RADIO SHOWS CRITIQUE BY PROGRAMMINGS MANAGER SHINE FM,ABIUD ONYACH.
The following are the name of the shows and the critique i have made:
1.Jijue jipange.
The show was done by Wambura Mitaru,Trezer Oguda and Rhoda Murpus.
The show had a rare topic and Wambura has a good voice for radio.The spiritual segment was done with a really low voice while the tonal variations should just be the same.On the rate of 1 to 10 i gave them a 7. First submission was on 26th April then the 2nd one was on 7th May. It was aired on Monday 10th of May.

2.Up and about.
The show was done by Sarah Alaro,Alice Mukami and Loise Mbatia.The show had poor transitions and the drama is shallow and not clear. Ratings: 5.5/10.
Aired on 4th May.

3.Sethmag.
The show was done by Dzame Dallu,Seth Ouma and Pauline Muindi.
It has a good signature tune though played one secular song by Kidum. Though i was informed of it later after it went on air. Ratings:6.5/10.First submission was on 29th April then the second submission was on 6th May and aired on 11th May.

4.Tupendane.
The show was done by Nyambura Ngumba,Alex Masinde and Winnie Bogeta.
The show had content that did not have a clear direction. The music quality was very poor.Ratings:6.5/10.

5.Live the dream.
The show was done by Nicole Esselink,Marybeth Wambugu and Elizabeth Thuo.
The show had good transitions,good promo and had creativity.Ratings:9/10.It was submitted on 30th April and aired on 5th May.

6.Mchanganyiko maalum.
The show was done by Caleb Kamau,Hellen Mayelle and Victor Bowen.
The show did not have a clear topic. Ratings:7/10.It was submitted on 7th May and aired on 11th May.

7.Somafuraju.
The show was done by Mashirima Kapombe,Portia Opondo and Christine Kasiva.
It had a good command of swahili, good transitions and interesting topic.Ratings:9/10.It was submitted on 6th May and 10th May.

8.Campus Hype.
This was done by Stella Mwangi,Jackline Rono and Sheila Wandia.
It had a good topic, poor transitions and poor sound quality.No signature. Ratings:7/10.It was submitted on 4th May and aired on 6th May.

The show done by Mike Muatha,Chritine Kariuki and Winnie Amuyunzu was not aired because of questionable content.

Any more information required will be published on the blog.

Information is courtesy of the class rep(Christine Kasiva)

Hi!hope you are all well n ur exams ziko fiti.Just a reminder for those who are doing the retake the date is during exam day so check ur time table wen 361 will be and make ur way to the studios.Hope you have practised n success in this and remaining exmas.It was a pleasure serving you as a class rep have a blessed day:-)

BBC Post

Network Africa on the BBC are almost the same as Dunia wiki hii a kiswahili programme aired on KBC In Kenya which highlights living in Africa. Both programs highlight on politics, economics, diseases and epidemics, social injustice, leadership,
In economics both programs have highlighted inflation in Zimbabwe which have stormed int millions. The country is high poor and inflation rates are high and slow economic growth rates. The unemployment rates-have remained high and people have grown impatient.
In BBC Network Africa have also highlighted the issue on poor leadership which have lead to various wrangles between the ruling elite and the citizens of such countries.

CONSOLE AND MIXERS

CONSOLE AND MIXERS
A typical analog mixing board has three sections:

• Channel inputs
• Master controls
• Audio level metering

The channel inputs are replicated stereo input channels with pre-amp controls, channel fader and pan, sub-group assignment, equalization and auxiliary mixing bus level controls. The master control section has sub-group faders, master faders, master auxiliary mixing bus level controls and auxiliary return level controls. In addition it may have solo monitoring controls, a stage talk-back microphone control, muting controls and an output matrix mixer. On smaller mixers the inputs are on the left of the mixing board and the master controls are on the right. In larger mixers, the master controls are in the center with inputs on both sides. The audio level meters may be above the input and master sections or they may be integrated into the input and master sections themselves.

Channel input strip

The input strip is usually separated into these sections:

• Input jacks/ microphone preamplifiers
• Basic input controls
• Channel EQ (High, Mids and low)
• Routing Section including Direct Outs, Aux-sends, Panning control and Subgroup assignments
• Input Faders

Below each input, there are usually several rotary controls (knobs, pots). The first is typically a trim or gain control. The inputs buffer the signal from the external device and this controls the amount of amplification or attenuation needed to bring the signal to a nominal level for processing. This stage is where most noise of interference is picked up, due to the high gains involved (around +50 dB, for a microphone). Balanced inputs and connectors, such as XLR or Tip-Ring-Sleeve (TRS) quarter-inch connectors, reduce interference problems.

