RADIO PRODUCTION

WHAT IS RADIO?
- AN AUDIO DEVICE USE TO PASS ON MESSAGES TO A LARGE AUDIENCE.
- HEREIN, AUDIO MESSAGES ARE SENT AND RECEIVE THROUGH EM WAVES.
WHAT IS THE DIFFERENCE WITH AM AND FM?
- AM (AMPLITUDE MODULATION) HAS FAR AND WIDE REACH UNLIKE FM
(FREQUENCY MODULATION) WAVES.
- HOWEVER, WHEN IT COMES TO SOUND QUALITY, FM DOES BETTER THAN
AM.
- AM SIGNAL INCREASES AND DECREASES AS THE BASE SIGNAL CHANGES.
WHILE, FM SIGNAL INCREASES AND DECREASES TO REPRESENT THE
CHANGE IN VOLTAGE OF THE BASE SIGNAL.
WHY FM AUDIO QUALITY IS BETTER THAN AM AUDIO QUALITY?
 FM IS NOT AS SUSCEPTIBLE TO MANY OF THE KINDS OF
INTERFERENCE AND NOISE THAN AM
 MAS MARAMING TRANSMITTER SA FM KAYSA SA AM
KASI KUNG DADAMIHAN YUNG PA YUNG AM
MAGBUBUHOL-BUHOL YAN (OVERLAPPING
TRANSMITTERS).

WHAT IS RADIO STUDIOS?

- A PLACE TO LIVE BROADCAST OR RECORD AUDIO PROFESSIONALLY.
OFTEN SOUNDPROOFED.
WHAT ARE THE THREE (3) DIFFERENT TYPES OF RADIO STUDIOS?
1. BASIC RADIO STUDIO
*FOR CHOOSING THE BEST LOCATION, KEEP IN MIND THAT LARGE ROOMS
WITH HIGH CEILINGS TEND TO ECHO AUDIO.
WHAT IS AN ECHO?
IT HAPPENS WHEN A SOUND HITS A FLAT SURFACE AND BOUNCES BACK
TO THE SOURCE OR IN OTHER DIRECTIONS. IT IS VERY COMMON IN LARGE
ROOMS WITH HIGH CEILINGS AND WOODEN OR HARD WALLS OR FLOORS.

*CHOOSE A ROOM WITH LESS NOISE AS MUCH AS POSSIBLE.

 *CHOOSE OR CREATE A ROOM THAT HAS THE FEWEST ECHOES OR
REVERBERATIONS WHEN YOU MAKE A SOUND.
WHAT IS SOUNDPROOFING?
IT’S ABOUT KEEPING THE NOISE INSIDE OR OUTSIDE THE ROOM. MEANING, IT
PREVENTS THE SOUND FROM ENTERING THE ROOM OR PREVENTS IT FROM
LEAVING THE ROOM.
WHAT IS SOUND CONDITIONING / SOUND TREATMENT?
IT’S ABOUT MAKING THE SOUND IN A ROOM BETTER AND MORE PLEASANT. IT'S
NOT ABOUT STOPPING THE SOUND FROM GOING IN OR OUT OF THE ROOM. IT’S
MORE ABOUT REDUCING ECHOES.
WHAT CAUSE ECHOES?
1. LITTLE OR NO FURNITURE.
2. HARDWOOD FLOORS
3. CONCRETE WALLS
4. HIGH CEILINGS
WHAT ARE THE TECHNIQUES YOU CAN USE TO MINIMIZE OR REMOVE DISTORTED
BACKGROUND NOISE ON YOUR STUDIO SPACE?
GENERALLY, YOU HAVE TO ADD BIG AND/OR SOFT MATERIALS TO THE FLOOR,
WALL, AND CEILINGS.
 APPLY ACOUSTIC FOAM PANELS.
 FILL THE ROOM WITH FURNITURE LIKE COUCHES AND SHELVES.
 COVER THE FLOOR WITH RUGS OR CARPETS
 COVER THE DOOR AND WINDOWS WITH DRAPES.
 ADD PLANTS – FAKE ONES IS OKAY.
 USE DENSE BLANKETS
SOFT FURNITURES WILL ABSORD THE SOUND, WHEREAS BIG HARD
FURNITURES WILL FORM OBSTACLES TO THE PATHWAYS OF THE SOUND –
MAKING THE SOUND BOUNCE OFF AND DIFFUSE TO DIFFERENT DIRECTION. IN
THIS WAY, THE ECHO WILL BE SIGNIFICANTLY REDUCED OR COMPLETELY
REMOVED.

