OPERATIONS MANUAL 14th Edition

Transcription

OPERATIONS MANUAL
14th Edition
Frank J. Hogan
Mike Donovan
© 2010 Rowan University
TABLE OF CONTENTS
STATION OVERVIEW.....1 - 8
WGLS-FM INTRODUCTION.....
SOME HISTORY...............
STATION PROFILE...........
WGLS-FM AREA OF LICENSE.....
STATION POLICIES.....
TELEPHONES.....
SNOW CLOSINGS.....
WGLS-FM CODE OF CONDUCT.....
STATION VIOLATIONS.....
STATION ORGANIZATION.....
EXEC STAFF RESPONSIBILITIES.....
1
2
2
3
4-5
5
6
6
6
7
7-8
STUDIO OPERATIONS.....9 - 38
STUDIO OVERVIEW.....
AUDIO CONSOLE OPERATION.....
TYPES OF MICROPHONES.....
TURNTABLES.....
AUDIO RECORDING SYSTEMS.....
REEL-TO-REEL TAPE.....
TAPE CART MACHINES.....
COMPACT DISCS (CD PLAYERS).....
DAT RECORDER....
RECORDING TELEPHONE CALLS.....
AIR CHECKS....
METRO TRAFFIC REPORTS....
AUDIOVAULT VAULTEXPRESS.....
ADOBE AUDITION....
USING PATCH CORDS .....
EQUIPMENT UPKEEP.....
THE REMOTE BROADCAST.....
THE YAMAHA SPX 1000.....
9
10 - 13
14
14 - 15
16
16
16 - 17
17
18-19
19
19
20
21 - 30
31 - 33
34
34
35 - 36
37 - 38
WGLS-FM FORMAT .....39 - 42
FORMAT BASICS.....
WGLS-FM FORMAT CLOCK.....
39 - 41
42
TRANSMITTER OPERATIONS.....43 - 49
TRANSMITTER OVERVIEW.....
MODULATION MONITOR.....
TRANSMITTER METER READINGS .....
GENTNER REMOTE CONTROL.....
TRANSMITTER READINGS.....
TRANSMITTER OUTPUT POWER.....
POWER CORRECTION.....
AUX. TRANSMITTER.....
EMERGENCY TRANSMITTER OPERATION....
MOSELEY REMOTE CONTROL....
MORNING & NIGHTTIME PROCEDURES...
WGLS-FM STATION LOG.....
45
46
47
48
49
LEGAL OPERATIONS.....50 - 55
STATION OPERATING LOG.....
EAS - THE EMERGENCY ALERT SYSTEM..
THE PUBLIC FILE.....
WGLS-FM OBSCENITY POLICY.....
LEGAL CHECKLIST.....
50
51 - 53
54
54
55
GLOSSARY.....56 - 58
43
43
44
44
44
45
45
STATION OVERVIEW
INTRODUCTION
Welcome to WGLS-FM, a non-commercial, educational radio station licensed to the Rowan
University Board of Trustees. As you begin working at WGLS-FM, you’ll find that every effort has
been made to create a professional radio environment. You’ll have a lot of fun, but you will also learn
the skills, techniques and discipline necessary to enter the professional radio field.
As you no doubt already know, broadcasting is an interesting, ever-changing field with job
opportunities in many different areas. The training in audio production that you’ll receive here at
WGLS-FM will be useful not just in radio broadcasting, but also in TV or film productions, slide/tape
presentations, educational media productions, and pretty much anywhere that some audio skill is
needed. The more skills you can acquire and the better you are at each of these skills, the greater the
number of doors that will be open to you when you start that great job search after graduation.
WGLS-FM offers a tremendous opportunity and you’re very wise for taking advantage of it.
This manual tells you virtually everything you need to know about WGLS-FM. It is designed as:
1.
A training manual for equipment operation.
2.
A guide to station policies and procedures.
3.
A guide to the federal (FCC) requirements.
4.
A tip sheet on how to get on the air and stay on the air.
Each station member is expected to have a copy of the Operations Manual and each station
member is responsible for being familiar with all of the information contained in the
manual.
There is some time and effort necessary for getting started at WGLS-FM but take the time and make
the effort.You won’t be sorry.
PURPOSE
The primary purpose of WGLS-FM is to provide a broadcast service in the form of information and
entertainment programming designed to meet the public interest of the University and surrounding
communities. WGLS-FM is responsible to the Board of Trustees of Rowan University for the day-today operation of the broadcast facility and to the Federal Communications Commission, FCC, for
compliance with all laws, rules and regulations pursuant to the operation of the station.
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SOME HISTORY
WGLS-FM began broadcasting in 1964 when the FCC granted an FM educational license to
Glassboro State College. Initially, the station was located in the Bole Administration Building and
operated at 10 watts of power. In 1976, the University allowed us to move into a much larger space
in the basement of the Savitz Library, and a grant from the Student Government Association
allowed us to raise our power to 440 watts, convert to stereo, and upgrade the equipment. In
January of 1993 we again raised the power (to 640 watts), and also raised the antenna height to 150
feet.
In 1995, WGLS-FM relocated to new studios in Bozorth Hall, and a permanent home in the College
of Communication. 2001 saw another power increase (to 750 watts) and an increase in antenna
height (to 470 feet) when the WGLS-FM transmitter site was relocated to a new broadcast tower in
Harrison Township. 2008 saw the installation of a new state-of-the-art AudioVault digital system.
Today the equipment list includes professional CD players, traffic computers, AudioVault digital
work stations, and a remote broadcast system.
Generally, broadcast licenses for schools, religious institutions and public organizations are of the
non-commercial, educational type. Among other things, this means that they are required to provide
informational, educational and cultural programming, and, like other non-commercial or public radio
and TV stations, funding comes from private grants, corporate underwriting and public donations.
Keep in mind that from the FCC’s point of view, the primary goal of educational broadcasting is to
provide educational programming for the public. Our goal is to see to it that this is accomplished in a
professional manner.
STATION PROFILE
WGLS-FM is Gloucester County’s only FM radio station. It operates at 89.7Mhz on the FM band, 24
hours per day, 7 days per week. With a staff of between 90 and 120 students under the supervision of
General Manager, Frank Hogan, Assistant Station Manager, Derek Jones and Chief Engineer,
Frank Sippel, WGLS-FM offers a wide variety of entertainment, news, sports, public affairs and
specialty programming. The station carries the ABC News Network, the Metro Source News Service
and Metro Traffic. All full and part-time Rowan University students are eligible to sign-up for
training and join the station.
AREA OF LICENSE
All radio stations are licensed to a particular city or town. In order to keep the station’s license, the
federal government, through the FCC, requires the station to operate in the public interest and to be
responsive to the needs of the community of license. Since our signal covers more than just the
University, we must be responsive to the needs of both the campus and the surrounding
communities. You’ll make your job a lot easier and sound a lot more professional if you go out of your
way to learn as much as you can about your broadcast communities.
Glassboro is located in Gloucester County. The town of Woodbury is the county seat. Employment in
the county consists primarily of farming, light industry and service businesses. And while there are
large oil refineries in nearby Paulsboro, New Jersey’s nickname, the Garden State, comes from the
excellent quality of the fruits and vegetables grown in South Jersey. Our county’s local daily
newspaper is the Gloucester County Times. Other area print media include:
The Courier-Post (Camden County)
The Atlantic City Press (Atlantic County)
The Salem Sunbeam (Salem County)
The Daily Journal (Cumberland County)
The Bridgeton Evening News (Cumberland County
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The Philadelphia Inquirer also provides a great deal of South Jersey coverage.
In addition to the large market radio and TV stations in Philadelphia, other local radio stations
include:
WNJC-AM
WFAI-AM
WEMG-AM
WVLT-FM
WKDN-FM
WAYV-FM
WFPG-FM
1360
1510
1310
92.1
106.9
95.1
96.9
Washington Township
Salem
Camden
Vineland
Camden
Atlantic City
Atlantic City
(856) 232-7077
(856) 935-1510
(856) 365-5600
(856) 692-8888
(856) 854-5300
(609) 484-8444
(609) 645-9797
Other regional electronic media include WUVP-TV, Channel 65 in Vineland and area cable system
Comcast.
Our broadcast signal is picked up in some surrounding counties including:
Camden County, which is a highly developed shipping, commercial and residential area and is the
home of the N. J. State Aquarium, the Rowan University Camden Campus, the Rutgers University
Camden Campus, Camden County College, and a commuter ferry to Philadelphia.
Atlantic County, which is to our east and boasts the Pine Barrens (home of the legendary Jersey
Devil), casino gambling in Atlantic City and amazing quantities of blueberries and cranberries. Also
home of Richard Stockton College and Atlantic County Community College.
Salem County, home of Salem County Community College, produces about 25% of the nation’s
soybeans. In addition to agriculture, the county’s largest employers are DuPont and the Public
Service Electric and Gas (PSE&G) nuclear generating plant.
Cumberland County, home of Cumberland County Community College, and the city of Vineland, the
largest city in the state in square miles. Cumberland County contains the largest Spanish speaking
population in South Jersey and two of the county’s five radio stations are Spanish language stations.
STATION POLICIES
As a broadcast facility, we come under a number of FCC rules and regulations. As a facility licensed
to the University, we are also subject to University policies and procedures. In addition, we have a
few policies of our own that every member must be aware of and must follow.
VISITORS
All visitors must sign-in at the front desk, and are only allowed on the station premises between
Monday and Friday, from 9:00 a.m. to 5:00 p.m., or by appointment. Appointments must be made in
advance with the General Manager.
No visitors are allowed on nights or weekends unless special arrangement is made in advance with
the General Manager, Assistant Station Manager, Chief Engineer, or Student Station Manager. A
visitor is considered anyone who is not a current member of WGLS-FM as listed in the station
telephone directory. Each night and weekend operator is responsible for enforcing this policy and, if
a problem arises, is expected to contact campus security. Any violations of this policy may result in
immediate suspension from the station.
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FOOD - SMOKING
Eating and drinking are permitted only in the student office and kitchen area. Smoking is prohibited
in all academic buildings. Broadcast equipment is extremely sensitive and may be ruined by smoke
and liquids.
DRUGS - ALCOHOL
The possession or use of drugs or alcohol on the premises will result in immediate dismissal from the
station.
CDs
No records or CDs are to be brought into or taken out of the station without written permission of
the General Manager. All audio equipment and materials are the property of the State of New
Jersey.
BULLETIN BOARDS
Important station information will be posted regularly on the station’s bulletin boards. Each staff
member is expected to read and be responsible for any posted changes in policy, procedures
or regulations.
LOGS
The FCC requires all broadcast stations to maintain a station log. The station log contains EAS
information, station operating hours and various transmitter meter readings. Any log containing an
error will be posted on the main studio bulletin board. Check the board each time you come into the
station and if you find an error in one of your logs, correct the error and place the corrected log in the
Chief Engineer’s mailbox. Log errors must be corrected as soon as possible and by no later than your
next shift. Failure to correct a log error will result in a temporary suspension. (See page 7)
DOORS
The front door is to be kept locked at all times. While the on-air person is not responsible for
answering the door unless he or she is alone in the station, everyone should take it upon themselves
to answer the door as quickly as possible when the buzzer sounds or the door light flashes in the
studio. Make sure you know who the person is before opening the door.
(Note: If you’re waiting to come in, don’t lean on the buzzer. One or two quick taps will alert the staff
and someone will open the door as soon as possible.)
MISSING AN AIR SHIFT
If for some reason you are unable to do your scheduled air shift, it is your responsibility to sign the
shift replacement sheet in the main studio one week in advance. It is also a good idea to notify
your department director as soon as possible. Carry his or her phone number with you and do
whatever you can to help arrange a substitute. Each station member must also provide the station
with a phone number at which they can be reached in case of an emergency or a problem at the
station.
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CLEAN-UP
Keeping the station clean is everyone’s responsibility. Each person should not only clean up his or
her own mess, but should also be willing to help out whenever a cleanup is needed.
TELEPHONES
Everyone is responsible for answering the phones as quickly as possible. Never let the station phone
ring more than five times. Our announcers try to answer it in three rings. Obviously they can’t if
they’re on the air, so help out and answer it yourself.
When answering the phone be polite and business-like. “Good morning, WGLS-FM, how may I help
you?” When transferring a call, don't put the person on hold. Push the transfer key followed by the
four digit extension number and hang up. If the phone you are using has labeled extension buttons,
press the appropriate extension button (do not press transfer) and hang up. If someone’s not in,
ask if you can take a message then remember to place the message in that person’s mailbox.
If you put someone on hold while you’re looking for the person called, don’t leave them forever. If you
haven’t found the person in a minute or less, get back on, apologize for the delay, and offer to take a
message.
When receiving calls about university departments, meetings or activities, be as polite and helpful as
possible. Try to answer questions or provide information, even if it’s in the form of other numbers the
caller can try. The main university number is 256-4000 and is equipped with touch tone call routing.
