tag:blogger.com,1999:blog-54613671316229644032024-02-08T02:23:20.271-08:00annedonohueProfessor Anne Donohue teaches journalism at Boston University. This is a collection of class materials, student work and links to professional work.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-5461367131622964403.post-29741316104773242782009-01-13T07:53:00.001-08:002009-01-13T07:53:26.764-08:00How To: Tascam Audio RecordersHow To: Tascam DR-1 Audio Recorder<br /><br />You will need an SD memory card to record audio onto. This recorder can take 64MB-2GB or 4GB-32GB SDHC cards. The other audio recorders require a 2GB or smaller, so if you aren’t sure which recorder you will be able to get out of the equipment depot, buy the 2GB card to be safe.<br /><br />1.Insert the SD card on the side of the deck.<br />2.Make sure battery is charged. If not, charge via USB into your computer (or buy a charger).<br />3.Plug in headphones (adjust volume on side “output volume +/-”.<br />4.Plug in external microphone (internal mic causes too much distracting handling noise). We will use the Mic 2 input on the bottom side of the deck. (You can also plug into the top with a smaller mic cord – and adjust to mic 1 input, but we will not be using that option).<br />5.Power ON, on left hand side. Keep pressing until screen lights up.<br />6.Let the deck know what mic source you are using: the large black wheel shuttles between mic 1 and 2 and Line. We will use MIC 2 external, (unless you are at a press conference or great debate using a mult box, and then it is LINE in).<br />7.Check the levels before recording: Hit record/pause and red light will blink. There is an “input” volume control wheel on the right side of the deck, running from 0-10. There is not “right” level, it depends on the environment and the effect you want to create. For a typical interview, adjust so that audio levels L/R are going about half way across the display screen. If they are peaking, the “peak” red light will flash. You want to avoid peaking at all costs because that audio will be distorted and useless. Better to err on the side of low levels that can be boosted later in post production.<br />8.To begin recording, once you have the levels you want, hit RECORD again and light will stay red and counter will start counting.<br />9.To PAUSE, hit REC/Pause. To Stop, hit Stop/Home<br />10.To Delete a file: Menu/Browse/Delete and hit the play arrow button on the big black wheel.<br />11.To Playback: hit the play arrow button on the big black wheel. PB control can alter the speed of playback.<br /><br />When you are finished recording, you will turn deck off, then remove SD card and insert card into card reader to import into computer for editing.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-39333750154589202492009-01-13T07:46:00.000-08:002009-01-13T07:47:37.008-08:00JO 435 Radio Newsroom SyllabusBasic Radio Journalism JO 435<br /><br />Spring 2009<br />Monday 9-12:30 Room 321, audio lab and WTBU<br />Professor Anne Donohue<br />Office Hours: Tuesday 10-12 and 1-4, Wednesday 1-4 <br />Thursday and Friday morning by appointment only. <br />Office: Room 302, phone: 353-3418; <br />Home Phone: 617-489-4334<br />email: adonohue@bu.edu<br />TA: Phil DiMartino email: pad13@bu.edu<br /><br />The purpose of this course is to get students ready to enter a radio newsroom and master whatever tasks are thrown at them: producing, writing, reporting, gathering<br />and cutting tape, newscasting, editing, booking interviews and going "live" with<br />breaking news. After learning the basics of radio production and writing, we will treat<br />this class as an actual newsroom, going on the air LIVE on WTBU at 11:30 am. Each student will be the producer one week during the semester. It is your show, hopefully to add to your resume tape. As producer you will assign the host to do QA in the week preceding the show and assign the reporters to do news packages on topics of your choosing. You will make sure all stories are edited before reporters and hosts arrive in class on Tuesday. <br /> <br />There are some ten thousand radio stations in the United States. Most of<br />them include news as part of their programming. Some stations do exceptional news<br />coverage and pay their employees well. There are radio networks like National Public Radio and the BBC which are among the most comprehensive news sources in the world. <br /><br />Many of you will find your first jobs in radio. While some of you will stay, many can<br />and do make the jump to TV. Many of the TV personalities you know got<br />their start in radio. Locally, Jack Harper, Steve Sbraccia, Beth Germano and Victoria Block are among those who started in radio. Others who start in TV turn to public radio because it allows more time, depth and creativity in producing news. Many print folks also turn to public radio because it allows them more opportunity for creativity. There is a big difference between reading a written quote and hearing the actual voice saying it on the radio. Bottom line: learning to write fast, with clever and accurate copy will get you a job in whatever medium you want.<br /><br />REQUIRED READING<br />TEXT: Broadcast News, Mitchell Stephens, 4th edition. (This book is outrageously expensive, but it is the only one that focuses more on radio than TV, so please share a copy with a classmate). <br />YOU MUST READ at least one newspaper daily. Read the paper thoroughly and bring your copy with you to class.There will be periodic pop Quizzes. You cannot go out and ask intelligent questions to newsmakers if you are not following the news CAREFULLY.<br /><br />REQUIRED NEWS (DRIVE TIME) LISTENING<br />National Public Radio programming (WBUR 90.9 or WGBH 89.7) <br />BBC – airs on WBUR 9-10am and other times throughout the week<br />WBZ or other commercial all news radio station. (1030AM)<br /><br />REQUIRED BROADCASTING<br />You each must serve as a newscaster at least three times during the semester for the student radio station, WTBU. This consists of writing a 2 minute headline newscast (no tape rquired, but always appreciated. We have the Associated Press audio feed at WTBU, tape is easy to get and will jazz up your newscast). WTBU has two minute updates several times a day, so you should be able to find a time that fits into your schedule. To arrange a time, contact the WTBU news directors and tell them what times you are available to be a newscaster. Please send me an email to tell me when you will be on the air, and record your newscasts onto cassette or minidisc or CD and give them to me. One must be done by the end February, end of March, and end of April. DO NOT WAIT UNTIL THE LAST WEEK OF THE SEMESTER TO TRY TO DO THESE. THE NEWS DIRECTOR NEEDS TO WORK YOU INTO THE SCHEDULE EARLY IN THE TERM. I WILL NOT ACCEPT UPDATES PAST THEIR DUE DATE, SO PLAN ACCORDINGLY.<br /><br />Be Prepared!<br />Students should arrive in class having listened to all news radio (public<br />radio WBUR or WGBH or commercial all news station WBZ). Students should also bring with them copies of either the Boston Globe, New York Times or Boston Herald.<br /><br />SUPPLIES<br />You will need an SD memory card to record audio onto. The Tascam recorder can take 64MB-2GB or 4GB-32GB SDHC cards. The other audio recorders require a 2GB or smaller, so if you aren’t sure which recorder you will be able to get out of the equipment depot, buy the 2GB card to be safe.<br /> Cell telephone is not required, but sure comes in handy when you are out in the field. If you don't have a cell phone, bring change or a calling card for calls from public pay phones (if you can find them!!). <br /><br />GRADING <br />I give every assignment a numerical value 1 through 5. Your grade is calculated by the total number of points you earn in the semester. An unexcused absence counts as a 0 and any assignments or quizzes that were given that day will count as 0. <br />1 means you passed in the assignment but failed miserably.<br />2 means the work was flawed and needs major revision.<br />3 means the work is adequate, not special.