aipd subcourse di0430 edition a: advanced broadcasting

8/16/2019 AIPD Subcourse DI0430 Edition A: Advanced Broadcasting

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ADVANCED BROADCASTING

Subcourse Number DI0430

EDITION A

US Army Public Affairs Proponent CenterFort George G. Meade, Maryland

5 Credit Hours

dition !ate" September #$$%

SUBCOURSE OVERVIEW

&'is subcourse, containing t'ree lessons, introduces broadcastersto an ad(anced le(el of understanding )'en producing radiofeatures, conducting audience sur(eys and determining radio musicformats.

*ou must 'a(e a basic +no)ledge of military broadcasting prior tota+ing t'is subcourse. &'ere are no ot'er prereuisites to t'issubcourse- 'o)e(er, it is suggested t'at broadcasters )it' limitedeperience complete t'e basic broadcaster course before ta+ing t'issubcourse.

&'is subcourse reflects t'e doctrine and tec'nology current at t'etime it )as prepared. /n your o)n )or+ situation, al)ays refer tot'e latest publications.

Unless ot'er)ise stated, t'e masculine gender of singular pronounsis used to refer to bot' men and )omen.

TERMINAL LEARNING OBJECTIVE

AC&/01" /n t'is subcourse you )ill learn 'o) to produceradio features, conduct audience sur(eys anddetermine a radio music format.

C01!/&/01S" *ou are gi(en t'e material presented in t'islesson.

S&A1!A2!" &o demonstrate competency of t'is tas+, you mustac'ie(e a minimum of 35 percent on t'e subcourseeamination.

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TABLE O CONTENTS

Page

Subcourse 0(er(ie)................................................ i

4esson #" Produce a 2adio Feature................................#

Practice ercise...................................... $

Ans)er ey and Feedbac+...............................#%

4esson 6" Conduct an Audience Sur(ey............................##

Practice ercise..................................... 7#

Ans)er ey and Feedbac+...............................76

4esson 7. !etermine a 2adio Music Format........................77

Practice ercise..................................... 8#

Ans)er ey and Feedbac+...............................86

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LESSON ONE

!RODUCE A RADIO EATURE

892 Soldier:s Manual &as+" 6#8;#33;6%%7

OVERVIEW

LESSON DESCRI!TION"

&'is lesson pro(ides an o(er(ie) of radio feature production.

TERMINAL LEARNING OBJECTIVE"

AC&/01" !escribe procedures necessary to properly produce aradio feature.

C01!/&/01" *ou are gi(en t'e material presented in t'is

lesson.

S&A1!A2!" Perform all t'e duties described in t'is lesson.

2F21CS" &'e material contained in t'is lesson )as deri(edfrom t'e follo)ing publications"

S&P 89;892#8;SM;&G Soldier:s Manual < &rainer:sGuide, =roadcast >ournalist, M0S 892 S+ill 4e(els#?6?7?8, August #$@@.

!efense /nformation Sc'ool 2adio and &ele(isionHandboo+, May #$@6.

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INTRODUCTION

A feature is a program, or segment t'at eplores, eplains ordemonstrates a note)ort'y subect in an imaginati(e and colorful

manner. &'e feature s'ould be factual, a(oiding editorial pointsof (ie). /t may be similar to a documentary but is s'orter and notuite as detailed. Feature programs are useful for presentinginteresting but generally little;+no)n information.

/n radio you are primarily responsible for all stages of featureproduction. /n commercial radio, particularly in smaller mar+ets,t'e station:s disc oc+eys are also responsible for producingfeatures. &'e same t'ing usually applies in t'e military. 0nceyou are assigned a production, t'e )'ole process, from researc'ingt'e subect to putting it on tape, belongs to you.

ELEMENTS O RADIO

&'ere are t'ree main elements of radio you )ill use in t'eproduction of radio features" music, sound and (oice. *ou mustunderstand )'at t'ey are and )'at purpose eac' of t'em 'as.

Music

Music is used to set a production:s mood. /t can create a feelingof ecitement, tranuility, suspense or sadness.

&'ere are basically four types of music t'at can be used in audioproduction. &'ey are t'eme, bac+ground, bridge and fill.

T$eme. &'eme music is intended to ma+e people associate t'e music)it' somet'ing in particular suc' as a c'aracter, a t'eme, or anidea. B&'an+s for t'e Memories,B brings =ob Hope to e(eryone:smind. /t:s 'is t'eme song. /t:s a good eample of )'at t'ememusic is intended to do. /t also illustrates )'y you don:t )ant touse music t'at 'as already establis'ed itself )it' somet'ing else./t )ill put t'e audience:s mind on t'e ot'er t'ing, and t'usdistract from your message.

B%c&'rou() . =ac+ground music is used to 'elp set t'e mood of t'efeature and increase audience appeal. A (oice;only production canbe (ery boring, especially if it:s ust one (oice. For eample, afe) strains of dramatic fanfare mig't 'eig'ten listeneranticipation of a story clima. 0n t'e

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ot'er 'and, lig't, melodic music could be used to support a comicalsubect. &'ere is instrumental music to fit almost any mood. /t:sust a matter of listening to t'e selection, percei(ing t'e emotionor mental image it creates and matc'ing t'e appropriate mood toyour subect.

'en selecting music for bac+ground, instrumentals are preferredo(er music )it' (ocals. Docal songs tend to distract t'e listenerfrom t'e message of t'e production. Docal music may be used only

if it contributes to t'e message. /f (ocals are used, le(elbalance becomes critical so t'at t'e music does not o(erride t'emessage. =ac+ground music s'ould be unrecogniEable and matc' t'esubect. =y adding t'e rig't bac+ground music, you add to t'eaest'etic appeal of t'e feature.

Bri)'e. &'e purpose of t'is +ind of production music is to connector BbridgeB t)o ideas or t'oug'ts toget'er. =ridge music, alsocalled Btransitional music,B )as used in radio t'eater to c'anget'e scene. A s'ort instrumental fanfare can signal a c'ange intopics. 0r, a ne) scene can be introduced )it' a s'ort musicalt'eme t'at suggests a particular location.

i++. &'is type of music is often called BpadB and is usually anunrecogniEable instrumental song. /f your feature production isreuired to be a certain lengt', fill music can be used to eat uptime at t'e end. &'is also allo)s t'e person airing t'e productionan opportunity to gracefully transition to t'e net program element)it' less c'ance of lapsing into dead air.

Sou()

&'e use of sound and sound effects )or+s muc' t'e same )ay as

music. /ts purpose is to en'ance t'e spo+en )ord. Creati(e use ofsound can 'elp de(elop a (i(id picture in t'e mind of t'e listener.&'e success of an audio production often depends on t'e mentalpicture conured up by different sound effects.

A good eample is t'e spot campaign produced for t'e 2adio Ad=ureau promoting radio ad(ertising. =y using sound effects, t'eproducer created a (isual picture in t'e listener:s mind t'ats'o)ed radio:s (ersatility by doing suc' t'ings as draining 4a+eMic'igan and filling it )it' c'ocolate and t'en topping it off )it'a 35%;foot mountain of )'ipped cream and a #%;ton marasc'inoc'erry. &'is (ersatility is uniue to radio production and islimited only by your imagination and ability to locate or createsound effects.

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&'ere are t'ree types of sound in audio production" real, simulatedand prerecorded.

Re%+. 2eal sound effects are produced in t'e studio using t'eactual source, papers s'uffling, scissors, etc. &'e limitation isin t'e a(ailability of t'e particular item to ma+e t'e desiredsound.

Simu+%,e) . Simulated sound effects are t'ose t'at don:t recreate

reality, but merely suggest it. Crin+ling cellop'ane can suggest acamp fire, and running your t'umb across t'e teet' of a comb cansuggest casting a fis'ing line.

