Solutions for radio stations & broadcasters

Radio stations & broadcasting

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Radio Broadcasters, what can we do for you?

Streamline how you receive music

Artists submit their music to one centralised place where you can easily sort through and get in touch with them. You’re in control with our demo submission tool

Find artists & bands

Leverage our high profile independent artists & bands for music, collaboration and more. One easy place to find and listen to fresh talent.

Manage your catalogue

Increase productivity across your team by managing your media assets through our file storage and project management tools. If you’re a bigger team you may be interested in our Private Network to get one exclusive space to work together.

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Manage playlists & demo submissions

Having an effective way of managing the music you receive is key to saving time. Our central tool gives you a branded landing page for submitters to upload and provide their information to you. This reduces inbox clutter and displays the demos in an easy one-click play format where you can shortlist and manage as you desire.

It’s the age-old needle in a haystack scenario that’s the issue, this solution takes the pain out of the process and helps the cream rise to the top. 

Georgia Box is a Music Gateway independent pop artist, shown sitting on a kitchen worktop listening to the radio

Streamline the way you listen to demos

Whether you’re a recording studio, record label, music publishing or music licensing company, our music submissions tool will streamline the way you work

Create a project brief

Create custom branded external landing pages and outline your need, requirements and submission criteria. Embed reference files, images, video content and tag with specific music genres.

Online audio & video files

Automatically create mp3 and mp4 streamable versions of uploaded submissions. Manage, review, download and save files to your cloud file storage system or create branded playlists.

Recent work by Music Gateway

Sourcing high-quality independent artists & bands

We appreciate that A&R is a very personal process. We see ourselves as a spotter, funnelling talent through our channels and introducing artists to our radio broadcasters, presenters and DJs. 

There are no fees involved with this service, it’s a fundamental part of our process to help further people’s careers in the music industry. We do the same with Record Labels, Music Publishers and Artist Management as we do within Radio.

How this works purely depends on how you would prefer to work, but can be as simple as us filtering and sending you artists that we feel are worthy of a listen, it’s about us learning more about you and your show, then presenting options matched to those needs. 

Let’s connect and discuss how we can be a funnel for your needs.

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Film & TV placements
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Music Licensing Showcase

Various

We secure some of the most exciting Sync placements for our talented Artists, Songwriters, Labels, and Publishers. This has been made possible by working with our established and growing network of skilled Music Supervisors within the Film and Entertainment industry.

NCIS: Los Angeles

CBS

American TV Network CBS’ ongoing crime drama “NCIS: Los Angeles” starring LL Cool J, Chris O’Donnell and Daniela Ruah follows the Naval Crime Investigation Services team as they take on the toughest cases in LA.

Souluvmuziq’s multi-genre songwriter and producer MadD3E’s uplifting R&B track “Know Me Better” featuring vocalist Bluesforthehorn secured a seamless sync to begin episode 10 of season 11 on a high.

Bulletproof Season 2

Sky One

Sky One Sky One’s action-drama series “Bulletproof” follows undercover police duo and best friends Bishop played by Noel Clarke (Kidulthood, Adulthood) and Pike played by Ashley Walters (Top Boy) as they pair up to take down criminal gangs across Europe in the pursuit of justice. 5ive 9ine is a genre-bending team comprised of U K Rap pioneer Sway Dasafo and Producer Zagor who landed a Sync for the series’ multiple action-packed promotional trailers with their high-intensity Rap track “Born A King”.

Close

Piccadilly Pictures / Netflix Originals

Actress Noomi Rapace (The Girl with the Dragon Tattoo, Prometheus) leads the action-packed Netflix thriller “Close” as a deadly bodyguard hired to protect a troubled heiress. Directed & written by Vicky Jewson.

Working with Music Supervisor Claire Freeman we secured two placements with tracks “Kerbela” from artist Orlando Lanzini and “Middle” from JP.

BROS: After the Screaming Stops

Fulwell 73

BAFTA award winning documentary following the reunion of brothers Matt & Luke Goss from the 80s pop band “Bros”. Watch how their journey to resolve past issues & deliver long-awaited shows at sold-out London O2 Arena gigs.

