Radio - Lecture notes 1-3 PDF

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Radio, Audio and Podcasting Week 1 2 key elements to this unit  Audience - Why will people listen to you, how will you keep them listening?  Content is king Audience  Who are you broadcasting to?  It’s important to have a particular group of people you wish to broadcast to in mind as this will impact your presentation of content.  Identification can come from age, gender, knowledge of content, can be quite narrow but will limit people who could potentially listen.  All radio stations have a particular target audience they market to. In commercial radio it’s used to sell to advertisers.  The focus must be on the audience! Unique features of radio  Intensely personal - Ability to communicate to a whole range of people with the feeling of talking to only one  Immediate  ‘theatre of the mind’ - Ability to create theatre in peoples mind - Creating all sorts of images in people’s minds without providing images  Semi-engaging - Having the audio on in the background, listen to some of it, ultimately it can sit there in the background and don’t need to be engaging with it all the time Brief History of Radio  1844 Samuel Morse – dot/dash  1901 Gugliemo Marconi – transatlantic transmission  1912 Titanic sinks – radio rescue  1938 War of the Worlds Brief History of Australian Radio  1923 2SB (2BL) in Sydney  1929 Forerunner of ABC formed  1930s Radio plays / book readings  1932 ABC constituted  1956 TV arrives - Video killed the radio star? No just changed focus.  1960s Talkback radio and top 40 radio  1970s Growth of talkback and radio formatting  1980s FM Radio - EON FM (MMM)  1990’s Three Clear Sectors of Radio Established (Commercial, National (ABC/SBS), Community (Public)

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1990’s Online Streaming Commences 2009 – Digital Radio Services commence in Melbourne, Sydney, Brisbane, Adelaide and Perth. Future increased “Convergence” - computer, mobile, radio, video, data , podcasts.

But we are thinking about more than just radio….  This is about fitting into and working with the multimedia environment!  How has the idea of ‘radio’ changed and adapted to the online space?  Broadcasting to the world on any subject at any time  Utilising voice skills used in audio for other areas like video, talking books, etc  Think of this as an audio class with lots of different possibilities. Podcasting  A medium allowing content to be received and listened to by an audience at their convenience  Still using conventions of radio in terms of format and structure and audience  Can be on any subject, released at anytime and listened to whenever the listener wants  As the technology evolves, there will be opportunities to monetise podcasts  What are the measurements of success? How many people need to listen for it to be a success?  How will you create unique content or popular content presented in a unique way?

What we’re covering this semester  The concept of audience and how it’s measured and applied  Content Creaton for radio and podcasting - research, produce, presenting, writing.  Technical skills - recording, digital editing, presentation, delivery platforms  3 Radio Sectors (Commercial/Community/ABC, SBS) – how to build a career in radio/audio fields  Role of Regulator / Law / Legal  Current Issues in radio and audio in Australia  Technologies - present & emerging (digital/online radio/podcasting/streaming)  Use of online and video in radio

Audio Audiences and Marketing Issues to be Considered  Radio station selection and loyalty  The Business of Radio  Surveys  Podcasting Audience measurement  Marketing and Promotions Part One – so how do I get people to listen?

Place of Listening

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Radio impacts closer to the place

of use and the place of purchase Radio’s mobility and undemanding nature means people listen in a variety of locations within and outside the home. Shopping patterns are more closely aligned with radio listening than television viewing

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This is of appeal to advertisers for obvious reasons however now it’s part of a wider spend with social media and video content freely available There will be an extension to podcasting as that medium grows

