Fall 2011 Training Manual
SECTION I: INTRODUCTION
1.1 Becoming a Staff Member at WESU
This training manual is a guide to the process of becoming a staff member at WESU.
Once on the staff, one is eligible to apply as a DJ to host a show, to work in any
department at the station as support staff, to produce other DJs’ shows and to run and
vote for WESU board positions. WESU is much more than a collection of DJs; it is a
diverse community of ready and able participants eager to shape the future of their
station.
The WESU training program is offered once a semester. There are three components
to the program: training sessions, service hours and internships.
Training sessions provide an overview of station policy and history, FCC regulations,
on-air procedure and more. Sessions take place once a week over the course of the
semester; there are five in total required to complete training. Led by DJs, board
members or other staff members, the sessions represent starting points in the process of
becoming a staff member. Missing a single training session will add an additional
required service hour, as explained below. Missing two or more training sessions will
prevent a trainee from becoming a staff member.
Four internships are required of all trainees. Internships provide the best opportunity
to experience the on-air environment before a trainee hits the airwaves on his/her own.
During an internship, a trainee sits in the on-air studio with a WESU DJ and participates
in the process of hosting a show, controlling sound levels and speaking on-air alongside
the host. The internships should be with both DJs representing a genre you may be
interested in and those to which you may have had little exposure. Trainees are
discouraged from interning repeatedly with the same DJs.
All staff members are required to contribute service hours during each season;
trainees are no exception. During the training season, four service hours are required for
completion of the program. Service is a wide-ranging term; it can mean alphabetizing or
organizing the WESU music library, processing pledge drive forms, or taking out the
trash. Basically, anything that needs to be done to keep the station rolling can be
considered service.
After the five training sessions, four internships and four service hours, practical and
written tests are administered. The practical test consists of a one-on-one session in the
on-air studio where the trainee is asked to demonstrate his/her on-air technical capability.
The written test covers station policy, procedure, history and FCC regulations. If both
tests are passed, the trainee officially joins the WESU staff and is eligible to apply for a
show for the following season.
1.2 The WESU Staff
Once the training program has been completed and both tests have been passed,
trainees officially join the WESU staff. There are many ways to get involved at WESU,
including but certainly not limited to hosting or co-hosting a show. Staff members can:

Aid in the production of programming, including researching, writing
and recording daily ―Jive at Five‖ community calendar segments or
Public Service Announcements.
 Work as support staff in any department, such as a sub-Music Director
for a particular genre, handling incoming new releases and managing
the WESU music library.
 Produce and conduct research for public affairs programs.
 Run for board positions and vote in elections.
Four hours of station service are required each season to keep staff members in good
standing. Service hours are anything but a burden; they are a time for staff members to
work on keeping WESU on its feet. The station could not operate as it does without the
contributions of staff members each season. In order to maintain good standing and to be
considered for the next season’s program, service hour completion forms must be handed
in prior to the end of each season when show applications are due.
SECTION II: HISTORY OF WESU
2.1 Mischievous Beginnings
WESU began its life as a mischievous idea in the minds of our founders, two young
men living in Clark Hall in 1939. Inspired by the first college radio station in the nation
(which, anecdotally, was at Brown University, though this hasn’t been confirmed), they
hooked a small transmitter up to a phonograph. In order to broadcast to the whole of
Clark Hall, the two broke into Wesleyan University’s maintenance tunnels through the
Clark Basement and hooked the transmitter up to the water pipes. The old dormitory
effectively became an antenna for their 2-4 hour broadcast day. The transmission range
was small with the weak AM signal just barely escaping Clark. But the station quickly
became more and more popular, and the two men met the demand by illicitly running
wires to more and more sections of the maintenance tunnels.
By 1941, they were in negotiations with the fraternity houses across High Street who
wanted the signal for their parties. But the frat houses were not on the university’s utility
grid, so this would require running wires over High Street. This required negotiating
with Middletown, which would, in turn, require official recognition by Wesleyan
University.
The young men approached the president of the university and explained the whole
endeavor from the tunnel transmissions to the frat houses. The president, who could not
have been unaware of the stations existence (his office, after all, was now a part of its
antenna), granted them official recognition, and the station that would become WESU
was born. (Middletown, by the way, denied the station permission to run wires over High
Street.)
This official recognition led, at some point, to official status with the FCC and the
call letters ―WES‖
Now, the following is anecdotal but captures the attitude of the station fairly well.
At some point in this early history, WES got bold and hooked their transmitter up to the
Middletown water grid. Seeing as the Middletown grid is not isolated from that of other
cities and as most utility grids have evolved over time with sections no longer in use, etc.,
stories would be told of people picking up WES while their neighbors could not.
Listeners miles away elsewhere in the Connecticut River valley would get a radio station
that no one else for miles around could pick up. After ten years of operation like this,
WES decided to have their transmitter maintained. The engineer working on the
transmitter discovered that, by a fluke of technology, their transmitter was pushing a
shortwave signal at 30 watts—a power at which shortwave should be audible all the way
in Australia.
2.2 Do-it-Yourself Radio
Once the station was officially recognized, it quickly became a popular student group.
The early radio pioneers began construction of a legitimate studio in the basement of
Clark Hall. Paying mostly out of pocket, the early members of WES purchased studio
equipment piece by piece, slowly constructing an elaborate headquarters. Soon after the
anecdotal story above, the station switched to a more powerful broadcast with an aerial
antenna. This antenna was located on the top of the Wesleyan Science building,
connected to the station by wires running through the maintenance tunnels.
In 1950, revision of the FCC’s rules necessitated four letter call signs, and WES
became WESU
2.3 Independence and FM
In the period of time after the construction of the Clark studios, WESU became
popular with the surrounding community. They broadcast high school football games,
and the news department covered the Middletown mayoral elections. WESU was quickly
establishing itself as a community voice and resource in addition to gaining popularity on
campus. In the late 60’s, the new technology of FM broadcast became a possibility for
WESU. At the same time, the Federal Communications Commission was establishing
new rules for college radio stations. In light of these things, the board of WESU decided
to reevaluate the station as a whole. They decided to adopt FM broadcast, and to begin
negotiations with the Wesleyan Board of Trustees to privately incorporate and maintain
control of the station. Both of these initiatives succeeded, and in 1967, the Wesleyan
Broadcast Association (WBA) was created as a 501c3 non-profit incorporation. Its board
consisted of students and one dean—the latter had only advisory powers and no vote with
regard to the station’s decisions. By 1968, the Section 10 educational FM license (at 88.1
MHz), as well as all equipment and funds related to the station, was transferred to the
WBA. The WBA was also exempt from all rent for the Clark Hall property. The Section
10 FM license necessitated that the station be non-profit, so for the first time in its
history, the station could not allow advertisement on its airwaves. Funding thus became
dependent on the Wesleyan student government.