We secured a sync for Jess & James 60’s pop track “Move” through working directly with established Music Supervisor, Michelle De Vries.

The Terror

AMC

Ridley Scott’s “The Terror” airing on AMC is a 10-part horror anthology series based on the bestselling novel by Dan Simmons.

With a catalogue full of nostalgic & vintage tracks suitable for period dramas, working with music supervisor Natasha Duprey we placed “Candy” by Jack Kluger & Jay Clever and his Orchestra.

The Capture

The BBC

The BBC drama “The Capture” was a huge hit. A 6-part mini-series about a persistent young detective who begins to discover a multi-layered conspiracy when handling the case of a British soldier who is charged with murder.

We placed a techno track for a specific club scene through Music Supervisor Michelle De Vries for this brief, which featured producer Politis’ track “Gravity” within the fifth episode.

The Marvelous Mrs Maisel

Amazon Prime Original

“The Marvelous Mrs Maisel” is an Amazon original comedy/drama set in 1950s Manhattan following the life of Miriam “Midge” Maisel who is refinding purpose through stand up comedy after her husband leaves her for another woman.

We secured a sync for artist Lily Chao, whose track “Picking Tea Leaves and Catching Butterflies” was placed by Reel Music’s Robin Urdang.

Moffie

Portobello Productions

“Moffie”, 2019 London Film Festival’s Best Film category nominee is a British South African LGBT biographical war drama written & directed by Oliver Hermanus. The film is based on an autobiographical novel by Andre Carl van der Merwe.

Working with Music Supervisor Jack Sidey led to us securing 4 amazing sync placements by 3 separate artists for this film including artists Denny Leroux, Structure and Steve Swindells.

Bloodline

Sony Pictures / Netflix Originals

Critically acclaimed Netflix Original series “Bloodline” is a drama/thriller based in the Florida Keys following the well-off Rayburn family (Kyle Chandler, Linda Cardellini) who has a dark past which slowly unravels leading to an uncertain future.

A sync placement was secured for the final season with “Never Been Good at Goodbyes” by Mike Goudreau & The Boppin’ Blues Band by experienced US Music Supervisor Mark Wike.

American Soul

BET

Biographical drama “American Soul” is a series on BET based on the ambitious story of Soul Train show creator and host Don Cornelius. Set in 1970’s Los Angeles, this is a series filled with iconic music, dancing & fashion.

We secured 60s soul group Bud Ross & Pals with their lively track “Do Your Own Thing” working directly with Music Supervisor, Ashley Neumeister.

Ashes In The Snow

Sorrento Productions / Lithuania's Tauras Films

“Ashes In The Snow” is a historical drama film based on true events starring Bel Powley (Diary of a Teenage Girl) & Sophie Cookson (Kingsman: The Secret Service). Set in 1941 during Stalin’s brutal dismantling of the Baltic region, Lina, a young aspiring artist and her family get deported to Siberia.

Our trailer placement was via LA advertising agency Soda Creative syncing independent artist NEVERGONE’s track “Motion”.

Honey

Universal Pictures

Def Jam signed artist & dancer Teyana Taylor stars in Universal Pictures’ “Honey: Rise Up and Dance”. Skyler joins a dance crew to compete for a college scholarship. Discouraged by her family & friends, she tirelessly practices amongst Atlanta’s underground dance scene.

Singer, Songwriter Tyler Shamy scored a major sync with “Work You Out” performed by Spencer Sutherland. Thanks to established Music Supervisor, Adele Ho.

Little Drummer Girl

The BBC

An amazing 6-part BBC mini-series “The Little Drummer Girl” is based on John Le Carre’s best-selling novel. Actress and idealist Charlie gets drawn into high-stakes espionage. Starring Florence Pugh, Alexander Skarsgard & Michael Shannon.

Working with Air-Edel music supervisor Matt Biffa, we secured three sync placements for authentic Greek copyright music productions played during the opening scenes set in Greece.

Private Eyes

ION Television

eOne Entertainment’s “Private Eyes” is a crime-solving comedy/drama TV Series based in Toronto, Canada. It follows an ex-hockey player and private investigator who form an unlikely partnership.