<br /> 4 means the work is good. Solid.<br /> 5 means the work is exceptional, professional quality.<br /><br /> 50%-- You will write news stories in class almost every week. You each have a job in the newsroom. Whether you are the newscaster, engineer, spot reporter or producer, how well prepared you are to assume that job is graded. Everything you write and produce will be graded. Periodic pop quizzes and all in class work will account for about half of your final grade. <br /> 25% --. Homework assignments including editing and field reporting, and WTBU newscasts will count toward that 25%. <br /> 25% -- Your writing test will count 25%. <br /><br />IMPORTANT - Please check in with me after the half way mark in the semester so that you can see how you are doing. I will treat this as a professional newsroom. If you come in having read the papers and listened to the news, you'll do fine. If not, it shows, and you'll have a hard time meeting deadlines. Failure to meet deadlines, means failing that assignment. THIS IS THE NEWS BUSINESS: NO LATE WORK WILL BE ACCEPTED. <br /><br />PLAGIARISM<br />Please read the guidelines on this carefully. You are to use only tape that you record in the field. If you are doing an internship and have access to other tape sources, you can use that ONLY with my permission, and with the permission of your internship supervisor. If you are doing a TV story and want to use the audio, you may do it ONLY with my permission. You cannot use tape off the TV or radio without attribution and/or permission. You cannot “double dip” –pass in the same story for this class and another class. You cannot have your roommate or friend pretend to be a source. Students have failed this course and/or been put on academic probation for not adhering to these guidelines.<br /><br />SCHEDULE<br /><br />Jan 26<br /> Introduction to radio news. Review Syllabus. Commercial vs. public radio. Feeds, sources of radio news. AP, CNN, ESPN ONLY, with attribution.<br /> Terminology. Student Survey. In class writing sample.<br /> Writing workshop. <br /> “Tight, bright, right”. Writing to time, writing for the ear, what you see<br /> Terms: ax, trax, voicer, wrap, reader, Q&A, two-way, double ender<br /><br /> ASSIGNMENT: <br /> Text: Read Chapters 1-4. Do exercises at the end of chaps. 1 (all), 2 (just the odd numbered sentences, chapter 3 just the even numbered sentences in part A, chap 4, just the even numbered sentences. <br />SCHEDULE YOUR FIRST NEWSCAST AT WTBU FOR THE MONTH OF February.<br /> Bring photo memory SD card to class next week, AND EVERY WEEK HEREAFTER<br /><br />February 2<br /> Possible current events quiz. Field Reporting workshop <br /> BRING A photo memory card TO CLASS <br /> How to record phone interviews using Gentner.<br /> Vote on Theme music, news, sports, weather, entertainment<br /> <br /> ASSIGNMENT: Text: Read chaps. 5 do exercises A1-5, B- just the odd sentences. ,Chap 6 do all the exercises. & Chap 9 do both exercises, chap. 10, no exercises. <br /> Record and write (but do not mix) a field report using two sources: one phone interview and one in person interview. Piece should run exactly one minute, plus a :10-:15 second host intro.<br /> <br /><br /><br />February 9<br />Possible quiz on book and current events<br /> Production Workshop/ Protools, Audacity?<br />Mini-discs,, running the board, studio mics, Digital Audio Lab and Using AP Audio Feed<br /> Listen to WBUR and WBZ newscasts. Discuss Writing. <br /><br /> ASSIGNMENT: Text: Read chaps 7, do all exercises, read chaps. 8 & 11 <br />Mix a produced report. Take the field tape and script you recorded last week and mix it together. Put finished work into class (Donohue) folder. <br /><br /><br />PROTOOLS WILL REQUIRE MUCH OF YOUR TIME THIS WEEK. MAKE A DATE WITH THE TA TO MIX YOUR STORY AND PRACTICE, PRACTICE, PRACTICE ON PROTOOLS. <br /> <br /> <br />TUESDAY February 17<br /> Possible Quiz on Book or current events.<br /> Producing a Newscast<br /> What is a lead? Transitions, pacing, use of tape, vary casts for each half hour, kickers, collapsable copy, posts, reading and writing to time. JOB DESCRIPTIONS HANDOUT<br /> Listen to, critique student productions and professional productions. <br />Demonstrate use of ambience in field reporting. <br />Discuss themes for upcoming shows and figure out teams. Each of you will have an on-campus beat that you need to check in on for news events. <br /><br /><br /> ASSIGNMENT – Read Text 12 do all exercises &13<br />1. Get instructions from show producer. Hit “reply all” on all communication about the show so everyone knows what is going on -avoid repitition. <br /> 2. Write a comparison of WBUR and WBZ and BBC newscasts. What is the lead, national and local? Pacing: How many stories, how much tape? how many reporters - q&a, voicers or wraps? What was the kicker or collapsed copy? Which newscast do you like better and are likely to listen to, why? Write a two page critique.<br /><br />February 23 First Newscast. <br />Live on WTBU(air some of the mixed field reports)<br /><br /> ASSIGNMENT – Read Text 18 &19<br />1. see class rotation schedule. <br /> 2. Schedule Second WTBU Newscast for March<br /><br />March 2, 16, 23, 30, April 6, 13: Live newscast on WTBU. <br />Functions will rotate weekly:each student will be assigned a job. See rotation schedule for your responsibility and assignment each week. <br /><br />Remember to schedule FEBRUARY, MARCH AND APRIL news update on WTBU. <br /><br />THURSDAY APRIL 23RD, VISIT WBUR<br /><br />APRIL 30: LAST CLASS: LAST NEWSCAST OR IN CLASS WRITING TESTAnne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-89202305086109662852009-01-12T11:57:00.000-08:002009-01-12T12:00:07.578-08:00JO 519 Advanced Radio JournalismIN DEPTH AUDIO JOURNALISM<br />JO 519 Spring 2009<br /><br />Professor Anne Donohue<br />Monday 2-5, Room 323 and Digital Audio Lab on third floor <br />Office: 302, Phone: 353-3418 Home: 617-489-4334 <br />email: adonohue@bu.edu<br />Office Hours: Tuesday 10-4, Wednesday 1-4 and Thursday and Friday by appt.<br /><br />Lots of class materials, how tos and other tips are at annedonohue.blogspot.com<br /><br />COURSE DESCRIPTION AND OBJECTIVES: Audio journalism was once synonmous wtith radio news, broadcast from a traditional terrestrial radio tower. But with the advent of the internet and wireless technology, audio journalism is now being heard on newspaper websites, podcasts on PDA’s and mp3 players, via satellite and HD receivers in cars, and who-knows-what the next gizmo will be! <br />But the basics of telling a good story with sound are the same, no matter what the platform. This class will focus primarily on producing “NPR style” stories, longer form, in depth, audio rich sound stories. The class will bring together the highest editorial standards of public radio with sophisticated digital audio production. Public radio is considered one of the finest outlets in broadcast journalism because of its excellent writing, in-depth reporting, imaginative use of sound, quirky features, and high production values. The goal of this course is to produce a variety of high quality audio productions that could potentially be aired on a public radio program, website, or other outlet. <br />Audio is also being married with still photos for news website slideshows.<br />We may want to create a slide show, at least for the first assignment. You are free to do more as the semester progresses. <br />IF YOU LEARN NOTHING ELSE THIS SEMESTER, REMEMBER THIS: <br />THINK SOUND SCENE. GO DEEPER, ASK WHY.<br /><br />WTBU/WBUR/NPR: At a minimum, each student must submit several completed assignments to WTBU, the BU student radio station. I need to know when they will air and in what form. Two of you could combine like-minded field reports and then do a little discussion with an expert or BU faculty member and make a nice half hour show that YOU host. Contact WTBU News Directors at www.WTBUradio.org or dfalcone@bu.edu.