February 2013 Highlights

Production 212: Want To Be My Intern?

by Dave Foxx

I've spent the past couple of weeks preparing for a new intern named Becca Moore, laying out the things I want to teach her, processing how I want to spin her up into a first class producer. With all of that fresh in my mind, I sat down to write this article and thought, "This intern is going to get all the stuff I've been writing and thinking about in RAP Magazine over the last ten years, all wrapped up in a few weeks. How cool is that?" Of course what she's going to get will be presented in a somewhat linear fashion, unlike what you've been getting here. Plus, she has all the advantages of being in a one-on-one situation, so if she struggles with anything, we can always break it down further -- a process that can last minutes. If you struggle with anything I say here, it could take days, or even weeks, to break it down to that level.

R.A.P. Interview: Eamon Duffy, Eamon Duffy Voiceovers, Castlebellingham, Ireland

By Jerry Vigil

This month's R.A.P. Interview journeys over to the lush, green land of the Irish to visit with one of the country's busiest VO pros, who does work for most of the stations in the country and then some, while keeping a busy schedule as a club jock, and holding down an air shift as well. Eamon Duffy got his start in the days of pirate radio stations in Ireland and has managed to stay afloat through changing radio laws and changing economies. We get a glimpse at Eamon's interesting background and a look at VO in Ireland in this month's interview. Be sure to check out the R.A.P. CD for audio from Eamon!

Test Drive: The Apogee Quartet Audio Interface

by Steve Cunningham

It just so happens that I'm currently evaluating audio interfaces for use in the 25-seat Macintosh computer lab at the university where I ply my trade, and where we teach audio recording and editing using Macs and Pro Tools (as well as several other multitrack programs). We've used various incarnations of the Avid (nee Digidesign) mBox for nearly a decade, from the original vertical Mbox 1 up to and including the current Mbox 3. Our experience with the latter, known today as just the Mbox, has been less than satisfactory from a reliability standpoint; never mind that the newer model uses a different driver that the older models, so both drivers have to be installed and the correct one must be selected for things to go well (which they sometimes don't with noob students). So rather than replacing the defective units while still supporting two drivers, a decision has been made to buy new. Hence this month's review of the Apogee Quartet audio interface.

"...And Make It Real Creative!": Demo Dilemmas

by Trent Rentcsh

When I was a baby DJ, I remember the second thing I wanted to do (the first was to be the next Rick Dees. Yep, I'm that old...). I wanted to put together a "killer demo" and make some "big voice-over dollars" (see, kids, you didn't invent that dream). Mind you, I had barely been in front of a mic at that point, live or in the production studio, but I had heard about a morning guy in Minneapolis who was catching a plane a few days a week after his show, and making about 20 times his on-air salary, voicing Agency spots in Chicago. It's possible it was one of those radio Urban Myths, but it certainly got my attention.

Radio Hed: Story Forms for Radio Writers – Unreliable Narrator

by Jeffrey Hedquist

The voice of the commercial misrepresents the truth in some way. He/she could be biased, mentally ill, or experientially limited, like being a child. They might have trouble distinguishing between reality and fantasy, or have strong motivations to mold the truth to the way they see it. The character's unreliability can be made clear from the beginning and throughout the commercial, or can be revealed at the end as a plot twist.

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