The soulful R&B track “You Wreck Me” by Artists Kaki & Eddy Smith was placed in the opening scene of EP 9,, S3 through Canadian Music Supervisor, Dondrea Erauw.

Girlfriends Guide To Divorce

Bravo / NBC Universal

Produced by NBC Universal “Girlfriends’ Guide To Divorce” is a TV series following a self-help book author who is recently separated and is navigating her life in Los Angeles as a single woman in her 40s.

Working with NBC in-house music supervisor Kerri Drootin, we secured a sync licensefor Artist Sounds Like Moving’s track “Away”.

Friends From College

Stoller Global Solutions / Netflix Originals

Netflix original comedy series “Friends From College” stars Keegan-Michael Key (Key & Peele, Keanu) & Cobie Smulders (How I Met Your Mother, Avengers). Experiencing nostalgia from their time at Harvard together, a group of friends try to manage their complicated lives whilst entering their 40s.

Music Supervisor Manish Ravel licensed a selection of Polish club music frok us for a nightclub scene featuring Weekend’s tracks “Ona Tanczy Dla Mnie” & “Dalem Ci Kwiaty”.

Destination Dewsbury

Independent

British Indie comedy film “Destination: Dewsbury” based almost entirely in West Yorkshire, follows 4 old friends on a mission to see their dying friend Frank for the very last time. The BBC reported that this made director Jack Spring the youngest feature film director at the time.

A song sync opportunity within the trailer was secured here through Music Supervisor Will Smith using rock band The Great Cynics’ energising track “Whatever You Want”.

Music Licensing

NCIS: Los Angeles

Bulletproof 2

Close

Bros

The Terror

The Capture

The Marvelous Mrs Maisel

Moffie

Bloodline

American Soul

Ashes In The Snow

Rise Up & Dance

Little Drummer Girl

Private Eyes

Guide To Divorce

Friends From College

Destination Dewsbury

Managing your music files, library, metadata and playlists

Think iTunes library but totally managed in the cloud with storage similar to Dropbox

Managing your music files, library, metadata and playlists

Manage your MP3 files

Manage all of your mp3 files and assets securely in one solution. Manage everything from individual accounts or within our client-branded private network solution allowing teams to collaborate in the cloud 247 from any location, with the flexibility to manage artist submissions and creators within one system.

Working in teams

Presenting music to other team members, producers, clients and third parties is a breeze with our professional playlist pitching tool which includes high-quality audio and video streaming and user management controls for customisation.

Metadata

Metadata is all handled within your private account database. You can assign song data (works) to files and add ID3 metadata information into your mp3 files. Our inclusive audio library search tool gives you full flexibility to manage your audio and add files to the integrated playlist creator, streamlining the whole curation process.

 

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Commission original composition & songs
Commission original composition & songs

Commissioning your own original content reaps many rewards. What’s key is to work with a trusted partner that does all the legwork for you and has established key relationships within the music industry, artist management and with independent music creators.

You can commission work on an On Spec basis, buyout master recordings and negotiate exclusive terms – we can advise you of all your options, the pros and cons to get the best result.

Music is at the heart of what we do and we understand that the importance of each brand, their identify and target demographic, so the first step is to have a conversation and discuss how we can help elevate your campaign.

Get in touch
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Get in touch

We are a friendly bunch of people, so feel free to jump on a call for a convo or drop us an email. Just ask for Sophie, Jon, Jack, or Sam or we can come and visit you at your offices - we’re down with that as well.

Telephone

UK & ROW +44 (0) 203 143 3245

North America +1 917 691 2113

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How Radio Broadcasting Works & How To Get In Radio!

Background

Growing up in the sixties/seventies, there were very few radio stations to listen to.  Literally, three!

Without going into the full history of radio, let’s start with Radio 1 which was launched in 1967, Capital Radio was launched in 1973, and we also used to listen to this station on AM called Radio Luxembourg. We knew Luxembourg was a foreign country, so we couldn’t understand why everyone spoke English, but it seemed to have a passion and naughty irreverence lacking from the other two stations.

