[Imc-newsroom] Fwd: NRP's News Submission Guidelines and More

Mon Jan 8 23:43:27 CST 2001

The following are guidelines for submitting stories to a new half-hour 
daily grassroots radio news program being put on by the National Radio 
Project, who produce Making Contact, heard Tuesdays at 5:30pm on WEFT.

Everyone should feel encouraged to submit stories, especially once we have 
a regular program going ourselves.

--Paul

>Sorry not to have gotten these off to you sooner. Attached you will find 
>submission guidelines for Live Wire Independent News, as well as recording 
>tips and suggested equipment list. I'll attach both word and text versions 
>of the  tdocuments and will cut and paste the text versions of all three 
>below.
>
>Best-
>Laura Livoti
>Live Wire Independent News
>CoDirector
>510-251-1332
><www.radioproject.htm>www.radioproject.org
>
>~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>Item One:
>Live Wire Independent News
>
>Submission Guidelines 2001
>
>  NRP adheres to the highest standards.  Please follow  the guidelines 
> carefully:
>1. Record on high-bias audio tape or in a digital format.
>2. Choose Dolby setting, if available, when recording
>3. Use professional microphone and recording device (see equipment list)
>4. Please clearly label recordings and accompanying material
>5. Meticulous recording habits are appreciated (see recording tips)
>6. Narration should be conversational, not glossy or heroic
>7. All edits must be inaudible
>8. Recording levels must be even and precise
>
>Editorial process:
>1. Get story pre-approval and deadline
>2. Submit script and recorded segments
>3. Discuss any changes or re-writes
>4. Record and edit narration
>5. Submit final edit and script
>
>The National Radio Project pays $175 for edited segments 5 to 7 minutes in 
>length.  Minimum rates for other lengths are as follows: Up to 3 minutes, 
>$75; Up to 5 minutes; $125.  $25 bonus for 2 or more sound elements 
>(subject to approval).  Other lengths, terms discussed.  Kill fee $25.  We 
>also consider unedited recordings of interviews, speeches and 
>events.  Rates vary.
>
>Live Wire features local, national, and international stories; in-depth 
>interviews; and perspectives not often heard in the mass media.  Listeners 
>will stay informed on political, social, and economic trends.
>
>To pitch a story for Live Wire, please call or email a 1 to 2 paragraph 
>description, including potential interviewees.  Before pitching a story, 
>please be familiar with the mission of the National Radio Project, as 
>posted on our web site (or request a hard copy).  Also, try listening to 
>our sound beforehand on-line.
>
>When pitching a story, consider the following questions: * Does the story 
>relate public interests to governmental policies and corporate 
>priorities?  * Does the story give listeners historical, political, and 
>social context of major national and international events? * Does the 
>story shed light on social and economic inequities?  * Does the story link 
>grassroots issues to national or international trends?
>
>Submit pitches by email, fax or mail to executive producer Phillip Babich. 
>phone: (510) 251-1332 ex. 103, pbabich at radioproject.org
>
>~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>Item 2:
>Making Contact &
>Live Wire Independent News
>
>Recording Tips:
>
>* Be sure interviewee is "on mic."  Microphone should be pointing directly 
>at the speaker's mouth from about six-inches away.
>
>* Avoid P-pops and sibilance.  Listen carefully as you're recording and 
>adjust mic position if the speaker is popping their P's or hissing their 
>S's.  Try pointing your microphone slightly off to the side of the 
>speaker's mouth to avoid catching air blasts from P's and S's.
>
>* Avoid "microphone rustling."  Recordist should keep his/her mic hand 
>steady.  Any movement of the microphone or the mic cable is likely to be 
>picked up on the recording.
>
>* Watch your levels.  Recording levels should be strong, but not 
>hot.  Stay away from "the red."  Also, avoid weak levels.  Always monitor 
>recording levels during interviews and adjust as necessary.
