LO4: Evaluating content, audio levels and flow of the final production

Barbed Wire is my radio show on Kerrang! that plays from 5pm to 7pm every Friday. It is based around a different musical topic, show or sub genre each week in order to promote active audience theory/interact with the audience with phone-ins, polls etc. There is a particular focus on local events, bands and artists in order to appeal the target audience demographic. The age demographic of my show is 18-35+ which is the same as the Kerrang! magazine, this is because my radio show matches the drive time or when students would be getting ready to go out and they would be 18+. 

The genre of music played on Barbed wire varies among all rock and metal genres so will include music from light rock such as Kings of Leon to heavy rock such as Queens of the Stone Age to light metal such as Sleep Token to Heavy Metal such as Godsmack. It is based off of the tastes of the changing hosts but also of the tastes of the listener call in and the polls they fill in. The show being on Kerrang! will be local/regional radio show (having a wider range of South Yorkshire than just Sheffield) meaning that there's a larger audience targeted than being on a show that is completely local such as Sheffield Live. There will be a range of older and newer music to adhere to the range of target ages so will feature tracks from the 70s up to modern day old music such as Master of Puppets by Metallica new by Kool-Aid by Bring Me the Horizon. 

My show has two female presenters and one male presenter to break the gender stereotype of the metal and rock genres where it is thought to be predominantly a male dominated space. The third host Casey Clint is a phone in and therefore other hosts will take her place over later shows, therefore the diversity will shift with every show (in a positive way.) This means that I can go against the negative stereotypes and by having cyclic hosts every show the audience won't get tired of tastes of music and there will be something for everyone, to listen to. The female hosts will target the female audience whilst the music and male hosts targets the majority male audience. The hosts also work as ideal self/partners for both genders. The flow of conversation is meant to appear informal and colloquial to appeal to the younger demographic and also make the older (working) end forget about their formal work environment. Having three hosts was a purposeful decision as it allows more lines to be given out to people and the flow of conversation feels more natural. 

To fit the brief, I ensured that my radio show had a Sheffield-centric focus regardless of it being targeted at a wide local area. To reflect this all the bands mentioned were from in and around Sheffield and therefore appeals to the mainly Sheffield based audience. An example is Malevolence, the popular Sheffield band is coming to Walton on Trent and London on their most recent tour. The band was one of the hosts picks but there new music was also mentioned in the news segment showing that the show is set in Sheffield. It also shows that my show is colloquial and Sheffield-centric due to the language used by the news reader of 'Our Sheffield lads.' This statement creates a sense of unity and Sheffield pride between the listeners and the show and makes it seem like they know the band members personally. Targeting a Sheffield orientated audience but focusing on a wider area will allow more people to find out about the tour and about the band. The show is both entertaining and informative as it features information about the bands and about the hosts background in music alongside entertaining music that the audience may or may not be familiar with. 

However, after reviewing my show, Barbed Wire, I feel that the script doesn't relate to Sheffield particularly and it is instead focusing on the hosts backgrounds and stories, the only relation to Sheffield is the Sheffield music scene and bands from Sheffield they talk about. There is also there namedropping of the most popular Sheffield band of all time Arctic Monkeys but to show there is other Sheffield music out there there isn't a particularly focus on this band.

I met the brief set by Kerrang! as my radio show spanned between 5-10 minutes, included presenters, included an advert, included a news segment, a jingle, music/background music, a competition or poll. I included all these features in my product by recording dialogue from all three of my presenters, and editing the audio alongside the music and jingles, allowing it to fit the codes and conventions. I then recorded and edited the second part of my jingle, my news segment and my advert later and incorporated this into my second and finished draft of my radio show. My main inspiration for my radio show was the Kerrang! show Kerrang: Radio Unleashed which is a sister station to Kerrang! Radio and Kerrang! Klassic and a subsidiary of Bauer Media. I chose this show due to the target audience and the music they play both being similar to mine. There are differences such as amount of hosts, the show being national and the different scheduling times, however this allows my show to target a greater niche around the Sheffield area. For my jingle I used a amp and guitar sound and edited in distortion to make the jingle sound realistic compared to other radio shows in my genre and. It also appeals to musically inclined listeners as it reflects their interest right from the start of the show. I used a stereotypical Yorkshire accent for my advert segment to reiterate the fact that my show is based around Sheffield and the Yorkshire area. It also creates verisimilitude for the audience as they will be on the drive time/working commute and the Yorkshire accent is associated with the working class.

The one thing I feel sticks out in my radio show is the voice of my news segment. I wanted the voice to sound professional and easily understandable because the news is important, however it juxtaposes the codes and conventions of my genre and the voices of the rest of my show and therefore feels out of place. If I were to redo it I would have used a less professional voice and instead something more casual or informal to better fit the rest of my show.

Overall, I feel that Barbed Wire was well suited to attract the rock and metal niche in Sheffield due to the features I added into the show. It met the set brief by focusing on music and artists from Sheffield, having dialogue relating to Sheffield, and having an advert and news segment also relate to Sheffield. The Sheffield artists mentioned include: Malevolence, Bal Sagoth, The Reytons, The Arctic Monkeys, Dead Sons, Def Leppard, Saxon and Bring Me The Horizon. If I were to do the radio show again I would add a second advert relating to an existing place or event opposed to the fictional Barbed Wire Live festival. Though this matches the brief by being a Sheffield event and having Sheffield artists it would be more appropriate to use and promote an existing location or event in the show to create a better sense of immersion and escapism for the listeners. I would also rerecord some lines as there are small errors or parts of bland dialogue that makes the show sound scripted. I left in some stuttering or corrections of lines by the hosts as this creates verisimilitude and makes it sound more realistic. 

LO4: Final radio production

Finished Radio Show 

https://youtu.be/A_ej1J-Zlbc

In my final Radio Show I have increased the volume of my hosts clips in order to make them easier to hear by the listeners, I also decreased the volume of my jingle, my background music and the songs chosen by the hosts due to them being too loud and muddling the audio of my hosts which is more important. I also added in the jingle, advert and news section. This had to be done in later production/post-production due to the elements having to be recorded separately to the rest. I also edited the audio of these three files to match the volume of my hosts and of my other clips. I also added in clips of the host's music choices as background music for both my advert and my news segment, this fits the codes and conventions of a radio show because the other elements such as phone-ins, adverts and news segments would interrupt the existing programming and songs being played. As my show is music orientated I thought it would make sense to have actual music play in the background opposed to generic news or adverts music like you hear in some shows. 

