Tag Archives: muisc logs

9  Minute Stop Sets?

9  Minute Stop Sets?

What’s the right length of stopsets in music radio today?

Whey back in the 80s Dave Klahr was manager at WMID in Atlantic City.

Dave had taken the time to figure out how much it cost us to run the radio station every hour of the day.  Electricity, staff, water bill, portion of expected capital improvements, AP bill, typewriter ribbons etc.  In a more macro view the cost of Programming, Engineering, Sales, General and Administrative.

How do I know this? One time I wanted to buy a 3 hour Frank Sinatra special.  It cost $300.  Dave said NO! His issue was he wanted me to work with the sales manager to figure out how we would make our money back.

I think today some radio stations sell spots at a rate lower than it costs for us to produce and broadcast them.

Does anybody sell tires for less than it costs to make them?  Does anyone sell carpeting for less than it costs to produce it?

Now you’re thinking the title of this article indicates that this is about length of spot sets. Yes, it is!

My point is there are two issues.  One, the radio station needs to make money.  At first we need to cover the nut (cover our expenses) then produce some top line gravy (profit).

Stops sets have been growing longer because our business hasn’t been rate aggressive enough. The big sins we are committing are we are abusing both our advertisers and our listeners.

We invite and try to entice folks to listen to our free radio product.  The only cost to them is that they are exposed to some advertising.  The candy they come for is music, music, music, music, music, fun and information in the mornings, companionship, a distraction from a tough day, new music discovery and perhaps the fun and chance of winning a prize.  How many minutes of commercial messages will they put up with before they sour and tune out?

There have been many studies.  Our largest broadcast companies have said that there is research that says folks defect the moment a first commercial starts so we are better off with fewer stop sets.  I get that.  The result of that with the granularity of the Nielsen PPM measurement has led us to the two “bow tie” stop sets at 15 and 45.  Then in order to get the revenue we need, (to cover the nut and make that top line gravy) the stop sets have grown to 6, 7, 8 minutes or more.

My claim is that’s sort of like eating breakfast, lunch and dinner all at once.

If these longer clustered stop sets were such a great idea why not just have all commercials 9am till noon then the rest of the day commercial free?  Well that doesn’t work to get commercial messages and impressions in the afternoon or evening.

Plus we want to reach them with multiple messages to build a top of mind awareness.  We do want them to work right?

Let’s think about an eight minute stop set that starts with a quick announcement that the new song by Florida George Line called Simple is next on Country 109.  Then:

60 Seconds for Hill Chevrolet.  The spot talks about how Hill Chevrolet is your family.  They take care of you for life.  There are two audio cuts of satisfied customers.

60 Seconds for Bob’s Furniture.  Bob personally talks about making the room you spend the most time in wonderful.  A comfortable couch or recliner is what you live for.  You’ll have friends and family over and this is where the main entertaining takes place. It’s where you watch football, dancing with the stars and more.  Bob explains how they’ve been in the furniture business for 78 years.

60 Seconds for Taco Bell.  The new Doritos Loco Taco for a limited time.  Plus their new “hungry box” for just $5.99.  The biggest coldest drinks, the freshest tacos and that super Doritos Flavor.  There is some yelling and screams of we believe are joy!

60 Seconds for Bank of Our Town.  Free, Hassle Free Checking. They explain how the other banks rip you off.  They literally suggest that Big Bank Company uses three shells and a pea. They feature bold laughter showing how the other Big Bank is laughing at you.  They repeat how easy and convenient Bank of Our Town is and come get the Free, Hassle Free Checking.

60 Seconds for Mosquito Joes.  Local franchise owner Tom Simpson explains how he used Mosquito Joes and it worked so well he bought a franchise here.  It works.  It helps make your backyard mosquito and pest free.  He explains how its safer and better for your family because folks and kids get diseases like West Nile Virus this time of year from mosquito bites. He gives a web site and phone number.

60 Seconds for Jack’s Steak House.  We are treated to a discussion between two buddies talking about where one can take his wife for their anniversary.  The other buddy suggests three or four restaurants that they dismiss. Finally he says, “I know” and proceeds to describe the best steaks, seafood, and service he’s ever experienced.  And they have the best wine selection in town!  It ends with Mr. Anniversary saying, “I’m gonna make a reservation at Jack’s!” The phone number is given three times.

