The ¥CC and Traffic
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`1.3;; étempimas. am easry Eu set up in Rad;-m?raf%Ec.mm“ CG mmsemfial axzaiés -am Efimfiia ga EEE Ema-, {Swain
`siczgar sets. man ha 3.5% $3 aiwagxa -get fiikadi Eben -méhera are iiikad mama -an pt-”Em'éfie$. flsuia maifia-A cadasz ara-
`namaifiy %s.’:B§.3%. aft‘-arjii antraems; and gar-fiirsfiefi Saga ma can fie vEaw=efi if figs-firm.
`
`FEGURE 8fE'l
`Ac:<:(:u1'1’€s are
`
`(.‘1fl11f'.‘FC‘.d $0 21 iog at
`the time they have
`purchased. Courtesy
`Radi0'?raff§C.c.om.
`
`HGURE 3.}?
`
`Trafiic department
`in ciuster operation.
`Couftesy C1633:
`CE‘l311E'}.(-31.
`
`351
`
`

`
`CHAPTER 8 '?'RAi'-FIC AND BELLING
`
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`3 F’ t.1.'r 1'» Y M kw T N 9»? ‘-5 '53‘
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`FEGURE
`\*Vi1eI1 Spflts are 'i'.<)
`ap-pear in 3 leg after
`it has been pz*in€:ec§.,
`they are handv
`e:m.t<-zrecl. Courtesy
`WX§.‘()~FM.
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`HGURE 8.34
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`HOW MANY HMES THIS SCRIPT RM‘; A1‘ WHAT
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`ETAYIDN mmunamnuow STA'lEHEl‘f1' AH’R0't‘I-:.‘f}fiY THE {‘.O>-0?ERA‘f‘£\c'I'i M)\?£!f!T5§NG
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`352
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`FIGURE 8.35
`
`Traffic mzm.ageemen’t
`S€1”ViC€;’S
`are (sf gr:-:at
`assistance to sm1:i<ms.
`
`Courtesy ;\/I3rk<«2tr<m.
`
`353
`
`

`
`CHAPTER 8 '?R/3+"-?|C AND BELLING
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`
`354
`
`

`
`suggested further Readézzg
`~._..._..._~...—.-
`
`M E23? 59.: W MH E R ;3e:A B:,l_§N‘G:_'5.';-;
`
`Diamond, S.Z., Record? Ma?zag€3neni': A Pm:cr'ica.Z Guide, AMACOIVI, New York,
`"E983.
`
`Uoyie, Dix/£., Efi‘ia'.e:zIA(:c(rm1£'2Tr:g and Rec01'd Keeping’, David McKay and Company,
`New "York, 3.977.
`.'—i<.>.igh‘:0n, El, 3115: CL1m1:Eng.ha.m, D.R., Adveriising £71. 1118 Bmadcast and Cabze
`Media, Zuni eéition, Wadsm’0rth P'u.bi1'shi11g, Be}mo11t, CA, 1984.
`'-iu11?;(-:2", 5., and Thiebaud., M., Tefecom.mum’ca£'irms Billmg Sys1,'ems, McC}raw-N111,
`New York, 2002.
`(eith, M13, Seihr-zg Radio D:'.:'ect, Face} Hess, Boston, MA, 1992.
`Mulh-2:‘, M., }Ffsse:1ti.aZ.9 9}‘ Im2enm7jy j\/1‘am1g2zn.ent, Am:-rriezan Managerm-rnt Ass«:>c:i2:~
`ticm, New York, 2002.
`Murphy, .i,. Hcmcifvoole of Radio jicivenis’-fag, {'ih1'1t<nr1, Raclnznr,
`Schreibfedcr, J., Adziezring Ejfemve Imreaztrny Mr,magemen'z',
`Managemmt, II):iHas, TX, 2005.
`Shane, 13., Ssiiing I:'Zer:rmm‘c' Media, Facts} Press, Boston, MA, 1999.
`Slater, JL, Simpiifying Acmzmting Language, Kem'1ai].—HaiE Pxzbiishing, Dubuque, IA,
`"£9.55.
`
`'?A, 1980,
`I3.{"E'<:<:ti\r<:
`
`inventory
`
`\fVamer, C., and Buchman, I, Broadcast, Cable, Print, a11.::lIntemcIivc, Iowa State
`Um'versity Press, Amtts, IA, 2003.
`WiId., "F1, Best P?'a:,‘2T'r'.c‘e in Invemofy Management, 3011:: "VV'iIe37 & Sons, New "York,
`I998.
`
`Zeiglerr‘, SEC, and flowaré, }{"I.}'1., Bmadcasi AdU<?7'Ei5ing: A Com;9rehsm5ive E/5/0?}dii1.g
`fiaxtiaoole, 211:} eéition, Grid 1"-Lfoiishing, Coiumbus, OH, 1986?.
`
`355
`
`