LO4: Offline edit

Offline Edit:

https://youtu.be/7iUEUOIQpcw

 In my offline edit I have yet to add in my music, my jingle, my advert and my news segment. This is because this is the base recording I had which only includes the voice recordings of my three hosts and the rest of my clips I needed to add where separate.

 

 

LO4: Editing and reviewing content

 

I found my background music on the website Freesound.org. I decided to use this website because the music and sound effects uploaded by creators are copyright free and therefore I can use whichever I like without having to seek copyright before using them.

I then uploaded the downloaded sound effect file to Adobe Premiere. I decreased the audio gain by 17.5 decibels to make. 

Next I decreased the speed of the music to make it fit the theme of 'background music.' I decreased the speed by 15% to make it a slower tempo by right clicking and accessing the Speed/Duration command. Decreasing the speed made it fit the codes and conventions of my genre as it better matched the background music of other rock and metal radio shows such as Kerrang! Radio Unleashed. 

I then used the Audio Transition folder and used the tools 'constant gain' and 'exponential fade' to start and end my song clips, my jingle and my background music. I used these tools to fade in and out of my audio as it created a smoother intro and outro of all my clips and therefore allows better listener immersion and enjoyment of my radio show. This fits the codes and conventions of my radio show because this is a typical editing technique and can be seen in other shows when a song is starting and finishing. This makes my show appear more realistic with others. 

Here I am decreasing the volume of my clips by using the audio gain pop-up tool. This one is for my song clips as they are particularly loud compared to my other clips. I therefore needed to balance this out. In order to fit the codes and conventions of a rock and metal show I needed to make sure that the volume of my music clips was still louder than the rest of my clips and audio as the typical attitude is to 'play it and play it loud' in the rock and metal community. This was particularly poignant with the song Kool-Aid by BMTH at the end of my show which I made sure was slightly louder to increase the enjoyment and excitement of listeners. 

Here is me inserting both the Exponential Fade tool and Constant Gain tool. I arranged the background music and the audio above to be such that the fade went straight into the constant gain. This makes my radio show seem more professional as there would be no break of clips or sound in a real radio show. 

Here is the background sound for my jingle which I found on Freesound.org. I needed to make sure that the clip I used was copyright free and therefore I turned to the site as all clips posted are copyright free based on the licensing. The sound is off a guitar riff solo and amp static. This fits the codes and conventions of my genres as my show is musically orientated and is made (partly) for musicians. The style of the guitar is electric and is therefore synonymous with the rock and metal genres and will immediately peak audience attention from the start of my show. 

Here I have added in the clip of my jingle using drag and drop after downloading it from Freesound.org. 

Here are the four songs I added into my Radio show which have been downloaded and put into a folder on my desktop. The variety of music matches the codes and conventions of Kerrang! Radio as they play a vast array of music spanning multiple genres. Here I have included four songs in the heavy rock, classic rock, metalcore, and alternative metal genres. 

Here I have added in the second part of my jingle underneath my first part. The vocals are clear and easily understandable, this establishes the new Barbed Wire brand from the beginning of the show and peaks listener interest. 

Here I used the Stretch tool to increase the duration of the second part of my jingle to change the pitch of the vocals in it. This helped the vocals match the rest of my radio show better and also allows it to be more easily audible.

Here is the evidence of me editing my jingle for my radio production. In this screenshot I am increasing the decibels of the jingle so it is easier to hear and the words are more coherent. I used the decibel tool in Adobe Audition for this because I was in the recording studio and using Adobe Audition at the time.  

LO4: Evidence of setting up equipment and recording

Evidence of Setting up and Recording: 

L03/L04: Production plan

LO3: Justifying codes and conventions

Jingle:

https://youtube.com/clip/Ugkxz7cOwdTOGY0mAksiVbmpx63koTZ4BaN3?feature=shared

When creating my jingle for the station and my show, I made sure that I followed the conventions of other radio stations in my genre. My main inspiration was Kerrang! Radio Unleashed with Johnny Doom due to the genres of music they play and the style of the show. The jingle fits my conventions as there is a guitar solo/riff playing in the background. This fits the codes and conventions of my rock and metal music show because a rock and metal instrument is included in the intro and immediately captures the listeners attention and draws them in. 

News Segment:

https://youtube.com/clip/UgkxTIF8lzNT8bRgCmIDWv3pVKhZ_Tpmze1E?feature=shared

The news segment matches the convention of my genre as it is a non-news based programme the news segment won't be particularly long.  This is also the case because it is a regional/local station and there won't be that much daily news to report on. the news is a mixture of traffic and music which fits my show because it is set during the drive time when people are on the road, and music is the main focus of my show, particularly Sheffield musicians and Malevolence is from Sheffield, which is why the speaker has such a positive and colloquial response calling them 'our Sheffield lads' as if we know them personally. This creates sense of unity and a familiar bond. 

Colloquial Language:

https://youtube.com/clip/Ugkxezwfn0zeImm_ho5K2KFm5lCrdfqkXQOB?feature=shared

The colloquial language such as 'absolutely gutted' shows that this is a non-professional radio show and is exactly what people coming out from Uni or work want to hear opposed to the corporate or formal talk they've been hearing all day. This will make them want to immerse themselves in the show more and continue to listen. This also targets the younger end of the target audience as if they are in college or Uni they will often talk informally and be used to this way of talking, this therefore appeals to them and makes them want to listen more. It also shows them that they don't have to speak formally to be respected or to have a job so this could connote the hosts as ideal selves for the younger and more impressionable members of the audience. 

Advert:

https://youtube.com/clip/Ugkx0RhbmXwoDMX69FvbG13_3yDBiZcQGx91?feature=shared

The advert I included features the fictional event 'Barbed Wire Live' a festival featuring Sheffield artists such as The Reytons and Bal Sagoth. This mixture of artists shows the diversity of music that Sheffield has to offer and shows the listeners that there's something for everyone. A Yorkshire accent is used to increase the diversity of the show and also connote again that the show is based in Sheffield. This appeals to the Sheffield based audience. The diversity of artists helps target the full demographic of my shows audience from 16+. 

Synergy/Promo: 

https://youtube.com/clip/Ugkx7ztma0PLBIdqmuoWHVjT8GYUok0l-apc?feature=shared

The addition of plugs for the hosts personal social media fits into the theory of ideal self/partner as the listeners may idolise the listeners and want to find out more about them. Due to this being a local radio show targeting a niche they would want to promote themselves as much as possible in order to increase the shows reach and popularity. In the advert segment the announcer also refers to the official Barbed Wire website and social media channels on both X and Instagram. This would be done to synergise the popularity of the show and the social media and website of the show as if the socials and website got promoted more then in turn the show would get promoted. This is also done because it is the first ever show and the website and socials are brand new and need traction to get going. The idea of finding out more will appeal to people coming home as they can now correlate accessing the website and the socials with getting home quickly. 