There may be insert points after the buffer/gain stage, which send to and return from external processors which should only affect the signal of that particular channel. Insert points are most commonly used with effects that control a signal's amplitude, such as noise gates, expanders, and compressors.

Auxiliary send routing

The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices. Auxiliary sends can either be pre-fader or post-fader, in that the level of a pre-fade send is set by the Auxiliary send control, whereas post-fade sends depend on the position of the channel fader as well. Auxiliary sends can be used to send the signal to an external processor such as a reverb, which can then be routed back through another channel or designated auxiliary returns on the mixer. These will normally be post-fader. Pre-fade auxiliary sends can be used to provide a monitor mix to musicians onstage, this mix is thus independent of the main mix.

Channel equalization

Further channel controls affect the equalization (EQ) of the signal by separately attenuating or boosting a range of frequencies, e.g., bass, midrange, and treble. Most large mixing consoles (24 channels and more) usually have sweep equalization in one or more bands of its parametric equalizer on each channel, where the frequency and affected bandwidth of equalization can be selected. Smaller mixing consoles have few or no equalization controls. Care must be taken not to add too much EQ to a signal that is already close to clipping; additional energy will overdrive the channel.

Subgroup and mix routing

Each channel on a mixer has an audio taper pot, or potentiometer, controlled by a sliding volume control (fader), that allows adjustment of the level, or amplitude, of that channel in the final mix. A typical mixing console has many rows of these sliding volume controls. Each control adjusts only its respective channel (or one half of a stereo channel); therefore, it only affects the level of the signal from one microphone or other audio device. The signals are summed to create the main mix, or combined on a bus as a submix, a group of channels that are then added to get the final mix (for instance, many drum mics could be grouped into a bus, and then the proportion of drums in the final mix can be controlled with one bus fader).

There may also be insert points for a certain bus, or even the entire mix.

Master output controls

Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Talkback controls allow conversation with the artist through their wedges, headphones or IEMs (in-ear monitor). A test tone generator might be located in the master output section. Aux returns such as those signals returning from outboard reverb devices are often in the master section.

Metering

There are usually one or more peak meters to indicate the levels for each channel, or for the master outputs, and to indicate whether the console levels are over modulating or clipping the signal. Most mixers have at least one additional output, besides the main mix. These are either individual bus outputs, or auxiliary outputs, used, for instance, to output a different mix to on-stage monitors. The operator can vary the mix (or levels of each channel) for each output.

As audio is heard in a logarithmic fashion (both amplitude and frequency), mixing console controls and displays are almost always in decibels, a logarithmic measurement system. This is also why special audio taper pots or circuits are needed. Since it is a relative measurement, and not a unit itself (like a percentage), the meters must be referenced to a nominal level.