Other useful numbers are: campus security, 256-4911; the university automated directory, 256-4500;
and the Student Center information desk, 256-4606. The area code for all campus telephone
numbers is 856.
Record companies frequently call asking for our music staffers to return a call. Explain that the
policy is to avoid returning long distance calls. Our executive staffers will post office hours next to
the phones so you can pass along their schedules to callers. Ask if the record company has a toll-free
number we can use.
Calling Directory Assistance is very expensive. Under no circumstances are you to call the
information operator.
Our four main lines are:
863-WGLS
The request and main business line.
256-4319
This number is for record companies and the executive
staff office and is not to be given out over the air.
256-4318
This is the number for news, sports and public affairs.
256-4704
The WGLS-FM Fax number.
Keep all lines free as much as possible. They are for WGLS-FM business only and personal calls are
prohibited. The area code for all WGLS-FM telephone numbers is 856.
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SCHOOL SNOW CLOSINGS
Our listeners rely on us for accurate information about school events and activities. Each staff
member is expected to be extremely careful about checking all information before announcing it.
This is particularly true when it comes to snow closings. Never announce a class cancellation or
school closing unless it has come from the President’s office or from the University Relations office,
and you have called the General Manager to verify the information to be true and accurate.
WGLS-FM CODE OF CONDUCT
WGLS-FM is a volunteer organization whose membership is open to any Rowan University student
wishing to participate. However, since the attitude and behavior of each individual volunteer helps
define the overall image of the staff, the broadcast facility, and Rowan University, all members are
required to adhere to a code of conduct. Anyone, who in the judgment of the management of WGLSFM, behaves in an inappropriate or unprofessional manner will have his or her station participation
suspended for the duration prescribed below. Any station member judged to be in violation of our
code of conduct may appeal to the General Manager for a review and reevaluation. The General
Manager has the final word.
STATION VIOLATIONS
Serious violations, which will result in permanent suspension, include:
Acts of physical or verbal abuse or violence
Acts of theft - intentional and unauthorized removal of station or staff property
Destruction or defacement of station or staff property
Violations of the US Criminal Code or FCC rules and regulations
Use or possession of illegal drugs and/or alcohol on station premises
Airing profane, indecent, or obscene material
Receiving three temporary suspensions
Other violations of station policy will result in a temporary suspension. During a temporary
suspension, you are required to attend all station meetings and complete any of your normal station
responsibilities. In addition, you are required to complete the number of WGLS-FM service hours
(answering telephones, filing CDs in the record library, staffing remote broadcasts, etc.) listed after
each offense within a 30-day period before you are permitted back on the air. These hours must
generally occur Monday through Friday between the hours of 8:30 a.m. and 5:00 p.m. Failure to
complete these hours will result in a permanent suspension from the station.
Violations which will result in temporary suspension include:
Failing to correct log errors within two weeks
First
5 hours
Second
10 hours
Missing department meetings without an excused absence
10 hours
20 hours
Missing an air shift without proper notification
25 hours
50 hours
Unauthorized guests in the station
25 hours
50 hours
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STATION ORGANIZATION
WGLS-FM is organized into a number of departments including operations, music, news, sports,
promotion, public affairs and traffic. Each department is headed by a student manager/director who
is appointed each year by the General Manager. Each department holds regularly scheduled
meetings and each department head reports regularly to the General Manager. All station members
work in one or more departments.
EXECUTIVE STAFF RESPONSIBILITIES
Student Station Manager
• Supervises all station members
• Schedules regular executive staff meetings
• Coordinates all general staff and department meetings
• Responsible for all financial matters regarding grants
• Maintains current operations procedures
• Checks and files daily program logs
• Enforces station cleanup policy
• Initiates disciplinary actions as needed
• Completes quarterly issues list
• Consults General Manager on operational problems
Operations Manager
• Responsible for program content and presentation of the station
• Coordinates distribution of station mail
• Assists Station Manager in maintenance and security
• Schedules on-air personnel for available air shifts
• Handles all station on-air promos
• Initiates disciplinary actions as needed
• Enforces station cleanup policy
• Supervises all Monday through Friday daytime air personnel
• Authorizes daytime music additions and deletions
• Generates and prints daytime music logs
• Schedules and reviews all daytime music logs for compliance
• Consults Station Manager on operational problems
News Director
• Schedules staff for all news shifts
• Provides on-air coverage and promotion of all campus and community events
• Prepares all yellow Campus Calendar cards for the on-air studio
• Schedules fall political debates
• Writes and produces The Rowan Report, a weekly news program
• Informs Operations Manager of procedural problems
Sports Director
• Schedules staff for all sportscasts
• Provides on-air coverage of all sporting events
• Prepares recorded promotional announcements for all broadcast sporting events
• Coordinates sports minute schedule
• Schedules monthly sports department meetings
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Public Affairs Director
• Gathers information about events relevant to our community of license
• Prepares all blue Community Calendar cards for the on-air studio
• Keeps the scheduled public service announcements up-to-date
• Keeps records of all talk show guests and topics
• Produces WGLS-FM Community Affair, a weekly public affairs program
Promotions Director
• Develops station’s on-air and print image campaign
• Schedules all on-air contests
• Coordinates all on air non sports remote broadcasts
Specialty Program Director
• Authorizes music additions and deletions
• Reviews music logs for compliance
• Supervises department air personnel for all nighttime and weekend airshifts
• Schedules on-air personnel for available nighttime and weekend air shifts
• Schedules monthly department meetings
Traffic Manager
• Generates daily program logs
• Issues monthly billing statements
• Enters new schedule of underwriting and public service announcements
• Schedules all Rowan University sports broadcasts on the program log
Daytime Director
• Generates daily daytime music logs
• Reviews music logs for compliance
Production Director
• Generates daily overnight music logs
• Assists Promotions Department with writing and producing contest promos
• Continue developing station imaging and technical production compliance
• Create and update live station liners
• Continue developing station imaging including legal IDs
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STUDIO OPERATIONS
OVERVIEW
The WGLS-FM broadcast complex consists of four studios. The main studio is generally the source of
all on-air programming. The main studio is also designated as the transmitter control point where
the operator on duty records the transmitter meter readings and makes routine adjustments to keep
WGLS-FM operating within FCC specifications.
The production studio is used for recording underwriting announcements, public service
announcements and other special programs aired by the radio station. This studio also serves as a
back-up studio in case of a major failure of the main studio.
The conference studio is used for live talk shows and the recording of various interview programs.
The conference studio is available to both the on-air and production studios. Note that all of the
microphones used in the conference studio are fed into the submixer which is located in the
conference studio. To help identify each microphone, color coded microphone wires match each mic to
its submixer pot. Please do not remove or change the microphones or windscreens.
The news studio and newsrooms are used for gathering and writing news. WGLS-FM is equipped
with a computer network which provides a twenty-four hour news schedule from Metro Source.
THE AUDIO CONSOLE
The audio console, sometimes called the board, in conjunction with turntables, cart machines,
microphones, tape decks, AudioVault digital workstations and CD players, is used to create the
sound we hear on the radio. There are many types of consoles used in the broadcast and recording
industry and although they come in a variety of types and sizes, they all have this same purpose.
CONSOLE INPUTS
WGLS-FM has two, identical Whetstone consoles. Each console has 12 faders which control the
volume of each of the signals (tapes, records, CDs, microphones, etc.) coming into the console.
Associated with each fader is an A/B input selector switch. Each input switch allows a selection of 1
of 2 available inputs. This means that you can use up to 24 different audio sources with each console.
Note that the first 3 inputs are designated as microphone inputs while inputs 4 through 12 are for
other audio devices such as turntables, tape decks, and CD players. Conventional microphone levels
are extremely low while audio levels coming from tape decks, turntables, and CD players are fairly
high. Microphones are called low-level inputs while other sources are considered high-level inputs.
When patching or hooking up equipment to a console, always make sure to plug microphones into
low level inputs and other audio sources into high level inputs. Using the wrong type of input will
result in the signal being distorted. A list of the inputs for each studio is found on pages 10 through
13.
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THE IMPORTANCE OF AUDIO LEVELS
One of your most important jobs as console operator is to maintain proper audio levels. When playing
an audio source into the console, the correct audio level is indicated when the needle on the VU
meter rides between 80% and 100% with only occasional flashes above 100%.
Most of the faders have been calibrated to work with the pointers at 12. Sometimes the fader must
be set considerably higher or lower to achieve correct VU meter levels. If the audio levels are too low,
noise can be created in the signal. Levels that are too high may cause distortion.
CONSOLE OUTPUTS
The primary purpose of the console output is to amplify the audio signal and send it to the correct
location. The program output, or channel, is used primarily for recording or placing the signal on the
air. The audition and cue channels are used to help the operator get something ready to record or
play on the air. Here is a list of the various console output controls:
MONITOR VOLUME – controls the loudness of the speaker in the control room.
MONITOR SELECT – determines whether you listen to program, audition, cue, or an
external source in the studio speakers.
PHONE VOLUME – controls the loudness of the headphones the console operator is wearing.
PHONE SELECT – determines whether you listen to program, audition, cue, or an external source
(WGLS-FM) in the headphones.
CUE VOLUME – controls the loudness of the cue speaker.
PROGRAM (P) – places the audio source on the program channel.
AUDITION (A) – allows you to preview an audio source on the monitor speakers before putting it on
the air.
CUE – allows the source for a particular fader to be fed into a separate speaker. This gives the
operator on duty the ability to monitor or cue up a particular source before putting it on the air.
EXTERNAL (EXT) – lets you hear what is going out over-the-air in the monitor speakers or
headphones.
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WGLS-FM MAIN STUDIO CONSOLE
FADER ASSIGNMENTS
1A - Control Room Microphone
1B - Tone
7A - AV #2
7B - News Booth
2A - Guest Microphone #1
2B - EAS Generator
8A - AV #3
8B - Cassette #2
3B - Main Telephone (863-WGLS)
9A - Comrex
9B - Marti Remote
4A - CD #1
4B - Left Turntable
10A - Traffic Computer
10B - DAT
5A - CD #2
5B - Right Turntable
11A - Jingles/
11B - Conference
6A - AV #1
6B - Cassette #1
12A - ABC News
12B - Production
OFF
- 11 -
PRODUCTION STUDIO CONSOLE
FADER ASSIGNMENTS
1A - Control Room Microphone
1B - Tone
7A - AV #2
7B - Tape #1
2B - ABC 51/53
8A - AV #3
8B - Tape #2
3B - Equalizer Output
9A - Adobe Audition
9B - Marti Remote
4A - CD #1
4B - Left Turntable
10A - Switcher (Cart 1, Cart 2, DAT, ABC)
10B - Cassette #2
5A - CD #2
5B - Right Turntable
11A - Jingles
11B - Main Studio
6A - AV #1
6B - Cassette #1
12A - Telephone
12B - Conference Studio
- 12 -
NEWS STUDIO CONSOLE
FADER ASSIGNMENTS
1 - Control Room Microphone
2 - Guest Microphone
3 - AV Logger
4 - AV - RPS
5 - CD
7/1
7/2
7/3
7/4
8A
B
C
D
E
F
-
Metro Source
ABC Auxiliary
Marti
Cart
Tone
Telephone
ABC Network
Conference Studio
Production Studio
Air Studio
6 - Cassette
- 13 -
MICROPHONES
MICROPHONE PICKUP PATTERNS
There are many different types of microphones used in the broadcast and recording industry. One
way a microphone is characterized is by its ability to pick up sound from certain directions, and to
limit the microphone's response to sound from other directions. Another characteristic is the
maximum working distance of the microphone. If you were to speak directly into the front of the
microphone and slowly move away from the microphone, you would reach a point at which the
random noise level would limit the usefulness of the microphone. This is called the maximum
working distance of the microphone.
TYPES OF MICROPHONES
An omnidirectional microphone picks up sound, equally, from all directions. The pickup pattern,
called a polar pattern, is circular. This type of microphone is commonly used in broadcast situations
outside of the station when the sound of the location needs to be picked up along with the D.J. 's
voice.
A microphone with a unidirectional (one direction) pattern is called a cardiod microphone. The term
cardiod is derived from the heart-shaped pickup pattern. In the cardiod pattern, minimum sound
pickup is at the rear and sides of the microphone. This pattern is the most common one used at
broadcast stations.
The other basic directional pattern found in broadcast microphones is the bidirectional pattern. This
type of pattern has maximum pickup from the front and rear and minimum pickup at both sides.
This microphone is often used for a two-person interview program.
For special sound pickups such as parades, sporting events and news conferences, it is often
necessary to use a special highly-directional microphone. This type of microphone is referred to as a
shotgun mic, because it is aimed at the sound source in the same manner that you would aim a gun.
The basic principle of all shotgun microphones is that they cancel sound from all directions, except
the front.
TURNTABLES
Prior to the advent of the audio cartridge machine, cassette recorder, digital workstation, and the
compact disc (CD) player, most of the music you heard on the radio was from vinyl records played on
a turntable. A broadcast turntable is constructed of a flat metal revolving platter, usually covered
with felt or rubber, all mounted on top of a base. The base houses the turntable motor and the
control mechanisms for changing the speed. Turntables usually operate at two different speeds, 33
1/3 or 45 revolutions per minute (rpm).