<br />In the past, students have submitted pieces to New Hampshire Public Radio, WBUR. “Living on Earth” and NPR for national broadcast and earned a nice fee in the process. Stories pegged to holidays have been very successful. NPR has started a new show targeted to a younger audience, so youthful themes are also encouraged.<br /><br />TEXT: The text is, Sound Reporting, by Jonathan Kern. The previous Sound Reporting by Rosenbaum and Dinges, editors, is out of print, but it is better in some ways than the new version, so I may provide copies of chapters of the old edition for your enlightenment. If you have never done broadcast writing before, I would strongly recommend Writing News for TV and Radio by Mervin Block and Joe Durso Jr., available at the bookstore. Its expensive, so maybe share a copy with a classmate.<br />At some point in your journalism career, you should read Elements of Journalism by Kovach and Rosensteil. If you haven’t read it already, do so this semester.<br />For fun, buy a $5 copy of Ira Glass’ comic book, Radio, an Illustrated Guide.<br /><br />PURCHASE: We will be working with new flash recorders this semester. You will need to provide your own flash drive cards. <br /><br />REQUIRED LISTENING: At least five hours of a variety of public radio<br />programs every week, including "All Things Considered", "Morning Edition", "Marketplace","The World", "This American Life", BBC programming, "On Point" and "Weekend Edition". THE EXAM WILL REQUIRE YOU TO COMPARE AND CONTRAST THE PRODUCTION AND EDITORIAL STYLES OF THE VARIOUS PROGRAMS. You need to be very familiar with the shows/styles by then if you are not already. www.npr.org lists about 50-75 programs. You can download most of them as podcasts, and listen at your convenience.<br /><br />ATTENDANCE: Tardiness and absenteeism are not acceptable. In the event of a<br />personal or family emergency, please notify me that you will not be in<br />class, and make arrangements with me to make up the time/work. Work missed during unexcused absences will be given an F grade. <br />In addition, a fair amount of outside of class time will be required in the<br />audio lab. The only way to become adept at digital audio editing, is to practice,<br />practice, practice. While we will spend some class time with hands-on production, it will NOT be nearly enough to attain the level of proficiency required. You should plan several sessions with the TA, Phil DiMartino, pad13@bu.edu ( or Jake Kassen ) early in the semester. <br /><br />ASSIGNMENTS AND GRADING:<br />All scripts must be typed, double or triple spaced. All must have a :20-:30 second host intro that leads into the taped piece. Late assignments will not be accepted. <br />A = ready for air. Reporting and research are thorough. Writing is "tight, bright and right". The tape is of the highest quality. The story has a beginning, middle and end. Each element (ax, trax, sfx) adds something to the story and advances it. The edits and mix are flawless.<br />B = good work, but would require some editorial and/or production tweaking<br />before it could be sold.<br />C = average work, requiring major revisions<br />D = barely passable, and needs to be re-done<br />F = hopeless, start over from scratch with a new story.<br /><br />You have the option of passing in any project that you have tweaked or overhauled completely to try for a better grade. No promises that the grade will improve, but it may be worth a try.<br /><br />Project 1: Creating a Sound Scene: “Audio Postcard”- 5% 2 minutes*<br />BRING A CAMERA ALONG FOR A SLIDE SHOW. Slide show – 5% 2 minutes*<br />Project 2: News cut and script a.k.a. ax and trax -10% 3 minutes*<br />Project 3: Mixed news item with ambience - 20% 4-5 minutes*<br />Great Debate: 5% 3-4 minutes*<br />Project 4: Mixed feature with ambience -20% 4-5 minutes*<br />Project 5: Mini-doc – Multi-scene, in depth report, 8-10 minutes*<br />OR shorter mixed piece (4 minutes)paired with an interview (4 minutes)for broadcast/podcast on WTBU. 25%<br />Exam: 5%<br />Q&A timed assignment 5%<br />*Times are minimums and maximums. Do not deviate by more than :30 seconds<br />• DO NOT STRETCH A PIECE THAT WARRANTS Fewer MINUTES INTO a longer story JUST TO FILL THIS TIME REQUIREMENT.<br /><br />PLAGIARISM: <br />Please read the guidelines carefully. You are not to use any tape from any source other than what YOU record in the field -- unless you have written consent from the source and me. If you are doing an internship and have access to other tape, you may use it ONLY with my permission AND the permission of your internship supervisor. You cannot download audio off the web without permission and attribution. You cannot “double dip”—pass in the same story to two different classes. You cannot have family members, roomates or friends pretend to be sources. See DO’s and DON’Ts.<br /><br />WBUR SHOW: All or some of your stories will focus on the theme we decide to create for the hour show in May. Not everyone’s stories will air. Quality will be the judge…and an editor at WBUR. <br /><br />SCHEDULE:<br />Week One 1-26<br />Public radio today: NPR, PRI, BBC, the wheel, programs<br />NPR style. History. listening session. Hindenburgh, to Murrow, to today.<br />Field recording basics. Tascam recorders and phone recordings.<br />Homework: record interviews and ambience from a variety of sources, locations. Bring flash card to next class. <br />Read manual in flash recorder or check out blogspot. You will need to create an “audio postcard” with what audio you collect. Have interview describe the scene, but also let the ambient sound tell the story. You should shoot images of the scene you have recorded. <br />BOOK: Chaps 1,2<br /><br />Week Two 2-2<br />Protools: Basic digital editing. Load in tape. Basic edits, fades.<br />Homework: REQUIRED: Meet with TA to work on postcard. Complete a two minute music/ambience bed, mixing ax with ambience, fading up and down.<br />Choose topic for cut and script. <br /><br />Week Three 2-9<br />Audio postcard (project #1) due. <br />Listen to students' work. More in-class digital<br />production. <br />DISCUSS SLIDE SHOW. Peter Southwick guest.<br />Homework: CREATE A SLIDE SHOW. <br />BOOK: chaps 3&4<br /><br />BY the end of this week YOU SHOULD BE QUITE FAMILIAR WITH ALL THE TECHNOLOGY -- NOW YOUR EMPHASIS SHOULD BE ON THE EDITORIAL CONTENT. If you are still struggling, see the TA for extra help. We will start doing timed exercises, so you’ll need to be comfortable working on deadline.<br /><br />Week Four Tuesday 2-17<br />Wrting copy for radio. Narrarive style, developing scenes, characters, a story arc. How to prepare a radio script. Critique former student work.<br />Homework: report and write #2, cut and script. Work on digital editing and field recording. GET SCRIPT TO ME VIA EMAIL BY 6pm Sunday.<br /><br />Week Five 2-23<br />Script for #2. Frog exercise. In class copy editing. Peer editing – bring a couple of hard copies of your script for other students to read. Professional listening session.<br />Michelle Trudeau “David”, basic NPR fare. <br />Assignment: . BOOK: Chaps 5&6. If available, read Krulwich, Amos and Simon chaptersThey are among the best in the business. Hear what they say and read those chapters carefully!! <br /><br />Week Six 3-2<br />#2 Due. Listen to student work. Discuss ideas for #3.<br />Writing to sound. Using ambience. RATS. BEARS.Telling the story, beginning middle and end. Zwerdling and the use of surprise. Blind Dog, Scott Carrier.<br />Homework: Report and write #3. Get scripts to me before 6pm Sunday, via email.<br /><br />Spring Break<br /><br />Week Seven 3-16<br />PROJECT #3 script. <br /> ISAY discussion/listening session. Chickens. Alternative ways of story telling.<br />Homework: Mix #3. <br /><br />Date TBA: GREAT DEBATE. MUST ATTEND AND COVER.<br /><br />Week Eight 3-23<br />Project #3 due. Listen to student work. Friendly Man. Interviewing, producing Q&A.