SCHEDULE 3 page 1 of 2 04 May 2000 ____________

Reasons why CRTC policy as set out in PN 2000-12 pertaining to the structure and composition of the Board of Directors should not apply to Trent Radio.

The structure of Trent Radio's Board of Directors:

Trent Radio was established in 1969 and incorporated in 1978 as an "independent corporation" without share capital as a student controlled and sponsored initiative and as such, the by-laws of the corporation provide that a majority of the Board shall be enrolled students of Trent University. Membership is open to anyone over the age of eighteen. As constituted and incorporated, the structure of the Trent Radio Board of Directors does not provide for representation beyond that of the Membership. While the by-laws provide that a majority of Board shall be students, the students on the Board are not representatives of the student body, nor any other student organisation or government. Nor is any member of the Board a representative of the community at large, though they may be one, nor is any employee of the university a representative of the university, nor is any associated volunteer of Trent Radio a representative of the volunteers.

In 1984, Trent Radio was granted a broadcast license when the CRTC policy in effect at the time stated:

"It is a condition of licence that the licensee retain full control over all decisions concerning the management and programming of this station and that the majority of directors be students"

(CRTC Decisions 84-718, 90-602 & 93-430)

The present Board structure is "the" organising principle upon which Trent Radio's character is based.

The constitution drawn up by the applicants for the incorporation of Trent Radio with the students of Trent University, the students' governments and organisations of that time, and the university's administration covenants a student majority arrangement for the Board. To desert the majority make‑up would be to make a breach with the founding principles of governance with the result that Trent Radio would no longer be a student organisation.

In consequence of this, Trent Radio would no longer be eligible to receive funding through students referendum. These monies represent about $55,000 annually or almost seventy percent of Trent Radio's annual operating budget. This would cripple its ability to pursue its goals as a cultural and educational organisation generally and its role as a broadcast licensee specifically.

Effective Control

Under the Corporations Act of Ontario, the Board is elected by the Membership annually, and is subject recall and accountable to the Membership throughout its term. In contradiction, the statement made in PN2000-12 under the law "effective control" vests in the Membership not the Board of Directors.

The Membership must be the supreme governing body in a membership organisation using the limited liability corporate structure.

Legal Requirement to Represent the Membership Only.

Trent Radio is a student-sponsored "independent" corporation, with a Board of Directors elected by the Membership (open to all) at a duly constituted Annual General Meeting. It is not a representational parliament with members arguing for their particular constituency. Instead, the Directors are bound by a fiduciary responsibility and expected to put aside any personal or external agendas such that they act

SCHEDULE 3 page 2 of 2 04 May 2000 ____________

Legal Requirement to Represent the Membership Only.

in the best interests of Trent Radio constituted as it is for the common weal.

At Trent Radio, the Directors must, under the Corporations Act of Ontario, be Members and may only represent the Membership of Trent Radio. Acting in any other way would constitute grounds for dismissal.

Directors' affinity for the organisation is based, in part, upon them being chosen by the Membership to represent the Membership, and that their role is not tokenism.

Further, as a registered charity, Trent Radio is prohibited from engaging in political activity per se. Our job is to ensure balanced programming, which is another issue entirely.

Trent Radio is an educational organisation for its Directors too.

At every Board meeting time and effort is scheduled for Board development. Each Board is provided with a comprehensive orientation package. In addition, Trent Radio's lawyer and auditor present a seminar on the Board's role and duties. We care a great deal about continuity and training those (students and others) involved in the organisation about cultural trusteeship and non-profit stewardship - citizenship, community service, and leadership.

The fundamental rule of board development is that organisational needs must drive the development of the Board, not an imposed structure that may wind up doing more harm than good.

Directors serving for terms longer than one year.

It has been determined that many fine candidates for the Board cannot make a commitment of more than one year, and they would be reluctant to stand for election if their obligation would extend beyond that. Also, a term of longer than one year dilutes the Memberships authority and control of the organisation. In practice, it is very uncommon for there to be no Directors from the previous year elected to the new Board at an Annual General Meeting.

Summary

For over twenty-two years Trent Radio's current Board structure has worked well for those living in and around the City of Peterborough interested in non-commercial radio. While there have been many challenges to overcome, charges of under representation has not been one of them. Frequently, the dividing of a non-profit organisation into small, often hostile elements is due to an ineffective Membership and Board.

Changing the structure of the Board at Trent Radio, even if it were legally possible, would not result in an enhanced performance of the Board, or in a better operation of Trent Radio. It might, in fact, distract it from focussing upon its primary role as the delegated authority entrusted to operate Trent Radio as an educational and cultural organisation and as a broadcast licensee.

[ends]
2.3

Name

Address

Citizenship

Position Held

- Date & Term of Appointment

- Group Represented

Directors

Addison, Emily

Ball, Grant

Kelly, Andra

Kirkcaldy, Al

Logger, Nancy

Rutledge, Cliff

Tonelli, Chris

Officer

John K Muir

627 Water St, Peterborough ON

RR #7 Peterborough ON

c/o TrentU Peterborough ON

33 Victoria Av Peterborough ON

1669 Champlain Dr Ptbo ON

c/o TrentU Peterborough ON

1669 Champlain Dr Ptbo ON

640 Reid St, Peterborough ON

Canadian

President & Chair

Director

Secretary

/Treasurer

Director

Vice-chair

VP & General Manager

13 Feb 00 One Year Membership

SCHEDULE 1 Page 1 of 2 Trent Radio 04 May 2000 ___________

Companion text to accompany Sections 3

PROGRAMMING REQUIREMENTS FOR RENEWING A BROADCAST LICENCE

3.1 Language of Programming

Third-language programming at Trent Radio is not directed to any culturally or racially distinct group, and would have been designated Type A Ethnic Programming, defined as "a program the spoken word content and production content of which are in a language other than French, English or a language of the aboriginal peoples of Canada.", of possible interest to all. This definition has been extinguished with the promulgation of CRTC PN1999-117, and thus no longer classified as Ethnic Programming.

