(Scott Dorsey) wrote:


This is true, but it's also a really bad thing.

We can wish for things to be like the good old days or we can embrace change
and change with it. Those who long for the good old days eventually wind up
as bitter folks, muttering to themselves or babbling incoherently.

I happen to like jazz. I have put on over 400 live shows in the past 10 years
showcasing all kinds of interesting music, much of which didn't find an
audience because it's not hip-hop and it's not garage rock. But then I live
in a real world and realize that what I'm doing is in the fringe. I know that
I'm not going to sell out any 1200 seat venues with the things I book.

I could be commercially successful as a promoter and book hip-hop, garage
rock, and "dance music", or I could continue on my fringe track and enjoy what
I'm doing, even if it's often more a hobby than a money maker.

Today's radio is what it is.


What makes it sucessful, though? Do people really go out of their way to
listen to it, or do they just happen to turn it on because it's the loudest
thing on the dial as they tune by and it happened to be playing a song they
like?

I think people listen to KOIT because it plays familiar tunes in a
non-offensive way. Years of success have proven that people don't
particularly care for chatter, news, or much else beyond the time and a
weather forecast.

(Scott Dorsey) wrote:

THAT is interesting. That's something worth talking about... how we got
into the situation where the whole extended band was created. THAT is an
important part of radio history.

The history is this: Extended band channels were offered to daytimers under
the promise that they would abandon their daytime channels and go fulltime in
the extended band. I believe KNBA 1190 was the first or second station to
take up this offer to move to 1640. But they never left 1190. I forget the
excuse they used.

So, what kind of tour could KDIA/KDYA do? "See, we have two stations because
we promised we'd move from one channel to the other and they we went back on
our word." I don't think that would play very well.


What is interesting about the station isn't anything that is in the station
itself, it's how the industry got to be where it is and how the station got
to be there.

But when people go visit a station they want something fancy and technical and
unlike their ordinary lives. What I'm saying is that what they're going to
see in a radio station is nothing that far removed from what they see
elsewhere. Radio is a mature medium. There's not much more that can be done
with it. It's like Microsoft Word 2002. It's a mature product and all that
can be done now is tweaking the bells and whistles, and moving the furniture
around.


No, but there's a _lot_ to talk about. Everything is in little boxes in
racks that look like every other rack in every other industry, but how it
got to be that way is the story of radio.

Generally speaking, history is not a way to interest someone in a career.
History tends to be the domain of old folks. I didn't realize this until
quite recently when a friend didn't want to go visit a private library with me
to look up old books and magazines about the history of BART. He's a transit
buff, but had no interest in learning about BART's past, only what they're
currently doing and how they can change things to make it better in the
future. He's, uh, maybe 25 or so.

In article ,
(David Kaye) wrote:

But you didn't even know that your own stations test their music before
playing it. You thought they operated on hunches. If you didn't know this
fundamental aspect of today's programming, there's probably more things about
modern radio that you don't know.

I dare say. Anyone who thinks he knows everything is deluding himself on
a grand scale. However, unless you are asserting that I suffer from
diminished faculties, I would imagine that I am in a far better position
to absorb and assess the state of broadcasting's art, in any department,
over one who hasn't been near a broadcast position in a couple of
decades, give or take.

That "fundamental aspect" you refer to was something I discovered on my
own through casual across the hall inquiry. To me, it was a minor point.
But I guess I can understand why you cling to it as some sort of
evidence of my abysmal knowledge of the broadcast industry. You don't
ask if the air is any good when it is all there is to breathe.

Okay, I went to school with Mike Amatori. I want to be as supportive as
possible, but unfortunately, when it comes to production he's fairly blind to
modern ideas and techniques. His stuff, unfortunately, sounds 40 years out
of
date.

Mike is at the top of his game. His creativity is on display for all to
hear, all the time. I have yet to hear one single piece of production
from you. You'll excuse me if I tend to give a bit more weight to his
industry views than I do to yours. With all due respect, of course.

Frankly, he's not very good. His delivery is singsongy. He makes
little use of music beds, no use of sound effects, speed changes, etc. Heck,
there are spots he could do with multiple voices, back and forth banter, lots
of things, but he just knocks out the same old same old day after day.

