CUNY%Intro%to%Radio%Class%3cdn.journalism.cuny.edu/blogs.dir/447/files/2012/08/CUNY...Quiz 1. Name!3!useful!tools,!excluding!your!recorder! and!microphone,!thatyou!should!bring!to!a

CUNY Intro to Radio Class 3

Assignments Listening: Listen to radio…any sta2on, and find a story that grabs your a8en2on.

Write a paragraph about why the par2cular story was compelling, what made it good Radio(4 elements, storytelling, soundbite?)

Reading: -‐ Wri2ng News for Radio: Carl Kasell -‐ Transom ar2cle on News Spots -‐ Newsweek ar2cle: Is the Web Driving Us Mad? Field Work: •  Record example of an ac2vity from beginning to finish using only sound. Make

sure you get at least two minutes of every sound(minimum of 4 sounds). Label your 4 .wav files and bring them to class next Friday.

WEBSITE: Post your listening assignment.

With Assignments

1.  The deadline is noon on Thursday: 2.  That means, in reality, you should be finished

before you get to school on Thursday. 3.  Don’t work on your homework in another

class

Quiz

1.  Name 3 useful tools, excluding your recorder and microphone, that you should bring to a press conference.

2.  Four Main Elements of Radio. 3.  Write about a spot you heard as part of the

Transom.org ar2cle, how did the reporter crea2vely tell news in 45 seconds?

4.  When wri2ng for radio, what do you do to a sentence that contains the words And, Or, But, Which, Whose?

Reader for a Newscast

10 minutes to turn this local news print story into a reader for a RADIO newscast

Soundbite

What are 3 soundbites you might use…why?

Newscast Elements

Know your audio elements Actuality (Acts, Ax): Short excerpt of recorded interview you will use in

your radio story. Normally typically 8 -‐ 20 seconds. Alt: Voice cut, cut. (In TV: bite, soundbite)

Ambient Sound (Ambi): Recorded sound of environment in which an event or interview takes place. Used in mix under acts and tracks. Alt: Natural sound, nat sound, room tone.

BuBon: A short (5 -‐ 30 seconds) of music that serves as a transi2on between programming, oèn before commercial breaks or between segments. Alt/Similar: Zipper, Curtain, Bumper

Sound Bed (Music Bed, Ambi Bed): A track of audio that is layered under narra2on or program audio so the audience hears a reporter speaking over sound of an event he is not at anymore, or a host talking over music.

Tracks: (1) Reporter narra2on for a spot, wrap or feature. (2) Can also refer to the horizontal rows where sound files are displayed in your digital audio edi2ng so`ware. (3) As a verb, to record your narra2on.

Types of Radio Stories Host Reader (Reader): A news script wri8en by reporter but read by program

host, usually during a newscast. Alt: copy, host copy Spot: A recorded news story during a newscast wri8en and spoken by a reporter.

It has no actuali@es but does require a host intro. Alt: Voicer Two-‐Way: A conversa2on on-‐air between host and reporter, usually scripted by

the reporter. ROSR: (pron: rose-‐err) Radio On Scene Report, in which a reporter delivers a

story by standing on loca2on with the sounds of the place audible behind him/her.

Host reader w/tape: News script read by host but wri8en by reporter that includes an actuality or Ambi. Dis2nct from a wrap. Alt: cut & copy, cut/copy, tape & copy, cut & script

Wrap (Wraparound): A news script wri8en and read by a reporter that includes an actuality. The reporter’s voice comes before and aèr the act, “wrapping around” it. Like spot w/ actuality.

Feature: A longer, more in depth report that includes actuali@es, tracks (narra@on) and usually sound of some sort, including ambi. Typically 2 minutes or longer.

Vox-‐Pop: No narra2on. Several actuali@es from different people mixed together. Used oèn to convey reac2on from average people to a news story or event. Alt: MOS (Man On the Street)

Field Recording Off Mic: #BadAudio Sound so` and distant because the source is not

close enough to the mic. Overmodulated: #BadAudio Happens when recording levels are too loud.

Voices sound distorted or garbled. Similar: Hot. Levels are hot when too loud.

Plosive: #BadAudio Distor2on caused by air higng the microphone do to incorrect mic placement. Happens on sounds like P and B.

Mono/Stereo: Audio is mono if it has only one track. Stereo if there are two tracks, a le` and a right. Most recordings are in mono for radio repor2ng. Recording in stereo requires a stereo mic or input, files will be twice as large.