*CHOOSE THE RIGHT EQUIPMENT

 COMPUTER DESKTOP IS A MUST.
 SAMSON CO1U IS A GOOD MICROPHONE FOR BEGINNERS.
 o EASY TO HOOK UP VIA USB TO GET BROADCASTING OR
RECORDING IN MINUTES.
o AUDIO QUALITY WISE IT ISN’T TOO BAD. JUST PICK A QUIET
ROOM.
o IT IS THE SIMPLEST AND MOST STRAIGTHFORWARD MIC.
A MIC WITH A STAND AND SHOCK MOUNT REDUCES BACKGROUND
NOISES.
 SONY MDR-ZX100 IS A GOOD PAIR OF COMFY HEADPHONES
o IS AFFORDABLE
o IS LIGHTWEIGHT AND FOLDABLE.
2. ADVANCED RADIO STUDIO
 YOU’LL NEED AN ACOUSTIC PANELS (A.K.A. FOAM TILES) STICKED
ON YOUR WALLS TO GET RID OF UNWANTED NOISE OR ECHOES.
 LAY DOWN RUGS OR CARPET TILES.
 ADDING BEHRINGER B-1 IN YOUR EQUIPMENT WILL HELP YOU TO
CAPTURE AUDIO MORE EASILY. IT IS A GREAT MID-RANGE
MICROPHONE THAT IS IDEAL FOR MULTIPLE PEOPLE LIKE IN A
TALKSHOW.
 CONDENSER MICROPHONES LIKE B-1 WILL NEED A PHANTOM
POWER TO RUN. DEVICES LIKE AN AUDIO INTERFACE POWER AND
MANAGE THESE TYPE OF MICS. THE FOCUSRITE SCARLETT 2i2, FOR
EXAMPLE, ACTS BOTH AS PREAMP AND POWER SUPPLY.
>> FOCUSRITE WILL PROVIDE YOU WITH A SMOOTH AND
ENHANCED AUDIO SOUND QUALITY.
>> IT COMES WITH TWO XLR INPUTS FOR EITHER YOU AND A GUEST
OR A DIGITALLY CONNECTED INSTRUMENT LIKE A KEYBOARD.
>> AS IT’S AN AUDIO INTERFACE YOU CAN MONITOR AND ADJUST
CONNECTED DEVICES.
>> USE THE GAIN CONTROL TO TWEAK THE VOLUME LEVELS
DURING SHOWS TO STOP ISSUES LIKE PEEKING.

3. PROFESSIONAL RADIO STUDIO

 BUILD A BROADCASTING BOOTH – A SOUND ISOLATION BOX,
PADDED WITH FOAM TILES ON THE INSIDE THAT REDUCES
AMBIENT NOISES FROM OUTSIDE, AND IS GREAT PLACE FOR
BROADCASTING AND RECORDING RADIO SHOWS.
 THE BEHRINGER DX2000USB IS AN ANALOG AND DIGITAL MIXER
DESIGNED FOR LARGE SETUPS.
>> HAS 7 CHANNELS FOR MULTIPLE INPUT DEVICES.
 >> HAS 2 PREAMP PHANTOM POWER THAT WORKS WITH
CONDENSER MICROPHONES.
>> THE REMAINING FIVE (5) CAN BE USED TO HOOK UP OTHER
DEVICES LIKE CD PLAYERS AND MICROPHONE PROCESSORS.
>> EACH CHANNELS HAS FADERS AND DIALS TO CONTROL THE
VOLUME. FOR EXAMPLES, ADJUSTING THE EQUALIZERS EITHER
AMPLIFIES OR REDUCES THE QUALITY AND CHARACTER OF THE
SOUND.
>> OVERALL, THE DX2000USB IS A GOOD MIXER TO MANAGE YOUR
MICROPHONES AND OTHER DEVICES IN PLACE.
>> PLUS, IT CONNECTS DIRECTLY TO YOUR COMPUTER VIA USB, SO
IT’S EASY TO SETUP.

