Archive for the ‘fun and games’ Category

Recording Radio for Fun, Games and Posterity

I started reading the Professor’s detailed travelogues of his AM and shortwave radio band excursions back when he was writing for WFMU’s Beware of the Blog. After he quit contributing to BotB I learned that he was keeping things going at his own Radio Kitchen blog.

The Professor belongs to a group of radio enthusiasts who record what are known as “airchecks,” which are simply off-air recordings of radio stations. Usually created as a form of historical record, air check recordings serve as an often valuable capture of what is an otherwise mostly ephemeral medium.

In the analog era airchecks were mostly recorded on boombox style radios with built-in cassette recorders. Enthusiasts often traded copies of these tapes with folks from other parts of the country or the world. You see before the internet that was the only way to hear what local radio sounded like somewhere else without traveling.

Only the fanciest radio cassette recorders come in woodgrain.

Only the fanciest radio cassette recorders come in woodgrain.

In the digital era you’d think that recording and sharing radio airchecks would be much easier, given the near ubiquity of digital audio and video recording devices. But while radios with built-in cassette recorders were omnipresent at any electronics or discount store in the 1970s through the 1990s, there are few digital equivalents in existence in the 21st century. Although Apple recently included limited FM radio recording capabilities into its newest iPod Nano, it only records up to 15 minutes, and has no AM reception. So what do you do to digitally record hours of AM or shortwave radio?

The Professor recently took up that very question. One solution one might consider is connecting your computer’s audio input to a radio. The big problem there, however, is that computers generate a ton of RF interference which can seriously mess up AM and shortwave reception. iPods and other MP3 devices wreak similar radio havoc.

In his long, but worthwhile and info-rich, post the Professor gives an overview of the state of recording radio digitally, giving a nice user review of C. Crane’s CC Witness radio, which includes an MP3 recorder.

Aside from recording my own radio programs (usually direct off the studio board), I’ve only dabbled in recording radio airchecks over the years. In the 20th century I also mostly used cassette recorders. Due to sloppy labeling practices I’ve mostly lost all of those tapes over the years. I’ve also done some recordings in the 2000s, primarily to capture source material off shortwave for unfinished audio art projects. I did most of those recordings on minidisc recorders which seem to be very well shielded compared to other digital recorders, injecting almost no noise into the signal. Dual minidisc recorders 2The last Hi-MD models let me upload the recordings directly onto my computer for sharing and manipulation. Hi-MD is also how I recorded my mediageek radioshow for podcast distribution up until last year.

I’m not sure that I will ever record enough radio airchecks to merit spending $179 on a dedicated digital radio recorder. But I sure am glad that such a device exists, keeping alive a hobby that documents the rich history of broadcasting that otherwise would just dissipate into the ether.




And Now, a Long-Distance Dedication

Casey Kasem in 1975

Casey Kasem in 1975

The relevancy of the Billboard Top 40 singles chart seems to have faded over time in concert with the splintering of genres and audiences, and so the final broadcast of Casey Kasem on American Top 20 this past weekend seemed to garner only the barest of media notices. Perhaps that’s because Kasem handed off the keys for his signature program, American Top 40, to Ryan Seacrest back in 2004.

I have very fond memories of listening to AT40 growing up in Toms River, NJ, hearing it on the slightly distant WJLK-FM out of Asbury Park (of Springsteen fame). As a ten-year-old I could get quite excited when my favorite single of the moment climbed up the chart. Even then I don’t think I ever had much of an emotional response to the schmaltzy Long-Distance Dedication Kasem ready every week. But I enjoyed learning the brief trivia and bio info of the top artists, which was more than I’d hear even from the DJs on the local stations.

Besides the thrill of the countdown, the joy of listening to Casey’s program was how it represented the diversity of the pop chart, from disco to soul, hard rock to country. While I might not have listened to a lot of these styles of music otherwise (especially country), many of those past hits stick with me to this day.

By the time I hit high school my music tastes had both broadened and narrowed, and I was much less interested in mainstream pop music. Aside from the occasional encounter while scanning the band on a road trip, I can’t say that I’ve tuned in to Casey since the 1980s. Although most of the time I’m a cynical indie music snob who snubs most of commercial music radio on principle, I do have a small little place in my cold, dark heart for Casey Kasem and AT40. Especially during a time when radio was locally programmed by default, the weekly countdown had more of a unifying effect rather than a homogenizing one. Sure, the 40 most popular songs in New Jersey were probably different than in Wyoming — heck, Toms River’s Top 40 was probably a lot different than Newark’s. Yet, the national diversity seemed to seep through at least a little bit. And, as an already avowed radio geek, I got to hear exciting national radio ads of the sort rarely heard on the comparatively podunk stations at the Jersey Shore.

Negativland's U2 EP

Negativland

Now when I think of Casey I can’t help but be reminded of Negativland’s ill-fated U2 single featuring outtakes of Casey losing it with expletive-laced tirades (NSFW YouTube link) while cutting voiceovers for the Top 40. Any mention of U2, Bono or the entire country of England spurs me to blurt out, “These guys are from England, and who gives a sh*t?” (Yes, it’s a problem, but I don’t want help — another NSFW YouTube link, BTW).

Although American Top 40 continues on, the retirement of Casey Kasem is still indicative of a real change in radio. In some ways the relevancy of the Top 40 has changed not just because of narrowcasting, but also due to the loss of localism. The Top 40 isn’t that different from most station’s whole playlists, only the order is different. And compared to many other national hosts–from Rush Limbaugh to Howard Stern–Casey was much more gentle on-air presence. In a lot of ways he was even a throwback when I was listening to him the 1980s.

I’m not sure Casey’s retirement is sad or even bittersweet. Perhaps it’s simply just worth noting, recognizing and paying due respect to a breed of broadcaster and a kind of radio that is already a very distant memory.




Radio contests get trickier as they migrate to the web

I love radio games, although I rarely enter them any more. Back in the pre-cyberspace days when KQED-FM in San Francisco was a classical radio station, they used to run these amazing listener call-in contests where they would play one second of the opening of three famous pieces, and if you phoned in and got them right, you won tickets to some big concert or recital. One night in the mid-1980s I totally wowed all my friends by identifying all three: Copland’s Appalachian Spring, Bruckner’s Seventh Symphony, and Mendelssohn’s Midsummer Nights’ Dream.

PandG Naphtha Soap Contest (source: Old Time Radio: old-time.com)

PandG Naphtha Soap Contest, circa 1940 (source: Old Time Radio: old-time.com)

Man, I was so impressed with myself. Come to think of it, though, I can’t remember what the prize was. Oh now I recall, comps to a piano recital at the Masonic Auditorium, to which my date stood me up. Ok. Let’s not go there.

Adhere to the rules

These days radio contests are a lot less highbrow, much more web based, and a lot more complicated. Stations sometimes botch them, and when they do, the listeners get really pissed. And when they call the Federal Communications Commission, the agency responds, as it did in February, proposing a fine against Los Angeles station KOST for allegedly mishandling a radio contest. I called some broadcast attorneys after that action to get a sense of its significance.

“This decision really does point to the strict enforcement the Commission has of its contest rules,” telecom attorney Frank Jazzo of Fletcher, Heald & Hildredth told me. “A lot of this type of enforcement is complaint driven. But you can be assured that a disgruntled contest entrant is going to take their complaint to the FCC.”

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