RadioSite

Answering these questions is complicated by the arbitrary binary setup in (PN 1999-30) between “spoken word” and “music.” Such a limited imaginary seems to dismiss radio’s capacity to be a medium involving the entire soundscape. While commercial radio appears to be bound by such artificial strictures, campus and community radio can contribute to the wider development of the medium itself. It is, perhaps, useful to note that Canadians are pioneers in the development of soundscape studies, sound ecology and musique actuelle.(1) Radio is, in many ways, the obvious medium for addressing issues related to the wider sonic world, creatively, politically and socially. One way of defining this sound world for radio would be in terms of the broad category “foregrounding”, that is, creative and intellectual content that draws from a variety of sound sources. In addressing the definition and provenance of radio art, we want to make the case for a campus radio policy that recognizes and, indeed, encourages the development of radio art, and its unique contribution to Canadian culture.

a) Definition – Is Radio Art Music?
“If a broadcaster were to sing the news would that be spoken word or would that be music?”
Radio art may be considered a sub-set of the broader genre of audio art in which sound is used as a medium to create a sonic object, or composition. It might be useful to think of this as a virtual sound sculpture built out of sounds derived from the surrounding environment, including pre-recorded sources, acoustic sounds, and not ignoring either music or spoken words. The difference between radio art and audio art generally is that radio art makes specific use of the medium of radio in both its performative and its communicative capacities.
It is important to stress that radio art may be concerned with the same ingredients as music, such as form, rhythm, timbre, repetition, pattern, and dynamics, but it goes beyond music because it includes all manner of sounds not commonly considered music. Often it includes sounds that most people would reject as music. Simply put, it is an aesthetic response to sound, a definition that would include music, but goes beyond the conventions of music. It is these conventions of music that have long been called into question by such diverse thinkers as John Cage, Murray Schafer, Edgar Varese and Kurt Schwitters.
Indeed, the problem of definition lies in one’s ideas of what constitutes “music” and “spoken word”. Does spoken word presuppose an emphasis on semantics? Is Lillian Allen’s dub poetry musical? Does music mean a hummable tune, or at least a “bona fide” work by a qualified composer? It is not so very long ago that much of what is now considered to be desirable and widely accessible “world music” was considered primitive and bizarre! We might do better with a definition of music such as that used by Cogan and Escot, who state that “the essence of musical power derives from the inventive use of whatever [sonic] space is available”.
Radio is a medium that has unparalleled access to sonic space.

Here are some examples of radio art created by Michael Waterman for broadcast on Trent Radio, 92.7 CFFF-FM Peterborough, Ontario.

(a) “Radio Guided Walking Tour”, Trent Radio, Winter of 1998 to May 1998.
Using a portable tape machine, Mr. Waterman recorded a forty-five minute sound-walk in Peterborough each week. In a process of pre-production, the sounds of the walk itself were manipulated, while other sounds were mixed into the recording. At an advertised time, the walk was broadcast so that people could take the walk while listening to the broadcast on a portable radio. On several occasions, further sonic events were added during the broadcast, as well as commentaries before and after the walk.

(b) “Organically Evolving Radio Show”, summer of 1998.
The first broadcast was improvised live on the air using found sounds and real-time acoustic sounds. In the second week, Mr. Waterman improvised along with the tape of the first week, creating a new template. For the third week, he improvised with the tape of the second week and recorded it. Thus, through twenty broadcasts the improvisation built upon the accumulated sediment of all the previous broadcasts.

(c) “The Mannlicher Hour”, a live-to-air, three-city radio art link, October 1998 – April 1999.
Mannlicher Carcanno is an audio art ensemble made up of artists Michael Waterman (aka Porter Hall), Doug Harvey (aka Really Happening) and Mike Jacobson (aka Gogo Godot). Harvey and Jacobson make their contributions from Los Angeles and Winnipeg respectively, via a teleconference line to Trent Radio’s live-to-air phone line. Mr. Waterman mixes their sounds with his own contribution made live in the studio to produce this weekly, live, hour long “jam”. The common denominator in all three of these programs is that they are all art works that explore the medium of radio. They address some of the unique qualities of radio in which real-time performance can be broadcast from more than one location simultaneously, and pre-recorded material can be blended with live performance. Radio art takes the ingredients of audio art and blends them with a performance of radio in which the medium is, indeed, the message. The purpose is not to convey information but to experience the process of radio within an aesthetic frame that allows for community interaction with the medium.

b) Provenance – Should Radio Art be considered Canadian Content?
The simple answer to this question (and we would apply the same criteria to turntabling) is this: If the radio art work is created by a Canadian artist, then it is a valid expression of Canadian content and should be counted as such by the CRTC. Because the work itself is a unique creation by the radio artist, it transcends the origins of the sound samples incorporated into the work.