Up until the mid 1980s, it was extremely important for someone entering either the radio or audio
production field to fully understand and be well versed in turntable operation. At that time, the
turntable was the workhorse of radio production in nearly any station you could name.
Today, things have changed significantly. The turntable and records that supplied the production
music and sound effects for most of the history of radio have been replaced by the compact disc (CD)
and Digital work stations.
- 14 -
CUEING RECORDS
This is the procedure by which you set up the turntable so the selected music begins the second you
hit the power button.
1. Put the turntable fader into cue and set the cue level control to a comfortable level.
2. With turntable power off, place a record on the turntable and the tonearm on the record.
3. Move the record slowly clockwise with your fingers until you hear the first note of music, then
continue moving it slowly back and forth until you find the precise start point. When moving
the record, be very careful with the tonearm. If it bounces off onto the moving rubber platter,
the stylus can be ruined.
4. Finish with the record positioned approximately 1/4 turn back from the start of the music.
5. With the power button still off, set the pot to 12.
6. When ready to play, hit the turntable power button.
RECORDING SYSTEMS
The reel-to-reel system, once the backbone of radio production work, has been replaced in nearly all
stations by a digital audio system.
The quality of audio tape cassette systems has improved in recent years and they are still being
used at broadcast stations. Their primary drawback is the difficulty in cueing and editing.
The broadcast audio cartridge, or cart, has been used in radio and TV stations since the late 50s. The
cartridge system combines the best of convenience, economy and reliability. In the past, carts have
been the bread and butter of broadcasting for prerecorded announcements because they are rugged,
come in short lengths (10 seconds to 10 minutes), and are designed as continuous loops. A cue tone at
the beginning of the audio instructs the cart to bring itself back to the beginning of the audio after
playing. There are a few remaining radio stations that still use the audio cart for playing
commercials and public service announcments.
DAT (Digital Audio Tape) recorders are like VCRs, CD players and cassette recorders. The DAT unit,
like the CD, has several controls for selecting specific recordings on the tape. Subcodes can be
recorded along with the program on a DAT tape so that the operator can select any individual
selection by entering the Start ID or Program Number.
Digital audio workstations store the audio signal digitally (like a CD) on a computer hard drive. This
system operates just like a tape recorder, however, all of the work is done using a computer, mouse
and keyboard.
- 15 -
REEL-TO-REEL TAPE
The tape deck is made up of two integral sections: the tape transport mechanism and the electronics
section. The tape transport moves the tape at a steady speed across the tape heads, which are
arranged in a line, on the transport, between the left (supply) reel and the right (take-up) reel. Most
reel-to-reel recorders use audio tape that is 1/4 inch wide. The most common sizes of tape reels are 5,
7 and 10 1/2 inches
When playing back a tape, the playback head converts the magnetic signal on the tape into an
electrical signal. This signal is then fed into the amplifier section, then to the tape deck output. Reelto-reel machines usually operate at either 3 3/4 IPS, 7 1/2 IPS, 15 IPS or 30 IPS (inches per second).
Reel-to-reel machines should have their level and balance adjustments checked prior to each
recording. Make sure the tape deck is turned on. Turn the tone on (fader #1, input B) and set the
console fader to the point where the console meters read 100%. Calibrate the tape recorder input
levels by setting the white switches on the tape deck to the record ready position and the silver
toggle switches to the record position. Using the tape machine input level pots, set the left and right
meters to read 100%. To calibrate the tape recorder output levels, move the silver toggle switches to
the playback position and start the tape deck recording. Using the tape recorder output pots set the
left and right meters to read 100%. Leave the silver toggle switches in the playback position. You are
now ready to record.
TAPE CARTRIDGE MACHINES
One of the main advantages of using audio cartridges was that, after the cart has been played, the
tape will not stop running until it reaches the beginning of the tape and detects an electronic cue
tone. This tone is automatically inserted on the cartridge at the time it is recorded (Like the answer
tape on telephone answering machines.) Cart machines were available in models that will both
record and playback an audio cartridge and models that only playback but have no recording
capability. Audio cart machines were also available in both mono and stereo configurations. Mono
and stereo compatibility in a cart machine can be determined by checking the number of tracks on
the heads. Since there is a cue track in addition to audio tracks, mono heads have two tracks and
stereo heads have three tracks.
THE BULK ERASER
Since cart machines lack erase heads, we must use a bulk eraser before trying to record new
material onto carts. Reel-to-reel and cassette machines do have erase heads but it’s a good practice to
bulk erase any and all tape before any audio tape recording session.
Hold the ON button down while sliding both sides of the tape in a circular motion over the top of the
eraser. Then pull the tape away at arm’s length, before releasing the button. Be careful not to
overheat the unit. It is designed for brief uses and you should only keep the button down for two or
three seconds to get a good erasure. Allow a 20-second cool down time between each use.
(Note: Mechanical movement watches may be affected by the magnetic field created by the bulk eraser
so be sure to remove them before using the bulk eraser)
- 16 -
RECORDING ON CART
To record on a cart, the first thing to do is inspect the cart for good pads, smooth tape, and smooth
moving parts. After you’ve inspected the cart, bulk erase it.
The next step is to set the console and cart recorder input levels and balance. Turn the tone on (fader
#1, input B) and set the fader to the point where the console meters read 100%. Insert a cart into the
machine until the stop button lights. Using the cart machine input levels, set the cart machine left
and right meters to read 100%. You are now ready to record onto the cart.
To properly record onto an audio cartridge:
1. Insert the cart into the machine. Locate the splice (where the tape is joined together) on the
audio cart by pressing the play button on the cart machine and watching for the splice to
appear on the tape. Stop the tape about 1 second after you see the splice. This places the splice
to the right of the record head so you do not record over the splice. Doing so could cause an
audible click on the tape.
2. When you are ready to start recording press the record button.
3. Press the play button on the cart machine and about a half second later start the audio you
want to record. This leaves a space between the cue tone and the message and it prevents the
cart from making a noise when it recues. When you are finished recording, press the stop
button and then press play. The cart will automatically stop back at the beginning of the tape,
and is ready for play.
COMPACT DISCS
CD players are different from other types of recording systems since sound is encoded and stored in
digital form. This form samples the original recording and creates an electronic pattern of responses
that encode the sound resulting in a response that is far superior to tape or vinyl. In addition,
because the CD player uses a laser beam to pick up the recorded sound from the disc, scratches are
not heard and there is no physical wear on the disc. Other advantages are: the ease of cueing to any
cut on the disc; the ability to skip forward or backward noiselessly; and the greatly improved sound
quality that is the result of the digital recording process.
CD players are generally easy to use. The loading drawer of a CD player should be kept closed when
not being loaded or unloaded. Contrary to popular belief, CDs are not indestructible. They should be
held carefully, by the edge. If a CD skips, remove it and check for dirt, fingerprints or scratches. Use
a soft piece of cloth or felt to clean the rainbow side of the disc. Wipe in a straight line, not circular,
motion working outward from the center of the disc.
USING CD PLAYERS
This is the procedure by which you set up the CD Player so the selected music begins immediately.
1. Load the CD into the CD player. Press the program button, then the desired cut number.
2. Press the play button, followed by the pause button. Wait for the display to read 00:00, then
press the time mode button. The display indicates the time remaining on the selected cut.
3. When ready to play, raise the appropriate fader (make sure the channel is on) and press the
play button.
- 17 -
THE DAT RECORDER
A DAT (digital audio tape) system records with rotating heads which place the digital encoded data
on one-eighth inch tape in a series of diagonal tracks (similar to a VCR tape except the tapes for the
DAT are much smaller). The longest DAT tapes are capable of recording over two hours of material.
The DAT recorder has the same superior quality as the CD player and, because of its digital nature,
allows material to be recorded over and over without degrading the audio quality of the recording.
One of the difficulties of using standard cassette recorders in audio production is in cueing the tape.
Cueing time from one end of the DAT tape to another is approximately 50 seconds; however, cueing a
DAT deck from one point to another point, ten minutes on either side of the current position, can be
done in less than ten seconds. The DAT recorder has all of the normal cassette recorder controls
(play, record, pause, etc.); however, the DAT recorder allows you to record a special signal called a
subcode each time you record a selection. Now, operating like a CD player, the operator can select
any individual program by entering the program’s Program Number.
USING THE DAT
Just as a regular cassette recorder has standard controls, the DAT has buttons allowing the operator
to play, record, fast forward, rewind, pause and stop the tape. In addition, the DAT offers a shuttle
search function which allows you to search rapidly forward or backward on the tape for a specific
selection with a high degree of accuracy. Many of the features of the DAT recorder can be learned by
practicing recording and playback functions in the production studio.
To Record and playback a DAT tape:
1. Turn the power on, then insert the DAT tape into the machine.
2. If you are using a new tape, be sure to rewind the tape to the beginning so the Absolute Time
Display reads “0:00:00” which indicates that the machine recognizes the beginning of the tape.
If you are using a tape which already has programming and you want to start recording at the
point where you left off, press the end search button. This will cue the tape to the last
recording.
3. Check console and DAT input levels and balance. Turn the tone on (fader #1,input B) and set
the console tone at 100%. After you have set the console at 100%, press the record button on
the DAT machine. This places the DAT machine in the record ready mode. Set the input
levels of the DAT so that the meters are balanced and read —16 db (orange dots).
4. When you are ready to start recording, press the play button. There is a one to two second
delay before the machine actually starts to record.
5. When you are finished recording, press stop and then rewind the DAT to the beginning of
your recording. If you come to the end of the tape, an E will appear on the program number
display. To play the tape, open the console fader marked DAT and push the play button on
the DAT machine.
MAIN STUDIO DAT RECORDER
The DAT recorder in the main studio is normally used to record sources by using patch cords to
change the input to the DAT recorder.
- 18 -
RECORDING TELEPHONE CALLS IN THE MAIN STUDIO
To properly record telephone calls (music requests) on the main studio DAT machine:
1. Insert two patchcords into the patchfield located in the studio rack from main studio
audition out to DAT record input
2. Put the main telephone on console faddier #3B in the audition position. Make sure the
program key is in the off position.
3. Turn fader #3 on and up. Put fader #10 in the off position.
4. Press record on the DAT machine.
5. When you are ready to record press the play button and start recording. (Check to be sure the
meters are registering on the DAT tape.)
6. When you are finished recording, press stop.
7. Put fader #10B in the cue position. Press play on the DAT and use the shuttle to rewind the
tape to the beginning of your recording. Press pause to stop the tape at the starting point of
your recording.
8. Put fader #10B in the program mode. When you’re ready to play back the recording, put
fader #10B up, and press play.
9. Return fader #3 to the A and program positions. (Check to be sure fader #3 is in the off
position.)
(Note: Make sure that both patch cords are in the correct position and remember to adjust the DAT
input levels if needed.)
DJ AIRCHECKS – THE SKIMMER
When working at a radio station, it is a good idea to get into the habit of air-checking and reviewing
your show. The skimmer is a specially modified stereo cassette recorder used to audition or air-check
your program. It can be used to record (skim) only your mic announcements creating a condensed
recording of your show without the music or to make complete recordings, including the music.
The skimmer is mounted in the right main studio equipment rack. To record your complete show,
load in a blank cassette and push record and play at the same time. Next, check the record levels
on the cassette deck VU meters to make sure they’re peaking at 0 db. If necessary, adjust the record
level knob.
To make a condensed, voice-only recording, set the silver toggle switch on top of the machine to
skim. At this point, the machine will run only while the console fader #1 mic switch is turned on.
(Note: You cannot fast-forward, rewind or play when the silver toggle switch is set to skim. Normal
operation will be restored when you move the switch to cassette normal.)
- 19 -
TRAFFIC REPORTS
WGLS-FM airs Metro traffic reports seven days a week. The broadcast report schedule is:
Monday through Friday
7:20a.m. 4:20p.m.
7:50a.m. 4:50p.m.
8:20a.m. 5:20p.m.
8:50a.m. 5:50p.m.
Saturday and Sunday
7:50a.m.
8:50a.m.
5:20p.m.
5:50p.m.
To properly air a scehduled traffic report:
1. Log on to Safari on the air studio computer.
2. Click on Metro Traffic icon. (metrosource.metronetworks.com/wgls)
3. Look for the traffic file that should correspond to the time on the log. You can listen
to the file using the speakers connected to the computer. To listen, click on the file. If
the report is missing or there is a problem with the Internet call 610-660-8989 or 610-5381735 and they will use the phone to feed the report.
RECORDING TRAFFIC REPORTS VIA THE TELEPHONE
1. When you are ready to record press the play button and start recording. Click the file to start
play. (Check to be sure the meters are registering on the DAT tape.) When you are finished
recording, press stop.
