STUDIO MANAGEMET AND PRESENTATION

WHAT IS A STUDIO

A studio is an artist or worker's workroom. This can be for the purpose of acting, architecture,
painting, pottery (ceramics), sculpture, origami, woodworking, scrapbooking, photography,
graphic design, filmmaking, animation, industrial design, radio or television production
broadcasting or the making of music.
‎

A Room where an artist, photographer, sculptor, broadcaster etc. works.

For art works mostly the painting is done in the studio, working from drawings"
o a place where cinema films are made or produced.
o a place where musical or sound recordings are made.

The department of Mass Communication have professionalrecording and

presentation studio"

o a room from which television programmes are broadcast, or in which they are
recorded.
o a place where performers, especially dancers, practise and exercise.

A dance studio is spacious enough to cater for aerobics classes"

.
Types of Recording Studios

Recording studios vary by type -- ranging from a small studio tucked into a basement corner all
the way to high-end music recording studio. In between the two extremes are middle-of-the-road
project studios which are typically used for voice-over recording.

The advent of inexpensive digital recorders and music software programs has made it easier than
ever for anyone to record. In most instances, all it takes to record is a desk with a digital recorder
or a computer with a MIDI computer set-up. For more on MIDI, check out our article on How
MIDI Works. Often, home studios are a hobby for the owner. These studios can be very minimal
or more sophisticated depending on the owner's experience. The recording can vary in quality as
well [source: Richard Cleaver].

Usually more sophisticated home studios can be found in the home of a producer or engineer,
and they often form the middle tier of recording studios. They're known as project studios.
Besides being used for voice over recording, they can also be used by bands to record demo
albums to present to prospective producers, to record commercial jingles or to produce sound
effects for a movie.

And, at the very top are the high-end recording studios used for music, which are very expensive
to hire or build. These feature an acoustic control room, several performance areas and high-
quality equipment. Recording at a high-end studio allows performers to mix various instruments,
using professional equipment such as microphones, synthesizers and mixers.

No matter what type of studio it is, a studio must be able to capture, record, combine, re-record
and edit sounds. And, the studio must offer a sound-protected environment. It also must allow
engineers and musicians the ability to listen to playback

Not ready to start your own recording studio? You can rent instead. But what should you look for
when renting a studio? Check out the next page to find out.

Broadcasting studio
1. broadcasting studio - a studio where broadcasts originate
Noun radio station - station for the production and transmission of AM or FM radio
broadcasts
studio - workplace for the teaching or practice of an art; "she ran a dance studio"; "the
music department provided studios for their students"; "you don't need a studio to
make a passport photograph"
television station, TV station - station for the production and transmission of
television broadcasts
 STUDIO EQUIPMENTS

What does a typical broadcast studio have?

Studio floor
decoration and/or sets. professional video camera (sometimes one, usually several), typically
mounted on pedestals. microphones and foldback speakers. stage lighting rigs and the associated
control equipment, although often this will be located in the production control room (PCR)

Essential Broadcast and Production

Equipment
While studying broadcasting, there is a large number of equipment options you need to learn
about. It‎doesn‟t‎matter‎if‎it‟s‎in‎regard‎to‎radio‎or‎television,‎using‎the‎latest‎broadcast‎
equipment is necessary in order to ensure the highest quality production is released.

Different stations, in different markets, are going to use different kinds of equipment based on
the particular needs and budget of the company, but in general, the same basic and essential
equipment is used throughout the industry.

Radio Broadcast
There are many similarities between the equipment used in both a radio and television broadcast.
Both are going to use station microwave receivers, relays and satellite dishes. This equipment is
used to send the information from the stations to local homes in the broadcast region. Different
stations have more powerful relays and receivers, which sends out the signal further out, but in
general, all of this works the same way. Beyond this, inside of a radio broadcast there is often a
digital radio station that comes with a computer, console and audio equipment. (When working
in a smaller market, you may work with similar equipment, but depending on your location, it
may not be a completely digital station.) Connected to the computer is the mixing board and
plugged into the mixing board are the microphones. The mixing board makes it possible to adjust
the audio levels so the computer can control the way the audio is recorded and where it is sent
out. It also makes it possible to perform real time edits and censor content, if necessary. There is
generally a short delay between the broadcast and the relay, making it possible to edit
questionable content. Inside a radio station the audio playback equipment is also connected to the
mix table.

Previously, this would have been played back with a compact disc or even a record, but now
most libraries are stored digitally, which makes it less expensive, easier to hold a larger library,
and making it is less likely that an audio track may become damaged. The software used at each
radio‎station‎is‎going‎to‎vary,‎however,‎once‎you‟ve‎learned‎one‎system,‎it‎isn‟t‎difficult‎to‎pick‎
up the nuances of another operating system.

Television Broadcast
Many of the techniques used in a radio broadcast are similar to a television broadcast, only on a
smaller scale. Essentially, a television broadcast uses multiple cameras running to a computer
editing program. This software/hardware combination uses something such as Avid Newsroom,
although there are other options out there for live broadcasts. The video feeds run to where the
producer is located and they select which video feed is then transmitted to the audience. With the
push of a button a different camera angle is brought up. Typically the entire studio has different
microphones placed above anchors of a live event, or at least have the microphones clipped to
their clothing. A mix board is then able to turn up or down the audio from one microphone. Keep
in mind, when putting together a live news broadcast, or scheduling syndicated programming,
there will be some differences in how a show is assembled, and edited for viewers.

While attending our program,‎you‟ll have the opportunity to acquire hands-on training with
different‎types‎of‎equipment‎used‎in‎both‎television‎and‎radio.‎You‟ll‎also‎acquire‎more‎real-
world‎experience‎via‎industry‎internships.‎Through‎these‎industry‎internships‎you‟ll‎learn‎more‎
about the different types of cameras, editing programs, and equipment used in different stations
across the country. This is the same when it comes to microphones, audio boards and live video
editing‎software.‎The‎majority‎of‎this‎equipment‎you‟ll‎find‎in‎each‎market is going to be similar
with the largest differences being found in the programs they use for video editing.