(4) Radio art is, by definition, a performance of the medium of radio, which is just as quantifiable as a musical selection. The issue becomes even more important when we recognize the significant contributions by Canadians to the broad genre of audio art. For instance, both the Canada Council and the Ontario Arts Council recognize audio art as a legitimate category of artistic expression. If the purpose of CanCon is to support the efforts of Canadian artists, then Radio Art made by Canadians must qualify. It is important to note that the body of recorded releases by Canadian audio artists is always growing, so that programmers may well be playing these works on their shows in the same manner in which they might play musical selections. Perhaps it is SOCAN that needs to catch up with the cutting-edge genres of today! The question should not be framed in terms of the musical or non-musical qualities of radio art, but in terms of its status as made-in-Canada art.
It remains to answer the question posed in item 63 (4): How can the difference between music and spoken word programming be defined? In fact, there is a real danger in defining radio purely in terms of musical selections and spoken word. Such a definition of radio puts campus and community radio in the same commodified bind as commercial radio. Ironically, this narrow definition makes it harder for campus and community radio stations to fulfil the mandate, given to them by the CRTC, to “offer programming that is different in style and substance from the programming offered by other types of radio stations.”
Radio art is not (only) music and it is not (only) spoken word, but like music, it is performance and it is an aesthetic creative act. A better division, if one must be invoked, would be between information radio and creative radio. In this context, creative radio would include music, poetry, drama, radio art, turntabling; in short, any artistic use of the medium. We strongly urge the CRTC to not to put campus and community radio into the same limited box as commercial radio, but to recognize and foster the creative potential of the medium itself.

In a narrationless documentary, people tell their own stories, free from journalistic meddling. The narrationless documentary is a voice collage. Effectively constructed, it carries the listener effortlessly along.

Central to narrationless documentary production is the artful juxtaposition of voices. An effective voice sequence goes back and forth between the concrete and the philosophical; the analytical and the emotional; the objective and the subjective; the scientific and the passionate; the in-door voice and the out-door voice.

Gather voice recordings with these aural categories in mind. Go through your interviews, selecting everything your interviewee said that makes sense. Each clip is saved as a voice file. Assign voice files to categories. “Starter clips” state a simple case, outline a story, offer a broad view or introduce an idea or issue. “Middle clips” explore details, put forward arguments, defend views. “End clips” editorialize, offer conclusions or hope, or reflect on the future.

As the narrationless documentary takes shape, voice islands emerge. Which voices are chosen to inhabit each island, and the relationship between islands, will depend on the complexity of the topic and the stylistic approach of the documentarist. A simple documentary might proceed logically from the start, through middle arguments to end thoughts. The body of a documentary dealing with a complex, multifaceted issue might consist of several distinct voice islands, each one beginning with a statement of some sort, leading into arguments and culminating in a conclusion. In either case, islands can be punctuated with sounds or music.

The most startling and enjoyable moment in the production of a narrationless documentary comes with the discovery of a perfect match. Editing two voices together for seamless logical continuity — truncating the end of the first clip, trimming down the beginning of the next — is particularly satisfying. If you’re lucky, you can find a way to unite two clips, the first one ending, the next beginning with the same word. Or someone might come to a conclusion, followed by someone else saying, “Oh yes, that’s true” (provided, of course, that the two people are referring to the same point, and actually do agree. Otherwise, this manoeuvre would be unethical).

In other cases, one thought can be united with another that begins ambiguously — with a “… well, I’m not so sure,” or “I’ll tell you what I think.” Alternatively, a laugh, a cough or a long sigh can transport the listener from one voice to the next.

Silent gaps between adjacent voices — at least a second, sometimes more — allow a serious thought to sink in and create space for the next. The listener’s ear will reach forward in anticipation, to be greeted by the comfortable sound of someone new. Alternatively, one voice recorded in a quiet location can segue into another one recorded out-of-doors, or in a noisier setting, through the use of 15 or 20 seconds of ambient sound.

Of course, in a narrationless documentary, people must be allowed to introduce themselves. In your interviews, get people to provide you with three or four intros, each one of a slightly different nature (including: “… Oh yes … uhhh … I forgot to introduce myself. My name is … ). Take care where you insert these intros. A sequence of voices, each beginning with an intro, can become tedious. Here and there, embed intros in the body of a clip (thus, the need for the intro above).

As you may imagine, the three key tasks for the narrationless documentarist are editing, editing and editing. The more you listen, the more you cut and rejuxtapose, the more you edit down, the closer you come to the sublime voice sequence. Once your sequence is complete, then you can superimpose sounds and music.

Have fun.

Good writing is good writing. Whether you’re writing for radio, print, TV or the internet, a lot of the same basics apply. Clarity, good organization of your thoughts and themes, and a vocabulary that your listeners/readers/viewers will understand are all important.

