The Radio Producer's Handbook by Rick Kaempfer & John Swanson

The Radio Producer's Handbook by Rick Kaempfer & John Swanson

Author:Rick Kaempfer & John Swanson [Kaempfer, Rick & Swanson, John]
Language: eng
Format: epub
Tags: Performing Arts, Radio, reference, Business Aspects, Business & Economics, Negotiating, law, Contracts, theater, Direction & Production
ISBN: 9781581159844
Google: rmqCDwAAQBAJ
Publisher: Simon and Schuster
Published: 2004-10-01T23:43:59.485915+00:00


11

REMOTE BROADCASTS

HOPEFULLY THE PREVIOUS CHAPTER GAVE YOU AN IDEA OF HOW HECTIC a normal pre-planned show can be. Now multiply that by twenty. That’s a remote broadcast.

Producing a remote broadcast is like producing a totally different radio show. The entire show is out of its element. Most hosts find sanctuary in the studio. It’s home-field advantage. When you’re on the road, you’re the visiting team.

In this chapter we’ll teach you how to adjust to the road. You’ll have slightly different content, different technical issues, and you’ll have to speak a totally different language: remote. (We’ll get into a more comprehensive technical discussion in part 5 of this book.) Unfortunately, you can’t really appreciate the remote broadcast without experiencing it firsthand. Don’t worry. Despite the difficulties, remote broadcasts can be very rewarding.

TECHNICAL ISSUES

If possible, set up a meeting with the broadcast team (host, co-host, newsperson, etc.), engineers, promotion department, and programming department to do a dry run of the show. If you can’t all meet at one time, meet with them all individually. Here you’ll be able to spot possible snags and concerns and ways to remedy them. Ask questions about what will be done if particular things go wrong. The execution of the remote is everything.

Obviously the technical adaptations are the most difficult for remote broadcasts. You aren’t just worried about the usual things on your checklist. In fact, you’re going to create an entirely different checklist. Before you create it, you need to ask your engineer a few questions.

Wireless or wired microphones?

Will there be a computer with an Internet hookup?

Will there be a fax machine?

You need to know what kind of microphones you’ll be using because it may limit the number of things you can do. For instance, if you don’t have wireless microphones, the length of the microphone cable will limit the number of places the host can roam during the broadcast. A wireless microphone will allow for much more flexibility.

You need to know if you will have a computer with an Internet hookup to find out if you can access news wires from the remote location. If you don’t have one, it might mean the newsperson can’t come along. If you don’t have a fax machine, then you need to make sure you have brought all the paperwork you need (i.e., commercial log, music log, contest sheets, etc.). For local remotes, this may require a trip to the radio station before you get to the remote location. If there is a fax machine at the remote, the board operator can simply fax this stuff to you (more about the board operator later).

More Technical Issues—Local Remotes

The checklist will be slightly different based on the questions we asked already, but there are a few more things to consider.

You may be having a bigger-than-life extravaganza that requires extra technical support. You may have a live band performing or a live audience. You need to know in advance what technical requirements the band will have. Who is doing the sound reinforcement?



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