As some CRS struggle to acquire basic equipment to broadcast (Arora et al., 2015), the researcher thought it important to report on the layout of the studios of the stations that were observed. This creates an impression of the needs that stations have and their current level of stability.
Table 5.10: Studio set-up
THEME CATEGORIES CODES
Studio set-up
Physical location Parent organisation
Studio design Lighting Equipment Noise cancelling Studio layout 5.10.1 Physical location
Both radio stations are located inside the premises of their parent organisations and are either inside the student centre (cafeteria) or next to it. According to Tabing (2002) and Deitz (2016) CRS studio sites should be close to the centre of their population and must be accessible to participants. As such, both stations seem to comply with the criteria, as they are located in close proximity to their primary audience.
Nevertheless, Station A’s studio was under renovation when the observation was conducted. Therefore, the results of the observation on the equipment and studio structure may not be a true reflection of the circumstances at the station.
5.10.2 Studio design Station A
Station A’s studio layout was about nine square metres. This reflected its small size. However, Fogg, et al. (2005) states that a studio should at least be twelve square metres for it to house equipment and broadcasters that use it. The studio walls had carpet coverings with regalia (university’s rugby team’s jersey and station flag) on them. The studio also had carpets covering the wall in order to avoid sound bouncing from the walls. This assists with noise cancelling (Doge, 2017; Merrill, 2017).
There were two fluorescent tube lights, a two square metre window that allows natural light to come in, and a four-metre-long black desk that was against the wall. There were three microphones mounted about one metre away from each other on the desk. Although
the motivations for use of these microphones could not be established, literature suggests that decisions on the type of microphones for use depends on the station programming (Fogg et al., 2005; Cunsolo, 2016). The station had a console on the desk, which took input from multiple audio channels and enabled presenters to control which channels to use in the output and at what volume levels (Fraser & Estrada, 2001; Fogg et al., 2005; Brown, 2006; Saadatmand-Zitouni, 2011).
Brown (2006) notes the number of computers that stations must acquire are not fixed. Rather the stations should purchase according to the intended use of these computers. Station A had three computers (for the system, compiling news and social media) lodged in-between the microphones. There was an audio jack box with three jack slots, for connecting headphones. There were three saddle industrial chairs (for the presenter, co- host and newsreader) and one mid-back office chair in studio. There was no air- conditioning system (thus, sliding door is open between links) and there was a mini-bar fridge in the studio. The studio was kept clean and neat, with a bin available for debris disposal.
Station B
Station B is in a studio that is about 12 square metres. This is inconsistent with Fraser and Estrada’s (2001) proposal that a desirable studio size should be between 25 and 50 square metres. There was a console lodged onto the table in studio. The studio walls had carpet covering on them. This provides basics to other materials that stations can use for sound-proofing such as plywood, styropor, coconut coir and even egg trays (Fraser & Estrada, 2001; Tabing, 2002).
There were five incandescent intermediate base light bulbs (two of which were burned out at the time of observation). A two square metre window led into the production room. This confirmed with Fraser and Estrada (2001) and Tabing’s (2002) prescription that that a glass panel needs to be installed between the main and the production studios to enable communication between the presenters and production staffers by way of hand signals, prompters and other forms of non-verbal communication. There were also three two
square metre windows – branded with the station logo - that looked into the university’s cafeteria.
There was a mahogany executive desk that has conference extensions in the centre of the room and three vocal microphones mounted on the desk. All these microphones had stands, which allow them to be adjusted to a comfortable position for speakers (Brown, 2006). Brown (2006) advises that stations must avoid having more than four microphones because they may lead to a lot of background noise when they are all active. Two computer screens (one for the system and another for the news and sports readers), tablet and an iPad were placed on the desk. There was an audio jack box, which allowed for headphone connection and chances to increase the volume in presenter headphones (Saadatmand-Zitouni, 2011).
Three Hercules heavy-duty chairs with wheels were also in the studio while a digital clock hung on the wall. A 48-inch television hung on the wall, with a Telos telephone hybrid system, which converts the phone line into an audio feed that presenters then use to chat to listeners via the console (Fogg et al., 2005; Saadatmand-Zitouni, 2011). There is also a DJ console and compact disk jockey (CDJ) used for music programmes when the station had club DJs playing at the studio (Fogg et al., 2005).
5.11 CHAPTER SUMMARY
This chapter discussed the observations conducted and patterns identified at the different CRS. It also considered the personalities of the presenters, the use of CBT, the content on the different programmes and the design of the different studios.
CHAPTERSIX:CONCLUSIONANDRECOMMENDATIONS 6.0 INTRODUCTION
The previous two chapters presented and discussed the findings that stemmed from the interviews and observations conducted by the researcher. These findings were on the extent to which learning orientation (LO) and creative broadcasting techniques (CBT) are implemented in community radio stations (CRS) activities and the implications of such implementation for the sustainability of these community based organisations. The investigation stemmed from the low sustainability ratio that community radio industry often suffers from (Wakefield, 2017) and hence the need to develop creative methods to transform these sustainability challenges. The study thus postulated that the CRS’ implementation of LO and CBT has the potential to positively influence the organisational, financial and social sustainability of these stations (Mofokeng & Rambe, 2017; Motsepe & Fakoti, 2017).
This chapter makes a recap of the study’s research questions to remind the critical reader of the essence and focus of this study. It also highlights the study’s conclusion and makes recommendations and practical implications of the study.