 THE NEUMANN TLM 103 IS WIDELY USED IN COMMERCIAL RADIO.

>> USING XLR CONNECTOR, YOU CAN HOOK UP THE TLM 103 WITH
THE BEHRINGER DX2000USB MIXER.
>> MICROPHONES LIKE THIS NEEDS A BOOM ARMS AND SHOCK
MOUNTS LIKE RODE PSA1 AND SAMSON SP01 TO KEEP YOUR MIC IN
PLACE.
- USE THE ARM TO MANEUVER THE POSITION OF THE MIC. YOU CAN
ADJUST ITS HEIGHT FOR STANDING AND SITTING POSITIONS.
- WHEN NOT IN USE, MOVE IT OUT OF THE WAY TO SAVE SPACE.
- THE SHOCK MOUNT ON THE END WORKS WITH THE ARM TO SECURE THE
MIC IN PLACE.
- IT CAN ALSO BE ROTATED TO HAVE THE MIC FACING UP, DOWN, FROM
THE SIDE, DEPENDING ON YOUR PREFERENCE.
 THE DBX 286S MICROPHONE PROCESSOR IS A NECESSARY TOOL TO
ENHANCE YOUR VOCALS.
- IT CLEANS UP AUDIO, FOR EXAMPLE, IT REMOVES HARSH “S” NOISES
WITH A DE-ESSER.
- OFTEN, TALKING TOO LOUD CLIPS THE AUDIO, BUT THE PROCESSOR CAN
LIMIT THIS AND EVEN BOOST THE VOLUME IF YOUR’RE TALKING TOO
SOFTLY.
- ESSENTIALLY, THIS PROCESSOR CLARIFIES YOUR VOICE AND GIVES IT
THAT WARMER ON-AIR PRESENCE, SOMETHING YOU WOULDN’T GET
USING A MIXER.
 THE BEYERDYNAMIC DT770 PRO HEADPHONES ARE THE DE FACTO
INDUSTRY STANDARD.
- ARE COMFY WITH THEIR OVER THE EAR PADDED CUPS AND COME ALONG
WITH A LONG CABLE FOR FREEDOM MOVEMENT.
 - AS THE CUPS REST OVER THE EAR, OUTSIDE NOISE IS REDUCED, WHICH
MAKES IT A LOT EASIRE PLAYING BACK TRACKS OR FOCUSING ON A
CONVERSATION WITH A GUEST.
- YOU CAN SIT BACK WEARING THE DT770 FOR HOURS WITHOUT NOTICING,
WHICH IS WHY THEY ARE ESSENTIAL FOR EVERY RADIO STUDIO.
 AN EXTERNAL SOUND CARD IS JUST LIKE AN INTERNAL ONE.
DEVICES LIKE THE CSL 7.1 SURROUND SOUND CARD TAKES IN
AUDIO SO YOU CAN MAP IT TO YOUR MIXING DESK.
- IT OFFERS MULTIPLE CHANNELS SO YOU CAN CONNECT DEVICES LIKE A
SOUND SYSTEM, HEADPHONES, CD PLAYERS, AND MORE.

AUDIO TRAVELS FROM YOUR MICROPHONE AND THROUGH YOUR MIC

PROCESSOR WHERE IT GETS CLEANED UP AND ENHANCED. LEVELS AND EQ ARE
CONTROLLED ON YOUR MIXING DESK. HEADPHONES ARE PLUGGED INTO THE
MIXER TO MONITOR CHANNELS. ADDITIONAL DEVICES ARE ADDED TO THE
SOUND CARD. FINALLY, AUDIO IS ENCODED AND BROADCAST TO YOUR
RADIO.CO STATION.