console and mixer notes

Mixers and Consoles Mixers and consoles take input signals and amplify, balance, process, combine, and route them to broadcast or recording. Many consoles also store operational data. The differences between them are that a mixer is small, quite portable, and performs limited processing functions. The console is larger, substantially so in many models, more complex, and performs numerous processing functions. In many systems these functions are computer assisted. Their purposes and differences notwithstanding, mixers and consoles, from the most fundamental to the most elaborate, whether analog or digital, have at least three basic sections: input, output, and monitor.Signals from a sound source, such as the microphone, feed to the input section, which routes them to the output section. The output section routes the signals to a recorder or broadcast, or both. The monitor section enables the signals to be heard. Consoles designed for multichannels recording usually have a master section as well. In those consoles the output section routes signals to a multitrack recorder, and the master section routes the final mix to its recording destination.The console is simply a device for amplifying, routing, and mixing audio signals. Audio is the term used to refer to the electrical signals that are involved in the reproduction or transmission of sound. Sound is a vibration through air or another medium; audio is the electrical signal used in reproducing or transmitting the original sound.Functions of the Console1. Amplification. This is the boosting of a signal to a usable level. The tiny voltage produced by a phonograph is not strong enough to send to a loudspeaker or over the air. The console gives the operator convenient control over the volume of various signal sources such as microphones, turntables (professional-quality record players), and tape playback units.2. Routing. The console allows the producer to determine the path of the signal or, in other words, to route it. The console can send a signal either over the air or into a cue channel, which lets the operator hear an audio source without having the signal go over the air. In addition to routing signals through the console, the operator can turn signals on and off.3. Mixing. The signals can put two signals out at once – the announcer’s voice and music, for example. The console also allows the volume of both to be controlled separately, or mixed, so that the music doesn’t drown out of the announcer.Through amplification, routing, and mixing, the console operator can produce a final product that will be sent out over the air or routed to a tape recorder.Analog ConsolesThe basic differences between analog and digital consoles are in the way signals are processes and routed. Analog consoles come in a variety of designs to meet particular needs. Basically they fall into two categories:- On-air broadcast consoles- Production consolesIn on air broadcast consoles, the in-put, output, and monitor sections are usually separate. Consoles with separate input, output, and monitor functions are called split-section consoles. With production consoles the input and output, and some monitor, functions are located in a single module and are known as in-line consoles.The input section takes an incoming signal from a microphone, CD player, recorder, or phone-in caller. Each input channel is configured for either low level sound sources, such as microphones, or high-level sound sources, such as CD players and recorders. A fader regulates the loudness level of each channel. A delegation switch on each channel can either turn off the signal flow or route it to one of three destinations: program, which sends it to the console’s output; monitor, so it can be heard; or to a second monitor system, called audition or cue. The audition or cue system makes it possible to listen to programme material while preparing it for broadcast, without it being heard on the air.At the output section, there is a master fader to adjust the level of the combined signals feeding to it from the input channels. This is the last spot at the console before the output signal is sent on its way to transmission. Input and output signals are heard as sound through monitor loudspeakers. As they pass through the console, however, they are in the form of voltage. Therefore meters are necessary to measure the voltages in the input and output sections, respectively. By using the fader, these voltages can be kept within acceptable limits. A console designed for broadcast may be a production console as well and do double duty.Production ConsolesProduction consoles are used to produce a variety of demanding and complex audio applications for commercials, film and television sound tracks, sports, news, and music recordings. They therefore require a greater number of inputs, outputs, and signal processing functions than do on-air consoles for radio. They are also designed to meet specific needs. In film and television, automated panning facilitates the matching of movement to picture. A production console for music recording often requires a number of sub mixers to premix groups of similar voicing, such as strings, backup vocals, and the components of a drum set.Input/Output SpecificationsTwo indications of a consoles layout and capabilities are provided by the number of input sources it can accommodate at the same time and the number of discrete output signals it can send to its master bus. A bus is a common junction of several different signal paths. It can be accessed by more than one stream of audio, which can be sent to one or more destinations.He In-line Production ConsoleAnalog production consoles today are in-line consoles. The in-line console locates in each channel an output/output (I/O) module. The I/O module houses the input, output, and some monitor controls, bringing these functions vertically: in a line.”In most production consoles, the following are typical functions of each section. Some consoles may have fewer or more features and, depending on the design and manufacturer, the sequence of functions, signal flow, sections designations, groupings, and terminology may differ:1. Input/Output Section. During recording, the input/output section processes and delegates incoming signals and sends them to the multitrack recorder.2. Microphone-line input selection. Controles, which signals source, enters the input section.3. Microphone preamplifier. A microphone signal entering the console is weak. It requires a mic preamplifier to increase its voltage to a usable level.4. Phantom power. When activated it provides voltage for capacitor mics, thus eliminating the need for batteries.5. Trim. The trim is a gain control that changes the input sensitivities to accommodate the nominal input levels of various input sources. Trim boosts the lower level sources to usable proportions or prevents overload distortion in higher-level sources.6. Overload indicator. Tells you when the input signal is approaching or has reached overload and is clipping. In some consoles the LED flashes green when the input signal is peaking in the safe range and flashes red either to indicate clipping or to warn of impending clipping.7. Pad. Reduces the power of a signal. On a console it is placed ahead of the mic input transformer to prevent overload distortion of the transformer and mic preamplifier. It is used when the trim, by itself, cannot prevent overload in the mic signal.8. Channel Assignment. This is a group of switches on each I/O channel used to direct the signal from that channel to one or more outputs; or several input signals can be combined and sent to one output9. Direct Switch. Connects the channel signal to the channel output, directing the signal to its own track on the recorder, bypassing the channel CAN and thus reducing noise.10. Equalizer and Filter. An equalizer is an electronic device that alters a signal’s frequency response by boosting or attenuating the level of selected portions of the audio spectrum. A filter alters frequency response by attenuating frequencies above, below, or at a preset point.11. Dynamics section. High-end production consoles usually include a dynamics section in each I/O module for added signal processing. It often includes, at least, compression, limiting, and m=noise gating.12. Channel/Monitor Control. Switches the equalizer, dynamics, and usually selected send functions into the channel signal path to the recorder, or the monitor signal path to the monitor section.13. Polarity reversal. Sometimes referred to as phase, is a control that inverts the polarity of an input signal 180 degree. It is used to reverse the polarity of miswired equipment, usually microphones, whose signal is out of phase with the signal from a piece of similar equipment correctly wired.14. Pan pot. Short for panoramic potentiometer, is a control that can shift the proportion of sound to any point from left to right between two output buses and, hence, between the two loudspeakers necessary for reproducing a stereo image.15. Cue send (pre- or postfader). A monitor function that routes a signal from an input channel to the headphone, or foldback, system. Foldback is a monitor system that feeds signals from the console to the headphones. The cue send level control adjusts the loudness of the headphone signal before it is sent to the master cue sends in the monitor module. The pre- and postfade controls add flexibility in providing a suitable headphone mix to performers.16. Aux send (pre- or postfader). The aux (auxiliary) send control feeds the input signal to an external signal processor, such a reverberation unit, compressor, or harmonizer.17. Solo and prefader listen. Feeding different sounds through several channels at once can create an inconvenience if it becomes necessary to hear one of them to check something. Instead of shutting off or turning down all the channels but the one you wish to hear, by activating the solo control, located in each input module, you automatically cut off all other channels feeding the monitor system; this has no effect on the output system. The solo function is usually prefader. On some consoles, therefore, it is called prefader listen (PFL). In consoles with both solo and prefader listen functions, PFL is prefader and solo is postfader.18. Mute (Channel on/off). The mute function turns off the signals from the I/O channel. During mix down when no sound is feeding through an input channel for the moment, it shuts it down or mutes it. This prevents unwanted channel noise from reaching the outputs.19. Channel and monitor faders. Control the channel level of the signal being recorded and its monitor level, respectively. During recording channel levels to the multitrack recorder are set for optimal signal-to-noise ratio. On a VU meter, for example, levels would be set to reach or slightly exceed 0 VU. Level balances are made during mix down.20. Meters. Measures the electric energy passing through an input or output. Audio heard through a monitor system is acoustic, but it passes through the console as voltage, which cannot be heard, and therefore, must be referenced in another way. The only way to determine levels in mixers and consoles (and recorders) is visually – by watching a meter.The Virtual ConsoleDigital “virtual” consoles recreate the look of a standard console while offering some additional features. This allows you to use a mouse to raise or lower the levels of the “faders,” it also lets you assign sound sources to different faders, meaning a collection of circuits assigned to one fader. Advantages of the Virtual Console• It’s easy to assign sources to various faders. In some cases, you can accomplish with the computer what you would actually have to wire the console to do.• The computer “remembers” all this. Settings can be stored for later recall.• You can try different arrangements to your heart’s content. Suppose you have 30 different takes of an announcer’s voice over. You want to hear how they all sound in conjunction with the music you also have previously recorded. With a real console, you’ve got to run the tapes through the fader, recuing each time. With the virtual console, you can simply click on each take in sequence and try, try again.Advantages of the real console:• It is difficult to use your virtual console for actual recording. If you have an announcer in the studio, for example, it’s rally much simpler just to open the announcer’s mic on the real console and record, riding his or her level.• It is easier to run an air shift with a real console because the real console stays static. If you turn on a sound source and it’s too loud, it is much quicker to simply turn down a pot or fade down than to use a mouse to find the virtual slider.A broad conclusion: The virtual console is much better for doing complicated production of previously recorded segments. The real console is better for fast, simple jobs or putting material out live on air.

