April 2015 Highlights

25th Radio And Production Awards - Congratulations Winners!

Please join us in congratulating the winners, runners-up and finalists of the 25th Radio And Production Awards! We have several newcomers to welcome to the Winner’s Table! First time trophy winners include Dan Macintosh, Jay Helmus, Elisabeth Hart, Warren Cargill, Gary McClenaghan, and Langley Gerrard. Dan’s trophy is not only his first, but the very first ever RAP Awards Trophy for Best Imaging. And welcome back for return visits, Colin McGinness who picks up his second trophy. Chris Pottage picks up number six, which moves him into a tie with John Masecar at third place. And pulling away from Joel Moss (9 trophies) with the most trophies is none other than Ross McIntyre with trophy number eleven. Holy cow!

R.A.P. Interview - D. Peter Maus, Maus Productions, Chicago, IL

by Jerry Vigil

I’ve lost count of the number of interviews I’ve done that were “long overdue”, and this one just adds to the number. Peter Maus has been flying solo for the past 15 years after a very successful run in radio. Maus Productions provides radio, TV and multimedia production, field recording, live radio production, as well as services in the area of studio engineering, equipment selection and installation, and acoustic space treatment and design. Other services include mixing live bands, producing corporate events, set up and hosting of indoor and outdoor events on site for gatherings as simple as church picnics, to vintage auto races, to full blown corporate gatherings and broadcasts. While that list is quite impressive and loaded with great topics for discussion, this interview focuses more on the unique and talented individual that Peter is, his 11 year run at Chicago’s US99, his amazing knack for the engineering side of things, what made him a great morning personality, what makes great imaging, how close calls with death can wake you up… and flying helicopters. Strap in again, we’re going for another ride.

Q It Up: What comes first: the compressor or the EQ?

Twenty-one pros weigh in on this often debated question. Thank you all for your participation and expertise!

Q It Up: Once you have a voice track recorded and placed on a track in your project, you probably do most your processing of the voice at this point, either on the track itself or on a bus the track is assigned to. Most producers are going to have these two plugs in the effects chain: compression/limiting of some kind, and an equalizer. The question is, which comes first for you, and why? And if you have other effects in the chain, is their placement in the chain also important in your case? Explain. And feel free to add any other comments on the subject!

Selling What You Don't Like

by John Pellegrini

One of the most difficult jobs for a radio production/creative director is writing a script for a product or service that we (1), do not use, and (2), have no intention of, or interest in, ever using. To quote the poetry of Taylor Swift, “…like, never.” Almost every week, sometimes every day, we are required (by law in most states) to write commercials for products and services that many of us could not possibly care less about. Admit it; there are more than a few on your personal list. It’s okay… everyone has things they don’t like.

Radio Hed: Unexpected Connections Make Effective Radio

by Jeffrey Hedquist

I've talked before about making your client’s commercial sound different than his or her competitors’. One way to do that is to research how advertisers in completely different categories talk to their audiences. You can do this by listening to their commercials, by reading specialty magazines or checking out web sites. You’ll discover promotions, marketing ideas and points of view that will help your client’s campaign stand apart from the crowd.

What's Under There? - A Commentary from the Frontlines of Freelancing

By Joshua Mackey

There are many clients out there that resemble dirty, ugly rocks that appear to have no real purpose but to demand more than they deserve. There are freelancers and employees that are the same, but for the sake of this commentary I’m focusing on clients. I’ve always been the curious type. My curiosity has definitely followed me into my freelance career. When I have an opportunity to “feel a client out” and see what they’re all about, I usually take that chance. There are some red flags that appear from time to time that cause me to overlook a client but, for the most part, I at least engage them.

"....And Make It Real Creative!”: By Client Request

by Trent Rentsch

Oh, how I love Clients! I especially love the way they have tight deadlines. I love it when they request 47 seconds worth of copy in a 15 second spot. I love it when they need multiple voices, all children and/or the elderly, “The real thing, no silly character voices, please.” I love it when they hate the voices that I choose, and demand new casting… only to go back to the original voices. I love it when they decide to have their child and/or Grandfather come to the station to be one of the voices, then hate “the sound of my microphone” on their untrained voices...

...and more!

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