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259 Cards in this Set

  • Front
  • Back
601
What is the primary function of the On-Air studio?
601
The on-air audio studio provides daily radio programming for a station’s primary service.
601
What equipment allows for guest participation during live time both in and outside the studio?
601
A digital automation/live assist unit.
601
During non-live hours, what equipment is used as the primary means used to air AFRTS programming?
601
The three microphones and a telephone interface.
601
What piece of equipment is used to record and automate playback of spot announcements and other audio material?
601
The radio automation system.
602
Depending on design, what basic functions does your console allow you to control?
602
Input, control/mix, dynamics, output, and monitor.
602
Some modules have a variable knob allowing you to increase weak or decrease strong audio signals coming into the module. What is the knob called?
602
A potentiometer or pot for short.
602
In systems with an input pot for each module, how should the little red light emitting diode (LED) be adjusted?
602
So the red light turns on only at periodic peaks in the audio signal and not for too long. If it is on more than about 20 percent of the time the audio is probably too hot.
602
What device on the console performs the same function as the volume control on your home stereo?
602
A fader or slider for each module.
602
What happens if the fader is pulled just below zero?
602
There’s a hidden click-stop switch at the bottom of the fader movement. The console cue system is engaged.
602
What audio control adjusts all of the audio elements at once?
602
The master pot, unlike the individual faders controlling each element independently.
602
Where is the VU meter located in the audio chain and how do adjustments affect it?
602
Near the end of the audio chain so it takes into account modifications you make in the input level as well as the dynamics adjustments.
602
What affect does running at low audio levels have and how?
602
It degrades quality. The less the modulation the lower the dynamic range. Low dynamic range reproduces all sounds at the same level, resulting in flat, uninteresting sound. Low modulation also drops the signal-tonoise ratio.
602
How do analog mechanical VU meters and digital LED VU meters differ?
602
Analog VU meters are mechanical and therefore react as an average reading instead of a true peak reading due to the delay in reaction time for the mechanical needle to make its swing. On the other hand, LED VU meters are capable of reacting instantaneously since there is no mechanical swing of an arm for the measurement. Basically, LED VU meters are digital. Since the LED VU meter is digital and instantaneous, it is measuring actual peaks instead of an average peak as seen in the analog VU meter.
602
What is the best way to gauge your audio mix?
602
Record your performance and listen to it carefully to ensure your message is getting out without distractions from hot audio, dynamics, or effects.
602
What basic module output choices do simple boards have?
602
Program, audition, and cue channels.
602
Where is the radio on-air console program channel sent?
602
Directly to the transmitter.
602
If you need to do some simple production while the program channel is on the air, what can you do and why?
602
You can switch your output to the audition channel. Many times the audition channel of the on-air console is set to go into a recording device such as a digital cart machine so productions can be made while the board is on-air.
602
When you have an audio source playing on the program channel, how would you prepare the next source for placing on-air?
602
Use the cue channel for this purpose.
602
What does the pan pot do?
602
Pan to the left or to the right and have all of your module’s audio feeding only the left or right channel or somewhere in between.
602
What phenomenon occurs when using your headphone and speaking at the same time?
602
Even though you can hear the music and your voice in the headset, when properly mixed, while you are speaking the music sounds dominant. Since you are speaking, your body is hearing itself and your mind tunes out your voice.
603
What does adjusting the monitor audio knob affect?
603
The audio loudness coming out of your speakers in your studio but not the loudness of the output leaving the console.
603
What does the cue system let you do?
603
Prepare material for use while you have another source already playing on the console’s program audio output channel.
603
What should you do to when you’re producing your segment to determine if the left and right channels are properly balanced? Why?
603
If possible, it’s best to run the left and right channels of audio through a single speaker. When you have two very different sounds coming out of different speakers, it’s difficult for your mind to determine if they are properly balanced.
603
What does the mute system do and why?
603
Whenever your mike is open, the mute system turns off your speakers. This ensures you won’t have a feedback loop with the studio monitors playing the audio the microphone is picking upwhich is the studio monitors playing the audio from the studio mike.
604.
What are the three basic microphone polar patterns?
604.
Omni-directional, bi-directional, and cardioid.
604.
What do the terms low impedance and high impedance mean?
604.
Low impedance means there is relatively little signal resistance and a relatively large current flow. High impedance means a greater resistance and a smaller current flow.
604.
What are the three internal designs for microphones?
604.
Dynamic, ribbon, and condenser.
604.
In a dynamic microphone, how are sound waves are converted into electrical energy?
604.
By a diaphragm.
604.
What do condenser microphones require to operate and why?
604.
A power supply to charge the capacitor and to amplify the small output current.
604.
The small, unobtrusive lavalier microphone is almost always what type of microphone?
604.
An electret condenser microphone.
604.
What are the biggest advantages of the hand-held microphone’s size and mobility?
604.