ALICE KARIUKI 08-0149

sheila 08-0730

THE CONSOLE
The console is the heart of the studio both in the audio and visual studio. It is with the console that we are able to have input coming in and output going out. It also help people working on input to manipulate it in the way that it suites them best.

Functions of the console
Amplification
This is where the signals are boosted to a usable level. The console gives the operator convenient control over the volume of various signal sources such as microphones, recorders and computers.

Routing
This helps the producer to determine the path the signal. The console can send signals over the air and have whatever your doing on air in that the listener can hear what exactly you are saying at that particular time. The console can also send it into a cue channel which let the operator hear an audio source without having the signal go over air that is made possible by the pre-fader listener.

Mixing
The console can put signals out at the same time. An example is where we hear a person talking and at the same time you can hear music. The console also allows the volume of both outputs to be controlled according to the producer’s desire.

Through these three functions we can finally get a good production that will be ready to be aired to the audience and have them listen and at the same time enjoy what they are listening to.

Parts of a console
Pre-amplifier-it is used to boost signals to usable levels when they are weak.

Potentiometer (fader) - it adjust the volume. It either raises or reduces the volume of the consoles output.

Routing Switch-this is the button that put the signals over the air.

Volume Unit meter-it is used to show if the volume is to low, at good levels or too high which causes distortion.

Monitor-This is a loudspeaker that lets the operator hear what is going over the air it also helps the operator listen to a number of sources other than what is going over the air

The audition channel-.It allows you to hear a cd, computer, and tape without having it going on air.

Muting System- cuts the output from different sources to prevent something going on air and yet it is not supposed to do so.

Headphones-close seal put over the operators ears preventing any possibility of feed back. Helps the operator to hear what they are saying.