3.2 Hours of Broadcast

Programming is divided into three sixteen-week seasons (Fall, Spring and Summer) per year.

A one week shutdown is scheduled between the Fall and Spring seasons (New Year's) and the Spring and Summer seasons (beginning of May), with a two week shutdown leading up to Labour Day between the Summer and Fall seasons. Shutdowns provide time for extensive maintenance

and improvements that obviates the need for full-time technical staff.

3.3 Spoken Word

All Programmers are required to include a minimum of 15 minutes / hour of Spoken Word "foreground" content. Foreground is defined such that the intellectual content of the matter broadcast is entirely related to one theme or subject, that it is at least fifteen minutes long and broadcast without interruption.

3.4 News Programming

While there is no News (sub category 11) programming at present, we are receptive to proposals for this class of content.

3.5 Educational Programming

While there is no formal educational programming, which provides academic instruction present, we are receptive to proposals for this class of content.

Trent students periodically do radio programmes as part of an academic credit. Some examples have been English, children’s literature, Anthropology, tourism documentaries, Cultural Studies, audio production and Biology, teaching science. Some students in the Concurrent Education programme have done alternative practicum with elementary and high school students at Trent Radio.

3.6 Station-Produced Programming

Seven hours per broadcast week (7%) are devoted to foreground features and spoken word programmes that are non-station-produced material, from independent producers across Canada and the world. Some examples include "Alternative Radio", "Children of the Earth", the "Panos Radio Series", "Great Western Ballroom" and "Broadcasting for Reels". This non-station-produced content amounts to about 7% of the broadcast week.

3.7 Category 3 Musical Selections

With the CRTC recent amendments to Music content categories, the current level from the category averages at about 48% all music based on time. It is anticipated that this level will be maintained.

3.8.1 Hits Community based campus stations

The broadcast of "hit" material is not encouraged. Hits may be aired if they are part of a foreground theme or some other especial feature. The change in the definition of hit (charted after 1950) is useful for our “oldies” programmes of music popular prior to 1950. The maximum devoted to musical selections qualifying as hits will be 5%

SCHEDULE 1 Page 2 of 2 Trent Radio 04 May 2000 ___________

3.9 Advertising

Advertising is not permitted according to the Sponsorship Policy (13 June 1997), unless the advertiser is a non‑profit entity.

"Acknowledgments of Support" must conform to the CRTC (PN 1983-43) definition of restricted advertising:

Restricted advertising means simple statements of sponsorship which identify the sponsors of a program or of the station.

Simple statements shall be of a "live copy" nature and may NOT be dramatisations nor include music or sound effects.

Such statements shall incorporate the names of the sponsor (business name and the owners' name), and may include the business address, hours of business, and a brief general description of the types of services or products which the sponsor provides, including the price, name and brand name of the product.

Such statements must NOT contain language which attempts to persuade consumers to purchase and thus must not contain references to convenience, durability or desirability or contain other comparative or competitive references.

Trent Radio may broadcast a maximum 252 minutes of sponsorship per broadcast week with a maximum of 2 minutes of sponsorship in any hour.

PROGRAMMING REQUIREMENTS FOR RENEWING A BROADCAST LICENCE

3.1.1 The principle language of programming shall be: ENGLISH

3.1.2 Other languages of programming

	Per broadcast week
	Hours	Minutes	% of total programming
Other official language (MAXIMUM)	2	0	2.0
Languages of Aboriginal Canadians (MINIMUM)	0	30	0.5
Third-language programming (MINIMUM)	0	30	0.5

* Licensees who provide who provide ethnic programming must complete Appendix A entitled "Ethnic Programming"

3.1 Language of Programming

At Trent Radio, programming is Producer oriented. We are concerned about our Programmers and do not target programming to particular groups in our community. Some Programmers choose to speak in languages other than English but their programming is not exclusively directed to any one cultural or racially distinct group. There is a “language buddy” who audits the non-English programme to advise on content and to ensure broadcast compliance. When speaking in English, cross-cultural programmes are considered educational and of benefit to all.

3.2 Hours of Broadcast

The licensee UNDERTAKES to broadcast an average of 100 hours per broadcast week.

Programming is divided into three sixteen-week seasons (Fall, Spring and Summer) per year.

and improvements that obviates the need for full-time technical staff.

3.3 Spoken Word

The licensee accepts, as a CONDITION OF LICENCE, to devote, during each broadcast week, at least 25% of its programming to Spoken Word (content catagory 1) which is comprised of News (content subcategory 11) and Spoken Word - Other (content subcategory 12), as defined in CRTC Public Notice 2000-14.

_YES

_NO

All Programmers are required to include a minimum of 15minutes/hour of Spoken Word "foreground" content. Foreground is defined such that the intellectual content of the matter broadcast is entirely related to one theme or subject, that it is at least fifteen minutes long and broadcast without interruption.

3.4 News Programming

While there is no News (sub category 11) programming at present, we are receptive to proposals for this class of content.