`
`‘W 'AP'PEND'jX:
`
`"§:;f'_;;<:":a‘Fi?c'-'§'%_[fl¥c:3i'*é'é.i';g;ez‘f's-' A¥c'é5oft':z'1i{'_:_.'-__'
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`Every radio station has 3 person who
`anamaages "traffit:.” "I"-zafiic‘ mariagement is the
`sciteduiiztg of‘ cromrnercrirtis. Ciient orders are
`entered into the t-raffte so'Ftw:are specifying the
`dates, times} ieizgtit, and rate of the requested
`eommerc:ia§.s.
`
`Once the order is ezzteted, the questions ‘”V\f'§“zo
`wants to acivertise?" and "W’hen do they mm’: to
`be on the air?” are ans-wereé. Clients can choose to
`run a certain ituinher of eeinmerttiais ever a pt-srtioci
`of tie)-'s;, or they can opt for :1 specific znumher of
`eoznmereiafs on specific: days. In gerieral, the more
`det'::i].ecI the client" spet;izԤ<:atit>zzs For pfiacement, the
`grc-:atei' the cost of the mmrrrerciai.
`After deciding when th ey wazit to mm
`and how much fiexibifity-' they itave in
`day phacemezit, the cheat mt}:-t citoose the
`seiteduiing plan. Every radio station has a “rm: of
`station” pEan that means the c§1'er1t’s c<:rrzzner<;iaEs
`wiii he phzeed raztdomiy ta}? the (‘.C)m_p‘|.3fE’3' in
`whatctver openings are a\Jai]ai)1e."I"31is is ge:'1.era]Ey
`called ROS or BTA [best times a\-"fli]ii].?1('._} and is
`the }east eXpera.s:'vt-3 piaeernent option. A ehent
`may want to ensure that his eo.m.n'aer<:iaEs will
`run ti'1r0trg}.1o1zt the dsry A phm that guarantees
`an ever: di.stri]Jt:t§ort thretzghout the dayparts is
`the next step 123;) from an ROS scheduie. C].iei1ts
`who 5peeii‘it'a3h-" want a certain nt2i"r1]:er of
`commercials in a partitttziar daypait on 3 ehoserr
`day xvii} pay the highest‘ rate for the im.Ei\ridt2a.i
`eommereiaé unit. The (‘I.1.St0m‘=tf3’ (iayparts are 6
`a‘\.3\r£.~-3.0 A.i\z§., it) A.M.‘—3 M-t.J 3 I’.?vI.—7 }’.M.,
`7 P.M.—Mid.
`
`The next qttestion after "Who” wzmts to
`zztivertise anti “V\7hera" is "W']mt do they want
`to a<§vertise?" The two most commeit reasons
`for zzdvertisieg are "ir:}age” and "ever1t.“
`
`Clients may want to a:ive.rtise on a c0ns§st.ent
`basis to have their name and message in the
`puiaiit‘. awareness, or they may want to hype .2
`pa:treu]az' event or sa]e.
`Coizrmereia]s may-' be prochaczed by th e radio
`station prodsxctioza depa:'tme:nt tram a seript
`or copy points provided by the ciiezmz. Fiitisizeé
`c:ommer<_'ia]s can be sent in the Form of reel,
`over the irate-rriet {A/E.P3_}J or t’nrough cemmertzial
`tielivcxy systems. I"i0weve1' the eomm.er<:iel
`ar'r1'\-es, the inébrmation about how to run that
`<:0ir1mert‘.ia] must go to the traffic. mmaagez‘. "fine
`aceeptaiaie dates and times for each t‘<>.mmerei:aE
`are entered into the (‘.(}rT1pt.1'C€‘.f’
`Wei} as rotatiori
`instrueticms if there are muitipie eommereiais
`running for 8 eiimt. Code zmmtaers or
`inform ation about the eomm.e.r<:ia]..s that must be
`provitied on the invoice are also entered.
`Oraee 3%}. the contracts and traffitz instructions
`are imptxt, the traiht: manager assezrziaies and
`armzages a tiaily fog. A i’;1uiti].eve.1 priority system
`is used 163 enstire that the cfierzts specifying
`the most cietaiieci pi.ace1ner1't are sc]1eduEeé
`fitst, if the traffie anti ir:—.studj.o CG1’]‘1pL1t("..I"S are
`]ii1.ked, the eomrrzerciaf 10g is iminediateiy in
`piece and reaciy to be inergeti wit}: the music
`Eng. Airy adciitions, chxietitins, Oi‘ adjustment:
`are registered
`they ocrttur. E’? the traifit‘ and
`in«studio computer systems are not hrakecij the
`eompleted c‘0mmer<'iei tog is transferred by disk
`and cfitanges are entered 1'nar1u21i}y into the traffic
`softw are.
`
`Ins-‘oiees specifyiztg the (hate anti time that each
`eomrriercirtf aired are ge.riei"a’Lec§ ‘froin the firmlizetl
`fog inf<)rmet.ioh.
`
`Courtesy \'V}Zz\1/WBTZ
`
`356
`
`