>
>* Avoid hums and buzzes.  Sometimes fluorescent lights or ungrounded 
>electric outlets can introduce hums and/or buzzes in a recording.  Try 
>turning out the lights, changing outlets, or finding another room.  Hums 
>and buzzes may also be introduced when plugged into other audio equipment, 
>such as a mixing board or a mult-box.  Look for loose cables or 
>un-grounded equipment.  Sometimes, another recording device plugged into 
>the same system that's in pause can cause a hum.  If unsure of recording 
>conditions, make a test recording one-minute or so in length and listen to 
>the playback carefully.
>
>* Do not record on recycled reel-to-reel tape or on unerased cassettes, 
>mini-disks, or DATs.
>
>* If recording sound elements, or ambiance, be sure to record for at least 
>one-minute without an interruptions.  In general, recording at least 
>30-seconds of "room tone" before all interviews can be helpful during editing.
>
>Note: A list of audio recording tips can be found at the Radio College: 
><http://www.westernpublicradio.org/rc/tips.html>http://www.westernpublicradio.org/rc/tips.html 
>
>
>~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>Item 3:
>Making Contact &
>Live Wire Independent News
>
>Suggested Equipment:
>
>There are many brands and models of professional recording 
>equipment.  Below is a list of professional field recording equipment we 
>use and recommend at NRP.  This is not a comprehensive list, but a list of 
>suggestions if you're looking to purchase field recording equipment, or if 
>you need a benchmark by which to gauge the equipment you're currently using.
>
>Microphones:
>Shure VP-64
>Shure BG 3.1
>Sony ECM-30
>ElectroVoice 635 A/B
>
>Recorders:
>
>Sony portable mini-disk player/recorder models
>Sharp portable mini-disk player/recorder models
>Sony Walkman Pro cassette recorder
>Sony TCD-5M cassette recorder
>Marantz PMD 101 cassette recorder (or higher model)
>Sony TCD-D8 DAT
>
>Notes on mini-disk recorders: Be sure to check on the availability of 
>replacements for the in-unit battery (typically a Lithium-Ion or 
>Nickel-Cadmium battery).  Also, try to get a unit that has a manual 
>recording level option -- many do not.
>
>If you are not sure that the equipment you are using is "professional," 
>please call or email Phillip Babich: (510) 251-1332 ex. 103, 
>pbabich at radioproject.org
>
>
>
>
>
>
>
>National Radio Project
>1714 Franklin St. #100-251 Oakland, CA 94612
>510-251-1332/510-251-1342 fax
>www.radioproject.org
>
>Live Wire Independent News
>
>Submission Guidelines 2001
>
>  NRP adheres to the highest standards.  Please follow  the guidelines 
> carefully:
>1. Record on high-bias audio tape or in a digital format.
>2. Choose Dolby setting, if available, when recording
>3. Use professional microphone and recording device (see equipment list)
>4. Please clearly label recordings and accompanying material
>5. Meticulous recording habits are appreciated (see recording tips)
>6. Narration should be conversational, not glossy or heroic
>7. All edits must be inaudible
>8. Recording levels must be even and precise
>
>Editorial process:
>1. Get story pre-approval and deadline
>2. Submit script and recorded segments
>3. Discuss any changes or re-writes
>4. Record and edit narration
>5. Submit final edit and script
>
>The National Radio Project pays $175 for edited segments 5 to 7 minutes in 
>length.  Minimum rates for other lengths are as follows: Up to 3 minutes, 
>$75; Up to 5 minutes; $125.  $25 bonus for 2 or more sound elements 
>(subject to approval).  Other lengths, terms discussed.  Kill fee $25.  We 
>also consider unedited recordings of interviews, speeches and 
>events.  Rates vary.
>
>Live Wire features local, national, and international stories; in-depth 
>interviews; and perspectives not often heard in the mass media.  Listeners 
>will stay informed on political, social, and economic trends.
>
>To pitch a story for Live Wire, please call or email a 1 to 2 paragraph 
>description, including potential interviewees.  Before pitching a story, 
>please be familiar with the mission of the National Radio Project, as 
