Broadcasting students and studio audio equipment

A broadcast journalist needs to know more than just how to string together a good sentence. In addition to learning about the economics of language and how to hit the right mark when reporting on sensitive topics, a broadcasting student needs technical skills.

Whether it is a broadcasting studio for radio or television, it is critical that background noise, white noise, and any other tedious forms of unwanted noise are removed from the recording.

Who makes sure of this?

A sound engineer is primarily the person in charge of acoustics and sound management, but a good broadcaster will know what he wants to achieve with his show. Leave everything to the sound engineer and see what happens. After all, it is not the job of a sound engineer to know that it is in bad taste to introduce a foghorn sound after the announcement of the death of a public figure. Sure, the sound engineer can use his common sense, but if the fog horn sound is made at the same time every day, and the sound engineer is listening but not listening to your program, what will prevent you from playing the Horn? Shame is the only thing a mistake like that will lead to.

Broadcasting students must acquire the necessary software and hardware for sound production, playback, and synchronization. They must also know how to distinguish between digital, acoustic and electronic sound and the benefits of each.

The studios are presented in specific layouts to provide the best possible use of sound. Arrangements such as where to place the microphone or where the public address system should go depend on knowledge, experience and, of course, proper training.

Beware of broadcasting students: there is more to your job than a safe disposition and cunning language. If you want to get ahead, familiarize yourself with studio audio equipment, the basics of sound engineering, and the latest in hardware and software sound packages.