I go daily to the private FTP and/or websites run by NPR and Public Radio International, and download a series of sound files of promotional ads for the next day’s, or upcoming weekend’s programming. I open them up in an audio editor, convert them to mono (one channel), fix the playback level so that the peaks do not run over -6 dB, and edit the length to :29.2. From another directory, I copy and paste the “tag”, that is, the announcer saying the day and time of the program, over the music fade on the promo.
When these are all done, I FTP the finished promos to the automation system. Then I log into that, and enter all the promos into the playlist, entering when and what time they can start and stop playing, and when the system can erase them. Sometimes, I assemble promos from programs that have no promos. That’s always fun, to make something out of nothing, and have it come out to :29.2 as well.
At least one day a week, I go into the studio and record the next week’s underwriting announcements. Advertising is prohibited in public radio; underwriting is our equivalent of commercials. We are strictly regulated in what we can say, and how we say it. I take that sound file, edit out all the times I flubbed the cadenza, remove any extraneous noises like mouth clicks, tighten up the editing, and then repeat the procedure for entering the finished underwriters into the automation system. That’s what I was doing when I took a break and saw this thread.
I record interviews for the news department and the classical station. Other personnel take care of those, I just set up the microphones and hit the start button. Occasionally, I record long form programs. If music is involved, I master it before it goes into the program. That involves fixing of levels, and using compression / limiting or maybe reverb, and tidying up the intro and close. Once in awhile, I am called upon to redo someone’s less-than-skilled editing so that no one can tell - except the person who did the bad editing, and me.
The only live radio I engineer is during our spring and fall fundraising drives. I sit at the board for between four and six hours, and try to prevent people who can’t read a clock or take a cue, from either stopping 40 seconds early, or from getting cut off by automation if they ran too long.
The rest of my time is taken up by going through the daily automation logs, to make sure everything goes off as it’s supposed to, adding or deleting instructions and sound files as necessary. And I read the Dope.