Then you're not listening (and I think you have made it very clear that
you don't, at least not to KGO). You have pretty much the same view of
my work in the industry as well, but then I just consider the source.
Criticism from one who is not in a position to know is not taken very
seriously.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

David Kaye wrote:
(Scott Dorsey) wrote:

No, but there's a _lot_ to talk about. Everything is in little boxes in
racks that look like every other rack in every other industry, but how it
got to be that way is the story of radio.

Generally speaking, history is not a way to interest someone in a career.

Well.... yes.... but.... I don't think I'd want to interest someone in a
career in radio today.

But I might want to give them a tour that would make them think about how
messed up the whole radio industry is....
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

(Scott Dorsey) wrote:

Well.... yes.... but.... I don't think I'd want to interest someone in a
career in radio today.

Times do change. I wouldn't want to interest someone in blacksmithing as a
career, either, even though those who are willing to weather the vagaries of
the profession and who are at the top of their game can make 3-figure incomes
doing it.


But I might want to give them a tour that would make them think about how
messed up the whole radio industry is....
--scott

I'm not necessarily convinced that broadcasting is messed up. Small owners
retired, died, or sold out for big bucks to the larger owners, as happens in
just about any industry (drug stores, car dealerships, auto parts). The
larger owners have notes to pay down, and have the choice of either boosting
revenue or cutting expenses to do it.

And while all this was happening, along came the Internet, which took both its
advertising base and its entertainment base in just a matter of a few years.

The new world order isn't just happening to broadcasting. 2006 was the Postal
Service's biggest year. 2009 was one of its worst. The USPS has to turn its
huge passenger liner around on a dime in order to keep from sinking in a
mountain of debt (forgive the mixed metaphors).

I think the radio industry is trying to give the audience what it wants.
Certainly, Clear Channel spent a lot of resources with their Format Lab
website, trying to see what music formats would work for what demographics and
then trying to incorporate them into those stations that weren't doing well.

But the audience is moving on to other media. If stations can establish a
presence in those other media, fine, but they might not be able to do it the
same way as they've done as broadcasters.

Some radio stuff works well in the transition. I know lots of folks who
listen to "Fresh Air" and "This American Life" via podcasts instead of or in
addition to via their local NPR station. But I don't know if KPIG's
subscription service will work -- I think it's $5.95 a month for unlimited
streaming of what is a remarkable playlist. It's clear that many people
listen to KGO's talkshows online in real time, but is it enough to compensate
for the number of listeners they lose by being an AM station in the days of
diminishing AM listening?

(David Kaye) wrote:

Times do change. I wouldn't want to interest someone in blacksmithing as a
career, either, even though those who are willing to weather the vagaries of
the profession and who are at the top of their game can make 3-figure incomes
doing it.

I meant to say 6-figure, not 3-figure. It's true. Good blacksmiths are in
demand, but it's not a growing profession.

In article ,
(David Kaye) wrote:

I meant to say 6-figure, not 3-figure. It's true. Good blacksmiths are in
demand, but it's not a growing profession.

A six-figure income from broadcasting is still fairly common these days,
even since the big bust. Sales reps, talent, management, and engineers
all typically make six-figure incomes in the Bay Area.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

Haveing been a Radio broadcaster in many forms for a long time and seen the birth,growth,evolution and eventual de-evolution of radio not only as a hobby but as a career I have learned that the real problem with "radio" today is the cheeky*******s that are in it for the money!

"RADIO" weather it be engineering,production,or talent Is an art and a labor of love. When invented the thing all we really wanted to do was play some music to our friends,tell them what the weather was doing where we are and in a way all be in the same place at the same time regardless of the acual distance between us.

Sure, the greedy and grossly OVERSIZED commercial interests fueled by the FCC's pressure to pay more money for every second of RF emission has all but destroyed everything that radio was sopposed to be. Turning the "dial" in to a sea of noise and pandering to pursuit of the dollar almighty to a point that now the snake is eating its tail. no more DJs just harddrive babysitters,no more fun for the listener and in most stations today forget about the thrill and excitement of "THE SHOW"! .....

Well HA HA HA HA! The story doesnt end here....Much to the contrary!

People with disabilities you ask? Well if you are hopeing to make a living in radio then the game is up, But if you willing to LIVE radio then i see no better oppertunity for a disabled individual to make a difference in the world of RADIO.

Yes you are going to have to start at the begining in a sense. Re-invent the wheel which shouldnt be to hard today since it seems that it has been forgotten that blocks dont roll.