The Business of Radio  Metro Commercial radio approx. $809 million revenue 2018  Approx. 3.4% UP on 2017 (245 licenses)  Investment in a commercial radio license: - Nova 100 Melbourne Dec 2001 $70m - Vega 915 August 2004 $51m - Nova Sydney $155m, Vega Sydney $106m - Nova Brisbane $80m - Nova Perth $37m, Nova Adelaide $25m - Other FM stations approx equivalent value - Murdoch bought 50% DMG for $110m late 2009  Remember a license is only a piece of paper…… - Set-up costs: studios, transmitter; - Staff costs: salaries, taxes - Running costs: electricity, phones - Govt. fees $15+m per annum, company tax  Return on investment:  Real estate 10+% pa  Shares 10+% pa  Radio license: up to 50% pa!  Sources of income: 99.9% advertising  Metro station needs $1+million per month!  Only source advertising  10 minutes ads per hour 6am-12midnight  18 hours day, 180 minutes ads  7 days, 1260 minutes ads per week  Approx. 5460 minutes per month  Ads usually 30 seconds: 10920 ads per month  At $100 per ad, $1,092,000 per month  Top rating stations in Melb, approx $500 per 30s and top breakfast rates over $1000 per 30 secs Ad Placement  Sponsorship of programming: news, traffic, weather, sport, website, podcasts  Ads between news and weather  Integration of short ads into regular programming  Restrictions on the number of ads – only in solus markets (one owner, usually an AM and FM)  Unregulated in metro markets, station decision, eg Nova: no more than 2 in a row Melbourne Radio Survey  Melbourne Service Area GfK (German based company) Survey 1 2019

Conducting Surveys  Melbourne Designated Service Area  Surveys 8 times per year Metro markets  Approx. 2400 diaries placed at random each survey (paper and now e-diaries used to measure audience)  Participants aged 10 years and older  Quantitative data based on demographic and daypart information  Other information available: Age, Sex, Marital status, Occupation, Type of dwelling, Home ownership, Household size, Household income, Education, Car ownership, Grocery buyer, Presence of children, Language spoken at home, Geographic location

Calculating the 4 Basic Statistics of Radio Surveys  The 4 basic terms - Cumulative Audience (Cumes) - Average Audience (Averages) - Time Spent Listening (TSL) - Station Shares (Shares) Cumes  Definition: ‘the total number of different people that tune to a particular station over a given time period’  I.e. the total number of different listeners

Average Audience  Definition: ‘the average number of people listening at any given time over a specific time period’  Ave= sum of individual qtr our audience over number of qtr hrs in period (equation)

Time Spent Listening  DEFINITION: “the number of hours and minutes spent listening to radio or a specific station” (by that station’s listeners)  Average Audience x No. of Hours in time period over Cume Audience (equation) Station Shares  Definition: ‘the percentage of total radio listening, in a given time period, that is tuned to a particular station”  Share of Listening = Station Qtr Hours over Total Radio Qtr Hours (equation)  Share of Audience = Station Ave Audience over Total Radio Ave Audience (equation) What About Online Podcast Listening?  There is tracking software available to get an indication of how many people are listening and for how long to an online stream.  Of course for podcasting downloads can be tracked easily via the servers also with programs like soundcloud you can get basic tracking information such as how many people have pressed play on the stream.  Creating measurements for success – starting out, need to allow time for the audience to grow. Also allow time for the program to develop.  Important to know audience for developing content and also to understand who’s out there. But What About on the Promotion Side?  The other element to this is how listeners know you are there and broadcasting.  If you’re product is unique how will people find you? If it’s similar to others out there why will they want to sample your work?  Who are you making the podcast for? Is there an audience for it – do some research, where are they?

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Using a website, cover art, chapter markers, social media or a combination of all of these. Will you have guests who may have a large fanbase? How long will you allow for the podcast to grow?

What is Marketing?  A technological definition of marketing is: - “A social and managerial process by which individuals obtain what they need and want through creating, offering and freely exchanging products and services of value with others” (Kotler).  Traditional Marketing applied to radio: the 4 P’s  Product: the station  Place: where can you hear it?  Price: free - or is it?  Promotion: current and potential listeners  This also works for podcasting promotion.