If you were heavily into a specialist scene (soul, reggae, rock, disco, jazz etc.), there were a few specialist shows but no specialist stations.

For lovers of soul, disco and jazz-funk like me, there were two shows per week: Robbie Vincent on Radio London and Greg Edwards on Capital Radio. We would tape these shows from the radio, on cassette tapes, and play these tapes all week long, until the next show. In essence, these cassette tapes were our radio station.

How times have changed! I joined my first ‘pirate’ radio station in 1982 and joined Kiss FM in 1986. People ask me, “Why was it necessary to break the law?” Historically, some laws change when people break them! Emily Davison walked in front of the king’s horse during the 1913 Derby in the fight to secure the vote for women. Amazing to think that, at that time, women weren’t allowed to vote! If Rosa Parks hadn’t refused to sit at the back of the bus, when would the civil rights movement have started? Her bravery changed the lives of millions!

We didn’t view ourselves as revolutionaries and in no way could we be compared to those two great ladies.  In short, we were just vinyl junkies who lived and breathed our record collections. Nothing gave any of us more pleasure than sharing a new tune by a new artist. Some of us weren’t even big radio fans; radio was a way of satisfying the appetite, and we knew that London’s black music fans were desperate for a station of their own.

In 1989, Kiss FM came off air to apply for a legal license and, in 1990, we were granted a London-wide FM license. The station is still going strong to this day but it wouldn’t have existed if it weren’t for a law-breaking, stellar cast of London’s finest DJs. I will return to the pirate Kiss FM line-up later.

Now, London has a wide variety of early stations on the FM dial, and every major city in the UK has more choice than I had when I was growing up!

Radio’s Rivals

In 1979, an English pop group called The Buggles recorded a song called ‘Video Killed The Radio Star’, then MTV was launched in America in 1981 and it seemed like music TV was about to supersede music radio but, with the advent of the internet, that battle has swung the other way!

Now that the youth market can access any video instantly with online radio stations, music TV (and music videos) have gone into decline. To compound matters, these days, some acts don’t always make a music video!

Radio’s major rival is now streaming. Many young people don’t have patience with radio either and, if they want to hear a song instantly, they no longer have to wait for a music station to play it, they can go to their favourite streaming site and hear it instantly, and there are plenty of streaming services to choose from.

The older audience (25+) are a different story altogether! Radio 2 has been bigger than Radio 1 for decades; young tastemakers schedule their own playlists, with a combination of YouTube, Spotify and iTunes, while the older audience is quite happy to sit and listen. The older demo prefers a friendly, authoritative telling them what’s new and hot. The wonderful new word for this is curation and one of the features of radio communication. The older audience appreciates a curator; an expert to guide them through the murky waters of popular music on British radio.

Oh, yes, that older audience is something else! I currently have a weekly show on Mi-Soul and this is a niche (soulful music) aimed at the 35+ audience. Not only do our audience listen all day (15.1 hours per day, according to a recent RAJAR survey) but we take them on holiday! A load of our listeners came with us to Ibiza last year (Mi-Ibiza) and danced like they were 30 years younger!

Nevertheless, the radio industry still provides the young audience with a stimulating choice of stations; yes, you can quickly find what you want online, but you can only search for what you know. After a while, even the coolest kid appreciates some guidance from a respected peer and will seek- out their favourite radio DJs on their favourite stations.              

As with all things, the internet is a blessing and a curse! Ask any music artist if the internet has helped and they will say that it’s now easier to promote music via social media but, as everyone has access to the internet, opportunistic non-singers and non-musicians are promoting themselves as ‘pop stars’ and turning it into a very overcrowded market!  Real singers and musicians are being marginalised in favour of social media stars.   

Same with the internet is a blessing and a curse! Yes, it’s now easier to become a radio station broadcasting whizz kid but, as there are so many available, your audience will be much smaller; competition is fierce! The pie is now being sliced into much thinner slices. Even the most niche stations have direct competition.

If you want to join the radio industry, as I said, there are many around and, within them, many jobs that need doing. On the bigger stations, you will get paid, on the smaller stations, you will probably have to start as a volunteer (but most people do!)