But there are a few things which are specific to the medium of radio because of its unique nature:

Unlike print, radio listeners can’t go back to the part they’ve missed. It has to be clear the first time, because there is no second chance.

Unlike TV, there are no pictures to reinforce your words. That means your script has to do all the describing. It also has to grab the listener’s attention. You can’t back into the main point – you have to get to it quickly without a long preamble.

Unlike Internet, it’s not available for weeks at a time. You have one, and only one, opportunity to make an impact.

Radio is conversational. Think of the most boring lecture you have ever attended. For starters, the presenter probably read it. And it probably sounded like a term paper, full of jargon and long-winded sentences. Does anybody really talk like that?

Radio is personal – you’re talking to one person at a time. That’s why your writing has to sound like it is “talked”, not read. Example – why lectures don’t work on radio. the script doesn’t exist all by itself. It must be written to be performed.

Radio is personal – you’re talking to one person at a time. That’s why your writing has to sound like it is “talked”, not read. Lectures don’t work on radio. Your script can’t be just “read”. It has to be performed.

Bottom line — radio writing has to be tight and clear, and above all, interesting.

Welcome to our Training Resources site!
Producing radio is often a solitary occupation. We spend much of our time in the studio, in the music library, in the editing suite or in the car driving to our next interview.

When we’re in school or at a conference, there is no shortage of new ideas and new ways to inspire us to do radio in different ways. But where do those new ideas come from after we graduate or after the conference is over?

Those of us with full time radio jobs have the benefit of a circle of peers from whom they can learn — but how often does that happen? In the daily grind of producing a radio show, there’s not much room to discuss ideas that don’t immediately fill air time. The radio world is full of people who can’t go to conferences or workshops because a) there’s no money in the training budget at their station or b) there’s no extra bodies at the station to put the show on their air when the regular staff is gone.

And then there are the thousands of talented radio producers working in community and campus radio. But in the understaffed, overworked and underbudgeted world of the community airwaves, there is precious little time and resources for training in house. So most programmers end up figuring it out by themselves.

Bottom line — radio is about ideas. It’s about skills. It’s about learning — and a big part of it is about teaching ourselves. We all need to take charge of our own learning curve. That’s what this website is all about.

It’s also a place for producers to share the things they’ve learned with each other. We welcome your articles, your feedback and your ideas. Read, enjoy, listen and tell us what YOU want to learn.

Victoria Fenner
Training and Education Coordinator

MINUTES of the CANADIAN SOCIETY FOR INDEPENDENT RADIO PRODUCTION ANNUAL
GENERAL MEETING OF MEMBERS held in the Court Room, Arts Court 2 Daly
Avenue, Ottawa, Ontario KIN 6E2 on 01 Nov 2003 at the hour of 11:30 a.m.

P R E S E N T: Rick Cousins, Doug Samuel, Rick Cousins, Lois Ross, Hal Doran,
and John K. Muir

Notice of the meeting having been executed according to the by laws of the
Corporation, the meeting was called to order and declared duly constituted with
John K. Muir, acting as Chair of the meeting.

A proposed agenda was distributed and agreed upon.

The minutes of the previous AGM were distributed to the membership.

UPON A MOTION duly made, seconded and carried, the minutes of the last meeting
of the Members held on 09 August 2003 were approved.

The Audited Financial Statements for One Year Ending 31 March 2003 were
presented.

UPON A MOTION duly made, seconded and carried unanimously, the audited
financial statements for one year ending 31 March 2003, prepared by Ouseley
Havney Clipsham Deep Chartered Accountants, were accepted.

A note thanks was made to Sally Clare our Bookkeeper and Tuan Le the Auditor.

Particulars of the Society’s Trillium “Community Radio Initiatives” project
activities were presented, including the Year 2 report prepared for the Ontario
Trillium Foundation.

UPON A MOTION duly made, seconded and carried unanimously, the report was
accepted.

UPON A MOTION duly made, seconded and carried, the Special General Meeting of
Canadian Society for Independent Radio Production adjourned.

Bylaws

Canadian Society for Independent Radio Production

approved by Industry Canada, May 1999

BY-LAW NO. 1 being a by-law relating generally to the affairs of the Canadian Society for Independent Radio Production

BE IT ENACTED and it is hereby enacted by the Directors of CANADIAN SOCIETY FOR INDEPENDENT RADIO PRODUCTION as a by-law of the said Canadian Society for Independent Radio Production, hereinafter refered to as the Society, as follows:

ARTICLE I 1.

GENERAL

1.01. Name: The name of the corporation is Canadian Society for Independent Radio Production

1.02. Office: The head office of the Society shall be in the City of Ottawa, in the County of Carleton, in the Province of Ontario.