!rerecor)e) . Prerecorded sound effects are t'ose t'at area(ailable on tape, record or compact disc. &'ere are t)o types ofprerecorded sound effects" t'ose t'at create a sound picture, suc'as a city street or factory- and t'ose t'at create indi(idualsounds, suc' as footsteps, a door opening and so fort'.

'en using prerecorded sound effects, a broadcaster is limited tot'ose recordings a(ailable in 'is station:s record library. 0ne

t'ing most prerecorded sound effects 'a(e in common )'en found inrecord libraries is t'at t'ey sound li+e old, muc' used, scratc'yrecords. &'at:s somet'ing t'e ad(ent of t'e C! 'as ta+en care of./f you 'a(e prerecorded sound effects on (inyl discs, and t'ey areold and 'a(e t'e scratc'y sound, it )ill se(erely limit t'e ualityof your productions. Faced )it' t'is problem, it may be to yourbenefit to try to record your o)n sounds and sound effects.

Voice

Doice is t'e essence of most radio productions. /t:s t'e (oice

t'at con(eys t'e message. ac' announcer interprets copy accordingto 'is style of deli(ery, and t'e type of deli(ery needed toeffecti(ely communicate t'e message. Doice c'aracteriEations maybe used if it is appropriate to t'e production, but be (ery carefult'at t'e c'aracteriEation is realistic and )ell done.

!RE!RODUCTION

&'e preliminary steps of a feature production are usually calledBpreproductionB steps. As t'e name indicates, t'ey are t'ose stepsta+en before you actually get into t'e production p'ase of t'efeature.

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G%,$er %() Au)i,io( Su--or,i.e E+eme(,s

Gat'er all supporti(e elements called for in t'e script andaudition specific music and sound effect cuts to ma+e sure t'ey areappropriate to t'e production. 0f course, you:ll )ant to be surenot'ing (iolates t'e rules of SAPP Security, Accuracy, Propriety,Policy. /f music is used, it s'ould con(ey a mood t'at en'ancest'e production:s obecti(e. /f sound effects are desired, t'eys'ould support t'e t'eme of t'e production. /f (ocals occur inbac+ground music, ma+e sure t'ey are necessary to con(ey t'eproduction:s obecti(e and not distracting to t'e listener.Audition sound effect and production music cuts for tec'nical meritto ma+e sure t'ey meet local broadcast tec'nical standards.

G%,$er Su--or,i.e Ac,u%+i,ies

'ene(er possible, use actualities. *ou use t'e (oices of t'e ne)sma+ers to add credibility and interest to your ne)s products. 'ynot adapt actualities for use in almost all styles of features,

most notably, t'e ne)s or personality feature 2emember, )e asmilitary broadcasters are more tuned to)ard getting t'e story toldby t'ose in(ol(ed. &'e message is more important t'an t'emessenger.

De,ermi(e Le(',$

*ou must determine t'e lengt' and format reuirements of t'efinis'ed program. &'ese )ill, of course, depend on t'e subect,and )'ere t'e finis'ed production is slotted to air. Muc' of t'etime, t'ese )ill be determined for you, but you must ma+e note of

t'em any)ay.

Sc$e)u+e Re$e%rs%+ Time

'ene(er you 'a(e t'e opportunity, re'earse. An uncontrolled e(entsuc' as a fast;brea+ing spot ne)s story )ill certainly not allo)t'e time for re'earsal, but usually a ne)s feature )ill, and yous'ould ta+e full ad(antage of it. &'e more you do anyt'ing, t'ebetter you:ll be able to do it, and re'earsing any production )illenable you to )or+ out any difficulties as )ell as point out )'eret'ey may pop up unepectedly. More re'earsals in as manyproductions as possible add to t'e eperience le(el of eac' cre)

member.

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Sc$e)u+e !ro)uc,io( Time


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*ou must be prepared for eac' and e(ery step of all productions,and t'e time to prepare is, of course, before t'e fact. 0ne place)'ere it:s easy to fall s'ort due to lac+ of planning, is inproduction time. Al)ays be sure t'at you:ll 'a(e use of neededeuipment, suc' as an edit suite, )'en t'e time comes for you touse it. =e sure t'at someone else doesn:t 'a(e it alreadysc'eduled.

Re$e%rse ,$e Scri-,

As pre(iously mentioned, you must ta+e full ad(antage of time tore'earse. 2e'earse t'e script. !o it aloud. =esides confirmingt'at it meets time reuirements, t'at is t'e time to find out ift'ere are any tongue;t)isters, or difficult pronunciations. /fanot'er (oice is called for, ma+e arrangements for someone to be int'e production and 'a(e copies of t'e script prepared for t'atperson. Ma+e sure t'e announcing style is appropriate for t'esubect.

!RODUCTION

Assemb+e Reuire) M%,eri%+s

&'e first step in t'e production p'ase is to assemble all t'ereuired materials. 0nce you begin to put t'ings toget'er, t'emost distracting t'ing you can eperience is to 'a(e to stop to getsomet'ing you forgot. /t interrupts your train of t'oug't. /treuires additional time t'at may interfere )it' your sc'edule tot'e point t'at you )on:t be able to complete your production ontime.

C$ec& Eui-me(,

Ma+e sure all t'e reuired euipment is in good )or+ing order.Alt'oug' t'is is best done in t'e preproduction p'ase, you mustrepeat it as an early step in t'e production p'ase as )ell. >ustbecause it )or+ed yesterday doesn:t mean t'at it )ill be fine )'enyou need it. 4i+e assembly of materials, you must be sure you 'a(eassembled t'e necessary euipment in good )or+ing order.

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!re-%re T%-es

/n order to pre(ent accidental airing of un)anted material, and toma+e cueing easier, bul+ erase any production tapes you intend to


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use. And in order to +eep t'e production operation organiEed,label tapes according to local procedure.

o++o2 ,$e Scri-,

Unless you )rote t'e script, don:t ma+e substantial c'anges )it'outt'e appro(al of t'e aut'or. =esides being common courtesy, t'ereeists a c'ance t'at you:ll edit somet'ing out t'at )as necessaryto t'e content of t'e script. Follo) it as it )as appro(ed.

C$oose !ro)uc,io( Mii(' Tec$(iue

&'e miing tec'niue you c'oose )ill depend on t)o t'ings" yourpreference and t'e euipment you 'a(e a(ailable. &'ere are se(eralacceptable met'ods a(ailable to you, and you are not limited to anyparticular one. Alt'oug' you can use any one of t'em, or e(en acombination, +eep it simple.

Be'i((i(',oe() me,$o) . &'is met'od is not recommended forbeginners. /t ta+es many re'earsals and reuires muc' s+ill andeperience. /t is simply recording all t'e supporti(e elements oft'e production onto tape as reuired by t'e script, non;stop. &'ust'e name, beginning;to;end.

!rerecor)e).oice me,$o) . As t'e name indicates, t'is calls forprerecording t'e (oice element. As t'e (oice element is beingplayed bac+ for t'e master recording, ot'er supporti(e elements aremied in )it'out stopping. &'is production met'od lac+sfleibility for t'e narrator since it is nearly impossible to matc'script interpretation )it' any music or sound effects. 0f t'e(arious met'ods a(ailable, t'is is probably t'e least used anddefinitely t'e least recommended.

!rerecor)e)music %() sou()e55ec,s me,$o) . A prerecorded;musicand sound;effects met'od simply means t'e music and sound;effectsare prerecorded and mied to t'e master recording as t'e announcerreads t'e script. /n t'is fas'ion, (ocal mood can be adapted tot'e mood created by t'e ot'er elements. &'is seems to be t'epreferred met'od.