<br />NPR video on interviewing. Right Question Project exercise<br />Assignment: Listen to interviews on line, “Fresh Air” with Terry Gross, ATC, ME, Here and Now, The World. Reort and Write #4<br /><br />Week Nine 3-30<br />#4 script Due: <br />In class story chasing: from today’s headlines, find an expert, do a 10 minute phone or in person interview, load it into computer, and cut it down to a 3-4 minute interview with you as show host. <br />Homework: mix #4<br /><br />Week Ten 4-6<br />#4 Due. Mini-docucmentary, multi-scene story, going deeper Determine what stories will go to WBUR to be included in show.<br />Homework: Report and write #5.<br /><br />Week Eleven 4-13 <br />TOUR WBUR<br />#5 Script DUE 6pm Sunday. Listening session <br />The docu-drama - when are re-enactments OK?<br />Tony Kahn, Blacklisted, Mei Mei, War of the Worlds Revisited<br />ASSIGNMENT: Mix #5<br /><br />Week Twelve Thurs. 4-23<br />#5 Due.<br />Loose ends for WBUR show. <br /><br />Week Thirteen 4-30 LAST CLASS – you may need to go to WBUR to mix your stories for show after last class. If you are not going to be able to do this, tell me. <br />Any re-worked material due. <br />Peter Pan, Wild Room, Job Prospects, freelancing, internships<br /><br />.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-70828261225722977172008-12-03T08:54:00.000-08:002008-12-03T08:55:36.363-08:00Where to Find Story IdeasWHERE TO FIND STORY IDEAS<br /><br />- BE CURIOUS. WALK THROUGH YOUR DAY. LOOK AROUND.<br />- READ WIDELY: NOT JUST THE GLOBE, BUT TRADE OR SPECIALTY MAGAZINES AND JOURNALS, UNIVERSITY RESEARCH, SMALL REGIONAL OR LOCAL PAPERS, NEWSLETTERS AND PRESS RELEASES. MINE THE BLOGOSPHERE.<br />- GET ON PEOPLE’S RADAR SCREEN, SUBSCRBE TO LISTSERVS OF ADVOCACY GROUPS ON BOTH SIDES OF ISSUES YOU WANT TO COVER.<br />- EXAMINE EVERY PURCHASE YOU MAKE OR TAX DOLLAR YOU SPEND: WHERE DOES THE MONEY GO? WHERE IS THE PRODUCT MADE? IS IT SAFE, EFFECTIVE? <br />- EVERY PERSON YOU MEET IS A GOLDMINE OF POTENTIAL STORIES: WHAT DO THEY DO? WHAT MAKES THEM TICK? WHAT ARE THEIR HOBBIES, PASSIONS, HOT BUTTON ISSUES?<br />- GO OUTSIDE YOUR COMFORT ZONE TO MEET PEOPLE UNLIKE YOU: TAKE A WALK IN A PARK, OR EAT AT A RESTAURANT FAR FROM BU AND TALK TO FOLKS, WHAT ARE THEY THINKING ABOUT, WORRYING ABOUT, DOING FOR FUN, GETTING MAD ABOUT?<br />- CHECK THE AP DAYBOOK ON ENPS, SEARCH UNDER “MASSACHUSETTS DAYBOOK”. LISTS EVENTS COMING UP THAT DAY.<br />- DO NOT REGURGITATE THE FRONT PAGE OF THE GLOBE. TELL ME SOMETHING I DON’T KNOW. IT IS THE NEWS BIZ, AFTER ALL.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-15170768473995767872008-12-03T08:20:00.000-08:002008-12-03T08:21:45.660-08:00RADIO NEWSROOM PRODUCTION GUIDELINESALL SCRIPTS AND TAPE FOR PRE-PRODUCED MATERIAL MUST BE EMAILED TO SHOW PRODUCER FOR THEM TO EDIT BEFORE SUNDAY NIGHT AT 9PM. IDEALLY, SCRIPTS SHOULD BE SENT BEFORE YOU EDIT TAPE. FAILURE TO DO THIS RESULTS IN A FULL GRADE DOWN FOR THAT ASSIGNMENT. FAILURE TO HAVE IT READY TO GO AT 9AM MONDAY IS A FAILING GRADE. YOU CANNOT FINISH THE PROJECT DURING CLASS MONDAY MORNING. <br /><br />FOR HOST Q&A:<br /><br /> IF YOU ARE THE HOST OF THE SHOW, YOU DO AN IN PERSON QA. YOU WILL INTRO STORY AND NAME/TITLE OF INTERVIEWEE IN A LIVE LEAD. TAPE SHOULD BEGIN WITH INTERVIEWEES FIRST ANSWER.<br /><br />TAPE SHOULD RUN 2:00 AND BE A GIVE AND TAKE CONVERSATION, NOT JUST A BATTERY OF QUESTIONS.<br /><br />TAPE SHOULD END WITH INTERVIEWEES LAST ANSWER.<br /><br />HOST WILL READ LIVE BACK ANNOUNCE RE-IDENTIFYING WHO WE WERE JUST LISTENING TO. <br /><br /><br />FOR HOST OR SPORTSCASTER PACKAGES:<br /><br />YOU WILL READ A LIVE INTRO, AND BEGIN TAPE WITH EITHER AMBIENCE OR A SOUNDBITE, NOT YOUR OWN PRE-RECORDED VOICE TRACK.<br />PACKAGE SHOULD END WITH AMBI OR SOUNDBITE, NOT YOUR VOICE. WE DON’T WANT TO BUTT TOGETHER YOUR LIVE VOICE WITH A PRE-TAPED VERSION OF YOURSELF. YOU DO NOT HAVE A SOC (STANDARD OUTCUE, FOR WTBU, I’M XX IN BOSTON…).SINCE YOU ARE COMING BACK ON LIVE AFTER THE PACKAGE AIRS.<br /><br /><br /><br />FOR FIELD REPORTER PACKAGES. WHEN YOU ARE NOT THE HOST:<br />IDEALLY, YOU WILL START A STORY WITH AMBIENCE. YOU WILL END WITH “FOR WTBU, I’M (YOUR NAME) IN (LOCATION WHERE STORY TAKES PLACE).Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-66600279708235664442008-10-08T18:52:00.000-07:002008-10-08T18:56:47.535-07:00Basic Audio. Notes from Power PointAudio Basics<br />Recording, Editing, Uploading <br /><br />Why should we care about good quality audio?<br />Audio is intimate, just you and the voice. One on one. <br />“Theater of the mind”, leaves room or imagination. Evocative. <br />Multi-tasking: listen while driving, cooking, taking a shower. <br />No one likes to cup their ear or crane their neck to HEAR….and let’s face it, we’re not getting any younger.<br /><br />Basic Gear<br />You will need:<br />An digital audio recorder (Run from $100-$1000 depending on quality)<br />An SD memory card (Zooms require 2G or smaller - same as you’d use for digital camera)<br />A card reader (or cable to connect recorder to computer)<br />A computer: software: Audacity (and LAME) <br />Batteries (Zoom needs 2 AA)<br /><br />Types of mics<br />Omni - gets sound in every direction<br />Uni - shotgun, pole mic, good for gang/crowd situations <br />Lavalier - tie clip<br />Internal - what we now use at BU.<br /><br />Recording Basics<br />Get in close, a fist’s distance from the mouth of the person speaking.<br />Put mic slightly off to the side to avoid air implosions (popped P’s).<br />Monitor audio levels visually, and wear headphones. LOW LEVELS ARE BETTER THAN HIGH. HIGH = DISTORTION.<br />Keep your mouth silent. No “uh, huh”.<br />Remain steady, avoid mic “handling” and don’t relinquish mic to interviewee.<br /><br /><br />Getting Started with Audacity<br />Take SD card out, and put it into card reader (or connect directly to computer with cable)<br />Open Audacity<br />Top Bar: Project. Drop down: Import Audio<br />Find file (waltham demo or donohue)<br />Hit: Open<br /><br />Audio Waves<br />Notice peaks and valleys. Try to cut in the valleys.<br />Space bar: stops and starts play<br />Toolbar: Magnifier. To Zoom in: Click on wav file. Zooms out: Shift/Click on wav file.<br />Toolbar: Selector (big I) selects sections to cut and paste. Select,cut, drag, paste or delete. <br />EDIT UNDO is your friend. Nothing is ever lost.<br /><br />Selecting a soundbite<br />TOP BAR: Project: Drop down: New track<br />Get rough ins and outs (tai chi or kids)<br />Cut and LISTEN. Re-cut if necessary.<br />Select soundbite<br />Cut and paste soundbite to newly created track.<br />Mute/Solo Tracks <br />Get “clean” ins and outs<br /><br />Other Features<br />Boosting volume of soundbite if levels are too low. <br />Matching volumes of various sounds recorded at different volumes<br />Cross fades to make seamless transitions between chunks of sound<br />Pacing, when to include ambience, how much for how long, de-umming, etc.<br /><br />Exporting Audio<br />Select Cleaned up Soundbite Track (not rough cuts track)<br />Top Bar: File. Dropdown: Export Selection as mp3<br />Name file, save to desktop<br />From here you can move/upload/ftp to website, Soundslide, or Podcast.<br /><br />Podcasting<br />Essentially an audio file on the web<br />Short sound clips, lectures, book readings, DJ copyright free music, audio tours of your favorite places, “Grape Radio” wine advice.<br />RSS - Really Simple Syndication allows you to “reach out” on a regular basis to your audience who can receive automatic downloads of your podcast to their ipods, computers or other devices.<br />Tags help web searches to find you.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-89204836142616975432008-10-07T14:02:00.000-07:002008-10-08T18:57:56.160-07:00Story Ideas: BostonNewsDesk.blogspot.comAnnouncing…..<br />BOSTON NEWS DESK<br />An electronic assignment desk for BU students and faculty <br /><br /><br />The purpose of the Boston News Desk is to provide BU students and WTBU news staffers with easy access to press releases, a calendar of upcoming events, and important contacts for news stories. This will be a great resource for students seeking story ideas. <br /><br />Professors, here’s how you can help: please any send press releases you might receive, story ideas, or contact suggestions to me to include in the blog. And please help me to announce the news blog to your classes. <br /><br />I would love to know what you think about this new blog!. Please check out the site and send me any thoughts, ideas, or suggestions that you may have. The web address is: http://bostonnewsdesk.blogspot.com<br /><br />Thank you!