Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-08-31
Behind the Microphone
BY THE RADIO EDITOR.
CIR THOMAS LIPTONs fifth at.

IeHlpl 10 ISCdpIuTe CIl6 SILVER
symbol of yachting supremacy
which the United States has held
since 1851 will lure a corps of
National Broadcasting Co. an
nouncers and engineers to New
port, r. l., next month for a COM
plete radio picture of the famous
Americas Cup races.
Aboard a destroyer following
the contenderS, the announcers,
in conjunction with nationally
known yachting authority, will
keep listeners posted at regular
intervals during each day of the
international event.
If sailing weather is good the
first race will be run Saturday,
September 13. On Monday the
Shamrock v and the American
defender will spread their sails
over a different course, and the
races will continue each day
until Saturday, September 20, or
until one of the yachts has won
four out of seven events. Rules
provide that each race start soon
after 1890 am, and if neither
yacht crosses the finish line in
less than five hours and a half
the race must be repeated.
N B. C.'S combined networks,
with WIZ and WEAF as key sta
tions, will receive the periodic
radio reports. The announcerS
will speak by short wave from the
deck of the United States de-
Stroyer on the course. Their re-
marks will then be picked up by
receiving apparatus at Newport
and sent over lines to New York
for distribution to the networks,
which probably will alternate in
their use Of the scheduled periods.
A NEW and highly specialized
radio profession, that of pro-
duction engineer, is speedily gain
ing recognition in broadcasting
circles, according to Jack Kicker,
director of production and studios
for the Columbia BroadcaSting
System.
The Columbia System employs
nine production men. They
rarely come before the public eye,
although they stand between the
broadcaster and the listener. A
production man is in full charge
of every program broadcast. Dur
ing the time of broadcasting he
is that programs final authority.
/ Columbia System production
men are divided into the four fol-
lowing principal groups:
(a) Special Symphonic Group.
This group handles all SYM
phony orchestraS, concert orches-
tras, choral, grand opera and re-
citals. 1t is responsible for the
rehearSalS, Set-upS Seating ar
rangementS before the micro
phones in the studios), construc-
ton, timing, putting the show on
the air and bringing it off and
general conduct of the hour and
its personnel.
(b) Special Dance OrcheStras.-
These men are responsible for the
Setting-up, rehearsalS, timing,
conduct and personnel of all stu
dio dance orchestra presentations.
Co Script Group.-All script
acts, scripts with music; musical
interludeS, effects, etc, come
under their direction. Again
timing is stressed. 1t might be
said here that timing of all
broadcasts is one of the principal
duties of production men. Sec
ondS are counted in every broad
cast.
Id General.-Takes care of
such combinations as string en-
sembleS, Hawaiian instrumental
lists, native bands, odd combina-
tionS, brass bands, talks, etc. Like
wise this group is entirely reSpon-
Sible for timing, rehearsal and
the general conduct and person.
mel Of these presentations.
Full reports of timing and con-
duct are made out by production
men at the conclusion of each
broadcast. These reports include
the writer's personal opinion of
the presentation. The exact time
the orchestra or SoloiSt took to
sing each number also is carefully
noted. Should the SoloiSt sing an
extra number, one which had not
been scheduled, the production
man makes note of this, and the
artist bureau is notified, SO that
the singer receives credit.
The production man never
touches the volume controls or
amplifier equipment. The only
part he plays in the mechanical
set-up of the studios is to move
or adjust the microphones. Con-
troll engineers assigned to the va
rious Columbia studios take care
of the rest.