Newscast

Wrap A new study says some dras2c fixes are working for Chicago's lowest-‐performing schools. WBEZ's Linda Lu8on reports it may not be as much as some hope. [Name:cps study 120209 LL] [Length::52] [ *** OUTRO: We'll have more on the impact of RE-‐MADE schools later this morning on 848. The University of Chicago study looks at 36 schools that underwent HUGE reforms … Some had all staff replaced. Others were CLOSED and

charter schools opened in their place. The ELEMENTARY schools showed improvement. How MUCH? Aèr FOUR years… sixth graders, for instance, were about 3 and a half months ahead in READING… and six months ahead in math… That's compared to peers at low-‐performing schools where dras2c interven2on did NOT take place. The teachers union blasted that as "incremental change." But Chicago's Chief Educa2on Officer Noemi Donoso says the study SUPPORTS the district's current course. DONOSO: You're seeing more aggressive gains coming from our turnaround models. The school board votes this month on a proposal to close down or completely re-‐staff some 16 addi2onal schools. Linda Lu8on. WBEZ

Spots Chicago Mayor Rahm Emanuel wants all handguns in Illinois to be registered

with the state. He's expected to announce that proposal later this morning (thurs). Under the mayor's plan, handgun registra2ons would func2on much like car

2tles. For 65 dollars, gun owners would get a state cer2ficate lis2ng the make and

model of their handgun -‐ and when and where it was bought. They'd also have to no2fy the state if they sell the gun. Violators could be charged with a felony.

Reader With Tape Chicago-‐based Rainbow PUSH Coali2on is buying stock in local

companies to gain access to shareholder informa2on. The Reverend Jesse Jackson yesterday said his coali2on now owns stock

in ThyssenKrupp (TISS-‐un-‐krupp) Elevator Corpora2on. The company came under fire this week aèr racial discrimina2on

against an African American employee was revealed. The company's C-‐E-‐O is apologizing to workers at its suburban

Westchester plant. Jackson says the company needs to create equal opportuni2es for

employees. [Name:Jackson DiscriminaVon_120209_jb] [Length::05] In-‐Companies can either Out-‐With the law The U-‐S head of the mul2-‐na2onal elevator company says its

inves2ga2ng the discrimina2on and will work to be8er its environment.

George Orwell

Steve Edwards

•  Radio Host-‐Chicago Public Radio •  Programming Director •  News Magazine, Talk Show •  Knight Wallace Fellow University of Michigan

The Radio Interview

A good interview depends on more than just a list of quesVons.

Make your approach polite and respeccul

Explain what you're doing. Be confident. Assume your subject will want to talk to you. The way people respond depends on how you approach them.

Make the interview situaVon comfortable before you start

Move chairs around, get close so you don't have to reach. For example: Sit at the corner of a table, not across, so you can hold the microphone close and your arm won't grow weak.

Record interviews in the quietest place possible

Be careful of TVs, stereos, traffic noise, wind, anything that will be distrac2ng from the interview. Even air condi2oning can make an annoying sound that you might not no2ce un2l you get home and listen to the tape. Some2mes you want the sound of the environment.

But it's best to gather that separately, and record all the important interviews in a quiet place.

Any2me you are in a loud room or noisy environment, remember to collect a few minutes of that sound on its own – what is called a “sound bed” or ambiance. If you have to record an interview in a loud place, it can help to bring the microphone even closer (2-‐3 inches) to the speaker's mouth.

Always hold the microphone

Don't let the interviewee take the microphone. It's be8er if you keep control of the equipment.

Put people at ease

Talk about the weather. Joke about the microphone. It's a good idea to begin recording a few minutes before you actually start the interview. That helps you avoid the uncomfortably drama2c moment: “Okay, now we will begin recording.” Just chat about anything while you begin rolling tape. Before they realize it, you've started the interview.

Maintain eye contact

Keep the microphone below the line of sight. Talk to people just as you would normally.

In groups, don't let everyone talk at once

If you are interviewing a few people at once, have them gather around close to the microphone. Try to focus on one or two people. Less is more. You're be8er off zeroing in on the characters you think are the best. Also get people to iden2fy themselves on tape.

Watch out for uh-‐huhs

Be aware of natural conversa2onal responses like uh-‐huhs or laughter. Try to use quiet responses: a concerned nod, ques2oning eyes, the silent laugh.