PRODUCTION OF BROADCAST MEDIA

TWO (2) DIFFERENT TYPES OF RADIO PRODUCTION
1. AUDIO PRODUCTION – AN AUDIO PRODUCER CREATES JINGLES,
SWEEPERS, PROMOS AND STATION IMAGING. THE ROLE CAN OFTEN
INVOLVE SCRIPT WRITING FOR AUDIO, CREATING AUDIO (SUCH AS SOUND
EFFECTS, VOCAL EFFECTS, MUSIC AND SPEECH) AND INVENTING NEW
CREATIVE WAYS TO GET A MESSAGE ACROSS IN A LIMITED AMOUNT OF
TIME.
2. SHOW PRODUCTION – RADIO SHOW PRODUCERS WORK CLOSELY WITH
THE PRESENTER OF A RADIO SHOW TO COME UP WITH INTERESTING
CONTENT INCLUDING RESEARCHING TOPICS, FEATURES, CALL IN IDEAS
AND LOOKING AFTER THE LIVE SHOW BY WATCHING SONG TIMINGS,
CHOOSING CALLERS TO PUT ON AIR AND KEEPING THE PRESENTER ON
TOPIC. PRODUCERS OF RADIO SHOWS WILL OFTEN DO A LITTLE AUDIO
PRODUCTION IN THEIR ROLE TOO. TASKS CAN INCLUDE CREATING DAILY
PROMOS FOR THE SHOW AND WRITING SCRIPTS.
TYPES OF RADIO PRODUCTION ROLES
1. STATION MANAGER
- HEAD OF THE RADIO STATION
 - THEIR JOB IS TO ORGANIZE THE CONTENT AND DAILY PROGRAMMING,
OVERSEE THE RADIO DJ’s, AUDIO ENGINEERS, AND RADIO PRODUCERS.
- THEY HOLD THE FINAL DECISION WITH REGARDS TO THE CONTENT, THE
SONG, THE NEWS STORIES, ETC. THAT’LL BE PLAYED AND AIRED IN THE
STATION.
- THE STATION MANAGER FOR RADIO CAN BE FURTHER BROKEN INTO
SALES MANAGER, GENERAL STATION MANAGER, TRAFFIC MANAGER,
CONTENT MANAGER, AND OTHERS DEPENDING ON THE NEEDS AND SIZE
OF THE RADIO STATION.
2. RADIO PRODUCER
- OVERSEES EACH RADIO SHOWS.
- THEY WILL DECIDE WHAT EACH SHOW SHOULD INCLUDE IN ITS
PROGRAMMING.
- THEY GIVE THE DJ WHAT MUSIC THEY SHOULD PLAY AND WHAT
IMPORANT THINGS SHOULD BE MENTIONED IF ANY.
- THEY WILL LIAISE WITH ANY SPONSORS AND ADVERTISERS AND GIVE
THE DJ SCRIPTS IF THERE ARE ANY COMPETITIONS TO MENTION, SPECIFIC
SPONSORS’ SLOGANS AND ADVERTS, ETC.
TWO (2) TYPES OF PRODUCERS:
1. AUDIO OR CREATIVE PRODUCER – AUDIO PRODUCERS CREATE SOUNDS
AND AUDIO SPECIFICALLY. THE CONTENT PRODUCER MIGHT ORGANIZE
MUSIC CHOICES, GUESTS, CALLERS FOR TALK RADIO OR COMPETITIONS,
TIMINGS, AND OVERALL SHOW CONTENT. THEY MAY ALSO PRODUCE
RECORDED CONTENT FROM SHOWS TO RADIO COMMERCIALS AND
COMMERCIAL BUMPERS.
2. CONTENT PRODUCER – OVERSEE AND ORCHESTRATE A RADIO SHOW OR
FEATURE.