3.5 Educational Programming

While there is no formal educational programming, which provides academic instruction present, we are receptive to proposals for this class of content.

3.6 Station-Produced Programming

The licensee accepts as a CONDITION OF LICENCE to devote, during the broadcast week, at least two‑thirds of its programming to station produced programming.

_YES

_NO

Seven hours per broadcast week are devoted to foreground features and spoken word programmes that are non-station-produced material, from independent producers across Canada and the world. Some examples include "Alternative Radio", "Children of the Earth", the "Panos Radio Series", "Great Western Ballroom" and "Broadcasting for Reels". This non-station-produced content amounts to about 7% of the broadcast week.

[Most of the programming on Trent Radio is station-produced. Trent Radio has a strong relationship with our local community access cable station. Trent Radio simulcasts the weekly programme The Open Line, a call-in show about local political issues with elected representatives. We have also simulcast city council meetings at times of political acuteness and public interest. This is a relationship that we endeavour to continue. Four hours week is for simulcast and co-produced programming.]

3.7 Category 3 Musical Selections

The licensee accepts as a CONDITION OF LICENCE to devote, during the broadcast week, a minimum of

5% of it musical selections of musical selections from content category 3.

_YES

_NO

With the CRTC recent amendments to Music content categories, the current level from the category averages at about 48% all music based on time. It is anticipated that this level will be maintained.

3.8 Hits

3.8.1 Community based campus stations

The licensee accepts as a CONDITION OF LICENCE to devote no more than 10% of all musical selections broadcast during each broadcast week to musical selections that qualify as hits, as defined in CRTC Public Notice 1997-42.

_YES

_NO

3.9 Advertising

The licensee accepts as a CONDITION OF LICENCE, to broadcast, during each broadcast week, no more than 504 minutes of advertising (content category 5), with a maximum of 4 minutes in any of the broadcast week.

_YES

_NO

Advertising is not permitted according to the Sponsorship Policy (13 June 1997), unless the advertiser is a non‑profit entity.

"Acknowledgments of Support" must conform to the CRTC (PN 1983-43) definition of restricted advertising:

Restricted advertising means simple statements of sponsorship which identify the sponsors of a program or of the station.

Simple statements shall be of a "live copy" nature and may NOT be dramatisations nor include music or sound effects.

Trent Radio may broadcast a maximum 252 minutes of sponsorship per broadcast week with a maximum of 2 minutes of sponsorship in any hour.

3.10 Codes on Programming Content

The licensee accepts as a CONDITION OF LICENCE, to adhere to the following codes during all hours of broadcast;

a) the Broadcast Code for Advertising to Children (CRTC Public Notice 1993-99 30 June 1993) as amended from time to time and approved by the Commission.

_YES

_NO

b) the CAB Sex-Role Portrayal for Television and Radio Programming (CRTC Public Notice 1990-93 26 October 1990), as amended from time to time and approved by the Commission

_YES

_NO

4.1 Block Schedule (schedule 4)

4.2 Music Category Breakdown

Please indicate the music mix broadcast by the station by specifying the minimum percentage of music in one or more of the subcategories set out below. The total percentage may not exceed, but need not add up to 100%

	_{% of music broadcast}
_{CATEGORY 2}
_{Pop, rock and dance}	_31%
_{Country and country oriented}	_7%
_Acoustic	_2%
_{Easy listening}	_2%
_{CATEGORY 3}
_Concert	_11%
_{Folk and folk oriented}	_12%
_{World beat and international}	_9%
_{Jazz and blues}	_24%
_{Non-classical religious}	_3%

4.3 Sources of Programming

4.3.1 The licensee proposes to operate as part of a network

_YES

_NO

4.4 Local Talent Development

SCHEDULE 5 04 May 2000 ____________

Local Talent Development

MUSIC: Trent Radio supports and contributes to the development of the dynamic Peterborough and area music scene.

Regular Programmes: There are Programmers interested in promoting local music. Musicians are invited on shows to discuss their work, play their music - recorded, and live. These and other Programmers play the recordings of local artists. All genres of music from country to hard core to classical are incorporated into programmes. Programmers who are new to the city are encouraged to seek out the various scenes for their particular music interest.

"Smooth Operator": This is a local arts and announcement show that airs twice daily. Local music, usually recorded, is spotlighted. This can also be a "drop in" show whereby musicians play and promote themselves for an upcoming performance or CD release.

Promo for Local new music release: CD release concerts of local artists are well promoted and attended by Programmers.

Concert promotion: Posters and press releases are posted at the station, ion the studio and in common areas so volunteers may know what is happening around town.

Radio Project Days: Once a month, the broadcast day is devoted to a particular theme. There has been two theme days on live music. Twelve hours of the superstars and non-superstars of the local scenes.

Radio and Audio Art: Trent Radio relishes in exploring all that is and can be radio and audio art.

Radio Artist in Residence: Our radio artist in residence hosts a weekly on-air jam with in studio guests and a phone line hooking up Peterborough with Los Angeles and Winnipeg, as well as hosting one of the public seminar events in the "Radio Salon Series"

Alliance with Trent University: Trent has a performance and audio production courses offered through the Cultural Studies department. Students have used Trent Radio’s facilities and have created outstanding works of radio and audio art. Student work is broadcast and archived on the Web.

Radio Art Message Machine: Listeners can "call in" and contribute their own audio art via our answering machine. Submissions are aired twice daily.

Radio Project Days: A broadcast day has been devoted to the exploration of audio art.