2.4 The Arista Boycott
By the late 70’s, WESU had established itself as a home of eclectic music and the
enemy of the Top 40. For those of you new to radio, it is common practice for record
labels to give free promotional copies of their newest releases to radio stations in return
for airplay; at WESU this is mediated by the Music Directors. In 1980, Arista Records
responded to financial trouble in the record industry by revoking its free subscription
service to any college radio station. WESU was enraged, and then-Music Director Alex
Crippen declared a boycott of Arista Records. The announcement was published in a few
college radio journals, and soon, many other stations around the country joined it. The
boycott lasted for a year, until Arista started threatening legal action against larger,
university-controlled stations, claiming that calls-to-action regarding the boycott,
broadcast over the airwaves, were illegal. The validity of these claims was never tested,
as the universities behind these larger stations urged the broadcasters to back out. The
WESU inspired resistance was thus short-lived.
2.5 The Demise of the WBA
The 80’s and 90’s were a time of great freedom on WESU. Eclectic music became
more and more a part of the station’s identity. Community members became a more
important part of the station by filling DJ positions and eventually certain positions on the
board. In 1988, block programming was dropped in favor of Free Form programming,
after the model of stations like WFMU in New Jersey. More people than ever were free
to be a part of WESU, and there were fewer restrictions on the kind of shows they could
produce. But at the same time, the organizational side of the station was beginning to
unravel. The position of the faculty advisor had long ago passed into obscurity, and
though the station had managed quite well on its own, a series of events put the station in
a tenuous financial position. In 1986, the transmitter unexpectedly began to falter and
quickly became too unreliable for constant use. The Wesleyan Administration loaned the
station money for a new transmitter, but at a high rate of interest. The Student
Government, sympathizing with the station, absorbed most of this interest, but the cost to
the station was still about $30,000 spread out over several years—more than its full
annual operating budget at the time. In 1990, for reasons that are still uncertain, the
WBA went under, and the station was no longer independent. WESU was plunged into
organizational turmoil as it tried to rebuild its financial base.
The board, however, being primarily a student board, had a four-year turnover of its
membership. Thus by 1995, the station was completely unaware of its tenuous
organizational status.
2.6 The Move
In 1999, Wesleyan University decided to commence its long-overdue renovation of
Clark Hall. For about a decade, it had been in communication with WESU, trying to
locate another comparable space for the station’s studios, but all of these conversations
had been inconclusive. In the spring of 2000, the university gave the station all of ten
days notice that it was being moved to its present location at 45 Broad Street to a studio
half the size of the Clark Hall location. The move was hasty, and the station lost a good
deal of music and a lot of its archived records and documents.
2.7 The License
In 2003, President Doug Bennet of Wesleyan University entered into negotiations
with WESU’s board to acquire the license to 88.1. The reasoning was that the university
was a far more stable institution financially and could ensure greater safety for the
license.
2.8 The General Manager and NPR
In 2004, the board decided that the best way to solidify its organizational structure
was to attend to the four-year turnover. This would require the creation of a salaried
General Manager position, a person who could make a long-term commitment to stay
with the station and serve as a resource for the board, conveying experience and station
history from year to year, as well as attending to the daily workings of the station. The
university was approached to financially assist the station in creating this position, and in
2005, the university, as license holder, decided that the best way to do this was through
simulcasting the shows of nearby NPR affiliate WSHU, thus receiving a cut of WSHU’s
fundraising. The university, in return for facilitating the General Manager position,
necessitated that the board of directors become all-student.
The community members who were thus removed from the board created a 501c3
non-profit organization called the Friends of WESU, which served as a community run
fundraising body, as well as the station’s summertime board of directors. The student
board, for its part, was reorganized to include archival and fundraising positions.
2.9 2005-2006
WESU grew in many ways in the 2005-2006 year. We held our first substantial onair pledge drive and instituted a successful underwriting program making a very
substantial step towards financial stability and independence. Through negotiations with
the university, we won the right to once again have Community Volunteers serve on our
board, a board that has again been reorganized to better handle the new systems and
needs that have come about with our relationship to WSHU and our attempts at financial
and organizational stability and independence.
2.10 2006-2008
WESU become an official affiliate to Pacifica Radio, the nation's oldest public radio
network. Through this affiliation WESU has access to Pacifica's renowned public radio
archives and many other high quality public affairs programming.
In December 2006 WESU raised almost $20,000 in listener pledges during the 2nd
Annual Winter Holiday Pledge Drive. For the second year in a row according to the
Hartford Advocates Readers Poll WESU is the 3rd most listened to College radio station
in the Hartford area.
By the end of the 2006 Fiscal year WESU managed to negotiate funding from the
University for a new, part time Production Manager to help the GM. This position
relieves the GM of some of the day to day production responsibilities, enabling the GM
to focus more on the development of WESU.
2.11 2009 – 2010
Following President Doug Bennett’s departure from Wesleyan University in 2007,
President Michael Roth’s administration began a campus-wide reorganization of
organizations and services. In 2009, WESU was moved into the university’s Diversity
and Strategic Partnerships department with the General Manager now reporting to the
Vice President for Institutional Partnerships and Chief Diversity Office.
Beginning in 2009, WESU began an earnest effort to upgrade the station’s signal
four-fold from 1500 to 6000 watts. With assistance from the University, sister
community stations, and the Middletown Community Health Center, WESU received the
financial and technical assistance to complete the physical upgrade. The FCC granted
WESU’s application to increase the station’s signal in the Fall of 2010.
So this is WESU.
The history of creative, inventive and defiant radio is now yours to make. Welcome!
SECTION III: WESU CONSTITUTION
I. Mission Statement
WESU, Middletown (WESU-FM) is a noncommercial, community/college radio station.
WESU supports a wide variety of music genres and styles of programming and is dedicated to
exposing the listening audience to material generally absent from the airwaves. Our mission is to
provide listeners with educational entertainment, coverage of local affairs and an eclectic mix of
commercial-free music from within the community and around the globe. WESU serves
Wesleyan University students and members of the greater Middletown area as an educational
resource and outlet for creative expression, and is committed to furthering the interests of our
local community.
WESU, Middletown, 88.1FM
II. The Board
The Board of Directors of WESU is composed of eleven voting members and a varying
number of non-voting members as appointed by the voting Board. Board members are elected in
the spring to serve the following year. Votes shall be held among all station members at Staff
Meetings throughout the year to fill any Board vacancies that may arise. Board positions may be
served by students and community volunteers (with the exception of the President, the VicePresident and Coordinator of Events).
A. Voting Members
1. President
The President works closely with the General Manager to manage daily operations and keep
the Board on task. The President facilitates weekly board meetings and monthly all-staff
meetings. The President, along with the GM, serves to represent the station’s interests to the
University as well as the outside world.
2. Vice President
The Vice President records and publishes minutes for all meeting, as well as keeping and
maintaining the Public and archival files. The Vice President is also responsible for working
with the Wesleyan student assembly to finalize the station’s yearly budget. The Vice President
runs meetings in the absence of the President, and replaces the President should that office be
vacated. Should this situation occur, the Vice President would serve as acting President until a
new election for President can be held.