3. AUDIO ENGINEER
- THEY MAKE SURE THERE IS A SOUND BEING BROADCAST FOR THE RADIO
SHOW OR FOR LIVE RADIO.
- THEY UNDERSTAND EXACTLY HOW TO MIX MUSIC, HOW TO EDIT
TRACKS, HOW TO FADE IN AND FADE OUT THE DJ AND THE MUSIC
- SOME TOOLS OR EQUIPMENTS THEY USE ARE A MIXING DESK,
MICROPHONES, HEADPHONES, INTERCOMS, COMPUTERS, AND MORE.
4. RADIO PRESENTER
- USUALLY PRESENTS THE NEWS, THE WEATHER, OR OTHER SHORT
INSERTS.
- THEY HAVE A GOOD VOICE. THEY SPEAK CLEARLY AND CAN BE EASILY
UNDERSTOOD.
- IN AURAL COMMUNICATION, INFORMATION IS CARRIED ON TWO
DISTINCT CHANNELS – CONTENT (WHAT IS SAID) AND STYLE (HOW IT IS
SAID).
 CONVEYING A LIGHT POINT IN A SERIOUS WAY MAKES IT
LOOK LIKE AN IRONY.
 CONVEYING A HEAVY (OR SERIOUS) POINT IN A LIGHT
WAY MAKES IT SEEM SARCASTIC.

1. TO BE SINCERE – SAY WHAT YOU REALLY FEEL AND AVOID ACTING.

2. TO BE FRIENDLY – USE AN ORDINARY TONE OF VOICE AND BE CAPABLE
OF TALKING WITH AN AUDIBLE SMILE. AVOID ‘JARGON’ AND SPECIALIST
OR TECHNICAL LANGUAGE.
3. TO APPEAR HUMAN – USE NORMAL CONVERSATIONAL LANGUAGE AND
AVOID ARTIFICIAL ‘AIRS AND GRACES’. ADMIT WHEN YOU DO NOT KNOW
THE ANSWER.
4. TO BE CONSIDERATE – DEMONSTRATE THE CAPACITY TO UNDERSTAND
VIEWS OTHER THAN YOUR OWN.
5. TO BE HELPFUL – OFFER USEFUL, CONSTRUCTIVE PRACTICAL ADVICE.
6. TO APPEAR COMPETENT – DEMONSTRATE AN APPRECIATION OF THE
QUESTION AND ENSURE ACCURACY OF ANSWERS. AVOID ‘WAFFLE’ AND
‘PADDING’

5. RADIO COMMENTATOR
- PROVIDES COMMENTARY, SPOKEN DESCRIPTIONS OF AND REMARKS,
OPINION, OR IDEA ON AN EVENT ESP. SPORTS COMPETITION OR
DISCUSSES IMPORTANT PEOPLE.
6. RADIO DJ
- IS THE LIFE AND SOULD OF RADIO.
- THEY ARE THE VOICE THAT WE HEAR WHEN WE TUNE IN TO AN AM OR
FM RADIO OR SATELLITE RADIO STATION OR RADIO PROGRAM.
- THEY HAVE A GOOD AND LIKEABLE VOICE. THEY HAVE A NATURAL,
INTERESTING OVICE THAT PEOPLE RELATE TO.
- THEY KNOW A LOT ABOUT MUSIC AND THEY KNOW TO PLAY AND LINK
SONGS AND SEGMENTS.
- IN SOME SMALLER RADIO STATIONS, THE RADIO DJ IS ALSO THE AUDIO
ENGINEER.
- THEY KNOW HOW TO MIX MUSIC AND TALK CONFIDENTLY ON LIVE
RADIO.

7. VOICE TALENT
 - THEY ARE NEED FOR RADIO COMMERCIALS AND VARIOUS RADIO
ANNOUNCEMENTS.
- THEY CONVEY MESSAGES OR ACT OUT A SCENE FOR THE PURPOSES OF
ADVERTISING.
- THE VOICE TALENTS ARE HIRED BY ADVERTISING AGENCIES TO TAKE
PART IN RADIO COMMERCIALS FROM A VOX AGENCY WHERE THEY ARE
COLLECTED ON A DATABASE.
- THIS AGENCY WILL REPRESENT THE VOICE TALENT AND GET THEM JOBS
IN FILM, TV, RADIO, CORPORATE, ONLINE, OR ANY OTHER AREA IN WHICH
VOICE ARTISTS ARE NEEDED.

WHAT IS RADIO PRODUCTION?