2. Put fader #10B in the cue position. Press play on the DAT and use the shuttle Knob to rewind
the tape to the beginning of your recording. Press pause to stop the tape at the starting point
of your recording.
3. Put fader #10B in the program mode. When you’re ready to play back the recording, put fader
#10B up, and press play.
- 20 -
AUDIOVAULT
AUDIOVAULT (VAULTXPRESS)
AudioVault is a computer system that provides radio broadcasters with sophisticated digital audio
recording and editing functions, storage, and playback of audio:
 Music
 News reports and segments
 Underwriting announcements
 Legal IDs, Station Liners, etc.
 Various Format Elements
 Sound effects
Audio is converted to digital audio data and stored on computer hard drives. Because this system is
made up of many computers connected together, it is considered a computer network. This means
that anything you record and store on the system becomes immediately available in all the other
workstations. The best way to become skilled with using AudioVault is to practice using each of the
applications. Get to know the system and it will prove extremely worthwhile in your radio career.
APPLICATIONS
The AudioVault system is composed of many applications. An application is selected and loaded by
clicking on its name. The primary applications you will be using are:
AVAir - used for playback while doing a show on the air.
AVRPS - used for uploading files and for playback of any selection stored in the AudioVault
database.
Voice Tracker – this enables the recording of voice tracks directly into the schedule and allows the
end of the previous song and the beginning of the next song to be heard.
AVImport – used to import cuts into the AudioVault system.
AVScheduler - used for merging music and traffic into a format playable in AVAir. This is the
responsibility of the executive staff members.
- 21 -
AVAIR
Located in the on-air and production studios, the application AVAir is equipped with two modes of
operation, Live and Auto. The operating mode can be changed using a single button allowing you to
easily switch between the Live and Auto mode.
AVAIR LIVE MODE OPERATION
In Live mode, AVAir offers multiple decks that mimic the functionality of cart machines. Each deck
is operated independently. When doing your show, you load the next sequential event from the
PlayList and use either the On button or mouse to start the next event. On-screen timers indicate
the remaining intro time, time on the current cut, and total time of all the auto-sequenced cuts.
AVAIR DECKS
Decks play audio cuts such as music and commercials, are loaded manually in live mode, can be
configured for auto segue operations, and allow the audio overlap of two or more cuts. Auto segue
(&) is the automatic sequential starting of cuts contained in decks using a single start command.
Audio overlap is accomplished by:
• Pressing the start button on the console when Auto segue is not enabled.
• By EOM when Auto segue is enabled.
A deck is loaded manually with a cut or cart by:
• Using drag-and-drop placement.
• Selecting a cut with the mouse and using the deck load button.
- 22 -
AVAIR AUTOMATION MODE OPERATION
The auto mode configures the AVAir as an automated sequencer. The automated sequencer will
automatically execute cuts contained in the Playlist/event file to create a period of unattended
operation.
Inventory / Log
Tabs
Activate Menu
Expand Tabs
Toggle Live /
Auto mode
Times segued
sequence
Intro Timer
Last event
FADE will stop
automation and
stop event on
the air
Start next
event
Toggles
AutoSegue
On-air event
Makes event next
to play
Virtual Decks
To switch to the automated (auto) mode:
1. During your last song click the button on the top of the screen that says Live. The song you
are currently playing as well as the next two items on the log will load into the cart decks. The
button now says Auto.
2. Make sure the next item to be played is the Legal station ID.
3. Set all three AV Faders to 0 on the console.
4. After your final song is over click Start.
5. Make sure the Auto Segue button is lit.
To switch to the live mode:
1. Click the button at the top of the screen that says Auto. The next item to be played must
be started manually.
- 23 -
AVAIR TABS
AVAir is currently configured to display 14 inventory/log tabs. You can access a particular tab by
clicking on the top of the tap. Our tabs and their inventory are:
Log – displays scheduled events including music and stop sets.
Earlier – a list of what played earlier in the day.
Yesterday – a list of everything that played yesterday.
Daytime – all songs scheduled from 1a.m. until 5p.m.
Nighttime – all songs played from 6p.m. until 1a.m.
Saturday – all music and program elements for Saturday shows.
Sunday – all music and program elements for Sunday shows.
IDs & Liners – all Legal station IDs and liners.
Stop Sets – Grants, PSA’s, Target Weather bed, etc.
Sports – all elements for the sports department
Beatles – Beatles library and elements for The Beatles Brunch Club
News/Talk – Pending news and talk shows
Holiday – all specialty holiday music
Hold – work category for projects in progress
If you need to quickly find a title or to search the contents of a tab, on the keyboard press Ctrl+S.
This pops up a search box directly below the current tab. Type in the first few letters or numbers of
what you’re looking for to narrow your search. When you switch tabs, the box disappears, and you’ll
have to open it again.
- 24 -
AVRPS
The AVRPS application is used for recording elements into the system. AVRPS is used to record a
new cut that might be a PSA, grant, or a piece of music. You can also remove a cut from the
VaultXPRESS inventory by choosing Modify the cut and then using the Delete command.
AUDIO STORAGE
VaultXPRESS stores audio on hard drives and provides instant random access to all audio material.
Workstations can be networked to provide access to a shared inventory. VaultXPRESS cuts are
stored in a library or "Volume" that generally is located on the hard drive of the on-air computer.
EXPLORING THE AVRPS SCREEN
Menu
Buttons
Meter
Display
Waveform
Display
Playlist
Cart Deck
The AVRPS Screen
AVRPS Screen Components
AV TERMS
Volume
Audio files are stored as standard RIFF Wave files in a library or “Volume.” The VaultXPRESS
Volume is located on at least one of the workstations. Other workstations are able to read from and
write to the Volume over a network connection.
Categories
The audio files that are stored as .Wav files in the VaultXPRESS Volume can be organized into a
series of folders - referred to as Categories.
Cuts
CUTS are individual pieces of audio material recorded into the VaultXPRESS system. Any audio
recording performed on the VaultXPRESS results in the creation of a VaultXPRESS cut.
- 25 -
RECORDING A NEW CUT
AVRPS tool can be used to record a new cut that might be a voice track, PSA, or a piece of music.
1. Double click the AVRPS icon. The AVRPS screen will display.
2. Press the Record button. The Create/Modify cut dialog will display. Fill in the info
for each line. Assign a Name to the cut. (See File Naming, page 27).
3. Complete any further fields required and click OK. You will be returned
to the record screen and the record button will be bright red. Play your
cut and check the levels using the Peak Meters. Once the levels are ok,
reset the cut.
4. Click the green Start button on the screen and then start your cut. As audio feeds
into the VaultXPRESS, the cut’s waveform will appear in the AVRPS screen. Click
Stop to finish recording. The VaultXPRESS will stop recording, auto-trim any
silence off the beginning and end of the cut, and instantly cue it up for playback.
5. An EOM Tone can easily be inserted while your cut is being recorded. A t the point
in the cut where you wish to insert the Tone, click and hold the Sec button on the
bottom left and it will be inserted. Use Trim & Tones (F7) to modify this if needed.
6. Once you are finished recording, press the yellow Stop button and then stop the cut
you recorded (F3). Press the blue Preview button to listen to the beginning and
ending of the cut to make sure it is tight.
TIMER
The timer will display when audio is being played or recorded. The up or down arrow
buttons can be used to toggle the timer display from a forward count to a back count.
WAVEFORM DISPLAY
The Waveform Display area will reproduce the waveform of the active piece of audio along a time bar
— as it's being played or recorded.
PLAYLIST
The Playlist display will show the details of the current cut, or a list of audio events within a loaded
Playlist, Edit List Cart or Stack. The current date, list name and time will show across the top of the
display area. Any error messages and the out cue (if there is one) for the active audio event will
show at the bottom of the display area.
- 26 -
FILE NAMES
All VaultXPRESS cuts must have a unique filename assigned to them during production. This is
because each audio item can only exist once in the VaultXPRESS system. The unique filename
ensures that the correct audio element will display when called on.
NAMING A CUT
All cuts in the AudioVault library begin with a cut description followed by a sequence number. The
following is an example cut numbering system for WGLS-FM:
All music cuts begin with a category description followed by a sequence number. Some examples are
60S-00264 (a song from the 60s library), METAL-00100 (a song from the Metal library) or
ROCK-00200 (a song from the Rock library).
All Generic promos begin with a P (PWeb, PChicago, PMLK, etc.) They all contain appropriate
descriptions and kill dates, and are placed into the generic cart, named PGENRC. PGENRC is
scheduled on the log.
Sports promos are named SPORTSA, SPORTSB, etc. as needed and what they are for goes in the
description field. They should be given appropriate kill dates and put in the SPROMO cart.
SPROMO is the only thing that gets scheduled on the log.
Grants are numbered sequentially based on type. Sports sponsors are GS01, GS02, etc. Corporate
Sponsors are GC01, GC02, etc.
A Promos are formatted as ADHHMM. D is a number from 0 to 7. 0 is every day (i.e.: Metro Traffic,
Classic Artists), 1 is Monday, 2 is Tuesday, etc through 7 being Sunday. HH is the hour the show
airs in 24-hour format MM is 00 or 30, depending when the show airs. So for example, A11700 is A
Community Affair, Monday, 5 PM. A71600 is Nothing But The Blues, Sunday at 4pm.
A0 ones are numbered sequentially... A00001 for Metro Traffic, A00002 for Classic Artists, etc.
PSAs are numbered sequentially starting with PSA001 and can go as high as PSA100.
RESERVED CHARACTERS
File names can consist of the characters A-Z and the numbers 0-9. Special characters such as !, #, $,
&, =, _, :, ‘ can only be used if characters A-Z and 0-9 also appear in the file name. BUT SPECIAL
CHARACTERS SHOULD BE AVOIDED AS A GENERAL RULE.
Files which begin with the dollar character ($) are considered temporary so do not use them. The
Network File Transfer program for VaultXPRESS (NFSERVER.EXE) will not copy temporary ($)
files. File names cannot begin with #, or =. The character = designates a UFN (Universal File
Name), while the # character designates a DOS file.
- 27 -
IMPORTING AUDIO FROM ADOBE AUDITION INTO AUDIO VAULT
Most of the time you will be recording your materials on the Adobe Audition computer in the
production studio. Once you are finished, you will need to transfer the file to AudioVault. This can all
be done from the Adobe Audition computer.
To correctly transfer a file from the Adobe Audition computer to AudioVault:
1. Record your audio into the Adobe Audition computer. When you are finished recording,
editing and naming your file, close and then reopen your file.
2. On the Adobe Audition screen click on File, Save As and choose the AVIMPORT drive (V).
3. Select the appropriate folder for the file to be saved in:
•
•
•
•
ID’s – Legal IDs
Stop Sets – promos, Sports Minutes, PSA’s, grants, etc.
Sports – Sports promos
News/Talk – Rowan Report actualities, talk shows
4. Rename the file, change its format to Windows PCM WAV, and then click options at the
bottom of the save screen and make sure the setting is on 4-byte format. Then click save.
5. The AudioVault system will refresh every ten minutes or so. Once it does, you can load
up the new file in Audio Vault, searching for it by the name you gave to it when saved in
Adobe Audition. After it is loaded, click F8 to edit. Make sure it is in the correct category, has
the proper name, and is given a proper description (Title). Sports Minutes must be named
1003. For example, the description of a Sports Minute recorded January 30, 2008 would
be: 1-30-08 Sports Minute. If the file is dated, set the start and kill dates. The start and kill
dates are the day it airs. Put your initials in the client/author category and click ok. Wait a
few minutes to load up the file again and test to make sure it saved properly and plays back
properly.
- 28 -
VOICETRACKER
VoiceTracker enables the recording of breaks between songs, at the end of songs, at the end of stop
sets, and virtually at any point where a Voice Track Event has been scheduled.
VoiceTracker is a component of the AVScheduler screen and can be activated as part of the
VaultXPRESS install process.
VoiceTracker in AVScheduler
Voice Tracker requires three separate channels:
•
A Playback channel for the Previous Song
•
A Playback/Record channel for the VoiceTrack
•
A Playback channel for the Next Song
- 29 -
TO VOICETRACK A SHOW
To correctly Voicetrack a show in advance:
1. If you are in the Production screen (AVRPS), Click on System at top of screen and then on the
RED Shutdown. You will now exit out to the Windows screen if they are shared with AVRPS
and Voicetracking. This is usual.
2. Double click on the Schedule icon and you will load the scheduler program used for
voicetracking. Now pick the day that you are going to voicetrack, and then pick the hour.
3. Go to your first track to voicetrack and click on the voicetrack icon at the top of the screen
and you will load the voicetrack section. If get a screen at first stating that you have
voicetracks that are 2 or more days old, click Yes to purge the old voicetracks. Now 3 tracks
will load on the bottom section of the screen, 1 for song coming out of, 1 for the voicetrack, and
the other is the song you are going into.
4. When you are ready to go, press the Red Record button, then turn on the microphone. Voice
the track and then turn off the mic and stop the recording by clicking the green button on the
right of the record button.