LO3: Legal and ethical

My radio show Barbed Wire will be produced and broadcasted across the UK radio. This media sector is regulated by OFCOM (Office of Communications), OFCOM also supervises content produced by TV as it's purpose regulate all broadcasted media.

When creating my programme I knew it was important to look at legal and ethical components that need to be monitored throughout production. The broadcasting codes range over many aspects that ensure that all programmes are appropriate to appear on air. 

Section 1:  Section 1 focuses on rules about content information and scheduling in programmes; in terms of protecting children under the age of eighteen. To make sure my show Barbed Wire adheres to this guideline it will air before watershed starts between 5 and 7pm, so it matches with the drive time. I decided to air the show at this point in the day because it allows me to target the full demographic of 18-35+ who will either be driving home from work, driving from Uni or getting ready to go out. As I am targeting only over 18's it isn't as essential to protect under 18's. However, there is still the chance that some under 18's will listen, in this case warnings for songs or hosts using profanity or discussing sensitive issues will be put in place. The show is also still pre-watershed meaning any swearing has to be mild or censored.  The genre of 'Barbed Wire' will change based on what hosts are present on the show at the time as the main host Georgia Michael's will often be present with other people as well as the usual trio. This includes audience call-ins, indie bands and artists, music events, tours and shows happening nearby. there will also be mentions of when new rock and metal is released but there will be a central focus on local music and local artists. 

Section 2: Section 2 focuses on the standards for broadcasted content, in order to provide adequate protection for members (particularly vulnerable members) of the public, from offensive/ harmful material. This is based on the protection of all listeners regardless of their age, race, or gender demographic. in regards to my radio show 'Barbed Wire', it will be a chat-based show with an up-beat positive atmosphere/vibe, the discussions will revolve around musical opinions, favourite artists, favourite albums etc. The genre of music will mainly be heavy rock and metal this means that the music discussed will be representing the entirety of the rock and metal scene which includes its history, its fashion, its celebrity associations and much more. This means that the radio show will appeal to all of the target audience demographic. 

Section 3: Section 3 focuses on the material that is likely to incite crime or disorder, reflecting one of Ofcom's main duties which is to prohibit the broadcasting of this type of programme. In my radio show 'Barbed Wire' I will adhere to this guideline by stomping out the negative stereotypes of the artists and music the show revolves around. Because my show is based around metal, the stereotypes associated with the genre are often negative. This is due to many examples such as the attack led by 18yr old Morne Harmse with a sword in his school who was said to have been dressed in a mask like that of former Slipknot drummer Joey Jordinson and amongst other things blamed the lyrics from their song 'Disasterpiece.' However, I intend to quell these stereotypes and the negative opinion of these music groups by showing that metal isn't scary and can be enjoyed just like any other genre of music can. in fact the ideas of metal are meant to be open and excepting of everyone. To further combat the negative and outdated image problem I have two main female hosts and one male hosts to show that it isn't a male dominated field. 

Section 4: Section 4's focuses on the responsibility of broadcasters in regards to the content of religious programmes. Due to my show being a local show and mainly focusing in and around the Sheffield area, as it is broadcasted on Kerrang! it also targets a far wider area, meaning that their is a vast diversity of religious backgrounds that need to be considered. It is doubtful that religion will come up as a topic but if it does it should be treated with respect and professional courtesy. This is due to the large area being home to a diverse array of religions. 

Section 5: Section 5's focus is to ensure that news, in whatever form, is reported with due accuracy and presented with due impartiality and to ensure that the special impartiality requirements of the Act are complied with. When talking about topics in my radio show 'Barbed Wire', I will make sure that all information is accurate and impartial. I have fully researched all of the bands and songs mentioned in my programme and I have an intermediate understanding of the rock and metal scene which grants an advantage in creating the show. I will not include a weather or news segment but they do exist in the programming schedule. The impartiality is something therefore, I will only achieve in the news and weather segments as the shows hosts present their musical views with an opinion as to what is the best. However, this will not turn argumentative or aggressive, instead each host will take turns in speaking, and they will all respect or appreciate each others opinions. 

Section 6: Section 6 focuses on the special impartiality requirements and other legislation that must be applied at the time of elections and referendums. This section is therefore irrelevant to my radio show as their is yet to be a current election or referendum, so our broadcast will not be altered by the regulations around politics and public policy. However, there is the possibility of an election or referendum period occurring soon due to the current political unrest of the country, therefore there needs to be no political topics covered during this period of time. 

Section 7: Section 7's focus is on broadcasters to make sure they avoid unjust or unfair treatment of individuals or organisations in programmes. This is relevant to my show as my hosts will chop and change throughout shows and therefore they are classed as 'individuals' as they will move around channels and platforms when not working with 'Barbed Wire'. Therefore, it is vital that I adhere to this code as the treatment of my part-time hosts will be crucial on my show. The part-time hosts will be treated as equals by the full-time host throughout the show, and will both be given the same amount of time to speak and voice their musical knowledge and opinions.

Section 8: Section 8's focus revolves around piracy this is important due to the songs I use in my show. I need to make sure that I get licensing or copyright from the artists or record companies before playing the music on air as otherwise I may get sued for copyright infringement. It is also important that hosts reveal as much as they are comfortable and aren't pushed to do so as their data such as personal social media accounts is revealed to audience members. If they do not consent to this then this falls under the data protection act where I have a duty of care to protect everyone involved. 

Section 9: Section 9's focus revolves around the contrast/difference of adverts and other content in my radio show in order to prevent surreptitious advertising and financial harm for the audience. in order to prevent this I used a very different voice for my advert in order to create an obvious difference for listeners. I also used a different background music to further separate the elements. Both of these differences match my codes and conventions because the music is rock and metal based and the accent used will be typical of the Sheffield area.

Section 10: Section 10's focus is on commercial communication however this is more based around other forms of media compared to radio as radio has no visual element. Therefore the adverts must be clearly separated from other content by different means, linking back to the two ways I mentioned in section 9 to ensure my listeners protection.

Data Protection Act: 

Due to Casey Clint being a part-time host and therefore not staying with the show fulltime or (possibly not returning ever) then it is important for her personal social media information to be protected and when recording is finished her information needs to be removed from Barbed Wire's website etc. As this is a potential GDPR breach of retaining private information no longer needed or known about by someone. The information of all three hosts needs to be well protected/encrypted in order to stop listeners from finding out private information. If this isn't done then serious problems could arise from lack of data protection. 