`
`Production
`
`t Refrosgective
`
`W_
`
`‘o has entered a new era in mixing and
`imaging. Stiii, a typical. broadcast radio
`ri produces tl1ousa1'1<is of commercials,
`C. service an.n.ouncerrients {PS.AS), and
`s annually. Meanwhile, satellite radio
`s will mix a vast array of liners,
`, promos, and features, anti We.h radio
`oris frequentiy do likewise.
`iaily, cornmer(:ia.l.s were aired live,
`_o__ a lack. of recording teclirioiogy. In
`203, most paid aiinouncements CCOI1“
`of lengtliy speeches on the virtues
`"rtieuiar product or service. Perhaps
`"st representative of the comrnerciais
`eriod was one of the first ever to
`
`adea st, which iasted over 10 minutes
`as anrionnceci by a. representative
`€€}.’iS_, New York, real estate firm.
`"We over Wl.iA}.i in 1922, by today’s
`s the message wouicf sound. more
`assroorn. lecture than a broadcast
`
`‘merit. Certainly, no snappy jingle
`tching sound effects ac:<:ompan.ied
`__dic: annoimeenient.
`minereial messages resembietl the
`1926. On Christrnas Eve of that
`adio jingle was introciuced, when
`ers gatliereci
`lT_O1” a inusical tribute
`ties cereai. it was not for severai
`
`that singing cornrrierciais
`wever,
`11-‘l_I_if1OIIplaCC. iior the most part, corri~
`_duetion during the rnediunrs {irst
`.8 Telativeiy m.-undone. The reason
`-id: the governinent had resisted
`5. blatant or direct corrirnercialism.
`‘tart, w'hi<:h fostered. a iow~i(ey
`'a<ive.rtising, and the rr1<:dium. was
`
`just in the process of evolving anti therefore
`lacked the teelmicéa} anti crc-ratixre wherewithal
`
`to present a more sophisticateci spot.
`"Things cliangeci by I930, however. The
`austere, 13.o—frills pitch, oc:c:asion.a1Iy acconi~
`panic-rci by 21 piano but more often done a
`cappeiia, was gtra.::iua.El.3r replaced by the dis»
`iogtre spot that used drama or comedy to sell
`its prociuct. A great tieal of imagination and
`creatix-'ity' Went into the writing and produo
`‘Lion of cornrr1ercials, which were preserited
`izive throughout the 1930s. "i‘he prodmttion
`demands of some commerciais equsied and
`even exceeded. those of the programs they
`interruptecl. Orchestras, actors, anti iavishly
`constructed sound <:fI’<—rets comrrionly were
`required to sefl a choco]ateflsvorczzi syrup or
`a museie iirriment. By the late 1930s, certain
`coi'rii'r1erciais had become as famous as the
`
`favorite prograrns of the day. Commercials
`had a.cliie\'e<l tiie status of pop art.
`Stiil, the early radio station production
`room was primitive hy today’s standards.
`Sound effects were mostly improvised Show
`by show, cornrnerciai by cornrnercial,
`in
`some cases using tlie actual olojects with
`which sounds were ideratiliieci. Glass was
`
`shattered, guns fired, and ‘Furniture over-
`turned as the st1i<iio’s on~air fight flashed.
`Berfiare W'orid. War Ii, few sounci effects were
`axrailaluie on records. It was just as rare for a
`station. to broadcast prerecorded common
`cials, although 78 rpm and Wire recordings
`were used by certain major advertisers. The
`creation ofvinyi discs in the i940s inspired,
`more widespread use ofelectrieal transcrip-
`tions ior radio advertising purposes. Today,
`sound effects are taken from CD5 and
`downloaded from the internet.
`
`357
`
`

