RADIO

Introduction—the Language of Radio

• Radio communication exists in time. Radio takes time to be
heard and it is impossible to go back in time.You need to hear
it right the first time because it will not be repeated. This is
different to newspaper communication, say, which exists
in space. A newspaper devotes space to stories; it takes up
space at the breakfast table and, like the table, it is a physical
object. The reader can range backwards and forwards freely
over material he or she wishes to check or re-read. With
video recorders, viewers can do the same with television.
• Radio, on the whole, tends to be heard only once. The codes
of radio language consist of words, sound effects, music and
silence. These are shared to some extent with television and
film, but radio uses them in rather different ways.
Audiences
Considering the distinctive character of radio audiences will help to understand the
language of radio and also raise some ideas on nature of radio as a distinctive media form.
• The intimacy of radio is created by the language of radio – the close proximity of the
voice recording, the direct address of the presenters, the selective use of pronouns – ‘I’
‘you’ ‘we’ – the casual conversation, the connections developed by listeners to stations,
presenters or styles of music, the two way interactions – song requests, shout outs,
messages, dedications – the interviews and so on.
• Radio is also a flexible medium. It provides diversity and choice and can be seen as
both a broadcaster (to many) or a narrowcaster (to a few / niche). Think for example,
about the way BBC radio is enshrined in the constitution as a national broadcaster, think
of radio news broadcasts, the role of Radio 4 as a way of engaging with government and
politics. At the other end of the spectrum community radio is part of an independent
tradition of media production that spans from hospital radio to pirate radio stations.
• Radio is considered an undemanding medium. In this respect think about radio
consumption – listening to the radio while at work, or school, while travelling, exercising
or relaxing. It can be consumed as a peripheral form of entertainment, or can be
used for knowledge about the world, society and the self. In this way it is possible to
apply a range of audience theories to specific radio texts, which will allow for both an
individual textual analysis as well as a broader recognition of the codes and conventions
that constitute the language of this particular media form.
Categories
• WORDS: Words on radio are spoken. This makes them different
to words printed on a page because extra layers of meaning can
be added. The tone of voice or the inflection can communicate
meaning, The person speaking the words is therefore an
additional sign. The personality of the DJ or the accent of a
character in an advertisement can add to the meaning of what is
being said. For example, an American accent or an upper-class
English accent in a radio advertisement can convey extra
meaning beyond the exact word meaning.
• SOUNDS: Sounds are the ‘field’ where auditory (radio) work is
developed. As mentioned above, sounds can be understood as
recognisable (iconic) or suggestive (indexical), sounds can also
be used to create an abstract, arbritary (creative?) auditory
framework. A good task is to just close your eyes and reflect on
all the sounds that you are able to pick up on.
• MUSIC: Music can signify something beyond itself, in the same
way that sounds and words do. For example, a saxophone solo
can stand for city nightlife. However, music is also just itself. It is
very difficult for anyone to say what a piece of music means. It
can build up emotions; it can move people to tears. Music can
never be said to mean something, however, in the way in which
the word 'apple' means the fruit of a tree. Unlike words,
music can be enjoyed as complete meaning in itself, without
having to refer to anything else. Of course, a great deal of music
also makes full use of words. Songs deal with a very wide range
of emotional and even intellectual expression. However, music
alone also has its own unique way of communicating.
• SILENCE: One of the most powerful and thereby rarely used
signs in radio production is silence. The absence of sound can
suggest a range of ideas – high drama, breakdown, comedy,
pause for thought etc.
Elements of Radio Production
• Equipment: the first step of radio production is getting equipment.
These are what we need to produce radio:
- Studio, soundproofed facilities are needed to record in.
- Microphones, it is used to record voice, different microphones might
be needed. We use a large diaphragm condenser microphone with a
pop shield when recording a single voice, and we will use lavaliere
microphones when recording an interview or conversation between
two or more people.
