2SER
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| City | Sydney |
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| Broadcast area | Sydney |
| Slogan | Real Radio |
| Frequency | 107.3 MHz FM |
| First air date | 1 October 1979 |
| Format | Independent |
| Owner | University of Technology, Sydney, Macquarie University |
2SER is a community radio station in Sydney, New South Wales, Australia, broadcasting on the frequency 107.3 FM and is a member of the Community Broadcasting Association of Australia. The station operates as a company limited by guarantee and is jointly owned by Macquarie University and the University of Technology, Sydney. Both institutions contribute an annual grant to 2SER, however the station is largely self-supporting, relying upon revenue raised through programming, sponsorship, fund-raising events and membership.
The station has a metro-wide licence and broadcasts a mix of programming styles - specialist music, general magazine and specialist talks. It currently broadcasts 15 talks shows covering topics such as science, current affairs, health, conservation, publishing, gay culture and theatre. 2SER is also one of few media outlets that has a special program for prisoners. The station helped launch the broadcasting careers of Julie McCrossin, Robbie Buck, Helen Razer, Eleanor Hall, Fenella Kernebone and Jonathan Harley - all of whom started out on the station as volunteers.
The station had its origins in the burgeoning community broadcasting movement of the early 1970s when it was proposed that an educational station, based on a consortium of Sydney universities, be established. On 1 October 1979 the station was opened by the Federal Minister for Education, Senator John Carrick, and has been broadcasting ever since.
In the mid-1990s the station expanded its programming to emphasise 'underground dance music' which was very popular in Sydney at the time. This caused friction within the station but 2SER organised a series of highly lucrative fund raising events called Freaky Loops in association with Sydney promoters such as Cryogenesis, Clan Analogue, Club Kooky and Elefant Traks which sustained the move to a new musical format for several years until 2001.
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