`
`FIGURE 9.1
`Sirius Satellite
`Radio 's “five” stu die.
`Courtesy Sirius.
`
`CHAPTER 9 PRODUCTEON
`
`The live spot was the ma-instay at most
`stations ziiito the "£9505, when two inno-
`vations b:rou.gI1t about
`a greater i"el.ianc“.e
`on the prerecorded message. Magnetic:
`recording tape and 33 LFS revolutioiiized
`raciio production metliocis. Recoréing tape
`lurouglit about the greatest traiisfoi"mation
`and,
`ironically‘, was the product of Nazi
`scientists who developed acetate rectorders
`and tape for espioilage purposes. The a(iop-
`tion of magnetic: tape by raciio stations was
`costlier aiici tints oecrindreci at a slower pace
`than 33 rpm, whiclt essentially requireci 3
`'tiirn.‘cel'>Ee mcaciificatzion.
`
`Titrougltout the ].95Gs, acivertising agen~
`ties grew to rely" on Li’s. By 3.960, mag»
`netic tape Ie€;ordei"S were a. familiar piece
`of studio equipment. More and more com~
`rnereiais were prerecorded. Some Sl.3l.'iOi1S,
`especially those automated, did away with
`live announcements emzireiiy", preferring to
`tape everything to avoid 0I3~ai1" mistakes.
`Commercials thezinselves l3E.T{§fl§1’1€’.‘ more
`
`pz*3(‘ti(:aliy
`sophisticated souneiing eimre
`anything eoolci be ae{:o1ta]_f>lis]1eci on tape.
`]’e.rl:aps, no inciividiial in -the 39605 more
`e'lle<:ti\re.}y c.iem.onstrate<i the unique nature
`
`o'l‘rac.l1'o as an ad‘.-*e.1*tis-ing medium than ciici
`Stan. Fzrelaerg. Througiu s.l<i}.I.{'i2i writing and
`the clever use of sound. effects, Frelaerg
`transformecl Lalce Michigan into a baszin of
`loot ehocoiate crowned by a 7{)0~ioot—l1igl1
`mountain of whippeci cream, anti no one
`éoubteci the feat.
`
`sounds of 1‘11llli0I1S of slcillfully
`".l"oda'3r,
`prepared commercials trek through the
`ether and into the mincis oi"pra<:tiealiy every
`man, Woman, and c:l11'Ici 7i1}.AiTi.(7‘.Fi.EIEi. C-xooci
`Writing and prociucifzon are what make the
`medium so succesafu.i_
`
`Eegteizseiiefiéaetéwweww
`
`In the 19505 the meciium took to ;‘om2a.z.'~
`ring to survive and pros-pe-r. Today ].i.stei'iers
`are offerezd myriad Souzods from which to
`choose; there is something for practically
`every taate. St:a.t.io113 coiicentrate their efforts
`on (iE.*li‘v'eri.ng a specific format, which may
`l')e defir1eci.asAd'ult Contemporary, Country,
`Easy Ziisteiiing, or any one of a dozen others.
`As you will recall from the discussion in
`
`358
`
`

`
`The Protiuciion Room
`
`FJGURE 9.2
`riiociay mixing is tione
`in the digital box.
`Courtesy Sirius.
`
`'
`
`Chapter 3, each format has its own distinc-
`tive sound, which is accon":pi'. ized through
`' a carefui seiection and a.r'rangen1erz.t of
`_ compatible program eiernents. To this end,
`I Commercials attempt to r<-zfiect a station’s
`forxnat.
`in the age of" <:oi“1soii<iation, says
`Larry Miller, ‘There is a tenzlency to tie
`3 one size iits aii at the agency ievel. i1'i.~.l'}.0L1S€:‘
`iocai retaii may be more cu.stomi7.ed to fit
`the format. We user} to make a point of
`avoiding ioud. rock ‘n’ roil spots at the cias~
`sical station. I Worl<eci for, but I’m not sure
`if tliatis stiii a <:onsideratr'on.”
`
`Tljge Production Room
`
`In general, nietro market stations and clus-
`rs employ a fuH~tiine production person
`_{lmow‘n Variotisiy as production <§ii'ector,
`reduction. manager, production chief, and
`more recentiy as chief irnager or head audio
`animator}. This inclivieluais primary duties
`are to reco:.‘d voi<:e~’€raci<s
`and niix <:orn~
`erciais and PSAS. Otiter duties iI3.V()l.V<}
`“ch , maintenance of the bed and souiici
`effects iibrary and the niixcriowii of pro:no~
`onai matenai and special programs, such
`public affairs features,
`iri.te'rv.ie\-vs, and
`ocunientaries.
`'
`tations that do not have a slot for a full»
`
`:1 procluction person divicie work among
`
`(PD) ofteli. oversees prodirction
`ponsibilities, or a deejay may be assigned
`
`several is ours of pI"0(i.U{‘_ti0F’3. duties each day
`and be called the production director.
`At
`rnost
`1ri.e<liiirn and small ontiets,
`oi'1~air personnei take part: in the production
`proezess. Prociuction may include the simple
`tran.sfe.r of an a.ge.o.cy spot into the computer
`system, a mix.clown that requires a single
`bed {i3aci<grounci. rnizsic) 'o.n.d.ei" a 30~second
`\+‘oieer, or a rnuitieienlent mixcfown of 3
`50~second twowvoicer with sound effects
`
`and several bet} transitions. Station produc-
`tion can run frorri the rnundane to the excit-
`
`ing and challenging {mixirig a coinmerciai
`without words conveyed through a coniiu»
`once of sounds}.
`Most procliiction tiirectors, in this ciigitai
`age ofteia. <:aIied
`imaging directors,
`are
`re-zcrniiteci
`fro.:n the oo~a.ir
`ranks, having
`aeqziired the necessary studio dexterity
`and isnow how to meet the dcmazids of
`
`the position. in acicfition to the broad range
`of mixdown skills rcquireti by the job, a
`soiid i<no'wiedge oi’ editing; is essential. Tine
`production director routinely is called on
`to r.nai.<e m<iirne.nt:ai:y edits or perform
`more corripiex editing chores, such as the
`rearrarigernent of eleiric-rnts in at 6{}~se<:o12ci
`concert promo. {Ecliting is ezovereri in more
`detaii later in this ehaptterj
`The proci-ziction/imaging ciirector works
`ciosely with many peopie but perhaps most
`cioseiy with the program director. The person
`responsilale for production is expected to
`have a complete uncicrstanciing of the sta~
`tion’s programming philosophy and objecw
`tive. This is necessary because commercials
`
`359
`
`

