June 2001 RAP
June 2001 Highlights
Feature: Show vs. Tell
By John Pellegrini
There is a common saying among advertising people, especially those who
deal in print and television that "Show beats Tell." This means that visual
impact is far more important than a description. I've heard numerous
advertising people quote this "fact." I've read numerous books that quote
it. I've seen it on many agency Web sites. "Show" beats "Tell" -- show the
picture, show the product, show the brand. That's what's important in
advertising, they say. My take on that perspective is, phooey. Without Tell,
Show is almost worthless.
Interview: Lou Kastler, Journal Broadcast Group --
Omaha, Nebraska
By Jerry Vigil
Back in the day, there wasn't much discussion when it came to selecting
the multi-track recorder for the production room. There was 4-track and
there was 8-track. Of course, there was the expensive 8-track, and the not
so expensive 8-track. But that was about it. And your audio "network" was
the worn pathway between studios where you walked with tape reel in hand.
These days, its a different story. Not only do you have a wide selection of
digital workstations, but the methods of connecting your newly consolidated
production studios with each other are just as diverse. It was time for
Journal Broadcast to connect its eight stations in Omaha when Lou Kastler
came on board. With the help of Chief Engineer John Gaeta, Lou conceived and
designed the BEAN, Broadcast Editor Audio Network, a do-it-yourself version
of those fancy brand name workstation networks at a fraction of the price --
and its working!
Feature: Number Crunch
By Michael R. Lee, Ph.D.
What we have here is a series of distressing, if unrelated, numbers. One
is going up, two are going down. The first number, and probably the most
relevant to readers of this publication, concerns the quantity of production
required of Imaging Directors of radio stations. Though it does not entail
rigorous research techniques, conversations with Imaging Directors over the
last several months indicate a clear pattern of programmer abuse regarding
sweepers and promos.
Test Drive: RADAR 24 - Digital Audio Recorder from iZ
Technology
By Steve Cunningham
Okay, a quick show of hands, please: how many of you have butt-spliced a
2" 24-track master tape? I thought so... a bunch of fellow old guys!
Nevertheless, it would seem that one of the goals of every workstation
company is to produce a product that feels and works just like a tape
recorder. After all, most of us over the age of 25 are still quite
comfortable with tape recorders, even if we haven't spliced 2" tape
recently.
iZ Technology, a small company in Vancouver, has been producing workstations
that masquerade as tape recorders since 1994. You may be familiar with these
products as Otari's RADAR and RADAR II systems, which were actually designed
and built by iZ. Last year iZ re-acquired the distribution rights for RADAR,
and has since introduced a 24-bit version into the product line, cleverly
named RADAR 24.
Radio Hed: Get Out of Here
By Jeffrey Hedquist
In a former life I had a big luxurious office, but often when I had a
writing deadline, Id leave and go to a tiny Laundromat in a nearby strip
mall. For some reason, there away from all the activity going on at my
office I could write, quickly, creatively. Then Id return with my
"masterpiece," and maybe a little static cling.
Production Libraries: Extreme Noise from Mann Group
By John Pellegrini
Quite possibly the most difficult aspect of any Imaging Directors job is
coming up with the imaging itself. Lets face it, if it weren't for the #*$&@
work, wed have a lot of fun, wouldn't we? Coming up with kick-ass sweeper
ideas is easy if you're not being expected to make them on a regular basis.
That's what makes it work and less fun. What if there were a service that
offered fully pre-produced IDs and sweepers that kick ass over virtually
everything you could think of, and all you had to do was add in your
stations call letters? If your formats encompass Active Rock, Alternative,
Rhythmic CHR, Rock CHR, Hot AC, Dance, or any of their derivatives, Extreme
Noise just might be the answer to your dream.
Q It Up: The RAP Network Speaks - How Do You Like MP3 So
Far? -- Part 1
By Jerry Vigil
Q It Up: Delivery of commercials via the Internet and
MP3 by now, most of us have had at least a taste of this new technology. At
this stage in the MP3-ing game, what are your thoughts on this new method of
sending and receiving commercials? Has it been a blessing for you? Have you
had your share of problems? What are your likes and dislikes about the way
things are progressing with this new delivery method? What would you like to
see changed? Please add any other thoughts you have on the subject.
RAP Forum: MP3s Are Not Free
By Jennifer Vaughn
Historically, how did you get a package, whether it was a spot,
promo/liners, or paperwork to another destination? Ill answer that one for
you. Courier, DCI/DGS, or Zephyr/CODEC. Are any of these services free? I
will also answer that one for you: no. As far as couriers go, Fedex, UPS,
Airborne, the U.S. Postal Service, and private couriers charge big bucks to
do this job. Internet shipping companies such as DCl/DGS do the same. The
costs associated with Zephyrs and codecs are pretty pricey too: 32 cents a
minute per line, $90 monthly ISDN service and line fees, not to mention the
$8,000 investment on the piece of gear needed on both ends plus ISDN line
installation. These companies make millions of dollars a year doing the
exact same thing we do through the Internet with mp3s attached to emails.
There are literally dozens of costs associated with the few mentioned
companies, and that's why they charge you, the end receiver or shipper,
money, to carry out this service for you or your employer. MP3s have the
same costs, but most users dont realize they are there.
...And Make It Real Creative:
By Trent Rentsch
Stephen King in his book On Writing suggests that anyone who is serious
about writing should construct a "toolbox" of composition devices needed to
do the job. I believe that Creative Audio Producers need a similar toolbox,
and among most important tools to pack is knowledge and understanding of the
real world tools available. Memorizing every shortcut in Cool Edit Pro
doesn't mean a thing if you don't have the vaguest idea of where to find a
peaceful summer evening at the lakeshore musically. Know your music library,
and choose your music carefully.
|