<br /><br /><br />Mary Stackhouse, WTBU News<br />mestack@bu.edu<br />Graduate Assistant for Prof. Anne DonohueAnne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-20810955762586327372008-10-07T13:59:00.000-07:002008-10-07T14:01:40.151-07:00Writing Tips for RadioWriting tips for radio: "Tight, Bright and Right"<br /><br />As is the case in all journalist writing, these things are paramount: Accuracy. Check your facts. Check them again. Assume Nothing.<br /><br />1. Write to the audio when possible, but don’t be too literal, let sound <br />tell the story.<br /><br />2. Use short declaritive sentences. This helps with clarity for your audience as well as with your ability to deliver material easily in your narration. Underline important words and phrases for emphasis. Find natural places in copy to catch your breath.<br /><br />3. Leave room for natural sound, punctuate the story with ambient sound if its a serious, somber story, or let sound jump out and grab you if its a fast paced story. Sound should tell the story more than the reporter track. LESS OF YOU, MORE OF THEM.<br /><br />4. Be inventive with word choice and language. Use a thesaraus. But don’t talk in jargon of a specific trade (sports, business, medicine). Make sure your audience understands the language you use. Make it CONVERSATIONAL.<br /><br />5. Write into sound bites, set them up in a seamless way in the text. “Mary Smith is concerned about the MCAS” versus, “Mary Smith had this to say”.<br /><br />6. Connect the dots. Hold your listener’s hand and walk them through the material in a clear, simple, organized fashion.<br /><br />7. Write visually, avoid numbers, i.e., as long as a football field, not 100 yards. <br /><br />8. Active voice, present tense in the lead. First sentence must grab the listener and draw them into the story. It must sound fresh, newsworthy and interesting. <br /><br />9. Avoid long meandering prepositional phrases, especially in lead. Subject-verb-object.<br /><br />10. Eliminate unnecessary words. Be ruthless.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-33775809743552248662008-10-07T13:54:00.000-07:002008-10-07T13:55:51.249-07:00How To: Protools and Distribution of WorkPro Tools 101<br />By Jeremy Binckes/ Jake Kassen<br /><br />To start a new project:<br /> - Get an external hard drive form the top<br /> - Turn on the computer under the desk and on the keyboard (upper right button)<br /> - Log in under “other:” use your BU login and Kerberos password (Note: for your first login, you must click on “create new account” and follow instructions on the computer screen).<br /> - On the hard drive, create a folder using your last name<br /> - Click on Pro Tools icon)<br /> - Go to New -> Session (name it the slug of the story)<br /> - Tell it to save the session onto the external hard drive under your name<br /> - Under “File” create as many new tracks as you need (usually 2-4)<br /> - Put files onto Pro Tools:<br /> - For tracks on a scan disc (eg: from the voice recorder) or audio CD, insert the disc into the card holder to the right of the screen or the CD in the slot on the right of the screen. Click on the disc icon on the desktop, then select the track(s) you want, and drop onto the session. The track will copy in its entirety to the mix window. It will need a few seconds to load.<br /> -For a minidisc, insert the MD into the MD slot. Turn up the minidisc knob on the Mackie mixer, and turn DOWN the Pro Tools knob. Click R (record-enable) on the track you want to record onto). <br /> +Play the MD to adjust levels (look at the green bar. Make sure it doesn’t go into the red box). It should bounce between halfway and 2/3rd of the way up the bar. <br /> +Adjust the levels on the Mackie mixer (err on the side of low, and do not peak into the red.)<br /> +Go to Windows -> Transport if you do not already see one<br /> +click “record” circle on the transport window.<br /> +hit play on the computer (spacebar)<br /> +hit play on the minidisc player (you should start to see a pink wave form on the computer screen)<br /> + stop recording by hitting the space bar. Stop the minidisc. Get out of record enable mode.<br />-Name all your tracks<br />- On the small Mackie mixer, turn up the Pro Tools knob to hear the computer. Listen to what you’ve digitized.<br /><br />Begin Editing<br />Get all ax, trax, and ambi in order.<br />Shuffle mode snaps edited material together<br />Slip mode cuts out material and leaves blank space<br />Begin mixing—fades, volume, adjustment, etc. <br /><br />How to Get Sound Out of Pro Tools<br /><br />STEP 1: MIX YOUR AUDIO<br /> <br /> After you mix your audio, it’s important to check your levels. Play back your piece and watch the green bar to the left of your audio track. The green bar should be riding about 2/3rd up the display most of the time. DO NOT go by what you hear in your headphones. Go by the green bar. If your volume is too low, then you need to adjust your levels before you bounce the audio. <br /> To adjust your volume levels for the entire track, go to “Audio Suite”→”other”→ “Gain.” There are green numbers and white numbers. Click on the left white number, and select a value to add. For really low tracks, use 10, but less and more can be changed. Click “process” on the bottom of the gain box. Make sure that the new levels in the waveform are neither too high or too low (you should always have space between the top/bottom of the wave and the top/bottom of the box). Note that this can NOT turn bad audio into good audio. Increasing the gain will also increase the background hiss. <br /> To adjust your volume levels for select parts, click on the “waveform” button underneath the “R” “S” and “M” button to the left of your audio track. Select the volume mode. You can use the trim tool to drag the volume line higher for the entire track. If you’ve already messed up with the volume levels for fades, you should use the volume slide button in what’s called the mix window to increase the volume uniformly across the track. Go to the corresponding volume slide button for the track you want to raise in the mix window (Audio 1, or Audio1 etc) and drag up the image of a slide-button on a sound board. If you can’t see the mix window, go to “window” → “mix.”<br /><br />Remember:<br /> *Just because you increased the Pro Tools volume doesn’t mean the green bar will go any higher. Don’t worry: the audio levels in your final project will be higher if you’ve increased the volume.<br /> *Use your judgment: if your audio was almost hitting the 2/3rd area then bring up the volume less. Bring it up more if it was far from the 2/3 area.<br /><br />STEP 2: BOUNCE YOUR AUDIO<br /><br />-Highlight the audio you want in your piece starting with the end of the piece and moving towards the beginning (it’s easier this way and you don’t miss a section at the beginning)<br /><br />-Go to “file” → “bounce”→ “disc”<br /><br />-A popup window will ask you what type of sound file you’d like to select. These are your options:<br /> -- Most compressed is an MP3 file, but for class purposes choose MP3 because it will upload in an iPod, play in iTunes, and play on the computers.<br /><br /> <br />Best quality is AIFF. Choose this if you are after broadcast quality sound, but remember that it will only play in Pro Tools and Final Cut Pro<br /> - Second best is a WAV file. It will play in more programs, but will NOT always play in an audio CD<br /> <br /><br />-After you’ve selected your file type, you’ll be asked to make a series of choices. Here are the settings you are after:<br /> - Format: mono(summed)- this will make 1 sound file<br /> - Resolution: 16<br /> - Sample rate: 44100<br /> - Convert during or after bounce: either is fine… go with “during” but there may not be a difference. Sometimes you can’t convert during, so convert after.