3. Personnel Director
The Personnel Director is responsible for maintaining the WESU personnel file for all
staff as well as for overseeing the WESU training program.
4. Program Director
The Program Director is responsible for handling programming needs, including the tasks
of developing seasonal program schedules and reviewing the quality of ongoing programs.
5. Public Relations Director
The Public Relations Director is the public face of WESU. The Public Relations Director is
responsible for all media relations, press releases and print publications (including the WESU
program guide for each season), as well as overseeing the WESU website.
6. Music Directors
There are two music directors, who are responsible for coordinating the music
department at WESU. This includes organizing the existing music collection, securing and
organizing new music for WESU, collecting DJ playlists and reporting these playlists to the
appropriate venues. One of these positions is traditionally reserved for a student staff member
while the other position can be filled by either a community volunteer or a student.
7. Public Affairs Director
The Public Affairs Director develops and maintains the WESU public affairs department.
This includes the oversight of public affairs programs, in-house news programs and any mobile
broadcasting of a public affairs nature, as well as helping WESU to comply with FCC record
keeping.
8. Coordinator of Events
The Coordinator of Events is responsible for coordinating all WESU events, both on and
off the Wesleyan campus. The Coordinator of Events is responsible for the WESU Events
budget which is separate from the main WESU budget.
9. Technical Director
The Technical Director is responsible for maintaining WESU studios (including basic
repairs and preventative maintenance), coordinating a station maintenance schedule and system
to delegate responsibilities.
10. Production Director
The Production Director coordinates all aspects of production at WESU including
scheduling studio usage, training staff to use digital editing applications, producing public
service announcements and producing on-air promos for the station and shows.
B. The Supporting Staff
These positions are held by persons who are employed by the University to provide ongoing
support to WESU’s operations. Their roles will be primarily directed towards supporting
WESU’s activities and advising the Board of Directors regarding station affairs when necessary.
1. WESU General Manager
The General Manager is WESU’s full-time salaried employee. S/he will assist the Board of
Directors in fulfilling its managerial and programming obligations and will ensure that the
station is operating responsibly and smoothly. The General Manager is WESU's Chief Operator
as defined by the Federal Communications Commission and must perform the Chief Operator's
duties as defined by the FCC. His/her primary duties will focus on overseeing the day-to-day
maintenance and management of the station, but s/he will be expected to assist Board members
in accomplishing their respective tasks. Among other things, the General Manager will be
responsible for maintaining the public file, reviewing program logs, cleaning and organizing the
station, maintaining the station’s computers and equipment, collecting and sorting the station’s
post mail and e-mail, maintaining the website, monitoring the station’s personnel and contacting
the Chief Engineer when technical problems arise and are identified. Also, s/he will assist
heavily in executing the station’s various fundraising programs, organizing and running DJ
training workshops, and utilizing WESU’s in-house capabilities to produce Public Service
Announcements, Promotions and a host of other audio clips (such as the daily weather), which
should then be prepared for radio play. The General Manager will be responsible for hiring the
station’s Chief Engineer, pending Board approval, when the position becomes vacant.
2. Program Manager
The Production Manager is WESU’s part-time salaried employee. S/he maintains the
automated blocks within the weekly program and provides technical assistance as required for
station operations.
C. Board Procedures
1. All voting Board members must attend weekly Board meetings and hold station-wide
meetings on the first Sunday of every month. Meetings will be held on the second Sunday of
every month when necessary to accommodate holidays. These monthly, station-wide meetings
are mandatory for all WESU staff (DJs). Voting, non-voting Board members and Staff Support
must attend Station Days. Those members who cannot attend a meeting or a station day must
contact the Personnel Director in advance.
2. A two-thirds quorum of voting Board members present at a meeting is required to hold a
vote. In all voting matters, the President’s vote shall break a tie.
3. All voting and non-voting Board members must be present for at least two Board hours
per week between 4p.m. and 6p.m., Monday through Friday. Records of attendance for these
mandatory Board hours will be recorded. If a Board member must miss Board hours due to
extenuating circumstances, s/he must contact the President and complete his/her missed Board
hours within a week. At least two Board members must be scheduled for Board hours each
weekday. During Board hours, Board members will be expected to perform their duties,
generally maintain the station and supervise service hour duties.
D. Board Elections for Voting Positions
1. Voting Board members are elected each spring on the first Sunday in May at the monthly,
mandatory station-wide meeting.
2. Voting Board members are elected to serve for a full academic year.
3. Staff members must post an intent-to-run statement in the station at least one week prior
to the election. Only staff members in good standing and who have had a show for at least one
semester or currently have a show may run for Board positions.
4. Only staff members in good standing may vote for Board positions.
5. A DJ may run for more than one voting Board position. S/he may hold only one. If a
staff member wins more than one position, he/she must choose one position. The remaining
position(s) shall belong to the opposing candidate who received the greatest number of votes.
6. One-half of staff members in good standing must vote for the election to be valid.
7. Votes on the election are counted at the meeting at which they are cast.
8. All Board members must train newly elected Board members by the end of the spring
semester.
E. Impeachment of Board Members
1. Any Board member may be impeached by any WESU staff member who secures the
signatures of twenty-five staff members in good standing supporting the impeachment.
2. The signatures must be presented to the Board and a vote will be held at the next all-staff
meeting.
3. Only staff members in good standing may vote on the impeachment.
4. Votes on the impeachment are counted at the meeting at which they are cast.
5. If two-thirds of those staff members present vote for removal, the Board member is
removed.
F. Vacancies on the Voting Board
1. If a Voting Board member is impeached, resigns or becomes unable to serve on the Board
of Directors, the Board may temporarily appoint a replacement.
2. The vacancy must be immediately publicized and a vote will be held on the position at the
next staff meeting.
G. Summer Management
The General Manager oversees the day to day operations of the station during the summer
with assistance from community volunteers as needed. Management of the station is returned to
the Board of Directors at the inaugural meeting in September.
III. Programming
A. Eligibility
Only WESU staff members in good standing are eligible to do shows. A DJ in good
standing has:
1. Completed four service hours the last Fall or Spring semester she/he did a show. Additional
service hours that are required due to disciplinary action do not count towards the four
service hour requirement.
2. Applied for a show within the three semesters or successfully completed training within the
last three semesters where the summer counts as a semester.
3. Is not in the course of serving suspension at the time of his/her application.
B. Decision-Making
When making the programming schedule, the Program Director looks for quality shows. The
criteria for quality shows are (in order of importance):
1.
2.
3.
4.
5.
Uniqueness
Commitment to WESU; that is, number of service hours and subbing
Experience; that is, years as an active DJ at WESU or in the community
Adherence to free-form ideology
Intelligent, responsible, well-prepared programming
C. Applications
The Program Director is responsible for providing notifications and instruction to staff
members and trainees on the seasonal application process.
IV. Operations
WESU is managed by a partnership of Wesleyan students, the University administration, and
community volunteers. It is supported by listener and alumni donations, annual grants from the
Wesleyan Student Assembly, fundraising, and other sources.