To learn more about our new programs, and how you can launch your career in broadcasting in
less than one year, schedule a campus tour today!

Equipment You’ll Find In A Radio Station

If‎you‟re‎new‎to‎radio,‎it‎can‎be‎hard‎to‎know every single piece of gear and understand how it

fits into the air-chain.‎Here‟s‎a‎catalog‎of‎every‎piece‎of‎equipment‎you‎might‎find‎in‎a‎typical‎
radio station.

In the studio…
Audio Console
At the heart of any studio is the audio console (sometimes called a radio panel, sound panel, or
sound‎desk).‎This‎is‎the‎interface‎the‎radio‎announcer‎(or‎panel‎operator)‎uses‎to‎control‎what‟s‎
heard‎on‎air.‎Every‎channel‎represents‎one‎“input”.‎The‎fader‎(slider)‎attenuates‎or‎amplifies‎the‎
incoming signal.

Radio Audio Consoles are very different from a regular PA or Live Sound audio console, and are
often more expensive than PA audio consoles as they are purpose-built for on-air talent ease of
use. When you turn a microphone on or off, a radio console will mute any speakers and
illuminate‎an‎“on‎air”‎light.‎When‎you‎turn‎a‎CD‎Player,‎Phone‎or‎Computer‎channel‎on,‎often‎it‎
will‎“trigger”‎that‎input‎so‎it‎starts‎playing‎immediately.

While‎analog‎audio‎consoles‎have‎the‎physical‎audio‎flow‎directly‎through‎the‎console‟s
circuitry, many radio stations now use Digital Audio Consoles – these are actually a remote
control for a Mix Engine (often located in the rack room).

Microphone
A microphone captures sounds from the studio and turn it into electrical impulses. Broadcast
microphones are designed a little differently to PA microphones, as issues such as feedback (the
squealing‎sound‎that‎can‎come‎through‎speakers)‎isn‟t‎an‎issue‎in‎a‎studio.

Experienced audio announcers will often have a favourite microphone. Common microphones
include ElectroVoie RE20, Sennheiser MD421, and Rode Broadcaster.

Microphone Arm

Studio microphones are often mounted on a special arm that keeps the microphone at the correct
height. These arms often extend over the audio console, computer monitors, and other equipment
– leaving plenty of table space free for equipment and paper.

Playout & Automation Software

The computer system that plays back music, spots (ads, promos, etc.) and sweepers (the little
voice-overs played between songs) is called a Playout System or Automation Software. These
are specially designed computer programs that allow for continuous playback of audio, with a lot
of granular control for Announcers and Programme Directors.

At the heart of any Automation System is the “log”.‎This‎is‎a‎sequential‎list‎of‎all audio files and
commands that need to be played at certain times. All music played on a commercial radio
station will be pre-programmed by the Music Director and loaded into the log. A separate person
will often load all advertisements into the same log.

Most automation systems also contain a music database, hot keys (to play ad-hoc audio), an
audio editor, segue editor (to change the mix between different elements), interfaces for website
and RDS data, and a lot more.

Level Meters

To ensure output of a station is somewhat consistent, radio studios contain different Level
Meters. These allow the announcer or panel operator to see if their audio is too loud or too quiet
at‎any‎given‎time.‎Often,‎you‟ll‎have‎multiple‎meters showing the levels at different points in the
signal chain.
Some radio stations also provide phase meters alongside level meters. This helps you detect
mono content, and spot any problems in source material that are likely to cause issues with the
stereo image.

Studio Monitor Speakers

Studio‎Monitor‎Speakers‎provide‎an‎easy‎way‎to‎hear‎what‟s‎going‎to‎air‎without‎headphones.‎
Often, these are very high-quality speakers so any abnormalities in sound quality can be
detected.

Cue/Preview Speaker

A separate‎speaker‎is‎often‎provided‎for‎the‎announcer‎hear‎all‎audio‎that‎isn‟t‎going‎to‎air,‎such‎
as the preview output from your audio console or the feed from your audio editor. By having a
separate‎speaker‎for‎this,‎announcers‎can‎be‎sure‎their‎“preview”‎audio‎isn‟t‎going‎to‎air.

Headphones
Studio Monitor Speakers are automatically muted whenever a microphone is turned on. As a
result, anyone in a studio needs headphones to hear what is going to air. Headphone selection is
often a very personal decision based on your preferences in comfort and frequency response.

Talent Panel

While the main announcer or panel operator can control everything via the audio console, guests
often need their own individual control for headphone levels, a cough mute and mic on/off.
These panels are generally mounted in front of each guest microphone, usually recessed into the
table. Most panels include a headphone jack, and some also contain an XLR connector for the
microphone.

On Air Light
How do you know a mic in the studio‎is‎live?‎There‟s‎a‎light‎especially‎for‎that!‎This‎light‎is‎
automatically turned on/off by the audio console whenever a microphone channel is turned on.
Usually‎you‟d‎have‎at‎least‎one‎light‎inside‎the‎studio,‎and‎one‎outside.

Button Panel (GPIO)

Sometimes you need to control settings not available from the audio console itself. This is why
many consoles can have at least one row of configurable buttons. These can be physically wired
to other equipment (in analog audio consoles), or configured via software (in digital audio
consoles).

These buttons will often control studio delegation (which studio goes to air), phone systems,
automation systems, or even remote triggering for networked radio stations.

P.S. GPIO stands for General Purpose Input/Output.

Phone Talkback System

If‎you‎want‎to‎take‎a‎lot‎of‎calls‎on‎air,‎you‟re‎going‎to‎need‎a‎Phone‎Talkback/Talkshow‎
System. This is a software program or physical controller that shows you every call coming in on
each line, and allows you to send this caller to a specific studio or audio channel.

Most systems allow you to track callers (a phone book with history), chat between the studio and
producers‎and‎“conference”‎multiple‎callers‎together.‎The‎talkback‎system‎often‎doesn‟t‎connect‎
directly to a phone system, but instead interfaces to a PABX and/or Phone Hybrid.