Se'me(,e) me,$o) . &'is met'od in(ol(es di(iding up t'e productioninto smaller, more manageable segments t'at can be producedindependently and t'en edited toget'er. &'is )ould be t'e most

recommended met'od for t'e beginning broadcaster, since you can paymore attention to eac' little segment and t'en put toget'er t'emore s+illfully produced parts.

6 DI04301o matter )'ic' met'od you c'oose, you must constantly monitoraudio le(els. *ou must be sure t'ey are appropriately balanced.Supporti(e audio bac+ground music or sound s'ould not o(errideprimary audio (oice. *our recording le(el pea+s s'ould bebet)een @% and #%% on t'e DU meter.


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!OST!RODUCTION

0nce you 'a(e t'e finis'ed feature on tape, you s'ould c'ec+ t'efinal product for a number of t'ings. &'ey are"

o time limitso audio le(els

o SAPP (iolationso air ualityo free of errorso dirty edits

/f necessary, re;edit any portion of t'e production t'at isincorrect or unsatisfactory.

0nce you 'a(e satisfactorily completed t'e feature and it meets allreuirements, you 'a(e one final step to ta+e. *ou must deli(er itto t'e appropriate appro(ing aut'ority. /t mig't not 'urt toretain a master copy until you:re sure t'e need for t'e feature 'aspassed and it 'as accomplis'ed its tas+. it' bul+ erasers aroundyour station t'ere al)ays eists t'e possibility of an accidentalloss, and +eeping t'at master copy on 'and could pre(ent adisaster.

DI0430 7!RACTICE E8ERCISE

LESSON #

SUBCOURSE DI0430



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INSTRUCTIONS"

2e(ie) t'e material in t'is lesson. Ans)er t'e uestions belo) bycircling t'e B&B or BFB net to eac' uestion. Compare yourans)ers )it' t'e ans)er +ey on t'e net page.

& F #. &'ere are t'ree types of sound used in audio production.

& F 6. &'ere are t)o basic types of music used in audioproduction.

& F 7. &'e assembly of reuired materials is a preproductionstep.

& F 8. =ac+ground music is used to 'elp set t'e mood of afeature.

& F 5. &'e production miing tec'niue )ill depend on personalpreference and euipment a(ailable.

& F 9. &'e beginning;to;end met'od is most recommended forbeginners.

& F 3. Actualities add no credibility to a feature.

& F @. &'ere are four main elements of radio.

& F $. A feature is a program about personalities only.

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ANSWER :E;

!RACTICE E8ERCISE

LESSON #

SUBCOURSE DI0430


#. &rue Page 8

6. False Page 6

7. False Page 9

8. &rue Page 6

5. &rue Page 3

9. False Page 3

3. False Page 5

@. False Page 6

$. False Page 6

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CONDUCT AN AUDIENCE SURVE;

INTRODUCTION

'en your mission is to pro(ide information and entertainmentprogramming to a gi(en audience, you must +no) t'eir li+es anddisli+es )'en it comes to radio and tele(ision programming. &'ere

is only one )ay to accomplis' t'at tas+. &'at is t'roug' anaudience sur(ey. Alt'oug' t'ere:s no rule reuiring an audiencesur(ey )it' any predetermined regularity, any station t'at )ants tobe responsi(e to its audience:s )ants and needs )ill conduct asur(ey to find )'at t'ose )ants and needs are.

&'is lesson eamines t'e basic elements of a sur(ey and t'edifferent types of sur(eys. /t constructs a sur(ey uestionnaireand discusses 'o) uestions are de(eloped. And it eplainstec'niues for managing a mail sur(ey and analyEing sur(ey results.

SURVE; E8!ECTATIONSAs a rule, audience sur(eys are a mystery to t'e uninitiated and a'eadac'e to broadcast ournalists )'o 'a(e to conduct and analyEet'em. =ut if sur(eys are conducted properly, e(eryone associated)it' t'e station )ill +no) 'o) )ell t'ey are ser(ing t'eir totalaudience.

'at can you epect from an audience sur(ey Suppose t'e stationcommander )ould li+e to +no) 'o) many people )atc' t'e si o:cloc+ne)s. ould you conduct a sur(ey to find t'at out &'at in itselfis not enoug' reason to conduct a sur(ey, but t'e commander s'ould

try to obtain as muc' information about t'e station:s (ie)ing orlistening audience as 'e can.

An audience sur(ey can pro(ide (aluable information in fi(e mainareas. &'ey are"

o determine t'e approimate siEe of t'e BpotentialB orBa(ailableB audience.

o define t'e (ie)ing or listening 'abits of t'e audience.

o identify program or personnel c'anges t'at mig't impro(e yourprogramming.

o identify t'e demograp'ics of your BtypicalB (ie)er orlistener.

o demonstrate t'e station:s public image as a pro(ider ofinformation and entertainment.

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ELEMENTS O A SURVE;


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&'ere are t)o main elements of a sur(ey" t'e problem and t'epopulation.

&'e problem is t'e big uestion or uestions t'at you need ans)ersfor, and t'e population is t'e group from )'ic' you select peopleto gi(e you t'ose ans)ers.

4et:s go bac+ to t'e original supposition t'at t'e commander )ants

to +no) 'o) many people )atc' t'e si o:cloc+ ne)s. 'en puttingt'is problem before t'e audience, t'e commander could indicate t'epurpose for t'e sur(ey as Bobtaining information concerning t'elistening or (ie)ing 'abits and program preferences of ouraudience.B &'e audience can t'en respond to a (ariety ofuestions. At t'e same time, t'e sur(ey pro(ides neededinformation for t'e station commander by also responding tospecific uestions concerning t'e si o:cloc+ ne)s.

SURVE; STE!S

0nce you +no) t'e big uestion and 'a(e some ideas for ot'eruestions, you must follo) a guideline to put your ideas intosur(ey form. &'ere are #% basic steps in conducting an audiencesur(ey.

o H*P0&HS/S" State t'e problem or state )'at you )ant tomeasure. eep t'e )ording to a minimum.

o P4A1" !ecide on procedures, type of sur(ey, material andpersonnel.

o SUPP02&" Get command appro(al to sur(ey assigned personnel.

o C01S&2UC&" !raft t'e uestions and design t'e uestionnaireformat.

o P2&S&" Administer t'e uestionnaire in draft form to asmall group to see if it yields useful responses. &'is stepallo)s t'e sur(eyor to deal )it' problems of uestion)ording, ans)er c'oices and inter(ie)er procedures.

o SAMP4" C'oose )'ic' people to sur(ey.

o P2/1&" /ncorporate any c'anges to t'e uestionnaire )'ic'

may 'a(e resulted from your pretest efforts. !uplicate t'euestionnaire in desired uantity.

o C044C&" !istribute t'e uestionnaires?conduct inter(ie)s andgat'er t'e data.

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o &A=U4A&" Score t'e completed uestionnaires t'en analyEe andinterpret t'e data.

o 2P02&" 2eport t'e sur(ey results.

SURVE; T;!ES

'ene(er t'e )ord Bsur(eyB is mentioned, many people t'in+ ofsomeone going door;to;door )it' a clipboard, as+ing uestions.Alt'oug' t'at is one )ay to conduct a sur(ey, it is usually not(ery practical. /n t'e military, t'e audience is normally spreadout o(er a fairly large geograp'ical area. e must +eep t'at inmind )'en discussing t'e t'ree types of sur(eys" telep'one,personal or face;to;face, and mail.

