Programming: Talk This Way

Steve Hamley finds out how DJs are programmed

In the last 'Behind The Dial' we looked at the various methods used to select the music on a station. This time we turn our attention to what the DJs are going to say.

Like music programming, this varies from station to station. DJs on one station may be given a free reign to say practically whatever they want, whilst those on another are kept under close control by the station management. We'll start by looking at a tightly programmed station, such as Laser.

Liner Cards

Here the DJs read their sets (links / the speech between records) off cards, which the station's programme controller has already created behind the scenes. For example a particular set on a card might appear as:

Laser Hot Hits, [DJ NAME] [TIME]

Which might be translated to "Laser Hot Hits. Paul Dean. 10.25" when it's read out. This method tells the DJ precisely what to do, and is often linked in with music wheels, maybe in the form of a rotating card file. This will contain cards with details of the next type of records to be played (A List, Oldie, etc.), followed by the next set for the DJ to read out. In this way, what's to be played and said for every hour over a complete day will be planned.

However, this obviously doesn't leave much room for any creativity on the part of the DJ. The advantage is that the station management get a consistent sound on the station, which is especially useful if the DJs are young and inexperienced. After a while though, DJs begin to look for somethingmore challenging, instead of being stuck as 'time and temperature jocks' as the Americans call them.

Tight Scripting

Next stage up is where there's a basic framework for what to say, but the DJs are then allowed to 'move around' inside that framework and have a greater control over what they say. For this type of situation 'tight scripting' is commonly used, as in the example below for a fictitious Joey Bloggs show.

In the first column you'll find details of the music to be played (taken from the music wheel in last month's article), next are the details of the actual music that is selected, then a set of codes used to indicate what the DJ is to say. The positioning of these codes may be done by the programme director or the DJ.

There are two main kinds in this example. First, sets (codes a-e), which the programme director will have created for all the station DJs to use and are given at the bottom of the script. In this case we've used a reduced number, in practice there may be many more. Second, bits, which the DJs themselves will write, and which are given in the final column. Bits are split into several groups, indicated by the codes as follows:

P — Promotional Bit: such as plugs for future programmes, off-air services on the station, etc.
M — Musicology bit: the usual 'fascinating facts' about artists that you really wanted to know...
I — Informational bit: such as public service announcements, etc.
W — The weather, as given at the bottom of the script.

So how does it work in practice? Using this script the programme would go something like this:

"(music ends). ..It's 2.15 on a Sunday afternoon at TX-FM. Don't miss Chris England at 5PM with your requests called in on 400 8282... (next track)... Meatloaf and Deadringer on TX-FM. London's hottest hits... Originally signed to the Motown label for whom he produced an R&B album he'd probably rather forget...'

Even though there's quite a lot packed into the script, it doesn't take long to write and also ensures the programme is consistent. It is particularly suited to fast-moving, top forty stations.

Loose Scripting

The final method is loose scripting, where the DJs have complete control over what they're doing, and is suited to a more laid back style or presentation, as might be round on a classic rock station. Here the basic ideas for bits are grouped together under headings, like promos, musicology, humour and information and the DJ picks them as required throughout the show.

Then again, there are some DJs who are sufficiently experienced not to need scripts at all. However, they're very few and far between, and it's obviously better to be on the safe side. Listening to a jock that has no idea what they're doing is a painful experience at the best of times...