Don't be afraid of pauses and silences

Resist the tempta2on to jump in. Let the person think. Oèn the best comments come aèr a short, uncomfortable silence

Let people talk in full sentences

Avoid ques2ons that can be answered with a simple yes or no. Instead of, “Are you a doctor?” ask, “Tell me how you became a doctor.” Remember that you want people to tell you stories.

Get people to 'do' things

In addi2on to the sit-‐down interview, have people show you around; record a tour of their house, their photo album or their car engine. It's more fun to get people moving around and talking about what they're doing, rather than just signg in a chair. It helps to relax people before and during an interview. It's also a way to get good tape.

Listening is the key

The most important thing is to listen and have your ques2ons come naturally. If your ques2ons are rehearsed and hollow, the answers will be too. If you are curious and your ques2ons are spontaneous and honest, you will get a good interview.

Take notes

Remember specific details. Take notes immediately aèr the interview, while it's s2ll fresh in your mind. You can also use the tape recorder like a dicta2ng machine.

The last secret to a great interview

Be genuinely curious

Keys to Good Interviewing

1. The Research 2. The Pre-‐Interview/Contract 3. The Focus Statement 4. The Ques2ons

The Research

Before calling possible interview contacts: •  Know as much as you can about your topic. •  Brainstorm a list of poten2al interview candidates. Cast a wide net.

•  Iden2fy experts, but also focus on people directly affected by the topic. Make a balanced list of candidates.

•  Talk to colleagues who might have covered your topic before. See if they have sugges2ons.

Pre-‐Interview/Contract This is the MOST IMPORTANT component to a good interview.

Why is it important to talk to the person you intend to interview before you do the actual official Interview?

Pre Interview/Contract •  We pose the invitation too soon! (before we understand the story or the guest) •  What if the person sucks? And gives you no information?

Then you are stuck with them. The Pre-Interview serves three main functions 1.  Helps YOU find out what THEY know. 2.  Helps YOU find out if they are engaging, good on air. 3.  Puts THEM at ease. Makes them more comfortable, which

means they will sound better when you tape.

Steps to a good Pre-‐Interview

Development-‐Get the basic story. What happened

Pursuit-‐Explore deeper into the subjects. See if you can learn something new, or get some new leads

Mop Up-‐Make sure you have all the important details (name, age, 2tle, specifics)

Pre-‐Interview Careful-‐don’t ask too many ques2ons, you want to leave some surprises for the actual interview.

5-‐10 minutes-‐A good pre-‐interview should last long enough to establish comfort and that this is the person you want to speak to.

A Good Pre-‐Interview results in beBer guests and beBer informaVon.

It also saves you Vme!

The Radio Interview

Radio is about people telling stories. Your Interviews have to get at peoples experiences.

What do they know? What can they tell us? What can we learn from them?

Preparing Your QuesVons

1.   Close Ended QuesVons •  Begin with Are, Would, Could, Did, Have,

Verb leading… •  Elicit one word answers, Yes-‐No •  Gives Guest control, allows them to say

whatever they want.

Open Ended QuesVons

•  5 Ws and How •  Force guests to explain,

consider, and confront themselves, their actions and their information.

•  Keeps you in control of interview.

•  Are less accusatory and more effective.

•  Helps avoid Yes and No answers.

•  Open •  Simple •  Nuetral •  Ac2ve

Interview Basics

•  The goal is to fashion a story: Beginning Middle End

•  KEEP THE QUESTIONS MOVING IN A LINEAR FASHION

•  FOCUS STATEMENT IS KEY! It Reminds you of what you’re trying to get from the interview

•  S2ck to your plan as best you can, you can’t talk about everything.

Interview Basics •  10-‐15 ques2ons is generally sufficient •  Start easy-‐and gradually make your way to harder topics.

•  If you hear something interes2ng, that you weren’t expec2ng, don’t be afraid to follow that informa2on. Tell me more about that?

•  Keep person on task, but be open to new informa2on and ideas.

Let your QuesVons Guide You

•  DON’T FEAR FOLLOW UPS •  Most people don’t go for the “why” hard enough. We accept the first answer given.

•  DON’T FEAR REPEATING THE SAME QUESTION.

•  Why? Why? •  What happened? So Then What happened?

Off the Shelf QuesVons: Simple ways to get more out of people

•  Why are you actually saying that?

•  So, what happened? •  So, what happens next? •  What did that tell you? •  Why did you/we care about

that? •  What makes you care about

that? •  How did you respond to

that? •  Why?

•  What picture remains most vivid?