Intercom
How do you communicate easily between studios? An intercom system. Sometimes an audio
console will have a built-in‎talkback‎system,‎and‎other‎times‎it‟ll‎be‎built‎into‎the‎phone‎system.

CD Players, DAT Machines, Mini Disk Players, and Turn Tables

While most pre-recorded‎audio‎these‎days‎is‎played‎off‎a‎computer,‎it‟s‎not‎uncommon‎to‎find‎

these playback devices in a studio (even just as a backup, or a way to capture old archival
material). Playback of these devices is usually triggered directly from a button on the audio
console.

Microphone Processor

Some radio stations use a dedicated microphone audio processor for each microphone. This
keeps the levels consistent, and helps tailor the sound.

In the rack room…

The Rack Room (also: Equipment Room, Master Control, Data Centre, etc.) is my favourite
room‎in‎a‎radio‎station.‎This‎is‎where‎most‎equipment‎lives.‎It‟s‎an‎exciting‎place.

Computer

The most common piece of equipment in any radio station is by far the computer. These come in
many shapes and sizes, and can perform a whole range of broadcast functions. They have
become popular, in part, because they are commoditised (and thus much cheaper than broadcast-
specific‎boxes).‎Here‟s‎some‎things‎you‎can‎do‎on‎a‎computer‎in‎a‎radio‎station:

 Automation/playout system
 Routing control
 Monitoring
  Audio logging
 File sharing
 Music scheduling
 Traffic scheduling
 Newsroom operations
 Dead air detection
 Emergency audio playback
 Profanity Delay
 Audio processing
 …‎and‎so‎much‎more!

Computers in a rack room will often be in rack-mounted server form factor, even for studios
workstations.‎Due‎to‎heat‎and‎noise‎requirements‎in‎studios,‎it‟s‎preferable‎to‎keep‎all studio
computers physically located in the rack room and simply extend their control with KVM
Extenders.

Dual‎power‎supplies,‎dual‎NICs,‎and‎RAID‟ed‎hard‎drives‎are‎also‎sought‎after‎to‎reduce‎
downtime.

KVM Extender

A KVM (Keyboard/Video/Mouse) Extender allows‎remote‎access‎and‎control‎of‎a‎computer‟s‎

keyboard, mouse and video output. This is typically achieved by a pair of proprietary boxes
communicating over a dedicated un-switched Cat6 cable. Sometimes you also see IP-enabled
KVM Extenders, which are compatible with network switches and routers.

Mix Engine
If‎you‎have‎a‎digital‎audio‎console,‎you‟ll‎need‎something‎to‎actually‎“mix”‎and‎process‎the‎
audio. These days, a Mix Engine usually has two plugs: network and power. As the digital
controls protocols are proprietary, you almost always need to purchase your Mix Engine from
the same company that makes your Audio Console.

Audio Router

Older facilities are likely to have an Audio Router (different from a Network Router). This
expensive box receives all audio inputs from your entire facility, and switches them to the correct
outputs. The advantage of having a router at the heart of your facility is that you can send any
audio source, to any destination, at any time. Some routers are card-based, and allow you to mix
and match formats (Analog, AES, etc.). These days, Audio Routers are being replaced in favour
of IP-Audio Networks.

Audio I/O Node

If you have a digital audio network (such as AES67, Livewire, Dante, or Wheatnet), you need
some‎way‎to‎turn‎analog‎or‎AES‎signals‎into‎IP‎packets‎and‎then‎back‎again.‎An‎“I/O‎Node”‎
(Input/Output Node) fulfils this function. Most nodes have a number of inputs and outputs, with
a web-based configuration interface allowing you to configure the routing.

StudioHub

Many Audio I/O Nodes need high-density and widely available connectors. StudioHub is a
wiring standard to connect analog and AES audio over RJ45 (network) connectors. StudioHub
doesn‟t‎digitise‎or‎packetise‎the‎audio,‎it‎merely‎changes‎the‎connector.‎A‎huge‎advantage‎of‎
StudioHub is that you can run analog audio over regular network cable, using ordinary network
patch bays.

Network Patch Bay

With so much broadcast equipment network-enabled, and much more using StudioHub, you can
basically connect everything via network patch bays and Cat6 cable.

Multipair Audio Cable

Older facilities use a lot of Multipair Audio Cable, from cable giants such as Belden. This will be
terminated to punch-down‎blocks‎in‎every‎room‎and‎rack.‎Sometimes‎it‟s‎also‎soldered‎into‎a‎D-
connector, to interface with equipment.

Punch-down Block (Krone, etc.)

A Punch-down Block is a style of cable termination device, where‎wires‎are‎“punched‎down”‎
(connected) into individual slots. This form of Insulation Displacement Connector (IDC) is
common‎in‎telecommunications,‎but‎it‟s‎also‎found‎a‎lot‎in‎older‎broadcast‎facilities.

Krone is a popular punch-down brand in Australia. Most facilities will still have them
somewhere. All audio and control signalling can be punched down to a Krone block and then
interconnected with special patch wire (loosely wound pairs of copper cable). For IDC to work,
you generally need solid core cable rather than stranded cable.

Network cable can also be terminated to Punch-Down‎Blocks,‎so‎it‟s‎not‎uncommon‎to‎see‎

Krone‎still‎used‎for‎GPIO‎logic.‎It‟s‎actually‎quite‎a‎convenient‎way‎of‎connecting‎logic‎paths.

Network Switch

If‎you‎have‎computers‎or‎any‎digital‎audio‎equipment,‎you‟ll‎need‎a‎network‎switch‎to‎allow‎
everything to communicate correctly. Commodity network switches from HP or Cisco are fine,
although you generally need a managed switch to configure Quality of Service (QoS), Virtual
LANs (VLANs) and Multicasting.

If you have a digital audio network, check with your equipment vendor to ensure your switch
will be compatible.

Network Router
Any time you need to route IP packets across subnets, you need‎a‎router.‎Due‎to‎radio‟s‎
heavy reliance on the internet, often core routers are setup in a N+1 redundant configuration. If
you have a IP Audio network, you may wish to use a multicast-enabled router, although most
vendors recommend against multicast routing for IP Audio as it adds a lot of complexity to the
setup.

