Tim Westwood is currently now one of radio 1’s biggest presenters after working with them since 1994 his unique style and ground-breaking techniques made him as successful as he is today. The westwood show is now daily from 16:00-19:00 three hours of hip-hop/grime/RnB. He regularly joins other shows as you may notice if your a radio extra listener.
He gets a certain status and persona because of the type guests he has on his show and by how he's well respected by them gives him more power as such. a lot of guest on the show freestyleing or just being interviewed about their life and a lot talk about crime and and a bad environment in witch they grew up in and then this is then seen as cool to the younger generation that listen to the show,that of which asociates tim with it, thus giving him his image to do rap/grime and hip-hip. After so many years he has not only got a big fan base but he is well respected by other presenters,westwood has all the necessary skills and more to present and knows how to fit his genre perfectly, once in-front of a mic westwood would liven up and i would describe him as energetic,lively,hyper-active and generally loud all terms used to describe the genre he covers.
Nick Grimshaw radio 1 a clear spoken radio presenter who's show consists of pop music very clear voice with a slow place
Jason Donavon from heart fm also has a chiled and relaxed show witch he featured
Wednesday, 5 January 2011
Evaluation
Radio Evaluation
Our radio assignment took place in the week coming up to children in need and in my opinion worked well and was successful, my role was different in each hour show we produced in the mojo show witch was mainly mine and dans idea it was to create sound beds, idents est. We had all done pre-production word towards it sorting out the theme of it as a hole, the script and so on. My idea for the show was the have and acoustic based show similar to to a well known show called live lounge and have it suit the characteristics by having a chilled presenter with a slow paced feel to the show. In our subcity show we tried to create something different and diverse after finding out our target audience we thought we'd try an approach not many people would go for or had tried. A while after bouncing round ideas we had chose to do dubstep and really promote our selfs to have a big target audience we used the fact we had to have interlinked video with the show to our advantage. By doing 'dubstep bogies' around college we raised awareness for the show and had business cards all around stratford some of witch i handed out personally. I think all of the promotion is the reason we managed to get as many views as we did on the day after spiking so much interest along with subcity fm on youtube where we had numerous videos to do with dubstep along with the playlist from the show. I believe this worked well and was a big achievement for us all of us playing our parts managed to promote to show well together. Myself and james had one video in witch we had go into an area in college full of people and play dub-step as loud as possible with out getting told to stop i think this was the point most people started to wonder what subcity was. adam bloomer and dan managed to get 'subcity' sponcerd by HMV its was a very good look from doing that more people would then take our radio show seriously and not as some kids makeing stuff up in a radio studio. On the day i had to present and tell of the up and coming events going on for the next two weeks,being not as pre-paired as i should have been with my script i don't think i came across as relaxed enough but it went well however my pace could have been a bit slower allowing my voice to be clearer.
Technical points
We used unidirectional microphones in the studio so that we didn’t pick up sounds from anyone but the presenter however for a pre-recorded feature we could have used a Omni-directional microphone to pick up a different acoustic will its being recorded, varied from the studio which is made to be dead with no echo.
"Omni
The simplest mic design will pick up all sound, regardless of its point of origin, and is thus known as an omnidirectional microphone. They are very easy to use and generally have good to outstanding frequency response. To see how these patterns are produced, here's a sidebar on directioal microphones.
Bi-directional
It is not very difficult to produce a pickup pattern that accepts sound striking the front or rear of the diaphragm, but does not respond to sound from the sides. This is the way any diaphragm will behave if sound can strike the front and back equally. The rejection of undesired sound is the best achievable with any design, but the fact that the mic accepts sound from both ends makes it difficult to use in many situations. Most often it is placed above an instrument. Frequency response is just as good as an omni, at least for sounds that are not too close to the microphone.
