first audio of the selection to be played; then slowly back
the tape up to the precise start point of the audio. From
this point, back the tape up about half an inch to give the
recorder enough space to get up to speed. The tape is
now properly cued and the sound levels are set.
NOTE: Cuing distances vary from recorder to
recorder. Experiment with your machine to get the
optimum distance.
5. Place the output select on the audio console into
the program mode. The reel-to-reel source is now ready
to air.
MICROPHONES
Setting up your studio microphones before airtime
is a relatively simple task. Sit down at the console in the
same position you will use when producing or working
on air. Place the microphone four to six inches from your
mouth at a 45-degree angle. It is possible to set a
microphone level by placing the output select in the
audition mode and setting the level on the VU meter by
using the proper slider. Once you do this, place the
output select back into the program mode. Repeat this
procedure for the newscaster’s microphone.
RADIO CONTROL ROOM HINTS
Exactly how you get the source “on the air” is
simply a matter of choice and experience. Each operator
develops his own method of preparing for and actually
airing a sound source, and each method has its pros and
cons that you should take into account.
The following are some radio control room hints for
you to consider.
Be certain the correct source is aired at the
specified time.
Monitor the VU meter while the source is playing
and adjust the volume, if necessary, to maintain
the proper VU level.
If you play two or more sources at the same time,
make sure the primary source does not drown out
the secondary source(s). You can do this by
running the primary source at about 80 percent
and the secondary source(s) at about 50 percent
initially, adjusting for a final overall output of
between 80 and 100 percent.
If the sound source goes off the air unexpectedly
and cannot be restored within a reasonable
amount of time (say within five seconds), fill the
time according to your station’s emergency
procedures.
Practice! To understand your radio control room
equipment fully, you will need hands-on
experience. The more time you spend practicing
studio operations, the sharper your mechanical
skills will be.
EDITING AUDIOTAPE
LEARNING OBJECTIVE: Identify the method
used to edit audiotape.
One of the advantages of working with reel-to-reel
audiotape is that you can edit program material easily.
You can remove mistakes and unwanted material from
your program to from a cohesive, polished product. The
editing process also will allow you to adjust the run time
of a program by shortening or lengthening a taped
segment. In addition, you may add taped material to
another taped program through the editing process.
EDITING PROCESS
The most common method of editing audiotape is
for the unwanted material to be cut out. Although this
method has been in place since the introduction of
magnetic recording tape many years ago, the “cut and
splice” technique is still the preferred editing method of
the broadcast industry. The manual reel-to-reel tape edit
is simple, requires no expensive or exotic equipment,
and depending on the skill of the editor, can produce a
clean and extremely accurate edit.
Finding Edit In/Out Point
You can edit tape manually by taking the following
steps:
1. Thread the tape onto the recorder, then place the
recorder into the playback mode.
2. To get a better idea of what and how much
editing you will need to do, preview the material. This
will save considerable time when editing. You can plan
your edits by listening to the order of topics or subject
items as they occur on the tape. listen for and note
statements that may be in poor taste, against policy or
unnecessary. Be aware of items that do not maintain
continuity or that are illogical. Consider editing out long
pauses that do not add to the program. Time the material
to see how you can adjust the program length.
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