Broadcast Audio Processor

The Audio Processor is usually the last piece of equipment used before your audio is transmitted.
Broadcast audio processors contain speciality multi band compressor/limiters, but also have a lot
of‎“magic”‎features‎to‎give‎your‎station‎that‎competitive‎edge.‎Most‎stations‎want‎to‎be‎the‎
loudest, and the big Audio Processor manufacturers all claim to be the loudest and clearest.

While traditionally‎you‟d‎have‎a‎dedicated‎box‎for‎processing,‎some‎vendors‎are‎now‎selling‎
software-based‎processors.‎If‎you‟re‎on‎a‎budget,‎check‎out‎StereoTool. If you have a lot of
money to spend and want a dedicated box, look at Orban and Omnia.

RDS Encoder
RDS (Radio Data System) is a way of sending ASCII text and other metadata to compatible
radio receivers. It encodes a 1187.5Bps data stream onto the 57Khz subcarrier (third harmonic of
the 19Khz FM Stereo Pilot signal). Stations use RDS to encode the station name, song data,
program guide and traffic information.

RDS Encoders are sometimes built into your FM Audio Processor. If you have an external RDS
Encoder, it needs to be connected into the SCA input on your Stereo Generator or Processor.

Phone Hybrid

If you want to take phone calls on-air, you need a Phone Hybrid. In simple terms, a Hybrid is an
interface to connect two-wire phone lines into input and output XLRs. These XLR connectors
are plugged into an audio console or I/O node. Many hybrids also contain echo cancellation and
an automatic equaliser.

Hybrids often connect to a Talkback system and PABX, for easy control by announcers.

PABX

A PABX (Private Automatic Branch Exchange) is an in-house phone system, found in most
company offices. There is nothing‎special‎about‎a‎radio‎station‟s‎PABX,‎except‎perhaps‎
Talkback system compatibility (these rely on vendor-specific APIs).

Off Air Receiver

An Off-Air‎Receiver‎is‎a‎radio‎locked‎to‎your‎station‟s‎frequency.‎This‎receiver‎is‎usually‎
connected to a special monitoring bus in each studio, as well as dead-air monitors/alarms,
allowing everyone to monitor the signal as listeners hear it.

Modulation Monitor / FM Analyser

A Modulation Monitor (or FM Analyser) is a special radio receiver designed for engineers to
monitor specific transmission characteristics. This includes modulation power, pilot tone, phase,
frequency deviation, signal strength, RDS, and more.

Anyone working with FM transmission should have one of these to ensure your FM signal is not
only operating‎within‎it‟s‎legal‎requirements,‎but‎also‎at‎optimal‎quality.

GPS Clock System

To ensure accurate time-keeping, you may wish to use a GPS-locked clock system. The master
unit connects to a GPS antenna on your roof, and then distributes time code to all compatible
clocks in the facility.

Some stations now opt for NTP-enabled‎clocks.‎I‟ve‎even‎seen‎Android‎tablets‎mounted‎on‎

studio walls, with a dedicated clock app running 24/7! A nifty solution for the budget conscious!

Server Rack

Most broadcast‎equipment‎comes‎mounted‎in‎a‎19″‎case.‎This‎is‎compatible‎with‎standard‎server‎
racks. Deep racks with cable management rails and in-built‎PDU‟s‎(power‎distribution‎unit)‎can‎
help keep racks tidy.

Please be aware that most broadcast equipment doesn‟t‎follow‎standard‎computer‎server‎cooling‎

conventions. With servers, air flows front to back using special vents and plastic air guides
within‎the‎equipment.‎With‎most‎broadcast‎gear‎I‟ve‎seen,‎there‎are‎no‎front‎air‎inlets.‎Thus,‎
server racks with in-built cooling may not be suitable. The whole piece of equipment needs to be
cooled, rather than forcing air in through the front.
Audio Codec

Speciality Audio Codecs allow you to transport audio between locations. They are often bi-
directional, low-latency, and incorporate lossy encoding algorithms. These are used for outside
broadcasts‎(„remote‎broadcasts‟‎for‎our‎North‎American‎friends),‎networked‎radio‎shows‎and‎
transmitter site links.

Satellite Receiver

Satellite is a common delivery method for one-to-many audio distribution. If you take networked
content‎from‎a‎big‎provider,‎it‟s‎likely‎you‟ll‎have‎satellite‎as‎an‎option.‎For‎example,‎in‎
Australia the Community Radio Network is distributed via the VAST satellite network (Optus
C1 & D3) and Macquarie Radio Syndication is distributed on Optus D2.

DAB+/DRM/HD Radio Encoder

If‎you‎transmit‎on‎DAB+,‎DRM,‎or‎HD‎Radio‎then‎you‟ll‎need‎an‎encoder.‎These‎devices‎take‎
your analog (or AES) audio and wrap it up in the correct transport protocol ready to be pulled
into‎the‎multiplexer.‎Usually‎you‟d‎purchase‎an‎encoder‎from‎the‎big‎technology‎companies‎that‎
develop these Digital Radio technologies, although now some of these technologies can be
encoded using open source software.

Audio Patch Bay

If you have a predominantly analog facility, perhaps without a central router, you may need a
audio patch bay to interconnect and re-route audio.

Silence Detector & Compact Flash Player

When‎all‎else‎fails,‎you‎need‎a‎device‎to‎detect‎the‎silence‎(“dead‎air”)‎and‎trigger some backup

content. Many silence detectors have a built-in audio player than can play off mediums such as
Compact‎Flash‎Cards.‎This‎medium‎is‎popular‎because‎it‟s‎durable‎and‎easily‎re-writeable via a
computer.

Delegation Switcher
Delegation Switchers provide a way to switch between studios and other audio sources, selecting
what goes to air. If you have a router or IP-Audio‎network,‎you‟ll‎probably‎be‎able‎to‎use‎
switching logic within the router or network. Otherwise, you can use an external switcher.

