LO3: Justifying Codes and Conventions

LO3: Justifying Codes and Conventions

Within my radio broadcast, I followed the codes and conventions typical of other influential broadcast stations like BBC Radio 4, as well as their radio drama structure, and LBC. 

One example conventional of typical radio follows the station's jingle following an interim of advertisements: the purpose of this jingle was to reflect the late-night and niche audience of the station by creating audio (that speaks the station's name, as conventional) with fantastical or eerie elements (e.g. a wolf's howl) to portray the depiction of literature as a theme throughout the broadcast. This later evidenced by an interview with an author and radio drama akin to an audiobook with emphasis on narration. The advert this follows is also typical of the kind of station Full Moon Radio is by representation of chain restaurants likely to appear in locations like motorway services that late-night drivers and radio listeners are likely to frequent.

Another example would be the quarterly news bulletin which acts as a form of surveillance (Blumler and Katz) to inform audiences of what is happening in local areas. The inclusion of a jingle to signify this bulletin and designated news reader further this as being conventional of traditional radio. The teacher-pupil, formal mode of address is also typical as it juxtaposes the otherwise colloquial peer-peer presenter style of the station's main voice; emphasising the importance of the broadcasted information. The mode of address and language used between segments of the station also juxtapose each other depending on the significance of a given section and the kind of tone it should subsequently portray. Segments like presenting and interviews are taken significantly more lightly to convey the laid-back tone of the station as the audience is then immersed in the contrasting shift to a news bulletin they need to hear or an engrossing radio drama. 

The radio drama follows conventions set by other stations where they often feature like BBC Radio 4; this is evident by their intrinsic audiences. Radio 4 shares a niche, mature ABC1 audience and their radio dramas often then appeal to that demographic by portraying mature or adult content: this could be conveyed through mature themes or bad language like in their drama 'The Talented Mr. Shakespeare' and their flirtation with witty dialogue and ploys of lexical humour. I have replicated this with examples of dialogue like 'I need a drink - yes, I'm sure you do. A Bloody Mary perhaps?' which uses the context of a mature theme like alcoholism to create humour; thus conveying the intended (age and ABC1) demographic. The portrayal of a fictional world with social realistic concepts also furthers the idea of escapism as a convention of a radio broadcasts by allowing an audience member to immerse themselves into a different life vicariously through the drama's narration (also conveying the literature motif of the station, something also intrinsic to the intended ABC1, mature audience).

The age demographic of those present in the broadcast (e.g. presenter, news reader, voice actors, interview) further radio conventions by reflecting the primary and secondary audiences of the programmes through vocal representation (25-50 male and female audiences and a secondary audience of young adults). Musical representation of nostalgic 70's music further this audience relatability/appeal with songs like 'I'm Not in Love' by 10cc which convey the niche appeal of the station. 

LO4: Evidence and Production

LO4: Evidence of Recording

Recording Radio Drama

Recording Presenter Dialogue/Jingle Voice Acting

Organising Interview  

Offline Edit

Editing Process

To fit the conventions of traditional radio, I faded in and out bedding music and interim sections such as adverts back into the main broadcast/presenting or the following segment. To achieve this, I used key-frame highlights on the 'volume' setting. This helped to signify professionally within the broadcast as music and presenting fade-in and out seamlessly between each other. I used this technique throughout the broadcast to create natural transitions between segments and features like presenting-interview, tracklist-presenting and diegetic sound effects in the radio drama (e.g. the wind fading out into lounge music). Effects like this in the radio drama helped to create connotations of mystery and isolation as dreary examples of sound would echo in muffled chorus in the background.

To then create sound effects and prevent dead air, I layered tracks over one another and adjusted their volumes respectively (i.e. presenting over bedding music). When creating the radio drama and its many sound effects, I layered foley atop one another to create dynamic sound and impact to a scene. I imported my sourced audio files and layered them atop one another in number of importance (e.g. presenting in the top column and bedding music at the bottom). This furthered the conventions of traditional radio by always giving something for audiences to listen to; using lo-fi or ambient music to further the connotations of a relaxing, intriguing late night radio station. This technique also allowed me to ambiently change the quality of an entire track to create verisimilitude in the radio drama by applying a continuous muffled or distorted effect to the backing lounge music, furthering audience immersion. 

