![]() Some of the World Service programmes we do are really high level and listened to by millions of people… I do sound on TV as well, for the News Channel and World TV. I work on the Global News Podcast, which has a really big reach. Loads of fun, very very lively programmes. …Newsbeat, which goes out to Radio 1, 1Xtra and Asian Network. …and then running the desk for a 5 Live programme or… …so, you might start by directing a flagship Radio 4 programme… We work across a whole variety of output… “Wow! That was incredible! and there you are broadcasting to millions of people. I worked on the World Service the day after the Capitol insurrection, and, you know, it was a really intense programme, and then at the end of the two hours you kind of sit back and just… take a bit of a breath, and you’re like “okay, that is one of the good ones!” PM is on air at 5, the entire programme just went out of the window. That attack started unfolding at 3 in the afternoon, somewhere around then. I did PM on the day of the Bridge attacks. One of the most interesting parts of the job is when you’re working on those big breaking news stories. I think that the best SDs (studio directors) are the ones who understand the stories that you’re covering because it means that you can spot things. I think a bit of work experience is helpful, so I did quite a bit of student radio whilst I was at uni. I did a Politics degree, which isn’t particularly relevant to this role, but I think it shows that you don’t necessarily need formal qualifications to do this. ![]() I didn’t do my A-levels, I went to college and did a BTEC in Radio Production instead. You’ve got to be able to organise, and you’ve got to be able to stay calm. You have to be able to be a problem solver. Our job is a real team player type of job. How well do you listen to stuff? Can you detect when things are too loud, too quiet? …and you need to be quite unphased when things happen. Fundamentally, you need to make sure you communicate in a clear and concise way. There’s lots of audio coming out of different speakers and the presenter might be trying to speak to you, the editor might be trying to speak to you. Presenters don’t want to know too much, but they do want to know enough.Įven though they’ve got ten million questions in their head, it’s our job to tell them “time’s up”. …so, the studio director know what’s going on next, the presenters know what’s going on next… When you’re on air, if you think of it as a liner going across the ocean, it’s making sure the ocean liner stays in one direction and it doesn’t start swaying off. If somebody sent in an audio that’s heavily distorted or it’s really noisy in the background, they will rely on you to do a bit of sound engineering to sort of solve those problems before they go on air. You might look after some pre-records, testing lines… It just all seems… level.Ī studio director begins with some prep time to go through the running order, chat with the producers… When you go from once piece of audio to another, you don’t get something that sounds really loud and something that seems quite quiet. So, you’ll be fading guests up, you’ll be EQing them, adding compression where necessary. One of them is the studio director which sits here and one of them would sit behind me at the mixing desk and that’s a job that we also take on as part of the studio directing role.Īnd this is a great chance to really bring some creative flair to the programme. In the cubicle, we’ve got two operational staff. So, we rely on that key relationship with the studio director to keep us informed. We really don’t know a lot of what is going on – who is on the line, who isn’t turning up. Studio directors are incredibly important to presenters. You’re really that link to making sure what the producers and editors want their programme to be, actually happens. The studio director is the operational role behind everything you hear on the radio. ![]() “This is BBC Radio 4, it’s 5 o’clock and time for PM with Evan Davis”
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