Even though most radio listeners in the UK don’t have a digital radio, DAB stations are on the rise. New cars now have DAB radios fitted as standard so, eventually, digital will be on a par.  

Broadcasters

On the analogue FM dial, you will still find the biggest stations, with the biggest audiences and the biggest budgets (Radio 1, Radio 2, Capital FM, Kiss FM, Heart FM, Magic FM etc.) Getting a radio show on one of these stations is like being handed The Holy Grail! Invariably, the presenters on these stations started somewhere much lower on the food chain!

I guess the major difference between now and 20 years ago is that there are many, many more places where you can start.  As a broadcaster, your first radio shows are key, for two reasons: firstly, these shows allow you to get the hang of it; secondly, these shows allow you to make your rookie mistakes, and mistakes sometimes teach us our best lessons!  Thus, in truth, it’s probably best you start on the smallest stations possible! 

Back in the day, hospital radio and working at an amateur station was a traditional starting place, broadcasting to the patients, and there was even something called UBN (United Biscuits Network) between 1970-79; providing music to the workers at United Biscuits factories. At this stage, you were solely responsible for the content.

Many of the first Radio 1 DJs were on the first pirate stations, providing a broadcasting service from boats offshore, and some of today’s most respected broadcasters are former land-based pirate presenters, but there is actually no need to break the law anymore!

These days, wherever you are in the UK, as well as your local BBC station, BBC archive, commercial radio UK  and your local commercial station, you also have any number of digital stations, internet stations (some more high profile than others), and community stations on FM, broadcasting to a radius of a few miles. 

If you apply for a position, you will be asked for a ‘demo tape’, though we’re no longer talking about a cassette tape or even a CD!  MP3 files are acceptable in an e-mail. Create a ‘demo’ of your voice linking to songs and/or talking about relevant issues and/or interviewing someone. Your demo tape needs last no longer than two minutes. Naturally, if you already have some kind of name and/or profile and/or social media numbers, that will enhance your application.

So, what kind of radio broadcaster do you want to be? Most young people want to do music radio and probably 100% want to choose music. This you will be able to do on small stations or specialist music stations; radio stations where you’re unlikely to get paid! There are a few big stations with specialist shows (1Xtra, Capital Xtra, Kiss FM etc.) but, naturally, the waiting list for these gigs is LONG!

Most music stations have a music policy and a playlist. Broadcasters are hired for their voice, not their music knowledge. You will be expected to follow the station’s music policy, as designed by the Head Of Music or Programme Controller.

If this doesn’t sound like fun, there are plenty of opportunities for specialist broadcasters on specialist music stations and internet radio, and these presenters will have a separate day-time job and/or make their money through nightclubs, pubs, parties, events etc.

If news/talk/sports radio is your preferred medium, most of the broadcasters on these stations come from a journalism background; after all, these stations are virtually radio newspapers. When applying for these positions, a solid background in local news media, at the very least, would be advisable.

News/talk/sports radio is centred around factual information.  There is no margin for error. When the words leave your mouth, they must be accurate and true, so it’s vital to have experience in fact-collecting and fact-checking, or may be at the end of a lawsuit!

Specialist Broadcasters

So, you think you’re the next Pete Tong or the next Tim Westwood?

Specialist radio services and broadcasters all think two things: firstly, they all think they’re cooler than the guy already doing the job and, secondly, they all imagine they’re going to bring something fresh and new to the airwaves!

Let’s return to that all-conquering line-up on pirate Kiss FM; the list of DJs that gave the station its’ swagger and secured a legal license.  In alphabetical order: Colin Dale, Colin Faver, Danny Rampling, Jay Strongman, Jazzie B, Judge Jules, Manasseh, Norman Jay, Patrick Forge, Paul ‘Trouble’ Anderson, Steve Jackson,  Trevor Nelson and finally, The Zoo Experience.

MD Gordon Mac brought all of these guys (and more) together because they were all successful club DJs with a following.  The assumption was: with their club following, they would immediately have a radio audience, and this theory worked well; these guys were the crème de la crème of London’s nightlife.  The clubs promoted the radio shows, the radio shows promoted the clubs.

