THERE is a new radio station currently running what sounds like test transmissions on 106 FM radio from the Copperbelt.
I am not too sure, of which identity it is. The first one I heard was that it was Central Africa Baptist Radio and later heard that it is Faith Radio, broadcasting from Riverside in Kitwe.
Whatever the name, I guess the station is yet to stabilise and position itself on the Zambian airwaves.
Though a Christian radio, the good thing is that this one, like other exciting Christian radio stations, offers a totally different carte du jour (options).
This radio features more of traditional church programming in hymns, sermons and the order of presentation.
Those familiar with other existing Christian radio stations would agree with me that Radio Christian Voice (RCV) is somewhat Pentecostal. We also have a number of Catholic-oriented radio stations around.
We previously had complaints from radio fans sent through this column accusing some radio stations of treating listeners to doctrinal pragrammes. Of course, private radio owners determine their own package.
With a variety of radio stations around, listeners have a choice to simply touch the dial to their preferred stations.
ZNBC
Like last year, Zambia National Broadcasting Corporation (ZNBC) took the lead on International Children’s Day of Broadcasting by allowing them take the airwaves last Sunday.
I first heard Children on ZNBC’s Radio 1 interview their friends during the Sunday morning Luvale broadcasting programme.
As expected from them, questions were: “What is your name? In what grade are you? What subjects do you take?”
PHOENIX
Paddy Mukando is a good friend of the children. He, therefore, did not have problems mingling with them in the studio last Sunday.
With Chatewa Dominic joining him later, they, in unison like children said bye-byes at the end of their time.
***
During his Sunday Mellow Madness of country music presentation, Chatewa received countless requests to play ‘Beer with Jesus’ song, and then he wondered, “Hey, I don’t know why everyone wants me to play this song.”
And he went on to first play four different versions of that song, and later played several other country songs about Jesus.
Readers will remember that it has been three weeks now, when I first ran lyrics of ‘Beer with Jesus’ song after hearing Chatewa play it, then I received a barrage of mails and messages from my friends (obviously those who are inseparable from beer), expressing happiness.
Amazingly, these friends had never heard about that song until they read this column, therefore, demanding for it to be played one more time.
Like I said last week, the song is about nothing but a confession of one drunkard wishing he could pour his heart out to Jesus, and not that he would buy Him a bottle of beer.
ICENGELO
I heard Rhoda Tembo last Tuesday morning speak ciBemba correctly and accurately giving time as “Akashita nomba kalemba 06:13” (Time now reads 06:13 hours).
I recognise that accuracy because most presenters speak what has become to be known as ‘Corrupt town Bemba’.
TIPS
WITH the changing technology, gramophone then used to play music from the radio studios have been replaced by computers.
Radio presenters, however, need to know their music library very well and ask about the copyright regulations which your broadcasting organisation recognises.
Copyright regulations generally prohibit the re-recording of music produced by the major manufacturers. However, to assist radio producers in the use of music, many specialist manufacturers produce libraries of special music which may be re-recorded provided a fee is paid.
The use of music in radio drama and the radio documentary can do much to create a mood or set a scene. However, much of the available music for this purpose is attuned to Western ideas.
A good drama producer will try to find out what ideas this music conjures in the minds of his listeners and seek out indigenous music that can be used for similar purposes. It can be recorded in the studio.
It was hard to imagine broadcasting at that time without the tape recorder, yet the tape recorder was a comparative newcomer.
It became one of the most important items of studio equipment. The principle of tape recording was comparatively easy to grasp.
A ribbon of plastic tape coated with a magnetic material passes at a constant speed through the field of an electromagnet, called the head.
An alternating current corresponding in frequency with the frequency of sound at the microphone flew in the head causing a series of magnets to be impressed on the tape.
On playback the now magnetized tape again passes over a head inducing in it a flow of current. This current when amplified drives the loudspeaker which reproduces the original sound waves.
The mechanical part of a tape recorder is called the tape deck (sometimes the tape transport mechanism). The constant drive to the tape is provided by a capstan and pinch wheel.
The tape deck also has two rotating platforms, one to hold the feed spool and the other to hold the take-up spool.
It is important to understand that the drive is provided by the capstan and not the take-up spool.
A studio recording machine has three heads: an erase head to remove any previously recorded material, a recording head and a play-back head-in that order.
A fine hairline gap separates the pole pieces of each electromagnetic head. The gap lies at an angle of goo across the width of the tape. This gap must be kept clean otherwise the tape will be only partially recorded upon. The heads must also be regularly demagnetised, otherwise they fail to record and reproduce the upper frequency range-the range
containing those precious frequencies which give clarity and presence to a recording.
The recording tape has a plastic backing of cellulose acetate, polyester or nylon. It is available in various thicknesses: the thicker and therefore stronger standard play or long play tapes are generally used in studios.
Cellulose acetate tape is brittle and not suitable in the tropics. The thickness of the backing determines the length of tape on a reel of any given size. On this backing is deposited a fine coating of magnetic material.
The coating must always face inwards towards the  head and be in intimate contact with it. The plastic backing generally appears glossy to the eye.
Studio recordings are generally full-track, that is, they use the full width of the tape. Some portable recording equipment is half-track. A full-track recording can be played back on a half-track machine but it is not wise to playback a half-track recording on a full track machine unless the second track has not been used, and even then it is not really advisable.
MULTICHOICE NEWS FLASH
As highlighted last week, we publish names of some recipients of MultiChoice give aways based on their contributions to this column; O’pa from Chililabombwe, Clara from Kitwe, Kennedy Chushi from Samfya, Petronella Mazyopa, Lusaka, Maybin Mulambo, Ndola and Katuka of Luanshya.
For comments, observations and contributions; jackmwewa@gmail.com – 0955115777