The talent has total control over microphone positioning, allowing superior audio pickup. In addition, the use of hand-held microphones does not require special lighting or set requirements inherent to boom mikes.
604.
During an interview, when should the interviewer give their hand-held microphone to the person being interviewed? Why?
604.
Never. The interviewer loses control of how long the interviewee speaks before giving the microphone back.
604.
What is a wireless microphone and how does it work?
604.
A conventional lavalier or hand-held microphone connected to a small battery-powered UHF radio transmitter, which relays the signal to a specially tuned receiver.
604.
What is the biggest advantage of the wireless microphone?
604.
Its lack of trailing cables, which allows production options previously impossible or impractical.
604.
Where does the camera-mounted microphone excel and when should it be used for this purpose?
604.
At natural sound; on every shoot.
604.
What is the best way to improve the S/N ratio and how is this accomplished practically?
604.
Boost the volume of the source and thus signal running into the system; place the mike as close to the sound source as possible.
605. Radio On-Air/Satellite insertion
605
605
What are the two options for the automation system to insert CI into the on-air signal?
605
Live On-air and satellite insertion.
605
What does the Live On-Air portion of an automation system allow the disc jockey to perform?
605
All the air functions needed to produce a professional sounding music/information show.
605
What option is available so sources can be time shifted to air in accordance with local audience preferences?
605
Day parting.
606
How is the analog signal processed for use in the digital system?
606
The audio is routed into the computer and the signal is digitized at the predetermined sampling rate. In other words, the analog signal is turned into digital data for storage. When a product is imported, it has been assembled and recorded in a production studio or some other location and already digitized.
606
What components make up the automation daily program log and weekly program schedule?
606
The automation daily program log is actually 24 one-hour playlists. The weekly program schedule is composed of seven daily program logs.
606
What clock does your automation computer use and how is it set?
606
Your automation computer uses its onboard date/day/time clock. It’s critical the onboard clock precisely track with the AFRTS–BC satellite system clock. The signal coming from AFRTS–BC has an embedded tone designed to automatically reset your system’s clock. In this way, the two will not drift apart and make your program transitions sloppy.
606
How often should the daily schedule be checked for accuracy and why?
606
At least weekly since there may be subtle changes made to the broadcast schedule by station management or even AFRTS–BC as they modify the satellite schedule.
606
Ordinarily, what makes up an hourly block?
606
A major program source with occasional breaks to run local command information or other local elements.
606
What is the first factor to consider during an hour of an automated element? Why?
606
The start time. For a program element to air, you have to know the day of the week (Monday), the hour of the day (1500), and an exact minute and second to begin the element. Without this, the automation program doesn’t know when to start.
606
Why does the automation computer need to know the element duration?
606
It needs to know when to switch to the next element or return to the primary program source airing before it was interrupted to go to the spot set you just ran.
606
What items can be sources to the automation system?
606
Any item available to the automation system computer such as a particular spot, another satellite feed, any item coming into the automation system via the router, or a spot rotation.
606
When the clock hits an exact time and the automation system airs a spot set whether the newscast on the air at the time is ready for the spot break or not, what type of trigger did it use?
606
The time trigger.
606
What type of trigger uses a special frequency tone embedded in the audio signal broadcast from the satellite?
606
The tone trigger.
607. Radio scheduling
607
607
What are lists? Give an example from your text.
607
Valuable management tools used to identify many products at one time with no specific narrowing down of items in that list. Listing songs alphabetically, by title or by author, is a useful list.
607
What does a report allow you to do different than a list?
607
It allows you to limit and configure the results.
607
How do you bring in new data and add it without replacing the old?
607
The radio program management software has an import function allowing the new data to be appended to the old.
607
What is a category and what is assigned to it?
607
A category is a broad area under which similar types of items are grouped. Every product in your radio product management software database is assigned to a category.
607
What is a playlist and how is it organized?
607
A combination of products taken from the various categories identified in your radio program management software and database. The products are placed in an appropriate order based upon standard practices of broadcasting and also upon clocks. The playlist identifies songs and other products you’re required to air during your radio program hour. The playlist can identify the specific category, song title, artist, ramp time, and total run time of each selection on your list.
607
How important are playlists and how are they handled?
607
Playlists are official documents. They require signatures by the person responsible for console operations stating it is an accurate representation of the programming aired during that particular hour. As an official document, they are your marching orders during your radio shift.
607
What are clocks and who sets them up?
607
Clocks are parameters set up by station management allowing only certain categories of material to air at certain times.
607
What components make up the daily program log?
607
The daily shift log, a compilation of playlists for each hour, and the discrepancy report.
607
How important is the daily program log?
607
It stands to reason since playlists are an official document and the daily program log is a compilation of all the playlists, the daily program log is an official document as well.
608. Remote radio equipment
608
608
What increase in capability do remote radio kits provide to AFN stations?