SECTION IV:WESU CODE OF CONDUCT
2005 Edition (Written August of 2005)
WESU RADIO CODE OF CONDUCT (BY-LAWS)
WESU Radio is a volunteer organization whose membership is open to any person wishing to
participate. As the Staff and Management of WESU Radio are responsible for the integrity of its
image and actions, all members must adhere to a Code of Conduct as set out below. Those who
violate a provision of the Code will be punished at the discretion of the Board, which must act
within the guidelines outlined in the Constitution. Any staff member who accumulates a record
equivalent to 52 weeks of suspension or more will be suspended from the station permanently.
Staff members will have a right to appeal to the Board of Directors.
SECTION I – SERIOUS VIOLATIONS
The following actions, committed at WESU or outside in the capacity of a Staff member, will
result in a suspension of at least 26 weeks and up to 52 weeks:
1. Acts of Physical or Verbal Violence or Harassment, except instances of self-defense or the
defense of station property.
2. Acts of Thievery: intentional and unauthorized removal from the WESU premises or remote
facilities of station property or the property of any person at the station.
3. Willful or Malicious Destruction or Defacement of Station or University Property or the
Property of any other Staff Member or Person at the Station.
4. Willful or Malicious Violations of Federal Communications Commission Rules and
Regulations.
SECTION II – SECONDARY VIOLATIONS
The following actions, committed at WESU or outside in the capacity of a Staff member, will
result in a punishment of up to 52 weeks suspension:
1. Discriminatory Conduct: verbal or non-verbal, which includes such conduct against any
group, ethnicity, religion, sex, sexual preference, race, age or different ability.
2. Negligent Violation of FCC Required Responsibilities, following a written warning by the
Board of Directors (or Board Member) of such negligence. Examples include, but are not limited
to the following:



Leaving the transmitter unattended while the carrier is on.
Missed meter readings.
Failure to change logs at midnight.
3. Negligent Destruction or Defacement of Station Property: including accidents caused by
violating other station rules (e.g.: spilling a drink into studio equipment, ruining that equipment
through improper use of that equipment.) and excluding unforeseeable accidents.
SECTION III – OTHER VIOLATIONS
The following additional rules apply to all members of WESU Radio. Any violations will
punished at the discretion of the Board, which must act within the guidelines specified below and
which is also expected to take precedent into account in making its decisions:
1. Promptness: All air personnel should arrive at the station in advance of the starting time of their
air shifts. Repeated lateness will result in a warning, followed by a suspension of up to 12 weeks
if it continues.
2. No Shows: A DJ is responsible for finding fill-ins for any show that he/she cannot do himself, and
if he/she cannot find a fill-in, he/she is responsible for doing the show. The Program Director
must be notified in advance for approval of all fill-ins. One week notice is required for the P.D.
to assist in obtaining fill-ins. If any member of the air staff fails to show up for an air shift and
also fails to arrange for an approved fill-in, it will result in a suspension ranging from 2 to 26
weeks.
3. Meeting Attendance: The General Staff will meet at least monthly and attendance is mandatory
for all Staff Members. An unexcused absence will result in a one week suspension. An absence
can be excused after the fact. The Personnel Director is responsible for excusing all absences
from All Staff meetings. Staff who miss more than 50% of meetings in a single season will be
ineligible to apply for shows in the following season.
4. Guests: You are responsible for the conduct of any guests or visitors you bring with you.
Therefore, you should inform your guests of basic station rules and FCC regulations relevant to
air personnel which may affect them. Guests should also be made aware of the technical aspects
of being on the air, such as microphone technique, et cetera. All guests must be pre-approved and
furthermore must sign in with their vital information (legal name, address, current phone number)
in such case that we may need to contact or find them. This policy is for the protection and
security of station personnel and equipment. Violations of this provision will result in a warning
the first time, followed by a suspension of up to 26 weeks. WESU Staff members are not
considered guests, so they do not have to obtain advance permission to be at WESU radio station.
5. Drug and Alcohol Policy: The use of alcohol or illegal drugs is prohibited in the studios at
WESU. If a violation occurs, the Staff Member(s) involved will receive suspension ranging from
2 to 26 weeks.
6. Program and Underwriting Policy: All underwriting announcements must be aired as scheduled.
No announcer may, for any reason, alter or modify approved underwriting copy, and no
announcer may make comments or references of any kind about any sponsor, or about the nature
of the business or its services or products. Violations of this policy will result in a three week
suspension for the first time, 26 weeks the second time, and 52 weeks for the third time.
7. Volume and Etiquette Policy: On Air personalities in Studio A must turn down their monitors,
close the door, and/or switch to headphones when asked by WESU staff using Studio B or C for
production work. Staff members who do not respect these volume requests will be subject to a
warning from the board of directors and disciplinary action for subsequent incidents.
SECTION IV – NEW POLICIES
The Board of Directors and the General Staff reserve the right to issue additional rules and
station policies. Such rules and policies shall be posted conspicuously at the station upon their
passage and shall be explained at the following Staff meeting.
SECTION V – ENFORCEMENT
The Board of Directors shall enforce this Code by the following process:
1. Receiving a complaint or statement of an alleged violation.
2. Informing the individual(s) in question that the Board intends to consider the alleged
violation at its next meeting, at least 48 hours before that meeting, and invite the individual(s) to
attend that meeting.
3. Making a finding by majority voted of the members present as to whether a violation has
been committed and issuing the commensurate sanction.
SECTION VI – APPEALS
An individual found by the Board of Directors to have violated a provision of this Code shall
have the right to an appeal before the Appeals Board, within two Board meetings of the unfavorable
finding. All decisions of the Board of Directors shall take effect immediately and shall remain in
effect until overturned by a decision on appeal.
The Appeals Board shall be a body of five (5) Staff members who shall be selected by a random
process by the President. No Staff member can serve more than once during a calendar year. The
Appeals Board may affirm or reverse the finding. There must be majority of members of the
Appeals Board to make a decision. In the event that no decision is reached, a new Appeals Board
will be formed by the President.
A final decision of the Appeals Board may be appealed to the General Staff. The affected
individual(s) shall notify the General Manager in writing, within two weeks of the Appeals Board
decision, of the desire to appeal that decision to the General Staff. The issue shall then be decided
at the next regularly scheduled Staff meeting following the written notification to the General
Manager.
SECTION VII – RELIEF FROM SANCTION
Any individual, who is permanently suspended from the Staff of WESU Radio, after having
been found to have violated a provision of Section I of this Code, shall have the right to seek relief
from sanction one year after the finding of the violation. The Board of Directors shall decide
whether or not to grant relief from sanction by a majority vote.
Any individual granted such relief will be readmitted to the station on probationary status for
six months. During that probationary period, should that individual violate any provision of this
Code, he or she will be permanently suspended with no right to an appeal.