•  Why was that important? •  What stands out the most? •  What did you make of that? •  What are the consequences? •  What's the best/worst

possible scenario? •  What do you fear? •  How did that happen? •  What stays with you?

More Tips

•  Always ask the ques2ons that your audience wants answered. •  Avoid ques2ons that can be answered with a yes or no. •  Avoid double-‐barreled ques2ons. Ask one ques2on at a 2me. •  Keep ques2ons short and to the point. •  Ask ques2ons that will make people think instead of ones that

make them react. •  Do not make assump2ons or make statements. Ask ques2ons. •  Do not argue. •  Never try to cover too much. Remember, focus. •  Some2mes a one-‐word or two-‐word follow-‐up ques2on

works best: “No!” “Really?” “You’re sure?” You’re kidding!” “That’s amazing!”.

•  Have a final ques2on that wraps up your interview.

This the End

At the end of every interview, ask the interviewee if s/he has anything to add, if s/he recommends other people you should speak to and whether you may call back later with last minute ques2ons and fact-‐checking.

This the End

Never give sources an opportunity to review the tape, or “approve their soundbites” before you air them.

From the Pros

Lisa Mullins-‐Host, The World Keep the spotlight on the arVst's experVse, not your own-‐ at least while the mike's on.

Susan Stamberg-‐NPR think of the beginning, middle and end of the interview -‐-‐-‐ make your quesVons related, not random

Bob Edwards-‐Public Radio Host Indulge yourself. Ask the quesVon you’ve always wanted to ask.

You’re not as interesVng as they are. So keep them in the spotlight by keeping quesVons brief and focused

Come prepared with quesVons, but LISTEN to the guest, who will ojen tell you what the next quesVon should be.

Have a purpose for your interview. Listeners want content not hype.

Don't be afraid to ask the hard quesVon. They aren't your friends and you don't have to worry that they won't like you or walk out.

Don't start with your toughest, most provocaVve quesVons. Build up to them ajer developing a bit of rapport with the interviewee. Look for openings in the conversaVon that allow for you to work in those tough quesVons.

the key to a good interview is listening

4. The “Macho” or “In Your Face” interviewing style sounds tougher than it is.

•  It oèn gets li8le or no informa2on •  Backs guests into a corner •  Results in predictable non-‐answers •  Journalists trying to impress rather than inform

Many interviewers (the worst ones) rely on personas-‐-‐

Interview 1 Interview 2 Interview 3

Good Examples

Interviews 50 cents

Good Examples

Field Interview •  Equipment Check •  Know where you are going •  Print out your ques2ons •  Arrive 10 minutes early •  Do Sound check of loca2on-‐ Office Space-‐ask to turn off any noisy AC, Fan, or other

distrac2ng sounds. Outdoors-‐make sure interview is done in rela2vely quiet space. •  Show your equipment to interviewee. Explain how it works. •  Explain they are NOT to touch the microphone. •  Do a Prac2ce recording (name, 2tle, age) •  Start recorder, make sure sound levels are good, and counter

is moving. •  Ask your first ques2on. •  Make sure you record at least two minutes of ambience aèr

interview

Recorded Phone Interview •  Don’t do Phone Interviews if you can help it. Always be8er to Interview people live.

•  See if you can find somebody on the other end of the phone to make professional recording (Tape Synch).

•  If you have to record from phone, try and get person to use landline.

•  If cell phone is used, get person to stand somewhere rela2vely quiet with good coverage.

•  Do a test recording to check quality of sound. •  Ask them to turn off any loud sounds in the room they are signg in

Live Studio Interview •  Make sure you’ve done your research. Read everything on the subject.

•  Have an intro and outro for your guest, relevant informa2on about them (2tle, name pronuncia2on, etc.)

•  Have your ques2ons printed out and in front of you. •  Make sure studio engineer has copy of your ques2ons and intro/outro

•  Introduce yourself to guest. make sure guest has a glass of water, is comfortable.

•  Make eye contact…be and sound warm.

Live Phone Interview •  Make sure you’ve done your research. Read everything on the subject.

•  Have an intro and outro for your guest, relevant informa2on about them (2tle, name pronuncia2on, etc.)

•  Have your ques2ons printed out and in front of you.

•  Make sure studio engineer has contact informa2on for guest

Looking for AcVon •  Try and get your subject to SHOW you, not just tell you things. Record them doing something.

•  Have them Give you a tour, describing the context of where you are, what is happening, history, anecdotes, stories.

