Microphones cannot capture situations as they are percieved. A car crash on tape lacks everything that the experience of an accident amounts to: the surprise, the holding of breath, the shock, the sadness. (more)

At its most exciting, radio is a completely immersive listening experience. (more)

New developments in both hard and software are making audio production much more affordable, flexible, and convenient. (more)

Flying across the last 50 years of international feature production is like looking out of an aircraft at night. Looking down you see the illuminated cities, the many shining villages, but far more than everything else you see the sparkling spots of individual talent. (more)

In 2003 the TCF introduced our "ShortDocs", by inviting producersto submit written proposals for radio stories (five to seven minutes in length) about a single topic - 'thirst'. (more)

Strong local radio doesn’t emerge from a moment of inspiration; it’s the product of repetition, experimentation, even failure. It’s about habit. (more)

It's not always easy to put aside the culturally-formed listening patterns we take for granted and hear radio in fresh ways. (more)

Kari Hesthamar demonstrates the distinctive sound of Norwegian radio features by playing and talking about some of the most important elements of her own work -- creating small films for listeners’ ears, capturing the true essence of a scene, and producing stories that come alive through the use of the present tense. (more)

Producing great audio experiences becomes challenging in entirely new ways when you go beyond the stereo field, and add the dimension of actual physical space (say, a person with an iPod in Central Park.) (more)

Alessandro Bosetti talks of the tremors felt while approaching somebody else's life with a microphone in-hand, when fears of exploitation combine with implacable curiosity and the possibility that neither you nor your interviewee will understand each other's intentions. (more)

Creative sound projects are increasingly blurring the lines between radio, audio documentary, sound art, and music. (more)

Producers come to editors with their tape, a vision, and a piece in various stages of completion. Editors bring their skills, a fresh set of ears, a fat red pen, and often the mandate of an established show format. (more)

All around the country college students are asking for and receiving new courses that teach audio production. They're intent on finishing college with multi-media skills, and, lucky for us, they want to help shape the future of documentary audio. (more)

Andrey Allakhverdov, from the Foundation for Independent Radio Broadcasting (based in Russia), talks about what the FNR is up to over in Moscow, and introduces the timezone-bending modern-day audio legend Lenin's Ears. (more)

Documenting somebody else's life is one of the hardest challenges producers face in their work. Over an extended period of time relationships intensify, stories often change drastically, and the line between personal and too personal blurs easily. (more)

Producer Catie Talarski and her eleven-year-old brother get to work creating their annual Thirdcoast Shortdoc. (more)

Youth producers are creating some of the most revealing and moving work on the radio these days, and we've curated a collection of gems for you. (more)

Producing “outside the box” is a challenge to the formulaic landscape of public radio, whether you’re producing a sound art parody or poetic essay or a show bent on surprising its listeners. (more)

A well-crafted scene, heard on the radio, opens a window onto a new world and allows the listener to fly right in. Claire Schoen explores the process of creating scenes -- showing real people living their lives -- for an audio documentary. (more)

Music and sound bring layers of meaning to your work. Incorporating them most effectively starts with looking for the movement and metaphor in your materials. Using examples from her own features, Sherre DeLys presents different approaches to integrated sound design. (more)