Copyright: 

Copyright is an important issue to handle due to the music we will be playing throughout the show. In order to play the music that the hosts have chosen the show requires a PRS license to broadcast it. This is typical of radio shows as they need to have a PRS license in order to access other people's intellectual property in this case it is other people's music. This is because the artists who have worked to produce the music will want credit and financial compensation in return for their music. 

LO3: Meeting minutes/ Production plan

 

LO3: Planning ideas

What are the jobs/ documents you need to complete?

• Audience Profile 
• Mindmap(s)
• Treatment
• Reader Profile
• Scheduling 

Rock/Heavy Rock/Metal/Heavy Metal

Competitors: Greatest Hits, Absolute Rock, Kerrang!, TotalRock.

Audience Profile: 

Mindmap 1:

Mindmap 2: 

Bedded Music - There's always music playing. They add background music. 

No Dead Air - There's always something being said, conversation is always active. 

Reader Profile: Our target audience is 18-35+ males with a disposable income. The target audience will be majority working adults due to the drive time/ evening running time of the radio programme as well as the mature themes of the genres of music. By having my target audience between 1989 and 2006 this allows late 80's to early 2000's to be reliable and nostalgic for the range of age in the demographic.  

Treatment:

Title of the show:

The title of my radio station will be 'Barbed Wire.' the title carries denotations of metal and being prickly. The word 'wire' has connotations of 'the wire' which is an allegory for being on the radio which works with the programme being on the radio.  Other titles that where considered where Love Metal and Fission. However Barbed Wire felt like a stronger more memorable name to use than the other ones.

Type of programme content:

Barbed Wire will be a mainly music programme with regular intervals of talking and interview segments. There will also be news and travel updates throughout the programme at a less frequent interval. 

The genre of music played will span from a diverse catalogue of metal and rock throughout the ages spanning mainly from the 80's to present day, though will occasionally include songs from the 70's too. This includes songs such as 'Mexicola by Queens of the Stone Age' and 'I-O-E-I-A-I-O by System of a Down,' these songs will appeal to my target audience because they sit in the middle of the time bracket for the show being released in the 90s-2000s. 

We as producers of the show have a similar age and taste in music which allows us to  appeal to the target audience directly with what they want, without them having to ask for it; acting almost as below the line advertising. Being familiar with the scene around the music genres also allows us to get a better understanding of  the aesthetic/feeling needing to be created during the show. 

Metal and rock genres are becoming more popular and urbanised with technological convergence and web 2.0 leading to the creation of applications such as TikTok, Instagram and YouTube Shorts. The use of popular apps such as the ones I have mentioned has brought the genres to a large niche audience opposed to the small niche audience in the 90's and 2000's. It has also led to the dispersal of many negative stereotypes surrounding genres like death metal and heavy metal as people believed that metal was devil worship and unholy. Now metal has been put in many popular TV shows such as Stranger Things or Dark and is shown to be an overall positive influence on the world. Metal fashion has also become quite popular ranging from leather outfits and long hair to death metal makeup. 

Advertisements for the radio show will be promoted at popular metal and rock venues such as The Leadmill, Foundry, Network and The Lughole around Sheffield. I will expand my reach out of the town center by advertising at venues such as Meadowhall and Sheffield Arena as well. Due to Sheffield's overwhelming University populous I will appeal to a mass by advertising at student nights too. 

Target Audience:

The shows target audience will consist of an age demographic between 18-35+ due to the mixture of current and older music spanning from the late 70s to present day/2020s. The older songs stemming from the 70's and 80's creates nostalgia for the older demographic of the audience 35+ yrs old. Whilst the 90's -2000's appeals to the middle of the demographic 26.5yrs old. The music from the 2010's and 2020's creates nostalgia for the younger end of the demographic 18 yrs old. I will have a diverse range of people on the show in order to appeal to the brief, to prevent ethical issues and to advertise to a mass audience as much as possible. The interviewee will either break conventions of metal by not adhering to the metal aesthetic in how they dress to show how our programme is unique; or the interviewee will adhere to the metal aesthetic due to the fact that the show is already breaking conventions and stereotypes in other areas. The target audience fall into the digital native generations meaning that hashtags and phone use will be encouraged AFTER (to prevent the legal and ethical issues of people driving and using their phones) the drivetime part of the show i.e., when people have gotten home from work and from school.

I will aim to advertise to the top of the bracket  middle of the NRS grades so between C1C2D due to the fact that my age bracket targets a lot of teenagers and university students who will not have much in the way of disposable income. However on the other hand the older end of the demographic will. 

Theme of the show:

Which was the best gig/event/concert you have been to in Sheffield. This could have been at any location around Sheffield such as places like: The Lead-mill, Sheffield Sport Centre, City Hall or Sheffield Arena. 

Scheduling:

The programme will run from 4pm all the way to 12pm on week nights/Mon-Fri so that listeners can get their fix of heavy rock and metal at the start and end of ever working week. The show will be split into two four hour segments. 4pm-8pm is safe for all ages to listen to and is monitored/regulated. After 8pm the show will include swearing in songs and interviews but there will be repeated warnings and advisory statements to cover the ethical issues of children from listening. This will allow listeners to listen to their favourite songs as they are meant to be enjoyed rather than having them adhere to radio edits. This fits with the codes and conventions of rock and metal genres due to the excessive use of explicit language in songs and interviews. Their will also be plugs throughout the show for our app in order to listen to the show outside of on air hours. This allows us to expand our reach and audience size. Through the app we will also have full length recordings of different artists that come on for interviews. 

Launch Date:

The programme will launch at the beginning of September to allow the whole of my 18-35+ target audience demographic to return to work, school and university i.e.,  to return to their five day week schedule. Starting before/just around the time they get back to work means that the programme will lead them back into working so they know that at the end of the day they can tune into their favourite rock and metal tunes. The Thursday and Friday shows will lead them into the weekend and they can listen to rock and metal when they are planning to stay in and rock or go out and party. 

Key Personnel:

In terms of presenters there will be three hosts two female and one male in  order to have a majority female cast. This is so that the outdated stereotypes of rock and metal being male genres will be challenged. The interviewees will stem from a diverse range of backgrounds in the metal and rock genres so that they are seen as relatable people and 'just like the audience' by the audience and therefore as an ideal self/partner (Carl Rogers 1974.) 