Segmenting these tracks, I wanted to create connotations of mystery and further signify how the voice the protagonist (of the radio drama) quarrels with is in his head. To achieve this, I used the 'echo' and 'convolution reverb' modifiers in the sound effects panel (on Adobe Audition) and edited their amplitudes on the effects control panel till I created an effect I was satisfied gave the appropriate connotations.

I also adjusted sound effects with built-in Adobe Audition features like 'echo' and 'distortion' to augment the way either foley, dialogue or bedding music would sound within the broadcast and radio drama: creating a muffled or worn out sound effect to signify age and create verisimilitude through diegetic sound in the radio drama. This helped to further the concept of anxiety and build tension to a diegetic crescendo within the elevator scene as the music gradually distorts and grows in volume to signify the worsening condition of the protagonist. As the distortion reaches climax however, the music ceases and returns to normal to signify how that moment of intense anxiety has passed; the crescendo of sickness is over. The use of echo on the protagonist's voice as he screams 'God!' signifies the cease to this climax with a sonorous shout.

Final Broadcast

Evaluation

Full Moon Radio and it's excerpt broadcast does feature: a main presenter and other voice actors, a news bulletin relevant to the time period (post-watershed) hour, two features (an interview and radio drama), a main jingle (and ident for the radio drama), bedding music and sound effects all-throughout the broadcast, an original advert, at its beginning, and a competition/call-in. All these features fit within the purpose of the airing in its service as a late-night broadcast with an older/mature 25-50 target audience. The original concept documents which came to fruition in the form of the radio drama and track list evoke this audience through nostalgic (1970's) music and mature themes (e.g. bad language and alcoholism in a dystopic presentation) to create a niche, post-watershed appeal. 

One way I wanted to create this mature audience appeal was through the radio drama and the connotations of ABC1 audiences in representing features like literature (and storytelling by interview a writer). The dystopia presented in the radio drama evokes hopeless connotations by representations of anxiety and alcoholism through social realism. Using tools such as distortion on the already dreary, 1950's retro futuristic (drowned out) lounge music, to brutally represent this anxiety attack as the world crashes down around the protagonist. The radio drama was a key feature of the broadcast and this portrayal of something realistically grotesque furthered social realistic conventions which would appeal to my target audience. 

I wanted to further verisimilitude in the radio drama to create a grounded portrayal of a fictional world that could immerse audiences with diegetic sound; furthering how the broadcast (as a whole) would target that lead demographic. 

The rest of the broadcast would follow this motif by creating connotations of gothic or dark fantasy with sound effects like the jingle which signify the late-night broadcast in pitched-down voices and audio of wolves howling (all within the motif of a 'full moon'). The non-traditional call-in sound of an old telephone with a worn-out filter overlayed onto it to create those eerily bygone representations.   

This niche appeal through the presentation of rarely aired music and topics like literature, with the inclusion of radio drama, work as strengths for the broadcast as unique selling points to separate it from other radio broadcast channels even like BBC Radio 4. The use of young and varied presenters/actors further this as these representations attract or relate to a wider audience: young presenters broadcasting older, nostalgic or mature content. 

Features like the interview however, suffered from comparatively worse recording equipment which would be a potential issue in such a niche demographic of radio; creating a disconnect in quality compared to other segments, especially considering it as a feature of the broadcast. The pre-recorded interview method also detracted from the call-in segment as the caller had no way to interact with the author in the interview, creating an anti-climactic outcome.

I would amend this audio problem by conducting interviews in the future in live broadcast to create spectacle and have the opportunity for the interviewee to interact or answer questions from the audience. I would also include more music of different genres from the same period to increase audience engagement through the representation of variety and the kind of tone it elicits. 

LO2: Multiplatform Distribution/Technology and Processes

LO2: Multiplatform Distribution

Technological Convergence:

Henry Jenkins (2008) - We now live in convergence culture where we make everything as easy to access as possible. Technological convergence is the theory that media distribution has altered to become as 'easy to access as possible' due to the introduction of Blackbox devices: relevant examples would include the introduction of simulcast distribution which allows audiences to watch radio on a (Blackbox) device like their smartphones or computer.

Blackbox Device:

Devices which can access multi-media with the requirement of an internet connection (through the internet), such as a smartphone or tablet, as a result of web 2.0 and technological convergence.

