WSCA Station Handbook and Training Manual - Prometheus Radio ...

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MODULE TWO
On‐air skills training
I. INTRODUCTION AND
OVERVIEW
On air skills training at WSCA training is an
informal apprenticeship. After completion of
general station orientation trainees are matched
with dj/trainers for a period generally not to
exceed 8 weeks. It is the dj/trainer’s goal to
pass on to the trainee all practical skills
necessary to a station operator/on‐air
announcer. The format is “hands on”; the
trainer demonstrates a skill to the trainee –
when they understand the concept the trainee
attempts to perform that skill under the
trainer’s supervision.
As the trainee practices and becomes competent in studio skills and learns the operation of specific
equipment he or she will be entrusted with on air duties under the direct supervision of the trainer. These
supervised on air shifts should be of a duration and frequency sufficient to allow the trainee to repeat
various operations (20‐30 minutes). During this
Our fair studio and all of its various pieces of equipment.
supervised shifts the trainer can evaluate the
trainees competence in the various skills needed
to operate the station. Using the checklist provided with this manual, the trainer will sign off as the
trainee masters each skill. This checklist remains with the trainee during the training process.
During the skills training process the trainee is expected to thoroughly read and review all the
information on FCC policy, station policy and studio protocols that is included in training module three.
Once the trainee has reviewed this material, read the handout on FCC policy and to taken the “obscenity
quiz” the trainer should review FCC policy and the other materials in module three with the trainee.
After this point and when the trainer has “checked off” on most of the skills checklist he or she should
supervise the trainee as they take full responsibility for a one or two hour “demo” broadcast.
This broadcast should be during the trainer’s show or be during a “fill” slot signed up for under the
trainer’s name. Program material should be consistent with the trainer’s program or the block
programming (if any) appropriate to the schedule and should (in case of music programming) consist of
at least 30% new music. Prior to this broadcast the trainer should share with the trainee their
experience(s) and suggestions on the issue of style and form in live programming. This two way
discussion might include but should not be limited to the following topics:
The concepts of smooth programming transitions (whether from song to song or between
recorded and spoken program elements)
Set dynamics (If the trainee is interested in on‐air music programming)
The uses and limits of background music or “bed”.