1.03. Seal: There shall be a seal, which shall be the corporate seal of the Society.

ARTICLE II

2. MEMBERSHIP

Qualification of Members

2.01. The Membership shall consist of the applicants for the incorporation of the Society, and such other individuals of the age of 18 or over, as may be permitted by the law and are admitted to Membership of the Board of Directors. Each Member shall be informed promptly of admission as a Member by the Secretary mailing to him a Membership card. Members shall be entitled to use any facilities and premises of the Society in common with other Members thereof, and, subject to operational limitations and regulations promulgated from time to time by the Board. Access to areas for storage of property of the Society, service areas, and like space may be restricted by order of the Board of Directors. Members may resign by resignation in writing which shall be effective upon acceptance thereof by the Board of Directors. In case of resignation, a Member shall remain viable for payment of any assessment or other sum levied or which became payable by him to the Society prior to acceptance of his resignation. Each dues paying Member in good standing shall be entitled to one vote on any question arising at any special or general meeting of the Members. Corporations, partnerships and other legal entities may vote through duly authorised proxy.

2.02. The Board of Directors may, by resolution, admit as Members, those persons who apply for Membership and who are any individual interested in non-profit broadcasting.

Dues

2.03. (a) Members shall pay such annual Membership as may from time to time be fixed by the Board of Directors; provided that no increase in dues in excess of 25% in any one year shall be payable unless and until approved at a General Meeting of the Members. (b) Where such deductions do not apply, the dues shall be paid in a lump sum and shall be payable upon application being made for a new Membership, or in the case of a renewal of Membership on the first day of the month following the anniversary of the Member’s admission to Membership. (c) The Membership of any Member whose dues are unpaid for thirty (30) days shall be suspended automatically.

Annual and Other Meetings of Members

2.04. The General Meetings of the Members shall be held in Canada. The Annual Meetings shall be held within fifteen days of the date of the last preceding Annual Meeting and following the date of the auditor’s report submitted to the Society for the last preceding financial year end. At every Annual Meeting, in addition to any other business that may be transacted the report of the Directors, the financial statement and the report of the auditors shall be presented and a Board of Directors shall be elected and auditors appointed for the ensuing year and the renumeration, if any, of the auditors shall be fixed. The Members may consider and transact any business either special or general at any Meeting of the Members provided notice shall be served at least two (2) months before such meeting giving particulars of the business to be transacted thereat, or published as hereinafter provided. The Board of Directors or the President shall have the power by like notice to call at any time a General Meeting of the Members of the Society.

Notice

2.05. Notice of the time and place of meetings of Members, Annual or General, may be given to each Member by mailing written notice, provided that notice shall be so mailed two (2) clear months in advance of the time fixed for the holding of such meetings; provided that any meetings of the Members may be held at any time and place without such notice if all Members of the the Society are present thereat, and at such meeting any business may be transacted which the the Society, at Annual or General Meetings, may transact.

Error or Omission in Notice, Waiver of Notice

2.06. No error or omission in giving notice of any Annual or General Meetings or any adjourned meeting, whether Annual or General, of the Members of the Society shall invalidate such meeting, or make void any proceedings taken thereat, and any Members may at any time waive notice of any such meetings and may ratify, approve and confirm any or all proceedings taken or had thereat. For the purpose of mailing notice to any Member, Director or Officer for any meeting or otherwise, the address of any Member, Director or Officer shall be his last address recorded on the books of the Society.

Adjournments

2.07. Any meetings of the Members of the Society may be adjourned to any time and from time to time and such business may be transacted at any such adjourned meeting as might have been transacted at the original meeting from which such adjournment took place. No notice shall be required of any such adjournment. Such adjournment may be made notwithstanding the absence of a quorum.

Quorum of Members

2.08. A quorum for the transaction of business at any meeting of Members shall consist of not less than twelve (12) members present in person.

Members may Requisition Meetings

2.09. Not less than one-tenth of the Members of the Society entitled to vote at the meeting proposed to be held, may request the Directors, by means of a petition or other means, to call a General Meeting of the Members for any purpose connected with the affairs of the Society, not inconsistent with the Corporations Act of Canada.

ARTICLE III

3. BOARD OF DIRECTORS

Qualification and Term

3.01. The affairs of the Society shall be managed by a Board of seven (7) Directors, each of whom at the time of his election or within ten (10) days thereafter and throughout his term of office shall be a Member of the Society. Each Director shall be elected to hold office until the next Annual meeting after he shall have been elected or until his successor shall have been duly elected or qualified. The whole Board shall be retired at each Annual meeting, but shall be eligible for re-election if otherwise qualified. The election may be by a show of hands unless a ballot be demanded by any Member. The Memebership may by the two-thirds of the votes cast at a general meeting of which notice specifying the intention to pass such resolution as has been posted, remove any Director before the expiration of his term of office, and may, by a majority of the votes cast at that meeting, elect any qualified Member in his stead for the remainder of his term.