SECTION VIII – AMENDMENTS
The WESU Radio Code of Conduct shall remain in effect until subsequently amended. The
General Staff shall reserve the right to amend this Code by a majority vote at any time. When an
amendment to the Code is going to be considered at a Staff meeting, the Staff shall be informed in
writing one week prior to the meeting. In addition, the Board at WESU is responsible for reviewing
the WESU Constitution completely at least once every four years.
SECTION V: FUNDAMENTALS OF RADIO
5.1 Sound
Sound travels through air as pressure waves or rapid fluctuations in air pressure. The
human hearing range allows us to perceive sounds when the rate of fluctuation in air
pressure is between approximately 20 cycles per second and 20,000 cycles per second.
(In the American system of units, cycles per second are known as Hertz. 20,000 cycles
per second is 20 kilohertz or kHz). In fact, few adult individuals can hear above 15 to 17
kHz. High frequency hearing loss occurs naturally as we age, yet premature hearing loss
can occur when exposed to high sound pressure levels.
When sound waves hit a microphone, the pressure fluctuations are converted into
fluctuations of electric voltage on a wire. Voltage is to electricity as pressure is to air. It
is a kind of electric pressure. As the voltage increases, so does the pressure with which
electrons are pushed through a wire. Louder sounds are associated with higher sound
pressure levels (SPLs) and produce larger voltage fluctuations at the microphone.
5.2 Signals
The fluctuations of voltage that represent sound and travel down a wire are known as
an audio signal.
Signals are translated back into sounds by loudspeakers or headphones. The
fluctuating voltage induces a fluctuation in the position of a diaphragm or speaker cone.
The moving speaker cone causes local fluctuations in air pressure, which propagate
through the air as sound. The propagation of sound waves through air is analogous to the
propagation of waves on the surface of water.
Audio signals can be stored in a variety of ways. A phonograph record stores signals
as fluctuations in the position of a groove. As the phonograph needle is dragged through
the groove, it translates the groove position fluctuations back into electrical signals.
Signals can be stored on tape in another analogous form; fluctuations of magnetism.
Tape heads translate electrical signals into magnetic signals laid down on the tape and
vice versa.
Signals can also be translated into numbers and stored on CDs as fluctuations in the
reflectivity of a shiny surface or again as magnetic fluctuations such as on DATs or
minidisks.
5.3 Radio and Modulation
Radio propagates sound signals long distances through air and space by the use of
high frequency carrier waves. The sound signal is imposed on the carrier wave by a
process called modulation. The carrier wave then carries the signal the long distance to
the radio receiver. The receiver amplifies the signal from its antenna, selects and tunes
the station, demodulates the carrier back into a sound signal, amplifies it, and sends it to a
speaker to be translated back into sound.
FM stands for Frequency Modulation. In FM radio, the audio signals are imposed
upon the carrier waves using
frequency modulation. This
means that the instantaneous
frequency of the high
frequency carrier wave
(88,100,000 Hertz – cycles
per second - in our case) is
altered (modulated) by the
instantaneous value of the
audio signal. This is as
opposed to AM radio where
it is the amplitude of the
carrier signal that is
modulated.
The modulation of the
88.1 MHz carrier wave by
the audio signal is analogous to the vibrato of an opera singer. The opera singer
modulates his or her pitch (frequency) by a slowly varying signal called the vibrato. The
singer’s voice is broadcast throughout the concert hall. Your ear picks up the sound of
the singer like an antenna picks up a radio wave. Your brain tunes in and demodulates
the signal like an FM radio and you perceive the vibrato.
5.4 Effective Radiated Power
ERP is a measurement of a radio station’s transmission power and is measured in
watts. WESU currently broadcasts at 6000 ERP
Here’s some tasty science-talk:
In radio telecommunications, effective radiated power or equivalent radiated
power (ERP) is a standardized theoretical measurement of radio frequency (RF) energy
using the SI unit watts, and is determined by subtracting system losses and adding system
gains. ERP takes into consideration transmitter power output (TPO), transmission line
attenuation (electrical resistance and RF radiation), RF connector insertion losses, and
antenna directivity, but not height above average terrain (HAAT). ERP is typically
applied to antenna systems.
5.5 Levels
The strength of a signal is called its amplitude or level. Soft sounds produce lowlevel signals and loud sounds produce high-level signals.
Everyone is familiar with the volume control. A volume control adjusts the level of
an audio signal on a wire.
Every piece of equipment has minimum and maximum signal levels that can be
faithfully transmitted or stored. Below the minimum level, the signal is burdened by
excessive background noise inherent in the medium. Above the maximum level, the
equipment will distort the signal.
In radio and recording studios, the level of a signal is measured with a VU (Volume
Unit) meter. VU meters have a fairly standard appearance on different pieces of audio
equipment. You will find that they are marked with two different units: percent (%) and
decibels (dB). The percent markings go from 0 to 100 percent. The dB markings go
from about -20 dB to +3 dB. The 100% point equals 0 dB. The red area begins above 0
dB.
You should set your level with the control board input pots so that the VU meters
spend most of their time in the 20% to 80% range. If the meters are barely registering,
you should turn the pot up. If they are in the red area more than occasionally, you should
turn the pot down. It is fine for the needles to peek in the red, but it is a problem when
they hold in the red. This will lead to a distorted sound output. You should keep your
eye on the meters and adjust the levels accordingly. Anticipate the fact that the level of
music and other signals varies considerably over time and from recording to recording. If
you’re broadcasting, don’t be afraid to grab the level pot and adjust it (slowly is always
less noticeable) to compensate for changes in the level of your source material.
SECTION VI: FCC REGULATIONS
6.1 It‟s Against the Law
It is a violation of federal law to air obscene programming at any time. It is also a
violation of federal law to air indecent programming or profane language during certain
hours. Congress has given the Federal Communications Commission (FCC) the
responsibility for administratively enforcing these laws. The FCC may revoke a station
license, impose a monetary forfeiture or issue a warning if a station airs obscene, indecent
or profane material.
6.2 Obscene Broadcasts Are Prohibited at All Times
Obscene material is not protected by the First Amendment to the Constitution and
cannot be broadcast at any time. The Supreme Court has established that, to be obscene,
material must meet a three-pronged test:
 An average person, applying contemporary community standards, must find that
the material, as a whole, appeals to the prurient interest;
 The material must depict or describe, in a patently offensive way, sexual conduct
specifically defined by applicable law; and
 The material, taken as a whole, must lack serious literary, artistic, political or
scientific value.
6.3 Indecent Broadcast Restrictions
The FCC has defined broadcast indecency as ―language or material that, in context,
depicts or describes, in terms patently offensive as measured by contemporary
community standards for the broadcast medium, sexual or excretory organs or activities.‖
Indecent programming contains patently offensive sexual or excretory material that does
not rise to the level of obscenity.
The courts have held that indecent material is protected by the First Amendment and
cannot be banned entirely. It may, however, be restricted in order to avoid its broadcast
during times of the day when there is a reasonable risk that children may be in the
audience.