Profanity Delay

Profanity‎Delays‎(or‎“7‎Second‎Delays”)‎are‎used‎to‎stop‎inappropriate‎content‎from‎going‎to‎air.‎
They‎work‎by‎delaying‎the‎content,‎and‎providing‎a‎“Dump”‎button‎to‎delete‎the‎audio‎currently‎
in the buffer. Some delay units will then fill this time with a pre-recorded ID, but high-end units
will stretch the incoming audio so there is no break in program.

The Profanity Delay can be located in a studio (controlled directly), or in a rack room (controlled
via remote control). If you have multiple studios, it makes sense to locate it in the central rack
room.

At the transmitter site…

Studio Transmitter Link
A Studio/Transmitter Link connects your studios with the transmitter site, ensuring audio is
reliably sent to the TX site. Analog links (perhaps in the 850Mhz or 950Mhz bands) are popular.
These RF links need line-of-sight antennas and licensed frequencies in order to operate. These
days, IP Links (such as unlicensed 5Ghz links from Ubiquiti) are being used to complement or
replace the traditional analog STL links. Some stations also use Audio Codecs over the Public
Internet, or perhaps a private WAN.

Typically a station would have multiple links in different formats to ensure there is never a break
in transmission.

FM Stereo Generator

A FM Stereo Generator takes a stereo audio signal, and converts it into the FM Baseband format.
This contains the L+R (Mono), L-R, and 19Khz Stereo Pilot Tone. A Stereo Generator will have
a BNC output, which can be connected directly into your Exciter.

Often the Stereo Generation will be done in the Audio Processor, and sometimes in smaller FM
transmitters it can also be done directly in the transmitter.

Composite Switcher
A Composite Switcher allows you to switch between multiple Stereo generators. It‟s‎essentially‎a‎
BNC switcher, sometimes with built-in silence detection or remote control.

FM Exciter

The FM Exciter takes the FM Stereo Baseband signal (from your Stereo Generator, perhaps via
the Composite Switcher), modulates it on your licensed frequency. FM Exciters generally output
a few Watts of power, and can be used without a separate Power Amp on low power stations.

FM Transmitter Power Amplifier

The FM Power Amplifier (PA) takes the signal from the FM Exciter and amplifies it to your
licensed power. These days, FM Power Amplifiers are usually built into the Exciter. However,
it‟s‎important‎to‎note‎the‎difference‎in‎function‎even‎if‎they‎do‎live‎in‎the‎same‎box.

Antenna Combiner
If you have multiple FM Stations sharing one antenna array, you need an Antenna Combiner.
This takes the high-power‎output‎from‎every‎station‟s‎FM‎Power‎Amplifier‎and‎merges‎it‎
together so it can connect into the one FM antenna array. They typically contain filters to ensure
each‎transmitter‎isn‟t‎spewing‎out‎RF‎outside‎of‎it‟s‎expected‎frequency‎range.

Antenna Array
FM‎can‎be‎transmitted‎with‎just‎one‎antenna,‎but‎this‎isn‟t‎always‎optimal.‎By‎adding‎more‎
antennas‎to‎the‎FM‎system‎you‟re‎actually‎adding‎additional‎gain.‎This‎means‎more‎power‎
without buying a bigger transmitter (sort of). For example, a 3dB gain means the EIRP (actual
measured‎output)‎is‎double‎what‎you‎TX‎PA‎can‎output‎by‎itself.‎There‟s‎a‎lot‎more‎to‎it‎than‎
this, but remember that extra antennas means more efficient transmission.

Antenna Switcher

If you have multiple antenna systems (perhaps for redundancy),‎you‟ll‎need‎a‎way‎to‎switch‎

between antennas. To prevent damage to your equipment, antenna switchers have interlocks with
the input transmitters. Generally the power output is muted while the switch takes place.

Transmitter Remote Control

In the good‎ol‟‎days,‎transmitters‎were‎monitored‎by‎real‎humans‎with‎readings‎taken‎around‎the‎
clock. Regulations have been relaxed over the years. A Transmitter Remote Control can be used
to monitor all transmission systems and provide alarms if readings are outside their acceptable
tolerance.

Air Compressor

If‎you‟re‎dealing‎with‎high-powered transmission systems, you need to keep the transmission

line (coaxial cable up to the antennas) pressurised. This ensures impurities are kept out of the
cable. The pressurisation can be done with an air compressor, or a bottle of nitrogen. Coaxial
cable manufacturers (such as Andrew Helix) have specific recommendations based on the type
of‎cable,‎power‎output‎and‎environmental‎factors.‎This‎isn‟t‎usually‎necessary‎for‎low‎power FM
stations.

Anywhere else…
UPS
An Uninterruptible Power Supply (UPS) provides constant power to all equipment. If you have
inconsistent power from the grid, pick an Online UPS – these constantly run power through the
battery and inverter ensuring equipment is always protected and power filtered. An offline UPS
simply switches to battery power when there is an outage.

Generator
A UPS can only last so long. To run for extended periods of time during an outage, you need a
generator with a decent fuel supply. Typically a generator for a broadcast facility is permanently
connected with an automatic transfer switch – this allows it to start up automatically when mains
power is lost.

The generator should be connected to the input of the UPS in the event of a mains failure. This
keeps power filtered, and the batteries charged. This will allow allow you to shut down the
generator while you refuel (in the event of an extended outage).

Air-Conditioner
Equipment needs to be cooled to keep it running smoothly‎and‎maximiseit‟s‎lifetime.‎In‎an‎
equipment room, dual redundant air-conditioners is a must. A network-enabled temperature
sensor can help you catch failures quickly.