THE PROCESS BY WHICH THE CONTENT IS CREATED AND DELIVERED VIA THE
RADIO, INTERNET, OR OTHER STREAMING ANG MOBILE PLATFORMS.
TYPES OF RADIO PRODUCTION
1. AUDIO PRODUCTION
 HINDI SIYA BAHAGI LANG NA GINAGAMIT SA SHOW PROD.
 RECORDED
 SHORT FORMAT (COMMERCIAL, RADIO PROMOS, COMMERCIALS,
JINGLES, RADIO PLUG) MADE FOR LIMITED AMOUNT OF TIME.
 BUO AND INDEPENDENT

2. SHOW PRODUCTION
 LIVE OR RECORDED
 LONGER FORMAT
 FOR LIVE SHOWS (VIDEO COMMENTATOR,
 BUO AND INDEPENDENT
BAKIT RADIO PRODUCTION PA RIN ANG TAWAG KAHIT INILALABAS SIYA SA
CABLE OR TV OR OTHER STREAMING SERVICES?
 THE WAY THE RADIO PROGRAM IS CREATED IS STILL
THE SAME WHEN IT HAS ADDITIONAL VISUALS.
 THE PRODUCTION IS STILL THE SAME.
 ALL SCRIPTS ARE STILL WRITTEN FOR THE EARS. IT JUST
SO HAPPEN THAT YOU CAN SEE THE NEWS.
NAMAMATAY NA BA ANG RADYO?
 NAGAGAMIT PA RIN ITO NG MGA WORKERS SA KALYE,
PALENGKE, ETC.
 SUMASABAY LANG SIYA SA EVOLUTION NG
TECHNOLOGY KAYA KAHIT NA MAY VISUALS NA SILA
ANDUN PA RIN YUNG SPIRIT NG RADIO. PARA SA MGA
AYAW NG AUDIO LANG AT GUSTO MAY VISUALS.
 MAS ACCESSIBLE SA PROBINSYA.
 HANGGA’T DI LUMALAKAS INTERNET, DI SIYA
MAWAWALA.
 DI LAHAT NAABUTAN NG INTERNET.
ELEMENTS OF RADIO PRODUCTION
 SPOKEN WORD (ALSO CALLED THE HUMAN VOICE) – MAIN CARRIER
OF MESSAGE.
 MUSIC – SETS / ESTABLISHES THE MOOD OR ATMOSPHERE.
 SOUND EFFECTS – EMPHASIZE OR EXPRESS AN ACTION, MOOD, OR
FEELING. INE-EMPHASIZE YUNG EKSENA OR YUNG PART NUNG SA
SPOKEN WORD KAYA NAGIGING REALISTIC ITO AT NAIIMAGINE ITO
NG LISTENER.
TYPES OF SPOKEN WORD
1. ANNOUNCEMENT – THESE ARE SPECIFICALLY WRITTEN CLEAR
MESSAGES TO INFORM. DIRECT TO THE POINT. BRIEF AND
IMPORTANT. INCLUDES STATION ID, PROGRAM ID, ETC.
2. RADIO TALK – ONE OF THE OLDEST (CONTENT) FORMAT ON RADIO.
3. RADIO INTERVIEWS – IN THE MEDIA, BE ITS NEWSPAPERS,
MAGAZINE, RADIO OR TELEVISION, JOURNALISTS USE THIS
TECHNIQUE OF ASKING QUESTIONS TO GET INFORMATION. SOLELY,
Q AND A.
4. RADIO DISCUSSIONS – THESE ARE PRODUCED WHEN THERE ARE
SOCIAL OR ECONOMIC ISSUES WHICH MAY BE CONTROVERSIAL.
 THEY TALK ABOUT ISSUES THAT AFFECT YOUR LISTENERS. MORE
ON FACTS. THEY HAVE SPECIALISTS/EXPERTS NA MAY ALAM SA
IMPORTANTENG ISSUE NA PINAG-UUSAPAN.

YOUR OPINION, YOUR POV, NOT BASED ON FACTS, IS A MISINFORMATION, AND

MISLEADS PEOPLE.
YOUR FACTS,

DIFFERENCE BETWEEN RADIO DISCUSSION AND RADIO COMMENTARY?

