The BBC, in 2007-08, spent £462 million on its 16 radio stations. The BBC has set these 16 stations a combined target of efficiency savings of £69 million over the five year period to March 2013, representing an annual saving of 3 per cent. The BBC proposed unacceptable constraints on the Comptroller and Auditor General's access to information and his discretion to report to his findings to Parliament. The situation arose because the Comptroller and Auditor General does not have statutory unrestricted rights of access to the BBC, which he does with all other publicly funded bodies. The BBC has wide ranges of costs for similar programmes within and between its radio stations. The average cost for an hour of comparable music programmes on Radio 2 is more than 50 per cent higher than on Radio 1. For most breakfast and 'drivetime' slots, the BBC's costs are significantly higher than commercial stations, largely because of payments to presenters. The BBC has not used cost comparisons across its own programmes, or against commercial radio, to identify scope for efficiencies. The BBC uses its principal value for money indicator-cost per listener hour-to justify the cost of presenters on the basis of audience size, but the indicator does not provide assurance that programme costs are the minimum necessary to reach the required quality and intended audience. For most radio programmes, presenters' salaries represent the majority of programming costs, but the BBC is paying more than the market price for its top radio presenters. The BBC has prevented full public scrutiny of the value for money of expenditure on presenters by agreeing confidentiality clauses with some presenters.

BBC's efficiency Programme : Seventy-third report of session 2010-12, report, together with formal minutes, oral and written Evidence

Incorporating HC 359-i and 494-i of session 2009-10, this report draws on the work of the Committee and the National Audit Office since 2003 in examining the BBC's approach to financial matters.

The story of British radio begins long before the birth of the British Broadcasting Company (BBC) in 1922. This book aims to tell this story through its component parts: the makers, the programs, and the policies that together shaped the development of a system of broadcasting, grounded initially in a public service ethic, and subsequently struggling toward an, at times, uneasy balance of public and commercial radio. The last ten years of UK radio history have contained more drama, change and development than in all its previous history. This second edition of Historical Dictionary of British Radio covers its history through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on issues, characters, movements and policies that have shaped radio in the United Kingdom. This book is an excellent access point for students, researchers, and anyone wanting to know more about British Radio.

Radio Production is for professionals and students interested in understanding the radio industry in today’s ever-changing world. This book features up-to-date coverage of the purpose and use of radio with detailed coverage of current production techniques in the studio and on location. In addition there is exploration of technological advances, including handheld digital recording devices, the use of digital, analogue and virtual mixing desks and current methods of music storage and playback. Within a global context, the sixth edition also explores American radio by providing an overview of the rules, regulations, and purpose of the Federal Communications Commission. The sixth edition includes: Updated material on new digital recording methods, and the development of outside broadcast techniques, including Smartphone use. The use of social media as news sources, and an expansion of the station’s presence. Global government regulation and journalistic codes of practice. Comprehensive advice on interviewing, phone-ins, news, radio drama, music, and scheduling. This edition is further enhanced by a companion website, featuring examples, exercises, and resources: www.focalpress.com/cw/mcleish.

'Tim Crook has written an important and much-needed book, and its arrival on our shelves has come at a highly appropriate time.' Professor Seán Street, Bournemouth University The Sound Handbook maps theoretical and practical connections between the creation and study of sound across the multi-media spectrum of film, radio, music, sound art, websites, animation and computer games entertainment, and stage theatre. Using an interdisciplinary approach Tim Crook explores the technologies, philosophies and cultural issues involved in making and experiencing sound, investigating soundscape debates and providing both intellectual and creative production information. The book covers the history, theory and practice of sound and includes practical production projects and a glossary of key terms. The Sound Handbook is supported by a companion website, signposted throughout the book, with further practical and theoretical resources dedicated to bridging the creation and study of sound across professional platforms and academic disciplines.

Lists citations with abstracts for aerospace related reports obtained from world wide sources and announces documents that have recently been entered into the NASA Scientific and Technical Information Database.