608
The radio remote kits increase the reach of the station staffs allowing them to get time sensitive information on the air immediately and to help their local commanders boost interest in community events in an effort to increase morale and quality of life.
608
What ability does the first radio remote capability give a field producer?
608
The first capability gives the field producer a way to do on-the-scene reporting and simple one-on-one interviews. For example: During the morning show a broadcaster calls the station from the hospital at the quarterly blood drive to talk live, on the air, with the program coordinator about the event. The equipment for this option could be as simple as a cellular phone with a microphone adapter and a portable radio receiver for signal monitoring.
608
What does the second capability give a DMA station?
608
The second remote capability will allow up to two broadcasters to communicate with (each other), the reporter (on the sidelines) and the studio announcer both on and off the air.
608
What additional piece of equipment is added for the third radio remote capability and how many broadcasters will it support?
608
This capability will contain a public address system. The third kit contains the capability for four or more broadcasters.
601. CONOP for On-Air Radio Studio
601
1. Depending on design, what basic functions does your console allow you to control?
1. Input, control/mix, dynamics, output, and monitor.
3. In systems with an input pot for each module, how should the little red light emitting diode (LED) be adjusted?
3. So the red light turns on only at periodic peaks in the audio signal and not for too long. If it is on more than about 20 percent of the time the audio is probably too hot.
6. What audio control adjusts all of the audio elements at once?
6. The master pot, unlike the individual faders controlling each element independently.
7. Where is the VU meter located in the audio chain and how do adjustments affect it?
7. Near the end of the audio chain so it takes into account modifications you make in the input level as well as the dynamics adjustments.
8. What affect does running at low audio levels have and how?
8. It degrades quality. The less the modulation the lower the dynamic range. Low dynamic range reproduces all sounds at the same level, resulting in flat, uninteresting sound. Low modulation also drops the signal-tonoise ratio.
9. How do analog mechanical VU meters and digital LED VU meters differ?
9. Analog VU meters are mechanical and therefore react as an average reading instead of a true peak reading due to the delay in reaction time for the mechanical needle to make its swing. On the other hand, LED VU meters are capable of reacting instantaneously since there is no mechanical swing of an arm for the measurement. Basically, LED VU meters are digital. Since the LED VU meter is digital and instantaneous, it is measuring actual peaks instead of an average peak as seen in the analog VU meter.
10. What is the best way to gauge your audio mix?
10. Record your performance and listen to it carefully to ensure your message is getting out without distractions from hot audio, dynamics, or effects.
11. What basic module output choices do simple boards have?
11. Program, audition, and cue channels.
12. Where is the radio on-air console program channel sent?
12. Directly to the transmitter.
13. If you need to do some simple production while the program channel is on the air, what can you do and why?
13. You can switch your output to the audition channel. Many times the audition channel of the on-air console is set to go into a recording device such as a digital cart machine so productions can be made while the board is on-air.
14. When you have an audio source playing on the program channel, how would you prepare the next source for placing on-air?
14. Use the cue channel for this purpose.
15. What does the pan pot do?
15. Pan to the left or to the right and have all of your module’s audio feeding only the left or right channel or somewhere in between.
16. What phenomenon occurs when using your headphone and speaking at the same time?
16. Even though you can hear the music and your voice in the headset, when properly mixed, while you are speaking the music sounds dominant. Since you are speaking, your body is hearing itself and your mind tunes out your voice.
603. Audio monitor
603
2. What does the cue system let you do?
2. Prepare material for use while you have another source already playing on the console’s program audio output channel.
3. What should you do to when you’re producing your segment to determine if the left and right channels are properly balanced? Why?
3. If possible, it’s best to run the left and right channels of audio through a single speaker. When you have two very different sounds coming out of different speakers, it’s difficult for your mind to determine if they are properly balanced.
4. What does the mute system do and why?
4. Whenever your mike is open, the mute system turns off your speakers. This ensures you won’t have a feedback loop with the studio monitors playing the audio the microphone is picking upwhich is the studio monitors playing the audio from the studio mike.
604. Microphones
604
1. What are the three basic microphone polar patterns?
1. Omni-directional, bi-directional, and cardioid.
2. What do the terms low impedance and high impedance mean?
2. Low impedance means there is relatively little signal resistance and a relatively large current flow. High impedance means a greater resistance and a smaller current flow.
3. What are the three internal designs for microphones?
3. Dynamic, ribbon, and condenser.
4. In a dynamic microphone, how are sound waves are converted into electrical energy?
4. By a diaphragm.
5. What do condenser microphones require to operate and why?
5. A power supply to charge the capacitor and to amplify the small output current.
6. The small, unobtrusive lavalier microphone is almost always what type of microphone?
6. An electret condenser microphone.
7. What are the biggest advantages of the hand-held microphone’s size and mobility?
7. The talent has total control over microphone positioning, allowing superior audio pickup. In addition, the use of hand-held microphones does not require special lighting or set requirements inherent to boom mikes.