Health and Safety/Audio Assets:

in order to prevent any accidents or injuries the necessary risk assessments and safety checks will be taken before the show so as to identify any possible hazards. Contingencies will be included so as to know what do in case of an eventuality. In the assessments there will also be proactive steps taken in order to prevent anything from happening before it happens. Possible hazards may include faulty lighting; that may turn off, fall or explode, improper set design leading to the set falling, having splinters or having sharp edges. Preventing these things from happening includes checking stability and checking wiring, as well as having test runs on set before actual filming. Contingencies include first aid kit or medical staff on hand. 

There are also digital risks to consider such as footage being corrupted or equipment running out of charge. Charging equipment beforehand as well as back up recording equipment should be considered for prevention. Contingencies include having spare charged equipment or chargers to hand as well as the ability to cut to music or a weather update etc. to fill time. 

Budget and Funding:

Our programme is a professional project meaning there isn't a dire limit to funding compared to a school or college based production. This means that access to equipment and resources is limited to what we can afford of an independent budget. However funding  is still dependent on the backers seeing profit from investment . This means pushing adverts for gigs and music events is a top priority. Also need to include advertising for the stations app. Another feature that could be considered for increased public interest would be a membership to a network without ads. 

Use the attached template to complete the script for your radio show. I page of A4 is equivalent to 1 minute of dialogue therefore at least 5 pages is needed. Here is a link to an example of a completed one so you can see how to layout dialogue from more than one person and also information about songs and timings

Malevolence Metal, Groove Metal, 

Bring Me The Horizon Metalcore Alternative Metal

While She Sleeps Heavy Metal

Saxon Heavy Metal

Dead Sons Heavy Rock

Drenge Heavy Rock

Bal-Sagoth Symphonic Black Metal

Script:

LO2 Technology and Processes

The Beginning of Radio:

Radio has been a source of media affected greatly by technological convergence, and the way it is consumed and produced has drastically changed since its creation. Radio began in the 1960/70s and at that point was in analogue, this means that it was a physical media and had to be made through practical means in production and distribution. It was broadcasted on either AM or FM channels and shows could run for weeks on end without stopping. There would always be a DJ or a 'Disc Jockey' who controlled the shows broadcasting, phone-ins, song choices and pre-recorded elements. The DJ was always the main focus of the show, which hasn't changed much over the years, and the host was synonymous with the show they hosted to the listeners. Radio shows often took weeks of preparation and production due to the queuing of packages and songs that was required. The songs would have to be played and queued through the use of 8-track tapes and vinyls; where they would then need to be skipped and added to the shows queue ready to be played. This was the original way of playing music on radio shows, but it had issues, it was incredibly inefficient to make physically and it was very time consuming as well. Everything that was played had to have their respective tape or vinyl purchased (often for the use of just one song) meaning that it was an expensive process to obtain the required content for every show. Plus there was the issue of having to physically store all the tapes and vinyls they needed in the studio. The forms of media (particularly vinyls) are also highly temperamental and are easily scratched or damaged, and also need to be cleaned or wiped from dust. 

Pre-Recorded Packages:

The pre-recorded packages would have to be physically put together by the DJ. The process involved glueing and splicing the recorded segments together. They would then be played during the broadcast intersecting the songs. The process was disadvantageous as it took lengthy periods of times to physically splice sounds together. This also meant that any mistakes made by the DJ would lead to a new recording being required which would have to be made from scratch all over again. 

Introduction of CDs:

As time passed, the use of tapes and vinyls became far less common due to the invention and introduction of CDs. This change of media occurred around the 1980s, as technology was advancing and innovating far more regularly. CDs went on to completely replace the previous methods due to their superiority in both sound quality and how they could be stored far easier than vinyls or tapes could. They also became popular due to the fact that they can hold more songs, meaning that DJs would have to buy and store less than before. The songs on CDs can also be easily skipped allowing the DJ to have a more efficient show. The 90s also saw innovation with the creation of both mini discs and 'DATs' or Digital Audio Tapes. However, they didn't last long due to the fact that they were expensive and specialised forms of storage, so they weren't cost effective to use on radios compared to regular CDs. 

The 21st Century:

The 21st Century began, and radio revolutionised once again, now there was a bigger digital focus than ever before. The development of digital radio and better technology allowed for DJs to produce their radio digitally. This could then be edited and distributed digitally as well. The previously mentioned phenomena of 'technological convergence' made this possible, and because of this, radio DJs have a reduced responsibility compared to what they used to. As queuing songs only takes a matter of moments unlike how analogue radio which could take up to ten minutes per song. The equipment needed is expensive but allows for easier production, editing and distribution, meaning it is overall cost effective. CDs are often still used in radio but are now in the format of play servers. This is when songs are stored on a computer and can then be queued by the DJ. These are advanced as being able to count down for the DJ for when the first lyric will begin.

The 21st Century Continued:

Further in to the 21st there was another development in technology, an improvement of mixing desks. They became advanced enough to be able to fade in and out, control volume, transition, and control microphones. This is now a crucial part of live mixing and broadcasting, rather than pre-recorded sounds. 

The Digital Cart Wall:

The Digital Cart Wall is used in order to fade in and out of features, adverts and interviews, so as to make a smooth transition for the show. Both FLAC and WAV are used for digital broadcasting, and non linear packages such as Soundbooth and Adobe Audition can be used alongside to edit features such as adverts, idents, packages and recorded programmes. Technological convergence has allowed editing software to be built into modern laptops and blackbox devices, making it easily accessible to members of the public. This has also allowed the public to contribute to radio shows and interact with them, whereas a researcher works through the internet to source the public. This is through social media applications such as Twitter, SMS Messages, Email and even Facebook. Webcams allow people to simulcast alongside listening to radio as well. This has developed from the previous methods of phone ins and letters to the show that would have been the only options for analogue radio. 

Play Servers:

A play server allows for presenters, of radio shows, to observe the timing and duration of songs. This also includes songs that have already played and that are yet to play, in order to let them time the sections in between the music. It allows for them to queue songs to be played and is used today for this exact reason and is it allows presenters to create a clear plan for their show. 

LO2 Multiplatform distribution

Radio has developed as a form of media in the way that it is encouraged and supported via the development of Web 2.0 and other technologies such as the rise of blackbox devices (Jenkins 2008). Radio can now be accessed via peoples laptops, PCs, consoles, tables and phones, which as all been made possible by technological convergence and the inception of Web 2.0. This has developed from DAB (Digital Audio Broadcast) Radio, which in turn, developed from analogue radio, which was the first and therefore oldest form of radio access. This increase in technological convergence has led to a wider opportunity for distribution by radio stations and companies. This has meant that radio can be distributed via traditional methods such as digital radio and analogue, but also through apps and websites, eating radio can be accessed on blackbox devices by listeners. This has led to a vast increase in the accessibility of radio for people, and has also provided a cheaper alternative than buying a physical radio as it is built in for free onto blackbox devices through websites and apps. 