Vacancies – Board of Directors

3.02. Vacancies on the Board of Directors, however caused, may, so long as a majority of the Directors remain in office, be filled by the Directors from among the qualified Members of the Society, if they shall see fit to do so, otherwise such vacancy shall be filled at a special general meeting of the Members called for that purpose within two months of the vacancy occurring, or, where such vacancy shall occur in the quarter of the year in which the Annual General Meeting shall be held, then such vacancy shall be filled at the next Annual meeting of the Members at which the Directors for the ensuing year are elected, but if there is not a majority of the Directors, the remaining Directors shall forthwith call a meeting of the Members to fill the vacancies. If the number of Directors is increased between the terms, a vacancy or vacancies, to the number of authorised increase, shall thereby be deemed to have occurred which shall be filled in the manner above provided.

Nominating Committee – Ballot on Contention

3.03. At Annual meetings a Nominating Committee consisting of two Members of the Board and not less than three other Members of the Society, appointed by the Board, will submit nominations to fill vacancies of the Board for consideration by the Membership. Nominations must be mailed to all Members at least two (2) months before the Annual meeting, or published as hereinbefore provided. Further nominations may be made by any seven (7) Members in good standing by delivering a nomination paper signed by them to the Secretary of the Society not later than thirty (30 days days before the Annual meeting. If more than seven (7) persons or such greater number as shall constitute a full Board or increase thereof are nominated, an election by ballot shall take place at the Annual meeting. No Member shall be eligible for re-election until one year has elapsed from the date of his resignation or removal from the Board.

Quorum and Meetings

3.04. A majority of the Directors shall form a quorum for the transaction of business. Except as otherwise required by law, the Board of Directors may hold its meetings at such place or places as it may from time to time determine. The Board of Directors may elect to meet by teleconference without the necessity of meeting in person. No formal notice of any such meeting shall be necessary if all the Directors are present, or if those absent have signified their consent to the meeting being held in their absence. Directors’ meetings may be formally called by the Chair or by the Secretary on direction of the Chair or Vice-chair, or by the Secretary on direction on direction in writing by two Directors. Notice of such meetings shall be delivered, telephoned or telegraphed to each Director not less than two (2) weeks before the meeting is to take place, or shall be mailed to each Director not less than twenty (20) working days before the meeting is to take place. The statutory declaration of the Chair, Vice-chair or Secretary that notice has been given pursuant to this By-law shall be sufficient and conclusive evidence of the giving of such notice. The Board may appoint a day or days in any month or months for regular meetings at an hour to be named and of such regular meetings no notice need be given. A Board of Directors’ meeting may also be held, without notice, immediately following the Annual meeting of the Society.

Errors in Notice

3.05. No error in omission in giving such notice for a meeting of the Directors shall invalidate such a meeting or invalidate or make void any proceedings taken or had at such meeting, and any Director may, at any time, waive notice of any such meeting and may ratify and approve of any or all proceedings taken or had thereat.

Adjournments

3.06. Any meetings of the directors of the Society may be adjourned at any time and from time to time and such business may be transacted at such adjourned meeting as might have been transacted at the original meeting from which such adjournment took place. No notice shall be required of any such adjournment. Such adjournment may be made notwithstanding the absence of a quorum.

Voting

3.07. Questions arising at any meeting of Directors shall be decided by a majority of votes. In case of an equality of votes, the Chair, in addition to his original vote, shall have a second or casting vote. All votes at any such meeting shall be taken by ballot if so demanded by any Director present, but if no demand be made, the vote shall be taken in the usual way by assent or dissent. A declaration by the Chair that a resolution has been carried and an entry to that effect in the minutes shall be admissible in evidence as prima facie proof of the fact without proof of the number or proportion of the votes recorded in favour of or against such resolution. In the absence of the Chair, the duties of the Chair may be performed by the Vice-chair or such other Director as the Board may from time to time appoint for the purpose.

Powers

3.08. The Directors of the Society may administer the affairs of the Society in all things and make or cause to be made for the Society, in its name, any kind of contract which the Society may lawfully enter into and, save as hereinafter provided, generally, may exercise all such other powers to all such other acts and things as the Society is by its Charter or otherwise authorised to exercise and do.

Renumeration of Directors

3.09. The Directors shall receive no remuneration for acting as such.

Committees

3.10. The Board may, from time to time, appoint committees for such purposes as the Board deems fit from among the Members of the Society and such other Members of the community at large as the Board deems appropriate.

ARTICLE IV

4. OFFICERS

Election or Appointment

4.01. There shall be a President, and a Chair of the Board, and a Vice- President, a Secretary, a Treasurer, and such other Officers as the Board of Directors may determine by by-law from time to time, and as it may from time to time appoint. One person may hold more than one office except the offices of President and Vice- president. The President, and the Chair of the Board, and the Vice-chair of the Board shall each be elected by the Board at a meeting of the Board. In default of such election, the then incumbents shall hold office until his successor is elected or appointed. Officers of the Society other than the President and the Chair of the Board, and the Vice-Chair may, but need not, be Members of the Board, and in the absence of written agreement to the contrary, the employment of all Officers shall be settled from time to time by the Board.