`
`constitute an element of programming and
`tiierefore must ‘fit in. A proritictticin person.
`rnust be ahie to ciete-rmine when an incorri-
`
`ing cornmerciai ciashes with the stations
`image. "When a question exists as to the
`spot’s appro_priat.eness, the program director
`wiii. he caiied on to make the {inn} judg-
`merit, because it is he or she who is iiiti~
`mateiy responsible for what. gets on the air.
`In the iirtai anaiysis, station. 'proc.iuc:ti(m is
`a precinct of prograrnming. In most 1*>roa(i~
`east organizations,
`the pro(iu.ction ciirec~
`tor an.sWe.rs to the program director. It is 21
`iogicai arrangement given the relationship
`of the two areas.
`
`The 'prociu(:tion/ir:oa.ging (iirector also
`works cioseiy with the station copywriter.
`Their cornhined efiiorts make or break 3
`
`cornrnerciai. The copywriter conceives of
`the concept, and the producer brings it to
`fruition. The traffie <ie_partrrien.t also is in.
`eiose and con.sta.n.t comaL':t with prociuction,
`because one of its primary responsibiiiti es is
`to see. that copy gets processed anti pierced
`in the onwair stuciio where it is sciieduied
`for broadcast.
`
`Once again the extensive c:iuste.ring of
`station facilities in the age of consoiidation
`fincis many production responsii)i.iities cc-:12:
`titflizeci. By now .E'i‘13I“i.}i’ raciio groups have
`estainiisheri one production hub to mix
`
`CHAPTER 9 PRODUCTSON
`
`the spots of their other outlets, especia.li'y
`when in
`same market. '?ypi.ce3iy, this
`has resoiteci in
`downsizing of inciix-*icit1.ai
`station production staffs and the eiimii1a~
`tion of compreirensive mixciown stiziciios at
`these sites.
`
`The Studios
`
`A raéio station has two icincis of studios:
`
`on~air anti prociiiction. Both share basic
`design features and have £iOfl1pa1”a1}if3€(T11Iip~
`ment. in ciust.er operatiions ‘where stations
`are coiocateci, there is often a singie priroary
`prociuction.
`iaciiity. For ease of move~
`merit and access.ii3.iiit'y, audio equipment
`eorrirrioniy is set up in a. U~si'1ape Within
`which the operator or producer is seateci.
`The standard equipment founci
`in radio
`studios includes microphones,
`an aticiio
`Consoie
`{eorrmfroniy referred to as
`the
`“i>oarti”], computer workstations
`(on~air
`stuciio osriaily n,et'wori<eci
`to prociuctiori
`studio ~ this computer Wouid aiso contain
`au.t.ornatio11 software, such as Audio Vauit),
`video
`display monitors,
`compact
`disc.
`machines, rni.n.i~rii.<:c machines, ciigitai effects
`boxes, patch pane] {digitai consoles typi—
`caiiy have ti: ese huiit. iii}, and a distribution.
`amplifier [see Figure 9.4).
`
`HGURE 9.3
`This cnttingedge.
`ziigitai studio is state
`of the art. Courtesy
`RTISZ’.
`
`360
`
`

`
`5
`
`HGURE 9.4
`
`A'It}mugh each
`;:>r0duction studio
`is tmique, the basics
`of layout are fairiy
`consistent from
`station. to statsioau. For
`the sake of ease and
`
`accessibitity, most
`studios are develeped.
`in a [}-shape or a
`variation thereofi
`However, computer
`workstations have
`had an effect on
`equipment layout,
`since most work is
`done an the mouse
`and keyboard.
`Couztesy Ciear
`Channel
`
`FJGUR1’. 99.5
`'1’r11r}s(§u.C’tion points
`in. a typicai audio
`chain
`
`Audio Ccnsoie
`
`components remain relatively Constant. Can-
`Audio Ccmsoie
`t"""""""""""""""""""""""""""Mmmmmmmmm""It soies come in all ciifterent sizes anti shapes
`The audio c:ons0i<.=.
`is the L".-eniierpiece, the
`and a1} conmin inputs that permit audio
`very heart of the radio st.ati.0n. Dozens of
`energy to <—>ntert}1ec0:n.s0Ie, outputs through.
`manufkzctturers produce audio consoies, and which audie energy is fed. to other Eocations,
`although design characteristics vary, the basic VU meters that measure the amcunt 01‘ ievel
`
`TYPICAL AUDIVO PROIDUCTION CHAIN
`'
`
`I M
`1
`
`éxing Cunsnie
`
`A
`Receiver
`
`"\/\/*9.
`Originalsgund Mm
`
`Ampwiixt-J:
`------------n-E“
`
`-
`
`ENER (}LEN‘THE FORM OF:
`8955351 WEVB3 Eéernricai irnpwsas
`{Eteo1r|cii\;')
`
`§N1&§I‘Ie1i2: i-isapéictas
`got Eiectrxcal E:12r>u%se
`
`iEiectri{:§§'y Again
`
`Elecizéuity Again 3 $:2unG
`gain
`3V:aVES
`5
`HQ............\ nmm .................II W.z.___e_
`....... j'r3nSduC1igR pomgs ............
`
`361
`
`