5. The Screen will process the voicetrack now. Slide the tracks around to where you want them
and press the PREV (Preview) button on the screen. You will hear all 3 tracks of the spot
break. You can adjust the voicetrack and the song you are going into until you like the timing
of the segue.
6. When you are ready to go to the next voicetrack, press the arrow down button that is to the
left of the record button on the screen and repeat the process again.
Once your session is done for now and you are going to leave the room click on DONE on the middle
right of the screen.
THE MOST IMPORTANT THING OF ALL .... click on the AV AIR button. It is at the top of the
screen beside the Voicetrack button. It is going to ask you to either perform and log check or not.
Click Export without a log check and it will send the new schedule to the studio that you are
voicetracking for. Without doing this last step, the new Log will not get to the studio and will not
play the new voicetracks that were just done by you.
7. To go back to the AVRPS Screen, Press file and exit from the top left corner of the screen.
Back at the windows screen, Double click on the AVRPS icon and you will now be back to
where you started.
- 30 -
ADOBE AUDITION
Located in the production studio, Adobe Audition is another digital workstation that is used to
record, play, and edit music and short announcements. The program also offers a large number of
effects such as reverb, delay, and echo, all of which can be used to enhance your recording. The best
way to become comfortable with Adobe Audition is to practice using all of the different features that
the program offers.
RECORDING AN ANNOUNCEMENT
Make sure that you are in EDIT MODE and not MULTITRACK MODE. MULTITRACK MODE is
selected if you can see four distinct tracks on the screen. To switch between EDIT and
MULTITRACK MODES, click on the small box with the waveform in it. It is located on the upper
left hand side of the screen under the FILE menu.
1. Check audio levels.
2. Select FILE/NEW.
3. Click OK at the settings menu.
4. Click the record button (the button at the bottom of the screen with the red circle).
5. Click OK at the settings menu to start recording.
6. Read script.
7. Click stop when finished (the button at the bottom of the screen with the gray square).
EDITING A FILE IN EDIT MODE
1. Press the play button at the bottom of the screen to review your recording.
2. Using the left mouse key, highlight the area you wish to cut.
3. You can cut the highlighted section in two ways: by clicking on the menu option
EDIT/CUT, or by pressing Ctrl+X on the keyboard.
USING ADOBE AUDITION’S PRE-PROGRAMMED EFFECTS
Cool Edit Pro provides a variety of effects to enhance your recordings. To use the effects:
1. Click on the EFFECTS menu at the top of the screen.
2. The following submenus all contain different preprogrammed sound effects: AMPLITUDE,
DELAY EFFECTS, FILTERS, SPECIAL, and TIME/PITCH. Click on one of the menus to view
a list of sound effects.
3. Select specific effect (ex: chorus, delay, distortion, flanger, etc.).
4. Click OK on the settings menu to add the effect to your voice.
5. Review your voice recording with the added effect by clicking on the play button at the bottom
of the screen.
6. If you are not happy with the new sound of the voice, you can remove the effect. Click on
EDIT/UNDO to remove the effect.
- 31 -
SAVING VOICE
1. Click FILE/SAVE AS
2. Type name for file to be saved. Be sure to use the same base name for every file that you save
(ex: Jonesnarration, Jonessfx, Jonesmusic). This will keep all of your files together and make
it easier to find when searching later.
3. Make sure that all files are saved as WINDOWS PCM{WAV.} files. You will lose everything
if saved differently.
RECORDING BACKGROUND MUSIC AND SOUND EFFECTS
Make sure that you are in EDIT MODE and not MULTITRACK MODE. MULTITRACK MODE is
selected if you can see four distinct tracks on the screen. To switch between EDIT and
MULTITRACK MODES, click on the small box with the waveform in it. It is located on the upper
left hand side of the screen under the FILE menu.
1. Check audio levels of the background music or sound effect.
2. Select FILE/NEW. Click OK at settings menu.
3. Click the record button (the button at the bottom of the screen with the red circle). Start
background music or sound effect.
4. Click stop when finished.
5. Review recording by clicking the play button at the bottom of the screen.
SAVING BACKGROUND MUSIC AND SOUND EFFECTS
1. Click FILE/SAVE AS
2. Type name for file to be saved. Be sure to use the same base name for every file that you save
(ex: Jonesnarration). This will keep all of your files together and make it easier to find later.
3. Make sure that all files are saved as WINDOWS PCM{WAV.} files.
OPENING A FILE IN MULTITRACK MODE
1. Switch to MULTITRACK MODE. You can do this by clicking on the small box with the
waveform in it. It is located on the upper left hand side of the screen under the FILE menu.
2. Click on the INSERT menu and locate your file.
3. Double click on your file to place it in one of the tracks.
4. You can move the entire file by holding down the right mouse button over the track and
moving the mouse to the right and left.
- 32 -
EDITING A FILE IN MULTITRACK MODE
1. Make sure you are in MULTITRACK MODE. You can do this by clicking on the small box
with the waveform in it. It is located on the upper left hand side of the screen under the FILE
menu.
2. Open the file you wish to edit.
3. To edit on a single track, click the small “s” button on the left of the track.
4. Using the left mouse key, highlight the area you wish to cut.
5. You can cut the highlighted section in two ways: by clicking EDIT/CUT, or by
pressing Ctrl+X on the keyboard.
MIXING SEPARATE FILES
After editing your separate voice, music, and sound effects tracks, you must mix them together:
Make sure you are in MULTITRACK MODE. You can do this by clicking on the small box with the
waveform in it. It is located on the upper left hand side of the screen under the FILE menu.
1. Place separate files on separate tracks.
2. Click on EDIT/MIXDOWN/ALL WAVES to create one mixed track of all files.
3. You can also mix selected tracks. Click the small “m” button on the left of the tracks you wish
to include in the mix. Click on EDIT/MIXDOWN/SELECTED TRACKS to create one mixed
track of selected files.
4. You can lower and raise the volume of a track by clicking on the small “v0” button on the left
of a track. After left clicking on the small “v0” button, you can raise or lower the volume by
moving the mouse to the left or to the right.
5. Click FILE/SAVE AS. Type a name for file to be saved. Be sure to use the same base name
for every file that you save. Make sure that all files are saved as WINDOWS PCM{WAV.}
files.
- 33 -
PATCH CORDS AND PATCH BAYS
During normal operation, most equipment in the studio is routed through patch bays. Patch bays are
used to make changes in the normal audio paths of a studio. When a path is to be changed, patch
cords must be installed in the appropriate jacks.
To give you a picture of what we mean, imagine you’re playing a record or CD on your home stereo.
The normal path of the audio program is through your speakers, which are patched into the
appropriate connection on your amplifier/receiver. If you patch in your headphones, the audio signal
is rerouted through your headphones. You could also reroute the signal through auxiliary speakers
or even your TV by making the correct connections. Using patch cords, patch bays work on the same
principle.
The main studio has a patch bay with two rows of jacks. Each jack is labeled indicating whether it is
an input or output. (The two rows of jacks are situated above and below each other in the same field
or row and are often connected together internally. Generally, the output jacks are on the top row
and the input jacks are on the bottom row). When a cord is inserted, it opens the normal path and
the equipment connected to that jack can have its signal directed wherever you want it to go.
For mono audio (one signal), you’ll only need one patch cord. Mono signals include the ABC Network
news, phone lines, and the 1,000 cycle test tone. If you are patching stereo equipment, there are two
audio channels so you will need two cords. In addition, there is a special jack in the patch bay
marked mult (multiple). The mult jack allows you to patch one input source into several different
outputs. A typical use of the mult would be to record the same program onto several different audio
devices.
MAIN STUDIO PATCH BAY
Metro
Main Studio
ESBY
Comrex
EAS
Tone
TV
Boz. Aud. Sports From
ABC51/53
DAT Out
Main Studio Audition
Production
Main Studio
Switcher
DA1-1 Out
News
L
R
L
L
R
L
R
Loop
Phone
News
R
L
R
L
R
L
R
L
R
Blank
Blank
L
R
L
L
R
L
R
R
L
L
R
R
L
R
L
R
DAT In
Cassette #1
Con In
Input
9A
Con In
2B
Con In
Mult1
Mult2
Mult3 To News
Blank
1B
Con In
Switcher In A
Switcher In B
DA1-1 In
Main STL In
7B
EQUIPMENT UPKEEP
We take great pains to keep our equipment in top condition. You are expected to be thoughtful and
careful not to abuse or neglect the equipment.
Of course, there will be times when a legitimate electronic or mechanical breakdown occurs. Should
this happen, first check carefully to rule out a problem caused by an incorrect procedure or setting. If
everything, as far as you can tell, is properly set up, fill out an equipment discrepancy form (blank
forms are kept in the main studio). Include as much information as possible about the problem and
leave the completed form in the Engineering Department mailbox and a copy in the General
Manager’s mailbox. The more information you include, the faster we can locate the cause and correct
the problem.
- 34 -
THE REMOTE BROADCAST - ON LOCATION WITH RADIO
It is often necessary to take the station on location to provide live coverage of sporting events and
other campus and community activities. Remotes provide a real challenge because they are
broadcasts performed in the field with portable equipment, subject to pitfalls such as inclement
weather, lack of power at the site, traffic jams getting to and from the site, etc.
The best way to plan for a remote is to survey the location at least two weeks prior to the broadcast,
make a note of where the AC power source and the telephone equipment are located and make a list
of equipment you will need. Then, the night before the broadcast, test the equipment you are going to
use and, if you are using any battery operated equipment, be sure to pack a spare set of batteries.
(Note: Don't forget to take along the WGLS-FM banner.)
Determining how to get the signal from the remote site back to the station is the next challenge. The
first thing that has to be decided is what type of audio you are going to feed from the remote site.
Unless the station has a remote van containing a complete broadcast studio with cart machines, tape
decks and CD players, the music and recorded announcements are generally played back at the radio
station.
If a remote broadcast does call for the music to be played from the site, you must decide whether to
send the signal back to the station through telephone lines or by using special radio equipment. To
use a telephone line, you have to order a program quality broadcast line from the telephone
company. This is a special line that can be ordered on a one-time basis, such as for a specific remote,
or on a full-time basis, such as the telephone line that carries the audio from the studio to the
transmitter. The cost is determined by the frequency response (quality) requested–the better the
frequency response (quality), the more expensive the telephone line. Because an FM stereo station
requires a pair of program quality lines, it becomes extremely expensive to broadcast music from a
remote site using leased telephone lines.
Another way to send the signal back to the station is to use special radio equipment. The FCC
licenses two categories of equipment for this purpose–studio-transmitter links (STLs) and remote
pickup units (RPUs). STLs carry the signal from the studio to the transmitter and may only be used
for the broadcast of regularly scheduled programs. WGLS-FM uses an STL to transmit the audio
from our main studio in Bozorth to the transmitter located at the water tower. RPUs may be a handcarried portable unit, a mobile unit mounted in a car, or a base unit mounted at a fixed location,
used for covering news and special events, or for a remote broadcast (in place of a program line).
WGLS-FM uses a Marti RPU, which is made up of a remote transmitter, antenna and receiver for
remotes within 5 miles of the campus. The same type of unit is used for AM, FM, or the audio portion
of a TV program. Video STLs and RPUs are used in the same manner for the transmission of picture
information.
- 35 -
SETTING UP THE MARTI RPU
To set up the Marti remote transmitter:
1. Connect the antenna to the system before connecting anything else. Failure to do so
may result in damage to the Marti transmitter.
2. Aim the front of the antenna (the end with the shorter elements) at the station. This is where
the VHF receiver is located. Buildings and trees absorb the signal, so try to position the
antenna for a line-of-sight transmission path. In addition, if you must transmit from inside a
building, place the antenna near a window to avoid any signal loss from the steel and concrete
walls.
3. Connect the microphones and power cord to the Marti transmitter. You can plug microphones
into any of the first 3 front panel XLR connectors.
(Note: Input # 4 only works with a high-level source such as a console, mixer, or tape deck.)
4. Move the front panel function switch to operate. Make sure the frequency switch is set at F1.
Turn the power on. To make sure the signal is being received in the studio, call the station and
ask the operator on duty to check the signal level. This is read by pushing button #10 on the
remote control and observing the top scale. A 30% minimum signal is required. You should
also ask the operator to listen to the Marti in the cue position to make sure the signal is clean
and free from static.
5. Before starting the actual broadcast, the FCC requires you to announce the transmitter call
sign. The Marti call sign is KPL-764. Turn on one of the microphones and say, “This is remote
pickup unit KPL-764 operating for program link purposes.” You are now ready to begin the
remote broadcast.
6. Use the portable FM receiver and listen for the operator at the station to introduce the
remote. When you start, make sure to turn down the receiver to avoid feedback. Finally, don’t
forget to give a legal ID at the top of the hour if the station doesn’t do it. It’s WGLS-FM,
GLASSBORO.