Advantages of Technological Convergence/Blackbox Devices (in radio) for Audiences

• Audiences gain access to time-shifting as they can download or listen to a previously aired radio broadcast through online websites and apps (e.g. Global Player)
• Audiences can filter the content they want to see in relation to their individual tastes due to online algorithms
• Audiences can access radio anywhere provided with an internet connection via a Blackbox device without the need of a specific radio

Advantages of Technological Convergence/Blackbox Devices for Producers

• Content can now be distributed for further revenue on other social media/distribution channels (e.g. an LBC broadcast can be posted as a YouTube video afterward for further viewer/listenership)
• Content will now be targeted to the correct/relevant audiences due to algorithms in accordance with viral marketing
• Content can be instantly shared to reach broader audiences without the reliance of traditional advertising or word of mouth

LBC Distribution Platforms 

LBC Radio is distributed on:

• Global Player
• LBC Radio
• YouTube
• Instagram
• Twitter/X
• Tik Tok
• DAB
• FM
• Freeview

LBC Rajar Statistics

LBC has benefitted from these various distribution platforms as with examples of (recent) post-broadcasts uploads to social media channels like YouTube, average listenership (57,640 population from Dec 2024) has been comparable to view counts within these social media uploads (43k). This therefore, benefits LBC as they redistribute previously broadcasted content through short form editing; taking advantage of simulcast, to create broadcast journalism that allows viewers to watch that missed broadcast and filter what parts/uploads interest them. LBC's multi-station distribution also furthers this as they can broadcast radio content on multiple services specific to audience demand (e.g. LBC News and LBC London are specific to the region and genre). With sites and apps like Global Player, audiences can set specific notifications toward algorithm filtered content that allows LBC to target specifically desired content to an audience via Blackbox Device whenever it's being broadcasted. Following this, Global Player also allows for simulcast which lets an audience member watch a broadcast as it is aired, furthering any kind of spectacle or audience engagement as they watch radio.

Technology and Processes

Play Servers

A radio play server is used by presenters/show hosts: this is a service which allows a radio station to distribute/play audio over the internet. This allows producers to store music on these play servers to create line-ups of music.

Digital Mixing Desk

A digital mixing desk allows radio hosts to fade in or out, play or mix audio content within the broadcast; giving them control over what is played or how loud/the audio quality of what is being played. This is controlled through channel strips. This is advantageous over an analogue mixing desk as to control multiple different audio channels, additional, physical channel strips are not required as channels (and what you want to control) can be individually selected. A digital mixing desk also allows for control of FX with built in equalizers and dynamic control systems, not requiring external input sources to change the sound.

Cartwalls

A cartwall allows for the systematic control of segments within a given broadcast, determining what sections of audio (or video) will play at a given time, such as an ident or jingle. This allows for hosts to immediately organize and play files of audio during a broadcast. A digital cartwall furthering this as sections can be played or altered (in schedule) in real time.

File Formats

The type of file in which audio (or other) is saved; these are conventionally either MP3, FLAC or .Wav.

Impact of Technology in Broadcasting on Traditional Broadcast Methods

With technological improvements on radio broadcasting systems utilized by radio stations, broadcasts have become significantly more accessible to radio hosts and listeners as each now have control over how they access or broadcast radio content. The overall quality of broadcasts such as LBC have improved due to the introduction of digital mixing desks, allowing them to filter audio channels such as transitioning from an interview into sponsors, advertisements, news bulletins (every half hour) or jingles. In relation to radio-call ins, a mixer desk, especially when discussing political debate to keep content appropriate, can be used to fade out or prematurely end a conversation before inappropriate content is broadcasted (as a potential result of the caller). This ease of audio transitioning is furthered by organization within a cartwall which allows sections of the program, like adverts (every 15 mins) or the news bulletin to be broadcast at a specific time. During broadcasts, audio recording and editing can be achieved through a workstation, allowing hosts or mixers to control audio (e.g. fade, equalizer) or play sound effects.

In comparison to traditional broadcasting methods like analogue radio (AM, FM) which often suffered static due to the lack of efficacy within frequency, something DAB or stream broadcasts don't suffer as they function with access to an internet connection. For producers/hosts, cartwall and mixing desk technology has improved to become more streamlined, providing a smoother broadcast experience. No longer requiring external (or extensive) audio plug ins like equalizers and dynamic(s) processers as those functions come built in with digital mixing desks. With the introduction of formatted files and cloud technology, audio files, either provided by a workstation (for recording and editing) can be shared immediately to be played and stacked on the cartwall, creating rapid broadcast content with shared files.