Radio Art Festivals: [for example], ¡RaDio BuRst!, is a five day audio art festival to accompany an academic conference on acoustic ecology "Soundescape" at Trent University, and live performances, co-hosted by Trent Radio and Peterborough New Dance, scheduled for the latter part of June 2000. Contributions will be broadcast from local and visiting artists and from those attending the conference.

Radio Drama and Poetry: Playwrights & Poets are artists too. Through a call for scripts, Trent Radio pays playwrights and professional directors to produce original radio drama. In addition and for example, this year Trent Radio contributed financially (artists' fees) and technically to the production and distribution of a local, original poetry CD (featuring the work of fourteen poets) called PROLIX.

[ends]

4.5 Training of Volunteers

4.5.1 The approximate percentage of total programming that will be produced by students to fulfull requirements of courses they are taking will be 3% per broadcast week.

Students use Trent Radio for completion of course work usually on an ad hoc basis. Students of English work in a radio group to host a weekly show of children’s stories. Anthropology students choose to produce 30-minute radio documentaries on tourism.. Film Studies students host movie review radio programmes. Education students have their practicum classes to present one-off radio shows. For all of these students the goal is to use the radio to present their learning in an alternative and public way.

4.5.2 SCHEDULE 6 (below)

ETHNIC PROGRAMMING

A. Market with a local ethnic radio station

The licensee operated in a market served by an ethnic radio station.

_YES

_NO

B. Ethnic Programming by linguistic category

Language Ethnic group to which it is directed Duration % of total programming

Spanish General Interest 0:30 0.5%

% of total programming provided that is ETHNIC PROGRAMMING 0.0%

% of total programming provided that is THIRD LANUAGE PROGRAMMING 0.5%

SCHEDULE 6 page 1 of 9 04 May 2000 ____________

General Plan concerning participation with specifics as to recruitment, training & supervision Sep - May

(for a description of Summer Operation see below)

Overview

Trent Radio welcomes the participation of students and other volunteers with open arms. Trent Radio is sponsored by the full-time students of Trent University and shared with the community as a whole. Anyone may apply for a programme. All programmers, new and returning apply for a programme each season. No time spot is sacred or seen a “belonging” to one person or music genre. Other volunteers are needed for ongoing operation and on an ad hoc basis. A variety of methods is used to reach potential programmers and volunteers. These include announcements on air, in local publications and on community access television. Open Houses held at the beginning and end of each broadcast season and all listeners and friends of Trent Radio are invited. Radio Project Days and Special programming are ways for the public to participate in the production and creation of radio on a "one off" or short term or project basis. The well-attended studio trainings are open to the entire community, whether they plan to do a programme or not.

Over the past eight months, 180 programme proposals were received for the Fall/Spring season, and of those 90 were scheduled. More than 150 new-to-radio people attended studio training sessions.

Recruitment

Recruitment for regular volunteers consists of: regular announcements on Trent Radio, weekly notices in Arthur, through word of mouth, a continued interest summer programmers, mounting to Trent Radio workshops, and a University Intro Week remote broadcast from the suburban campus.

A Programme Proposal (enclosed) process is in place each season for anyone interested in programming. The Programme Proposal directs applicants to review Trent Radio's aims as a broadcast licensee and asks a variety of questions to help the applicant develop their programme ideas and to aid the Programming Committee in its deliberations. Most important is the description of the programme idea and accompanying outlines of three examples of the anticipated show. After some negotiation with the Programme Director a successful Programme Proposal, along with a statement of expectations and undertakings is signed by the Programmer and approved by the Programme Director. This Programme Proposal becomes the contract between the Programmer and Trent Radio.

Training & Orientation

There are a series of training sessions for new Programmers:

Programme ideas workshops are held at the beginning and end of each season. Some workshops are designed for the public and some are designed for a particular community club or group. The workshop include an overview of Trent Radio and our programming requirements, an outline of the job of the Programme Director, and the Program Proposal process, discussion on participants interests and experiences, practical suggestions for programme organising and a question and answer period.

A casual chat with whomever is at Trent Radio when the proposal is picked up and/or returned. People new to Trent Radio have many questions.

Email inquires and telephone calls are answered. Usually people want to know what they have to do to start a show.

A Programmers Guide is provided to Programmers. This guide is updated as necessary and includes: a brief summary of Trent Radio’s history, Trent Radio’s aims and objectives, the structure of Trent Radio, what we are looking for in programming, how to be a programmer, programmers’ check list, explanation of Trent Radio’s broadcast seasons, reasons for discontinuance, details on the authority to broadcast, CRTC criteria and

Schedule 6 page 2 of 9 04 May 2000 ____________

definitions, Trent Radio in relation to the CRTC, the Human Rights Code, special events and social activities, Programmers’ questions and answers section and a glossary of terms.

The Programme Selection Committee reviews programme Proposals. This is an ad hoc group of experienced Programmers, Operators and the Programme Director. The programmes selected are shows that will complement and satisfy Trent Radio’s aims and objectives, the broadcast Act and CRTC requirements.

Programmers (new and returning) attend a programme development session (interview) set up with the Programme Director. There is discussion on programme expectations, suggestions from the Proposal Review Committee, content questions, subsequent ideas for the show, Canadian Content and foreground content requirements, Trent Radio’s structure and Trent Radio’s aims. This is approximately 20-40 minutes in length.

New Programmers attend a half-hour Trent Radio's facilities session. This includes a tour of the house, information on office hours, job descriptions, and building and personal security; and studio bookings and internal communications.

