"The handbook reviews reporting on general, political and human rights issues. It has sections on location recording and computerbased audio editing. It provides guidance on safety and security and sensitive reporting in conflict areas, as well as libel issues. Developed out of the radio journalism
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workshops that were run as part of IWPR’s Uganda Radio Network project, it also reviews the particular requirements for reporting for IWPR. Each chapter provides exercises, discussion sections and further references." (Introduction, page 5)
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"Programme Making for Radio offers trainee radio broadcasters and their instructors focused practical guidelines to the professional techniques applied to the making of radio shows, explaining how specific radio programmes are made and the conventions and techniques required to produce them. This bo
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ok describes how and why these methods are applied through the use of a behind-the-scenes glimpse at working practices and procedures used in the industry. It considers the constraints and incentives that limit or stimulate creativity and innovation within programme production. Programme Making for Radio examines the individual roles and responsibilities of the whole production team and the importance of team-working skills. Chapters focus on the specific requirements of specialist programmes and offer advice from a range of programme makers working in local and national broadcasting. There is a case study example that follows the progress of a feature programme from pitching the original idea, through assembling material to final transmission." (Publisher description)
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"This book is a real novelty: it is not – like many other publications – about radio production or radio management, but about the requirements for building of a radio station. The author has been involved in establishing many radio stations, both big and small ones, for 16 years, and he summari
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ses his knowledge in quite a clear and didactical fashion. He explains the pros and cons of different types of building and location and provides guidelines for calculating the space required for both technical and office areas. Then he gets more technical, discussing acoustic problems and providing practical methods of providing studio isolation. Detailed sections on electrical supplies and technical studio installations follow, and there is useful advice on studio layout as well as on the “central technical area”, i.e. the engine room of any modern radio station. Although aimed at engineers, this book is very accessible for non-technicians too and therefore helpful for anyone involved in the commissioning or building of radio studios." (CAMECO Update 1-2010)
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"This is a practical guide for writers, producers and others who use radio dramas as the vehicle to bring about behaviour change among socioeconomically disadvantaged communities in the developing world. Divided into three parts, the first argues for the power of radio to initiate change and stresse
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s the need for careful planning of programmes; the second describes in detail the duties of the programme manager; while the third provides guidance and tips for script writers." (Publisher description)
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"This tutorial is intended to help non-engineers who want to learn something about the technicalities of radio and television. It should also be useful for engineers in training, or those in technical occupations who want an overview of areas outside their area of expertise. We explain the jargon of
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broadcasting and describe the underlying principles, standards, and equipment for broadcast facilities, in terms a layperson can understand. The third edition has been completely revised to reflect the increasing use of digital techniques in all aspects of television and radio broadcasting. It has been reorganized and some obsolete material removed, while also updating the basic information on traditional analog technologies. New chapters have been added to provide an overview of first principles and current standards in the broadcast industry. We concentrate on over-the-air broadcasting from U.S. radio and television stations, but also mention some of the other methods of program delivery to the home and outline some of the different standards and technologies used in other countries." (Preface)
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"This book offers readers a one-stop guide to debating on the radio, the benefits of using the format and the procedures necessary to conduct successful debates." (Publisher description)
"The Spot on Malaria guide focuses on malaria prevention and treatment messages and ways to tailor them to reach communities often missed by national malaria programmes. The guide shows how to adapt or localise materials from national malaria programmes and how to create original radio spots or adve
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rtisements to respond to local needs. It offers tools to help navigate the production process. The guide also encourages collaboration with colleagues and local experts. It suggests that gathering a team to provide advice and share some of the work will make the products stronger. The Spot on Malaria guide takes the reader through a 7-step process for planning, adapting or creating, testing and producing radio spots. It also offers tips on: securing adequate and appropriate airtime; deciding whether to use free or paid airtime; monitoring and evaluating spots. The Spot on guide also includes: resources about malaria, radio and communication - many available free on the web; planning, research and implementation tools, including a sample pretesting guide and screener; more than 15 sample scripts on various malaria topics, including treatment, insecticide-treated nets and intermittent preventive treatment of pregnant women; a sample five-day agenda for conducting a Spot On training workshop; a glossary of malaria, radio, research and scriptwriting terms." (Communication Initiative)
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"Gute Hörfunk-Moderatoren fallen nicht vom Himmel, sie müssen ihr Handwerk gelernt haben. Dieses Buch vermittelt das unerlässliche Handwerkszeug des Moderators, zeigt die Abläufe des Studioalltags, beschreibt die Grundlagen der Hörfunkmoderation. Damit das mitten aus der Studiopraxis heraus ges
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chieht, hat der Autor die Moderatorin Kerstin Kolbe erfunden. Sie moderiert ein Nachrichtenmagazin mit Musik. Sie bewältigt die vielfältigen Aufgaben im Rahmen einer solchen Sendung meist souverän, aber im Stress des Studioalltags unterlaufen ihr oft auch kleine Fehler und Ungereimtheiten. So gibt es denn eine Fülle von Studiosituationen und Beispielen, die der Autor in der praktischen Arbeit mit Moderatoren zusammengetragen hat." (Verlagsbeschreibung)
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"An easy-to-read introduction for non-technical people. It contains concrete suggestions for the necessary equipment according to the planned range of the radio station. The cost of technical equipment for the "Micro Radio Station" (15 watts, up to 5 km range) is only US-$ 1,100 (as of 2004). For th
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e "Village Radio Station" (30 watts), the cost is US-$ 7,800. The "Community Radio Station" (1 kilowatt, range normally up to 30 kilometers) costs US-$ 18,000. The technical equipment of the "Regional Radio Station" (two kilowatts, range up to 100 kilometers with a favorable location and a high transmission tower), on the other hand, already costs US-$ 100,000." (commbox).
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"O que segue aqui säo alguns conceitos, algumas dicas, orientações para o uso profissional de um dos meios eletrônicos mais populares e atuais que a humanidade já teve acesso. Esperamos que o sabor desta leitura se assemelhe ao prazer em ouvir aquela “música“ que Ihe toca ao reativar na su
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a memória lembranças boas e agradáveis. Embora com mais de um séulo de caminhada, a história do rádio padece ainda de bibliografias e obras. Tal vez seja por isso que a maioria dos profissionais aprenda o ofício na prática. De acordo com McLeish, aprende-se a fazer rádio "ouvindo os mais velhos, literalmente. lmitando, criando, algumas vezes fazendo escola. Pena que essas experiências säo pouco sistematizadas. Parece que quem fala não escreve. Pelo menos no Brasil, a bibliografia radiofónica é escassa e os manuais, raros" (2001: 11). A nossa proposta de pensar e fazer Rädio: a arte de falar e ouvir pretende preencher essa lacuna, fornecendo elementos para você melhorar a sua performance neste meio, conquistar a audiência e exercer a comunicação de forma atuante e comprometida." (Introdução, página 7-8)
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