Broadcast Announcing

Radio Performance
 Qualities of an effective
broadcaster
1.) Must possess knowledge in
current issues
2.) Has a good working knowledge
of basic speech like
enunciation, articulation,
inflection, intonation and
pronunciation
3.) Has relatively pleasant
speaking voice (modulated and
with projection)
Enunciation
 It is the ability of the broadcaster to
phonate/produce or not to produce
sounds
Note:
There are letters with more than one sound as
in the vowels a, e, i, o and u which have long,
short and schwa sounds.

On the other hand there are consonants

without any sound of their own as in the case of C
which borrows from K, Q which also borrows from K
too.
Articulation
 Blending of speech letter sounds to
create syllables or monosyllabic
words
 The physical act of creating speech.
It demands at least four
requirements:
a.) good supply of air
b.) a relaxed throat
c.) resonance in the head, throat
and chest
d.) good movement of the tongue,
lips and jaw
Pronunciation

 It was redefined as good

enunciation and articulation plus
stress or accent (inflection)
“The standard pronunciation does
not tolerate inaccurate, careless or
slovenly diction. Good broadcast speech
must be devoid of provincial and even
colloquial pronunciation”
-Prof. Abbot
Inflection
 Ability to stress the words properly at
the proper time

 It is the rise and fall of the

broadcaster’s voice

Baritone for male broadcaster

Lyric tone for female broadcaster
Baritone and Lyric tone
 In music, there are 8 notes
 In broadcast, there are only 3 notes
MI
RE
DO

Broadcaster’s note higher than “mi” is

technically shouting

Note lower than the lowest convenient “do”

is a speaker’s bass

“mi” will only be used if the broadcaster is

overwhelmed or surprised
How to achieve your lowest
convenient “DO”
 Exercise diaphragmatic
breathing
a.) Lie down on your bed. Let all your muscles
relax. Breathe rhythmically and fully. Note that
natural breathing in this position centers in
your diaphragm and not in your chest
b.) Now sit up. Take a deep breath. Inhale after 3
seconds exhale then say “ah”
c.) Stand up. Inhale…exhale then say “do”

repeat
News Delivery
 The combinations of DO and RE in news
casting, RE and DO in field reporting will
provide good sounds to your broadcasting
voice

Newscast: re
do do

Field report:
re re
do
Sample item for newscast and field
Rules in radio announcing

 Good radio voicing lies in the

reading of the script (conversational)
 Never shout. Never orate (imagine
yourself talking to two to three persons)
 Your listeners cannot see you
and your voice can only impress
them (must be alive and inspire confidence)
 Don’t be pompous. Just be
yourself
 Work for the “voice with a smile”
 Use your lowest natural voice
pitch (do not force your voice to a low
register)
 Speak as if you are just talking
to a person 5 to 8 feet across
the room (you are not whispering
secrets nor you are shouting through a
window)
 Avoid abrupt change in volume
or pitch (blasting)
 Gain your emphasis through
dramatic pause (through varied
increase in intensity, through varied
inflection not through increase in volume)
 Monotonous speaking removes
force and attention appeal
 Let your voice follow the mood
of your words (frown, smile, raise your
eyebrows, etc.)
 Read clearly
 Read slowly if your voice tends
to become too high and read
faster if your voice is too low
 Breathe often enough that you
never run down
 Be sure to sound all final letters
 Open your mouth (don’t talk behind
your teeth)
 Do not swallow your tones
 Move your lips freely
 Relax physically and mentally.
How pauses may be used in
announcing?
 Before and after a word, phrase
or clause (to make it dramatic and
deliver it with impact)
 After each name in a list
 After a personalized address
 As a transition, at a change of
thought or feeling
Marking Copy

 Broadcasters use specific oral

punctuation marks to divide their
copy into phrases (oral punctuation
adds accent and tells the announcer to
breathe, without disrupting the natural flow,
phrasing and the importance of a
sentence)
 Use single slash mark (/) to
pause and take a short breath
 Use double slash mark (//) to
stop reading and take a deep
breath
Sample script
ISINUSULONG NG DEPARTMENT OF EDUCATION
ANG OPEN HIGH SCHOOL PROGRAM SA MGA
NANGUNGUNANG PUBLIC HIGH SCHOOLS SA
ORIENTAL MINDORO.

ANG PROGRAMA NG DEP-ED AY LAAN PARA SA

MGA OUT OF SCHOOL YOUTH AT WORKING
STUDENTS NA NAGNANAIS MAGPATULOY AT
MAGTAPOS NG HIGH SCHOOL.

SA ALTERNATIBONG EDUKASYON, ANG MGA MAG-

AARAL AY PAPASOK LAMANG NG ISANG ARAW SA
ISANG LINGGO AT LAHAT NG ASIGNATURA AY
GAGAWIN SA TAHANAN.

-30-
 Sample script
ISINUSULONG /NG DEPARTMENT OF / EDUCATION /
ANG OPEN HIGH SCHOOL PROGRAM / SA MGA
NANGUNGUNANG / PUBLIC HIGH SCHOOLS / SA
ORIENTAL / MINDORO.//

ANG PROGRAMA NG DEP-ED / AY LAAN / PARA SA

MGA / OUT OF SCHOOL YOUTH / AT WORKING
STUDENTS / NA NAGNANAIS MAGPATULOY / AT
MAGTAPOS / NG HIGH SCHOOL.//

SA ALTERNATIBONG EDUKASYON, / ANG MGA MAG-

AARAL / AY PAPASOK LAMANG / NG ISANG ARAW
SA / ISANG LINGGO / AT LAHAT NG ASIGNATURA /AY
GAGAWIN / SA TAHANAN.//

-30-
Sample script (English)
THE DEPARTMENT OF EDUCATION IMPLEMENTS
OPEN HIGH SCHOOL PROGRAM IN ORIENTAL
MINDORO’S TOP PUBLIC HIGH SCHOOLS.

