Reasons to be cheerful. Number 4.

Radio is cheap to make.

My first studio job involved making the sound effects on The Archers. It’s tougher than it sounds. You have to make the sounds believable, correctly time them, be in the correct spot in the stereo image and get the perspectives right. When Jennifer Aldridge pours the tea it shouldn’t sound as if her arms are ten feet long. Oh, and pouring hot water sounds nothing like cold. Try it.

During those sessions under the direction of Vanessa Whitburn I learned how quite elaborate set-ups could be created on radio simply, quickly and cheaply. For example, we once made a whole lambing season with a single pot of yoghurt, and not a fancy one either.

Radio production can be a low-cost activity, requiring neither the number of people nor the budgets of television. Unless, of course, you hire top-drawer tv talent. And that’s no guarantee of success.

One way to make great radio is to find somebody who has something to say and put them before a microphone. Alastair Cooke’s famous Letter from America was nothing more. Ok, he probaby received an appropriate fee for his work but you get the idea.

Some student and community radio stations succeed on tiny production budgets – their costs being largely regulatory and organisational. Making the content itself, especially with volunteer effort, can be a relatively insignificant burden.

The basic components of engaging original radio – such as a good idea and an interesting way to express it – simply don’t need the money lavished on other media. So when budgets are shrinking, as they are right now, imaginative radio need not be the first victim. After all, in radio you save little by being dull.

Tomorrow: Power

By the way, after writing last Friday’s post about listening I came across this excerpt from a book by Libby Purves in the Independent. Thanks to @jemstone for the tip-off. Super piece.

Photograph: 50p by supersy, on Flickr. Used under licence.

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Generation next

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Not feeling old enough? Then be at the Student Radio Awards ceremony on Thursday. I’m honoured to have been asked by radio’s Matt Deegan to judge one of the categories but I’d better not say which one.

The awards ceremony itself is no small affair. Held at the IndigO2 it’s blessed with Scott Mills, Fearne Cotton and a Panko crusted chicken breast, sweet roasted potato stack and minted split pea puree main course. You see – quite an occasion. At the Sony’s we have to make do with Paul Gambaccini and faggots.

Best of all, I’m looking forward to meeting dozens of immensely talented and enthusiastic young people who are among the greatest broadcasters of their generation. The judges know that’s true because we’ve heard their stuff.

For some nominees, this will be the first national recognition of their abilities as they continue a personal quest to be the next Andrew Gilligan, Russell Brand or Jonathan Ross Eddie Mair, Jamie Theakstone or Comedy Dave. Others may long to produce the 5 Live breakfast show, market the Kiss brand or do what I do, whatever that is.

I fully expect, however, that many will have fallen into radio by accident at college, discovered they were rather good at it, enjoyed the experience but nonetheless plan to get a proper job. With the consolidation of commercial radio, the low pay prevalent across much of the industry, the BBC’s budgetry squeeze and the advertising downturn who can blame them?

Yet these people should matter to us in the radio industry. We should keep in touch with them and encourage them back onto the air as contributors, characters and performers whenever we can.

Vivacious, outgoing, clever and characterful individuals who are experienced in life make great broadcasters. And it’s far easier to teach radio skills to them than it is to make an anorak interesting: if your hobby becomes your job you risk becoming boring.

So that’s my mission for Thursday – to keep tabs on the new talent that we might otherwise lose. I’ll let you know how it goes. And whether the crusted chicken was any good.

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