Kerrang! Radio Unleashed is an online only radio station that was launched in 2019. Due to it being a subsidiary of Bauer Media and a sister station of Kerrang! and Klassic Kerrang! Radio it reaches a mass audience of 18-35+. Kerrang! Radio Unleashed targets the younger end of Kerrang's demographic due to it being an online only radio station it targets the generations of digital natives. They have an average of 456,600 listeners per week over the age of 16. 

The most common and popular way to listen to Kerrang! Radio Unleashed is via Planet Radio (through smart speaker, website or app) which appeals to the target audience of digital natives. This is due to a development of technological convergence that allows people to listen on blackbox devices. The theory from Henry Jenkins (2008) talks about how technological convergence has led to the use of blackbox devices. This in turn has influenced radio due to the way listeners can now tune into the radio shows they want. The invention of Web 2.0 has allowed for the increase in interactive websites and apps that has allowed radio to be accessed by audience members. This is overall beneficial for audiences that tune into radio through an app, as the app allows the shows to be available in a single place, where they can receive news and information as well as listen to old shows. 

Kerrang! Radio Unleashed singularly uses Planet Radio because it is an online only radio show. Planet Radio allows Radio Unleashed to be accessed via smart speaker, website or application on any blackbox device. This helps target their demographic of digital natives aged 16+. The Planet Radio app in particular has been made possible by technological convergence due to the ability for listeners to interact with particular shows and watch back old shows too. This is strengthened by the increase in blackbox devices as it is now easier for audiences to access via app than ever before via a phone, tablet, laptop etc. This option, like using a smart speaker, wasn't possible before the inception of Web 2.0 and therefore Radio Unleashed wouldn't have been able to exist as a solely online radio station.  An advantage of technological convergence for Kerrang! is how they can now target a wider audience than ever before. The creation of both Radio Unleashed and Kerrang Klassic has allowed them to target niches in the wider audience they have created as listeners can choose between the genres they like through the three channels available opposed to the previous option of just one. This has also allowed for a greater synergy between applications/sites as the Kerrang website can be used in synergy with the radio station of the listeners choice as a way to see what songs will come up next. In the past the listeners would only be able to find out the next song when the DJ would tell them or play the song now through the Kerrang website and Web 2.0 they are able ti see the full catalogue of music for a show and pick and choose when to listen in or what to listen to. 

Kerrang! Radio Unleashed does have a X account however due to the unscrupulous nature of heavy metal music the posts are protected and you are required to follow and get accepted by the account before seeing their posts. This shows that they don't want underage users accessing the posts and that they are abiding by their remit. 

LO1 Task 4: Analysis of a radio programme

1. Purpose and schedule  

I have chosen the Kerrang! programme 'Rated Rock' based on its description of 'Rock, Metal, Hardcore and everything in between' this matches the codes and conventions of  my programme 'Barbed Wire' as I will also play a array of rock, metal and hardcore music. The Kerrang! radio station 'Rated Rock ' also matches my radio show 'Barbed Wire' because its categorised as entertainment, my radio show will also fall under the bracket of entertainment. 'Rated Rock' targets the older bracket of Kerrang! radio's target audience due to the late post-watershed programming time on their show.  The late broadcast time means that the show will be primarily accessed on home radio's and through their app because people will be either at home or coming home from a late shift or party to the show.  'Rated Rock' is hosted by Johnny Doom who is a popular Kerrang! DJ  who has hosted many shows over a lengthy career. Therefore the audience of the Kerrang! show will already have an existing 'relationship' with the host. The scheduling for 'Rated Rock' and my show is different as there programme runs from 9-10pm and mine will run from 5-7pm. Rated Rock's main purpose is to entertain with a second purpose to educate. As the title says it is a 'definitive guide' this allows new listeners in the genre to hone their likes and dislikes with the help of the host Johnny Doom

1. Income 

Rated Rock is on Kerrang! Radio's main channel and therefore is a commercial show and features adverts just like the rest of the shows on Kerrang! Radio. The adverts will differ from other shows based on the scheduling of the show but also because the show plays different music than other channels and therefore targets a different audience. As this channel may cater towards newbie listeners and musicians then there will a particular advertising focus on music products and music events such as Kerrang's event and the upcoming Download festival. Due to the late scheduling their will likely be mention (whether direct advertising or below the line) of the Kerrang partnered energy drink where the host (Johnny Doom) talks about how it keeps him awake or their is an actual advertising segment featuring it. 

1. Content and production techniques 

Rated Rock features both music and host commentary. Opposed to other shows that features phone-ins or interviews with musicians this show doesn't boast either. This makes the show feel more niche and personalised towards the listeners. This also creates an informal and colloquial atmosphere around the show which would draw in new listeners as it doesn't seem scary and off-putting for someone who's just started listening to heavier music. 

1. Staff and resources 

 'Rated Rock' is hosted by Johnny Doom who is a popular Kerrang! DJ  who has hosted many shows over a lengthy career. Therefore the audience of the Kerrang! show will already have an existing 'relationship' with the host

 However the Kerrang target audience and my target audience are both 15-35. Due to this my programme will put in place pre-watershed measures such as using radio edits of songs and making sure hosts use appropriate language; in order to protect the younger side of the target audience. The target audience for my show being 15-35+ I will need a relatively even/majority split of ABC1 in order to compensate for the younger end not having much money. In order to target the full range of my target audience I will play a mixture of older and contemporary rock, metal and hardcore. In order to create ideal self/partner theory between the audience and the hosts I will have two female hosts and one male host of different tastes/aesthetics in order to show diversity. This destabilises the stereotype of metal and rock being male led genres. My radio show will be accessed in the same way that 'Rated Rock' can be accessed which is via a DAB or home radio as well as car radio. My radio show is smaller than 'Rated Rock' and Kerrang! however so instead of having an application I will post snippets, teasers and clips to both YouTube and YouTube Shorts in order to create interest, promote my show and gain additional income from clicks and adverts on my videos. This also works in synergy with having a young target audience of 15-35 as a vast majority of my target audience, being digital natives, will carry a black box device (due to technological convergence) and therefore be able to access my radio show wherever and whenever they want, even when we aren't on air. My radio programme will be commercialised and therefore will include advertisements however because my radio show is local whilst Kerrang! and 'Rated Rock' are national my advertisements will be local. in order to reflect this (and also the musical codes and conventions of my show) I will advertise for event locations in Sheffield such as The Leadmill, Sydney and Matilda, The Crucible, Sheffield Arena and The Peddler. 