If you have aspirations to become a specialist broadcaster, you can leapfrog yourself to the front of the queue by having a name and a following.  A natty demo tape will help too! Both Pete Tong and Tim Westwood both came from a strong club background. They were well-known before radio made them bigger.       

Producers & how to get into radio production

However, some of you do NOT have aspirations to broadcast. For some, the thought actually terrifies you and you’d much rather be behind the scenes. It goes without saying, the ‘behind the scenes’ people are just as important as the broadcasters, and there are countless jobs within the industy that need doing. So let’s explore how they work.

As I mentioned before, the bigger stations have bigger budgets and can afford to pay most of their staff. All music presenters at the BBC have a paid producer, most presenters at Mi-Soul don’t and, if they do, it’s a friend working voluntarily.

So, what does a producer do and how do you learn radio broadcasting techniques? Assist in any way necessary. It might be writing a script for the presenter to read? It might be making a judgement on a boring caller? (“End the conversation as soon as possible!”) It might be deciding which guests to interview next week and then tracking those guests down? It might be making coffee? It might be starting a song, while the presenter nips to the toilet? It could be anything!

Some presenters, like me, don’t WANT a producer. I like being ‘self-op’ and doing the whole show by myself unless I am interviewing someone, and then I need someone to let them in, make them some tea and post photos of us on social media.

So, if being a producer sounds like your bag, again, start small. Assist any presenter on any station, there’s always online radio broadcasting over a mainline FM station. Get the necessary experience that you can add to your CV. Yes, maybe we should now talk about your CV?

Naturally, the more experience and more varied the experience, the better. To get a job as a producer, a voice demo is irrelevant. The CV is your gateway to a new job. The more jobs you’ve done and the more radio stations you’ve worked on the better! As with radio shows, make your mistakes early in your career. Once you’ve clocked up a few years of working on internet radio stations or local stations (no matter the size), an employer will assume you’ve learned some problem-solving skills (and hopefully you have?)

The bigger the names on your CV: the better. I’ve just completed 19 years and five months at MTV and every intern that worked for us went on to a decent job at a good company, many earned a position inside MTV! 

Every radio station is different, in terms of style, size and structure. Every radio DJ is different (with his/her distinctive set of bad habits!) An aspiring producer should spend time at a pop music station, a specialist music station, a news station, a talk station and a community station. You will learn something different from each, and possibly learn what you’re best at?

It goes without saying, if you’re a music radio producer, your music knowledge should be as comprehensive as the broadcaster you are producing, if not more! Many years after his death, a BBC radio intern called a Jamaican phone number to enquire if Bob Marley was available for an interview!

The Staff

Naturally, every radio station has an infrastructure. Every radio station, even the smallest one, will have a big boss; a man at the top; someone who, ultimately, makes all the decisions. Typically, the MD (managing director) of any radio station has had a few decades of experience in radio and/or media and/or business. You will get there eventually!

Below the MD, on a commercial radio station, you will find the money-makers: the sales and sponsorship people that keep the business afloat. The sales people sell adverts. Adverts can be national or local. National adverts are big companies (like McDonalds, 20th Century Fox, Coca Cola etc.) who buy advertising packages centrally (from a sales house) and these adverts play all over the nation. 

Local adverts are local companies who only want to reach the local community or a community of interest.  For instance, on a rock music station, rock music record labels buy ‘local’ advertising to reach rock music fans.

Sponsorship has become a much more sophisticated sell in recent years. Companies used to sponsor a station, a show or a feature on a show, but now they sponsor everything: the weather, the traffic, the business news, the football results, a club night, a concert, Saturday night or sometimes a featured Record Of The Week? Sometimes, radio stations will create shows or features on shows just to attract a sponsor?

Radio stations also need marketing people to publicise the station and enhance its public image, a radio station will also have a press/PR person to deal with media enquiries. A smart radio station will also have a web person to create and maintain the station’s website and make sure their social networking pages are pushing out cool messages.

Naturally, there will also be a finance person to make sure the business is run properly and everyone gets paid!  Commercial radio stations need to be successful businesses. There must be a profit or the station can’t move forward. With the BBC stations, funded by a license fee that you and I pay, these commercial considerations do not apply. No matter the ratings, the BBC will always be financed by us.