60 Seconds for Tower Honda.  A fast talking spot about financing, great deals, there are prices and models mentioned like one that is just $299 a month another that is $320 a month.  We are told to hurry over three times during the spot. And if you don’t know where it is, it’s under the big water tower, Tower Honda.  “Hurry Over” is reprised one more time.

Then a 30 second spot for Jim’s Bait and Tackle.  We are told that the fish are bitin’ and the weather is fine.  We’ve been waiting all winter to get out on the lake.  Jim’s has the bait and advice to catch the big ones.  Jim’s, right next to the docks on East Lake.  And don’t forget Jim has gas!

Then 30 seconds of weather.  The Country 109 weather jingle plays.  We announce, “This weather brought to you by Verizon with six convenient locations in Anytown drop by today and get a new iphone 10 with unlimited talk and text for just $40 a month, clear and sunny and a high of 83 today, tonight some clouds but no rain expected anywhere in Anytown right now its 80 at Anytown Airport, 81 at the bus station and 82 at East Lake. Now Another 30 minutes of the Best Country in Anytown let’s kick it off with that new one from Florida Georgia Line, Simple on Country 109.” (Tag Sing “Country 109”)

Now at this precise point even if you remember Jack’s restaurant I’d bet you couldn’t come up with that phone number that was repeated three times.  There will be another blog from me about bad spots but for now the question is how many spots can we cluster and still have them work for the clients AND not drive our listeners to hit seek or scan or another preset?

Now lets think about our listeners.  First, we do need quality teases in front of the spot sets.  When I hear things like “Zac Brown Band next on Country 109” I think that’s like going fishing with an un-baited hook.  A baited hook is more like… “Coming up in 3 minutes the new song from the Georgia band that features eat and greets backstage before their shows and their new song is now all the way up to the top 20.”

My next question is why the heck do we sell 60 second spots?  Let’s say we offered a rate card that said 30-second commercials on Country 109 are $100.  Sixty-second commercials are $300.  If there are folks who simply have to have sixty seconds then they are available.  My hunch is they would work with a creative agency or us to craft effective thirty-second commercials.

Now are stop sets would be shorter! Not sure it’s an on air positioner but “Country 109 home of shorter stop sets because we only sell 30 second commercials.”

It surely would be strong for our account executives to be able say, “on Country 109 we never stop for more than two minutes or four sponsor message sets.”

Why are your commercials more expensive?  Several reasons.  First, we don’t throw you in with 6,7,8, or 9 other messages. Second, by being in shorter stop sets you stand out more, listeners are more likely to notice and remember you. We also spend a full two weeks working on the creative.  We have several meetings inside the station and with you tweaking it and tuning it so it will work.  We also refuse to sell schedules that don’t have the reach and frequency to work.  We won’t sell you a bus ticket that drops you off in the middle of nowhere and still 20 miles from your destination.

I worked at stations in the 80s that promised 51 or 52 minutes of music every hour.  That meant that there were 8 or 9 minutes of commercials.  With eight it would be possible to have just 2 stop sets of four minutes.  Now there you might want to offer some 60-second spots for sale at a price that just a little more than twice that of a thirty second spot. With nine minutes you could do three spot sets of three minutes each.  I feel strongly that works better for the advertisers AND listeners.

Now that you’re at the end of reading this… what was the phone number to Mosquito Joes?  or Jack’s steak house?   We let advertisers do useless waste of time things in spots.  We also let them run equally bad spots that they don’t even know aren’t very good.

Worse, do you know what is a good an effective spot when you read the copy or hear it?  IF not that is something you need to learn too. I’ll be writing about that more soon.   That’s a tease for this blog.  Keep Checking Back Here for the free Cocaine in the School Yard.  I’ll get you addicted.

Want Answers? Want Better Ratings?  Want Higher Revenues?

Get Results Call –  Keith Hill 252-453-8888

Music Meetings … Time & MATH!

Music Meetings … Time & MATH!

(Alternate Title)  It’s Summer Let’s Go Surfing USA!