Te+e-$o(e

A telep'one sur(ey is often t'e first c'oice. &'ere are se(eral

reasons )'y t'at met'od )ould appear to be attracti(e. A telep'onesur(ey"

o is more economical t'an ot'er types of sur(eys unless yoursur(ey )ould reuire many long distance calls.

o simplifies t'e selection of t'e sur(ey participants and t'ereis less c'ance of bias.

o is relati(ely easy and can be conducted from an office or'ome.

o is t'e fastest )ay to administer t'e uestions and obtain t'enecessary feedbac+.

&'ere are also disad(antages to t'e telep'one sur(ey. /t"

o 'as to be s'ort, and t'at mig't limit t'e amount of neededinformation you can obtain.

o ma+es it necessary to train t'e people you )ill use toconduct t'e inter(ie)s, )'ic' reuires etra time, and youcan:t al)ays monitor t'e conduct of t'e inter(ie)er.

o limits t'e types of uestions t'at can be as+ed and t'ere is

greater suspicion of uestions in(ol(ing personal matters.

o ma+es it impossible to use e'ibits suc' as lists ofalternati(e ans)ers )'ic' afford t'e sur(ey participant abetter c'ance to epress 'is +no)ledge or opinion about t'esubect.

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o ecludes anyone )it'out a telep'one. Sur(eying soldiers)'ose day;to;day acti(ities place t'em in a field en(ironment)ould surely be difficult to reac'.

!erso(%+

/n t'e personal or face;to;face inter(ie) sur(ey approac', t'einter(ie)er (isits )it' t'e respondents at t'eir 'omes or places of)or+. Some of t'ese sur(eys are conducted on t'e street or in somepublic place suc' as a PI mall or commissary. As pre(iouslymentioned, t'ese are usually impractical in t'e military, but t'eydo 'a(e se(eral ad(antages. Personal or face;to;face inter(ie)s"

o offer t'e greatest fleibility in uestioning met'ods and(isuals can be used for aided recall or multiple;c'oiceuestions.

o can be in;dept', t'us pro(iding a great deal of informationfrom a single respondent.

o allo) better selection of participants so t'at it is trulyrepresentati(e of t'e entire sur(ey population.

o permits selection of participants to be more focused in itsco(erage )'en t'e need is to sur(ey a specific area orspecific segment of t'e population.

/n addition to t'e pre(iously mentioned difficulty )it' apopulation t'at is spread out o(er a large geograp'ical area, as isoften t'e case in t'e military, t'ere are ot'er disad(antages tot'e personal or face;to;face inter(ie) sur(ey. Personal or face;to;face inter(ie)s"

o may cost more t'an ot'er sur(ey met'ods, and you must )eig't'e cost against t'e amount of information obtained.

o reuire more epertise in inter(ie)ing, more effort andpersistence can(assing t'e population needed.

o ma+e selection of participants more eacting and timeconsuming.

o are difficult to arrange because of duty reuirements of t'einter(ie)er and t'e inter(ie)ee.

M%i+

&'e most often used sur(ey met'od in t'e military is t'e mailsur(ey. &'is type of sur(ey 'as some uniue ad(antages. Mailsur(eys"

#/ DI0430


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o are easy to 'andle because t'ey reuire no inter(ie)ertraining or monitoring.

o are )it'out inter(ie)er bias )'en t'e uestions are properly)ritten and e(aluated.

o generally cost less alt'oug' cost can be decepti(e becauselo) response rates of return may reuire many uestionnairesto be mailed.

o ma+e selection of participants easy since prepared mailinglists can be used.

o allo) for )ide geograp'ic co(erage )'ic' ma+es t'e mailsur(ey (ery attracti(e to station commanders.

o offer t'e opportunity for more candid replies to uestions)'ic' may be embarrassing to ans)er in a telep'onic orpersonal inter(ie).

Mail sur(eys also 'a(e some disad(antages, in t'at t'ey"

o limit selection of participants to t'e a(ailable mailinglists letters can be addressed to BoccupantB or Bresident,Bbut t'ese usually lea(e a negati(e impression )it' t'erespondent.

o usually 'a(e a lo) response rate, )'ic' may s+e) t'e resultst'ose )'o don:t respond could be muc' different t'an t'ose)'o do, and )'en t'e non;respondents ma+e up 5% to 3% percentof t'e audience, distortion can be serious.

o reuire uestionnaire lengt' to be 'eld to a minimum, usuallyno more t'an t)o pages.

o use relati(ely simple uestions, t'us eliminating t'eopportunity to probe for meaningful replies. &'ere is no )ayto pre(ent replies from being influenced by subseuentuestions, since t'e respondent can read a'ead beforereplying.

o pre(ent +no)ing if t'e selected participant )as actually t'eperson )'o completed t'e uestionnaire.

o ta+es longer to conduct.

&'ere are no 'ard and fast rules to tell you )'ic' sur(ey met'ods'ould be used. *ou must )eig' t'e circumstances )'ic' arepeculiar to your station and situation before deciding. /n t'emilitary, you )ill most often use t'e mail sur(ey.

DI0430 #1


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21/43

particular command information program or product. /n (ie) oft'is, it )ould be un)ise to ump to any conclusions based on t'eresults of one inter(ie).

/f a point comes across strongly and suggests t'at a c'ange iscalled for, more uestioning s'ould be carried out before decisionsare made. =efore a decision is made to c'ange some eisting policyor format, it s'ould be tested on a certain audience or arepresentati(e segment of t'at audience. After gradual

implementation, negati(e response can be pic+ed up immediately.

&'e (alue of information gained by using t'is met'od increases ast'e process is repeated. /f a finding 'olds up t'roug'out a seriesof t'ese inter(ie)s, and t'roug'out t'e audience, it could beloo+ed at as being statistically (alid.

CONSTRUCTING A =UESTIONNAIRE

Putting toget'er a uestionnaire can be a lot li+e putting toget'era puEEle. 0nce you get started in t'e rig't direction, t'e rest oft'e pieces fall into place.

&'ere are basically t)o types of uestionnaires, sometimes calledsur(ey sc'edules"

o self;administered

o inter(ie);administered

>ust as t'e names indicate, t'e respondent fills out 'is o)n on t'eself;administered one and on t'e inter(ie);administered one,someone else does it. &'e main difference in t'e t)o is t'at )it'

t'e self;administered one t'ere must be directions for t'erespondent to follo).

MA:E IT EAS;

/f t'ere is one specific rule common to all sur(eys, it:s to ma+eit easy for e(eryone in(ol(ed. &'in+ing a'ead, you s'ould as+yourself uestions li+e" 'o )ill ans)er t'ese uestions Ho) )illt'e responses be recorded 'at do )e really )ant to find outUse t'is information to construct your uestionnaire and toformulate t'e uestions.

DI0430 #7Most uestionnaires are printed on standard siEed paper or on 5B 3B ans)er c'oice cards. /t:s al)ays good to print about one;t'irdmore uestionnaires t'an you:ll need. &'e o(erage can be used fortraining inter(ie)ers, pro(iding sample copies, spoilage and lostcopies.


22/43

MAIN !ARTS TO A =UESTIONNAIRE

Generally t'ere are t'ree main parts to a uestionnaire, eac'designed to acuire a specific type of information" identifyinginformation at t'e beginning, uestions about t'e sur(ey:s subectin t'e middle and uestions )'ic' as+ for demograp'ic informationabout t'e respondent at t'e end.

&'e identifying information usually includes t'e name or title oft'e sur(ey. /t allo)s t'e respondent to uic+ly identify )'at t'esur(ey is about. &'is is usually follo)ed by a statement of t'egeneral purpose of t'e sur(ey and t'e confidential nature of t'eresponses.