8. During an interview, when should the interviewer give their hand-held microphone to the person being interviewed? Why?
8. Never. The interviewer loses control of how long the interviewee speaks before giving the microphone back.
10. What is the biggest advantage of the wireless microphone?
10. Its lack of trailing cables, which allows production options previously impossible or impractical.
11. Where does the camera-mounted microphone excel and when should it be used for this purpose?
11. At natural sound; on every shoot.
12. What is the best way to improve the S/N ratio and how is this accomplished practically?
12. Boost the volume of the source and thus signal running into the system; place the mike as close to the sound source as possible.
605. Radio On-Air/Satellite insertion
605
1. What are the two options for the automation system to insert CI into the on-air signal?
1. Live On-air and satellite insertion.
2. What does the Live On-Air portion of an automation system allow the disc jockey to perform?
2. All the air functions needed to produce a professional sounding music/information show.
3. What option is available so sources can be time shifted to air in accordance with local audience preferences?
3. Day parting.
606. Managing the On-Air Scheduling system
606
1. How is the analog signal processed for use in the digital system?
1. The audio is routed into the computer and the signal is digitized at the predetermined sampling rate. In other words, the analog signal is turned into digital data for storage. When a product is imported, it has been assembled and recorded in a production studio or some other location and already digitized.
2. What components make up the automation daily program log and weekly program schedule?
2. The automation daily program log is actually 24 one-hour playlists. The weekly program schedule is composed of seven daily program logs.
3. What clock does your automation computer use and how is it set?
3. Your automation computer uses its onboard date/day/time clock. It’s critical the onboard clock precisely track with the AFRTS–BC satellite system clock. The signal coming from AFRTS–BC has an embedded tone designed to automatically reset your system’s clock. In this way, the two will not drift apart and make your program transitions sloppy.
4. How often should the daily schedule be checked for accuracy and why?
4. At least weekly since there may be subtle changes made to the broadcast schedule by station management or even AFRTS–BC as they modify the satellite schedule.
5. Ordinarily, what makes up an hourly block?
5. A major program source with occasional breaks to run local command information or other local elements.
6. What is the first factor to consider during an hour of an automated element? Why?
6. The start time. For a program element to air, you have to know the day of the week (Monday), the hour of the day (1500), and an exact minute and second to begin the element. Without this, the automation program doesn’t know when to start.
7. Why does the automation computer need to know the element duration?
7. It needs to know when to switch to the next element or return to the primary program source airing before it was interrupted to go to the spot set you just ran.
8. What items can be sources to the automation system?
8. Any item available to the automation system computer such as a particular spot, another satellite feed, any item coming into the automation system via the router, or a spot rotation.
9. When the clock hits an exact time and the automation system airs a spot set whether the newscast on the air at the time is ready for the spot break or not, what type of trigger did it use?
9. The time trigger.
10. What type of trigger uses a special frequency tone embedded in the audio signal broadcast from the satellite?
10. The tone trigger.
607. Radio scheduling
607
1. What are lists? Give an example from your text.
1. Valuable management tools used to identify many products at one time with no specific narrowing down of items in that list. Listing songs alphabetically, by title or by author, is a useful list.
2. What does a report allow you to do different than a list?
2. It allows you to limit and configure the results.
3. How do you bring in new data and add it without replacing the old?
3. The radio program management software has an import function allowing the new data to be appended to the old.
4. What is a category and what is assigned to it?
4. A category is a broad area under which similar types of items are grouped. Every product in your radio product management software database is assigned to a category.
5. What is a playlist and how is it organized?
5. A combination of products taken from the various categories identified in your radio program management software and database. The products are placed in an appropriate order based upon standard practices of broadcasting and also upon clocks. The playlist identifies songs and other products you’re required to air during your radio program hour. The playlist can identify the specific category, song title, artist, ramp time, and total run time of each selection on your list.
609. Audio fundamentals
609
609. What word describes one test of good audio production? What does it mean?
609. Unobtrusiveness. Sound drawing attention to itself through distortion, noise, or imbalance often indicates poor production techniques and poor production values.
609. How does well produced audio sound?
609. So natural it’s easy to take for granted.
609. Unlike your sense of hearing, microphones and amplifiers can’t discern between what two types of sound?
609. “Signal”—that is, the sound we desire to record—and “noise,” the incidental, environmental and equipment generated sounds often competing with the audio we want.
609. What results in clean audio production?
609. Conscientious application of basic, time-tested broadcast techniques.
609. What is sound? How does it compare to ripples on a pond?
609. Sound is the by-product of a vibrating object. When an object vibrates, it creates pressure variations in the air, which are pushed out in waves resembling ripples on a pond when a rock is tossed in the water.
609. If you were to press the key corresponding to “middle C” on a piano, what would your hearing sense from the resulting sound?