So, there are lots of jobs that need doing but, on a small station, you will find one person doing many jobs!  Naturally, the more skills you have, the better your CV. If you find yourself in a situation where you’re doing a variety of jobs, it could actually work in your favour down the line?

Even though Mi-Soul is a small station (merely online & DAB across London, Brighton, Manchester and Glasgow), it is an influential station.  It has average listening hours of 15.1 per day and, if you times that by the number of people listening, you get a very impressive ‘total hours’ figure.  If you visit the BBC radio building in London, there are always people buzzing around but, when I go into the radio station on a Saturday afternoon to do my show, I am sometimes the only person in there; the staff work Monday to Friday, and there are systems in place that make it easy for me to steer the ship by myself. If anything goes wrong, a variety of people are a phone call away, but it just goes to show that radio stations vary massively. Nevertheless, there are lots of jobs out there just waiting for you!

FAQ Section

Q: How are radio waves used in broadcasting?

In radio broadcasts, sounds are encoded into radio waves, and then the waves are sent out through the atmosphere from a radio tower / location that covers a specific area. AM broadcasts use longer wavelength radio waves than FM broadcasts and because of their longer wavelengths, AM waves reflect off a layer of the upper atmosphere called the ionosphere and in general produce a lower quality than FM stations.

Q: How does radio broadcasting work?

Radio broadcasting works by translating sounds such as music, talking into electromagnetic waves called radio waves, which is then transmitted to the public via the radio station. It’s combined with another electric current called a carrier signal the combined signal is sent to an antenna which broadcasts the radio waves. The radio station is assigned a frequency which the listener will tune into on their device.

Q: How do you become a radio broadcaster?

Here are some career tips for how you become a radio broadcaster.

  • Get a degree in media and or journalism
  • Practice your broadcasting skills, record yourself and self learn
  • Secure some work experience, or volunteer for work with a charity radio station (get in the door and cut your teeth in a radio broadcast environment)
  • Apply for jobs are bigger corporations and broadcasters, so you can get to know people higher up the career ladder, as it’s who you know which can give you that step up and opportunity to progress in your chosen path
  • Don’t give up, listen and take on board feedback and keep improving your skills in broadcasting

Q: Is it legal to broadcast FM radio?

In the USA the portion of the radio spectrum that lies between 87.9 and 107.9 MHz is set aside for FM radio broadcasts which required a license to operate. Even if you buy an FM transmitter that bears a statement of conformity, that isn’t a guarantee that it actually does.

Q: How far can a radio station broadcast?

VHF radio waves do not travel far beyond the human visual horizon, so reception distances for FM stations are usually limited to 30 to 40 miles. They can also be blocked by hills, buildings and large objects.

Q: How do I start my own FM radio station?

Here is the best way on how to start a non-internet radio station.

  • Apply for an FM (frequency)
  • Apply for a license. It’s illegal to operate an unlicensed radio station, even at extremely low power
  • Source and secure funding to operate your station

Q: Do you need a degree to be on the radio?

No, you don’t need a degree to be on the radio. While a degree in media and or broadcasting will help you secure a role in radio, it’s not a minimum requirement. Radio DJs and presenters are mainly cut from a creative cloth, and therefore in a lot of cases don’t have a background in further education. A lot of broadcasts or journalism degree programs require students to complete internships before graduation. Radio broadcast internships provide hands-on experience in a station workplace.

Q: How much does a radio show host make?

A radio show host, DJ or presenter with mid-career experience which includes between 5 to 10 years of experience can expect to earn an average salary of $42,000 per year or £35,000 in the UK.

Q: How do I get a job in the radio with no experience?

What’s the best way to get a job in radio I hear you ask?

  • Get in the door, in any role within a broadcaster, either small, local or large, even if it’s making the tea and being a runner. This is key and acts as a stepping stone to greater things.
  • Secure volunteer or internship positions.
  • Don’t worry about what you do within the company, it’s all about being around that environment and seizing opportunities that arise from within, showing ambition to your bosses and networking.