Consistent with a federal indecency statute and federal court decisions interpreting
the statute, the Commission adopted a rule that broadcasts -- both on television and radio
-- that fit within the indecency definition and that are aired between 6:00 a.m. and 10:00
p.m. are prohibited and subject to indecency enforcement action.
6.4 Profane Broadcast Restrictions
The FCC has defined profanity as ―including language so grossly offensive to
members of the public who actually hear it as to amount to a nuisance.‖
Like indecency, profane speech is prohibited on broadcast radio and television
between the hours of 6 a.m. and 10 p.m.
6.5 Context
In making obscenity, indecency, and profanity determinations, context is everything.
The FCC staff must analyze what was actually aired, the meaning of what was aired, and
the context in which it was aired.
6.6 On-Air Procedure
When playing music with profane or indecent lyrics between 10 p.m. and 6 a.m., you
must read the following disclaimer a minimum of once every 30 minutes. Reading the
disclaimer only once during your show is unacceptable and will result in disciplinary
action.
On-Air Disclaimer:
The views expressed on this program are the views of the individual
broadcaster and by no means reflect the view of Wesleyan University or
the WESU management.
This program may contain material not suitable for children or sensitive
listeners. If you are offended by profanity please tune out now. If you
have questions about the WESU indecency and obscenity policy please
contact our Board of Directors at 860-685-7703 or send an e-mail to
[email protected].
6.7 Outside Promotion Guidelines
WESU is a nonprofit radio station. We are not in the business of promoting outside
events. In fact, it is a violation of FCC regulations for stations like WESU to use the
airwaves to promote events that we are not sponsoring or directly benefiting from.
However, as a public service, we are happy to provide information about events in the
community. This information is collected and presented in the daily ―Jive at Five‖
segment. The goal of the segment is to serve our listening community by spreading the
word about local events of interest. The most important thing to remember about the
promotion guidelines is to NEVER make a “call to action” by telling listeners they
should attend a certain event or buy a certain album. You must word your
announcements in an informal way. An example: ―For your information, Black Sabbath
is playing at Toad’s Place in New Haven this Saturday‖ would be acceptable. ―Don’t
miss the best band ever playing at Toad’s Place this Saturday‖ would be considered a call
to action. Here are a few other guidelines:
 Never announce exclusive Wesleyan events on the air. Remember,
most of our listeners are not Wesleyan students and thus announcing these
types of events (parties, concerts not open to the public, closed receptions)
would serve more as an insult to our listeners than a service.
 Try to inform listeners about multiple events during your show. By
focusing on one event you are inadvertently promoting it—and try not to
announce a single event more than twice in an hour.
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
Do not mention promotion companies. It is not acceptable to say ―This
event is brought to you by…‖
DJs must not use WESU‟s name to promote events without the
approval of the board. Do not put WESU on any publication with the
board’s approval.
You must obtain clearance from the GM before interviewing any artists
on the air.
SECTION VII: EQUIPMENT
7.1 The Mixing Board
The diagram above displays the mixing board currently used in our on-air studio:
Studio A. The board itself is a large mixing console which allows a DJ/producer to
control what is broadcast over the air and at what volume. The sliding vertical bars are
potentiometers or ―pots‖. Each ―pot‖ on the board corresponds to an input from different
pieces of equipment in the air studio: from left to right, 2 microphones (mic1, mic2), 2
CD players (CD1, CD2, CD3), 2 turntables (TT1, TT2), automation (for automated inhouse non-NPR shows and music stream), input (for auxiliary input such as MP3 players,
laptops, and DJ mixers), tape, PC (for broadcasting from PC’s audio output in air studio),
and studio B (for use of both studios simultaneously).
Each pot has an ―on‖ and ―off‖ button at the bottom which control whether the signal
from that particular input is on or off (on is red, off is light yellow). Above the on/off
buttons is a sliding pot that allows you to control the volume level for the particular
device. Above the board are the VU meters which display the strength of the signal
being broadcast as shown below. The VU needle should be peaking in the red, meaning
the loudest parts of the show go into the red, but the needle should never consistently stay
in the red.
In order for the microphones to be heard over the air, the red ―on‖ buttons, labeled
with ―MIC 1‖ and ―MIC 2‖ must be illuminated, and the pots must be up. For the CD
inputs, the red buttons must be illuminated, pots up, and ―play‖ must be pressed on the
CD player. The turntables operate in a somewhat different manner: the red ―on‖ button
functions as a remote start for the device. If the pot is up and the turntable is cued up and
power is on, pressing the red button will spin the album. The input and PC pots function
like the CD inputs: the red light must be on, volume must be up, and the device must be
engaged, whether that means pressing ―play‖ on the input device or clicking ―play‖ on
the PC’s audio program.
Above the level pots are the ―CUE‖ buttons, which are used when you want to listen
to a CD or a record without playing it over the air. When something is in cue, you can
hear it coming out of the cue speaker on the right of the board (which can be controlled
by the CUE volume knob at the right edge of the board). To use the cue function, the
yellow cue button must be on and the pot in question must be switched off. If the pot is
on, whatever you play will be sent over both the in-studio cue monitor and the air
simultaneously! Once you are ready to play your song over the air, simply press the red
on button for the pot, and cue will automatically switch off.
Above the cue buttons are 3 green, lit buttons for each pot. By default, all these
buttons should be on and illuminated. If there are not, please press them to illuminate.
There is a vertical row of 4 green buttons on the right hand side of the board that
determines what is broadcast through the studio speakers/monitors. By default, the green
button labeled "PGM" should be illuminated. If another of these buttons is illuminated,
please select "pgm" by depressing it. The rest of the green buttons are for advanced board
configurations that are not covered in this training.
On the lower-right portion of the board are the volume controls and source controls.
The knobs at the far right control various volumes: ―Monitor‖ controls the volume of the
speakers above your head in the studio. When you have either microphone switched on,
the studio speakers will automatically switch off to avoid feedback. However, you can
still hear what is going out over the air and what you are saying into the microphone by
using the headphones, which have their own volume knobs.
7.2 7 Second Delay Unit
The delay unit is a safety device that ensures prevention of inappropriate content from
being broadcast. This unit places 7 seconds between what you are broadcasting and the
listener’s ears. This little device could prevent a $500,000 FCC fine for broadcasting
inappropriate content outside of the safe harbor period. Essentially, what you say into the
microphone in the studio is passed through the delay machine and reaches listeners’
radios seven seconds later. When you engage DUMP command on the unit, you jump
immediately to a literally live broadcast, where your words instantly reach listeners, thus
dumping the last seven seconds of material, which is erased and never reaches listeners.
The delay unit is located in Studio A on the left rack. It must be on at all times.
Before you start your show make sure to check the unit.
If the unit is on and operating correctly, the green LED screen will display the
number 7. This indicates that the unit has built up and stored 7 seconds of time.
If, by accident, you play a song with indecent content or a live caller says something
inappropriate, immediately hit the DUMP button and change the song or cut off the
caller. This will erase the bad content before it hits the airwaves. After dumping, the unit
will take some time to build back up to 7 seconds. Do not take another call until the
delay has built back up.
