# How Radio Works: teacher guide

## Delivery

Students complete the shared Production Readiness orientation first. Use the modules as a sequence of concepts, guided builds, crew sprints, checkpoints, and reflection. The final portfolio is assessed with the 100-point rubric; module checks are formative.

## Preparation

- Complete Production Readiness orientation.
- Use a classroom simulation or school-approved online channel; do not teach unlicensed RF transmission.
- Use rights-cleared music and approved contributors.
- Tier A: phone/tablet, wired headphones, quiet room, free recorder/editor.
- Tier B: portable recorder, dynamic microphones, headphones, small mixer, editing computer.
- Tier C: studio desk, talkback, playout, monitoring, automation, and school-approved distribution.

## Access and safety

Use the school-approved safeguarding, consent, privacy, copyright, risk, publication, and retention processes. The course supports private or local delivery by default. Give students equivalent off-camera, non-speaking, technical, editorial, research, access, and archive roles.

## Pacing

### Module 1: Understand radio, audio, and audience habits

**Workload:** 2 hours

**Checkpoint:** Retain a comparison of three audio formats and a selected audience need.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 2: Develop an editorially responsible programme

**Workload:** 3 hours

**Checkpoint:** Retain programme proposal, source log, contributor plan, rights log, and editorial risk review.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 3: Write the clock, running order, and script

**Workload:** 3 hours

**Checkpoint:** Retain timed clock, running order, presenter script, cue sheet, and backup segment.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 4: Record voice, interviews, and location sound

**Workload:** 4 hours

**Checkpoint:** Retain raw audio, recording notes, contributor consent status, room tone, edit selects, and technical reflection.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 5: Edit and design the sound

**Workload:** 4 hours

**Checkpoint:** Retain assembly, review notes, revised mix, music/asset credits, and a transcript draft.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 6: Operate a live-assist studio

**Workload:** 3 hours

**Checkpoint:** Retain rehearsal recording, operator log, cue changes, issue report, and revised running order.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

### Module 7: Finish, describe, and deliver the programme

**Workload:** 3 hours

**Checkpoint:** Retain final programme, transcript, cue sheet, metadata, QC, artwork, credits, and reflection.

**Teacher note:** Run the exercise with a low-risk fictional or rights-cleared scenario before students use their own stories or contributors.

## Completion gate

The final package must be reviewable by a second student or teacher, accessible through the appropriate alternative, rights-aware, safe to retain, and explainable in a short walkthrough.