609. Pitch—that is, how high or low the note was.
609. How would a recorder interpret that same piano sound?
609. As frequency—the rate of vibration in the air.
609. When discussing an environment’s acoustics, to what are you referring?
609. The tendency of that environment to reflect or absorb sound.
609. When dealing with volume, what is the process of compression?
609. This process boosts the volume of low, soft sound and reduces the volume of high, loud sound thus narrowing the range between the two.
609. What is a decibel (dB)?
609. A standard measure of audio energy or sound. It represents the smallest humanly perceptible change in audio level measurable.
609. What is a physical measurement equaling the volume difference between the loudest and quietest sounds of a source called?
609. Dynamic range.
609. What does a recording reproducing a whisper quietly and a shout loudly demonstrate?
609. Good dynamic range.
609. What word is defined as a physical measurement corresponding to the number of times a sound wave varies in one second?
609. Frequency.
609. What term is defined as an audio specification reflecting the range of frequencies an audio component can reproduce?
609. Frequency response.
609. What is it called when two identical sound waves from the same source reach the human ear or microphone at the same time?
609. In phase.
609. What is it called if identical sound waves arrive from a source to a microphone at different times, perhaps because one traveled directly to the microphone while the other is reflected off of a far wall?
609. Out of phase.
609. Define “signal-to-noise” (S/N) ratio.
609. The relationship between the strength of the desirable audio signal and the undesirable noise (commonly heard as “hiss”) produced by the audio equipment.
609. Which is best, a high S/N ratio or a low S/N ratio? Why?
609. The higher the signal-to-noise (S/N) ratio the better.
609. What is a complete sine wave called?
609. One complete wave is called a cycle and is made up of two intervals, one positive (above a horizontal time line) and one negative (below a horizontal time line). The frequency can be determined by measuring the number of sine waves on the time line repeated in one second.
609. How is the volume of sound measured?
609. The volume or amplitude of the sound, measured in decibels (dB), is represented by the highest point of the sine wave from the horizontal time line.
610. When you are the producer in the majority of AFRTS audio productions, who supplies the voice?
610. You, the producer, do.
610. What is the effect of too many microphones operating in a confined space?
610. Overlapping polar patterns and phasing problems.
610. What is it that skilled editors can do that the audience won’t even know is there?
610. Weave natural sound throughout a news or feature production.
610. Why should you never attempt to record a voice over a piece of vocalized music?
610. All too often, the audience is so distracted trying to hear the words of the song that your message is lost.
610. Why can sound effects be incorporated into your product very naturally?
610. They sound like the real thing.
610. What are audio special effects and how do they tend to be generated?
610. Sounds contributing to your storyline but not found naturally around you; electronically.
610. How does pacing work?
610. To the speed you present the various program elements and how they are interspersed throughout the program.
610. What is the best prevention against mistakes in audio production? What steps can you take to avoid them?
610. Good production. When you first sign on for an on-air board shift, make sure everything is as it should be, and if it is not, find out why. Read the discrepancy log and note any equipment problems. Zero out unused audio console channel pots. Check the patch panel and remove unnecessary patches; ensure playback equipment is set correctly, etc. Whatever you do, make it a habit and perform the same checks, in the same order, every time you sign on.
610. What are production methods for radio?
610. The basic building blocks used to construct any audio product.
610. What is the most frequently used method to open a radio spot production or a live music program?
610. Establish music, music under, voice up.
610. How do you perform the cross-fade?
610. Simply fade out one audio signal while simultaneously fading in another.
610. What method is useful when you want to take advantage of a climactic musical ending?
610. Voice out, music up.
611. What is the talent’s first responsibility to the broadcasting team?
611. The talent’s first responsibility to the broadcasting team is to be prepared.
611. What is the talent’s number one goal?
611. To communicate a message, idea, or emotion to the viewer.
611. What is perhaps the most difficult aspect of voice work?
611. Clean articulation, also known as enunciation or diction.
611. If your original newscast sounds generally sloppy, what are you probably not doing?
611. Opening your mouth enough.
611. Why is pronunciation a tricky problem at AFN and AFRTS outlets overseas?
611. Because there are many words in languages we are not accustomed to we’re required to say as part of our regular job.
611. How should you handle words with multiple anglicized versions?
611. The station should set a standard as to what pronunciation is used and everyone should adhere to it.
611. How must you interpret the copy for the listener?
611. In a conversational manner.
611. What is an easy way to check and see if your copy is divided into phrases conveying complete thoughts?
611. Read the copy aloud and see whether each phrase makes sense.
611. What are the different types of punctuation, which types do broadcasters use, and why?
611. Written punctuation is taught by English teachers and follows strict rules of usage. Broadcasters use oral punctuation to break copy into understandable phrases that help convey the message without distracting interruptions. Oral punctuation adds emphasis and tells you when to breathe without disrupting the natural phrasing and importance of a sentence.