If the delay unit is either off or not operating, please note the state of operation in
page 2 of the operating logs. The unit should be powered on by pressing and holding the
green button until it illuminates and the numbers in the display begin to count up.
7.3 EAS (Emergency Alert System)
The Emergency Alert System is the communication industry’s means of
disseminating information on a national, regional, or local basis. It may be activated at
the request of any of several government agencies, most commonly the National Weather
Service or local civil authorities. All full service stations are required to have operational
EAS gear and participate in the periodic testing process.
WESU records and broadcasts weekly national and monthly state EAS tests. To
fulfill your part in this process you must check the EAS receiver located in the right rack
in the air studio during every show to see if there is a message waiting to be broadcast.
If there is a weekly test waiting in the receiver the green ―message waiting‖ button
will be illuminated (see diagram below).
If the message waiting button is illuminated you must make note of the time you
noticed the message in the studio A binder. After noticing the time of the message, press
the ―print‖ button and wait for the receipt to print out. Then tape the paper receipt to the
designated space in the binder, and call the WESU GM to report the test. The GM will
then transmit the EAS test in compliance with federal regulations.
7.4 Phone Coupler
The phone coupler is used to patch a live phone call into the board through the pot
labeled ―caller‖. Using the phone coupler enables you to speak to the caller into your
microphone and to hear the caller through your headset.
The phone coupler is located on the right rack in the air studio. Do not operate the
phone coupler unless you have been trained and are absolutely sure you know what you
are doing.
The Studio B coupler can only be connected to line 2 – 860-685-7701.
To operate the phone coupler:
1. Answer the phone and screen the call. Never broadcast callers unless they have
been screened and warned that they must not use profanity or promote a business
or event.
2. Once you have screened the call, tell the caller you will be placing them on hold
and the next time they hear from you they will be live on air. Push the ―hold‖
button on the phone.
3. Once the caller is on hold, take notice of whether the call is on line 1 or line 2. If
the caller is on line 1, make sure the phone coupler switch on the counter is set to
―00‖. If the caller is on line 2 switch it to ―01‖.
4. Make sure the ―caller‖ pot on the board is all the way down.
5. Turn on the phone coupler (black switch all the way to right on the rack unit).
6. Slide the caller pot up and introduce your caller. Ask your caller to say something
to make sure caller is live and on air with you.
7. Be prepared to hit the ―dump‖ button on the 7 second delay unit if the caller
swears or starts to promote something.
8. Turn down the caller pot when finished with your live call.
9. Turn off the phone coupler switch.
SECTION VIII: On-Air Procedure
8.1 Upon Entering the Studio



Arrive at least15 minutes early for your show.
Sign in on the operations log in the studio A binder.
Complete the equipment check list in the studio A binder.


If the beginning or end of your show falls on a designated time, take levels and
record them in the studio A binder. Press the ―up‖ and ―down‖ buttons to
navigate to channels 1-3 on the rack unit.
Prepare your first song, public service announcement, promo, or talking point.
8.2 Once On-Air
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Legal ID ―WESU MIDDLETOWN‖ must be broadcast in recorded or live form
within 5 minutes of the top of the hour.
Air a minimum of 4 Station IDs per hour. Station IDs can be simply saying on
air: ―You’re listening to WESU Middletown, 88.1fm.‖ The Station ID must
contain, at a minimum, our call letters WESU. It is also a good idea to give out
the web address, wesufm.org, for those who wish to stream the station online.
Air a minimum of 2 PSAs per hour. PSAs, or public service announcements,
provide information to listeners ranging from how to recycle more effectively to
how to help save tigers in Asia. Some are recorded by local or national groups
and given to WESU, others are produced here at the station (aiding in the writing,
production and updating of PSAs is a great way to get involved at the station).
Never say ―PSA‖ over air: it is DJ lingo. Say ―public service announcement.‖
There are PSAs available on CDs in Studio A as well as on the studio A PC.
Air a minimum of 2 promos per hour. Promos can either be spoken live on air
or played as recordings. A promo is something that promotes WESU or any other
show on the schedule but NOT an outside business or event. It could be telling
listeners about the online forms or about the rest of the night’s schedule. It is
always a good idea to tell listeners what program is up next. There are recorded
promos on the PC in Studio A. Remember: promote WESU before yourself!
Excessive self-promotion is a violation of the WESU code of conduct.
Music shows must play 5 new releases per hour. In order to keep listeners up
to speed with new releases and to continue to receive releases from record labels,
WESU requires DJs to play at least 5 new releases per hour.
Post your playlist to Spinitron. This is the only record listeners, music
directors, and record labels have of what is being spun. Due to WESU’s online
stream, we are legally obligated to post playlists. Playlists are monitored closely
and failure to post playlists can result in disciplinary action.
8.3 On-Air Regulations

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100% attendance is expected. You must account for every show. If you will be
absent, please refer to section 8.7 below.
No guests unless pre-approved by the GM or WESU Board of Directors 24 hours
in advance. All guests must be recorded in the guest log portion of the Studio A
binder.
Don’t abuse computer privileges. Do not install software without approval of GM
or the Tech Director.
No tampering, changing, rewiring or altering station equipment without approval
of GM or the Tech Director.




No unapproved promotions or underwriting.
NO SMOKING (ANYTHING) AT WESU. No eating or drinking in studios.
Water is permitted but must be far away from board.
Follow all FCC guidelines as outlined in Section V. You will be held responsible
for any fines. If an FCC agent visits WESU during your show, call the GM
ASAP.
If you are the last living DJ at WESU at night, call Public Safety before you leave
and inform them that when you leave the station it will be empty. To call Public
Safety from any phone at WESU, dial 2345. From an outside phone, dial 860685-2345.
8.4| DJ Tips and Tricks
Show Preparation:

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
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
Always have your next song picked out before you talk on air, answer the phone,
use the restroom or leave the air studio for any reason. You may lose track of
time and come close to letting the song that is playing run out. Have your next
track ready to shorten recovery time.
Try to make the transition from the show before you to your program as seamless
as possible. People will continue to listen to WESU if shows transition smoothly
into one another.
Inform the audience about what is coming up next. Get to know the host after
you.
Record your show. You will then be able to hear what worked, what didn’t work,
and why. In studio, you can use the CD Recorder in Studio A, another PC in the
station or Streamrip our live internet broadcast.
If you don’t hear anything through your headphones, don’t panic! Most likely
you’ve left the cue button on one of the pots.
Always have a PSA or promo cued up and ready to go; it is a good way to buy
yourself some time and to avoid dead air.
Be aware of the host following you and work out the transition into the next
program. Begin packing up your gear ahead of time.
Always have backup material in case of technical malfunction (turn table needle
broken, CD skipping, iPod cable missing, etc.)
Don’t dwell on tech problems or mistakes. Just keep the show moving.
Voice Breaks:


Take a voice break at least every 15 minutes.