LO1 Task 2: Ownership of different types of radio stations

 TASK 1: LO2 

HALLAM FM (Commercial, Local)

The station is a commercial and local station which is a subsidiary of Bauer Media. Hallam FM plays a mixture of contemporary and/or chart music. The adverts will target mostly females due to a higher percentage of females being stay at home mums, and will amongst other times put on the radio when dropping their children off or picking them up from school. Hallam FM can be accessed on a smart speaker or Alexa device. It can also be accessed through a car or normal radio, on the frequency 97.4 MHz FM. And through the Bauer Media website. 

Hallam FM is South Yorkshire's biggest radio station. The station was launched in October 1974, the station broadcasts to Sheffield, Doncaster, Barnsley, Rotherham and Chesterfield. They only play contemporary and/or chart music. They are also the biggest commercial radio station in Sheffield and South Yorkshire. Big John at Breakfast is the most celebrated host of the radio station and has won many awards.

Bauer specialize in magazines however their sister company produce radio. Bauer Media produces two types of radio: National such as Kerrang (there biggest radio station) and Local such as Greatest Hits South Yorkshire. This means that they now have cross-media ownership as they have started to diversify their content as they also own and can distribute music and music videos on television due to their shared venture with Channel 4, Box TV. Meaning that the Bauer conglomerate can produce magazines, radio, and TV. 

Hallam FM presenters include:

Big John - He dominates the schedule of the show 

Beckey Hayes

Ed Neill

JK and Joel

Ollie Hayes

Richie Pearson

There competitors include: BBC Radio 1, Capital FM, Rother FM, BBC Sheffield, Peak FM, Dearne FM and Trax FM.

Bauer Media uses RAJAR figures to collate its listenership for all of its stations. It is even more important to get accurate local figures because it is tougher to sell advertising space on local radio.

RAJAR uses online diaries, completed by volunteers to analyse radio consumption habits. 

Reach: 361,000

Average Listening Time: 4,000 hours

Gender ratio: 54% female and 46% male. 

Most people will be listening to the radio in the morning on the school drop off. The higher percentage of females is due to stay at home mums, dropping their children off. 

37% ABC1 audience. 

Target age between 25-45 (stay at home mums.) 

Every morning they have a 'Whats Trending?' segment and talk about the most recent headline sin the celebrity world. 

TSA: Target Sample area

Sheffield, Dronfield, Barnsley. 

Corporate social responsibility. as part of being a conglomerate, making lots of profit, you must be seen to give back to the community. An example would be Cash for Kids, they are a part of the Great Yorkshire Run, they also host the Meadowhall Light Switch On, and they used to run a School of The Week competition. Hallam FM also sponsor both the Sheffield United and Sheffield Wednesday grounds. 

KERRANG! (National, Commercial) 

Hallam and Kerrang are both owned by Bauer media, however Kerrang is a national commercial radio station. Kerrang! Magazine has been published since 1981 and is a well established brand. A reason why it has been established brand for so many years is due to the popular genres of music it covers. Kerrang! 105.2 Radio is a specialist rock music radio station broadcasting to the West Midlands. it is part of the Bauer Passion portfolio. The Kerrang! brand has benefited significantly from Bauer's cross-media ownership. Kerrang! radio station was launched on 10 June 2004. 

Broadcasting on FM in the West Midlands and DAB & Freeview and online, Kerrang! reaches a large audience of 1.4 million listeners. Due to technological convergence this has allowed the brand to become national you can watch it online, the reach has been much wider. 

The Kerrang! radio station is available through DAB, Internet, Radio Player, App, and Freeview. The selection of digital platforms targets a younger digital native audience whilst the typical (older) platforms targets an audience of older digital migrants. 

Horizontal Integration is where a 'brand' can be sold across multiple platforms as multiple texts, creating synergy. 

• Yearly Kerrang! produce an album of their most listened to/streamed songs.
• Relentless energy drink 
• Magazine
• Awards
• App
• Website

What is a radio DJ?

The DJ is the presenter the personality for your show.

What does the term DJ stand for?

It stands for disc jockey stemming from controlling vinyls back in the day. 

Radio Presenters:

• Alex Baker
• Danielle Perry
• Henry Evans
• Hywel and Jamie
• Johnny Doom
• Kate Lawler 
• Loz Guest
• Luke Wilkins
• Simon James and Hill

Kerrang! takes its passion for a true alternative to pop music from Kerrang! magazine, yet with a more mainstream policy in order to appeal to a wider audience. Kerrang! offers a broad range of rock music with attitude from the likes of Led Zeppelin, Stereophonics, Nirvana, Green Day plus many more. 

What is Kerrang! radio made  up of?

Kerrang! radio's audience is mainly male with 61% of listeners being male and 39% being female.The ABC1 bracket of disposable income makes up half/50% of their audience. This is because you need a high amount of disposable income to buy band merch, go to gigs, and go to festivals. The target demographic age of Kerrang! radio is between 18-35.

How does the audience for Kerrang! radio differ from that of Kerrang! Magazine?

Far broader spectrum of age range for the magazine than the radio. More expensive to buy the magazine therefore higher ABC1 audience for magazine. 

SHEFFIELD LIVE! (Independent, Community)

Sheffield Live! is an independent radio station, i.e., it is not owned by any other company. As such, it operates in a different way. 

How might Community Radio stations target audiences in a way commercial and mainstream PSB radio cannot? 

The radio has to talk about local issues and topics. It's advertising is always local: targeting both local business and local events. Sheffield Live! is allowed up to 40% of commercial 'chart' music but most of it is from indie audiences. They have to represent diverse audiences/cultures so music may not even be in music.

What are Sheffield Live?

Sheffield Live! is a community radio station. According to Ofcom (2011) Community Radio [stations] are small-scale, not-for-profit radio stations operated for the good of members of the public, or of particular communities, and in order to deliver social gain. 

The provision of social gain has four mandatory requirements that Sheffield Live! must follow. Community radio stations need to accomodate a service for undeserved minority groups. They must also facilitiate debates and people expressing opions within the community served. The have to provide training or education to people not employed by the station. Community radio stations also need to help strengthen their community, fostering a greater understanding of its character needs.

Sheffield Live are run by the independent company Commedia Sheffield Ltd. The company is ran by Sangita Basudev who is the only paid member of the radio station and is a Business Development Manager. 

Who are Sheffield Live?