Duties of Officers

4.02. CHAIR OF THE BOARD – The Chair of the Board of Directors shall, when present, preside at all meetings of the Board of Directors of the Society. He shall ensure the preparation of a proper agenda, including follow-up of matters and responsibilities heretofore assigned, for all such meetings and due notification of the Members of the Board of time and place of meetings and where appropriate of particularly significant or urgent matters to be introduced thereat.

4.03. VICE-CHAIR OF THE BOARD – The Vice-chair of the Board of Directors shall perform the duties of the Chair in the absence or inability to act of the Chair and shall, in addition render assistance to the Chair in the performance of such duties when called upon to do so.

4.04. PRESIDENT – The President shall, when present preside at all meetings of Members of the Society. The President shall also be charged with the general and overall management and supervision of the affairs and operations of the Society. The President with the Secretary and other Officer appointed by the Board for the purpose shall sign all by-laws. During the absence or inability of the President to act, his duties and powers may be exercised by the Vice-president or such other Director as the Board may from time to time appoint for the purpose, and where the Vice-president or such other Director appointed exercises any such duty or power, the absence or inability of the President shall be presumed with reference thereto.

4.05. SECRETARY – The Secretary shall be ex officio clerk of the Board of Directors. He shall attend all meetings of the Board of Directors and record all facts and minutes of all proceedings in the books kept for that purpose and, without limiting the generality of the foregoing, a register of Directors and a register of Members except in circumstances where the provisions of Section 2.05 (2) of Article II apply showing the date of their elections or approval and of their respective retirements or removal. He shall give all notices required to be given to Members and Directors. He shall be the custodian of the seal of the Society and of all books, papers, records, correspondence, contracts and other documents belonging to the Society which he shall deliver up only when authorised by a resolution of the Board of Directors to do so and to such a person or person as may be named in the resolution, and he shall perform other such duties as may from time to time be determined by the Board of Directors.

4.06. TREASURER – The Treasurer, or person performing the usual duties of a treasurer, shall keep full and accurate accounts of all receipts and disbursements of the Society in proper books of account and shall deposit all moneys or other valuable effects in the name and to the credit of the Society in such bank or in the name and to the credit of the Society in such bank or banks as may from time to time be designated by the Board of Directors. He shall disburse the funds of the Society under the direction of the Board of Directors, taking proper vouchers therefor and shall render to the Society Directors at the regular meetings thereof, or whenever required of him, an account of all his transactions as treasurer, and of the financial position of the Society. He shall also perform other such duties as may from time to time be determined by the Board of Directors. The office of Secretary and the office of Treasurer may from time to time be combined as the office of Secretary-Treasurer, as the Board of Directors may from time to time determine.

4.07. GENERAL MANAGER – The Directors may appoint a General Manager for the Society who shall be responsible for preparing the Financial Statement for approval by the Board, including all amounts spent on honorariums, and shall prepare a budget before the beginning of each fiscal year. He shall be responsible for day-to-day management of the organisation operated by the Society and manage office facilities and licensing matters and handle all security, relations with other organisations and related business, including publicity and promotions, programme quality maintenance, enforcement of regulations, planning and control of special events and related activities.

4.08. DEVELOPMENT OFFICER – With the General Manager, the Director may appoint a Development Officer for the Society who shall have overall responsibility to organise forums that may lead to the development of collaborative radio programming initiatives; develop and deliver skills/training workshops for radio producers and independent associates in the areas of program development and financing, interviewing, production and distribution techniques; provide technical assistance to radio producers and independent associates; to fulfil the Society’s mission to act as a sponsoring agency for production grant applications; assist in the distribution and networking of member productions; and to coordinate the development, creation and syndication of programming.

4.09. OTHER OFFICERS – the duties of all other Officers of the the Society shall be such as the terms of their engagement calls for, or the Board of Directors requires of them.