Master Fader-it controls the entire output of the board. It is the one that allows signals to go on air.

There are two types of consoles they are
Analog consoles
Digital consoles





Analog console
It has the following elements:
Pre amps-which are built into the console and are not visible.
Input channels which allow a number of signal sources to be used and mixed together.
Routing Switch-which determines which of several signals will go onto the source channel
A cue channel.
Potentiometer.
Selector buttons to route the signal over either the audition channel or program channel.
Vu meter which read the loudness of the signal.
Amplifier which boosts the signal.

Digital console
Its features are:
Analog to digital converters which allow analog signals to be converted fro use by the console.
Digital to analog converters which the digital output of the console to be sent ot analog devices
Selector switches which allow channels to be assigned to different inputs and outputs
Faders for each input channel which provide data streams fro each point.
Digital inputs and outputs which connect to digital sources such as digital cart machines and computers.
A vu meter to give an objective reading on the loudness of the signal.

RADIO CRITIQUE

Network Africa sicne it is worlwide has correspondents all cver Africa while Kiss has correspondents only in Kenya.
NYAMBURA NGUMA

RADIO CRITIQUE

Network Africa is posted in London while the kiss Morning show is in Kenya. thi means that the listeners of Network Africa are more than those of Kiss because it is a worldwide station.
despite this fact,Kiss show can be heard on online and it is much more interesting to the listener who wants to entertained
NYAMBURA NGUMA

RADIO CRITIQUE

Network Africa is mainl abot news, sports and features while the big breakfast is about entertainment and current issues that afffect the normal citizen.

the news on Network Africa is said by Bollamuso while on Kiss it is said by Carol Radul.

NYAMBURA NGUMA

RADIO CRITIQUE

Network Africa starts at 6.30 in the morning Kenyan time while the Big Breakfast starts at 5.ooam.
NYAMBURA NGUMA

SETH, DZAME & PAULINE.

SETHMAG-D SHOW
7-4-2010

MRS. ROSEMARY K’OWUOR
DAYSTAR UNIVERSITY
P.O. BOX 44400-00100
NAIROBI, KENYA.

Dear Madam,

RE: REQUEST TO AIR SETHMAG-D SHOW ON SHINE FM.
Greetings in the name of our lord Jesus Christ. We are applying to air our magazine show on your radio station (Shine fm 103.1) as part of the fulfillment to the course COM361 (radio production).
We have attached an overleaf with further description of our magazine show.
We are looking forward to hearing from you.
Thanks in advance and God bless you.

Yours truly,
SETH OUMA 07-1218
PAULINE MUINDI 08-1213
DZAME DALLU 07-1473





PROPOSAL FOR THE SETHMAG-D SHOW

IDEA

To produce a 1 hour magazine programme on Shine fm 103.1. The programme will run from 5-6pm on Wednesday.
It will have the following items:
Interviews with guests. The guests will be students and qualified professionals who can contribute to the discussion topic.
News about local and international gospel celebrities ( artists, musicians, actors)
Five minute film and movie review
Newsbytes with local and international news
Gospel rock music,
Relationship advice from the agony aunt
Discussion topic that will be chosen from a current event
The major target audience will be campus students.
The minor target audience will be people in the campus diaspora (Machakos, Kitengela, and Mavoko) who get the shine fm frequency.

NEED
To create a programme that will entertain, educate and create a forum for the students to interact.

OBJECTIVES
To create a forum for campus students to interact freely on matters that concern them.
To make a production that is entertaining.
To enable students to access news in a simplified fun format

TREATMENT

5.00-5.05p.m Programme signatune and introduction
5.05-5.10p.m Music
5.15-5.25p.m Celebrity gossip
5.25-5.35p.m Introduce introduction topic
5.35-5.40p.m Music
5.40-5.45p.m Interview
5.45-5.50p.m newsbyte
5.50-5.55p.m Movie review
5.55-6.00p.m Programme outro and sigtune

JUSTIFICATION
The major target audience is campus students in Athi river. The programme is structured in a away that appeals to the age group of the students.

The time (5-6 p.m)
The classes are over. The students are in their rooms relaxing or engaging in extra curricular activities. They can access a radio and listen to the show.