Coffee Machine
Engineers and announcers both like coffee. If the coffee machine‎fails,‎you‟ll‎probably‎be‎the‎
first to hear about it.
On this page

 In‎the‎studio…
o Audio Console
o Microphone
o Microphone Arm
o Playout & Automation Software
o Level Meters
o Studio Monitor Speakers
o Cue/Preview Speaker
o Headphones
o Talent Panel
o On Air Light
o Button Panel (GPIO)
o Phone Talkback System
o Intercom
o CD Players, DAT Machines, Mini Disk Players, and Turn Tables
o Microphone Processor
 In‎the‎rack‎room…
o Computer
o KVM Extender
o Mix Engine
o Audio Router
o Audio I/O Node
o StudioHub
o Network Patch Bay
o Multipair Audio Cable
o Punch-down Block (Krone, etc.)
o Network Switch
o Network Router
o Broadcast Audio Processor
o RDS Encoder
o Phone Hybrid
o PABX
o Off Air Receiver
o Modulation Monitor / FM Analyser
o GPS Clock System
o Server Rack
o Audio Codec
o Satellite Receiver
o DAB+/DRM/HD Radio Encoder
o Audio Patch Bay
o Silence Detector & Compact Flash Player
o Delegation Switcher
o Profanity Delay
 At‎the‎transmitter‎site…
o Studio Transmitter Link
o FM Stereo Generator
o Composite Switcher
o FM Exciter
o FM Transmitter Power Amplifier
o Antenna Combiner
o Antenna Array
o Antenna Switcher
o Transmitter Remote Control
o Air Compressor
 Anywhere else…
o UPS
o Generator
o Air-Conditioner
o Coffee Machine
QUALITIES OF A GOOD PRESENTER

Paint Pictures with Words

Radio is unique, it's the only medium where you paint pictures with words, presenting boundless
possibilities that are only limited to the listener's imagination. Bring your shows to life with
powerful storytelling to engage and inspire your listeners. Develop this skill in your everyday
life by absorbing a variety of content, not just radio; watch TV, read books, play video games,
observe the dynamic and varied ways that each medium captures an audience. Take the writing
techniques from these and use them to enhance your ability to tell stories that captivate listeners.
Stay Updated
It‟s‎easy‎for‎listeners‎to‎become‎disconnected‎if‎they‎don‟t‎feel‎they‎can‎relate‎to‎the‎voice‎on‎the‎
other side of the radio. Countering this ties into your ability to interact with listeners as a
community;‎sometimes‎it‟s‎not‎enough‎to‎focus‎entirely‎on‎your‎own‎life.‎It‎means‎
understanding‎and‎appealing‎to‎your‎audience‟s‎interests‎and‎frustrations.‎If‎your‎audience‎is‎into‎
the latest TV show, watch it, if they're complaining about traffic in the city centre, find out more
about it. The point is to understand and relate to who you're talking to, even if that means doing
things you wouldn't normally do. Develop a connection that will last.

4. Social Media Savvy

The world is more connected than ever before. Social media allows people from entirely
different sides of the globe to communicate so easily that it was unthinkable 20-30 years ago.
Most importantly, it lets people communicate with creators in ways they never could before.
Twitter, in particular, is where the majority of your audience will come to get updates, share their
opinions and interact with you directly. You need to be prepared for anything, as this is also
where your detractors will find you and offer…‎criticism?‎Insults?‎Threats?‎Probably‎all‎three.‎

You need to be able to handle all kinds of interactions on social media, positive and negative,
while keeping up a professional demeanor and not embarrassing yourself or your peers. Many
people have tanked their careers (and possibly others) through unprofessional behaviour on
social media.

For a more in depth guide on how to properly utilize social media, specifically Twitter, take a
look at Radio.co‎founder‎James‎Mulvany‟s‎guide‎on‎growing‎your‎audience.

3. Make Listeners Feel Special

Despite a lot of talk about building communities, making people part of a greater whole, etc.
what‎listeners‎really‎want‎is‎to‎feel‎special‎when‎they‟re‎listening‎to‎your‎broadcasts.‎Listen‎to‎
your favourite presenter and note how they address the audience. Most‎of‎the‎time,‎they‎don‟t.‎
They‎address‎You.‎Chances‎are,‎without‎realizing‎it,‎that‟s‎one‎of‎the‎reasons‎you‎listen‎to‎them.‎
Personal address towards the listeners helps to single them out and give them a feeling of
companionship, so be sure to always address the audience as a single person rather than a whole.

2. Air Check Your Shows

No‎matter‎how‎well‎you‎think‎a‎show‎went,‎there‟s‎always‎room‎for‎improvement.‎If‎you‎slipped‎
up and want to figure out how to avoid it in the future, or perhaps something went really well and
you‎want‎to‎replicate‎it‎for‎future‎shows,‎it‟s‎worth‎listening‎back‎to‎the‎recordings‎of‎your‎
broadcast. This is a simple but effective way of addressing issues before they become major
problems.

1. NEVER Be Boring
Who wants to listen to a boring person? The number 1 secret to becoming a great radio presenter
is‎to‎have‎a‎unique‎voice‎and‎perspective‎that‎sets‎you‎apart‎from‎the‎crowd.‎There‟s‎enough‎
mediocrity‎in‎the‎world‎and‎you‎shouldn‟t‎be‎happy‎settling‎for‎being‎just‎another‎radio
presenter. The best radio presenters can make even the most boring topics interesting through
just their enthusiasm and ability to offer a new perspective. Wear your passions on your sleeve
and‎have‎fun‎with‎what‎you‟re‎doing‎and‎your‎audience‎should‎have fun too.

Keep Listeners Engaged

Final Thoughts
Becoming‎a‎great‎radio‎presenter‎doesn‟t‎happen‎overnight.‎Take‎these‎points‎on‎board‎and‎
you‟ll‎be‎on‎your‎way‎to‎improving‎your‎shows‎and‎engaging‎with‎your‎audience‎on‎a‎whole‎
new level. How have you been honing your radio presenting skills? Share what works (and what
doesn't) in the comments below.

What Are Five Skills You Need to Be a TV

Broadcaster?


TV broadcasters present entertainment, current affairs, news, music, weather and sports
programs on television. They may present programs live or record them for later transmission.
Broadcasters may also research and write their own material. In smaller stations, they may be
responsible for editing their own program content. Broadcasters, therefore, require a wide range
of presentation and program production skills.

