Evening star., 1927-04-24
NETWORK DEMANDS.
EXACT OPERATION.
Radio Hook-upS Require
Most Precise Schedule
of Entertainment.

network radio programs lnFoiNe d
method of stage production operat-
ing in split minutes, an infinitely more
exacting schedule than that required
in any other entertainment medium.
Delaying the rise of the curtain in
theater for five minutes because OF
the lateness of a star performer means
little in the life of a stage manager,
and in the production of motion PIC
lures the time element Is of distinctly
minor importance. But when out-of-
town radio stations have been linked
with the studios of WEAF or WIZ
for simultaneous broadcasting of "A
program, timing arrangements must
be most rigidly observed and every
detail of the transmission must ad-
here strictly to schedule.
Every other phase of the production
or programs finds its parallel in the
theater The mtcrophone serves as
the open front of the stage, allowing
the audience TO "see" what is going
on in the studio. Listeners to q net
work broadcast may be scattered over
an area thousands Of miles square,
hut they constitute a real audience.
Incidental music or the announcer'S
remarks set the stage, and the invis-
ible curtain is rolled up by system
of buttons operated in the studio.
The announcer in charge of the pro-
gram is the stage manager. When
the special CIRCUITS which will carry
the program to the stations of the
National Broadcasting Co.'S red or
blue networks have been tested and
the studio is ready to go on the air, he
takes charge of the control box in the
studio. Buttons mounted on the front
panel OF this box control various COM
binations of stations, and by pushing
the proper buttons the announcer con-
meets the studio with the proper spe
cial circuits to transmit the music and
speech to the broadcasters who have
signjfied their intention Of broadcast
ing the feature.
In an adjoining studio radio per.
formers are finishing another pro-
gram. which may have a different
audience from the one which is about
TO go on the air, for 1t is highly prob
able that it is being broadcast through
a different combination of network
stations.
Artists Gather at mike"
The announcer marshals the artists
@bout the microphone. He stands,
watch in hand close by the control
,ox. The hour arrives, light flashes
en- the panel of the box, indicating that
the program in the adjoining studio is
finished and that this studio is on the
air. The announcer throws a switch
and speaks into his microphone to the
assembled listeners of the network sta
tons. He remarks that WEAF and
associated stations of the National
Broadcasting Co.'S red network are
about to broadcast feature from New
York.
In the studio of every network sta
tion connected with WEAF an an
nouncer, headphones on ears, is listen
ing to the words from New York. The
announcer at 1876 Broadway completes
his introduction and throws another
switch, releasing the out-of-town sta.
tions, and without perceptible pause
the various announcers in different
parts of the country speak into their
own microphones, stating their own
cA1l letters.
Fifteen seconds later the WEAF an
nouncer has finished his local an
nouncement. He throws his switch
again, once more linking up the net
%ork. If the out-of-town announcers
have not finished their remarks, their
4gords are lost. Time is the all-impor-
Nant element, and chain broadcaSting
q
The announcer at New York opens
the program, introducing the per-
formers and stating the first number
10 be heard He throws another
switch, cutting out his mfcrophone
end throwing in the studio micro
phones. The program is on the air.
Ii is being heard by WEAF's listeners
and in addition, special circuits are
carrying it to the transmitters Of
other stations of the National Broad
casting Co.'S red network, which are
broadcasting it simultaneously TO
their audiences.
Every Is minutes during the course
of the program, the same general
routine as that which opened the
program allows each OF the out-of-
t@wn announcers to state the call
Na4ters of his station to his listeners,
while the WEAF announcer is giving
hks particular audience similar in
formation.
Schedule Is Exacting.
Between selections the announcer
Ia WEAF's studio talks to the COM
btned audience of the network. The
program has been carefully timed in
rehearsal so that it win exactly fill
the time allotted TO it. No time is
Interruptions by the audience and no
encores are allowed. Moreover, the
last Ave minutes of the program are
planned to allow considerable fieXi-
bility. Seconds of delay may pile
up during the course Of an hour SO
that their sum will amount to min
utes, and a minutes leeway in net
work broadcasting schedule is
serious matter.
In the meantime, another studio is
being "set up" for the program fea-
ture which is to follow and perhaps
a dress rehearsal of still third pro-
gram is going on in another studio.
Program features must march before
the microphone on time. The audi
ence cannot be kept waiting, and the
announcer who is handling the fea-
ture on the air must make sure that
his program finishes on the dot.
AS the end of his period approaches
he watches the typewriter detailed
program closely. He consults his
watch every few seconds to deter
mine the best manner of finishing
on time. If the program is ahead
Of schedule, a short encore number
will serve to fill out the allotted
period. Such encore selections are
always rehearsed, but they are sell
dom needed.
When program fails 10 run
exactly on schedule, 1t is usually slow
rather than fast. But this is easily
overcome. The announcer informs
the conductor OF the period Of the
time which is left, and the elimina-
ton Of one or two repeat pas
sages enables the feature to finish
on time.
The music stops. The announcer
throws a switch and informs the
combined audience of the network
stations of the completion of the
program. please stand by" he fin
fshes, and another switch is thrown.
In the adjoining studio a light flashes
on the box panel. The new an
Bouncer opens his microphone and
greets q new audience. Another net
work broadcast feature has passed