By improving ease of access to audiences through technological convergence and the introduction of online websites or apps that allow them to access LBC (or other radio content) through the LBC or Global Player app, provided with a Blackbox device, LBC has improved production quality in its post-broadcast content. Through simulcast, LBC has introduced cameras to radio broadcasts, allowing viewers to watch LBC radio content such as interviews in high quality; the constant improvement of the station's microphones and headphones (for optimal audio playback, following with sound mixing via digital mixing desk) also improving its production value. These broadcasts (whilst also audibly) give visual descriptions of where else to access LBC content for the viewer such as Global Player or Smart Speaker. 

Within other stations/broadcasts which also play music, such as BBC Radio 1, through cartwalls, mixing desks and workstations can effect how a song or presenter may fade in and out respectively to avoid dead air through a seamless transition, create more spectacle during simulcast (e.g. Live Lounge) through changing camera angles, control sound effect channels and stack playlists with the cartwall.

Evolution of Radio

Radio production began with analogue technology where music would be played in either vinyl or 8-track tapes (8 tracks on a single tape); each manually queued up by a disc jockey (DJ) on a mixing desk. Any pre-recorded content like idents, trailers or idents would be recorded with analogue tape and manually spliced to be played in the correct running order. This created issues of maintenance for the sound equipment to avoid scratches in audio, mixing music to specific tracks in an album (of vinyl or -track) and the organisation of (and time spent to) each track within hour long shows.  

With the introduction of the compact disc (CD) in 1979, recordable digital formats like mini-discs and digital audio tapes (DAT) began to replace analogue technology due to their superior sound quality and ease of use making them more robust. Digital downloads on CD's nullified the need of manual splicing. This was therefore, a time consuming (and permanent) process when editing due to the physicality of film reel. DAT and CD's were used for Vox Popping (sound of the people) such as interviews (either with locals, artists or celebrities) or call-ins. This was a benefit of the portability of microphones with DAT.

Whilst CD's are still used in radio production today, most radio music is now stored through a play server; this makes the song-playing process more streamlined as producers/hosts can simply click on a song to play it. Hosts/producers can then use a digital mixing desk to control the live mixing of the program as it airs. 

Play Server

Digital formats are now stored as WAV or FLAC files which are used in digital (DAB or stream) broadcasting. To edit recorded programs, idents, adverts or stings, producers use non-linear editing software like Adobe Audition, Cube Case and Pro-tools.  These files are lossless, making them high quality at the cost of being large files. Non-linear editing allows editors to overlay (or create editing channels) sound/content.

Non-linear Editing

Digital Mixing Desk 

Digital technologies have also changed how audiences interact with a radio program; during the analogue era, this was limited to letters or call-ins. This has changed significantly with the introduction of social media channels which allow for social networking and electronic agora within online followings of the station. This also led to a lack of vox popping as interviews could now be recorded with online technology through mic's and webcams becoming a common function of Blackbox devices. These webcams (and accessibility toward cameras) has created simulcast, allowing a radio broadcast to be streamed and watched online. 

LO3/4 Production Plans

LO3/4 Production Plans

LO3

LO4

LO3: Copyright Free Bedding Music and Songs

LO3: Copyright Free Bedding Music and Songs

Bedding Music (Show/Interview)

(https://music.youtube.com/watch?v=Y_EVa7P9w-s&si=CjEWqugoec0BqCJc) - To be played quietly in the background to avoid dead air in the broadcast

Bedding Music/Sound Effects (Radio Drama Download)

(https://music.youtube.com/watch?v=mgyf1LDyqeU&si=aiJLU6_5bScq2fJx) - Diegetic Background Music, to be edited into a diegetic version (e.g. implementation of muffle, static and echo to create a distant effect).