*ou may also find t'e address of t'e sponsoring agency, t'e datecompleted and t'e uestionnaire number in t'is first part or on aco(er letter, if t'ere is one. &'e address of t'e sponsoringagency allo)s t'e respondent a c'ance to refer to t'e station forresults. &'e date is necessary to determine if t'ere )ere anysignificant e(ents t'at mig't 'a(e occurred )'ic' may 'a(e

influenced responses. &'e sur(ey number is useful in sortinguestionnaires, seuencing t'e collected data and distinguis'ingdata from different areas.

T;!ES O =UESTIONS

&'e most difficult and important part of t'e sur(ey is de(elopingt'e uestions. tracting factual information is muc' easier t'angetting a true measure of opinions. *ou 'a(e se(eral c'oices as tot'e +inds of uestions for finding out 'o) muc' someone +no)s about

a subect. ac' 'as certain ad(antages and disad(antages.

O-e(E()

0pen;end uestions allo) t'e respondent to ans)er uestions in 'iso)n )ords. 'ile gi(ing t'e respondent a maimum opportunity toepress 'is (ie)point, you are confronted by t'e problem of tryingto categoriEe t'e responses from many people. &'is ta+es more timeand increases t'e c'ance for error )'en recording t'e ans)er.Sometimes people don:t remember or +no) 'o) to correctly epresscertain facts.

#9 DI0430

C$ec&+is, or Mu+,i-+e C$oice

&'ese uestions gi(e t'e respondent a selection of possibleans)ers. All 'e needs to do is select one or more, depending upont'e uestion. &'e biggest ad(antage 'ere is t'at t'e respondentcan be reminded of possible ans)ers 'e mig't 'a(e ot'er)iseo(erloo+ed. /n most cases it is )ise to 'a(e an Bot'erB category)'ere t'e respondent can indicate a c'oice not gi(en in t'e list.&'is is particularly 'elpful in pretesting possible ans)er c'oices


23/43

to determine if any 'a(e been left out. A large percentage ofBot'erB responses )ould indicate t'is.

Dic$o,omous di(ided into t)o parts

!ic'otomous uestions are uestions of t'e Byes?noB or t'eBtrue?falseB types. it' t'ese, you s'ould also use Bnot sureB orBdon:t +no)B so t'e respondent is not forced into a decision if 'e

is uncertain. 0ften t'is type of uestion is used as a ualifier./f t'e person ans)ers Bcorrectly,B 'e is t'en as+ed to ans)er ot'eruestions about t'at particular subect. For eample, you )ouldn:tepect ans)ers about t'e presentation of t'e ne)s if t'e respondentindicated t'at 'e didn:t )atc' or listen to it.

R%(&Or)ere) =ues,io(s

Sometimes it is useful to 'a(e people indicate some +ind ofpreference or percei(ed importance for t'e items. &'e respondentis gi(en a list of items and as+ed to assign a ran+ #, 6, 7, etc.

to t'em. &'is )ould be useful in ran+ing audience preference fordifferent types of radio music s'o)s or &D programs.

A'reeDis%'ree

Measuring opinions can be accomplis'ed by using different types ofuestions or statements. &'e agree;disagree approac' as+s t'erespondent to indicate )'et'er 'e agrees, disagrees or 'as noopinion )it' regard to t'e statement. Here, too, you need a Bdon:t+no)B category.

O-i(io( Sc%+es

&'ese are usually t'ree, fi(e, or se(en point scales t'at can beused to measure t'e intensity of feeling about a subect. Foreample, you mig't as+ t'e respondent to indicate 'o) important 'efeels (arious sources of ne)s are to 'im. ac' source could berated as follo)s"

DI0430 *0

o (ery importanto some)'at importanto so;soo some)'at unimportanto not important

&'e scale )ould be listed at t'e beginning of t'e section, follo)edby uestions as+ing t'e relati(e importance of eac' listed sourceof ne)s. Sometimes you may )is' to condense suc' uestions into at'ree;point scale suc' as, important, so;so, and unimportant.


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Most of t'e time you )ill find it necessary to use se(eraldifferent types of uestions to obtain t'e needed information.Ho)e(er, t'ere are some basic t'ings to remember about t'e )ordingof all uestions.

WRITING T>E =UESTIONS

Juestions s'ould al)ays be as concise as possible...t'e s'orter,

t'e better. Simple )ords t'at are familiar to t'e respondent )ill'elp you ac'ie(e t'is. Any tec'nical )ording or argon s'ould bea(oided, replaced or eplained. &'e uestions s'ould generateeactly t'e information desired and in terms t'at )ould assisttabulation and statistical analysis. A common error often made ist'at of o(erlapping categories. A prime eample of t'is is )'en aperson is as+ed to c'ec+ 'is age category and is confronted )it'c'oices li+e" #@;6%, 6%;66, 66;68. 'ic' age group )ould youc'oose if you )ere 66 years old Also, 'o) )ould )e +no) 'o) manyin t'e 6%;66 age group actually belonged in t'e 66;68 group

Anot'er problem area is t'at of multiple;meaning uestions t'at are

confusing to t'e respondent and deny t'e sur(eyor a c'ance toclearly interpret t'e responses. An eample of t'is )ould be"B'ic' medium is best for ne)s and entertainmentB &'e uestions'ould limit itself to ne)s or entertainment, not bot'.

4eading uestions are t'ose t'at are )orded in suc' a manner as tosuggest an ans)er. Bould you say t'at you are in fa(or of moreradio ne)sB is leading. BHo) )ould you e(aluate t'e amount ofradio ne)s no) offered by I*K radioB is not leading. !on:t as+leading uestions.

Catc')ords or )ords )it' emotional connotations s'ould be a(oided.ords suc' as Bconser(ati(e,B Bliberal,B Bfeminist,B etc. elicitstrong feelings t'at influence 'o) a person )ill respond.

'en feasible it is sometimes good to use c'ec+ uestions. &'eseare t)o uestions )orded differently, placed in different parts oft'e sur(ey t'at bring out t'e same fact or opinion. &'ey are usedto bring out t'e internal consistency of t'e responses. B'at isyour fa(orite FM s'o)B and B!o you listen to FM radio broadcastsB)ould ser(e t'at purpose.

*# DI0430


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=UESTION ORDER

&'e order of t'e uestions is (ery important. &'ey s'ould bearranged in a logical manner t'at )ill a(oid confusion andmisunderstanding. &'ings to remember )'en arranging youruestions"

o eep t'e +no)ledge and opinion uestions separate.

o eep uestions dealing )it' similar subects toget'er.

o Specific uestions s'ould come before any general uestionsif bot' types are used.

o 0pening uestions s'ould be easily ans)ered. &'ey s'ould beinteresting and ma+e t'e respondent )ant to cooperate.

o Juestions t'at mig't embarrass t'e indi(idual s'ould be att'e middle or end of t'e uestionnaire. Sensiti(e uestionss'ould be grouped )it' less;probing ones.

o !emograp'ic uestions are placed at t'e end of t'euestionnaire. &'e demograp'ic section as+s t'e respondentto describe 'imself. 1aturally, most respondents considert'ese uestions .(ery personal. &'e respondent is moreli+ely to ans)er demograp'ic uestions after 'e is as+ed for'is +no)ledge about t'e subect. 2esponses to t'eseuestions are useful )'en cross;tabulated )it' uestionsdescribing t'e different +inds of people t'at eit'er +no)somet'ing or 'old a particular point of (ie). Most militarysur(eys include age, se, education, military area, ran+,years of ser(ice and component in t'is section.

o 4ea(e a space at t'e end of t'e uestionnaire for t'erespondent to gi(e 'is personal feelings about t'e sur(eysubect or sur(ey itself. &'is is anot'er )ay of letting t'erespondent +no) t'at 'is information and opinions areimportant to t'ose )'o are conducting t'e sur(ey. And, ofcourse, it is al)ays good policy to t'an+ t'e respondentafter cooperating.