611. How do you avoid inflection patterns, or singsong delivery? What do the variations usually mean?
611. By raising or lowering your inflection at the end of a phrase or sentence. It may also be appropriate to end a sentence with no inflection at all. Dropping the voice usually signifies to a listener you are finishing the idea, phrase, or sentence, while raising inflection is an audible signal more information follows in the next phrase or sentence.
611. What should be the actual rate of script delivery?
611. Somewhere between 12–15 lines per minute.
611. What is the number one cause of stumbling in delivery?
611. Excessive speed.
611. What is projection?
611. The ability to control the energy that gives impact, precision, and intelligibility to the words you say and deals in large part to proper breathing as you deliver the text.
611. What is authority when related to newscasters?
611. It’s that special something telling the listener “What I have to say is important, so listen to me.”
612. What are psychographics?
612. Statistics that break a population down by attitudes and values.
612. Why is station branding important?
612. It allows the community to easily identify and recognize your station’s efforts.
612. What is the overall goal in format development?
612. To get as many of your audience to listen for the longest amount of time.
613. At AFN stations, what are the three types of shows used to get the local radio mission accomplished?
613. The Morning Show; Afternoon Drive Show and other shows aired throughout the week or at certain dayparts.
613. The DMA radio show philosophy lists what items/products/elements that are required during any radio show that an AFN station produces?
613. Program Log; Music sheet/Music Lists; Read Spots (readers)-today’s and next 5 days’; Produced spots-:15/:30/:60 spots; Hot Spots; TFN (till further notice) Spots; Features (off lined or locally produced)- regularly scheduled parts of a show (Letterman’s Top 10 list, Paul Harvey, Jim Hightower, Air Force Radio News or other type of product/show); Pre-recorded phone calls; List of people to call during the show and topics; List of the day’s hot topics.
613. What are the specifics of producing a morning show at an AFN station?
613. The key is to set up show clocks (formats) that are repetitive and consistent. This includes setting up event clocks for each hour of each day and transition requirements for each event on the clock. These clocks are the framework around which each hour of the show is built.
613. According to the DMA radio show philosophy, what type of transition should not be used specifically during a morning radio show?
613. There should be no direct segue’s from song to song during your station’s radio shows…there should be more information than you can fit into an entire show and the morning show should be information intensive.
613. What information is important to remember to say whenever you open the microphone to speak as a show host on the radio?
613. Repeat the time/temp/station call sign as often as possible: after every song; into every break, out of every break.
613. What provides the framework for every radio show aired at every AFN station?
613. Clocks.
613. What should your station’s radio content revolve around?
613. Your local community.
613. How do stations receive new music for its live radio shows?
613. A weekly program unit (CD set) is mailed to each authorized AFRTS land-based outlet containing the most popular new recordings in various music categories for use by outlets in producing local radio programs.
613. What are the three distinct categories of production CDs?
613. Sound effects, production music and production aides.
613. On what will the afternoon drive show be mainly based?
613. It will be mainly music based with very high information content (three lengthy breaks per hour and heavy local info between songs).
614. What deals with audience preferences, expectations, and recognition and keeps them coming back for more as well as gives the station a certain identity?
614. The station sound.
614. Once the program format becomes concrete, what will you have to do?
614. Determine the actual content and ensure those items are identified on a program log that can be followed by any audio console operator.
614. Whose needs must the music for the radio show meet?
614. The audience’s needs, not the DJ’s.
614. What part do readers play in the command information at a station?
614. They are a major part of the command information “bread and butter.”
614. Where can a show’s timing be laid out and what does this tool identify?
614. On what are known as hourly program wheels; windows of time when the DJ should hit certain types of program elements.
614. Why does providing radio music shows allow you to more effectively accomplish your command information (CI) objective?
614. Because more people listen to your station.
614. What is the primary AFRTS mission and what is it that actually draws the listener?
614. Dissemination of information. The music and delivery.
614. What are radio mechanics?
614. Simply being prepared as the show host through organization and preplanning to smoothly perform the music show with all its required elements.
614. What is dead air?
614. When programming stops for a noticeable amount of time.
614. What is another term for sloppy, slow-moving board work?
614. Looseness.
614. What elements can be used to produce a smooth show?
614. Jingles, sweepers, and liners.
614. What normally determines the type of music you play?
614. The demographics for your station or the worldwide AFRTS audience.
614. During drive times how long should your information segments be? Why?
614. Drive times are when most people are getting ready for work or spending a lot of time in their car. During these times, their attention may be divided and radio provides the main opportunity for getting information and entertainment to them. Keep in mind they are listening in shorter time increments so your information segments should be kept short.
614. When do you typically have the biggest radio audience?
614. During the time people are commuting to and from work. Drive time hours for most stations are 6 a.m. to 8a.m. (most listened to), 4 p.m. to 6 p.m. (2nd most listened to).