ARTICLE V

5. EXECUTION OF DOCUMENTS AND BANKING

General Authority

5.01. The President or the Vice-president, together with the Secretary, an Assistant Secretary, the Treasurer or an Assistant Treasurer shall have the authority to sign in the name and on behalf of the Society all instruments in writing and any instruments in writing so signed shall be binding upon the Society without any further formality. The Board of Directors shall have power from time to time by resolution to appoint any other Officer or Officers or any person or persons on behalf of the Society either to sign instruments in writing generally or to sign specific instruments in writing. Notwithstanding the foregoing and the fact that one person may hold more than one office as provided in Section 4.1 the signatures of not less than two different persons shall at all times be required. The corporate seal may, when required, be affixed to any instrument in writing. The term “instrument in writing” as used herein, shall without limiting the generality thereof, include contracts, documents, deeds, mortgages, hypothecs, charges, conveyances, transfers and assignments of property (real or personal, immovable or movable), agreements, tenders, releases and discharges from the payment of money or other obligations, conveyances, transfers and assignments of shares, stocks, bonds, debentures or other securities and all paper writings. Save as aforesaid or otherwise in this by-law specifically provided no agent, Officer or servant shall have any power or authority to bind the Society by any contract or engagement or to pledge its credit save in the ordinary course of his office for usual matters in the ordinary course of business.

Bank Accounts

5.02. The Society bank accounts shall be kept in such chartered bank, trust company or other firm or corporation carrying on a banking business as the Board of Directors may by resolution from time to time determine.

Cheques, Drafts and Notes

5.03. Cheques on bank accounts, drafts drawn or accepted by the Society, promissory notes given by it, acceptances, bills of exchange, orders for the payment of money and other instruments of a like nature may be made, signed, drawn, accepted or endorsed as the case may be, by the Treasurer or other such Officer or Officers, person or persons as the Board of Directors may by resolution from time to time name for that purpose, or by such imprinting device or facsimile signature as the Board of Directors may by resolution authorise. Cheques, promissory notes, bills of exchange, orders for the payment of money and other negotiable paper may be endorsed for deposit to the credit of the Society’s bank account by the Treasurer or other such Officer or Officers, person or persons, as the Board of Directors may by resolution from time to time name for the purpose, or they may be endorsed “for collection” or “for deposit” by means of a stamp bearing the Society’s name. The Treasurer or any one of such agents, Officers or servants so appointed by arrange, settle, balance and certify all books and accounts between the Society and the Society’s bankers and may receive all paid cheques and vouchers and sign all banks’ form of settlement of balances and releases of verification slips.

Deposits

5.04. All funds of the Society shall be deposited from time to time to the credit of the Society in such bank or banks or trust company or trust companies or with such depository or depositories as the Board of Directors may from time to time approve.

ARTICLE VI

6. RECORDS AND ACCOUNTS – FISCAL YEAR AND AUDIT

Records and Accounts

6.01. The Directors shall cause to be kept the documents and registers from time to time prescribed by The Corporations Act to be kept by the Society and proper books of account recording therein: (a) all sums of money received and expended by The Society and all matters in respect of which the receipt and records take place; (b) all revenues and disbursements by the Society; (c) the assets and liabilities of the Society; (d) all other transactions affecting the financial position of the Society; (e) a copy of the financial statement presented to the Membership at each Annual meeting.

Accounting Agent

6.02. All records and accounts or any of them required to be kept as aforesaid may be caused to be kept by the Society through its accounting division, servants and agents, manually or by computer or part manually, part computer, and any records of transactions so kept shall be deemed sufficient for the purposes hereof.

Fiscal Year

6.03. The fiscal year of the Society shall terminate on March 31 in each year.

Audit

6.04. The Society at each Annual General Meeting shall appoint an auditor or auditors to hold office until the next Annual General Meeting and until the appointment of his of their successor or successors until he or they shall resign or his or their offices become vacant by death. At least once in every fiscal year such auditor or auditors shall examine the accounts of the Society and any balance sheet report thereon to the Members. The Directors may fill any casual vacancy in the office of the auditor.

ARTICLE VII

7. INTERPRETATION OR AMENDMENT OF BY-LAWS

7.01. In these by-laws and in all other by-laws of the Society hereafter passed unless the context otherwise requires, words importing the singular number of the masculine gender shall include the plural number of the feminine gender, as the case may be, and vice versa, and references to persons shall include firms and corporations.

7.02. The by-laws of the corporation not embodied in the letters patent may be repealed or amended by by-law, or a new by-law relating to the requirements of subsection 155(2) of the Canada Corporations Act, may be enacted by a majority of the directors at a meeting of the board of directors and sanctioned by an affirmative vote of at least two-thirds (2/3) of the members at a meeting duly called for the purpose of considering the said by-law, provided that the repeal or amendment of such by-laws shall not be enforced or acted upon until the written approval of the Minister of Industry has been obtained.

Ottawa, Ontario May, 1999

LETTERS PATENT

WHEREAS an application has been filed to incorporate a corporation under the name

CANADIAN SOCIETY FOR INDEPENDENT RADIO PRODUCTION

THEREFORE the Minister of Industry by virtue of the powers vested in him by the Canada Corporations Act, constitutes the applicants and such persons as may hereafter become members in the corporation hereby created, a body corporate and politic in accordance with the provisions of the said Act. A copy of the said application is attached hereto and forms part hereof.