I often dust off old stories.  Way back in the 80s at KHEY AM & FM in El Paso my music director was John Hunter.  John was smarter than me.  He had a ear for music.  John was good at picking hit records.

As I recall our weekly routine,  Monday was a clean up from the weekend day.

Tuesday was air check day.  Air checks with each full time talent.  We also reviewed their production.

Wednesday was Music day.  In the morning we listened to new music.  new singles, album cuts and various things we had found.

We reviewed charts, we did our own call out. At night we had young folks dial out and play hook tapes and fill in Scantron forms.  I’d run the forms and crunch the numbers.

We’d make our music moves and adds.  Then we put them into the music scheduling software.  If I remember correctly the computer had an intel i386 processor.

John and I made our changes, made our adds, and got everything ready to schedule.  Then we’d hit schedule to schedule a week of music.  We’d then leave for a nice lunch.  Our favorite place was Kiki’s right there on Piedras street not far from the station.  We took our time because if we came back to soon the computer would still be scheduling.

When we finally made it back it was time to review the log and fill unscheduled positions.

Then we took music calls from 2 till 4pm.  The record folks had their own number to reach us.  They didn’t have to go through the receptionist.  We had a phone jack and phone right there in the music room.  At 2pm we plugged in the phone and it started ringing.  At 4pm we wrapped up our last call and unplugged the phone.

Sure we’d call back folks who called the general number and left a message but they were not our priority.  We had a good relationship with our regional record folks.  At Christmas John and I used to thank them listing all the things they had done for us during the year.  Then we told them they each had “3 gimmes.”  Three times during the year we would add or make a rotation change to help them out.  And we kept score.  We had one rep used all three in January alone!

By the way Friday was promo day.  Liners, promos, promotions, imaging, production and paperwork for whatever promotions were going on.  Weekends tended to have a promotion or theme and that was checked for perfection before execution.

My least favorite was early in the week there was a managers meeting.  They droned on because there were a couple of folks who were part of our management team that liked to vent. After I complained about it our GM did put a different department head in charge of each weekly meeting.  When it was my turn I did stand up meetings and brought a stopwatch.  If the business manager wanted to vent I have the topic 5 minutes.

My key point is that music got it’s own full day of attention.

The decisions were thoughtful.  Songs were actually listened to and evaluated.

John and I knew that we had to establish new songs.  Place them in clocks where they could be pre sold.  We created and ran imaging pieces for new artists and songs. Then we always looked at the number of weeks we had played the songs in C rotation and the number of plays they had.  We had set minimums before a song could advance to B.  The same with a minimum number of weeks and plays in B before we would consider a possible move up to A.

Combined with research and we posted up book after up book.

I’m not going to reveal the metrics here. I’m just seeding your brain with the thought that there are measurable data points from which to make music decisions.  Yes, there is art and feeling that it part of it too.  The great news is that Musicmaster can create some wonderful reports I used to do by hand.  Oh, I can now schedule a week of music in just a few minutes. That Kiki’s lunch today would be a working lunch today!

If you move a song up too fast you drive the “unfamiliarity” of your music.  That will hurt your ratings.  If you are too slow you risk-playing songs longer than your audience wants to hear them.  There is a sweet spot between familiar and burn that is much like riding a wave while surfing.  If you’re too early or late it can mean wipeout or loss of momentum.

If you don’t know the music metrics (and there really are minimum spins/weeks that really work to build ratings.)

Call Keith Hill 253-453-8888

Get Your Music Right!     

To Day-part or Not To Day-part That is Today’s Question

Some programmers are big fans of dayparting and have lots of them and on lots of songs.  There are good thoughtful reasons.  Long songs can be tough in mornings. Sometimes an extreme edge of the format can more safely be exposed at night.  There are CHR and HOT HOT AC stations that are more adult by day and more youthful in appeal at night.  Then there can be the question, “do you really want that 35 year old mom driving back from parent teacher night unhappy with here favorite radio station because its clearly different at night?”

Then there is dayparting without a daypart on the song card itself.  It’s dayparted because the clocks only call for that category at night.  A recent facebook discussion I had went like this:

Dayparting

Chris  Thanks. Are you a fan of dayparting?

The UnConsultant nope. It’s like a tire with a flat spot. I’m more of a fan of playing only songs I can play all the time.