•  Have them Describe the space, what it looks like. •  Remember this is Radio, people need details so they can imagine what is happening.

Demo

We’ve got a story!

•  Now what?

Who do we interview?

What are our Ques2ons?

Vox Pop

Vox Pop Person-‐on-‐the-‐Street Interviews

Vox pops (voice of the people) provide a quick sampling of public sen2ment. A vox pop is not an interview. An interview is many ques2ons put to one person. A vox pop is one ques2on put to many people.

When to use a Vox Pop •  Vox pops allow people to speak for themselves on the radio.

•  Vox pops demonstrate that public opinion ma8ers as much as statements from officials.

•  Vox pops add credibility to your news bulle2n, demonstra2ng that you are in touch with the needs and views of the public.

•  Vox pops make a radio bulle2n lively and listenable •  Vox pops build audience iden2ty for your sta2on’s news—listeners feel be8er about a sta2on if they hear their own voices on the air.

Vox Pop-‐Vox Populi Voice of the People

1.  A collec2on of public opinions. 2.  1 or 2 ques2ons. 3.  Ask everyone the same ques2ons. 4.  Aim to interview 10 different people, to

get a good sampling of thoughts and opinions.

EffecVve vox pop quesVons

Have a ques2on that anyone on the street can answer. – Short, direct ques2on. – You should not have to explain the ques2on or provide background to get people’s opinions. You want to gather opinions that people have already formed.

Avoid ques2ons that can be answered with a yes or no. You want people to communicate in complete sentences.

The vox pop should move quickly, people should speak for no more than 15 seconds.

You don’t need to include people’s names, although some radio newsrooms want people to say their name on-‐air and then their comment.

You need at least three voices to make a vox pop…seven to eight voices is ideal. More than that and people usually start saying the same thing over and over. Vox pops are typically anonymous.

Do not include people who say “I don’t know.” You want to document public opinion, not the lack of it.

Edit out your ques2ons, only keep the answers. It’s okay to keep in an occasional follow-‐up “why is that” ques2on if is required for a person’s answer to make sense.

Vox Pop-‐LocaVon

•  Choosing a loca2on can be key •  If you want informed opinions, find a place that

is relevant to your subject. •  If you want variety, find a loca2on that will

provide a diversity of voices. Grocery Store, Subway, Town Square, Public Park, Public University, Barber Shop

•  If you want to record in a private business/store, make sure you get permission from the owner.

Vox Pop-‐Technique

•  Record your ques2ons as well as the answers.

•  Keep your Machine in Rec/Pause mode-‐aèr every ques2on/answer-‐pause it.

•  Be persistant, if people don’t give a good answer, ask the ques2on again, or in a different way.

•  Get at least 2 minutes of Ambience.

Vox Pop-‐When to use it

•  When you want public opinion on an issue •  When you feel like a topic/story lacks a more personal angle

•  When you want to shake up the sound of your programming a li8le

Vox Pop

Vox Pop Field Work

In the tradi2on of Studs Terkel, take the topic of WORK and place it in the context of the current economic situa2on in the US.

Come up with TWO ques2ons that you can ask people regarding this theme.

You MUST clear your ques2ons with me before class ends.

Listening: Find an example of a radio interview that you think exemplifies GOOD technique. Write a paragraph for the website, and include a link.(300 words) Reading: Studs Terkel-‐audio and ar2cle-‐Posted on website Alex Blumberg-‐Transom Review-‐Posted on website Field Work: Record a Vox Pop, Interview a minimum of 10 people about the same topic, with the same ques2ons. Record ambient sounds(2 minutes each) to u2lize as a founda2on for the Vox Pop. Bring your .wav files to class next week. Website: Post Listening assignment link and paragraph(300 words). Post soundcloud of your ambient sound project.(next slide)

Also Field Work cont.-‐ Take your 4 ambient sounds and make a :30 sound spot. Using Reaper 1. Enter your sound 2. Arrange parts of your ambi that are most vivid, interes2ng, in an order you like. 3. Cross fade from one sound to the next. 4. Save the session and the final render(mix). 5. Convert final render to mp3 using Switch 6.Upload final mix to Soundcloud and website

Documents

CUNY%Intro%to%Radio%Class%3cdn.journalism.cuny.edu/blogs.dir/447/files/2012/08/CUNY...Quiz 1. Name!3!useful!tools,!excluding!your!recorder! and!microphone,!thatyou!should!bring!to!a