>posted on our web site (or request a hard copy).  Also, try listening to 
>our sound beforehand on-line.
>
>When pitching a story, consider the following questions: * Does the story 
>relate public interests to governmental policies and corporate 
>priorities?  * Does the story give listeners historical, political, and 
>social context of major national and international events? * Does the 
>story shed light on social and economic inequities?  * Does the story link 
>grassroots issues to national or international trends?
>
>Submit pitches by email, fax or mail to executive producer Phillip Babich. 
>phone: (510) 251-1332 ex. 103, pbabich at radioproject.org
>
>
>
>
>
>
>
>National Radio Project
>1714 Franklin St. #100-251 Oakland, CA 94612
>510-251-1332/510-251-1342 fax
>www.radioproject.org
>
>Making Contact &
>Live Wire Independent News
>
>* Be sure interviewee is "on mic."  Microphone should be pointing directly 
>at the speaker's mouth from about six-inches away.
>
>* Avoid P-pops and sibilance.  Listen carefully as you're recording and 
>adjust mic position if the speaker is popping their P's or hissing their 
>S's.  Try pointing your microphone slightly off to the side of the 
>speaker's mouth to avoid catching air blasts from P's and S's.
>
>* Avoid "microphone rustling."  Recordist should keep his/her mic hand 
>steady.  Any movement of the microphone or the mic cable is likely to be 
>picked up on the recording.
>
>* Watch your levels.  Recording levels should be strong, but not 
>hot.  Stay away from "the red."  Also, avoid weak levels.  Always monitor 
>recording levels during interviews and adjust as necessary.
>
>* Avoid hums and buzzes.  Sometimes fluorescent lights or ungrounded 
>electric outlets can introduce hums and/or buzzes in a recording.  Try 
>turning out the lights, changing outlets, or finding another room.  Hums 
>and buzzes may also be introduced when plugged into other audio equipment, 
>such as a mixing board or a mult-box.  Look for loose cables or 
>un-grounded equipment.  Sometimes, another recording device plugged into 
>the same system that's in pause can cause a hum.  If unsure of recording 
>conditions, make a test recording one-minute or so in length and listen to 
>the playback carefully.
>
>* Do not record on recycled reel-to-reel tape or on unerased cassettes, 
>mini-disks, or DATs.
>
>* If recording sound elements, or ambiance, be sure to record for at least 
>one-minute without an interruptions.  In general, recording at least 
>30-seconds of "room tone" before all interviews can be helpful during 
>editing.
>
>Note: A list of audio recording tips can be found at the Radio College: 
>http://www.westernpublicradio.org/rc/tips.html
>
>
>
>
>
>
>
>
>National Radio Project
>1714 Franklin St. #100-251 Oakland, CA 94612
>510-251-1332/510-251-1342 fax
>www.radioproject.org
>
>Making Contact &
>Live Wire Independent News
>
>Suggested Equipment:
>
>There are many brands and models of professional recording 
>equipment.  Below is a list of professional field recording equipment we 
>use and recommend at NRP.  This is not a comprehensive list, but a list of 
>suggestions if you're looking to purchase field recording equipment, or if 
>you need a benchmark by which to gauge the equipment you're currently using.
>
>Microphones:
>Shure VP-64
>Shure BG 3.1
>Sony ECM-30
>ElectroVoice 635 A/B
>
>Recorders:
>
>Sony portable mini-disk player/recorder models
>Sharp portable mini-disk player/recorder models
>Sony Walkman Pro cassette recorder
>Sony TCD-5M cassette recorder
>Marantz PMD 101 cassette recorder (or higher model)
>Sony TCD-D8 DAT
>
>Notes on mini-disk recorders: Be sure to check on the availability of 
>replacements for the in-unit battery (typically a Lithium-Ion or 
>Nickel-Cadmium battery).  Also, try to get a unit that has a manual 
>recording level option -- many do not.
>
>If you are not sure that the equipment you are using is "professional," 
>please call or email Phillip Babich: (510) 251-1332 ex. 103, 
>pbabich at radioproject.org
>
>
>
>
>
>
>
>
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