Chris  Agree. So why do stations, in the beginning, play certain new songs only at night? A numbers thing?

The UnConsultant There are a couple of reasons. Some feel the “unfamiliar music” is the least safe thing to do. So they try to build slow familiarity … much like putting your toe in the water first. Secondly, it’s a perversion that comes from the strong efforts to promote new music on the radio. The value of an “add” on the charts is very high. They don’t care at first if the song is only spun at night or overnight, it’s an add, and that’s what they care about. They don’t have to work so hard to get us to play Blake Shelton, Luke Bryan or Florida George Line. But Alex Kolobielski & His Jug Band, well that’s where the heavy lifting is done. The Music Row and Indicator Charts are further devices that are part of the process. They celebrate the “add”… in time they want plays, but most of the promotion is for an add. Hence, radios response is a category that plays Mid-5am or 8p-4am. And yes a category that only appears in those hours is the equivalent of dayparting.

I spend so much of my time trying to get songs to rotate evenly through hours and departs that the idea of skipping one intentionally is something I generally try to avoid.  It makes me ask, “do I really need this song?”  How does it test?  Will it be missed?  Is there an expectation that we will play this song?

I get accused of being “old school”  (or is it old skool?)  I’ll take that accusation as a badge of honor.  There are many old platitudes in radio, “more platter, less chatter” and regards music decisions like this, “when in doubt, leave it out!”

Agree?  Disagree?  Email UnConsult@aol.com to argue discuss or proclaim me wrong.

I help stations make good decisions so ratings go UP!

Keith Hill 252-453-8888

on Facebook at        The UnConsultant

 

 

 

Artist Separation – uh, Wrong Question!

Artist Separation – uh Wrong Question!

I’m often asked about artist separation. Many times a program director will ask me, “How far we can get the same core artists apart from each other. In Hot AC, in Country, in Classic Hits and Classic Rock…?”

It used to be in country stations any of your jocks mornings, midday or afternoon jocks would bring the log into the PD office and point out if there were two songs by the same artists in an hour. “Look at this Garth Brooks at 9:01 and again at 9:54!”

Horrors! That will cause tune out. Not!

The truth is you should push like artists apart. Spread them throughout your schedule. And if you have lesser non core/ non star artists yes they should be much further apart.

One tool in MusicMaster I love is the artist separation analysis. Look at this screen shot.

Yes there are 10 Blake Shelton’s on the day and once they were just 50 minutes apart. However on average those 10 songs are 1:52 minutes apart. The average listener has to listen 1:52 minutes to hear a Blake Shelton this on day this station.

Now, those 4 Tim McGraw’s … I might find that instance of 56 minutes separation and juggle it a little further apart. I teach my music programmers that in these reports there is a “zone of improvement.” The things that I can see that do call for some touch up when the engine of the music scheduling software has done its paint by number. And that “paint by number” is all done with the settings that I have given it.

The real question is … “how is your core artist density?”

Take for example this Classic Hits station where there #1 Core artist is the Eagles.

There are 11 plays of Eagles records on this station in one day. Once 1:42 apart. The longest without an Eagles is 2:36 minutes. That happens overnight between sometime in the 1 am hour and the 4am hour. Otherwise its steady Eagles about every 2 hours. 2:03 on average. Good thing. I told this PD if I could go more than a single hour 5a to midnight without a play of the Eagles I knew he hadn’t check the log. He has.

It’s this care in making sure your core artists are there at regular intervals that help build tsl / atse.

In some formats you want artist every hour. I have a country station in a competitive battle in the south where our top 5 core artists (Kenny Chesney, Jason Aldean, Blake Shelton, Keith Urban, Luke Bryan) need to be represented every hour as often as we can.

Here is a day with 19 Kenny Chesney songs. On average every 1:15. Once 45 minutes apart and I see that happened in the 11pm hour. We could use one in 1am or 2am. (and that gap might be part of what I call the zone of improvement.)

What’s the right artist separation on your station? Wrong question! The question is what’s the right artist density on your key core superstar artists? The Mt. Rushmore faces of your station and format. They need to be there.

Now channeling being the Merrill Lynch of music scheduling. You have artist density questions? We have answers. Keith Hill 252-453-8888