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It’s intuitive interface allows us to move easily among the few options available to us, therefore, to familiarize ourselves with it we do not need more than a few minutes. As for the configuration options for Wave Editor it’s not really much to say, we can change the color of the editing panel and the location of the temporary folder where the songs will be saved during the editing process. Magic Photo Editor este trial version (il puteti folosi doar de 30 de ori , dupa care trebuie cumparat !) si este compatibil cu urmatoarele sisteme de operare : Windows Xp , Windows Vista si Windows 7  . How to produce and use jingles & sweepers that accelerate your radio program flow, improve people’s listening experience and boost your Time Spent Listening? There are many different ways to identify your radio station – other than let your presenters say your station name. Many PDs like their logo melody included at the end and beginning of every jingle, for branding reasons. For the same reason, you might also want to have every sweeper (additionally) produced in a version without vocals at the very first second. Jingles are like a Swiss watch; it’s precision work and ‘every second counts’ – not just the first one! Tempo-match is another important factor, especially when you would like to give your music flow an all-guns-blazing kick-start. You can also let your sweepers match the tempo of the underlying songs, which might seem a bit complex.
Transitions between songs and jingles sound great when their musical keys match or fit together. To make your transitions even more perfect, you might also want to include a description for the intensity of every jingle and song. Radio))) ILOVEIT CommentsThomas Giger on How To Give Your Station An Amazing On-Air Sound (Pt. Note : To run this sample program we are using internal memory bits as Screen Editor has On-line Simulation property.
Now to see your HMI program on action just click the Simulation button and click on ON and OFF button. If you are still having issue making your HMI program on Screen Editor, please leave your comment. After opening the software click on File then on Open to add a song in the editing panel, and then, using the Play button located in its upper bar we can listen the song and when we are assured of the passage that we want to cut we will select it and through the editing functions available in Edit menu, click copy and remove it or cut the side we do not need. As consumption of resources and compatibility really does not give you a problem: Wave Editor runs on XP, Vista and Windows 7.
Station imaging helps you to create a great brand signature, comfort zone, and program flow. The most popular ones are jingles, sweepers, beds, promos, format explainers and power intros.
Play short imaging elements (and more sweepers than jingles) inside the music flow, and use longer station IDs (and more jingles than sweepers) to kick off music segments. That works well, if the previously played element has a cold end – not if it has a fade end (like many songs have).

It’s amazing how a whoosh or (subtle…) impact to kick off your sweeper helps you make perfect segues when the preceding record has a fade ending.
I would make a special effort to match the musical texture of (the end of) a jingle with that of (the beginning of) the following song. For example, start with opener & talk bed on top of the hour and close it down with a separate stinger that you have available in several endings. Produce every BPM sweeper in 2 rhythms and 2 durations (optional) to increase your chance of finding a perfect match. Add BPM and rhythm values to every sweeper’s ‘song’ card, create a sweeper category, put it in your format clock and set scheduling rules to rotate sweepers. To make a perfect blend, you need to make sure that musical elements in your segue have identical or compatible keys. Find the song key for every single music track in your database, and add it to the corresponding song card. Add the key (and tempo index) to every jingle’s ‘song’ card, create a jingle category, put it in your format clock and set scheduling rules to rotate jingles. Let a jingle be followed by a category that includes many songs, or make your tempo-rules ‘breakable’. If you play a very soft or slow ending jingle and then Love Is All Around by Wet Wet Wet, it doesn’t make a good transition because the song’s intro is very intense. We focus on backgrounds of radio programming, radio production, personality radio & music scheduling. From being on air, to being a producer, to selling radio jingles, to launching Radio))) ILOVEIT. This Screen editor software is available in 2 flavors, one for DOP-A Series HMI and other for DOP-B Series. In this first part, we talk about station IDs that are not directly integrated with the music, but intended for stand-alone use: jingles and sweepers. I’ve often used full-length Ramps for a jock talk in front of a song that has no intro. I would order every jingle (also) in a version without your logo at the beginning – only at the end, because an instrumental opening won’t interfere with the melody of the preceding song. This little production element at the beginning will make your music flow sound very listener-friendly. Longer jingles are useful to build program structure; they are like separators and set the stage for something new – like bringing back the music after a long stop set.
You could choose for either a hot or soft ending – like your station name sung short and powerful, versus longer and softer. In case your music production and editing software doesn’t provide a click track generator, you can use Metronomer to download a tailor-made audio grid for your production. If your play-out system allows you to, define the exact ‘hit point’ where the next song comes in – a good point is usually that of the first beat in the grid that you’ve used. This so-called harmonic mixing (also known as key mixing) is relevant for music radio, too; it helps to create a continuous program flow.

Some music scheduling programs even offer you the option to enter the (opening and closing) key of a song.
Just make sure that the rotations of both your jingle category and all music categories that can follow after a jingle, don’t cause scheduling conflicts.
Simply tell your music scheduling program to follow a fast jingle by a fast song, unless it violates an ‘unbreakable’ rule or creates another conflict. In any case, it’s always good to go over your playlist once it’s scheduled and make adjustments where needed.
When I was presenting radio shows myself, I loved to use every element of the jingle package ‘in perfect harmony’ with the music, and I enjoy to share some ideas on it.
Opening effects build a bridge, so you’re never suddently ‘cutting off’ someone’s favorite song (which would be tune-out factor). The closer a jingle sounds like the next song, the better it sounds, so right before REM’s Losing my Religion we’ll play a Pop-Rock (not a Pop-Dance) jingle.
This will make it a lot easier for you to quickly adjust your jingles to the pre-scheduled songs when reviewing your playlist.
For longer positioning statements, 4 and 8 bars are possible, but watch out: long sweepers can be perceived as ‘talk breaks’ and thus ‘interruptions’ of your music flow! A better flow might keep your audience stay tuned over a longer period of time, and thus help you to take your Time Spent Listening (TSL) to great heights.
Keep an eye on categories that don’t have many songs and need a balanced rotation, such as power currents! Then it should be allowed to, for example, also follow a fast jingle by a medium fast or medium song. And, of course, standard-duration Basic IDs are perfect to exit your strategically programmed commercial breaks. It can be worthwhile to give your jingles sound codes and let your music scheduling system rotate them according to some genre rules (if you have enough jingles for every major genre). No problem – even just 4 or 8 keys will let you cover 33% or 66% of all possible combinations.
You could also choose to schedule all of your songs first, and only then schedule all imaging elements around the music.
In addition, add a general tempo index to every song card (based on the exact BPM which you already have available).
So instead of the BPM value, use a simple 1-to-3 scale (slow, medium or fast) or a 1-to-5 scale (very slow, medium slow, medium, medium fast or very fast) here to describe every song. Fine-tune your category content, format clocks and scheduling rules until everything’s 100%.

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