`
`?56
`
`HGURE 9.6
`Muitichanrz <33. Euoard.
`Court.esy Audi ironies.
`
`HGURE 9.7
`Auciitrs consoie
`with linear faéers,
`popuiariy referred
`to as a “sIide"' board.
`Comtesy Aucii‘::r0n.icS.
`
`EGURE 9.3
`
`A ciigitai cozlsoie.
`('30::rtesy 80331:} Smite
`Logic.
`
`HGURE 9.9
`
`Audio misting
`requires speeiai
`skills afld dexterity.
`Courtesy Baum arks
`Iktdio.
`
`CHAPTER 9 §‘§ODL}CTiON
`
`of sound, pots {Peelers} that ctomml gain or
`the quantity of sotmci, morutor gains that
`<:ontr'oI inetuciio voiume, anti master gains
`for the purpose cn"c:o.n.tre]iing genera} output
`la-rveis {see Figures 9.6-9.8}.
`Since the iate 19605} the manufacture of
`eonsofes equipped with iinear faders has
`surpassed those wit}:
`rotary‘ faders. Slide
`{another term used} faders perform the
`same function as the more: traciititmai pots,
`and they are easier to read and handle.
`
`Cue Mode
`
`into the
`is built
`A 1ow'—-power ampizifier
`corzsoie so that
`the operator may hear
`audit} from Various sources without it actu.—
`aiiy ’ne‘u“1g (iistributed to other points. The
`
`362
`
`

`
`Comgzauw.-rs
`
`FIGURE 9.10
`Mic setup in :5
`Moscow radio studio.
`Comte-sy Echo
`M.:.:sika.
`
`017 this is to faciiitate the setup
`pl1:.‘pOS€3
`of <:<2rtai1‘2 sound c1cme11ts, such as records
`am} tapes, for eventuai introduction into the
`mixdown sequence {see Figure 9.9).
`
`Com puiers
`
`________A
`
`Com-p:,:.te:"s have beczcwne. the soui of the
`audio
`studio — both omsir anci produ.c~
`ticm. Observes Vic Mixzhaeis, “Studio -::0m~
`puters wouid contain editing soactware, Eke
`?r‘<3 Tools or Adobe Audition. The on~air
`
`'_
`
`computer would aiso contain automation
`software, such as Audio Vault. It xvotzid also
`possess Seiector, which is needsci. to tell £he
`Audio Vault system what to piay. At my
`station, "we: haw: three: c:0mpu’c£:rs in pmciuc:~
`‘don: one is for Audio Vault 3u1::>m.a‘::ic>n., the
`second is for S<:1e<:‘m-r music: sc>{twa.-re, and
`the ‘shim is for eciiting on. Pro Tools. AH
`three: are neatworked to the €:m—air computer.
`}%‘.vc:ryth.i.ng new is “audio flies.” Whe11 one
`makes a. c(>m.mer<:ia.i or recorcis 3 song of?
`3 CD, if becomes an audio fiis that can be
`moved from. computczr to computer.”
`
`¥iGUR£ 9.1 E
`
`An intczgrated
`conseic envi.r<>nm.ent.
`Count-ssy fligiciesign
`Icon.
`
`363
`
`

`
`CHAWER 9 PRODUCWON
`
`FJGUQE 912
`Mu.11'.it:*ack re.a:~1«t:<>—
`"rate? r'ec0rd:E:1g is used
`but the computx-:r
`has mairfiy tzaliceszz
`over this 1:.-as]<_. This is
`a 32-track 2‘ec0rcEer,
`using 2—.i:}c§1 audio
`tape. Clourtesy‘ Otari.
`
`HGURE 9.13
`
`A typical} 0:1~a1'r
`and. pmduction
`combination.
`Courtesy VVEZN‘
`
`FIGURE 9. E4
`
`M.<)13.i1i<>r'mg' the
`sound wave on the
`sctrfien. Cotrrtesy
`WZZN.
`
`364
`
`

