Radio script

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A radio script is the tool that allows you to plan a radio program and have a record of all the sound material that will be necessary for the realization of the program.

Basic vocabulary

Locutor(a): They can be more of a locutor or locutor, and the names of the characters are placed, in dramatized spaces, or the initials of the locutors and a third for the commercials
Cortinilla: Music that divides the sections of the program.
Parliament: Part of the text for the broadcast, in the voices of the announcers.
Piece: End of an intervention. You must always respect your feet or, in case of need, notify the control that you are going to change; the foot is what gives way to the next element in the recording or direct and it is essential that the control know it accurately.
Text: What appears written in the script to give indications to the announcers in order to know when to speak.
Indications: Instructions, orders.
Control: Technician, specialist, control and sound, disc on which the sound to be used is recorded.
Reference: Relevant sound data requested:

1. Title, interpreter, ID number or content that distinguishes that support.

The most important thing is to know what it is and differentiate it from the rest of the possible supports. Of the prepared discs, a specific one enters at a specific time. The same with the other supports. When an identification number is used –for example, a serial number in the classification of a file–, the disc title data provides less security: the number and the title must match. In case of discrepancy, the control will always opt for the title. However, it is preferable not to limit the information to this, when the ref. exists, because there can be more than one work with the same title and because the number is located more quickly.

Cara, in the case of conventional discs or in the cassettes.
Cut, if there was or title of the same, identify the particular part of the support we want to use.

Enter: Intervene control or LOC. emission.
Paint: Introducing a new sound source (LOC, CINTA, DISCO, CONEXION, etc.).
Give "micro": Open regleta, so that the LOC can intervene in the issue, when it deems appropriate.
Stream: Handle with which you pass to a sound source.
Holding: Keep a sound in the plane where it is, or where it is specified, as far as indicated.
Maintain: Hang on.
Plane: VOZ PRESENCE ratio (or other sound) regarding the General Recording or Direct LEVEL.
Fund (or F.) Accompaniment sound that remains below the main plans.
PP. And F.: Enter FIRST plane and pass to FONDO.
F. And PP: Pass from FONDO to FIRST plane.
Enter F.: It appears as FONDO of the issue.
Ráfaga: Short break, in the plane indicated, of a continuous sound.
To vanish: Lose what is ringing.
Lose: To vanish.
Cut: Lose abruptly.
Cut: To Lose abruptly, about SONIDO posterior, as indicated.
Background: To vanish a SONINE upon another coming in (then, at some point of the FUNDIDO, both sounds are present). Or also, if specified thus, Add to a SONID present in the issue another/s, which will enter/n at the indicated point and keep it/s at par, in the plane that is signaled for each one, until the time it is desired.
Founded: Outcome of the FUNDIR event. Two or more SOUNDS that occur at the same time, on the plane indicated for each of them.
Enter castings: They enter the emission, to the pair and to the plane/s indicated for each of them, the sounds to which the indication refers.
Chain: Perform one or more consecutive casts.
«To Signal»
- For control: follow the gestual indications of LOC.
- For Locs: follow the gestual indications of the Realizer or the control.
Eco: Usually, camera; reverberation for the sound you refer to.
Filter: Referred, usually, to treat the sound (cutting serious, sharp, etc.) to give it a different, artificial texture.
Continuity
- Temporary succession of Programming.
- control from which the emission is made.
- Temporary succession of a program.
- In a script:
  - The text that forms the hindrance (the skeleton) of that script and which cannot be identified with any particular "section" or differentiated part thereof.
  - Set of sections, parts and elements of the script, considered as a whole.
Emit: Remove programming in the air. Talk (emit voice).
"In the air": In emission: what is said (heard) is what is being emitted; what is already sent to the receivers.
Project: Spread the voice from a greater distance from the micro, but give it body.
Edit: Separate the cuts of a ribbon, distinguishing them by means of neutral tape, of a different color.
Neutral tape: A tape in which you cannot record sound and which serves only as a separation between the cuts and for the beginning and end of the recordings.
Document: Pre-recorded element (five, disc, etc.) to be used in the program.
Pause: Silence.
Valuable Pause: Silence that is marked to give greater importance to what follows.
Program: Include any element in the broadcast or recording.
Recording: Physical place and time when a recording occurs; and result of it.
«Dirct»: That which is issued at the same time it is occurring. Physical place or time of emission.
«Crestas»: Strong parts in a sound sequence (disco, etc.).
Vacuum without background: Nude voice.