USING PLAIN OLD TELEPHONE SERVICE (POTS)
The least expensive way to accomplish a remote broadcast is to use a portable audio mixer connected
to a regular dial-up telephone line. Utilizing a regular modular telephone jack, you simply connect
the portable mixer to the telephone line, dial the radio station, and have them patch their end of the
telephone into the studio console. The quality of this type of remote is satisfactory if it is used for a
short cut-in or a sports broadcast.
In any type of remote broadcast, monitoring and communication with the control room are extremely
important. Whenever possible, listening off-air at the remote site is preferred. This can be done by
connecting a pair of headphones to a regular broadcast receiver such as a Walkman. With this type
of monitoring, the person at the remote location will hear the entire program, including the portions
originating back at the control room. To get instructions from the studio, you can listen with the
telephone earpiece and you can talk back to the station through your mic when the remote is not onthe-air. Another desirable method of monitoring is to have a separate telephone line feed the entire
program from the control room to the remote location. Because this is expensive, it is usually done
only at major market stations
- 36 -
THE YAMAHA SPX1000
The Yamaha SPX1000, located in the production studio, is a professional multi-effect audio processor
which allows you to add a number of special effects to your voice or any other audio source. These
effects include echo, reverb, compression and expansion.
The SPX1000 has a total of 99 internal memory locations. Memory locations 1 through 40 contain
preset effect programs such as reverb, echo, stereo flange, pitch change, compression and stereo
pitch. Locations 41 through 99 can be used to store your own edited versions of the preset programs.
The best way to learn how to operate the unit is to experiment with some of the different programs.
HOW TO PLAY AN AUDIO SOURCE THROUGH THE SPX1000
Any audio source can be run through the SPX1000. This includes microphones, CD’s, carts, etc. To
play a particular source through the processor, do the following:
1. In the production studio, turn on both the effects processor and the equalizer located just
above it. If either of these is off, the signal will not be processed.
2. Put the audio source you wish to process into audition, not program. (Program will cause both
the original and processed signal to be heard.)
3. Put console fader #3 to channel B and PROGRAM. (Audition will cause feedback.)
4. Be sure the UTILITY key is unlit by holding it down until the indicator light goes off. If it is
lit, you will be unable to load the different effects and memory locations.
5. Choose one of the many effects available on the SPX1000 using the PROGRAM SELECT up
and down arrows found between the STORE and RECALL buttons. The program name will
be displayed on the LCD readout, or NO DATE will appear if an empty memory location has
been selected. A flashing number on the LED readout corresponds with whichever memory
location has been selected. To load in the program, press RECALL. When the LED readout
stops flashing, the program has loaded correctly.
6. Play the audio source. The signal runs from the source into audition and is then filtered
through the processor. As the processed signal leaves the SPX1000 through the program
channel, it can be previewed or recorded.
SPX1000 PROGRAM PARAMETERS
Each SPX1000 program has 4 different groups of parameters which are accessed by pressing the
corresponding parameter select keys: the PARAM key accesses the main effect parameters for each
program; LEVEL adjusts the balance and output levels for each program; EQ controls the
equalization and filtering for each program; the INT PARAM accesses special fine control
parameters for each program. All of these parameters will vary according to the type of program.
The complete procedure for calling and editing parameters is:
1. Select and recall the program to be edited.
2. Press the PARAMETER SELECT KEY corresponding to the group of parameters to be
edited and the first of the selected parameters will appear on the bottom line of the LCD.
3. Once the desired parameter has been called, its value can be edited using the parameter
up/down keys.
- 37 -
FRONT PANEL CONTROLS
There are various controls on the front panel of the Yamaha that affect it’s operation. Some of the
more important controls are:
Input Level – adjusts the left channel playback level (inner control) and the right channel
playback level (outer control).
Param – accesses the main effect parameters for each program stored in the unit.
Scroll Back – scrolls through the different parameter sets stored in the unit.
Level – adjusts the output and balance parameters for each program.
EQ – adjusts the equalization and filtering for each stored parameter.
Int Parameter – accesses a special set of internal parameters for each effect program.
Parameter – changes parameter values when parameters are selected for editing.
Program Select – selects any of the processor’s memory units.
Recall – activates a new memory location selection.
Store – places edited effect programs into one of the memory locations between 41 and 99.
Utility – accesses a set of utility functions allowing editing of effect title
Bypass – switches the selected effect on or off.
LCD (Liquid Crystal Display) – displays the title of the selected effect on the top line and a
selected parameter and its value on the bottom line.
LED Memory Number Display – a two-digit display (1-99) that shows the number of the
currently selected memory location. A flashing display indicates that a new memory location
has been selected but has not yet been recalled.
Input Level Meter – indicates the audio input level of the processor.
STORING EFFECTS
In order to store an edited effect for later use, you need to do the following:
1. Press the UTILITY key a few times until the Memory Protect function appears. If the
memory protect function is on, press the PARAMETER DOWN KEY to turn it off.
2. After you finish editing the effect, select an unused memory location between 41 and 99 by
using the PROGRAM SELECT UP AND DOWN keys. If an edited program has previously
been stored in the selected location, its title will appear on the LCD.
3. Press the STORE key to store the edited effect in the selected memory location. The title of
the effect will appear on the LCD. (This may be edited later to create your own title using the
utility mode TITLE EDIT.) The LED number will stop flashing and the stored memory
location will become the active effect.
(Note : You cannot store edited data in memory locations 1 through 40.)
- 38 -
WGLS-FM FORMAT
WGLS-FM PROGRAMMING BASICS
ON-AIR DELIVERY
Your on-air delivery should be bright and upbeat, friendly and positive. Your delivery should be as if
you were talking to a group of friends. Generally, silly behavior is not appropriate on the air. Strive
to make your show sound as smooth and professional as possible. You never know who might be
listening!
Things to avoid:
• Goofing off or being silly on-the-air.
• Talking about or making fun of other radio stations.
• Sarcastic remarks or comments about people.
• Making fun of any artist or song.
• Singing along with a song on-the-air.
• Ridiculing any campus or community announcement.
• Expressing any political views.
SAYING IT CORRECTLY
We are located in Gloucester County. That’s pronounced, GLAW-ster; two syllables, emphasis on the
first. Residents are sometimes offended (and rightly so) at mispronunciation, so work at getting it
right. And don’t be afraid to correct anyone you hear saying it incorrectly on the air. Also, work to
clearly pronounce the letter “W” in the call letters. It should sound like DOUBLE-YOU, not dub-ya.
When you first practice it, it will sound fake and affected. But after a few tries, the pronunciation
will begin to sound natural and conversational. Some other local names you should become familiar
with are:
Wenonah (Wuh-no’-na)
Deptford (Dept’-ferd)
Aura (Or’-uh)
Fries Mill (Frize Mill)
Sewell (Sue’-uhl)
Ewan (You’-in)
Malaga (Mal’-uh-ga) Greenwich (Green’-which)
Almonesson (Al-ma-ness’-un)
Mantua (Man’-chew-uh)
One of the best habits you can acquire is to pre read all copy before going on mic, and don’t be afraid
to ask for help if you’re not sure of a certain pronunciation.
MUSIC
The music we play is a critical element of our success. Never speak in a negative fashion about the
music you play. It’s also important to billboard (set-up) a new song with information about the song
and artist.
- 39 -
CALL LETTERS
When you are doing an air shift at the station, your goal as an air personality is to get as many
people as possible to listen to WGLS-FM and to remember which station they are listening to. It’s
important to give the call letters and dial position often and always in a positive way. When going
from music into a stop set or going from a stop set back to music, you should always say:
Rowan Radio, 89.7 WGLS-FM
STOP SETS
A stop set is a scheduled break for various public service announcements, weather information,
underwriting announcements and other community and campus news. There are three stop sets
scheduled per hour, one at :19 past the hour, one at :36 past the hour and one at :47 past the hour.
The elements of each stop set, found on the station program log (see page 52), are as follows:
:19–Read a Live Reach Out (white card) and the Target Weather forecast, then play the scheduled
announcements on the station program log. If you are on a shift that airs Metro Traffic (morning or
afternoon), air the traffic report immediately after the weather and then go into the scheduled
announcements. The last scheduled element in the :19 stop set is an A promo. After the A promo is
finished, you are to go directly into your next song without speaking.
:36–Read a Campus Calendar (yellow card) then play the scheduled announcements on the station
program log. When the last scheduled element is finished playing, read the Target Weather forecast.
:47–Read a Community Calendar (blue card) then play the scheduled announcements on the station
program log. When the last scheduled element is finished playing, read a live Station Promo (orange
card).
Stop sets are built to keep the station sounding fluid. Live copy always gets first priority, then
produced public service announcements, and then station promos. Always pre read copy and
scheduled announcements before going on mic, and never interrupt a stop set with talk between the
elements.
PRIMARY VS. SECONDARY THOUGHTS
People who are listening to the radio are usually doing something else as they listen. If you expect
them to understand what you are telling them, it must be put in an order that is logical and easy to
understand. Try to do just one primary thought whenever you open the microphone.
Primary Thoughts:
Secondary Thoughts:
PSA, Weather, Live Contest Promo, Lengthy Tease.
Your Name, Time Checks, Temperature, Song Titles.
TIME
Give the time at every stop set. Say the time in a digital fashion. It’s 9:19. Avoid the more formal
words minutes, am, pm and o’clock.
SPORTS
It is important to be well versed in the area of sports. Knowing about local teams will help you relate
to the audience. Make sure you can read and pronounce all of the player, team and city names you’ll
be reading before you go on the air. Always avoid giving partial scores on games broadcast by other
stations.
- 40 -
WEATHER
The Target Weather forecast is given at least three times each hour and the times are noted on the
program log.
CONTESTS
Make sure you understand all rules relating to a contest. Never call a person a loser if they don’t
win. Always keep a positive attitude.
MISCELLANEOUS
• At the top of the hour, play the WGLS-FM legal ID without talking before or after the I.D.
If you want to produce the I.D. (roll the next song underneath), do it. Do not use a another
drop-in after the I.D.
• All music departments are to use the WGLS-FM half-hour ID on a music to music segue.
No exceptions!
• All elements on the log (weather, community calendar, etc.) are to be played in the order
they are scheduled.
• Never play more than two songs in a row without identifying the station.
• When you are on-the-air, avoid on-air conversations with people in the studio. The listeners
really don’t know or care about who you have in the studio. You are talking to the listener!
• Always say, Rowan Radio, 89.7 WGLS-FM, whenever you open the microphone. We want
people to remember what station they are listening to.
• All equipment problems are to be noted on a discrepancy sheet and placed in the Chief
Engineer’s mailbox.
• If you have to miss a shift, there is a sign up sheet located on the main studio bulletin board.
You should fill out this sheet at least one week prior to missing your shift. If you give less than
a one week notice, it is your responsibility to get someone to fill that shift. If it’s an emergency
request and you can’t find a replacement, you must first notify your department head and
then the operation manager.
• All station visitors must be approved in advance and signed-in at the front desk. No visitors
are allowed on-the-air without the permission of the General Manager.
• The last words on all of the promos should be Rowan Radio, 89.7 WGLS-FM.
- 41 -
WGLS-FM FORMAT
DJ
DAYTIME
LEGAL I.D.
ABC NEWS INTRO
ABC NEWS
TARGET WEATHER
DATE/TIME
SPECIALTY SHOW TITLE/ARTIST
LEGAL I.D.
SONG #1
SONG #2
QUICK DJ RAP
SONG #3
SEGUE
SONG #4
STOP SET #1
READ LIVE REACH OUT (WHITE CARD) / READ TARGET WEATHER (NO WEATHER
SOUNDER) / RECORDED SPA A / NO TALK INTO NEXT SONG
SONG #5
SEGUE
SONG #6
WGLS HALF HOUR I.D. (NO TALK)
SONG #7
SEGUE
SONG #8
STOP SET #2
READ CAMPUS CALENDAR (YELLOW CARD) / READ TARGET WEATHER
(NO SOUNDER)
SONG #9
SEGUE
SONG #10
QUICK DJ RAP
SONG #11
STOP SET #3
READ COMMUNITY CALENDAR (BLUE CARD) / READ SPA B (ORANGE CARD)
SONG #12
SEGUE
SONG #13
NO TALK INTO LEGAL I.D
- 42 -
TRANSMITTER OPERATIONS
TRANSMITTER
A radio station is divided into two parts, the studio or audio frequency (AF) section and the
transmitter or radio frequency (RF) section. Depending on the location of the radio station, the
transmitter and studio may or may not be at the same location. The WGLS-FM transmitter and
antenna are located at the Channel 61 TV tower in Harrison Township, approximately twelve miles
from the studios. There are two transmitters–the main (the one we normally use), and the auxiliary
or back up transmitter (which we call the aux). A third emergency transmitter is located at the water
tower in Glassboro. Instructions for operating the transmitters are found starting on page 55 of the
manual.
Other equipment found at the transmitter are devices that measure carrier frequency, the
modulation percentage, and the output power of the station. The frequency meter indicates how far
away from the assigned carrier frequency a station is operating. The assigned frequency for WGLSFM is 89.7 Mhz (89,700,000 hz). All FM stations have to stay within 2Khz (2000 hz) of their assigned
frequency. Modulation refers to how loud a station is, and the level of loudness is indicated in
percentage by a device called a modulation monitor. The output power of the transmitter and the
antenna height determine how far the signal of the station travels.
