Are bands and artists still sending CD's in this digital era?
unfortunate that at this time that the industry is changing. Record
labels have stopped sending CD's and prefer to go the digital
route. This is understandable in some ways with how the global
economy is. But what it's doing is hurting any airplay a band
may receive. MP3's sound absolutely dreadful on an FM signal
(people forget we are an FM radio program first) and we are
forced to limit the promotion we can with labels/bands/artists
that send us those. The digital quality sounds terrible as our
transmitter compressor battles with making the sound right. Then
add in the digital hiss and the digital clicks and it adds up to
'un-listenable' music. We ask that labels send us FLAC or WAV
files. If MP3 is the only file they can send, then we need to
review to see if it is worth putting on the air sound quality
wise. Overall we prefer the CD because we still like to look at
the whole package. Booklet, insert, CD, artwork, etc. These
things are important to us in giving a band air time on our
radio program. We want to know who they are. Those artists that
actually send a CD will get preferential airplay.
What is the background music you use on your
love the music of Klaus Schulze. I tend to use his Picture Music
album, and his X album. I also like use Pat Thomi's Fairy Tales
album as well.
How often are you in the WBZC studios on Saturdays? Are
these programs prerecorded at your home studio or no?
the most part, the radio program is done live in Pemberton on
Saturday nights. When issues arise with travel or sporting
events I may be doing, I may prerecord the radio program from
our home studios in Brigantine, New Jersey, just north of
Atlantic City at the Jersey shore. There are always hints if a
radio program is recorded at the home studio. Only some have
figured it out :). For the most part, home studio recordings
take place in the summer.
What recording gear do you use for the program?
record the programs as .wav files in Pro Logic for Mac. I prefer
to use Adobe Audition for editing interviews and other
production. I use a SP C1 large diaphragm, fixed-cardioid
condenser microphone which has a low noise amplifier. I also use
a Behringer Xenyx digital/analog mixing board. For post
production I prefer using TDK CDR's since they are the most
reliable recording discs.
there a reason why you will not play mp3's of a band/artist release?
today's age of 'internet' radio, this can go over without a
hitch. What has to be understood is that we are based 80% of the
time on an FM radio station. FM radio quality and streaming are
two totally different ball games. FM radio transmitters have
compressors that make the solid and dynamic sonic of a WAV,
balanced and large sounding. An mp3 (the average recorded at
128Kb/s) has a tinny and compressed sound on FM radio. We
prefer only the highest Kb/s due to air quality.
How come you
do not play more popular progressive rock bands like Yes, Genesis,
ELP, in plenty?
While we respect
and love those bands and understand that the progressive
rock scene wouldn't exist without
them, we feel it is far more important to support current progressive
bands and lesser known, non-mainstream enriched music. Also,
during the heyday of those bands and artists, there were similar
bands doing just as creative and powerful work as their
contemporaries were. They will not go unnoticed.
Why does it take so
long to hear some new releases, when other times it is on 3 weeks
before it is released?
our most popular question we receive.
In some ways, it's luck of the draw. Imports of a new release usually come out before a North American release date. We are
fortunate to be serviced by overseas outlets that ease the wait.
But lately, labels are forgetting about us...again, the industry is
What is your policy
on reviewing and airing music?
many new releases on a monthly basis. When we do receive a
recording, and it
has been tracked and aired, it is then put into rotation and
into the database for the year end top 100 polling. We work on a 3
week rotation depending on the established artists new release
schedule dates, and request buzz. A band or artist, when sending their
recording, will be notified by email and/or their site's
forums/social media site up to that week prior to airplay on how to
listen . Now with the new RIAA Radio
Streaming laws, we can only air a certain amount of tracks from
a release. Playlists will
be posted AFTER the reruns are aired currently on Tuesdays due
to file sharing
Is the program just you or are/were
there other staffers involved?
the years we have had many people that have assisted in many
aspects of the show's programming. From 1991 to 1993, we were
often joined by Keith "The Man" Myers, Reginald Szatny,
and Jon Most.
Their contributions were in music, production, and new talent. By 1994, we
worked with other staffers such as Roger Beckwith who was host
of Roadhouse Radio
opposite Janet Watts, and Steve Huston who assisted us for live
in studio performances and interviews. We then became involved
with Charles Nolan as a consultant who was with us from 1996 to
1997. During that time, we also became involved with George
Piatkowski. George became a co-producer and took the program to
even deeper levels with music obscurity. He was part of the crew
until 2006. For live events we were continuously helped by Roger
Beckwith and Bob "Big Bob Lovin' Volpe at countless venues.
Ken Golden of Laser's Edge has co-produced many thematic
programs over the years and continues to, to this day. In
2000, Jack Webster came on board and archived many in-studio
events and continues to assist as videographer, photographer, and contributes
to programming as well. He is also joined by his assistant Frank
Alfeeri. There is also Brian Schenkenberger, our online engineer at Aural Moon
who maintains live broadcasts internet streams at progressive
rock events and the program itself. We are assisted by Jason Varga for in studio events
as well, who has now become 88.9 WBZC's Program Director. We
also have added the great Kevin Feeley who is our technical
advisor. He has been the focal point with our live and abroad
radio shows. He has always supplied top notch equipment and
contributed endless hours of technology.
What are the FM frequencies that
the radio program can be heard at within the tri-state area?
be heard at 88.9FM WBZC in Pemberton, NJ serving southern New
Jersey, the Jersey Shore, Philadelphia, and Eastern Pennsylvania.
Our coverage map is located here.
We can also be heard at 95.1FM W236AF in Burlington, NJ. Our
coverage map is located here
and serves the New Jersey towns of Burlington, Burlington City,
Beverly, Edgewater Park, Willingboro, Florence, Roebling,
Delanco, Riverside, and the Pennsylvania towns of Bristol,
Cornwells Heights-Eddington, and
Trevose. We are also heard at the 100.7FM W264BH Mount Holly,
NJ. Our coverage map is located here
and serves the New Jersey towns of Mount Holly, Woodlane,
Southampton, Hainesport and Eastampton.
We don't hear any selections from the labels Mellow and
Musea. You know these labels exist right?
Records and Musea
Records do not
send promos to radio stations.
What exactly are the FOG lines?
A. The FOG
lines simply stand for Friends Of Gagliarchives Hotline. The
term was first coined on July 9, 1992 and it stuck ever since.
When I want the listeners to call in, I say "The fog lines
are open at 609-894-8900..."
The one time band Finneus Gauge recorded a song on the phrase on their 1999 album,
One Inch Of The Fall.