(https://youtu.be/5jlUVr6gkos?si=gSLrf8UZs8MRtlYr) - Wind Sound Effects for diegetic immersion

(https://youtu.be/gTEn-Z-V1eI?si=tUNl4TxFNwgCUgcJ) - Electrical Ambient Buzzing Sound Effect

Foley Files

Songs/Track list (Download)

(https://music.youtube.com/watch?v=PC2HkP5gR2g&si=2pQSbN_wvKDkqGc1) - I'm Not in Love (10cc) to be faded in and out during radio broadcast

News Bulletin Ident/Bedding Track

(https://youtu.be/ogS_MELUhsc?si=HGv7eQMtTtD9fO2x) - Copyright free

Tracks Used To Create Advert Bedding Music

(https://youtu.be/tpScp0oUyVI?si=sP5-h7tec9B1YvV8) - Drums

(https://youtu.be/Z3jXqgwskk8?si=ZWm6BgEU0R6d-9mB) - Bass

Radio Jingle

LO1 Task 2: Ownership of Different Types of Radio Stations

LO1 Task 2: Ownership of Different Types of Radio Stations

Kerrang! - Commercial/National

Kerrang! began in 1981 as a well-established brand following its success as a magazine and branching into radio. Kerrang! 105.2 Radio first aired in 2004 as a specialist rock music radio station in the Bauer Passion subsidiary of Bauer Media. Bauer Passion is a national station which publishes Kerrang! Radio. Bauer therefore, have cross-media ownership through the production of magazines and radio within the Kerrang! brand. Box television is also a part of this cross-media ownership through the promotion of Kerrang! in Bauer's joint venture with Box Television. Kerrang! is a music channel in Box Television which Bauer own 50% of. Kerrang! Radio is accessible through DAB & Freeview therefore, through Freeview (accessible through blackbox device or television) audiences can access Kerrang! Radio without having to be in the West Midlands where Kerrang! Radio typically airs. This allows Kerrang! Radio to reach an annual audience of 1.4 million listeners. Areas like Birmingham, Coventry and Wolverhampton are Kerrang!'s TSA (Target Sample Area) however, due to Freeview, listeners outside the TSA can still listen to Kerrang!. 

Kerrang! is also accessible through FM radio (if in the TSA), Freeview, DAB, the Kerrang! app (Blackbox theory - Henry Jenkins 2010), Radio Player or streamed on the internet via the Kerrang! website. This also conveys the horizontal integration of Bauer through the cross-media ownership and use of technological convergence to access Kerrang! Radio. Horizontal integration is furthered through the synergy of Bauer's cross-media ownership of magazine, radio and television where Kerrang! host an award show in partnership with Relentless (an energy drink which appeals to the rebellious, teenage target demographic in connotations of rock music stereotypes). Kerrang! also produce an album (CD) of the top music artists of the year; sponsoring bands like the Red Hot Chilli Peppers. Kerrang! use a DJ (Disc Jockey) for a presenter such as Luke Wilkins and Johnny Doom who reflect the genre of the indie rock scene (e.g. men with long hair and sunglasses as a rock stereotype). 

Kerrang! has an audience predominantly male mainstream appeal as an alternative to pop music as a commercial station. Examples of featured bands include Led Zeppelin, Nirvana and System of a Down; these'll also be featured on the yearly CD or Kerrang! award show. Kerrang!'s average reach is 374,000 people with average. listening being 2,685 hours a week, a 39% female and 61% male audience, typical of the dominant male stereotype in rock. 50% of listeners are of the ABC1 profile due to the requirement of disposable income for the magazine, albums and events which follow the radio station. The target demographic ranges between 15-35 which is typical of rock as something representative of the rock zeitgeist of the late 1900's and Kerrang's brand dating back to 1981 with dedicated fans. 

Hallam FM - Local/Regional

Hallam stands as the top radio station for the people of Sheffield, Rotherham, Doncaster, Barnsley and Chesterfield, making it the most listened to radio station in South Yorkshire. To achieve such a consistently large listenership, Hallam have released weekly listener surveys to determine what music they play; citing their success as 'listening to what listeners want'. Therefore, as in line with their target audience, they play adult contemporary music. To further this, the station has partnerships with local businesses such as Wednesday/Sheffield United Stadium, and Ponds Forge International Arena. Hallam FM is also a part of the Bauer Media conglomerate with presenters from multiple age and gender backgrounds such as Big John (Big John at Breakfast), JK and Joel, Steve Priestley (Late N' Live) and Becky Hayes. Hallam FM however, does have local regional competitors such as 105 Capital FM and BBC Sheffield as local radio broadcasters. Bauer uses RAJAR figures to collate information regarding listenership of both Hallam FM and its competitors.