<br /> <br />-Once you’ve set the parameters, click “bounce”<br /><br />-The computer program will now ask you questions about saving your file. Name your file in the “Slug-Last name- Date of show” format and use the drop-down menu to choose where you’d like to save it. Put it in your external hard drive. (If you are not using your hard drive, save it to “scratch media” but expect it to be erased in short time).<br /><br />STEP 3: BOUNCE IT!<br /><br />Now that you know where the file is, retrieve it, and put it on the desktop. This is just temporary; once you log off, the file will be erased from the desktop, so DON’T SAVE IT THERE!<br /><br />Open the “classes” drive on the desktop, and scroll to your Professors’ last name, and then your class/section. There should be a folder open for the due date of that assignment (ex: 930 show for anything due on Sept. 30). Drop your work in this folder by dragging it from the desktop.<br /><br />If you are pulling off of AP Prime Cuts, select the cut you wish, and save it to the desktop. Rename the clip your slug name. If you have multiple clips, name the first one “(slug of story) 1” and the second one “(slug of story) 2” (where “slug” is replaced by your story’s slug name from the rundown in APENPS). Place it into the class folder by following the steps above.<br /><br />STEP 4: PRODUCER/ENGINEER: RETRIEVE<br /><br />If you are the producer/engineer, go to the class folder for that week (do it the morning of your show).<br /><br />Above the folder for the week, there should be a “connect to WTBU News” option. Click on it. There should also be a folder for that week’s show. Open that folder, and drop all stories into the folder. <br /><br />Now that the stories are there, rearrange them for order. Use the rundown to inform the engineer when to play the story (this will also make the playlist load in the correct order so the engineer doesn’t have to search for slugs).<br /><br /><br /><br /><br />The new format should look like this:<br /><br />For pre-produced stories (let’s say it’s the fifth story on the rundown), it should read <br /> 5-Slug-last name-date of show<br /><br />For stories pulled off the AP wire, it should read (let’s use the first story this time):<br /> 1- slug-date of show<br /><br />Now the stories should be on the WTBU News folder on the studio computer’s desktop under the semester folder, and then the date folder. Warning: Because you’ve transferred from a MAC to a PC, there will be “phantom files.” These can be detected by being transparent. DO NOT SELECT THESE FILES. They are doubles. The more visible files are your actual files. Go to the first file, click on it once to select, then hold “shift” and click on the rest. Right click and go to “play file” and all will load into winamp. You may or may not be able to computer prompt from the board, however you will need to use the mouse to start, stop, and select next track. Turn the computer switch on the board off, and make adjustments to prepare for the next track.<br /><br />ENDAnne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-41788477491855300962008-10-07T13:50:00.000-07:002008-10-07T13:52:34.830-07:00Interviewing Tips for QAInterviewing vs. Conversation<br /><br /> Writing a brief. Find out all you can about a topic in short order, write down your gut, most obvious questions. Find out as much as you can about the bias/background of whomever you are interviewing. TV often calls on one "expert" for foreign affairs….not explaining to the audience that this is not an objective observer but a biased player. <br /><br />Ask personal questions: how did you get involved in this project, what made you think this was going to work, what was your inspiration for this, has your focus changed in light of recent events, etc. What does your wife or kids think of this? Is this what your mother dreamed her little boy would grow up to do?<br /><br />Imagine yourself in their shoes. What policy would I pursue? What regulations would I suggest? <br />you just want soundbites, you can refer to notes, pause, re-ask, stumble. But if you want to broadcast a Q&A, or a conversation, it needs to sound like a conversation. Pre-conceived questions might fall by the wayside, you need to go where the conversation leads, listen and respond, challenge, engage. <br /><br />You don’t’ need to be confrontational to get at controversy: but say, “critics will say”, or be specific: “Tom Friedman charged in the NYTimes, how do you respond?” Or “some people in our audience must be wondering…”.<br /><br />Let your natural curiosity control the flow of the questions. <br /><br />Ask stupid questions – “let me make sure I’ve got this right, you’re saying we can go to Mars today?”<br /> I’m not sure I understand what you mean by that. So please explain to our listenters – most of whom are like me and don’t know a hydrogen fuel cell from adam -- how this works"...<br /><br />Get them to discard jargon. "Please explain to someone with no legal/scientific/economic background, how this could have happened..."<br /><br />Don’t take what they say at face value: “Give me an example of what you mean”<br /><br />Or be incredulous: “you really think Iraq will become an example of democracy in the middle east?”Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-60278363421292370912008-10-07T13:40:00.000-07:002008-10-07T13:45:18.359-07:00Audio Recording TipsCommon Recording Problems <br /><br /><br />BROKEN EQUIPMENT> always check to make sure equipment is working before you leave BU equipment shop. You do not want to schlep to an interview, set up and find out, oops, you don’t have working equipment. THIS IS THE NUMBER ONE PROBLEM STUDENTS ENCOUNTER AND ITS ENTIRELY AVOIDABLE. <br /><br />BATTERIES> always make sure batteries are charged and/or you have fresh supply of batteries with you in case yours die in the field.<br /><br />YOU CONTROL THE MIC. DO NOT GIVE IT TO INTERVIEWEE. <br />They will bob and weave in and away from the mic and drop the mic as they get tired.<br /><br />LEVELS. Especially on the Zoom recorders, make sure menu is programmed to correct mic input. Watch the levels, get in close.<br /><br />BAD MIC CABLE CONNECTION> make sure all your cables are securely connected. If audio drops out abruptly and completely, or intermittently drops out, its probably a loose cable.<br /><br />MIC HANDLING> be sure cables are not swinging around hitting the deck or the surrounding area. Keep cables tightly held in your hand or in the bag.<br /><br />“MMM, uh-hah, hmm,” KEEP YOUR MOUTH SILENT during the interview. Everytime you sniffle, cough, clear your throat, or grunt, the mic will pick it up and permanently make it part of your interview. Get in the habit of nodding your head, not saying, “yeah, uh-huh, yeah, uh-huh”<br /><br />LOCATION, LOCATION, LOCATION > After tape is rolling, get person to identify himself on tape, tell you the weather, then stop and check to make sure that recorded. Listen for strange room tones, buzzing from flourescent lights, clicks and beeps from computers and phones. MOVE TO A QUIETER LOCATION if necessary.<br /><br />RECORD ROOM TONE after interview is complete. one minute of no one talking, just room noises. Will help with later editing.<br /><br />Record ambience after interview is done in quiet location and mix two together later.<br /><br />PAUSE between questions and answers so that you don’t “step” on a soundbite. Leave plenty of pad on the end after your last answer.<br /><br />Types of microphones:<br /><br />MICRPHONES (omni, uni, shot gun, lav) wind screens. Omnis record everything in all directions equally, which is usually fine for most journalism assignments. Occassionally in a crowd situation where the newsmaker is many feet away from you, a shotgun uni-directional mic is necessary. Use foam windscreens for any outdoor recording...and even indoors to avoid implosions, popped P's.<br /><br />WEAR HEADPHONES. <br /><br />AVOID PAUSE BUTTON.