Presentation Skills
Excellent presentation skills are essential for a TV broadcaster. You must have a clear voice and
the ability to present your material calmly and professionally, particularly under the pressure of a
live broadcast. You must be able to present your material in a natural tone when reading your
material from an autocue. If you are using graphics to explain complex subjects, on a news
broadcast for example, you must be able to interact with the material while continuing to speak
directly to camera.

Research Skills
You must have good research and writing skills if you prepare your own program scripts.
Broadcasters who present current affairs programs, for example, keep up to date with
developments and personalities in their field so that they can provide their audience with an
informed, authoritative view on an issue. On larger stations, you may have a team of researchers
and writers who contact experts or source information. You must be able to give the team
direction so that they provide you with material relevant to the program.

Interview Skills
As part of your role, you may interview people on location or in the studio. A broadcast
journalist may interview eyewitnesses or experts while covering a news story. A talk show host
interviews a wide range of guests from members of the public to celebrities. You must have the
interpersonal skills to put the interviewee at ease and encourage him to make an informative or
entertaining contribution to the program. To prepare for the interviews, you must research the
subjects and the people thoroughly so that you can ask meaningful questions.

Flexibility
Flexibility is an important attribute for a TV broadcaster. You must be able to react quickly and
calmly to change. News broadcasters, for example, may have to interrupt their prepared bulletin
if important news breaks. They receive information from the production team and must quickly
prepare their presentation so that the broadcast continues without interruption. If a technical
problem occurs, such as a broken link to a video clip or a journalist on location, you must be able
to quickly and calmly switch to an alternative item.

Technical Skills
You must have an understanding of television production techniques so that you are familiar
with the work of program directors, sound engineers, camera operators and the control room
team. Technical knowledge enables you to respond effectively to instructions from the
production team. You must be familiar with studio equipment and editing techniques to edit your
program material.

Should I Work in Radio or TV Broadcasting?

Earning a radio and television broadcasting diploma from one of our Media Schools will provide
a significant degree of flexibility in your career. It will open doors into the world of radio and
television broadcasting that will make it possible for you to influence vast audiences.

But what is the difference between the two?

As you consider the differences between radio and television broadcasting, keep the following in
mind as you chart your career path.

Differentiation Between TV & Radio

Television’s Greatest Strength is Visual

Television allows you to back up the story you want to tell with visual cues that can elicit the
desired response from your audience. When strong copy and smooth dialogue fail to interest
viewers, visual imagery and special effects can keep them watching. Television offers vast reach
in the digital era, and good stories coupled with great dialogue and appealing imagery are a
formula for spinning gold time and time again.

Radio Relies on Strong Copy to Excite the Imagination

Radio‎doesn‟t‎have‎the‎ability‎to‎fall‎back‎on‎visual‎effects‎to‎keep‎listeners‎engaged.‎This‎means‎
that radio presenters and advertisers must become masters of creating a theater of imagination
that engages listeners. This is more of a challenge and requires endless creativity and the ability
to engage readers with little more than words and sounds. It is the perfect stage for creative
people and wordsmiths.

Fragmentation: The Biggest Difference Between Radio and

Television
Fragmentation is something you will need to address if you are planning to use your radio and
television broadcasting skills to design and promote advertising. Radio audiences often flip
stations when commercials come on, and television viewers are often “TiVo-ing”‎their‎programs‎
so they can skip through commercial breaks. It is a challenge that is facing both mediums.

However, radio has a bit of an advantage because radio listeners often listen in their cars or at
work. This makes them a captive audience. Savvy marketing professionals who understand the
difference between radio and television advertising can use their mastery of marketing to
achieve positive‎results‎for‎the‎station‟s‎sponsors‎and‎advertising‎clients.
6 Different Types of Presentations
Presentations

Presentations come in a lot of different forms and have a variety of purposes. In the business
world, there are six main types of presentations. Get to know them and once you identify your
purpose, choose the right type before you begin to prepare and practice your presentation. You
can always modify your presentation to meet your specific purpose.

Everyone from those who present in front of large audiences on a stage to managers who need to
pitch their ideas to co-workers can improve their delivery and impact of their message.

6 Types of Presentations:

1) Providing Information. This format encompasses anything from a team meeting that gives
updates on a project or upcoming event to a demonstration that shows product functions.

2) Teaching a Skill. Your company just installed a new system or implemented a new process
that requires people to learn how to use the new tool and apply the process.

3) Reporting Progress. As you integrate the new system into your daily routine, your boss
wants‎to‎know‎how‎it‟s‎working.‎You‎might‎schedule‎a‎divisional‎meeting‎or‎group‎off-site to
share the progress.
4) Selling a Product or Service. A briefing like this might include a recap of the product or
service, next steps and action items, or a discussion of needs and improvements before the
product is ready to sell.

5) Making a Decision. It‟s‎time‎for‎the‎annual‎holiday‎party‎and‎ideas‎are‎being‎tossed‎around‎

the office. When giving your input on the location, make sure to share the must-haves and nice-
to-haves‎for‎the‎event.‎When‎it‟s‎time‎for‎the‎final‎decision,‎you‎can‎see‎how‎your‎idea‎stacks‎up‎
to the other options.

6) Solving a Problem. This could be in a panel setting or other meeting where the problem is
identified, the facts of the problem are presented and a list of causes is generated. From here, you
lay out the ideal outcome, present solutions and discuss your recommendation.

With any presentation, know your objectives. If your purpose is to inform or update, you will
most‎likely‎use‎one‎of‎the‎first‎three‎types‎of‎presentations.‎On‎the‎other‎hand,‎if‎you‟re‎on‎a‎
mission to persuade someone, use one of the last three presentation types. Not every presentation
has to mold itself into a traditional presentation; it can be an interview, status report, program,
pitch, speech or demonstration, for example.

The 8 Types of Presentation Styles: Which

Category Do You Fall Into?

Types of Presentations
1. Visual Style
2. Freeform Style
3. Instructor Style
4. Coach Style
5. Storytelling Style
6. Connector Style
7. Lessig Style
8. Takahashi Style
Everyone‎on‎the‎internet‎has‎an‎opinion‎on‎how‎to‎give‎the‎“perfect”‎presentation.