614. Many times the program day is broken into segments. What is this called and why would you do it?
614. Dayparting; to most effectively reach your audience.
614. As a spot or liner announcer, depending on the circumstances, how might you use your voice?
614. To take words penned by the writer and bring them to the listener in a way that encourages them to listen and act as asked in the spot.
614. If the best music doesn’t fit, how can it be edited to a different length?
614. Loop or repeat a segment of music to add time. Cut out part of the middle of a music bed and splice together the beginning and end.
614.What is the best tool available to make audio decisions?
614. The human ear.
615. What is an easy acronym to remember the radio production process and what does it stand for?
615. RADIO; Refine, Analyze, Decide, Instructions, and Outline.
615. What must all good spots and stories have?
615. A beginning, middle, and end.
615. Good or bad, clear or confusing, what part of a spot makes a critical impact on the audience?
615. The start of the spot.
615. What does a good middle section of a spot accomplish?
615. Maintains the momentum generated at the beginning of the spot and starts filling in details.
615. What are the two types of spots?
615. Informational and selling.
615. While Air Force spots don’t actually sell merchandise or promote a private corporation, they can be selling spots. In our case what types of things are we selling?
615. An important community event, participation in base activities, school registration, or even an idea.
615. When preparing readers, what can help ensure your products deliver the intended message to the audience?
615. Keeping a clear objective in mind at all times.
615. In what scripting formats can you write your readers?
615. Depending on your facility’s policies, these can be fully scripted, or created in bullet format, simply stating the who, what, where, and when.
616. How do you make a radio news story relevant to your local audience?
616. By answering the question, “What is the local tie?”.
616. What question can you ask yourself to tell if a radio news story passes the test of relevancy?
616. Does the story enlighten? Does the story educate? Does the story convey information our audience can use? Does the story inspire? Does the story provide information that will enhance their quality of life? Does the story inform? Does the story support the public affairs objectives of the command? Does the story represent our audience?
616. When deciding the story order for your radio newscast, what information will your lead story contain?
616. It should be the most immediate piece of information affecting the largest number of people.
616. Story length during a 4-minute newscast should not exceed how long?
616. 50-seconds.
616. What are the four communicative qualities of a radio newscast?
616. Logical order and development, local information/local tie, most current information (rewrites) and Voice quality (pacing, emphasis, diction, authority).
616. When writing for radio, what must you keep in mind regarding natural sound and what it provides for your story?
616. Write a little bit loose to incorporate natural sound into your production. The nat sound adds realism to the project and helps the listener visualize the event you’re covering. Nat sound adds a dynamic flare you can’t normally get with words alone.
616. What technique can you use to “see” what images come to mind as you assemble your radio news story?
616. Listen to your radio news piece with your eyes closed.
617. What is a radio remote?
617. Simply doing a live radio show from a location other than the studio.
617. What equipment does a radio remote broadcast typically require and how does it work?
617. A special audio board with a telephone interface. You simply plug the board into a telephone jack and dial your studio.
617. When your Station Manager, Operations Manager, Radio Section Supervisor, and Maintenance technicians agree to support a request for a remote broadcast, what support will you likely require?
617. Support from the local command communications organization. For example, the Communications Squadron will ensure adequate phone line support to carry the signal.
617. If possible, how many on-site broadcasters should you have?
617. Two work best.
617. What two purposes does a radio remote generally have?
617. To provide entertainment for people who cannot attend the event itself (usually due to duty requirements), and to tell others in the audience to come out and enjoy the festivities!
618. What is the goal of the DMA PQA program?
618. Product (process) improvement.
618. What three keys will help lead to an effective PQA program?
618. Ensuring quality products, identifying training requirements, and ensuring customer satisfaction.
618. How does the PQA program focus on product improvement?
618. Through active feedback, coaching and mentoring.
618. What should morning show DJ’s always avoid to be heard between songs, preferably over the fadeout and/or ramp of a song?
618. Segues.
618. To avoid playing elements that’s “muddy” sounding with low levels or too high and distorted, where will the board be set at?
618. At full volume, 80–100% on VU meter.
618. How will your radio newscast fit into a logical story order and development?
618. By placing all of the elements of the newscast according to importance.
618. What does natural sound give a radio news story?
618. Natural sound can set up story and when used within reporter packages to help convey the mood or scene.
618. What might using clichés suggests to listeners of a radio news story?
618. A lack of creativity and initiative to find words that offer a fresh approach.
619. Air and Space Expeditionary Force
619
1. Why are Combat Camera images so important to senior commanders?
1. Products provided by visual information sources assist commanders in operational decision making and reporting.
2. What part does HQ AFPAA play in Combat Camera documentation?
2. Serves as the Air Force contact for COMCAM tasking, manages Air Force theater support, and maintains a deployable theater support facility for the gathering, editing, copying, and distribution of images.