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-79140393900241896522008-10-07T13:36:00.000-07:002008-10-07T13:38:08.563-07:00How To: Zoom H4 "tazer" audio recordersUsing the Zoom H4 Audio Recorder<br /><br />What you will need to use the H4:<br /><br />You will need an SD (Secure Digital) flash memory card. SD flash cards are not provided but can be purchased for $15-25 from all electronics retailers and many drug stores. Only use 2GB cards or smaller. (4GB and larger cards will not work.)<br /><br />The H4 uses two standard AA batteries. Batteries are provided with the kit but it is a good idea to buy spare batteries for yourself in case you run low on power. A fresh set of batteries will last about 4 hours. An AC adaptor is provided with the kit as well.<br /><br />To Record:<br /><br />Open door behind Microphones and insert your SD flash card, label side out, in the slot between the batteries. <br /><br />Turn the unit on. (Power switch is on lower left side.)<br /><br />Make sure the MP3 Preset “4” is selected. While the other presets will work fine and produce slightly better audio quality, they will use considerably more space on your card. <br /><br />Press the red REC button twice. The first time you press the button the light will flash and the recorder will be in “Record-ready” mode, allowing you to see the record levels. Only after you press the REC button a second time do you start recording. If the Record button is not solid red, you are not recording. <br /><br />To stop recording, just press the REC button. After a few seconds the red recording light will turn off. <br /><br />Make sure to turn the unit off before removing your SD card. <br /><br />To Playback:<br /><br />Connect headphones to the “Phones” jack. Press the round MENU button up toward the play/pause icon. Press the round Menu button to the left or right to move between tracks.<br /><br />The filename currently being played is displayed in the screen. Make a note of file names that contain important audio so you know what files to import into the computer. <br /><br /><br /><br /><br />Understanding Proper Audio Levels:<br /><br />Like all audio recorders, it is very important to monitor your levels throughout the recording. During recording, the H4 displays two solid horizontal bars that represent the left and right audio channels. If the bars hover around –48db or are not visible, the wrong input is selected or there is a problem with your audio source. If the bars extend across the entire screen and hover around 0db then your audio will be too “hot” and distorted. <br /><br />Ideal audio levels are around the –12db mark; about 3/4 the way across the screen. Do not continue recording with bad audio levels as you will not be able to use those files!<br /><br />As with any audio recorder, listening with headphones to the recording while it is being made is the key to good audio. If you think the audio sounds bad when you are in the field, it will sound even worst in the edit room. <br /><br />Setting audio levels:<br /><br />Make sure your subject is making noise before you start recording to let the auto-gain set the correct level. If you start recording in silence and then start talking or go to a noisy location, your audio will be too “hot”. (The auto-gain only adjusts levels before you start recording, not during the recording.) <br /><br />During the recording you can adjust the levels by moving the “Mic Gain” switch on the right side of the H4. If recording from an external source, adjust the “Input Gain” switches.<br /><br />If in manual gain mode, Go into the “Input Menu”. Select “Levels”. Use the jog dial to raise or lower the audio levels. (Advanced users only.)<br /><br />Selecting an Input Source: <br /><br />In general you will record from one of three sources: The built-in microphones, external microphones (Handheld, Lavs, etc), and line or mic level “House feeds”.<br /><br />To record using the built in microphones, press the circular MENU button towards the words “input select”. Move the jog wheel (on the side next to the record button) up or down to select “Source”. Press the jog wheel and move the wheel up/down until “Mic” is selected. Then press the MENU button to exit the menu. <br /><br />To record using an external microphone or other source, follow the steps above but select “IN 1&2”. Connect the external Microphone/Source to the XLR or 1/4” connectors on the bottom of the H4. See an engineer or the workshop for adaptor cables if needed. <br /><br />Using your SD Memory Card:<br /><br />It is important that you format your SD card before you start using it for the first time. You should occasionally reformat before starting a new project to ensure you data never becomes corrupted. When you reformat the card it erases all the data that might be on it. <br /><br />Note: Do not use the card to store any other files on the card, including scripts, finished audio projects, photos, etc. It should only be used to record audio from the H4 and transfer it a computer for editing. Frequently deleting, moving, renaming files on the card has the possibility of corrupting and losing all data on the card. <br /><br />Reformatting the SD card:<br /><br />Press the circular “MENU” button straight down. Use the jog wheel to move and select the “Card” option. Then select the “Format” option. The card will be erased and reset. <br /><br />Checking how much recording time is left on the card: <br /><br />Press the circular “MENU” button straight down. Use the jog wheel to move and select the “Card” option and then “Remain”. The screen will show how much recording time remains on your card in the audio preset you have selected. If you don’t have much recording time left, make sure the “MP3” preset (4) is selected before you start to record. <br /><br />Turning Auto-Gain mode On or Off:<br /><br />Most of the time it is best to leave auto-level turned on. Should it be turned to manual mode you can reset it by pressing the “MENU” button down. Use the jog wheel to move to the “Auto-Gain” heading and then press the jog wheel in to select “ON”. Press the “MENU” button straight down to exit the menu. <br /><br />Turning the Compressor/Limiter On or Off:<br /><br />The limiter should always be left on help prevent your audio from being distorted when someone raises their voice or you enter a noisy location. To make sure it is turned on press the “MENU” button down and use the jog wheel to move to the “COM/LIMIT” heading. Using the jog wheel make sure “LIMIT” is selected.<br /><br /><br />Default Settings:<br /><br />The unit will reset all settings to the factory defaults if the battery door/SD flap is opened when the unit was still turned on. Should this occur, below is a list of settings that are correct for a majority of users. It is a good idea to enter into the Input Settings Menu (press the “Menu” button down toward “Input Menu”) and make sure the settings match what is listed below. (Use the “Jog Dial” on the right hand side to adjust each setting.)<br /><br />Source: "Mic" or "IN1&2" (For built-in Microphone or Handheld, respectively.)<br />Level: Ignore this.<br />Phanton: "Off"<br />Monitor: "Off"<br />Auto Gain*: "On"<br />Comp/Limit*: "Limit"Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-18716154367320331342008-10-07T13:16:00.000-07:002008-10-07T13:36:05.591-07:00How To: Zoom H2 "lollipop" recorderZOOM H2 “Lollipop” Style Audio Recorder<br /><br /><br />1. Insert 2 AA batteries into back of recorder<br />2. Insert SD card (same as used in digital cameras) 2gb or smaller into bottom of recorder. If SD card needs formatting, see page 60 of larger manual in kit).<br />3. Attach “lollipop” stick to bottom of recorder (if you don’t attach the stick you might get distracting mic handling noises). <br />4. Turn recorder on (left side, POWER)<br />5. Determine which micrphone/audio source you want to use: (use back and forth arrows next to MENU key to select which mic you want. A red light indicates which mic is selected. <br />FRONT – for solo voice, interviews –TURN THE FRONT OF THE RECORDER TOWARD THE PERSON SPEAKING.