Hallam's audience consists of a 54:46% Female: Male ratio, a 37% ABC1 profile of audiences ranging between 25-45. These listeners accumulate 10 avg hours each and 3623 hours total with a reach of 361,000 people. Some example locations which Hallam FM targets include: Sheffield, Hatfield, Doncaster, Stocksbridge, Chesterfield, Worksop, Retford, Barnsley and Rotherham. 

Hallam FM is accessible through simulcast via an online website and 'hallamfm' app as well as FM and DAB radio. This therefore, allows the station to reach both digital native and migrant audiences through the benefit of technological convergence as audiences can access Hallam FM through traditional means (e.g. DAB) or through a Blackbox device. Radio Player also hosts Hallam FM as one of its many stations, furthering audience accessibility through its inclusion on a mass demographic app. 

Sheffield Live - Community/Local

Sheffield Live functions as an independent community radio station: this means that, according to Ofcom, Sheffield Live is a 'small scale,  not-for-profit station operated for the benefit of the local public or particular communities'. Therefore, Sheffield Live operates for social gain; this including: services for underserved groups, discussion and expression of opinion within the community, provide education to those not employed by the station and to strengthen the community it serves by fostering further understanding of character and needs for a given community. 

The company who runs Sheffield Live are 'Commedia Sheffield Ltd. which is operated by CEO Sangita Basudev. The station has been awarded it's license by Ofcom for following the Broadcasting Act (1990) and the Community Radio Order (2004) guidelines. These acts state that community radio cannot earn more than 50% of the programme's running costs from one source of advertising or on-air sponsorship. Therefore, to fund running cost, Sheffield Live earn income from public funding such as grants, donors, National Lottery or charities. Ofcom however, also provide an annual Community Radio Fund These guidelines for Sheffield Live require their ethos and output to not match or resemble main commercial or PSB channels like Bauer or BBC radio channels within the community area. Their target listenership within the Sheffield area typically ranging in less than 50,000. Surveys have shown a weekly audience reach within the Sheffield (transmission) area of 11% or 32,000 people every week. Some example target locations would include the City Centre, Nether Edge, Burngreave, Gleadless, Abourthorne and Darnall. To target Sheffield's diverse communities, Sheffield Live air a diverse music list ranging from reggae, Asian pop, dance, RnB, indie pop and chart. Furthering these diverse communities, the broadcasts are mainly aired in English however, are occasionally aired, like in Hindu/Urdu and Chinese. To further reach to digital native audiences, the station also has an online website for audiences to learn more about the service and to encourage local listeners to get involved with the programme. 

Lo-fi hip hop radio (beats to study/relax to) - Internet/Streaming

The broadcast of Lo-fi hip hop radio began in 2017 and has been streamed live on sites like YouTube and YouTube music since (with only one interruption in 2019 due to abusive copyright strike laws leading to a 48 hour hiatus). Through the distribution of these streams on social media, their demographic of digital native audiences taking advantage of Blackbox devices to access these tunes anywhere (e.g. commutes). Technological convergence also helps to further advertise the streams across multiple platforms as hyperlinks to the various other social media pages for 'Lo-fi girl' are detailed in the descriptions of each video; this therefore, allowing the channels to earn more revenue due to synergy giving audiences easier accessibility to the stream channels on various social medias. The stream's themselves also contain QR codes leading to the other social media channels.

Lo-fi girl also benefits from these promotions for further profit via collaborations with other media franchises to increase audience engagement such as 'Fortnite' and a recent link within the streams to a collaboration with 'Assassins Creed Shadows'. The gaming demographics being overall similar to the digital native demographic of Lo-fi girl for cross-promotion. 

The channel on YouTube holds over 14 million subscribers with 1232 monthly listeners and avg follower gain of 3679 per month. This demographic however, is anonymous due to the online streaming aspect however, due to the demographic of YouTube, the age range spans typically between 10-30 with a mix of both male and female listeners (predominantly male). 

Shock Radio (University of Salford) Non-Profit University/College Radio

Shock Radio is a student led radio station to encourage the media students (or anyone else who's interested in radio) of the University of Salford to gain on air experience; this has led to them becoming 'Manchester's biggest student radio station'. First airing in 2002, the Shock Radio project was led by student petitions to convey the demand for student radio to the student union so that, managed by Matthew Haley, the radio could secure a license to officially broadcast. The role of a non-profit radio station acted as a perfect point for student experience and a vicarious selling point for the University to encourage media students to get involved with a real, non-commercial radio station. This also means the omission of commercial adverts and sponsorships within Shock Radio broadcasts. 