THE PROGRAM IS DESIGNED FOR OUT OF

SCHOOL AND WORKING STUDENTS WHO ARE
WILLING TO CONTINUE AND FINISH HIGH
SCHOOL.

IN THIS ALTERNATIVE MODE OF STUDY, THE

STUDENTS WILL ONLY COME TO SCHOOL ONCE
A WEEK AND ALL THE OUTPUT WILL BE DONE AT
HOME.

-30-
Sample script

THE DEPARTMENT /OF EDUCATION

/IMPLEMENTS/ OPEN HIGH SCHOOL PROGRAM/
IN ORIENTAL MINDORO’S /TOP /PUBLIC/ HIGH
SCHOOLS.//

THE PROGRAM IS / DESIGNED / FOR OUT OF

SCHOOL YOUTH / AND WORKING STUDENTS /
WHO ARE WILLING TO CONTINUE / AND FINISH /
HIGH SCHOOL. /

IN THIS ALTERNATIVE MODE OF STUDY, / THE

STUDENTS WILL / ONLY / COME TO SCHOOL /
ONCE A WEEK / AND ALL THE OUTPUTS / WILL BE
DONE / AT HOME. / /

-30-
You and your script

 Upon receiving your script,

check to see that all pages are
included and in proper order
 Read the scripts silently to get
its general content and mood
 Read the scripts aloud as often
as necessary to familiarize
yourself with its content
 Use a dictionary
 Never go to a broadcast without
a pencil in your pocket
 Once the script is in your hands,
it is yours to mark as you
choose
 Practice, practice and practice
Finding your best voice level
through microphone projection
 Forget mike fright
 When you enter a broadcast studio--
-leave your mechanical curiosity
outside. Never touch the
microphones, floor cables, records
and other technical equipment
 The studio technician will ask for a
voice level or just read one line from
your script
 Never make mic adjustments
yourself.
 The microphone is extremely
sensitive, it exaggerates all
sounds. Do not breathe audible,
smack your lips, sigh, strike the
table, rattle your script or create
any other disturbance.
 Talk directly into the
microphone, this is working “on-
mike” or keeping “on the beam”
 Do not wave back and forth or
turn your head from one side to
another as platform speakers
frequently do
 Hold your script at eye level,
slightly to one side of the mic
 Never hold on the mic or allow
your script to touch it while you
are broadcasting
 Never let the script get between
your mouth and the mike
 Always have script pages loose
You and the last few minutes

 Do not eat ice cream , chocolate

candy or drink milk just before
going on the air. Your throat will
be coated
 Never eat nuts or anything dry
just before going on the air
 Never drink soda. The fizz may
backfire
 While waiting for your board
work, never go hanging around
in a radio station. Never enter a
control room
 Never open any studio door
 Be at the studio 15 minutes
before the boardwork
 Find a quiet corner and do some
relaxation
 If you feel breathless, force
yourself to breathe long, deeply
and regularly. This is one of the
best ways for controlling pre-
performance nervousness
 If you are wearing a tight
necktie, loosen it.
Broadcast Announcing

TV Performance
Developing Performance
Potential
 Everything we observe about
the anchor and field reporter on
air from inflection, gesture and
facial expression are derived
from the context of the report
 Presenting news on television
calls for the Psychology of
Human Communication
Communicate
 Extreme emotion is unwarranted
 The important thing is the feeling,
experience of the moment
 Understand the event you are
reporting in all its dimensions
What do I see?
What do I hear?
What do I smell?
What do I feel?
What do I taste?
Multi dimensional reporting

 Communicate with every

reporting tool available (camera,
mic, spoken word, editing process and by
portraying the actions and behavior)
Developing conversational
delivery
 Establish intimate connection with your
audience
 There are three rules of thumb:
a. The pitch of your voice
goes up when you are tense-
--strive to relax
b. The pitch of your voice goes
up as volume of your delivery
c. The message we communicate
has to do with how we think about
others not with how we think about
ourselves
Dress for the environment
 Appearance----good way to enhance
your credibility.
Dress/clothes (well tailored suit for
men and feminine and elegant
blouse for women)
Face
Length and style of hair (off
shoulder hair for women adds
maturity and credible look)
Avoid destructive earrings
Use contact lenses instead of
eyeglasses or anti-glare
eyeglasses
Posture

 Chin up
 Keep your shoulders down and
keep them rounded
 Relax
 Be virtually aggressive
 If you are sitting sown when you
report, sit on the edge of your
chair
 Use your body to communicate
your interest and enthusiasm for
the story and your audience
 Gesture with your hands
 Position of your body
 Light in your eyes
 Facial expression
 Opening smile and extro smile
Give meaning to the story

 Read your script

 Make sense of other people’s
writing
 Sound spontaneous and
conversational
Delivery

 Rule: try not let either your

momentum or your inflection
drop
Relax