!RETESTING =UESTIONS

Juestionnaires s'ould al)ays be pretested on a small group of t'e

intended population. Pretesting is not'ing more t'an a trial run.Pretesting allo)s you a c'ance to deal )it' problems concerninguestion )ording, ans)er c'oices and inter(ie) procedures.

&al+ing )it' t'e pretest group )ill also point up additionalpossible uestions and problem areas.

DI0430 **


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Finally, one s'ould al)ays consider t'e possibility of repeatingt'e sur(ey. Juestions t'at 'a(e been t'oroug'ly pretested and 'a(e)or+ed in t'e actual sur(ey can be used to measure t'e same t'ing)it' anot'er group, or at a different time. Comparison of audiencedata collected at different times is often useful in determiningc'anges in perception and?or presentation. /f a large segment oft'e audience indicated t'ey enoyed t'e ne)s in one sur(ey and t'enin a subseuent sur(ey indicated t'ey no longer )atc' t'e ne)s, ac'ange in presentation of ne)s mig't be in order.

SAM!LING

arlier, )e discussed t'e #% basic steps in conducting an audiencesur(ey. 0ne of t'ose steps, sample, reuires closer scrutiny. Asdefined, sample means Bto c'oose )'ic' people to sur(ey.B 4et:ssay t'at our total (ie)ing audience numbers 8,%%%.

&'is number includes assigned military and ci(ilian personnel andt'eir family members. &'is is t'e population )e )is' to sample.

SAM!LE MET>OD

&'ere are fi(e sampling met'ods a(ailable to t'e sur(eyor.

o simple random

o stratified random

o cluster

o systematic

o uota

Sim-+e R%()om

Simple random sampling means t'at e(eryone in t'e population 'as aneual c'ance of being included in t'e sample. &'is can be done byassigning a number to eac' person in your audience. &'eir numbersare )ritten on separate pieces of paper and placed in a bo. &'eslips are dra)n until enoug' people 'a(e been selected to ma+e t'esur(ey (alid see Sample SiEe later in t'e lesson for 'o) many

numbers s'ould be dra)n. &o ensure e(eryone 'as an eual c'ance,eac' slip is placed bac+ in t'e bo after being dra)n. /f any oft'e same slips are dra)n again, t'ey are ignored and placed bac+ int'e bo.

*3 DI0430


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28/43

SAM!LE SI@E

/n determining sample siEe )e are concerned )it' t)o t'ings"accuracy reliability and confidence ris+. 0t'er factors suc'as met'od of collecting data, inter(ie)er bias, and uestionstructure can also influence t'e reliability of our results.

'en )e ta+e a random sample, )e are ta+ing a carefully selected

part to s'o) t'e c'aracteristics of t'e )'ole population. &'ere)ill al)ays be some error suc' as t'e difference bet)een t'eestimate pro(ided by t'e sample and t'e percent of t'e )'olepopulation. Ho)e(er, random sampling allo)s us to specify a'ead oftime t'e amount of t'is error and t'e confidence )e 'a(e t'at t'eamount )ill not be eceeded. /n conducting a sur(ey of t'emilitary audience, simple random sampling is recommended.

&'e sample siEe can be determined from t'e follo)ing table )'ic' isindeed by t'e siEe of t'e total population audience and t'edesired confidence le(el. A confidence le(el of $5 means t'at ift'e sur(ey )as conducted #%% times using t'e listed populationsiEes, t'e results )ould be t'e same in at least $5 sur(eys. &'e

most common inter(al of accuracy is plus or minus 5 percent. &'atmeans any sur(ey results proected for t'e )'ole population mayactually be eit'er 5 percent 'ig'er or lo)er t'an )'at t'e sampleindicated during t'e sur(ey.

&able #

*/ DI0430


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For a listening or (ie)ing audience of 8,%%% and an error oraccuracy tolerance of plus or minus 5 percent )it' $5 percentconfidence limits, )e need to randomly select 75% people tocomplete t'e uestionnaire.

4et:s say )e decide to use a mail sur(ey to determine 'o) many inour audience )atc' t'e si o:cloc+ ne)s. From t'e table )e +no)t'at )e need to completed uestionnaires from 75% people. !oest'is mean t'at )e need to only send out 75% uestionnaires 1o,

but )e need to ensure t'at )e recei(e at least t'at number ofuestionnaires bac+.

&'e typical response rate to mail sur(eys ranges from 7% to 75percent. Plan for follo);up mailing, per'aps post cards. e )illneed to send out a uestionnaire to at least t'ree times as manyuestionnaire as )e need to get bac+.

A co(er letter from t'e Commander, C'ief of Staff or some ot'eraut'ority )ill 'elp boost return rates.

Using all of t'e data t'at )e 'a(e discussed so far, let:s say t'at

)e mailed out our #,%5% uestionnaires. e no) 'a(e bac+ 75%completed uestionnaires.

ANAL;@ING T>E RESULTS

&'e last, and per'aps t'e most in(ol(ed step to completing anaudience readers'ip sur(ey, is analyEing t'e results.

Completed uestionnaires must be analyEed to pro(ide, at t'e least,percentages to sur(ey uestion responses.

Audience sur(ey results can supply a great deal of usefulinformation besides percentages and audience demograp'ics. /f t'eyare properly analyEed and interpreted, your completed results canalso re(eal problem areas )it'"

o distribution effecti(eness

o audience a)areness and acceptance

o audience opinion about t'e (alue and effecti(eness of t'estation

&o go one step furt'er, your findings could ultimately be used as alearning tool. Sur(ey results can pro(ide a sound basis from )'ic'to ma+e decisions on suc' matters as 'o) to reac' specific audiencesegments )it' specific messages, or determining )'ic' areas ofco(erage concentration could be reduced )it'out losing segments oft'at audience.

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W>ERE TO GO

A maor problem most public affairs offices face is t'ey normallydon:t 'a(e t'e resources to generate t'is +ind of information ;;interms of bot' cost and manpo)er.

it' +no)ledge of statistics, certain tests can be performeduic+ly to yield descripti(e data. 0t'ers can do e(en more, but

t'ey are so complicated t'at it can be (ery time consuming.

Computers can perform all of t'ese tas+s and more in seconds. /nmost cases computer support is a(ailable t'roug' local !irectorateof /nformation Management offices !0/M. Computer support canalso be obtained from"

o t'e area comptroller

o nearby uni(ersities

o personal computer user groups

/f a c'ec+ )it' t'ese sources fails to locate t'e appropriatefacilities, data analysis can still be done, as a last resort, Bby'and.B Sur(ey analysis done in t'is manner )on:t, 'o)e(er, pro(idedetailed statistical data. =ut t'is met'od )ill, at a minimum,gi(e some insig't of your audience:s readers'ip trends.

INTER!RETING T>E EEDBAC:

'en using computer support, t'e first obstacle to o(ercome is t'elanguage barrier. *ou s'ould +no) at least )'at to as+ for before

bringing your data to t'e computer. /t must also be presented in aformat t'e computer )ill understand.

As a minimum, t'e interpretation s'ould s'o) freuency and crosstabtables.

RE=UENCIES

&'e staff of our post station, !/S, recently completed an audiencesur(ey. A 68;item uestionnaire )as used to uery a sampleselection of 895 respondents.

/nitially a freuencies analysis )as performed to obtain o(erallresults on eac' uestionnaire item. &'ese are some eamples of t'e+inds of information t'is procedure pro(ided"

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&able 6

&able 6 gi(es t'e o(erall total of Acti(e Army personnel 8%9 andot'ers 5$, and t'e percentage )'ic' t'ey comprise in t'e totalsample @3.7 and #6.3 respecti(ely.