The station has undergone many visual rebrands: its existence as a continuation of a cancelled student radio station from 1998 'Storm FM' and the perpetual cycle of students arriving to and departing university, has led to a variety of personalised programmes which characterise the student life of Salford. Now hosting over 90 shows and running 24 hours a day, the station is managed by Alfie Mulcahy (as of 2025) as well as a committee of 10 other students. Due to the non-profit nature of Shock Radio, its listenership consists of local areas throughout the city of Manchester, Salford and the University's campus: the audience then consists of a diverse mix of male and female, primarily ABC1, student (18-25) demographic. The online website which allows audiences to listen to Shock Radio via a Blackbox device as well as having access to recorded programmes via time-shifting on 'Mixcloud' furthers ease of access toward a student, digital native demographic. 

BBC Radio 4 - Public (PSB)

Dating back to 1967, the BBC, originally founded by John Reith (1922), branched out their radio media to create BBC Radio 2-4 which were individualised to target separate audiences. This was through focusing on different hard or soft subject matter in relation to their respective target demographics. As a part of the BBC, Radio 4 must follow the broadcasting codes set by Ofcom and their ethos to 'educate, inform and entertain' the diverse audiences of the UK. These regulations, as well as political unbiases, are required of the BBC for the Charter's renewal which is determined by the Royal Charter: this ensures the BBC can run as a public service broadcaster with editorial independence, following their renewal. 

The BBC's role as a PSB, foremost as with any other radio/TV station, is to follow the broadcasting codes set by Ofcom to ensure: privacy, fairness and standards in programming. Another stipulation which contrasts BBC radio (as well as TV) to other conglomerate radio owners like Bauer (or ITV) is through funding. Rather than income through commercial gain or sponsorship (unless for non-commercial gain) the BBC (and vicariously BBC Radio) gain income through the TV license which acts as an annual subscription to BBC media for £169.50 per annum. 

Radio 4 in comparison to BBC TV channels, does not have to adhere to the post-9pm watershed, filtering adult/mature content from younger audiences however, inappropriate content is instead signposted/warned of before airing. With programme and podcast examples such as 'Taking Back Khartoum' and 'Call Johnathan Pie' which contain uncensored political rants/discussions, the target, mature (ABC1) demographic of BBC Radio 4 is revealed. This evident in contrast to BBC Radio 1 which features programmes/podcasts like 'Groupchat with Nat and Vicky' and 'Radio 1's Chill mix' as they target comparatively mass (Radio 1) and niche (Radio 4) audiences. The listenership of Radio 4 is 60:40% Female: Male,  71% ABC1 and 48% are aged 65 and above. However, as the BBC utilize technological convergence, they reach a digital native audience, particularly within other stations like Radio 1 with programmes that take advantage of simulcast like Radio 1 Live Lounge, allowing audiences to listen to and watch radio via Blackbox device on the BBC Radio 1 (and 4) websites. These broadcasts are aired across the UK, as of BBC's role as a PSB, from Radio 4's station in London. 