Marketing your Radio Program/Podcast and Analysis of Radio Program/Podcast Formats Marketing  A technological definition of marketing is: - “A social and managerial process by which individuals obtain what they need and want through creating, offering and freely exchanging products and services of value with others” (Kotler).  Traditional Marketing applied to radio: the 4 P’s  Product: the station  Place: where can you hear it?  Price: free - or is it?  Promotion: current and potential listeners  This also works for podcasting promotion. Marketing Plan  Effectively working out the brand of your podcast/radio program  How does it sit in the current podcast/radio landscape? What is the point of difference?  This is what you need to promote to your target audience – why would they want to listen?  Examples: - Exclusive content - Unique concept - A different spin on a common theme  Set the expectations for the audience as to what they are going to hear (and how regulary). Marketing Plan Other Considerations

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Social media – how will you create a targeted campaign to reach your target audience? Can you work with influencers in the space? Celebrities? Established brands? Website – creating complimentary content to the podcast and a ‘hub’ for all program content. Is video a consideration to super service your audience? Branding the podcast – cover art, chapters. Ensure it’s consistent across all platforms Trailers/Promos – how to get people excited ahead of the first (and subsequent) episodes.

AIDA Principle  A = Attention - What will grab their attention?  I = Interest - What ‘turns them on?’  D = Desire - Now you have them, what makes them want to continue to listen?  A = Action - Keeping them coming back Radio Station Programming  Formatted Radio  Introduced in the 50’s from US  Primarily ‘strip’ programming  Formerly ‘block’ programming  Examples - Block programming from ‘Your FM’ - Strip programming from ‘Your ABC’

Differences: Strip  Formatted (Strip) - Program Time = Regular, non variable - Programming = ‘Same’ program each day. - Duration = Fixed. 1, 2, 3 hour ‘blocks’ - Personality = Driven - Elements = Fixed. (Variety slow) - Reliable, Regular, Repetitive Differences: Strip - Formatted  Formatted - Reliable, Regular, Repetitive  Format is fixed. Station locks into audience demographic and all programming decisions are based on that. i.e. – - AC = Adult Contemporary - MOR = ‘Easy’ listening - Gold = Nothing beyond the memories - News/Talk - Sports, AOR, Top 40 (CHR) … etc etc etc Differences – Block  Block – More often the domain of Public and Community Radio  Program Time = Variable.  Programming = Different programs each day  Duration = Variable. But still 1, 2, 3 hour ‘blocks’  Personality = Not as important (in theory)  Elements = Lots of variation each pgm  ‘Unpredictable’. Not constant. Various Format Elements  Music  Talk  News  Segments (comps, regular guests etc.)  Themes; Stings; Stabs  ‘Flow’ Music     

Suitable for proposed audience Used as mainstay or for effect Overall ‘fit’ with program style Knowledge of – important IMPORTANT – COPYRIGHT RESTRICTIONS ON MUSIC FOR PODCASTS!

Music Radio Formats – Announcers  Which artists?  Which song?  Repetition rates:

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- high rotation eg. 4 hourly - medium rotation eg. 12 hourly - classics/gold eg. 10 times per week Personalities: individuals and teams - Comedians, music jocks, talk hosts Time, temperature, station ID’s ‘Live’ advertising (not pre-recorded) Panel operators

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Knowledge – overview at the least Hard to do if not prepared. Do your research! Target audience – tone of. i.e. ‘confrontational’, ‘conversational’, ‘confessional’ Producer and talent Time dependent

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Type of – overall program ‘fit’ Hard or soft – see above Resources – time, cost, values Current or topical i.e. motoring, money Audience expectations

Other Radio Elements  Competitions – quiz, cash, prize (for podcast will need to vary as it’s not live)  Regular guests  Weather, road reports etc. (if live radio program)  Updates i.e. news shorts (if live radio program)  Incidentals i.e. “on this day” (if live radio program)  Must be regular, similar, predictable within boundaries of program Themes, Stings, Stabs  Used to identify the program/podcast  Personalise the program/podcast  Used to ‘signpost’ what's coming up  Impact and attention  Radio Station/Program ID’s, “Positioning statement” - i.e. “We Love Music”, “774 ABC Melbourne”, “Voice of the Valley, Melbourne’s Easy Place to Relax”, “Nova 100”, “Talking Melbourne” etc etc etc Advertisements - Special Features  Voice: male/female, single/multiple - character, client, personality  Music: recognisable song/artist, - jingles, ‘production’ music  Sound Effects: atmosphere, smashes, etc.  Take 40 Australia