Ongoing studio training is open to anyone. Here the general public and new programmers alike learn about administrative details - including logger tapes, programme logs and music sheets; technical details - including how each piece of equipment works, microphone techniques and broadcast levels; and interpersonal details - including, in-studio etiquette. The twice-weekly studio trainings are limited to four people per session and are booked in advance.

More frequent training sessions are set up at the beginning of each season to accommodate demand. The studio training is also a radio programme. Listeners learn about radio through listening to others being trained - this is a proven recruitment device.

Further training is set up on request or ad hoc basis. Some of the other workshops may include: interview skills, digital editing, production studio training, how to make a creative programme promo, documentary production and music archiving to name a few.

Radio Salons are public seminars on a variety of radio and performance related topics of general interest. Subject matter has included: student media, community radio in Canada, deep listening, radio art and vocalisation to name a few.

Control Mechanisms and Supervision

The Programme Director reports to the General Manager and is delegated with the responsibility all matters programming, with the General Manager responsible for everything else.

In addition to the General Manager and Programme Director Trent Radio utilises a stable of volunteer Operators to supervise the physical facilities and programming operations. Operators are generally experienced Programmers and are chosen for their trustworthiness and proven or potential abilities, and they represent

the backbone of Trent Radio’s day-to-day facility.

Each Operator's shift is five hours long and duties include: greeting and providing surveillance information for programmers, other volunteers, and the general public; producing Trent Radio promos, producing a community notes programme; assisting in the use of the on-air phone, providing tech support for radio specials and regulars, production studio training, coaching programmers' guests, acting as tour guides for first time visitors, taking phone messages, watering the plants, tidying up after others and acting as archive gopher - sometimes all at the same time.

Training and development for Operators is an ongoing process. There is an Operators’ Guide book. New Operators are scheduled during office hours so they may learn from the staff. An Operators Log book provides information that is shared among all the Operators and staff, and an Operator's "Lunch" is held every two months.

Schedule 6 page 3 of 9 04 May 2000 ____________

Operators are well acquainted with Trent Radio's mission, its facilities, and the programmers on their shift, and are authorised to take any immediately required remedial action. In the main, however, problems are reported to the Program Director or the General Manager.

Programmers are clear on their obligations through the programme proposal process, the Programmers’ guide and meetings with the Programme Director. Trent Radio embraces "deep-ending" or the “learn by doing” approach and Programmers learn through the mistakes that they make. However, a drastic departure from the approved Programme Proposal, not showing up, or placing themselves, others or the facilities in danger is cause for discontinuance.

Late night and early morning programmers are experienced and trusted Programmers.

The Programme Director communicates with Programmers through periodic email and telephone check-ins and conducts a programme review each season.

Monthly Highlights Relating to Recruitment, Training and Orientation Sep - May

September - Fall broadcast season begins

Call for Programme Proposals On-air notices and printed announcements Open house

Programme ideas workshop Revise Programmers’ and Operators’ Guides Informal facility tours

Trent Radio space orientation Recruitment Meeting at the Public Library Radio Project Day

Remote broadcasts Welcome to Trent Radio workshop

Studio training begins Programme development sessions

Interview /w Programme Director Proposal review committee meets

October

Informal tours Trent Radio space orientation Radio Project Day

Public speaking engagements Programme development sessions Radio Salon

Special programming begins Archive training and "parties"

November

Studio training continues Radio Project Radio Salon

Digital editing workshop Other trainings (programme development) are less frequent

December - Fall broadcast season ends

Studio training continues Open house / Radio Marathon Radio Project Day

January - Spring broadcast season begins

studio training continues Informal tours

programme ideas workshop Trent Radio space orientation

Interview skills workshop Programme development session Open house

February

Studio training continues Programme ideas workshop Special programmes

Radio Project Day Documentary making workshop

March

studio training tails off special programmes Radio project days

Radio Salon

April - Spring season ends

Student Course Work due Special programmes Radio project day

Live "in house" music day Open house

Schedule 6 page 4 of 9 04 May 2000 ____________

(Note: the following is an abridged copy of the Summer Operations Document)

The Trent Radio Summer Season 2000 Plan

NEED

- There are no full-time staff people for the summer; the Programme Director is laid off entirely.

- With volunteers fulfilling some programming and other tasks, we can continue for the Summer Season with limited hours and reduced operations.

THE PLAN

- During the summer, OPERATORS have the enhanced responsibility of recruiting Programmers and determining the content of their evening, this is why they are called EXECUTIVE PRODUCERS.

- A PROGRAMME COORDINATOR shall be responsible for organising and supporting the EXECUTIVE PRODUCERS and OTHER VOLUNTEERS and keeping OFFICE HOURS. Office Hours shall be 2 - 7pm, with the Programme

- As the SUMMER PROGRAMME COMMITTEE, (the PROGRAMME COORDINATOR in concert with *all* the EXECUTIVE PRODUCERS) shall be responsible for fulfilling all programming functions and some other tasks.

- The regular availability of Studio B during the summer is to be determined.

FORMAT, CONTENT & SUPPORT

- 35% of all music selections played must be Canadian Content

- all programmes must comprise at least 25% FOREGROUND format (- see attached for a description)

- CONTENT is to varied and comprehensive.