Radio prog critique, Mayelle (08-0026)

Wambui brings various guests who tackle spiritual issues from listeners. These are mainly pastors and bible teachers. Once in a while, experts in other fields outside spiritual circles come on board to handle issues in the relevant fields. One such is a show dedicated to a gynecologist once a month to handle productive health issues; there is one also dedicated to a lawyer to handle legal matters.The show is very enlightening to a Christian in knowing how to relate some life’s issues with the bible. The expert shows are also really educative.Meanwhile on the interview on 27/03/2010 Owen Bennett Jones talked to Nir Barkat, Mayor of Jerusalem an internet entrepreneur who became Mayor of Jerusalem a year ago on how he thinks he can bring his business skills to bear on the challenges facing the city.He said he wants Jerusalem to reach its potential with more tourism and more facilities for its growing population.But he also wants to make it the undivided capital of the Jewish people under Jewish sovereignty. Owen grilled him about this particularly on the planned Jewish settlements. I liked the whole interview though I thought at one point that Owen was being too hard on the mayor.


It is 08:40pm now and I am loving the good Lord for enabling me to post the proposal and my programme critique. This has been real divine intervention on my side and I appreciate my God for this. I'm off to cook me something now after accomplishing my mission for today-hurray!! and look forward to a great night and a good morning. Have a blessed holy week yall and be good-as always......XOXOXO

Radio Cririque, Mayelle (08-0026)

My radio Programme critiqueProgrammes: Praise Junction on Hope FM and The Interview on BBC World service.Praise JunctionThis programme airs every weekday from 10:00am to 02:00pm on Hope FM. It is presented by Wambui Mburu, a Daystar alumni. Wambui is warm as she deals with real life issues on her show. She interviews personalities who’ve been there and came through successfully. In the latter part of the show she makes your lunch hour worth while with soothing worship music. Among some of the prominent personalities she has featured on her show are Mrs. Rebecca Ng'ang'a (Daystar University), Mrs. JAne Awiti (DAystar University), and Eda Adoi.

The InterviewThis is a half-hour interview with interesting and prominent people from around the world with a great range of interests and opinions. It is presented by Owen Bennet-Jones and sometime Carrie Gracie. Each week, one person is put under the spot light by either Owen or Carrie, they explore topical issues, personal motivation and interviewee's hopes and fears. Some prominent people who have been featured on this programme are, entrepreneur/philanthropist Bill Gates, Abdullah Abdullah-Afghanistan opposition leader and nobel prize winner Wangari Maathai.


The genre of these programmes is basically Interview mostly profiles. The style of presentation of both shows is largely informal and conversational. For instance, Wambui is warm and empathetic towards her guests and often laughs and chats with them. Owen on The Iterview is also conversational with his guests and shares in the good and bad moments. However, unlike the Praise Junction interviews, Owen Bennet-Jones sometimes gets tough on his guests, he becomes searching and combative when necessary on the show.


I had a hard time making up my mind on the local programme to be compared with a similar one on the BBC. I am an ardent fan of Wambui's programme and I like Owen's interviewing tactics generally from this and other programmes but I thought the two programmes can not be put together; Wambui is so calm and gentle to think she can be compared to tough guy-Owen. But when I checked my notes on interviewing, I realized I was doing the wrong thing comparing them that way and if I continued that way, I would still be wondering which programmes to put together for this assignment. Yes, the notes clearly stated that the aim of an interview is to provide in the interviewee's own words, facts, opinions or reasons on a particular topic so that the listener can form a conclusion as to the validity of what he or she is saying


Now some differences between the two programmes:Praise Junction features solely religious personalities(born-again Christians)and focuses on mainly social and spiritual matters unlike The Interview which cuts across cultures and issues as long as the people are significant in their communities and or world wide and it talks about everything from politics to religion and all depending on the interviewee's background story and experiences.Praise Junction is more of a sequence allowing for other spots to be aired with in the main show. For instance, news updates and commercial breaks are brought in often-the other day for example, Wambui broke into the programme to give some breaking news about some strike somewhere along Ngong road. We don't hear this on The Interview at all, it is a one-off programme. This could be due to the limited time of the show, but then it could mostlikely be the general style/format of the programme.Musical breaks are frequent in Praise Junction, as the interview goes on which is not the case with BBC's The interview.More so, listener involvement is catered for in the Praise JUnction via text messages, people are allowed to comment, question and ask for prayer requests during the show, where as the Interview on BBC is just between the host and guest.I find these differences as what make these programmes unique and interesting. Just imagine all interview programmes on radio sounding almost alike... It has also got to do with the overall style/format, vision and mission of th e station. This is the beauty of radio broadcast!