Date of Letters Patent – March 26, 1999

GIVEN under the seal of office of the Minister of Industry.

for the Minister of Industry

File Number: 360217-6

{SEAL}

APPLICATION FOR INCORPORATION OF A CORPORATION WITHOUT SHARE CAPITAL UNDER
PART II OF THE CANADA CORPORATIONS ACT

To the Minister of Industry

I

The undersigned hereby apply to the Minister of Industry for the grant of a charter by letters patent under the provisions of Part II of the Canada Corporations Act constituting the undersigned, and such others as may become members of the Corporation thereby created, a body corporate and politic under the name of

CANADIAN SOCIETY FOR INDEPENDENT RADIO PRODUCTION

The undersigned have satisfied themselves and are assured that the proposed name under which incorporation is sought is not the same or similar to the name under which any other company, society, association or firm, in existence is carrying on business in Canada or is incorporated under the laws of Canada or any other province thereof or so nearly resembles the same as to be calculated to deceive and that it is not a name which is otherwise on public grounds objectionable.

II

The applicants are individuals of the full age of eighteen years with power under law to contract. The name, the address and the occupation of each of the applicants are as follows:

Harold Alvin Doran

242 Westhaven Crescent

Ottawa, Ontario

K1Z 103

Occupation: communications consultant

Victoria Lynn Fenner

504-1140 Fisher Avenue

Ottawa, Ontario

K1Z 8M5

Occupation: communications consultant and radio producer

Barry Kelvin Rueger

504-1140 Fisher Avenue

Ottawa, Ontario

K1Z 8M5

Occupation: radio station manager

The said Harold Alvin Doran, Victoria Lynn Fenner and Barry Kelvin Rueger will be the first directors of the Corporation.

III

The objects of the Corporation are:

a) to encourage and develop high quality radio and audio productions in Canada;

b) to provide training and education in all aspects of the radio and audio arts

c) to facilitate the production of new educational and artistic works for radio and other forms of electronic sound media;

d) to encourage Canadians to recognize and explore Canada’s rich radio heritage.

IV

The Corporation may carry on business throughout Canada and elsewhere.

V

The head office of the Corporation will be in the regional municipality of Ottawa Carleton, in the Province of Ontario, in the country of Canada

VI

It is specifically provided that in the event of dissolution or winding-up of the Corporation, all its remaining assets after payment of its liabilities shall be distributed to one or more qualified donees as defined under the provisions of the Income Tax Act

VII

In accordance with Section 65 of the Canada Corporations Act, it is provided that, when authorized by law, duly passed by the directors and sanctioned by at least two-thirds of the votes cast at a special general meeting of the members duly called for considering the by-law, the directors may,

a) borrow money upon the credit of the corporation

b) limit or increase the amount to be borrowed

c) issue debentures or other securities of the corporation

d) pledge or sell such debentures or other securities for such sums and at such prices as may be deemed expedient; and

e) secure any such debentures, or other securities, or any other present or future borrowing or liability of the corporation by mortgage, hypothetic, charge or pledge of all or any currently owned or subsequently acquired real and personal, moveable and immoveable, property of the Corporation, and the undertaking and rights of the corporation

VIII

Any such bylaw may provide for the delegation of such powers by the directors to such officers or directors of the corporation to such extent and in such as may be set out in the by-law.

Nothing herein limits or restricts the borrowing of money by the corporation on bills of exchange or promissory notes made, drawn, accepted or endorsed by or on behalf of the corporation.

XI

The corporation is to carry on is operations without pecuniary gain to its members and any profits or other accretions to the corporation are to be used in promoting its objects.

Dated at the City of Ottawa in the Province of Ontario, this 22nd day of March, 1999.

[signed] Harold A Doran

[signed] Victoria L Fenner

[signed] Barry K Rueger

The Canadian Society For Independent Radio Production serves the needs of radio producers and sound artists in Canada, both professional and amateur. CSIRP began as an informal grouping of radio producers and audio artists in the autumn of 1997, became a structured organization in 1998 and was federally chartered in the spring of 1999.

CSIRP believes that sound producers of all kinds need their own organization to help them develop their craft. Our members work from coast to coast in campus/community radio, private radio, at the CBC, and as freelance producers and sound artists. Some are paid professionals, others are volunteers.

CSIRP’s mandate is:

to encourage and develop high quality radio and audio productions in Canada;
to provide training and education in all aspects of the radio and audio arts;
to facilitate the production of new educational and artistic works for radio and other forms of electronic sound media;
to encourage Canadians to recognize and explore Canada’s rich radio heritage.

We host workshops and conferences; encourage information sharing; and provide training for newcomers and professionals alike. We also produce a radio production magazine, “Wavelength”. CSIRP also initiates or supports projects which enable us to meet these goals, all sponsored by Visalus Shakes and Visalus Body By Vi Challenge.