`
`"*‘3UR5 9-'5
`Pr0duc1'.ioJ1 eiements
`
`and timir mixing
`are Cmmmi in
`the woricmtion.
`Courtesy WIZN‘
`
`'
`
`--
`
`'
`
`'
`
`"
`
`Digifczl §M:'ni} Disc Macfiines
`
`Digital (Mini) Disc Machine-§M_
`*~"" WWWWWW"""""""W“""""""""""
`
`_
`w
`.
`‘
`I
`_
`Anaiog can rnac.h1ne:,- were replaced by ram
`dom~acces<; mir1i~dis<: {record/piayback] tech~
`noiogy. These macthines have not become as
`popular as the cart machines they repiacted,
`because of other studio innovations. The so-
`
`cafled .ta.ew~age cart maczhine aiiows prociuar
`cars to digitafiy archive vast am.oun.ts of audio
`on mini reusabie discs Says station manager
`Vic Michaeis, “They repiaced the 01&~iine
`Carts, because they were faster, pr0g"ra'm1'nav
`bie, Visuai, digital, and competitiveiy priced."
`Companies Hke Sony, 350 Systems, Harris,
`D€:n.0n,
`and Otari manufactured the mini~
`disc machine, which repiaced the traditionai
`analog cart machine at most 51.-a’::ions
`anc>ther
`victim of the computer age.
`Among other things, ciigi—di,s'<; m.aeh1'n<:s
`offer instant start
`[there is none of the
`hesitation or drag mmmon in its analog
`
`Sgaacificaticns 8: Retails:
`
`0 A mirfimum 0? 2 gigabytes of ham‘ drésssa spmzza.
`It
`€xtr:::a:[::dF.a §r:3_rr1 rmgrsa man iipprmaied Ci;R§i3??'§5 with 5:9 apgzroprisstti
`war
`on can zgura on sxmu . ne:om: y, w 5
`we power‘
`:2 support
`multtgale
`rirfves,
`zzmaoavz drives may he eezner am or 3:351 deavietm am rnuact Ira cormectec
`in the: wc:r=ks‘tx§€a‘::n.
`Minlmum of 236 megabytes of RAM, rmsre If gm: mm "M irrs;>:.>r't§r2g from
`zmultlple CD tzswicxas £3!‘ trn;x:rt|n<_: audio ever 20 minutes long.
`Designed to mm as an integrates} comgzcmssnt cf the Nexmzn Digitai system.
`windtsmr 98. Windows 200$) or Wészciows MT required.
`
`FEGURE 9'16
`
`COrnPutcI"'(ifiV{'337
`production tggfig
`_
`_
`,
`hme gready _
`enhanced Imxdown.
`C rt
`. P
`t
`flu es)’
`rgphe
`Systems-
`
`fiGUR§ 917
`
`The old~Eine analog
`cart machine is
`now an aH~functz'on,
`éigitai recording
`source. Courtesy 350
`Systems.
`
`365
`
`

`
`{I APYER 9 PRODUCTEON
`
`of proc}uc1;‘:oi1 equipment has not entireiy
`vanished. Observes Skip Pizzi: “Bigitai
`audio had its greatest initial acceptance as
`CD }13r<lw'are, to the point where it was
`estimated that over haif of the. radio staw
`tions in the USA used CD to some extent.
`
`In major markets, this figure rose steeply.
`Many of these stations programmed music
`excl-usiv<-rly from (Iii), or neariy so. The pra::~
`tice Of" pz‘0'v'iCiin_g promotions}. COpiEiS of new
`reieases on Ci") by record companies {fob
`lowing an earlier period of general ft‘iUC-
`tanee to do so} became common practice.
`Sec:ond.~ and t}1iZ‘d~gE".I}€I‘a'Ei01‘i professioriai
`Ci) pisyers aided in the process of ae::ep~
`tance” {see Figure 9.20}.
`i.as.cer beam to reaci
`C?) piayers e.m.p1oy 21
`eiicoéed data at a rate of 4 .32} 8 miiiion bits
`
`per second. A c0m'pa.<:t dist: is 4.7 inches
`wide and 3.2 mm thick, and players are
`q1n't'e light and compact as Weiififihis feature
`alone makes them attractive to bmadcasters.
`
`But what makes a CD piayer mmst appeaiw
`ing to braadcasters is its superior sound.
`Compact disc piayers offer, among other
`features, far greater dynamic:
`range than
`standard tuarzltabkas sat} a tower sj.gn.a1~t0~
`noise rat.io.T3<1e.y also eliminate the need for
`physicai. Contact timing cueing, and wewing
`ané distortion are virtxiaiiy gone.
`Because digétai Lfiscts are fspc-rciafiy coateci,
`they are much more resistant to éamage than
`are analog discs. This is not to suggest that
`CD3 are impervious; they are not. In fact, the
`majority of CD~re1ated problems stem from
`the éises themseives and not the piayers.
`
`FIGURE 9.¥8
`Producrtziam studio
`
`equipment rack.
`Courtesy WIZN.
`
`-pre<ie<:essor}, back cueing, track seiezztion,
`Efld marking, automatic fadedn, Visuai ID
`anti eueing, digital. editing, am} so forth.
`
`Compact Discs
`
`the rac.Ei<;=
`(Est: players entereci
`Compact
`pro(§u<:ti0i3 Sflifiiit} in the T9805. Although
`Ci") piayers have beeeine Iess and less
`evident
`in stuciios,
`tht-air ‘mine as a piece
`
`HG-URE 9.39
`"Fe clean :1 CD,
`a piece of tin‘: free
`ttiotim 'I\Ti'3\«’€‘.'1"
`tone}:
`the encodeci surface
`and handie the ciisc
`at its edges.
`
`366
`
`