Comparison of Stations

Where these radio stations differ is entirely defined by purpose and audience; these come by extension of the platforms which they're hosted on. In comparison, Lo-fi girl and BBC Radio 4 share entirely juxtaposing demographics; this is due to the contrast between the desired content and distribution of media dedicated toward digital migrant and digital native audiences. BBC Radio 4 is intended for a digital migrant audience therefore, its main distribution method is traditional radio; the website and simulcast elements exist for a solely secondary audience of digital natives who are likely to access that content. Lo-fi girl however, as an internet founded (and based) streaming channel, can only target that demographic; this furthered by its branding (e.g. anime aesthetics) and collaborations which share the younger, digital native demographic. This contrast also conveys the comparative means of ownership and contrasting means of gaining profit. The purpose of Radio 4 is to (primarily) inform and educate an audience and this is due to its distinction from other mass demographic BBC radio channels like Radio 1 therefore, conveying the ethos and need to appeal to many (mass or niche) demographics to justify the purchase of the TV license and renewal of the Royal Charter in service as a PSB. Lo-fi girl and other channels like Shock Radio exist primarily for entertainment as they exist for a digital native audience; they're methods of synergy (e.g. a website or social media channels) are evidence of that. This also furthered in presenter/imagery representations of the same target demographic in contrast to the older representations in stations like Radio 4, Hallam FM and Sheffield Live. Though the latter do also contain younger representations of presenters to further their target demographics. The ownership purpose of this in relation to local/regional/community radio being to reflect the people and culture of the location: Hallam FM's multi-language broadcasts being evidence of this. Sheffield Live in comparison to Hallam FM however, as a smaller budget station, lacks these representations of diversity due to their position as community radio in contrast to regional broadcast. The quote 'small scale, not-for-profit station' evidencing this in comparison to Shock Radio: instead selling the content of the station as a vicarious experience for the presenters as it is entertainment or information to the local community audience; budgeted sponsorships held aside for this purpose. In relation to the BBC however, and its funding in, comparatively similar, non-commercial gain, their role as a PSB dictates their funding through a national TV license. They act as a national service rather than a representation of a specific community; this specialized in their local channels like BBC Radio Sheffield, rather than their mass and national radio stations like Radio 1 and 4. 

Conglomerate ownership like Kerrang! with Bauer Media contrasts the distribution and access that audiences have to services like BBC Radio 4; this is evident in the conflicting methods of funding. The requirement of a TV license to access content as a yearly fee for the BBC in comparison to the commercial gain of stations like Kerrang! encourage and discourage audiences to interact with their content: the cost of a TV license may be unjustifiable or commercial advertisements may be unwanted. Indie stations like Sheffield Live also rely on this commercial funding however, their ownership dictates a limitation on fund amount; leading to further local or donor involvement to keep the local station running. A regional station like HallamFM however, despite it's similar broadcast range, is not limited by this funding restriction as it functions with local partnerships and a subsidiary position, like Kerrang! within Bauer Media. However, in comparison to the free ownership of Shock Radio (non-profit) and Lo-fi Girl (Internet) conglomerate radio is limited in the extent at which it's content creators have creative freedoms (e.g. student created shows and the freedom of owning a social media channel leading to further experimentation). The non-profit and freelance structure contrasts the corporate ownership stipulations to provide content which would be otherwise safe to maintain a consistent profit.  

Therefore, overall, these stations contrast in their means of funding, whilst  methods of funding or omission from commercial gain may parallel, the respective size is always in relation to the target demographic of niche or national (and in the case of streaming, global) radio. The ethos (for the BBC and Salford) and income (Lo-fi, Sheffield Live and Hallam FM) dictate the content and audience for each respective station as is constituted by their individual owners (and purpose). 

LO3: Planning Ideas

LO3: Planning Ideas

Imaginary Entity/Audience Profile

The target audience of my late night radio broadcast will be a primary audience of adults aged 25-50; this will be conveyed through nostalgic 70-90's music and mature content such as radio dramas which will air post-watershed. This audience would likely be primarily ABC1 males due to similarities to other radio channels like BBC Radio 4 and stereotypes that men (e.g. with jobs like lorry driving) will be up late listening to the radio.

Production Ideas

Running Order (Potential Songs)

• I'm Not in Love (10cc)
• Baba O'Riley (The Who)
• Janie Jones (The Clash)
• A Town Called Malice (The Jam)
• Up the Junction (Squeeze)
• Fall at Your Feet (Crowded House)
• She comes in The Fall (Inspiral Carpets)
• Everybody Hurts (R.E.M)
• Cars (Gary Numen)
• It's a Sin (Pet Shop Boys)

To evoke nostalgia in an older 20-50 year-old demographic and to further the connotations of a relaxing night drive, the music I've chosen for a running order sample which appeals to the nostalgia between the 1970's-90's; using music without overtly distracting tempo or volume (e.g. metal/rock).

Adverts

The radio programme will include one advert break for a sponsor to the radio station; lasting around 10 seconds, advertising a new burger brand at a chain fast-food restaurant located on motorway services. This therefore, appealing to the relevant audiences who are likely night driving and will be inclined to indulge in fast-food for refuels. 

Bedding Music Source

I'll be using 'Freesound.org' and 'SoundBible.com' for bedding music and sound effects as they're copyright free and therefore, don't require a paid license to be aired non-commercially. 

Release and Consent Forms