On originality and impartiality:After listening for all these weeks and more, I have come to conclude that both Praise Junction and The Interview are interview programmes that encompass all the three major types of interviews we saw in class-informational (they impart the listener with information), interpretive (both Wambui and Owen/Carrie sometimes supply the facts and ask the interviewee to either comment on or explain them, emotional (both provide an insight into the interviewee's state of mind so that the listener may better understand what is involved in human terms eg interviewee's motivation, challenges, and fears in life).So, what about originality and impartiality in these shows?Both shows are original according to me. Wambui's programme is outstanding, has its own style and tone which has drawn great numbers of listeners over time. No other show in Kenya or else where I have been sounds like hers and I understand the idea for this programme came straight from her. No wonder she exhibits so much passion and love for it that we can hear over the air waves. The Interview on BBC though like a number of interview programmes on Western radio and television programmes still has originality in it. Owen Bennet-Jones has his own authoritative yet relaxing style of interviewing that makes his show rather different from the others, the fact that it is about this one guest and his or her life experiences liked to social, economic, political, and cultural issues is unique to this show alone (as far as I know).Although impartiality is key for broadcast and other journalists world wide, I guess there's exception when it comes to journalists already aligned/affiliated to particular partisan media houses especially religious and political houses. With this said, there is no need to mention that Wambui Mburu's opinions and conclusions totally lie on one side-in line with born-again Christian morals where as Owen and Carrie try as much as possible to remain impartial at all times-its called journalism ethics. But these ethics are relative depending on where and when and by whom.

Muchanganyiko maalum prog proposal

Objectives of the ProgrammeWe would mainly want to inform, educate and entertain the Daystar community and Shine Fm audience on a wide range of topical issues bound with in the university’s vision and mission. We believe a magazine programme would best suit this objective since it allows for various topic segments which brings out edutainment in one package.We also want to produce this show so as to cater for the various communities that exist within Shine FM’s listenership. For instance what might appeal to students may not appeal to a famer in rural Machakos, on-campus affairs versus off-campus affairs. These might be briefly pointed out in news bulletins but are often too brief. Our programme will fill this gap.Mchanganyiko Maalum will capture current affairs on campus and bring to students’ attention issues of concern. More so, this show aims at producing features about the students and the university at large in our own voices segment bring them fresh ideas and news. MethodologyWe hope to make this programme up to the standards of Shine FM through extensive research on issues to be handled, interviews with prominent members of the community, live coverage of events on and off campus.

Helene Mayele said...
We will listen to and observe issues and ideas, maintaining consistency in the ‘flavour’ of the programme, and seeking professional advice from those concerned. We also intend to carry our listener surveys after few months of launching the programme so as to gage it’s rating among the listeners.SummaryMchanganyiko Maalum is a Programme idea that came as a result of deep thought, observation and inspiration from the class activities as well as lectures. It also sprung from the fact that Shine Fm currently has very few magazine programmes. We would like through this programme to reach out to the entire Daystar community to help create positive change in their lives as well as ours. This show will not only educate but it will also entertain while spiritually nourishing both the producers’ and listeners’ lives.


Helene Mayele said...
Well, well, well, THIS IS IT!!Cheers,Helene, Caleb and Adebayor AKA Bowen

Muchanganyiko maalum programme proposal

Our primary target audience is the Daystar University, Athiriver campus students, staff and faculty. This is because we hope to make the programmes out of content from this community, about us and for us, then to the others. The content in Mchanganyiko Maalum will be designed with the audience in mind; it will be tightly structured with emphasis on content although some music will be played during short breaks. The following is an example of an hour’s sequence of Mchanganyiko Maalum from 05:00-06:00pm for instance:Time Duration (Minutes) Segment Content05:00-05:05PM 5 Main News05:05-05:08PM 3 Interview05:08-05:11PM 3 Music Break05:11-05:13PM 2 Financial/Business News05:13-05:15PM 2 Sports Up-date05:15-05:20PM 5 Bridge, Press Review05:20-05:25PM 5 Topic of the Day Discussion05:25-05:30PM 5 Phone-ins on discussion05:30-05:33PM 3 Music Break05:33-05:34PM 1 Weather Update05:35-05:40PM 5 Local information(farm, industry, jobs, prices)05:40-05:42PM 2 Music Break05:42-05:43PM 1 Anniversaries of the day05:43-05:46PM 3 TV, Film and Book review05:46-05:51PM 5 Health feature05:51-05:54 PM 3 Music Break05:54-05:59PM 5 Devotion/Religious spot05:59-06:00PM 1 Signature tune and programme promoFigure 1.1 Tentative one-hour running order of Mchanganyiko Maalum.