- EXECUTIVE PRODUCERS shall provide training, direction and support to their programmers and shall be in attendance at Trent Radio House for their entire shift

A call for Executive Producers

WHAT IS AN SUMMER EXECUTIVE PRODUCER? - (only part of what you were afraid to ask)

EXECUTIVE PRODUCERS are volunteers responsible for Trent Radio and its programming. They take on the role of Operator and select the programmes for their evening. Executive Producers together with the Summer Programme Coordinator form the Summer Programming Committee, which is charged with the responsibility of fulfilling Trent Radio's obligations and commitments to Programmers, the CRTC, the community, sponsors, &c. Please see Summer Programme Coordinator's job description to see how this fits together.

Executive Producers are experienced Programmers who are chosen for their proven ability and trustworthiness and commitment to community radio.

While "on duty" at Trent Radio House, we act as Programme Director and General Manager and are vested with that responsibility and authority. Even if they happen to be in the building during our shift, our position remains unchanged, we are still "in charge". We must arbitrate in the best interests of, and according to the policies of Trent Radio.

These are the basic responsibilities of our position:

PROGRAMME SELECTION

Pursuant to Trent Radio's licence granted by the CRTC, programming functions shall be rendered in accord with the Organisation's aims as a broadcaster (see attached), in support of, and in partnership with programmers, independent of external or commercial influence, and in consideration of Trent Radio's tradition of promoting varied and comprehensive programming and tolerance, permitting any lawful expression.

In addition, at least 35 % of all music played must be Canadian, (all music programmers should include Canadian Content ... its out there)

At least twenty-five percent of programming before 10pm must be Spoken Word or Foreground.

Schedule 6 page 5 of 9 04 May 2000 ____________

Does all this seem a bit legalistic ... this ROUGH PLAN should help guide decisions as to balance and timing.

Some question to ask during programme selection:

Is this interesting? And, can they pull it off? Is the programme direction clear, or does it look like they just want to play hits or requests? What will I need ask them to find out? What will I need to do to help them?

After the process of calling, negotiating and confirming the programmers for your evening, prepare a listing of programme titles with a brief description along with the name, phone number address and membership status for each programmer.

PROGRAMMER SUPPORT: CONTENT and TECHNICAL

This would involve establishing a working relationship with our programmers, helping them to develop their programme ideas. A programmer will also need some technical training.

We also need to ensure that we have their name, address, phone number, membership status etc.

We should keep one ear cocked towards the radio during our shift (which should be playing at all times) to do our own private monitoring of the programmes. Are levels too low/high? (It really helps if Programmers are wearing headphones)

[did you know the regulations require one to wear headphones?]

Do Programmers sound like they are having problems? Do you hear anything at all?

Listen to their programmes for the non-tech stuff. Feedback (of the non-technical kind) makes a huge difference for Programmers. Knowing one is not operating in a vacuum is comforting and builds a sense of community. Constructive criticism, when done with respect, can be valuable. Most Programmers want comments on how they are doing and need someone to bounce ideas off. We provide moral, critical, and technical support. This is what Trent Radio is all about - this is the partnership between the Programmer and us. OPERATING - there are two vital aspects tied for first place in importance; one is monitoring what goes on air, the other is ensuring something is there to be monitored.

The first is accomplished using Logger Tapes. These must be in place and recording all aired programming. Their importance cannot be stressed enough. Without them, the CRTC (Canadian Radio and Telecommunications Commission) may revoke or refuse to renew our broadcasting license. This would be a very bad and awkward thing. (see CRTC decision regarding CKCU attached)

Each tape can record 8 hours so there are three tapes set aside for each day of the month. This means there a total of 93 tapes (or 3 tapes for each day x 31 days.) The labels on the tape indicate the day of the month and the period they are to be used. For example, a tape labelled "12.1" means that it is to be used on the 12th day of the month in the first time period - the tape labelled "27.3" for the third period.

The time periods are eight hours each and as follows;

Time period #1 6am - 2pm (6am or sign on)

#2 2pm - 10pm

#3 10pm - 6am

Using the example above, the tape labelled "12.1" means that it should be used first thing (6am or sign on) on the morning of the 12th of the month, while the tape labelled "27.3" is scheduled to start recording at 10pm on the 27th day of the month.

Always use the tape for its proper time period ... even if sign on was at Noon, change the tape at 2pm. Please follow all this carefully, lest things get painfully muddled. Monitor them periodically; make sure it is working. Should the logger tapes fail, all programming must stop and the Programmer should sign-off. As an aid to remembering to change the tape, a RADIO ALARM CLOCK has been installed in the kitchen -its set to go off at 2pm and 10pm. Press the YELLOW BUTTON to silence alarm sound

We must ensure continuity in programming (to get to the second aspect), which means we make sure something is on-air during scheduled programming time. The first rule of radio is "Show Up".

Programmers have been known to neglect showing up for their time. We must be prepared to perform impromptu shows (if we desire) or plop a pre-recorded tape in to play. Try to determine why there was a "no-show" and make a note in the OPERATORS BOOK. We should discuss the best way to resolve a continuing problem with our evening's partner and the Programme Coordinator.

Schedule 6 page 6 of 9 04 May 2000 ____________

Some Programmes are customarily pre-recorded, so make sure the tape is there so you can air them when they are scheduled.

Authority:

Programmers and other occupants of the house are obliged to take direction from the Executive Producer. Drug or alcohol use (except for coffee or cigarettes) is not allowed on the premises, and Executive Producers are obliged to enforce this rule. (note: broadcasting while intoxicated usually makes for boring programming.)