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Small Business Report AM / PM on ABC Top 8 at 8 Rural report ‘Sixties lunchbox’ Hot 30

Positioning  Call signs: eg. The FOX, JJJ, 3AW  Station Positioning statements: - Melbourne’s Hit Music Station, Rock Sport and Comedy, Melbourne’s Easy Place to Relax, Talking Melbourne, Better Music and More of It  Station Jingles  Artist endorsements Contests – Other  Crack the Code, Beat the Bomb, Secret sound  Outdoor Promotions: Black Thunders, etc  Client promotions, discount days  Concert / Movie sponsorship  Community Service announcements  Religious  Education access Major Categories of Radio Station Formats  Every radio station must choose what it will air and when it will air it.  Formats combine the elements in specific ways to attract a defined audience.  Formats are selected after the target audience is established, given the opportunities that exist in the market. Gold (also Classic Hits/Classic Rock) – News Talk  Good time oldies  top 10 or better from eras  60’s through 90’s  Classic Rock is rock tracks only  Information based  current affairs, interviews  audience talkback  issues driven Flow     

Making sure each program/segment seamlessly works together News is a natural break If no news – must ‘throw’ to next (if live) Within program – establish routine/predictability Strip format – easier than block (for radio)

Assembling Elements/Attention to Detail  Important part of the preparation process is to order each element in a logical sequence  In a radio environment everything is hand placed into the schedule based on a hour ‘clock’ template (nothing is done by accident)  Helps to clarify your ideas on paper and works with the running sheet.  Attention to detail is important here – have control over every element. Format Clocks  Visual method of placing elements  Based on audience acceptance of hourly structure in society  Built around ‘top of the hour’ news  Different hours at different times of the day

Program/Podcast Structure

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Welcome By anchor (can be ‘ad lib’ but always elements of scripting) - Listener ‘cue’, ‘signpost’, ‘comfort’ – - The welcome invites the listener ‘in’ to the program. Provides a brief summary of what to expect Scripted ‘throw’ - Introducing a segment or change in program direction. Essay style - Introduction = ‘In this program …’ - Signposting: Letting the listener know Name = ‘Welcome. I’m [insert name]’ Throws = Used to introduce segments Repeat ‘Coming up …’. Don’t overdo it. - In a 1 hour program maybe three times - 20 minute program, once at start, then at about 10 minutes in Wrapping up - Acknowledge guest’s participation - Always thank staff, assistants - If regular program – promo next program - If not regular podcast, mention when it will next be available.

Paperwork  Scripts - Will be needed by you and others  Running Sheet - Production must  Cue Sheets for segments / features - Must include intro description - Must include last words and description to end - Etc.

Week 4 – Sound, Recording, Production and the Broadcast Chain

What is sound?  In simple terms, sound is energy  1st law of thermodynamics – ‘energy cannot be created or destroyed, it can only be transformed’  What does that mean for us?  As audio producers, whether working in radio, or podcasts or in a creative field, sound is our raw ingredient  Like any professional wanting to make their mark, we should choose to use the highest quality ‘ingredients’ all the time  ‘what we categorise as sound is energy, transmitted via a medium, presenting in a range of frequencies and at certain pressure levels we are biologically equipped to perceive, and which, cognitively, we understand in some way  Perception is more than hearing  Understanding involves perception and interpretation  A sound is created when some type of energy is transformed into vibrations that move molecules of air (or water).  If molecules are moved with a particular force and within a range of frequencies (together = energy levels) we can ‘hear’ them  If the energy levels are high enough, we can feel them and if higher still, can harm us (even if we are only exposed to that energy for a short period).  But more than just the phenomena of sound as energy, sound also plays very important roles socially and culturally...