MODULATION MONITOR
Modulation in FM is accomplished by varying the frequency of the carrier at an audio rate with the
carrier remaining constant at all times. The percent of modulation is a measurement of this
frequency swing, with a 75 Khz frequency swing equal to 100% modulation. The FCC places this
limitation on FM stations to keep the FM transmission within the limits of their assigned channel.
One exception to the 75 Khz deviation limit are FM stations that broadcast an additional signal,
known as a Subsidiary Communications Authorization (SCA). This is a signal that is multiplexed
(placed on top of the main channel) and requires a special receiver to decode (listen to) the
information. An FM station using an SCA is allowed to increase the modulation level up to a 110%
total modulation. The FCC states modulation limits in terms of Peaks of Frequent Recurrence. For
AM stations, positive modulation must never exceed 125% and negative modulation is limited to
100%. FM stations are limited to 100% positive and negative modulation, except for FM stations
using an SCA. In both AM and FM stations, overmodulation may cause distortion and possible
interference to other stations.
Normal music and speech contain two components: an average value or loudness, and audio peaks
which can cause overmodulation. Because audio peaks do not occur at regular intervals, some
judgment must be used in deciding whether or not the modulation peaks are frequent. The dividing
line for what is and what is not frequent is about one peak every ten seconds. The primary device
used to measure modulation is a modulation monitor. This is a device that detects the signal from
the radio station and uses a VU meter to measure the average value of modulation. The monitor also
has a peak indicator which lights every time a modulation peak is reached. The WGLS-FM
modulation monitor is located in the on-air studio.
- 43 -
TRANSMITTER METER READINGS
All operators must sign-on and sign-off the station operating log immediately upon starting and
completing their air shift. FCC policy requires the operator on duty know how to turn the
transmitter on and off and how to adjust the transmitter output power to keep the station operating
within legal limits (FCC 73.1560b). Station policy is for every operator to record a set of transmitter
meter readings at the beginning of his or her shift. Instructions for operating and reading the meters
of all three of the WGLS-FM transmitters follow.
GENTNER REMOTE CONTROL UNIT
The Gentner Remote Control is a dial up device that allows the operator on duty to control our main
and auxiliary transmitters at the Harrison Township tower site. The remote control starts up and
shuts down the transmitters, and is used to take meter readings as well as adjust the transmitter
output power to keep the station operating within FCC guidelines.
To access the WGLS-FM Transmitter using the Gentner Remote Control:
1. Press the button on the Sports Phone marked Dial Transmitter. The telephone will
automatically dial the transmitter (9-769-0658). When the remote control answers, you will
hear Welcome to Gentner Remote Control. Please enter access code.
2. Enter 9687#. The remote control unit will say scanning network....connection to unit 0
complete.” This will take about twenty seconds. You now have control of the transmitter.
To record Main Transmitter Meter Readings:
1. Access the WGLS-FM Transmitter using the Gentner Remote Control (see page 44).
2. To read the main transmitter Vcc, press 601* (this should read about 29.7 volts).
3. To read the main transmitter Icc, press 602* (this should read about 37.8 amps).
4. To read the main transmitter power, press 603* (must read between 781.2 and 911.4 watts).
5. To complete the call, press 999. The unit says Bye and hangs up.
To operate the WGLS-FM Main Transmitter:
2. To turn the main transmitter on, press 201#.
3. To turn the main transmitter off, press 201*.
- 44 -
MAIN TRANSMITTER POWER LIMITS
All broadcast stations must operate as close to their assigned power as possible, going no lower than
90% and no higher than 105% of their licensed value. Our licensed main transmitter output power is
868 watts, so our lower limit is 781.2 watts and our upper limit is 911.4 watts.
Most FCC field inspectors expect you to know the formula for figuring indirect power:
P (ind) = Vcc x Icc x f. This formula says that transmitter output power equals the collector
voltage times the collector current times the efficiency factor of the transmitter. Our main
transmitter operates at an efficiency of 77.32%. A different transmitter will have other values to put
into the formula.
To adjust the Main Transmitter power output:
2. To raise the main transmitter power, press 202#.
3. To lower the main transmitter power, press 202*.
AUXILIARY TRANSMITTER
In the event of a main transmitter failure, the operator on duty should immediately switch to the
auxiliary (back-up) transmitter.
To record Auxiliary Transmitter Meter Readings:
2. To read the auxiliary transmitter Vcc, press 604* (should read about 49 volts).
3. To read the auxiliary transmitter Icc, press 605* (should read about 10.89 amps).
4. To read the auxiliary transmitter power, press 606*(must be between 253.0 and 295.1 watts).
To operate the WGLS-FM Auxiliary Transmitter:
2. To turn the auxiliary transmitter on, press 204#.
3. To turn the auxiliary transmitter off, press 204*.
- 45 -
AUXILIARY TRANSMITTER POWER LIMITS
All broadcast stations must operate as close to their assigned power as possible, going no lower than
90% and no higher than 105% of their licensed value. Our licensed auxiliary transmitter power is
281.1 watts, so if we are on the air using the auxiliary transmitter, our lower limit is 253.0 watts and
our upper limit is 295.1 watts. Our auxiliary transmitter operates at an efficiency of 52.71%.
To adjust the Auxiliary Transmitter power output:
2. To raise the auxiliary transmitter power, press 205#.
3. To lower the auxiliary transmitter power, press 205*.
SWITCHING TRANSMITTERS
2. To switch to the auxiliary transmitter, press 204#, then 201*.
3. To switch to the main transmitter, press 201#, then 204*.
SWITCHING AUDIO LINKS
In the event the fiber optic link between the studio and transmitters fail, both transmitters will read
normally, however, you will not hear anything over the studio monitors. Switch the fiber optic link
by pushing in button #6 marked First Hop Switcher on the Moseley Remote Control (see page 58)
and then press raise. If you still can’t hear anything, switch to the emergency transmitter (see
below) and call the engineer as soon as possible .
EMERGENCY TRANSMITTER
In the event both the main and auxiliary transmitters fail, the operator on duty should immediately
switch to the emergency transmitter located at the water tower in Glassboro. This transmitter is
controlled by the Moseley Remote Control, found in the rack in the main studio.
To put the emergency transmitter on the air:
1. Go to the Moseley remote control located in the main studio.
2. Press # 1 and push the raise button. Wait about twenty seconds.
3. Press # 2 and push the raise button. The emergency transmitter should now be on the air.
4. To turn the emergency transmitter off, Press #2 and push the lower button.
- 46 -
MOSELEY REMOTE CONTROL
(Note: do not change the adjustment of the zero set and calibrate knobs )
EMERGENCY TRANSMITTER METER READINGS
Once the back-up transmitter is on-the-air, you must take a set of meter readings.
To record Emergency Transmitter Meter Readings:
1. Press button # 2 and take a reading using the 0 - 2.5 scale. The needle should rest between
the 1.5 and 2.0. Think of 1.5 as 1500 volts and 2.0 as 2000 volts. Each small division is 50
volts. If the needle is 1 division above 1.5 the reading is 1550 volts. Two divisions above 1.5 is
1600 volts and so on. The emergency transmitter operates with a final voltage of
approximately 1800 volts.
2. Press button # 3 and take a reading using the 0 - 5.0 scale. Think of 1 as .100 amps and 2 as
.200 amps. Each small division is .10 amp. A reading of one division above the 1 is .110 amps.
Two divisions above the 1 is .120 amps. The emergency transmitter operates with a final
current of approximately .190 amps.
3. Press button # 4 and take a reading using the % scale.
4. The auxiliary transmitter power output can be calculated by multiplying the final voltage
times the final current times times 67.40%, the efficiency factor of the emergency transmitter.
The emergency transmitter operates with a power output between 225 watts and 300 watts.
- 47 -
WGLS-FM EARLY MORNING PROCEDURE
When you arrive at the station on a normal day, the transmitter will be on and the automation will
be providing the programming. (Note: If the transmitter is not on, follow the transmitter start-up
steps on page 56).
Before you begin your broadcast:
1. Turn off the silver sine switch.
2. Make sure the EAS receiver is set to manual operation. (If not, press mode &
enter 911 until the yellow LED indicates manual operation).
3. Record a set of meter readings on the station log (See page 56, transmitter meter readings).
4. Log an EAS receiver test (See page 64, Performing the Daily EAS Receiver Check).
5. Click the button at the top of the screen that says Auto. The next item to be played must
be started manually.
6. At the top of the hour play the Legal station ID followed by the ABC news.
WGLS-FM NIGHTTIME PROCEDURE
If you are the last one to leave the station at night, it's important that you perform the following
steps:
1. Turn on the silver sine switch.
2. Make sure the EAS receiver is set to automatic operation. (If not, press mode & enter 911
until the yellow LED indicates automatic operation).
3. During your last song click the button on the top of the screen that says Live. The button now
says Auto.
4. Make sure the next item to be played is the Legal station ID. Set all three AV Faders to 0 on
the console.
5. After your final song is over click Start. Make sure the Auto Segue button is lit.
- 48 -
- 49 -
LEGAL OPERATIONS
STATION OPERATING LOG
The FCC requires all radio stations and television stations to maintain a station operation log. The
station operating log is a legal document containing information about tests and activations of the
Emergency Alert System (EAS), tower light inspections, and meter readings and operator signatures
as required by the station. Most stations use a one page operating log for each day of the week.
In addition to the station operating log, many radio stations use a second log called a program log.
This log is usually made up of twenty-four separate pages, each page representing one hour of the
day, and lists all of the programs, commercials, and PSAs scheduled to be broadcast that day.
Although the FCC no longer requires stations to keep a daily program log, many stations still
require the operator to keep an accurate program log in order to verify the date and time each
program element is aired.
At WGLS-FM, we use a daily station operating log. Blank logs are kept in the day bins in the main
studio. All operators must sign-on the station operating log immediately upon starting a shift. Every
operator must take one set of readings during his or her shift. If the preceding operator neglected to
sign-off, leave space for him or her to fill it in later. Be sure you run the legal ID (WGLS-FM,
Glassboro) every hour, as close to the top of the hour as possible.
The Chief Engineer reviews the station operating logs on a regular basis. Any logs requiring
correction will be posted on the bulletin board in the main studio with a list of those who need to
make log corrections. Anyone on this list will have one week to correct their log error or risk being
suspended from the station. All operators are required to correct any errors before the logs are
placed in the permanent file.
All station logs are to be filled out neatly. Do not use pencil or any color other than blue or black. To
correct an error, draw a single line through the error, enter the correction, then initial and date it.
Anyone on the air through midnight will be working with two sets of logs. Since the date changes at
midnight, the operator must sign-off the existing log and sign-on the new log (with both times
entered as midnight). He or she must also fill in all log heading information, including Eastern
Standard Time (EST) or Daylight Savings Time (DST) on the upper right hand side of the log.
Use the comments section on the bottom of the station log to indicate any transmitter malfunctions.
All other equipment problems should be noted on an engineering discrepancy sheet and placed in the
Chief Engineer’s mailbox.
- 50 -
EAS - THE EMERGENCY ALERT SYSTEM
On January 1, 1997, the FCC replaced the Emergency Broadcast System with the EAS (Emergency
Alert System). Radio stations, television stations, and cable systems must participate in the new
Emergency Alert System, which is designed to disseminate important information quickly in the
event of a disaster. Weather emergencies include floods, tornadoes, earthquakes, etc. Man-made
emergencies might be war, bomb threats, or a hazardous chemical release. The FCC insists that all
station personnel know how and when to use this system
EAS can be activated by national, state or local officials as required. Stations must keep all of their
EAS materials at their main transmitter control point. Ours is kept in the main studio mailbox, in
the bin marked EAS.
EAS EQUIPMENT OPERATION
You will receive hands-on instruction in all phases of the EAS system. It is your responsibility to
know and understand its use.
The station has the following EAS obligations:
1. Check the EAS receiver once a day and note it on the station log.
2. Perform a test once a week and note it on the station log.
(Note: The day and time of this test will be noted on the station program log.)
3. Receive the required weekly test (RWT) once a week and note it on the station log.
4. Rebroadcast the required monthly test (RMT) and note it on the station log.
5. And one less frequent but very important responsibility: React promptly, timely and
effectively to a real EAS activation.
Our EAS receiver monitors three sources: WKDN in Camden, the NJ Network and the National
Weather Service. All emergency information originating from these sources is recorded automatically
by the EAS receiver. For actual emergencies, the emergency information can be rebroadcast from the
EAS receiver. If you are unsure of a situation, don’t hesitate to call our key station, WKDN, for
clarification. Their number is (856) 854-5300 and their EAS coordinator is Mr. Richard Archut.