- Music, this is the heart of any Radio show. Music adds interest,
breaks up the show & creates mood and atmosphere for a show.
- Sound effects, these can be used for many reasons – to give a
sense of location, to create realism, to create rhythm and to create
engagement.
- Editing software, we edit out pauses and hesitations to keep the
dialogue moving. Some people add an artificial echo to a radio show.
• Radio Pre-production: This is an important part of radio production and
an involved process. Although you may think of radio as a live media there
are many steps which go into radio pre-production. First, the
conceptualisation of the show and the direction it will take. Then a
structure needs to be decided, for example the length of the show and the
order of events. Guests need to be scheduled in and interviews planned.
Scripts may need to be written, or notes depending on how live the
presenter will be. And then production can start.
• Radio Production: Production is the process of recording. This is where
you will use all your equipment that we spoke about before and get all of
the recordings which you need to be edited together. The production
process is where the presenters, musicians and talent get involved.
• Radio Post-production: Post-production, the final stage of radio
production, is where all elements of the show are edited together ready to
be sent to the station – provided the show is not live and is pre-recorded.
We will edit out the bits we don’t want and make sure that the show is
structured in an engaging way. We will check the show over and send it
off. Then we will do publicity, via social media and different websites to
make sure our listeners know when and where to go for the show.
• Writing and Presenting Radio: Radio is conversational, therefore the
wording needs to be accessible for good radio production. This means
no overcomplicated language, short sentences and directional
language. You are also listening to a person who you cannot see, so
the script needs to have personality and be engaging for the listener. It
should speak to them directly, not to the audience as a whole so that
the listener feels that they are being spoken to.
It is also important to remember that the spoken word of radio is often
only heard once, people won’t rewind it. Therefore, it needs to be clear
and to create a picture in the mind of the listener. If there are interviews
including multiple people then refer to them by name to avoid confusing
about who is talking.
The qualities which a radio producer need to have include a clear and
distinct voice and the ability to talk enthusiastically with others. They
need to be creative and able to conceptualise ideas quickly. They also
need to be good observers and able to conclude from experience. Most
of all they need to have an interest in what they are talking about.
The Medium of Radio
• The blind medium: Sometimes radio is said to be a blind medium
because it involves only one of the five senses--hearing.
The messages of radio consist only of sounds and occasional
silences. Things that may be self-evident or clearly visible on
television have to be described carefully on radio. A great deal of
the talk on radio is devoted to exploring people's thoughts, ideas and
opinions; however, where activities are the focus, questions are
framed in such a way as to encourage guests to describe what
they are doing.
• The companium medium: Radio is also called the
companion medium. The presenter's voice gives a strong sense of
personal communication - providing company for each individual
listener. Some of the pleasure the listener gains from the company of
radio comes from a sense of being anonymous. The radio companion
does not demand to know anything about the listener. The listener
has no obligation to talk back to his or her electronic friend..
• The intimate medium: While radio can still be regarded as a mass medium,
the appeal to the imagination of each person makes it a very personal
medium. The process of listening to the radio is 'inward' and intimate - like
reading a book. Radio encourages intimacy by directly addressing itself to the
individual.
• The flexible medium: The biggest advantage radio has over television
and newspapers is the speed at which it can be produced. There is no need
for the printing and distribution that holds newspapers to strict deadlines.
Reports can be phoned in and updated hourly, or even sooner. Unlike
television, there is no need for expensive and heavy camera equipment and
no delay as videotape is edited. Radio is a flexible medium.
• The undemanding medium: Most of the action on radio takes place in your
imagination. Even the music is a personal and emotive experience.
The advantage of this is that it leaves your hands free for driving, doing the
ironing or a host of other secondary activities. Listening to the radio in the car
is now one of the primary uses listed in audience surveys. Listeners can carry
a radio with them wherever they go. Radio does not demand exclusive
attention in the way that a newspaper or television does .As a result, radio
has become the background in locations as varied as hairdressing salons,
factory floors and shopping centres.