<br />REAR – for ambient sound<br />BOTH – 2CH for a musical performance or a back and forth interview where you want BOTH YOUR voice and the INTERVIEWEES voice on the recording. <br />Or EXTERNAL – plug mic into “EXT MIC IN” jack on right of recorder. <br />Or LINE – if you are at a press conference with a multbox, or house feed, you plug into the “LINE IN” jack on the right of recorder.<br />(if recording outside in windy location, attach foam windscreen, and use your body to shield against the main force of the wind). <br /><br /><br />6. Getting good quality: The “MIC GAIN” switch on the right of the recorder can be set to low, medium or high, depending on the situation. [I think medium is best for most recordings we will do, interviews in reasonably quiet locations] Hit the RECORD red button ONCE and do a MIC CHECK. You want the levels meter bars to reach about half way across the screen.<br /><br />You can make minor adjustments in levels within those low/medium/high settings: Hit RECORD button once, do a mic check and hit the fast forward and rewind keys (located above the “REC LEVEL +/- markers) until you get the levels you want.<br /><br />WARNING: IF THE “MIC ACTIVE” red light is flashing, your audio will be DISTORTED and unusable. Turn the mic gain down to medium or low, adjust levels downward, and back away from audio source (really loud music, screaming fans at sporting event, loud machinery) until you get usable levels.<br /><br /><br />7. RECORDING MODE: Hit the MENU button. Press ff arrow until you hit REC MODE. Hit red RECORD button. Press ff until you hit the mode you want. <br />MP3 OR WAV. Either is fine. The optional bit rate would be 48khz for wav, or 128k for mp3. <br /><br />8. START RECORDING: Hit the red button once, adjust levels, and hit it a SECOND time to start recording. If timer/counter is moving you are recording.<br /><br />9. Hit RECORD red button a THIRD time to STOP recording. <br /><br /><br />10. Playback: hit the play/pause button at the bottom. You can adjust volume of playback on the left side of the recorder. <br /><br />The longer manual which should be in most of the kits has much more detail on file labeling, dating and other ways to organize your material, as well as other more sophisticated functions. <br /><br />The audio lab has card readers, but if you are working at home, you can use the recorder as a card reader and your kit should come with a cable to connect recorder to your computer for editing.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-12914930099149420732008-10-07T13:14:00.001-07:002008-10-07T13:14:44.894-07:00Radio TermsRadio Terms<br /><br />Actuality = soundbite, a clip of an interview with a newsmaker [aka: ax, clip, cut]<br /><br />Tracks = Reporters voice [aka: narration, links]<br /><br />Track = name of an audio file that you take audio from or add audio to.<br /><br />Ambience = the noise in the location. [aka: ambi, sfx, natural sound, nat sot, wild sound, room tone]<br /><br /><br />Reader – Story read just by the newscaster (anchor/host) [aka copy or tell]<br /><br />Voicer – Story done by the reporter that only uses reporter’s voice, no soundbite<br /><br />Wrap = Ax and Trax = package = reporters voice around a soundbite<br /><br />Q&A = interview = two-way (three-way if you are interviewing two people at once)Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-14947612315973330812008-10-07T12:59:00.000-07:002008-10-07T13:05:38.618-07:00Job Descriptions For Radio NewsroomJOB DESCRIPTIONS FOR RADIO NEWSROOM Fall 2008<br /> <br />Producer – Week before class: Will communicate with host, field reporters and commentators to find out what stories they are pursuing the week before, and/or assign stories for them to do. Producer will edit all copy done by field reporters and commentators. <br />Day of Show: Listens to a variety of radio and TV throughout the day to know what tape is available. Reads the papers, BU Today, Free Press and arrives in classroom at 8:30 a.m., checks AP search: DAYBOOK for local events, AP feed for national tape, and posts a rundown in the computer and/or on the blackboard. Rundown will indicate what stories will be covered, who will report them, who will write them, how long they will be, and the source of what tape will be in each story. Producer will assign times to each story. Producer will constantly check wires to make sure we are not missing any breaking news or changes in stories. Should get TV turned on to to CNN. Producer will also DIRECT show - know what goes where /when/ how. Keeps track of time, cues newscaster and engineer. You are responsible for the sound of the show and if it holds together well. <br /><br />Pre-produced Field Reporter (s) – Work with show producer on story assignment. Produce a one minute piece with two actualities on an item that will not be dated by class time. The piece must be mixed and ready to go BEFORE you arrive in class. Failure to have story mixed by 9 a.m. = a full grade down on that assignment.<br /><br />Spot Reporter (s) Should come to class prepared with audio recorder, bateries, SD card and SEVERAL story ideas that you could cover that day. Ultimately it is up to the show producer to assign you to whatever story he or she wants you to cover. Producer will tell you whether to file voicer, wrap, Q&A or just actuality. Be prepared to go out in snow, rain or other man made or natural disaster!!!<br /><br />Newscaster - In the week BEFORE the show, he or she should produce a two minute Q&A with a newsmaker or interesting person and have it ready to air by 9a.m. day of show. <br />Newscaster will be up to date on the stories he/she might be called upon<br />to read. Will write stories. Must obtain correct pronunciation for any words/names they<br />will read. Will mark scripts for emphasis, will time scripts. Will rehearse aloud and will<br />edit for readability. Will write accordion page to be read into post and know how<br />long each line is in order to collapse copy.. <br /><br />Writer - You will write news stories that are assigned by producer,<br />including tape if assigned by the producer and keeping to the precise time assigned by producer. Will make sure copy is readable for newscaster and that difficult words are spelled out phonetically. YOU SHOULD TRY TO GET TAPE FOR ALL STORIES. Get on the phone EARLY AND OFTEN in order to insure a clip of tape before showtime!<br /><br />Engineer.. You will check all stuio equipment and microphones LONG BEFORE air time to make sure everything is in working order. You will make sure field reports are CUED and ready to go; will be familiar with CHANGES AND SLUGS on show format and run the board for the live newscast. You will pull actualities from feed sources (AP) and mix reports produced by spot reporters. YOU MUST RECORD CLASS NEWSCAST. <br />Commentator. Will write a 1:00 opinion essay, ending with “...and that’s my opinion” on a topic of interest to our BU audience. These should be controversial issues in the news, not just how irritating gum chewing or flip flops are (both of which were done last year). Commentary should be backed up with real facts and figures to bolster your opinion<br /><br />Sports. The week before, he or she should produce a sports related story to include in the sportscast, profiling a team, athlete, event. Will write and deliver sportscast. Will work with producerto find actualities to include in sportscast. <br /><br />.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0tag:blogger.com,1999:blog-5461367131622964403.post-78094981699054823212008-09-19T10:15:00.000-07:002008-10-07T12:59:21.004-07:00Welcome<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.bu.edu/com/images/faculty_donohue.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 169px; height: 227px;" src="http://www.bu.edu/com/images/faculty_donohue.jpg" alt="" border="0" /></a><br /> This blog will be used as my class website for my journalism students at Boston University. I will provide class materials, useful links, suggestions for books, films, audio and multimedia productions. I hope my students will use this space to share their stories with you.Anne Donohuehttp://www.blogger.com/profile/17213801988680297535noreply@blogger.com0