If Programmers are acting irresponsibly in the studio, or anywhere else in the building, they should be warned, and if necessary, asked to leave. Remember, we must make decisions in the best interests of Trent Radio. Violence and/or threatening behaviour shall not be tolerated.

Most conflicts or concerns should be resolved after a Programmer is finished their programme. Most, that is. If a Programmer is spewing out nasty, hateful words, they should be stopped. Go in and talk with them as soon as the microphones are off. Try calm, collected conversation. Disagreement or opinion voicing is one thing, propagating intolerance and hate is quite another. Remember basic Trent Radio tenets. And, THINK before you intervene. This will have to be reported; what was your rationale, how best to act, etc.?

Also, do not give out Programmers' phone numbers to strangers. If the caller is insistent, ask for their number and call the Programmer yourself to give them the caller's number.

Remember that you are not alone. Talk with your fellow Producer's and do not hesitate to call the Programme Coordinator or General Manager.

(note: with these responsibilities and the authority to carry them out, Executive Producers should remember that making radio is a creative act and Programmers may exhibit a florid artistic temperament - or even temper.) (other note: nobody is allowed to jump on your head without good reason.)

Security - non-members are not allowed in the house after office hours. However, tours can be given, at your discretion. Use your head. Any guests the Programmer brings in are, of course, welcome, *IF* they are part of the programme. We should dissuade Programmers from entertaining an in-studio fan club.

Trent Radio has an alarm system. Learn how to set and disarm it. (note: if for any reason you are in a situation where someone is threatening you while in the building, you may set the alarm and activate it by moving across the beam in the hall way. If the alarm does not scare the person, the police showing up may. Trent Radio's alarm system is only good for a few things. This is one of them.)

Also, do not hesitate to call 9-1-1 from anywhere in the building if you need help, and use the spy hole in the door to check out who you might be letting in before opening the door.

Once during the evening do a quick walk around of the building. Are both flood lights working in the back area parking lot, are both porch lights on, is the exterior front door light working? Please note problems in the Operator's Log book.

As the building, equipment, security and such is the General Manager's bailiwick. Please report any damage, theft and security concerns to him.

Try as best you can to fix things, and write it up in the log.

Hardware - Make a note of what is needed, what is missing, what has finally decided to give up the ghost. There should be some spare items in the OPERATOR's room, e.g. turntable styli, music sheets, light bulbs, etc. Part of the tech end of the job.)

Telephone - Get to know your Programmers and judge as to whether intercepting phone calls during their show would help keep things on a more even keel. It can be very disruptive for the Programmer if all their friends try calling while they are on. Refer all phone calls regarding music tracking to Jean Reno's email (jreno@trentu.ca), and take THOROUGH MESSAGES in the messages book. Callers' feedback should be passed on to the Programmer, and may warrant a discussion. Was the caller "out of their mind"? Was there something in it at all? In taking a complaint, listen to determine precisely what the complaint is about and how to contact the complainant later. Make a note of all this in the Operator's Log Book.

Upstairs Apartment - Many people do not realise that we have someone living above the studio and archive area. Keep the monitor levels down, especially after 9pm ... drums and bass go right through the floor as though there wasn't one.

Schedule 6 page 7 of 9 04 May 2000 ____________

Operating Check list

Things to do when beginning:

- Clean up BEFORE starting.

- Check the OPERATOR'S BOOK, has the transmitter blown up?

- Check on the logger tape. Remember: date and time period. Do quick rewind and playback to make sure its recording properly, and then set it back to record - make sure all is well.

- Is the yellow Transmitter button pushed in? Is the red "Off Air" monitor button pushed down? Are we, in fact, on air?

It is heartbreaking to programme, only to find out you really were talking only to yourself (the usual paranoia of radio folks)

- are both turntable styli in good repair? (write problems in the Operator's book)

- Find the Programme Log - the list of programmes for the day. Is the Programmer here yet? Who won't be? Any pre-taped shows to be set up? Any sponsorships to be run?

- Check the Programme Log for instructions from our Programme Coordinator or General Manager. This may show last minute changes or direct how we will spend our time.

- Turn the kitchen radio on, if it isn't already. Start listening.

- Studio B (usage to be determined - more later)

Things to do when last one out:

- Clean up AFTER the shift. Has the last Programmer cleaned their mess? This includes putting recordings back in the correct order on the shelves in the archive room.

- Do a brief write-up in the OPERATORS LOG BOOK of any events (or the lack thereof). Include the programme highlights, equipment problems, "no shows", comments, etc. This log is a great way for everyone to maintain contact, air concerns, venture comments. It's to help communication between Executive Producers, the Programme Coordinator, the General Manager, and whomsoever else may read it. Keeping in tune ... especially when we can't see each other.

- Shut Off Transmitter Feed button

- Leave lights on in the Hall and the Kitchen, so that it can be seen if the building is occupied if the alarm goes off. Make sure all doors, except Studio A, are shut and locked, especially the front (George St.) door (as it is prone to not being shut properly slam it to be sure)

- If you are closing down the house, the Programmers gone to bed (visions of sugared tones dancing in their heads) remember to set the alarm. Then get the hell out of here and Go Home. Get some rest. Take in some amusements.

Why do we want to do this?? It's an interesting way to widen our range of acquaintances as well as our experiences. It's a way of putting something back into the community from which we draw. It's a means of furthering, aiding and abetting creative and socially responsible actions. And, it's a good way to become familiar with the workings of an organisation, specifically Trent Radio.

And then there's this thing . . . this passion for radio . . .