620. Personnel and reports
620
1. Who controls Air Force COMCAM forces in a joint environment?
1. The supported unified command or joint task force commander, through the air component commander (when assigned), controls Air Force COMCAM forces in a joint environment.
2. What is combat operations documentation?
2. Combat operations documentation is the collection, distribution, and exploitation of aerial and ground images during the deployment and employment of combat forces.
621. Principles of combat documentation
621
1. How can we train for combat every day?
1. By utilizing proper exposure of electronic imaging, good composition techniques, and shooting uncontrolled action, you are constantly keeping your skills finely tuned.
2. What is a major reason for staying physically fit and combat ready all the time?
2. The major difference during combat is that workloads are compressed and your endurance is often tested.
3. What are the optimal shooting conditions for night vision technology?
3. A full moon with a clear sky creates the optimal shooting conditions with night vision technology.
622. Equipment and supplies
622
1. From what types of hazards must you protect equipment during transport?
1. It can be damaged if you subject it to vibration and impact or fluids (such as water, oil, or corrosives).
2. What is the best type of case for transporting equipment?
2. Use an approved air transportable shock resistant case to pack your equipment.
3. Why is it so important to never pack cases heavier than one person can carry?
3. Prevents injury to yourself or others, it also keeps you within commercial airlines, “per bag” weight restrictions.
623. Combat photography
623
1. Which category of combat documentation has the highest priority and greatest urgency of any photography you perform?
1. Combat events documentation.
2. What are some examples of things you need to be aware of when integrating with other units?
2. Everything about their daily operations, how they handle their weapons, roll call, military language, performing security checks and even how an individual is verbally addressed.
3. How do the coverage rules for investigative combat photography differ from crime scene photography?
3. The major differences are that you shoot under combat conditions and your images have greater importance.
4. Give three examples of events you would document as an investigative combat journalist.
4. War crimes, sabotage, and acts of terrorism.
5. How do we use post combat imagery?
5. Post-combat documentation is used for post-operational briefings.
624. Accessioning
624
1. How many categories are there for base public affairs to accession their imagery under and what are they?
1. Category 1- Air Force Strategic Objectives is imagery that documents the involvement of Air Force operations category 2- Current Operations is local interest imagery that has the potential to become marketable on a global scale. Category 3- Routine is daily documentation of historical significance. Category 4, Other is imagery not conforming to the above categories.
2. What is the purpose of a Visual Information Identification Number?
2. The VIRIN is the identification system used to store and retrieve still and motion imagery for future use.
3. Create a VIRIN for image number 99 photographed on 14 February 2012, by Air Force member SrA Jennifer Foster, vision ID FF123.
3. 120214-F-FF123-099.
4. What must every caption include?
4. Every caption must have the basic information necessary for identification. In addition to your name, unit, date, and subject, the summary must include who, what, where, why, when, and how.
5. What information should be on a slate and why?
5. The slate should include all the pertinent information in your captions, including release instructions and your contact information. Adding a slate to your video will ensure that it’s usability even in the event your caption sheet doesn’t make it with your clips.
625. Post-deployment activities
625
1. What items should be included in a trip log?
1. Itinerary, departure times, and arrival times to include each time you changed modes of transportation.
2. What is damage assessment?
2. Billeting and work section arrangements. Communications (phone and data) problems with home station or inter theater. Lost or damaged equipment or supplies during travel or shipment and what you did to replace or repair damaged equipment or supplies. Points of contact. People who helped you at the deployed location and agencies with which you worked. This is a key element for future deployments or to send letters of appreciation to certain organizations which went above and beyond to help you in accomplishing your mission. Include phone numbers. Problems encountered with personnel, new equipment systems or any command special interest items (items designated by your commander before departure as special interest such as testing new equipment or systems which may have been identified as having problems in the past). Anything you feel went wrong or went right. One thing to remember: if you cannot suggest a better way— maybe there isn’t one.
626. Imagery alterations
626
1. What DODI provides the guidelines for the policy on the alteration of official imagery?
1. DOD Instruction (DODI) 5040.02, Visual Information.
2. Photographic and video image enhancement, exploitation, and simulation techniques used in support of unique cartography, geodesy, intelligence, medical, RDT&E, scientific, and training requirements are authorized under what condition?
2. If they do not misrepresent the subject of the original image.
627. Enhancing audio and video
627
1. What two things must you remember when enhancing audio and video?
1. 1) any enhancements cannot misrepresent events regardless of use and 2) never manipulate video or audio that is being accessioned.
2. What is sweetening and why does it cause controversy?
2. It’s the final editing of a story whereby the audio track is enhanced to include audio that may not have occurred at the moment the primary audio was recorded.
3. What makes the manipulation of audio and video easier?
3. With the improvement of technology manipulating imagery becomes easier and more common.
4. What does the public trust us to do?
4. The public trusts us to provide accurate truthful images.