&able 7

&able 7 illustrates t'e by;ran+ brea+do)n of t'e sample used./deally, t'ese figures )ill be roug'ly proportional to t'e normalran+ brea+do)n found in t'e post population. &'e cumulati(efreuency pro(ides a running percentage total.

CROSSTABS

Freuencies alone do not pro(ide enoug' specific information toma+e abrupt c'anges in co(erage. More data is needed beforedecisions can be made on 'o) or )'et'er to implement any c'anges.&'e second statistical procedure used on t'e sample sur(ey )as acrosstabs analysis. &'is test pro(ides specific information about'o) eac' sub;group feels about eac' uestion. &able 8 illustratecrosstab findings"

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&able 8

&o maimiEe its usefulness, data s'ould be subected to t'reestages of analysis"

o preliminary analysis ;;data is bro+en into basic groups andBra) dataB tables.

o aggregate analysis ;;responses are bro+en do)n intopercentage and specific groups for study by se, age, etc..

o comparati(e analysis t'e 'eart of t'e sur(ey ;;all data ismatc'ed against ot'er statistics and conclusions are dra)nbased upon t'e results.

*9 DI0430


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!RACTICE E8ERCISE

LESSON *

SUBCOURSE DI0430


INSTRUCTIONS"


& F #. An audience sur(ey is an annual reuirement asprescribed in A2 9%%;75.

& F 6. &'e t'ree types of sur(eys generally considered in t'emilitary are census, annual and mail.

& F 7. &'e sampling met'ods a(ailable to t'e sur(eyor aresimple random, stratified random, cluster, systematicand uota.

& F 8. Simple random sampling means t'at e(eryone in t'epopulation 'as an eual c'ance of being selected.

& F 5. &'e t)o main elements of an audience sur(ey are samplingand percentages.

& F 9. &'e most commonly used error or accuracy tolerance is

plus or minus 5 percent.

& F 3. /f your station decides to use a mail sur(ey, you )ouldepect a response rate of 7% to 75 percent.

& F @. /n determining sample siEe, t'e t)o factors you:reconcerned )it' are access and confidence.

3# DI0430


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ANSWER :E;

!RACTICE E8ERCISE

LESSON *

SUBCOURSE DI 0430


#. False Page #6

6. False Page #8

7. &rue Page 67

8. &rue Page 67

5. False Page #7

9. &rue Page 65

3. &rue Page 69

@. False Page 65

DI0430 3*


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LESSON T>REE

DETERMINE A RADIO MUSIC ORMAT

892 Soldier:s Manual &as+" 6#8;#33;78%9

OVERVIEW

4SS01 !SC2/P&/01"

&'is lesson )ill pro(ide you an o(er(ie) of 'o) to determine aradio music format.

&2M/1A4 4A21/1G 0=>C&/D"

AC&/01" !escribe procedures necessary to properly determinea radio music format.

C01!/&/01" *ou are gi(en t'e material presented in t'is

lesson.

S&A1!A2!" Perform all t'e duties described in t'is lesson.

2F21CS" &'e material contained in t'is lesson )as deri(edfrom t'e follo)ing publications"

S&P 89;892#8;SM;&G Soldier:s Manual < &rainer:sGuide, =roadcast >ournalist M0S 892 S+ill 4e(els#?6?7?8, August #$@@.

!efense /nformation Sc'ool 2adio and &ele(isionHandboo+, May #$@6.

33 DI0430


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INTRODUCTION

0f all t'e responsibilities of a broadcast manager, t'ere isper'aps none t'at )ill impact upon t'e accomplis'ment of 'is

primary mission as muc' as establis'ing t'e radio music format.4et:s face it, your audience )on:t tune in for t'e routine commandinformation spots you air unless you offer music to fit t'eirtastes. &'ere 'a(e been times )'en people li+ed a commercial somuc' t'at t'ey )ould intentionally listen to it, but suc' cases arerare at best. After all, it:s t'e seller )'o )ants t'e listener to'ear 'is message, not t'e ot'er )ay around.

/t:s your ob as broadcast manager to attract your audience:sattention in order t'at you can deli(er t'e command information.&'e mission is to inform and entertain. 1e(er forget t'at BinformBcomes first. &'e BentertainB is more to enable you to inform t'anany ot'er reason. 0f course, entertainment promotes good morale,but it:s necessary for t'e broadcast manager to understand t'epriorities.

DETERMINE T>E OBJECTIVE

Alt'oug' t'e normal obecti(e of a music program format is todeli(er t'e maimum command information )it' t'e minimum annoyanceto t'e music;listening audience, t'ere are special circumstances)'ere t'e obecti(e could be some)'at different. /n any case,understanding t'e obecti(e is step one.

CONSULT AUDIENCE SURVE;S

0nce you:(e determined t'e obecti(e you can plan your steps. 0nepart of t'e euation is al)ays t'e audience. /n order to informand entertain an audience, you must +no) its li+es and disli+es.&'at is t'e function of an audience sur(ey.

As you learned in lesson t)o of t'is subcourse, audience sur(eys goto great lengt's to ascertain t'e t'ings you:ll need to +no) aboutyour audience. 0nce you +no) t'em it:s a matter of appealing tot'eir tastes. &'ere are a number of t'ings you must do in order toaccomplis' t'at.

DI0430 34


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DETERMINE MUSIC

Appealing to an audience:s tastes may not be a simple t'ing. /ft'e audience )as one person, or many people of eactly t'e sametaste, it )ould be easy, but t'at is ne(er t'e case. &'e militaryis a miniature of t'e entire country as far as population and itstastes, alt'oug' sometimes concentrations do eist. Ho) do youappeal to e(eryone *ou don:tL &'e best you can 'ope to do is

appeal to t'e largest segment of your audience most of t'e time and'a(e somet'ing for e(eryone in proportion. Simply put, t'at meansif @% percent of your audience li+es roc+ BnB roll, #% percentli+es country and #% percent li+es soul, you )ould play @% percentroc+ BnB roll, #% percent country and #% percent soul. &'at may bean etremely simple eample, but t'e basic t'eory is (alid. Manyt'ings must be considered in determining )'at music you play, 'o)often you play it and at )'at time of t'e day. &'ere are also afe) t'ings you s'ould ta+e care to a(oid in t'e selection of music.

&'ey )ill be discussed later in t'is section.

!re.e(, DJ -re5ere(ce

&'ere )ill be many facets to address in analyEing audiences. 0nceyou:(e )aded t'roug' all t'e different points to consider and comeupon t'e correct ma+eup of your audience, manager and broadcasterali+e must pay special attention to being obecti(e and maintaininga professional approac' to t'e construction of a play list. Aftert'at play list 'as been decided upon, you:ll still need to pro(ideguidance to t'e !>. Most stations prepare a music )'eel or 'otcloc+, representing an 'our of local s'o) time, as a guide forlocal disc oc+eys see Figure #, 2adio Hot Cloc+. A circle

corresponding )it' t'e face of a cloc+ is used to s'o) t'e !>reuired, or suggested, s'o) element to air and t'e approimatetime to air it according to local S0P. /t can refer to musicselections, spots and ingles?propellants.

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F/GU2 #. 2A!/0 H0& C40C

*ou:ll probably lea(e selection of specific songs to t'e s'o)announcer, but )it'in some rat'er strict guidelines. Music typescan be administrati(ely di(ided into classifications for simplemanagement of t'e format. Usual classifications are B'otB c'artsongs, Blo)B c'art songs and oldies. Songs can be furt'erclassified by tempo or gender of artist, as desired.