Sheffield live! was awarded a license by Ofcom to operate as a community radio station because it follows the regulations of  the Broadcasting Act (1990) and the Community Radio Order (2004)

These regulations state that community radio station can only operate as such if its 'ethos; and output does not cross over with the main commercial channels or BBC output in the are to each its target listenership. 

TSA - Target Sample Area 

Survey results indicate that a weekly audience of Sheffield Live is equal to around 11% of Sheffield's total population which equals out to be around 32,000 listeners 15+.

Sheffield Live! music output comprises of a very diverse mix, such as reggae, ragga, jungle, Asian pop and traditional, Latin, African, dance, RnB, indie pop and chart. Output is mainly broadcast in English, with some programming in other community languages, such as Hindi/Urdu and Chinese. 

One way in which Sheffield Live is funded is through advertising. However unlike Hallam FM who rely mainly on advertising because Sheffield Live runs under the Broadcasting act (1990 and the Community Radio Order 92004) stated that community radio services cannot gain more than 50% of running costs from one source advertising or on-air sponsorship.The remainder of operating costs must be met through other sources. These can include public funding via grants, donor income, (Friends of Sheffield Live) National Lottery funding or charities. 

Regulator Ofcom also makes available an amount of funding annually through its Community Radio Fund. Stations may apply for this money in the same way as other grant funding. Sheffield Live! Accesses this fund and in 08/09, for example, gained a £15,000 grant to fund the wage of a Business Development Manager. 

How do people consume Sheffield Live! radio content? 

 

To say that Sheffield Live! are a community radio station they have a lot of ways to access their content. You can access them on the radio (the main way) access their podcasts and broadcasts online on their website.

ABSOLUTE ROCK (Commercial, National)

Absolute Rock Radio is a subsidiary of the conglomerate Bauer Media.The hosts talk with famous musicians and artists, often playing tracks that the musicians and artists grew up with as well as playing rock music. Yes Absolute Rock include adverts. They feature mainstream adverts that advertise a wide range of services and products that target a mass audience. The radio show can be accessed on Smart Speaker, Car or other kind of radio and on the Planet Radio website. 

BBC RADIO 2 (Non-Profit)

BBC Radio 2 is a public radio station and is owned and operated by the BBC. BBC Radio 2 features music, talking segments. As well as featuring news, weather and documentaries. Under their remit they cannot advertise for profit so they only advertise for their other radio and TV channels as well as their BBC Sounds app. Live radio can be accessed online on the BBC Sounds app and you can also access radio shows after they've been on live. The radio can also be accessed on a car or other radio, and on a smart speaker or other smart device. 

GREATEST HITS SOUTH YORKSHIRE (Local, Regional)

Greatest Hits South Yorkshire is a subsidiary of the conglomerate Bauer Media. Greatest Hits South Yorkshire features music, interviews with famous musicians and artists, and news and weather segments.Yes, they have advertisements that target a mass local audience. The radio channel can be accessed on the Planet Radio website, on a smart speaker or on a radio.

CRAG RADIO (Internet)

Crag Radio is an independent radio station. The programme features a mixture of talk shows and music.

Yes they frequently advertise their advertising slots to local people and companies. The radio can be accessed on a smart speaker such as Alexa or Google, the Online Radio Box app or Get Me Radio!

SHEFFIELD LIVE! (Community, Local)

Sheffield Live is an independent radio station created/owned by the Community Media Association.  The station plays all genres of music to reflect the wide and varied music tastes of people in Sheffield. 

They have local advertisements and people in around Sheffield can promote their business to people listening in. You can listen to Sheffield Live via the Sheffield Live app, on the radio frequency 93.2 MHz and on the smart speaker. 

FORGE RADIO (Public)

Forge radio is a local, public independent student radio station that was created by students for students at the University of Sheffield. On their radio they have segments of local, national and international news, weather, and also feature a wide variety of genres of music. No, they don't have adverts instead they rely on funding from the University, themselves and contributors online.The radio can be accessed on the frequency 87.9 or via the Sheffield University website. 

5. COMPARISON

Absolute Rock - 

Content: Has interviews with rock and metal musicians. The station plays a mixture of rock and metal music from the 50s to 2010s. Absolute Rock has mass advertising. The radio station has news and weather but focuses on music.

Target Audience: 35+ years.

Access: The radio station can be accessed on their website, can also be accessed on a smart speaker, and on a car or normal radio on the frequency 105.2 FM. 

Ownership: Absolute Rock is owned by the conglomerate Bauer Media. 

BBC Radio 2 - 

Content: Has interviews with musicians often when they release new music or if they are upcoming/indie musicians they want to promote. BBC Radio 2 has no advertising except for other BBC assets due to BBC's remit. The radio show has news and weather segments but focuses on music.

Target Audience: BBC Radio 2 targets an older audience of 35-54- year olds. 

Access: The radio station can be accessed on an app, accessed on a website, accessed on a a smart speaker 

Ownership:  BBC Radio 2 is owned by the BBC. 

Greatest Hits SY - 

Content: Has interviews with musicians, plays the greatest hits has news but focuses on music localised mass advertising

Target Audience: The radio station plays the greatest hits from the 70s 80s and 90s and targets a market majority of 40+.

Access: Greatest Hits Radio SY can be accessed through their website, accessed on a smart speaker or via a car or conventional radio on the frequency of  990 kHz in Doncaster, 1305 kHz in Barnsley, and 1548 kHz in Sheffield.

Ownership: The radio station is owned by the conglomerate Bauer media.

Crag Radio - 

Content: Crag Radio has talk shows and talking segments. The show showcases independent talent but also established bands. The radio has localised but diverse advertising, has more music than news.

Target Audience: Target audience is a local diverse audience in an age range from 15-40+. 

Access: Enable Crag Radio on an Alexa or smart speaker, or download their app. 

Ownership: Crags Radio is a volunteer managed online community radio station, this means that they are self/independently owned. 

Sheffield Live - 

Content: Has a wide range of music, has localised mass advertising meaning that it tries to stray from big company advertising and instead prefers to advertise local companies.

Target Audience: Diverse target audience between the ages of 15-50+.

Access: Sheffield Live can be accessed through their website. It can also be accessed through the Sheffield Live television channel. 

Ownership: Sheffield Live is owned by Commedia Sheffield. 

Forge Radio -

Content: Forge Radio has music segments on their show but focuses on news. The radio show has no advertising because it is funded by collaborators as it is a student radio station.

Target Audience: The target audience is university students and university staff members therefore the age range is between 18-50+. 

Access: Forge Radio can only be accessed on their official website.

Ownership: Forge Radio is university owned.