One group champions visual aids, another thinks visual aids are a threat to society as we know it.
One expert preaches the benefits of speaking loudly, while another believes the softer you speak
the‎more‎your‎audience‎pays‎attention.‎And‎don‟t‎even‎try‎to‎find‎coordinating‎opinions‎on‎
whether you should start your presentation with a story, quote, statistic, or question.

But‎what‎if‎there‎wasn‟t‎just‎one‎“right”‎way‎to‎give‎a‎presentation?‎What‎if‎there‎were‎several?‎
Below,‎I‟ve‎outlined‎eight‎types‎of‎presentation‎styles.‎They‟re‎used‎by‎famous‎speakers‎like
Steve Jobs and Al Gore -- and none of them are wrong.

Check out each one and decide which will be most effective for you.

Types of Presentation Styles

1. Visual Style

What it is: If‎you‟re‎a‎firm‎believer‎slides‎simply‎exist‎to‎complement‎your‎talking‎points, this

style is for you. With this speaking style, you might need to work a little harder to get your
audience engaged, but the dividends can be huge for strong public speakers, visionaries, and
storytellers.

When to use it: This style is helpful when‎speaking‎to‎a‎large‎audience‎with‎broad‎interests.‎It‟s‎

also great for when you need to throw together slides quickly.

Visual style presenter: Steve Jobs

2. Freeform Style

What it is: This‎impromptu‎style‎of‎presenting‎doesn‟t‎require‎slides.‎Instead,‎the speaker relies

on strong stories to illustrate each point. This style works best for those who have a short
presentation time and are extremely familiar with their talking points.

When to use it: Elevator pitches, networking events, and impromptu meetings are all scenarios
in‎which‎to‎use‎a‎freeform‎style‎of‎speaking.‎You‟ll‎appear‎less‎rehearsed‎and‎more‎
conversational than if you were to pause in the middle of a happy hour to pull up your
presentation on a tablet.

Freeform style presenter: Sir Ken Robinson

3. Instructor Style

What it is: This presentation style allows you to deliver complex messages using figures of
speech, metaphors, and lots of content -- just like your teachers and professors of old. Your
decks should be built in logical order to aid your presentation, and you should use high-impact
visuals to support your ideas and keep the audience engaged.

When to use it: If‎you‟re‎not‎a‎comfortable‎presenter‎or‎are‎unfamiliar‎with‎your‎subject‎matter‎

(i.e., your product was recently updated and you‟re‎not‎familiar‎with‎the‎finer‎points),‎try‎
instructor-style presenting.

Instructor style presenter: Al Gore

4. Coach Style

What it is: Energetic and charismatic speakers gravitate towards this style of presenting. It
allows them to connect and engage with their audience using role play and listener interaction.

When to use it: Use‎this‎presentation‎style‎when‎you‟re‎speaking‎at‎a‎conference‎or‎presenting‎

to an audience who needs to be put at ease. For example, this style would work well if you were
speaking to a group of executives who need to be sold on the idea of what your company does
rather than the details of how you do it.

Coach style presenter: Linda Edgecombe

5. Storytelling Style

What it is: In this style, the speaker relies on anecdotes and examples to connect with their
audience.‎Stories‎bring‎your‎learning‎points‎to‎life,‎and‎the‎TED‟s‎Commandments‎never‎let‎you‎
down: Let your emotions out and tell your story in an honest way.

When to use it: Avoid‎this‎style‎if‎you‟re‎in‎the‎discovery‎phase‎of the sales process. You want

to keep the conversation about your prospect instead of circling every point or question back to
you or a similar client. This style is great for conference speaking, networking events, and sales
presentations where you have adequate time to tell your stories without taking minutes away
from questions.

Storytelling style presenter: Jill Bolte Taylor

6. Connector Style

What it is: In‎this‎style,‎presenters‎connect‎with‎their‎audience‎by‎showing‎how‎they‟re‎similar‎

to their listeners. Connectors usually enjoy freeform Q&A and use gestures when they speak.
They‎also‎highly‎encourage‎audience‎reaction‎and‎feedback‎to‎what‎they‟re‎saying.

When to use it: Use‎this‎style‎of‎presenting‎early‎in‎the‎sales‎process‎as‎you‟re‎learning‎about‎

your‎prospect‟s‎pain‎points,‎challenges,‎and‎goals.‎This‎type‎of‎speaking‎sets‎your‎listener‎at‎
ease,‎elicits‎feedback‎on‎how‎you‟re‎doing‎in‎real‎time,‎and is more of a dialogue than a one-
sided presentation
Connector style presenter: Connie Dieken

7. Lessig Style

What it is: The Lessig Style was created by Lawrence Lessig, a professor of law and leadership
at Harvard Law School. This presentation style requires the presenter to pass through each slide
within‎15‎seconds.‎When‎text‎is‎used‎in‎a‎slide,‎it‟s‎typically‎synchronized‎with‎the‎presenter‟s‎
spoken words.

When to use it: This method of presentation is great for large crowds -- and it allows the speaker
to use a balance of text and image to convey their message. The rapid pace and rhythm of the
slide progression keeps audiences focused, engaged, and less likely to snooze.

Lessig style presenter: Lawrence Lessig

8. Takahashi Style

What it is: This method features large, bold text on minimal slides. It was devised by Masayoshi
Takahashi, who found himself creating slides without access to a presentation design tool or
PowerPoint. The main word is the focal point of the slide, and phrases, used sparingly, are short
and concise.

When to use it: If‎you‎find‎yourself‎in‎Takahashi‟s‎shoes‎-- without presentation design

software -- this method is for you. This style works well for short presentations that pack a
memorable punch.

Takahashi style presenter: Masayoshi Takahashi

Whether‎you‟re‎speaking‎on‎a‎conference‎stage‎or‎giving‎a‎sales presentation, you can find a

method‎that‎works‎best‎for‎you‎and‎your‎audience.‎With‎the‎right‎style,‎you‟ll‎capture‎attention,‎
engage listeners, and effectively share your message.