A bit like the old Carlsberg advert, BBC Radio Wales reaches the parts that other radio stations don't touch.

To spread the net and gain wider involvement 32 community reporters have been recruited. Some represent a minority group, others like myself represent an area. The brief is to go out and find interesting stories.

Hard news is off limits and reserved for the professionals. We're looking for the odd, unusual or quirky stories from a community that will be of broad interest or entertainment across Wales.

Armed with a microphone, headphones and some basic training we have been unleashed on an unsuspecting public. When you go on a training course there's usually one thing that sticks in your mind, for me it was the person who said "the pictures on radio are much better!"

We propose stories to our minders at BBC Cardiff who liaise with the programme producers. In putting ideas across we are encouraged to be brief and attention-grabbing, something like a two-line entry in the Radio Times should sell it.

Sometimes it's a live interview. Sitting in the studio with the headphones on and a large microphone in front of you feels strange. Relax, forget it's live, pretend you're chatting to a friend - this is no John Humphrys tie-you-up-in-knots interview, the presenter is probably as nervous for you.

The producer breaks in to the music and has a short chat with you. "How are you today?" Or "What's the weather like?" .... She's not really interested, just checking the sound level. "We're going to play another record and then it'll be your turn". It's a surreal moment when the music stops, you're introduced and there's a silence for you to fill.

Within minutes of doing my first interview there was a phone call from a surprised uncle I hadn't spoken to for over a year ... proof positive that I really had been on air.

I like the buzz of live interviews, but I prefer the creativity of making a package. You're the director, sound engineer and presenter rolled into one.

When the BBC have worked their magic the final product is around five minutes long and typically contains extracts from about 10 minutes of talking, plus a few background sound effects.

One of my first packages was a recording about Arctic Alpines halfway up Snowdon on a precarious slope buffeted by strong winds.

Mistake number one, I'd forgotten to bring the sponge that goes over the mike and reduces wind noise. To compensate I sheltered the mike with my coat. Sure enough the wind was reduced, but so was the interviewee. My questions were double the volume of his responses.

The producer asked what I'd been doing. True, they can turn the volume up for each response but the background noise increases and it sounds awful. I was on the borderline of acceptability on this occasion. Next time get much closer to the subject.

A few days later I was interviewing someone beside a lake about floating reedbeds. Once again the wind was strong so I put the sponge on the end of the mike. For good measure we sheltered behind the dam wall.

Expecting full marks from the producer, I was dismayed to learn I'd eradicated almost all traces of life on earth making the words sound sterile and studio like. No way was this painting an atmospheric picture.

Sound effects need to be blatant. My interviewee was demonstrating how he could crumble the soft stone in his hand. I should have ground it to a powder on a rock beneath my boot.

My next assignment was to record a keen photographer. He'd got one of those smart digital SLR cameras that make rapid paparazzi noises, so I recorded some of that.

I felt quite chuffed sending this down the line to the producer, but was she impressed? "It would have been a lot more useful if you'd linked it with something like - I'd better let you get on with your photography."

Building an otter holt on the banks of a stream in a forest was a beautiful scene to describe. I interviewed the expert about the local otters and the design of the holt. Spoke with several of the volunteers about their reasons for taking part. Got some good stream noises, woodland birds and a distant chainsaw. This time surely I've got it right? "Thanks for that Huw, it was very good but we could have done with some "building" noises!"

When I started I thought it was quite simple - ask the right sort of questions, point your mike at the person and away you go. But now with a bit of experience I'm beginning to appreciate how much there is to know and practice. Painting a picture through words and sound, sketch it in pencil first then slap it on with a big brush.
Huw Jenkins