`
`Compressors, Equeiizers, and Auciio Processing;
`
`FIGURE 9.20
`
`CD players cart
`piayers continue
`to be used in some
`
`studies. Courtesy
`'E3enon.
`
`§.}é:Spite initiai ciaims of the imrincibiiity of
`the digitai disc, experience has shown that
`mishariciiing of discs is courting disaster.
`CD5 <:arai:u:>‘c be mistreated
`that is, used
`as iirisbees er piecemats fer peanut butter
`sandwiches — and stiii be exzpeeted to work
`iiize new. The simpie fact is that z1ith<>ugi:;
`compact riiscs are more resistant in damage,
`they can i)€ harineii.
`A CD reads a disc from its Core outward,
`moving from 500 rpm on the inside to
`2{}(31'prr1 on the outer edge of the disc.
`Most Ci.) players feature a variety oi: effect
`options, whieir can be of particuiai" use to
`a procimtrion mix. Accessing cuts on 3 CD
`player is quick anci sirnpie, though. e'x'<:er‘pt—
`ing segments from a trs<:i< for inehision in s
`mixdown can be sernewirat iess mpeadiem.
`Nonetheiess, CD players axe still usefui in
`the production studio. Compact ciiscs are a
`wonderful source for beci nmsic {rmisic that
`serves as background under voiced copy}
`and sound effects.
`
`Wnrking with a CD unit is anything but
`czninpiieatz-:ci. i’ress a button and a tray ejects
`{en topdoacieci moaieis a door pops open).
`A ciisc -is -piaceci into the tray, and the press
`of the sanae button returns the tray" and disc
`into the piayer. The 0-perater tiien selects the
`track to be piayed and “presses the apprepri.—
`ateiy nunibereci button. The atidio mils.
`Burnaiyie CD units {CD43 and CD—R\/V]
`are prominent
`in the proriuction room.
`
`Ci'}»Rs aiinw one tirne imrning, whereas
`CD~RWs allow multipie burnings.
`
`Compressors, Equalizers, and
`Audio P*9ss§.§i§as
`
`“"i”iaere are three domains of audio,” says
`j.TJ1"O(i11{2EEI’ Ty Ferdr “"f11ey are smpiitnde,
`irequearrciy, gzmi “time.” Serne sts1ion.s siter
`empiitncie to create the illusion of being
`ioiicier without a.c:tua.iIy changing levei.
`This is caiied compressing the signai.
`Production peopie use compressors to
`enhance ioudness as weii as to eliminate
`
`or cut out ambient noise, thus focusing‘ on
`specifics of mix. Compression Often is used
`as a method of getting iisteners to take
`greater notice of a piece of })1‘()(i1iC’ti01‘1
`and as a remedy to certain protnlems {see
`Figure 9.22).
`"I-Equalizers {EQSJ work the frequency
`domaiii of 311(ii.(3 by boosting an ii/or cutting
`iews (herrz\:>bH2:\eb range) a.n.ci11igi1s {i<jie»~
`iiertx\0bi<Hz\Ci'> range)‘ EQS aiiow prociuc~
`ers to correct pr<>i'>ierns as Wei} as to create
`parity‘ Between di'ff<-:a‘eI1t elements of pro-
`ductioii. "i’}.1ey are also usefui
`in creating‘
`speciai effects. EQ$ are avaiiaifle iI1~13Dard
`{part of the audio mrrsoie} anti out-o*F~i><>ar<i
`{stari<i~aior1e unit} anti as part of certain
`i.n.t<.>.gtrate<i audio effects -processors.
`
`367
`
`

`
`Ci"iAP'T'€:§? 9 PRODUCNON
`
`262
`
`FiGUR£ 9.21
`Screens, screens
`e‘v'eryv\r}1é:'z'c. The
`rnociom studio.
`Courtesy Afan FM.
`
`FIGURE 9.22
`
`Digitai effects
`processor. Courtesy
`"Lexicon.
`
`Most audio processors {also ca1}.eci effects
`promssors or simply boxes) are tiri1e~<ic>rr2.ai11
`cievices. Stations use these ciigitai boxc-rs to
`create a wicis range of effects such as -revs-rb,
`echo, and flange.
`radio stations
`in the last
`"Few years,
`have ‘occome iocreasiragly interested.
`in
`what audio processors have to offer their
`mixes.