Muchanganyiko maalum Programme proposal

Helene Mayele said...
Proposal for a Magazine Programme on 103.1 Shine FMIntroduction As we draw towards the end of the January 2010 semester and the end of the Course COM361 (Audio Production), we strongly feel an urge to put into practice and use what we learnt and experienced in this course. We are overwhelmed with knowledge and enthusiasm in the area of audio production as a result of this course and would therefore like to use the same knowledge to positively impact other people’s lives. We believe Shine FM, Daystar’s student radio would be the best ground to start our journey into the world of servant leadership as regards the media and Christianity. We hereby propose a Magazine Programme to be aired on the student’s radio.Name, Presenters, Target Audience and Content of the Magazine ProgrammeOur proposed name for this programme is Mchanganyiko Maalum, Swahili words meaning ‘great mix’. The reason as to why we chose this name is because it is first of all catchy and unique, it’s meaning is significant to the genre of the programme, that is, a magazine programme is basically a ‘mixture’ of various contents.The presenters of the show will be the three of us (Hellen, Caleb and Victor) who will also be the producers of the show. However with time, we hope to train and mentor other students from the next COM361 class who will take over after us.

Radio Critique

bbc morning show is called 'NETWORK AFRICA'
kiss show is called 'THE BIG BREAKFAST'

NYAMBURA NGUMA

radio critique

bbc and kiss fm breakfast show comparisons

bbc is more of a news station as compared to kiss breakfast show which is more of entertainment

Nyambura Nguma

Pendekezo la Kipindi cha “Somafuraju”
Wahusika: Christine Kasiva
Mashirima Kapombe
Portia Opondo

Pendekezo hili ni kulingana na mradi wa mwisho, katika somo la “COM 361A: Audio Production”. Tukizingatia haya, tumekubaliana kufanya kazi kama kikundi cha watu watatu:

Produsa: Portia Opondo.
Mhariri: Mashirima Kapombe.
Muandishi: Christine Kasiva.

Kipindi chetu kinaitwa “SOMAFURAJU”. Neno tulilotunga kutokana na malengo makuu ya kipindi:

Ku-somesha
Ku-furahisha
Ku-julisha

Yaliyomo katika kipindi hiki yatagawanywa katika vipande vinne:

Mambo ya sasa: Hapa tutazingatia mambo yanayotokea katika chuo kama siasa na athari zake kwa mwanafunzi wa chuo kikuu cha Daystar. Tutakuwa na mahojiano ambapo tutawahusisha wanachama wa DUSA (Serikali ya wanafunzi) na wanahabari wa Shine na Involvement kupata maoni yao.
Mitindo na utalii: Hapa tutagusia mitindo ya mavazi, michezo inayomfurahisha mwanafunzi sana katika msimu huu na sehemu za kwenda kupumzika wakati wa likizo fupi au wikendi.
Dondoo: Sehemu hii itashughulikia hadithi za kuchekesha na uvumi/udaku unaoendelea humu chuoni.
Burudani: Msikilizaji atapata kujulishwa visa vinavyotarajiwa kutendeka humu chuoni na pia nje ya chuo.

Manufaa ya “Somafuraju” kwa stesheni ya Shine FM
Kwa kuwa ni kipindi kipya, kitaongezea vipindi katika orodha iliyoko.
Kipindi hiki kitatosheleza mahitaji ya msikilizaji (mwanafunzi wa Daystar), kwa kumsomesha, kumfurahisha na kumjulisha. Aidha kwa njia hii, kitafikia malengo ya stesheni yenyewe.
Kipindi kimejaa dhana mpya, ambazo zitaongezea katika tofauti za vipindi vya Shine.


Manufaa kwa wanakikundi
Itatupatia fursa ya kutumia mafunzo tuliyopata darasani kufanya kazi yenyewe.
Itatuwezesha kupata kionjo cha vile kazi inavyofanywa na watangazaji wengine katika stesheni zengine.
Kwa kuwa ni kipindi cha Kiswahili, kitatuwezesha kunadhifisha msamiati wetu na uzungumzaji wa lugha yenyewe.
Mradi huu utaongezea katika maktaba zetu za kazi tulizofanya tukiwa bado chuoni.

DAYSTAR UNIVERSITY
S.L.P 17
90143
ATHI RIVER.


March 31, 2010

MRS.ROSEMARY KOWUOR
S.L.P 17
90143
ATHI RIVER

Kwa Bi.Kowuor,

KUH: PENDEKEZO LA KIPINDI CHA SWAHILI KWENYE STESHENI YA SHINE.

Kikundi chetu kingependa kupendekeza kuanzisha kipindi cha Kiswahili kwenye stesheni ya chuo, Shine FM. Hii ni kwa sababu ya kuwa na vipindi adimu kwenye stesheni na tungependa kuongezea ladha tofauti na vipindi vingine humo. Kipindi chetu kitaitwa SOMAFURAJU maelezeo zaidi yako kwenye pendekezo letu.

Tungeomba kupewa siku moja ya wiki kupeleka kipindi chetu hewani. Kikundi chetu kinahusika na Christine Kasiva , Mashirima Kapombe na Portia Opondo.



Wako waaminifu



Christine Kasiva Mashirima Kapombe Portia Opondo

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