HOW TO PERFORM THE DAILY EAS RECEIVER CHECK
Once a day, the EAS receiver is checked by listening to WKDN on channel #1, the New Jersey
Network on channel #2 and the National Weather Service on channel #3. This duty is usually
performed by the morning DJ. Be sure to indicate on the station operating log (on the bottom section
marked EAS) the date and time the EAS receiver was checked.
HOW TO RECEIVE THE REQUIRED WEEKLY TEST (RWT)
During the week, the EAS receiver will receive tests from WKDN in Camden, New Jersey Network
and the National Weather Service. After a test is received, you will be notified by a recorded
announcement in the EAS receiver, an indication on the LCD screen on the EAS receiver, and a
printout from the EAS receiver. Attach the printout to the station operating log and initial and date
the time you received the EAS test. No further action is necessary.
- 51 -
HOW TO PERFORM THE REQUIRED WEEKLY TEST (RWT)
Once a week, at random times, the station will schedule an EAS test on the program log.
Here are the steps to follow to perform the test:
1. Make sure the fader marked EAS generator (#2B) is turned up and on.
2. When the song is finished, play the EAS-RWT announcement (in Stop Sets). The
announcement will say, This is a test of the Emergency Alert System.
3. When the opening announcement is finished, firmly push the button on the EAS receiver
marked (RWT) Required Weekly Test. You will hear three bursts of data (this is called the
header), a brief pause, then three more bursts of data (this is called the EOM - end of
message).
4. After the EOM, resume normal programming. No closing announcement is required.
5. Indicate on the station operating log that a weekly test was sent. In addition, the EAS receiver
will print out the time and date the test was aired. Be sure to attach the printout to the
station operating log.
HOW TO REBROADCAST THE REQUIRED MONTHLY TEST (RMT)
Once a month, you will receive a required monthly test (RMT) from one of the three monitored
stations. If you are on-the-air, you must rebroadcast this test within 60 minutes of receiving it. These
tests will be sent in odd months between 8:30 a.m. and sunset, and in even months between sunset
and 8:30 a.m. It is important that all staff members know how to rebroadcast this test.
Here are the steps to follow to rebroadcast the required monthly test (RMT) :
1. After receiving a required monthly test (RMT), firmly press the message waiting key. To
preview the recorded announcement, you can push the RVEW key.
2. Make sure the fader marked EAS generator (#2B) is turned up and on.
3. When the song is finished, play the announcement EAS-RMT OPEN (in Stop Sets). The
announcement will say, The following is a test of the Emergency Alert System.
4. Firmly press the manual forward key. You will hear three bursts of data (this is called the
header), followed by the eight second two-tone attention signal. Next, you will hear the
announcement recorded in the EAS receiver. When the announcement is finished, you will
hear three more bursts of data (this is called the EOM - end of message). Play the EAS–RMT
Close (in Stop Sets).
5. Resume normal programming.
6. Indicate on the station operating log that a monthly test was received and rebroadcast. In
addition,the EAS receiver will print out the time and date the test was aired. This should be
attached to the station operating log.
- 52 -
REACT PROMPTLY, TIMELY AND EFFECTIVELY TO A REAL EAS ACTIVATION
A local, state, or weather alert will be received by the EAS receiver in the studio. After the alert is
received, you have 60 minutes to rebroadcast the alert.
AIRING AN ACTUAL LOCAL, STATE, OR WEATHER ALERT
Here are the steps to follow to air an actual local, state, or weather alert:
1. Press the message waiting key on the EAS receiver.
2. Preview the recorded announcement by pushing the RVEW key.
3. Make sure the fader marked EAS generator (#2B) is turned up.
4. Play the appropriate State, Local or Weather Activation announcement.
5. When the announcement is finished playing, press the manual forward key on the EAS
receiver. You will hear three bursts of data (this is called the header), followed by the eight
second two-tone attention signal. The emergency information automatically recorded in the
EAS receiver will be played over the air. After the state, local, or weather alert is finished, you
will hear three more bursts of data (this is called the EOM - end of message).
6. Resume normal programming. No closing announcement is required.
NATIONAL ALERT
A national alert is activated by the White House. We will receive it via the EAS receiver and it will
be coded EAN (Emergency Activation Notification). If you receive a national alert, the first thing to
do is not panic. Check the the EAS receiver to see if it is an actual alert. If it is an actual alert, you
must put the announcement on the air immediately.
Here are the steps to follow to air an actual national alert:
1. Press the message waiting key on the EAS receiver.
2. Preview the recorded announcement by pushing the RVEW key.
3. Make sure the fader marked EAS generator (#2B) is turned up.
4. Stop normal programming immediately. Play the announcement marked EAS
National Activation.
5. When the announcement is finished playing, press the manual forward key on
the EAS receiver. You will hear three bursts of data (this is called the header),
followed by the eight second two-tone attention signal. The emergency information
automatically recorded in the EAS receiver will be played over the air.
6. After the Emergency Action Termination (EAT) is received, push the EOM key. You will hear
three more bursts of data (this is called the EOM - end of message). Resume normal
programming.
BE SURE TO LOG ALL TESTS AND ALERTS ON THE STATION OPERATING LOG
- 53 -
THE PUBLIC FILE
The FCC requires each station to maintain a public file as proof of public service performance. The
file may be viewed by anyone, upon request, during normal business hours. The FCC will usually
review the public file during an inspection visit to the station. Specific items that must be included
are:
A quarterly community issues/concerns list. The list must be placed in the file by the 10th day
following the end of each quarter, (January 10, April 10, July 10, October 10). A narrative is
provided that describes five to ten public service programs that the station ran during the preceding
period.
1. All current station ownership reports.
2. Letters or email the public, as well as any responses by the station.
3. A record of any contributions made, such as underwriting.
4. The FCC publication, The Public and Broadcasting.
5. Annual FCC employment and ownership reports.
6. Engineering reports and data as required by the FCC.
7. All expired station licenses and construction permits as well as any renewals.
WGLS-FM OBSCENITY POLICY
The WGLS-FM policy regarding the broadcast of obscene or indecent material is based on the US
Criminal Code, the decisions of the US Supreme Court in the Miller v. California case of 1973, the
WBAI -George Carlin case of 1978, and the FCC rules and regulations.
Section 1464 of the US Criminal Code states that, Whoever utters any obscene, indecent or profane
language by means of radio communication shall be fined not more than $10,000 or imprisoned for
not more than two years or both. The US Supreme Court defined indecent programming as “language
or material that depicts or describes, in terms patently offensive as measured by contemporary
community standards for the broadcast medium, sexual or excretory activities or organs.”
Since WGLS-FM broadcasts to a wide-range of listeners of all ages and backgrounds, we have
traditionally combined obscene and indecent under the heading of inappropriate, which we define as
any language one would not normally use in day-to-day conversation with parents, grandparents or
in a job interview. Violations of this provision will result in immediate suspension from the station
for at least one semester. Ignorance of the contents of a song or other recorded material is also no
excuse for the broadcast of inappropriate material. All recorded material must be screened for lyric
content prior to broadcast. If you have any doubts or questions about any piece of material for your
broadcast, consult with the General Manager.
- 54 -
LEGAL CHECKLIST
Here is a list of some of the more common FCC danger areas which on-air personnel can find
themselves in if they’re not careful. Additional clarification can be found in the FCC Rules and
Regulations and in the Federal Register notices.
PAYOLA AND PLUGOLA — Accepting cash, travel, meals or other benefits in exchange for
playing certain records or plugging certain products or events on the air is illegal. Such activities can
expose the person involved, as well as the station, to fines and imprisonment.
OBSCENE OR INDECENT MATERIAL — The broadcast of obscene or indecent material is
prohibited by law. The maximum penalty is a $25,000 fine, a one year jail sentence, or both. There
may also be FCC administrative sanctions including fines and revocation of the broadcaster’s license.
DRUG LYRICS — Licensees must exercise responsibility and judgment in the screening of songs
that promote drug usage.
REBROADCAST OF TELEPHONE CONVERSATIONS — Before you either record or broadcast
any telephone conversation, you must clearly notify the other party and receive that party’s
permission to tape and/or broadcast the conversation. The only exception is during a live,
discussion/call-in program when it can be presumed that the caller is aware that he or she is likely to
be on the air.
CONTESTS AND PROMOTIONS — A station cannot broadcast information that misleads the
audience about station conducted contests. The rules must be made clear from the very beginning
and the station must follow the rules to the letter.
LOTTERIES — Information that promotes a lottery has, in the past, been prohibited by the FCC.
These regulations are currently being modified and may be different from state to state, so check
with management for current policy. A lottery is defined as the award of a prize, where the winner is
selected by chance and where some payment or other consideration must be made to the promoter by
the contestants.
STATION IDENTIFICATION ANNOUNCEMENTS — The FCC requires each station to make
identification announcements (legal IDs) at the beginning and end of each broadcast day, and hourly,
as close to the hour as feasible, at a natural break in the programming. This could be at the end of a
piece of music, between plays in a football game, etc. The official ID must contain the station’s call
letters, followed by the city of license — WGLS-FM, Glassboro.
- 55 -
GLOSSARY
actuality - The recorded voice of a newsmaker. Also called a sound bite.
adjacencies - Commercials placed next to certain programming, e.g. news.
affidavit - Sworn statement that commercials were aired in certain time periods.
air monitor - A source on the console (external) that monitors the sound of the station as it is
received over-the-air.
audition - A mode of console operation where the sound can be fed into the cue speaker without
going over-the-air.
availabilities - time slots where non-program material can be placed.
board - Another name for an audio console.
campaign - Planned radio advertising drive.
capstan - A revolving metal shaft on a tape deck, cassette or cart machine, that turns the pinch
roller and determines the speed of the tape’s movement.
cartridge - The element of a turntable assembly that converts vibrations of the stylus into electrical
energy.
cartridge (cart) machine - A unit that plays and/or records cartridge tapes.
cartridge tape (cart) - A continuous loop of recording tape housed in a plastic case.
cassette - Two small reels of tape enclosed in a plastic case.
channel - The route followed by an audio signal as it travels through a system. Also, an input or
output designation of an audio console.
compact disc (CD) - A small disc that is recorded digitally and is played back using a laser-beam
readout.
continuity - Script for commercials.
co-op - Money contributed by a manufacturer to a store to help pay for an ad.
cost per thousand (CPM) - Ratio of cost for radio time to reach 1,000 homes or listeners.
- 56 -
coverage area - Geographical area reached by a given station, usually indicated on a coverage map.
cue - To ready a playback machine so that it will play at the first point of sound. Also,
a channel on a console that allows you to audition a sound source.
cut - A segment of recorded sound on a disc or tape.
diary - Method of surveying radio audience where a person fills in the time he listens to radio.
disc - A vinyl record or compact disc.
donut - Type of spot where live copy runs in between a musical open and close.
dubbing - Recording sound from one source to another.
editing block - A plastic or metal block used to align tape properly for cutting and splicing.
EAS (Emergency Alert System) - A network used for broadcasting emergency information to the
public.
erase head - The part of the head system that removes recorded signals from a tape.
ET - A recorded program or message on a vinyl disc.
fade - To bring a sound source down on an audio console at a given rate of speed.
fixed position - Spot aired at a guaranteed, specific time.
flight - Period an advertiser runs his spots (e.g. one week, three weeks, etc.).
format - A radio station’s programming strategy to attract a particular audience
based on gender and age (demographics).
Hertz (Hz) - A unit of frequency measurement, identical to cycles-per-second.
levels - The volumes of signals, usually as read by a VU meter.
make good - A spot run to make up for a spot missed due to an error or technical problem.
modulation - The electrical imprint of a sound signal on a radio wave.
monitor - Any speaker in a studio used to listen to an audio source.
package plan - Some combination of spots devised by a station and offered to advertisers at a
special price. These are usually weekly or monthly buys.
patching - A method of changing the routing of a signal through an audio system.
playback head - The part of the head system in a tape recorder or deck that reads
the patterns created on the tape by the record head.
public affairs programs - Programming that serves the public interest.
- 57 -
rates - Station's charges for commercial time.
remote broadcast - Production done on location rather than in the studio.
run of station (ROS) - Station schedules commercials at the station's best times available. Also
referred to as run of schedule.
saturation - Using a heavy schedule of spots to get message across to as many listeners as possible.
segue (seg'-way) - The transition between two audio sources played consecutively without
interruption.
splicing - The process of joining together two pieces of recording tape.
spots - Another name for a commercial announcement.
stylus - The portion of a turntable that makes contact with the grooves in a record.
tag - Live announcement at the end of a recorded spot.
take up reel - The reel on a tape recorder that pulls and collects tape during play.
Total Audience Plan - Spot package consisting of a combination of spots in each time classification
that will hit all station's listeners in a specified time span.
turntable - A system consisting of a platter, drive mechanism, a tone arm, a speed control, and an
on-off switch, which is used to play conventional records.
voicer - A story or report filed by a newsperson.
wire service - A news network that supplies news copy and audio reports to broadcast stations,
usually for a fee.
- 58 -

OPERATIONS MANUAL 14th Edition

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