-BOTH OF THEM SHOULD HAVE EXPERTS
-RADIO DISCUSSION (BATO LANG NG FACTS), RADIO COMMENTARY (AN
OPINION BASED ON FACTS)
- THE COMMENTATOR (IS AN EXPERT AND HOST ALREADY) HAS THE
CREDIBILITY AND AUTHORITY TO SPEAK ABOUT ISSUE.
- THE HOST IN RADIO DISCUSSION ONLY FACILITATE THE SHOW. THE GUEST IS
THE EXPERT. HINDI SIYA PWEDE MAGTALK NG POV NIYA KASI
MAGMUMUKHANG BIASED.

5. RADIO FEATURES – BASED ON FACTS PRESENTED IN AN

ATTRACTIVE MANNER OR DRAMMATICALLY. PRESENTS FACTS IN A
LIGHTER WAY. EX. KMJS, ABOUT SINULOG. FACTS.
6. RADIO COMMENTARY – A COMMENTATOR WOULD GIVE YOU ALL
THE DETAILS OF THE MATCH THAT IT’D MAKE YOU FEEL AS IF
YOU’RE WATCHING THE MATCH THROUGH YOUR EYES.
7. RADIO DRAMA – IT IS LIKE ANY OTHER PLAY STAGED IN A
THEATER OR HALL. IS A POTRAYAL OR STORY-TELLING. DRAMA, A
NARRATIVE MATERIAL. NOT NECESSARILY INCLUDES EMOTIONS
OR DEEP FEELINGS.
 DRAMATIC MATERIAL
 NON-DRAMATIC MATERIAL
8. MAGAZINE PROGRAM – A BROADCAST PROGRA, AT A PARTICULAR
TIME ON A PARTICULAR DAY OF THE WEEK OR MONTH.
PAANO MASASABI NA MAGAZINE ANG ISANG AUDIO SHOW OR RADIO SHOW?
- MARAMING LAMAN. COMPILATION NG CONTENTS NA RELATED SA
IISANG THEME.
WHAT IS THE DIFFERENCE BETWEEN RADIO FEATURE AND A RADIO
MAGAZINE?
- RADIO FEATURE IS ISA LANG PERO AND RADIO MAGAZINE IS LIKE A
SERIES OF RADIO FEATURE.
- RADIO MAGAZINE HAVE A SPECIFIC TARGET AUDIENCE WHO LISTEN TO
THEM IN A PARTICULAR DAY/ MONTH.

9. NEWS – MOST POPULAR SPOKEN WORDS FORMAT.

WHAT IS THE DIFFERENCE BETWEEN NEWS AND ANNOUNCEMENT?
- SA LENGTH OF TIME, MAIKLI LANG YUNG ANNOUNCEMENT PERO YUNG
NEWS MAS MAHABA YUNG TIME KASI SINASAGOT PA LAHAT NG WH
QUESTIONS.
- THEY BOTH INFORM THE LISTENERS ABOUT WHAT’S HAPPENING THE
ENVIRONMENT, BUT ONLY ANNOUNCEMENT REQUIRES ACTION FROM
THEIR AUDIENCE.
EX. ANNOUNCEMENT ABOUT SA MATINDING PAGBAHA AND THAT NEED
NG AUDIENCE NA LUMIKAS, AND THE AUDIENCE WILL DO SO.
- ANNOUNCEMENT IS LIKE INUUTUSAN MO YUNG LISTENERS MO
INDIRECTLY.