Cardioid
This pattern is popular for sound reinforcement or recording concerts where audience noise is a possible problem. The concept is great, a mic that picks up sounds it is pointed at. The reality is different. The first problem is that sounds from the back are not completely rejected, but merely reduced about 10-30 dB. This can surprise careless users. The second problem, and a severe one, is that the actual shape of the pickup pattern varies with frequency. For low frequencies, this is an omnidirectional microphone. A mic that is directional in the range of bass instruments will be fairly large and expensive. Furthermore, the frequency response for signals arriving from the back and sides will be uneven; this adds an undesired coloration to instruments at the edge of a large ensemble, or to the reverberation of the concert hall.
(http://artsites.ucsc.edu/EMS/music/tech_background/te-20/teces_20.html)"
Our radio assignment took place in the week coming up to children in need and in my opinion worked well and was successful, my role was different in each hour show we produced in the mojo show witch was mainly mine and dans idea it was to create sound beds, idents est. We had all done pre-production word towards it sorting out the theme of it as a hole, the script and so on. My idea for the show was the have and acoustic based show similar to to a well known show called live lounge and have it suit the characteristics by having a chilled presenter with a slow paced feel to the show. In our subcity show we tried to create something different and diverse after finding out our target audience we thought we'd try an approach not many people would go for or had tried. A while after bouncing round ideas we had chose to do dubstep and really promote our selfs to have a big target audience we used the fact we had to have interlinked video with the show to our advantage. By doing 'dubstep bogies' around college we raised awareness for the show and had business cards all around stratford some of witch i handed out personally. I think all of the promotion is the reason we managed to get as many views as we did on the day after spiking so much interest along with subcity fm on youtube where we had numerous videos to do with dubstep along with the playlist from the show. I believe this worked well and was a big achievement for us all of us playing our parts managed to promote to show well together. Myself and james had one video in witch we had go into an area in college full of people and play dub-step as loud as possible with out getting told to stop i think this was the point most people started to wonder what subcity was. adam bloomer and dan managed to get 'subcity' sponcerd by HMV its was a very good look from doing that more people would then take our radio show seriously and not as some kids makeing stuff up in a radio studio. On the day i had to present and tell of the up and coming events going on for the next two weeks,being not as pre-paired as i should have been with my script i don't think i came across as relaxed enough but it went well however my pace could have been a bit slower allowing my voice to be clearer.
Technical points
We used unidirectional microphones in the studio so that we didn’t pick up sounds from anyone but the presenter however for a pre-recorded feature we could have used a Omni-directional microphone to pick up a different acoustic will its being recorded, varied from the studio which is made to be dead with no echo.
"Omni
The simplest mic design will pick up all sound, regardless of its point of origin, and is thus known as an omnidirectional microphone. They are very easy to use and generally have good to outstanding frequency response. To see how these patterns are produced, here's a sidebar on directioal microphones.
Bi-directional
It is not very difficult to produce a pickup pattern that accepts sound striking the front or rear of the diaphragm, but does not respond to sound from the sides. This is the way any diaphragm will behave if sound can strike the front and back equally. The rejection of undesired sound is the best achievable with any design, but the fact that the mic accepts sound from both ends makes it difficult to use in many situations. Most often it is placed above an instrument. Frequency response is just as good as an omni, at least for sounds that are not too close to the microphone.
Cardioid
This pattern is popular for sound reinforcement or recording concerts where audience noise is a possible problem. The concept is great, a mic that picks up sounds it is pointed at. The reality is different. The first problem is that sounds from the back are not completely rejected, but merely reduced about 10-30 dB. This can surprise careless users. The second problem, and a severe one, is that the actual shape of the pickup pattern varies with frequency. For low frequencies, this is an omnidirectional microphone. A mic that is directional in the range of bass instruments will be fairly large and expensive. Furthermore, the frequency response for signals arriving from the back and sides will be uneven; this adds an undesired coloration to instruments at the edge of a large ensemble, or to the reverberation of the concert hall.
(http://artsites.ucsc.edu/EMS/music/tech_background/te-20/teces_20.html)"
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