What i suggest to you start your own station as if you invented RADIO.

NO! not pirate radio at least not in the sense of stepping on toes or troubleing the failing "industry" with formitable competition.

There is nearly unlimited radio spectrum all you have to do is find a piece that suits the need. Stay away from the comercial AM&FM bands that ship is sinking for now. In stead Set sail on your own ship even if that means you have to start with a raft.

If you want radio then you are going to have to make radio by any means nessasarry. You may have to market radios directly to your listeners that receive your frequency since its not going to the mainstream. Hmmm kinda sounds like the early days of broadcasting...

I dont want to tell you what to do after all its your radio station but i will offer this :HF,shortwave,CB radio,Part 15,(analogue of course).Stay out of HAM bands and DO NOT USE ANY FREQUENCY THAT IS BEING USED BY OTHERS find a clear channel. Courtesy is formost

Of course If you win the lottery or have a million dollars you could buy your way into mainstrean radio. But who wants to listen to that crap?

What ever you choose to do make sure you do it well and without causeing harmfull interference to any other communications or public safety. Use proper Engineering practices and keep the content clean but not sterile. Act only in the public's interest and service to the public and you will be amazed how your efforts will satisfy the thirst of radio listeners that has been unquenched for decades.

Radio is to amuse,entertain and inform both the broadcaster and listener! Not to lay golden eggs! Keep that in mind as you have now been welcomed in to the world of Radio Broadcasting


"HEY!, Whos on the air?"

In article ,
13thdoctor wrote:

"RADIO" weather it be engineering,production,or talent Is an art and a
labor of love. When invented the thing all we really wanted to do was
play some music to our friends,tell them what the weather was doing
where we are and in a way all be in the same place at the same time
regardless of the acual distance between us.

In my opinion, many commercial stations have gone well above and beyond
the image of radio broadcasting, and insert themselves into their
communities at many levels, beyond playing "some music" and talking
about the weather. Some generate interest in local affairs,
entertainment venues, social interactions, and some even participate in
improving the overall business climate. In other words, some stations
are as much a part of their communities as the town square.

Sure, the greedy and grossly OVERSIZED commercial interests fueled by
the FCC's pressure to pay more money for every second of RF emission
has all but destroyed everything that radio was sopposed to be.

Broadcasters pay less for their spectrum than just about any other radio
service. This is in exchange for having a mandate to provide services
and assume a public trust that goes along with the spectrum they acquire.

Turning
the "dial" in to a sea of noise and pandering to pursuit of the dollar
almighty to a point that now the snake is eating its tail. no more DJs
just harddrive babysitters,no more fun for the listener and in most
stations today forget about the thrill and excitement of "THE SHOW"!

There was a time when radio listeners said, "We're tired of all this
talk; just play the music." Sometimes it pays to be careful what you
which for. Confining nostalgia to the days of the DJs is not only not
thinking out of the box, it ignores reality, since we still have many
DJs, both syndicated and local.

People with disabilities you ask? Well if you are hopeing to make a
living in radio then the game is up, But if you willing to LIVE radio
then i see no better oppertunity for a disabled individual to make a
difference in the world of RADIO.

You can do both. My life for over forty years has been radio. I have
made a good living doing radio. These are not mutually exclusive
endeavors.

Radio is to amuse,entertain and inform both the broadcaster and
listener! Not to lay golden eggs! Keep that in mind as you have now
been welcomed in to the world of Radio Broadcasting

Once again, these states are not mutually exclusive. Some of the most
successful stations in existence in terms of informing and entertain
audiences have also been among to most lucrative for their owners.

I, for one, have no trouble compensating those who do good work...and
compensating them well.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

13thdoctor wrote:

as a hobby but as a career I have learned that the real problem with
"radio" today is the cheeky*******s that are in it for the money!

Radio broadcasting is a mature industry. Of COURSE people will be in it for
the money, just as home building is a mature industry and you no longer see
many homes being built as do-it-yourself projects as you saw in the 1930s.
Today you see home building companies putting up homes for the money.

Radio is no different.

So, get over it. If you want to do radio as a hobby, talk to your local
non-commercial station and see if they have some time available. Jad from
NPR's "Radio Lab" started about 10 years ago using throwaway time at 3:00am on
WNYC, and now he's created an award-winning series that even Ira Glass from
"This American Life" envies. It's THAT good. But he started with a garbage
slot on a public station.