Talk on air as if you’re speaking to one person, and smile; you won’t sound so
nervous.
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Never do voice breaks without your headphones on, especially if you’re talking
over music. There is nothing worse than not being able to hear a DJ’s
announcement because the mic is too low and the music is too loud.
Never turn on the microphone unprepared. Think about what you’re going to say
before you have to say it. Being prepared for voice breaks will prevent ―ahs‖ and
―ums‖. Don’t memorize lines, just think clearly about what you want to say first
and talk after.
Take a deep breath before you turn on the microphone, otherwise listeners will
hear your breath first.
Here are a few standard items to mention on air: The name of your show, name
and description of show after yours, WESU ID, current time, how much longer
you’re on air, request line # (860-685-7700), WESU website, etc.
8.5 Requirement for All Music Shows
For any music you broadcast on the air you must be able to provide a minimum of three
pieces of information to the listeners. These are:

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
Performer’s Name
Title of the Recording
Source of the Recording (Album name or other)
When reporting your playlists, you must list these three pieces of information for each
piece of music broadcast. Additionally, you must indicate whether the piece is a New
Release.
8.6 A Note on Automation
The implementation of automation at WESU has enabled our station to grow in
many ways. It is now possible for late night DJs to prerecord shows and enter them into
the automation system to be broadcast at the appropriate times. We can also download
and program public affairs programs to play at specific times. Our automation system
enables us to keep our programming consistent during scheduled school vacations and at
times when DJs know in advance that they cannot make their timeslot. The ―automation‖
pot on the board controls the feed from the system.
8.7 Guidelines for Expected Absences
If you will be unable to host your show, it is your responsibility to provide
coverage. Please follow these steps:
1. Locate a substitute. You should begin your search at least a week in
advance. If you do not know of a DJ who can assist you, you can
email [email protected] to solicit assistance from the entire staff. If
you find a substitute, please email the Program Director
([email protected]) and inform him/her of the substitution.
2. If you cannot find a substitute, you can pre-record a show to air via our
automation system. You must notify the Program Director
([email protected]) and the Program Manager
([email protected]) at least 24 hours in advance of your
absence. (PLEASE NOTE: If your show is on Saturday/Sunday, you
must notify the Program Director and Manager by Thursday evening.)\
3. Notify the DJ’s who precede and follow you that you will be absent.
8.8 Guidelines for Unexpected Absences
If an emergency unexpectedly prevents you from covering your show, please
follow these steps:
1. Contact the on-air DJ before you. Inform them you will be absent.
Ask them to either cover your show, or if they cannot, to bring up
Automation during your show.
2. Send an email to the Program Director ([email protected]) noting
that you were unable to cover your show due to an emergency.
8.9 When the DJ Following You Is Absent without Notice
1. Call that DJ
2. Call the Program Director if the DJ above cannot be found.
3. Bring up the Automation Pot if unable to reach the Program Director.
4. Inform the Board of Directors through email ([email protected]) of the incident.
8.10 Emergency Procedures
In case of a non-life threatening emergency at the station, try to reach the following
people:
1. General Manager (Benjamin Michael).
2. President of the Board of Directors (Sam Long)
In case of other emergencies (intruder, injury), immediately contact Wesleyan’s Public
Safety at 860-685-2345
8.9 DJ Transition Protocol and Guidelines
In order to make a smooth transition from one program to another, both guests and on-air
DJs need to make every effort to communicate and accommodate each other’s needs.
Until your show starts—you are a guest in the studio. As soon as your show ends you
are the guest. Guests should follow proper etiquette to avoid interrupting the on-air DJs
live broadcast.
All DJs are required to arrive 15 minutes early to make sure they can get started on time.
The on-air DJ should enable the DJ on-deck to drop their stuff off in the studio, sign into
the logs, and cue their first track up with enough time to make a smooth transition.
Basic guidelines for “guests” or DJs On Deck:
Avoid entering the air studio when the ―on-air‖ light is illuminated. Do not enter the
studio without knocking or making your presence known through the window in studio
B.
The on-deck DJ should not touch any broadcast equipment without first checking with
the on-air DJ to make sure they will not interrupt the live program.
Example of how to approach the on-air DJ: ―Hi, my show follows yours and I need to cue
up a record/CD for my first track. I’ll be waiting in the lounge/studio B, so please let me
know when I can do this without interrupting your program.‖
Once the on-deck DJ has dropped their stuff off in the studio they should wait in studio B
or the lounge until the on-air DJ is ready for them. On Deck DJs should not „hang out‟
in the studio during the on-air DJs live show unless they have been invited to do so.
On-air DJs should make sure they start preparing to leave well before the end of their
show so they can vacate the air studio as soon as their shift is complete and aid the
smooth transition. One simple thing that can be done is getting your stuff together so that
it will be ready to go right when you get off the air.
The on-air DJ should avoid closing their program with a voice break. Ending the
program with a song or PSA will enable the on-deck DJ to get in the air chair and get
ready to start their show. Preparing two songs, just in case the DJ following you is not
completely ready to start, is also a good idea. There are now automated play lists on the
computer to cover air time between shows that can also be used.
The on-air DJ should let the on-deck DJ drop off their stuff, sign into the logs, and cue up
their first track as early as possible. At a minimum, the on-air DJ needs to provide access
to the studio at least 5 minutes before the end of their show.
A note on CD recorder etiquette:
On-air DJs should stop their recording at least 3 minutes before the end of their show
so that they have enough time to finalize their disc and make the recorder available for
the beginning of the next program.
APPENDIX A: IMPORTANT PHONE NUMBERS AND CONTACT INFO
860-685-7700 Studio/Request lines. Give this number out over the air to solicit listener
input requests. These lines are set up to ―roll-over‖. Incoming calls are rolled over to the
other line if the initial line called is busy.
860-685-7703. WESU Board of Directors. You can give this number out over the air as
one of your required station promotions. ―If you have questions about WESU, contact
the Board of Directors at…‖
860-685-7707. WESU G.M. office line. Call the G.M. to set up service hour
appointments, report problems, or for general inquiries.
860-685-2345. WESU Public Safety. Call Public Safety if you feel unsafe at the station
or to report suspicious activity. The last DJ of the night is required to call Public Safety
when leaving the premises.
860-685-3788. Wesleyan’s Student Shuttle: The Ride. This is a shuttle system for
students only, available 24 hours per day. Please call them for a safe late night ride.
www.wesufm.org is the WESU website. We stream live audio 24 hours per day from
this site. Our latest news and program schedule are also available there.
[email protected] sends an email to the entire Board of Directors.
[email protected] is used for general station email. Tell your listeners to email here.
[email protected] to contact WESU GM by email.
WESU Board of Directors emails:
[email protected] WESU president
[email protected] WESU vice president
[email protected] WESU program director
[email protected] WESU personnel director
[email protected] WESU production director
[email protected] WESU public affairs director
[email protected] WESU music directors
[email protected] WESU coordinator of events
[email protected] WESU technical directors
[email protected] WESU public relations director