PHASES OF PRODUCTION
1. PRE-PRODUCTION – THIS BEGINS WITH THE GENERATION OF A SCRIPT
WHICH CONTAINS THE INSTRUCTION AND GUIDELINES TO PRODUCE A
PROGRAM.
PROGRAM CREATION – SHOULD BOTH DEALS WITH REAL-LIFE AND
IMAGINED SITUATION
 PROGRAM IDEA – SELECTION AND PLACEMENT OF IDEA. IDEA
COULD BE GENERATED FROM CREATIVE IMAGINATIONS OR
EXISTING IDEA.
 PROGRAM CONCEPT – CONSIDER THE 3Ps (PUBLICITY, PROPAGANDA,
AND PUBLIC ENLIGHTENMENT)
 PUBLICITY – ANONG IMAGE ANG GUSTO MONG IBIGAY
SA AUDIENCE MO. AGAIN, AUDIENCE MO NOT THE
GENERAL AUDIENCE.
 PROPAGANDA – ATTACK THE ISSUES THAT CAN BE
ENCOUNTERED KAPAG UMEERE NA YUNG SEGMENT MO.
 PAANO MO MARERELATE YUNG CAUSE AND EFFECT SA
PROGRAM MO.
 PUBLIC ENLIGHTENMENT – GUMAGAWA KA FOR THE
AUDIENCE NOT FOR YOURSELF.
SA FREE MEDIA, KUNG ANO GUSTO NG AUDIENCE MO YUN ANG IBIGAY MO.
MAY CHOICE SILA NA HINDI PANOORIN O PAKINGGAN YUNG
PROGRAM/SHOW/SEGMENT MO. KAPAG HINDI YAN PINASUKAN NG ADS, WALA
KANG KIKITAIN.
 PROGRAM PROPOSAL –
 PROGRAM PACKAGING – BINIBIHISAN AT KINUKULAYAN MO NA
SIYA. NILALAGYAN NA NG IDENTITY OR BRANDING.
 PROGRAM PRESENTATION – NILALAGAYAN MO NA SIYA NG MUKHA.
INIISIPAN MO NA SINO (HOST) ANG MAGIGING MUKHA NG SHOW MO.
PAG WALANG CREDIBILITY ANG HOST MO, TAPON LAHAT. WALANG
MANONOOD.
2. PRODUCTION – RECORDING NA
1. PRODUCTION OF PRE-RECORDING THEN MAY POST-PROD
2. NAG LIVE KA TAS MAY POST- PROD ULIT.
3. POST PRODUCTION – EDITING AND PRINTING NA

NAUNA BA MUNA PRE-PROD KESA PROGRAM PRODUCTION KASI

 SOT (SOUND ON TAPE) OR SOUNDBITE

 UP SOT
EXAMPLE:
UP SOT JERCIHO: (12:30) Hindi ko alam kung paano niya nalaman ang address ko (jump cut)
pero hawak niya kais yung notebook ko with my personal info.
 NAT SOT

DAPAT NAKAHIWALAY ANG MGA TRACKS.

SPOKEN WORD

MUSIC MUSIC

SFX SFX SFX

CREATIVE RADIO PRODUCTION
1. THEME AND GOALS
2. YOUR LISTENERS
3. TRENDING TOPICS
4. GUESTS

RADIO DRAMA
- A DRAMATIZED, PURELY ACOUSTIC PERFORMANCE
- NO VISUAL COMPONENT
- DEPENDS ON DIALOGUE, MUSIC, AND SFX
- “IT IS AUDITORY IN THE PHYSICAL SENSE BUT EQUALLY POWERFUL AS A
VISUAL FORCE IN THE PSYCHOLOGICAL DIMENSION.
ELEMENTS OF RADIO DRAMA
1. VOICE
2. MUSIC
3. SILENCE

FADE IN/OUT – NO MUSIC TO

CROSSFADE – SABAY ANG FADE IN AT FADE OUT. FADE OUT EXISTING MUSIC
WHILE NAGFADE OUT YUNG NEW MUSIC. YUNG PART NA SAME SILA
NAGFADING IS TINATAWAG NA CROSSFADE.
MUSIC IN/ OUT – START AND STOP ABRUPTLY (?)
UNDER – BG MUSIC CONTINOUSLY PLAYING PERO LOWER ANG VOLUME.
SOUND EFFECTS
ISOLATED EFFECTS – SOUND FROM EVERYDAY LIFE. FROM TUNAY NA BUHAY.
SPECIALTY EFFECTS – FROM IMAGINATION
FOLEY SOUND – SOUND CREATED TH
BACKGROUND AMBIENCES – SETS LOCATION OR SETTING. EX. SA PALENGKE
MAY NARIRINIG KA NA MAY MGA NAGSASALITA SA LIKOD PERO DI MO
NAIINTINDIHAN.