This will be a tour I would love to take in real time; I doubt if I ever will. Our starting point and finish line are The Pillars of Hercules. The route is Spain, France, Monaco, Italy, Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Albania, Greece, Turkey, Cyprus, Syria, Lebanon, Israel, Palestine, Egypt, Libya, Malta, Tunisia, Algeria and Morocco. I have all the time in the world.
Its website says “FutureLearn aims to pioneer the best social learning experiences for everyone, anywhere.” With leading educational partners from around the world, it offers hundreds of courses. “Podcasting” isn’t one of them, but there are a few relevant courses that might interest a podcaster.
Not everyone uses music in their podcasts and not all of this taster course will be relevant to podcasters, but I thought someone might find Music Copyright and Me useful.
Then I discovered the “Related Artists” link on Spotify. (As I write incidentally I am listening to this.) A few years ago I lamented on Facebook that I was just so tired of music.
I have rediscovered the excitement of finding new (to me) music that I once had as a DJ.
I have thought about distributing this through the podcast, but as people expect an audio file, not a PDF, I decided it was better to post this PDF here and allow anyone to download it … for a short time at least.
Podcasting for Journalism Students bookIt is available on Kindle and as a paperback
The book is for young, trainee, or student journalists not specialising in broadcast media. It is an introduction to “making content”, podcasting and broadcasting whether you want to understand production on a professional level or simply because you want to create podcasts for fun or add something useful to your CV.
Like the Guardian Newspaper – which is owned by the Scott Trust – the Irish Times Trust gives the publisher greater scope than those with more commercial obligations. In the digital age, it was one of the first 30 newspapers in the world to go online when it had the domain Ireland.com – now owned by the Irish Tourism – and now, it is becoming a digital first publication.
Declan Conlon is The Irish Times’s podcast producer. We met in their radio studio in a converted office just off the main newsroom.
By their very nature podcasts are always pre-recorded. A “live” edition is one recorded in front of an audience. Over on the Facebook group “UK Podcasters” a question was asked about recording with an audience. As it’ not something I have included in either book, I thought an answer here (and there) might be useful.
Even the simplest podcast or radio programme has a structure. Whether you have thought about it or not, you are going to have a beginning, middle, end. The question is, how can you best structure your podcast to bring your listener through from beginning to the end, keeping the listener informed, surprising them with information they did not already know, motivating them to become involved and leaving them wanting more? There is more than a dash of showbiz in your average podcast.
A podcast will have a running order which communicates to everyone involved what is planned and what is happening. The running order starts out the prospects owned by the producer which also keeps everyone informed about the progress of the show’s production.
Recording away from the studio. There are all sorts of reasons why you would record outside. A podcast episode can benefit from changes in tone and atmosphere. Reporting from a place rather than just about a place can give context to the story. It can add new textures and make the episode more interesting.
“Having an intention is really important. The intention [of The Radio Stuff Podcast] was and is to connect radio lovers around the world and share great ideas and be as positive about the radio industry as we can. It’s really about following our curiosities and talking to interesting people.” This section asks you to identify the purpose of your podcast. If you like, leave it for now and come back once you have read the rest of the book. The purpose will always be central to whatever you do.
This is an introduction to radio and podcast production. Radio and audio podcasts are not exactly the same thing, each have unique factors, but there is a shared core to their production.
As we reach episode 21 … this is the story so far. Now the podcast is part of a project with two books Podcasting for Communities and Podcasting for Student Journalists.
Along with this blog they are a guide for anyone who wants learn to produce podcasts or community radio. I’ve looked at production strategies such as structure, technical challenges, organising a production team, podcast platforms, community management and purpose
I spent a lot of time travelling in January. I had started teaching in Dublin again and was living in Slovenia. Transport between the two is not easy. So I found myself trying different routes, partly to see what can be done on a budget and partly because I had the time to experiment.
This is the outline of a course I teach on radio and podcast production. The students are studying journalism at BA level. They are not specialising in broadcast media, some don’t listen to speech radio much – if at all, some do not plan a career in traditional journalism.
I have been listening to a lot of good stuff recently and I should share more often.
For now I’m going to mention two, one a BBC Radio Drama the other a long standing US podcast.
A report by the Knight Foundation about podcasting and on-demand radio “From Airwaves to Earbuds”. With Knight Foundation partners, both public broadcasters, supported by grants, and for-profit companies, which received investments from the Knight Enterprise Fund who provide insight into the fast growing area of podcasting.
Talking to Alex and Freddie of the QI Elves about No Such Thing as a Fish, not only because I’m a fan, but because of the technical and production approach they take. I wanted to know how they do what they do.
The original idea remains the same: anyone who wants to podcast can. The more they know about radio and audio production, the better their podcasts will be and these “Podcasting For …” books (Communities and Journalism Students) will help them on their way.
With some 40 year’s experience in journalism, Barbara McCann has worked in radio, TV and print. She talks about interviewing and her approach to getting answers.
I was hoping to spend all of January here, but as Harold McMillan once said, “Events.” I was anticipating three trips to Dublin to teach the Radio for Journalists course. They begin on Wednesday. As I said to the former head of tourism here getting away from Slovenia is relatively easy; coming here is not.
As an anchor on the BBC News channel, Maxine Mawhinney probably spends more time interviewing than anything else. The interviewees will be in the studio or remote – somewhere else in the country or really, anywhere in the world. Maxine shares tips on interviewing and presenting.
At some point over Christmas I began to write predictions for 2017; questioning algorithms, rise in media literacy and fixing the internet to make it a less horrible place – maybe that is about people rather than internet.
A friend – a journalist with decades of experience – asked me about starting a podcast – but nothing too complicated. She needed a simple podcasting tool that didn’t require a lot of setting up, carrying equipment, or lots of faffing around.
I was in Ljubljana on a Saturday morning to record some of the sounds of the streets. Particularly the street music and the other music seeping out of buildings in the historic old town.
Union is a stylish, very well maintained hotel. The new room was large, fresh as a daisy and had a view of that wonderful building opposite. Although the city was heaving outside, once the curtains were closed, there was no sound from outside.
Three years ago, when he released his international debut album Hotel Univers, it seemed that Jupiter Bokondji would be the new hero of the African music scene. Here, after all, was a Kinshasa veteran with a real sense of danger in his singing, who had proved equally exhilarating playing live. Now, at last, comes the follow-up, and though it’s a six-track mini-album.
It was a follow up to some information I had sent a Slovene journalist who was writing about fake news. He came back with some very simple questions (below). Why does fake news take sometimes and not take other times?
Gaye Su Akyol’s influences, she says, include the veteran, highly political Turkish folk singer Selda Bağcan along with Nick Cave and Grace Slick, and the result is a set of compositions that are both dramatic and distinctly Turkish.
Amira Medunjanin is the finest exponent of sevdah, the melancholy and emotional folk music of Bosnia, and is remarkable not just for her clear, pained voice, but for the way she balances respect for ancient styles with experiment.
I spent about two and a half hours wandering around the old Slovenian town Tržič, which is a short drive on the highway from Bled, but a much longer – and significantly more interesting journey by bus. This post features video audio and photos.