!re.e(, O.er-+%?i(' O5 C$%r, Music

/f e(er t'ere could be too muc' of a good t'ing, it could be in

popular music. &'ere is a fine line bet)een too little and toomuc', )it' us, e(ou'$, balanced on it. /n deciding 'o) muc' toplay any gi(en piece of music, you must also consider any canneds'o)s t'at are aired o(er your station. ample" /f you air &'eC'arlie &una S'o), you must count t'e times 'e plays a certain songas )ell as t'e times you play it.

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*ou:ll )ant to 'a(e some system for +eeping trac+ of 'o) often aselection is aired. File cards can be prepared for t'e top c'artsongs t'at can be rotated )'en one of t'e songs is played. /t isalso necessary to mi up t'e times of airing as )ell. &able 5 isan eample t'at could ser(e to +eep trac+ of bot' 'o) often and at)'at time of day t'e songs on your play list come up.

&'e follo)ing table is for a t'ree;'our s'o), )it' eac' initialrepresenting a 'alf;'our segment of t'e s'o). A is t'e first 'alf

'our, = t'e second 'alf 'our, etc. /f you 'a(e bot' morning andafternoon s'o)s, you:ll )ant to +eep one for eac' s'o). eep onefor eac' playlist of songs if you di(ide your songs up by separatelists, suc' as A for 'ot #%%, C for recurrents, = for oldies, etc.

&able 5

E(sure !ro-er B%+%(ce

Music types can be administrati(ely di(ided into classificationsfor simple management of t'e format. As pre(iously mentioned, t'eclassifications )ould be B'otB c'art songs, Blo)B c'art songs andBoldies.B Songs can be furt'er classified by tempo or gender ofartist, as desired.

Songs s'ould be listed by classification on t'e music )'eel in t'e

position determined to best fit t'e format obecti(e.

*ou may determine a need to (ary t'e female;male;group balance ofyour announcers: playlists. 2euiring a loose mi of t'ree )illpre(ent an Ball maleB or Ball femaleB sound from dominating yourlocal s'o)s.

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/n order to +eep t'e listener:s interest, anot'er t'ing you mustbalance is tempo. A )idely recogniEed and effecti(e )ay to do t'isis )it' t'e B)a(eB effect. &'at means to program an up;tempo songto start, slo) t'e tempo t'roug' t'e middle of t'e first 'alf;'our,start t'e second 'alf;'our up;tempo again, slo) t'roug' t'e middleof t'e second 'alf;'our again, and end )it' an up;tempo song.

DETERMINE S!OTTOMUSIC RATIO(ery year billions of dollars are spent in t'e ad(ertisingbusiness in an effort to get t'e sponsor:s message to an audience.Probably t'e single most prominent goal is to get t'e audience tolisten to t'e commercial instead of 'eading for t'e +itc'en duringt'e commercial brea+. &'at s'ould lead us to understand t'at t'eaudience is t'ere for t'e entertainment portion of t'e program.&'ey )ill put up )it' some commercial announcements )'ic' is,after all, )'at spots really are, but )'en t'e commercial?spot toentertainment ratio gets too out of balance, t'e audience )ill goa)ay. /t is t'erefore etremely important to maintain t'e correctspot;to;music ratio. /f you 'a(e no audience, it doesn:t matter'o) good t'e spots are or 'o) many of t'em you air, or 'o) muc'command information you put out.

&'ere is no 'ard and fast formula for proper balance. *our besttool in determining 'o) good a ob your station does in t'is regard)ill be in audience sur(eys. *our local sur(ey )ill pro(idefeedbac+ t'at indicates 'o) )ell balanced your format is. /n t'ee(ent you don:t already 'a(e a format balance establis'ed, a goodplace to start is si minutes of music to eac' minute of spots. 0fcourse, you adust from t'ere according to t'e feedbac+ recei(ed inaudience sur(eys.

S!OT CLUSTERS

Most stations )ill cluster spots toget'er rat'er t'an sand)ic' t'embet)een songs. &'is met'od )ill gi(e a Bmore musicB sound. A spotcluster or spot set of t)o or t'ree spots e(ery #% to #6 minutes ont'e music )'eel is not uncommon.

&'e spot cluster can be made up of a combination of producedcarted spots and reader li(e announcements, depending on t'ecommand information emp'asis. *our Command /nformation Section

&raffic and Continuity can assist you in t'is.

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SU!!ORTIVE MATERIALS

*our music program format s'ould also indicate 'o) often and )'ensupporti(e material is aired. Supporti(e materials includeingles?propellants, ne)s or sports features, comedy segments,)eat'er and t'ings of t'at nature.

/t:s necessary to pro(ide guidance to t'e program announcer as to

'o) often and )'en to use produced ingles and music propellants sot'at t'ey don:t become a crutc'. Here again, t'ere is no set rulet'at tells you )'at is too muc'. /t:s up to you to decide and seeto it t'at t'ey are not o(erused. &'e +ey is to balance t'eprogram aid )it' ot'er s'o) elements.

*ou s'ould also establis' guidelines concerning announcer self;identification, )'et'er t'e /! is formal or informal. Again,balance is t'e +ey consideration.

/t:s important t'at your audience understand )'en it can epectcertain s'o) elements. !ifferent time periods )ill 'a(e differentemp'asis because t'e nature of t'e audience c'anges )it' t'edaypart. For eample, information suc' as ne)s, time 'ac+s,)eat'er, temperature, road conditions, and sc'ool closings are moreimportant to most Bmorning dri(e timeB audiences, )'ile featuresmay appeal more to t'e midmorning local audience. Afternoon dri(etime audiences mig't prefer information segments during t'e localmusic s'o) suc' as sports, )eat'er, time, etc. &o be more specificand eact, you:ll need t'e information pro(ided by your audiencesur(eys.

/f you:re an affiliate station, you must also consider yournet)or+:s music program format. Ho) far you can de(iate from t'enet)or+:s sound )ill most li+ely be dictated by t'e net)or+, in

accordance )it' your local audience needs and )ants. /n any case,your audience )ill epect a certain amount of continuity.

2emember t'at your audience 'as a lot of input to your radio musicformat, but you also 'a(e a command information mission. &'e radiomusic format you determine )ill impact 'ea(ily upon t'at mission.*ou )ill need to submit your format to your super(isor for appro(alunless local S0P gi(es you appro(al aut'ority.

Finally, remember t'at audiences c'ange, bot' in ma+e;up andtastes. specially in t'e military )'ere people are constantly ont'e mo(e, your audience is subect to turn o(er completely in t'ree

years.

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!RACTICE E8ERCISE

LESSON 3

SUBCOURSE DI0430


INSTRUCTIONS"


& F #. &'e B)a(eB effect is a form of tempo balance.

& F 6. Since ingles can become a crutc' for a !>, t'eirfreuency of use s'ould be indicated in t'e programformat.

& F 7. Manager and broadcaster ali+e must pay special attentionto being obecti(e and maintaining a professionalapproac' to t'e construction of a play list.

& F 8. Pleasing t'e audience comes abo(e all ot'erconsiderations in determining a radio music format.

& F 5. &'e popularity indicated by a song being in t'e top #%on t'e c'arts also indicates t'at it:s impossible toplay it too muc'.

& F 9. /nformation is a secondary consideration of a radiomusic format.

& F 3. Songs can be classified by tempo or gender of artist inaddition to type of music.

& F @. /n order to 'elp your audience +no) )'at to epect atany gi(en time of day, it:s a good idea to play t'e samesongs at t'e same time eac' day.

& F $. A good )ay to balance t'e spot;to;music ratio is to putone spot bet)een e(ery t)o songs played.

& F #%. &'e station radio music format )ould establis'guidelines for announcer self;identification.

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ANSWER :E;

!RACTICE E8ERCISE

LESSON 3

SUBCOURSE DI0430


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aipd subcourse di0430 edition a: advanced broadcasting

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