio Australia, 7, 16 radio comedy, 7, 46, 305–322 radio feature, 295–304 Radio National, 17, 164, 168 radioinfo website, 17, 52, 146, 225, 290–292 RCS™, 72, 80–84 reading speed, 153 recorders, 77–89 recording audio features, 301–304 digital audio tape (DAT), 89–90 digital multitrack, 96–98 location interviews, 165–166 reel–to–reel tape recorders, 91–92 vox pops, 161–162 recordings, copyright in, 302 reel–to–reel audio tape recorders, 91–92 regional radio, 15, 16 regulations and the law, 106–124 remote start switches, 67 connected to delay unit, 231–232 reputation, 108–109 research, 163 audience, 278–279, 246–250 reverberation (reverb), 11, 60, 104, 206 Rhode™ Microphone, 72 Rofe, Stan, 10 Rogers, Bob, 10 Royal Flying Doctor Service, 7 rural radio, 10 SA–FM, 15 St Mark’s church, Drummoyne, 5 sales, 259–269 satellites, 15, 23, 28 Sattler, Howard, 17, 177 SBS, 13, 31, 36–37, 44, 121–122, 176, 257, 259, 287 School of the Air, 7 scripts, see writing Sennheiser™ Microphone, 75 Selby, G W, 2 serials, 6–9, 12 set up, feed, tag, 307 setting levels, see levels shock mounts, 74–75 signal processing equipment, 104 sketches, 312–313, 319 sliders, see faders slogans, 11, 38, 208 soap operas, 7 sound effects (FX) 83, 102, 197, 200, 203, 206, 314–315 sources, protection of, 119 speaker feedback, 71, 72, 74, 99, 138 speaking skills, 128–132 Special Broadcasting Service, 13, 31, 36–37, 44, 121–122, 176, 257, 259, 287 specialist interviews, 161 spectrum (broadcast), 21, 336 speeds (tape recorders), 91 staff communication, 285–286 stars, 7, 8, 231 station IDs, 143, 149 stereo, 12–14 stereo coder, 324–326, 333–334 stereo synthesisers, 105 STL (Studio to transmitter links), 67, 325–326, 333 Making Radio PAGES.indd 367 21/1/11 2:29:15 PM 368 MAKING RADIO studio production, 186–188 comedy, 313–315 studios, 58–105 subediting and subeditors, 217–8 tag lines, 307 talent, 8, 125–127 talk radio, 14, 228–243 talkback, 9, 12, 228–243 tape editing, 92 tape heads, 91–92 tape recorders, 90–93 technology, 1–2, 4, 7, 19, 51 digital radio technology, 19–35 telephone hybrids, 75–76 telephone interviews, 181–182, 225 telephones, 9, 12, 63, 69, 75–76, 148 television, 14, 16, 21, 22, 28, 34, 43, 46, 68, 226, 249, 262 temperature calls, 129 Theosophical Society, 5 Thompson, Paul, 15, 17, 289–292 time-calls, 142–143 timers (in consoles), 67 timing scripts, 153 TOC/TOC EDIT, 88 tone generators, 71 tongue muscles, limbering up, 135–136 Top 40 programming, 10, 270–274 ‘track’ (digital recorders), 85–87, 96–98 Trade Practices Act 1974, 120 transistor radios, 8–9, 141, 210 transmission, 323–338 transmission components, 328–336 transmitter earthing, 334–335 transmitter faults, 336–338 Triple M, 13, 15, 261, 292–293, 315 ‘Triple Your Music’ concept, 12 truth, 1009 turntables, 89–90 TV, 14, 16, 21, 22, 28, 34, 43, 46, 68, 226, 249, 262 upward infl ection of voice, 130–131 USB drive, 41, 77, 87, 166 Vega, 17 victims, identifi cation of, 222–223 vilifi cation, 106, 108, 120–122 voice, 125–137 voice breaks, 142 voice–tracking, 83, 149 VOIP, 325–327 volume of voice, 68–70, 231 volume controls, see faders vox pops, 157, 161–161 VoxPro™, 85–87 VU meters, 68–70, 100, 334 warming up (announcers), 135–136 ‘The Watchman’, 209 weather calls, 142–143, 188 Westralian Farmers Limited, 4 Wilkins, Ormsby, 12 Wilshire, Brian, 229, 242 Wireless and Telegraphy Act 1905, 3 writing, 126, 145, 151–153, 167–171, 182–186, 193–199, 221–222, 216–217, 235, 305–306 Making Radio PAGES.indd 368 21/1/11 2:29:15 PM