Script structure

Sintony: Note or succession of musical notes – or other sounds – that alone places a radio space, and that allows the listener to know, with his single audition, what has SINTONIZED. The tune will be a very short sequence, after which the title of the program or the name of the station or of what is intended to be identified is usually facilitated. It is also called tune to the musical mattress, always the same, which will come after the title of the program, or which will appear alone. The program tuning can lead it – or not – (it should, however, appear in the first minutes of issue) and can be repeated throughout it.
Careta: The careta is but a tune – to which it can encompass – more elaborate, with credits or fixed titles and which may include other texts – thematic introduction, declaration of intentions, grids, etc.–, also fixed. It is important that the music of both tunes and masks is not associated with other reasons other than the program – or section – in question, unless the issue is dealt with in those reasons. It is also interesting that it is not too popular music, too much heard. A "foot" that has been widely disseminated in the media also runs the danger that the listener will establish relations entirely outside the purpose of the program. Logically, you have to run away from singing music.
Indicative: Very brief intervention (only titles, names) that reminds the listener of the program or the broadcaster that is listening, or both. It may include tunes or musical bursts or not include them. It is often followed by timetables (information of the exact time).
Get in.: Brief intervention in which the announcer focuses the program (or the section) that will come next; or simply presents it.: Name of the program: Thanks to music

Duration: 5 minutes

Announcers:

LOC 1: Tatiana LOC 2: Sebastian Technical description Literary script Enter music 5 seconds ABBA – “Thank you for the Music” Lower the volume slowly and it stays in the background ABBA – “Thank you for the Music” Enter LOC 1 background music Good night! I am Tatiana and today I will accompany you in this program full of songs with danceable rhythms from the eighties and mid-nineties. Beside me is Sebastian. Hi Sebastian! How are you tonight? Enter LOC 2 background music Very good, as always, happy to be by your side and share a little music with the listeners. Enter LOC 1 background music. Great, so what do you think if to begin we start with a classic musical group from the eighties. Although we all have different tastes, I think we can all agree that Roxette was and will be a classic of that decade. This Swedish pop rock band consisted of singer Marie Fredriksson and singer-songwriter Per Gessle. Enter LOC 2 background music. Volume down, Exactly, this duo established itself as one of the most important and successful Swedish groups. Mr. Operator, can we listen to “Sleeping in my car”? Enter music until the end of the song. Roxette – “Sleeping in my car”

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9ISvvName of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9ISvvName of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS

Sections: Each of the different parts in which, without being part of the continuity, a program can be divided.
Sketch or scene: Dramatized sections that illustrate a particular point of interest or simply create and enrich a program.
Girls: They are short sound assemblies (treinta seconds would be a mean), dramatized or not, which are used as promotion (sirven to give advertising, to advertise. They also receive the name of jingles) or as content (someone calls them pills... They are used simply to adorn or give greater agility to programs).
Microspace: Independent spaces, with their own structure and contents, which are integrated into a program.
Cortinilla: Separation gap (usually between sections), almost always pre-recorded.
Hits: Dramatic musical effects that emphasize and accentuate a moment, a situation, a character, a headline, etc. In the informative programs they are called points; and in fact it is often that function that they fulfill in the development of the emission.

Script and programming formats

Radio-musical formula

It is the systematic and adequate repetition of musical productions. From the point of view of the scriptwriter and program planning, the key to formula radio is repetition. As a scriptwriter, the radio presenter–musical formulas must stick to finding the possible combinations of the records included in the list, according to the programming criteria established for each hour (radio notes). The rest will simply consist of providing a slight dose of creativity to present the themes.

Conventional Programming

In the structural aspect, conventional radio is characterized by the existence of a variety of programmatic genres, with diversity of content, of different treatment and duration; and diversification of objectives (known as targets). Any script format can be valid, depending on the program or the specific section in question. In conventional programming, the structure of the clock (hot clock) is replaced by the schedule of programs, which is the structure, the backbone where all the programs of the day are integrated. For the programmer and the scriptwriter, the programming guideline is the first reference, at first glance, of the most basic characteristics of the programs: duration, broadcast time, etc.

Thematic Radio

This type of radio script can adhere to both types of formula interchangeably.

Complementary bibliography

Rodero, Emma, et. al. (2004). The radio that convinces, Barcelona, ed. Ariel, 2018

Name of the program: Thanks to the music

Duration: 5 minutes

Announcers:

Source: https://www.ejemplos.co/guion-de-radio/#ixzz7ikoWU9IS

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