This document was stolen from "What is an Operator" and massaged somewhat to include Executive Producer's programming role.

Thanks to Barb Woolner, Kristina Rawlings, JK Muir and Lisa Howard.

Produced 16 Dec 94

Amended 11 Jul 97, 18 Apr 98, 15 Mar 99 & 12 Feb 00

Modifications:

added: Outside Lights walk around

added: Lowering Monitor levels per Upr Apartment

Schedule 6 page 8 of 9 04 May 2000 ____________

added: Shut Off Transmitter Feed button to EP/Ops Shutdown procedure.

added: Kitchen Alarm Clock to Logger Tape Section

Foreground Format Definition for Music Programmes at Trent Radio (as approved by the BoD April 98)

- the matter broadcast is broadcast without interruption

- the intrinsic intellectual content of the matter broadcast is entirely related to one theme or subject

- the duration of the presentation is at least 15 minutes,

Generally, this is an opportunity to make an especial feature within your programme, and talk about the music you have been playing. This could include discussion and comparison of musical styles, biographical notes on musicians, info about a particular musical instrument, and anything else that either isn't printed on an album's sleeve (unless there is an essay there) or isn't common knowledge. Whatever you say is up to you -opinions, readings, discussion of philosophy, etc . . .

Prohibited Interruptions; these would include sponsorship messages, time and temperature checks and other surveillance information.

Other material which would be considered Foreground music would include;

A live (or live-recorded) Canadian concert (either the producer or artist must be Canadian) produced specifically for broadcast and at least 15 minutes in length.

Radio Art produced specifically for broadcast.

Schedule 6 page 9 of 9 04 May 2000 ____________

Employment Opportunity

SUMMER PROGRAMME COORDINATOR at Trent Radio : Job Description 2000

Reporting to the General Manager, the Summer Programme Coordinator shall be charged with organising and coordinating the Summer Executive Producers and other volunteers as well as acting as the liaison between these volunteers and the General Manager.

They shall convene and chair regular meetings of, and shall analyse and report on the balance of programming to, the Summer Programming Committee (all the Producers). They shall provide individual support and advice to the Summer Executive Producers.

They shall have the responsibility and authority to initiate and implement special programming, to enforce CRTC and other programming regulations, and shall have a hand in making preparations for some activities to take place in the Fall of 2000.

The Coordinator shall also be charged with the general upkeep of Trent Radio House and shall ensure that the facilities are kept in good working order and that it be an area conducive to the production of effective community radio. This would include coordinating security and technical arrangements.

Specific Duties:

SCHEDULE 4 Trent Radio (CFFF-FM) Peterborough ON: Week Beginning 12 March 2000

SUNDAY

13 March

MONDAY

14 March

TUESDAY

15 March

WEDNESDAY

16 March

THURSDAY

17 March

FRIDAY

18 March

SATURDAY

19 March

0600

- off air -

Sunny Side Up

Social commentary intermixed with contemporary music

[21 / 12]

- off air -

The Morning After

'Tis the morning after. What are you going to do? [21 / 12]

- off air -

0600

0700

The Good 'n Country Show

Blending the old country with the new. Guest appearances by local celebs and musicians, and lots of good chat. [32 / 22]

0700

0730

Back to the Bible

In depth Bible Study [12]

Back to the Bible

In depth Bible Study [12]

Back to the Bible

In depth Bible Study [12]

Back to the Bible

In depth Bible Study [12]

Back to the Bible

In depth Bible Study [12]

0730

0800

This & That

Music from 1924 to 2000

[24 / 32]

Norman in The Mornin'

Interviews with active local folks along with bluegrass and country music [32 / 12]

Black Coffee

Welcome to the world of Jazz

[34 / 12]

Chimes of Freedom

Dance music from the Caribbean, Latin America and Africa [33 / 21]

The Lawnboys

The Lawnboys discuss information technology [21 / 12]

0800

0900

1000

Operamania

Opera.Politics [31 / 12]

Traill Befuddlement

Student news and residence life [12 / 21]

1000

1100

Coffee Break

Interviews /w local music and announcements [12 / 2 & 3]

Coffee Break

Interviews /w local music and announcements [12 2 & 3]]

Coffee Break

Interviews /w local music and announcements [12 2 & 3]]

Coffee Break

Interviews /w local music and announcements [12 2 & 3]]

Coffee Break

Interviews /w local music and announcements [12 2 & 3]]

1100

Ondas Espanolas (Spanish Waves)

News, recipes, stories, interviews and music [12 / 33]

Strictly Canadian

Artistic hits and corporate misses. All Canadian [32 / 21]

Remember When

Music from the Swing Era

[34 / 24]

The Jungle Republic

A cut, mix 'n' blend of the best drum and bass has to offer [21 / 12]

Asian Rhythms

Listen in to stories and about the experience of life in Asia [33 / 12]

1200

Town Crier

Fascinating people in our community talk about their interests and passions [12]

Knackwurst and Sauerkraut

A smorgasbord of German

music including; polkas,

waltzes and country

music. [33 / 12]

1200

1300

Development Dimensions

The issues of economic, social, and community development in Peterborough [12]

Radio Free OPIRG

Public interest radio [12]

Alternative Radio

Information, analysis and views that are ignored or distorted in most media [12]

Schizophrenia Series

Understanding through compassion. Talks and interviews on mental health [12]

Trent Women's Centre

Discussion topics that concern everyone [12 / 21]

Voice of China

Learn about China from international students and new Canadians [12 / 33]

1300

1400