Tag Archives: music logs

Positioning Of Radio in 2018

Positioning Of Radio in 2018

Jack Trout and Al Reis all taught us so much about “Positioning.”

In the world of brands we all have mental ladders.  When I say “toothpaste” how many can you name?

Crest, Colgate, uh… maybe you get to Pepsodent.  I’ll bet you didn’t get to Gleem!

Ok let’s do Fast Food Pizza brands go!  Pizza Hut, Dominos, Little Ceasars, Papa Johns, and because I came up with Papa John’s I can tack on Papa Murphy’s.  That’s only five.  Imagine what happens to the local places in the Pizza wars.

If your fortunate enough to operate the only rock station, or only chr Station, or only country station then good for you.

If you operate the only rock station … you can be Rock 109 and that’s a good place.

You do realize that when someone picks a fight with you they are going to pick a narrower-lane. You might get a New Rock station or Classic Rocker as a competitor.  They might reposition you as wimpy and utilize the slogan “Classic Rock That Really Rocks.”

Your competitor is “#1 For New Country.”  Ok we know what lane they think is the most valuable.  Do they hammer it?  Do the own it in the minds of the folks in the marketplace?

Then there are the positioners that don’t mean as much anyway.  “Hot Country 101.”  Well the word “Hot” is a tofu word that you better apply some valuable attributes and meaning to!

Music quantity isn’t as strong an attribute as it used to be.  I can tell you that radio listeners today think we all lie and that every radio station says they play the “most” country, rock, hit music, Hip & Hop, Old Skool and R&B.

There are some meaningful ways to make music quantity an important wedge you can use against a competitor, but you better be able to truthfully demonstrate it. Otherwise just putting a t-shirt that says “I’m Skinny” on a fat man isn’t going to work.

Music quality. If two stations are fighting with one as “Big Townville’s Best Music” and the competitor is “Your Hit Music Leader.”  Both are wasting a lot of valuable time saying “blah blah blah.”  Because that’s what the listeners are really hearing!

Radio stations that are truly positioned well will assault the market in several ways.  First, they will say their position over and over and never stop.  They will find clever ways to reinforce the position other than just saying it a lot.  They will collaterally support it with visuals. (Print, Web, TV, Billboards, Direct Mail etc) They might even do a promotion around the positioner to poke you in the eyes and ears to make it even more memorable.

Hint, sometimes the best position isn’t as sexy or clean as you might want it to be.  It has to be right.  There is nothing wrong with a screwdriver but if your trying to drive a nail you’ll be better off with a hammer.

Then there is knowing what’s right but poorly executing it.

Ever try to cut a birthday cake with a 2 by 4 piece of wood?

You crush a lot of cake and it doesn’t cut that well.  You motion is correct but the tool is blunt.

A knife is needed. When framing a door check with the carpenter about the relative value of a knife versus that 2 by 4.

Is your positioning right?

Let me help you. My central Positioner is I am The UnConsultant.

I think most consultants want your money more than rolling up their sleeves and figuring out the exact custom solution to your radio stations challenges.  Consultants tell you how they did it in Denver, Seattle, or Miami.  I don’t’ give a rip.  How are we going to get it done here in your market?

I reinforce it with “I Build Successful Radio Brands.”

Lastly, in my arsenal of skills while I coach air talent, develop promotions, analyze Nielsen and help develop overall plans and oversee their execution for ratings growth. My #1 skill is I am “The World’s Leading Authority On Music Scheduling.”  Arrogantly I can state that I am.  It took 30 plus years but I know more about it than anyone.  I’ve studied it. Taught it.  By the way when you teach something you get really good at it!

Is your positioning right?   Is your music right?   (oh Lord, Is your music position right?)

If you don’t know you can find out from someone who does.

Call Keith Hill 252-453-8888

Get Your Music Right.

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Music Shenanigans (When the Elephants Fight The Ants Take a Beating!)

Music Shenanigans

There is a guy in Nashville who has put together an algorithm to predict how well country songs do on the charts.  There is a lot to it.  It’s very smart.  It will be somewhat predictive.  Funny part is he already has identified there are outliers.  If the entire system of labels releasing songs, promoting songs and tracking them on charts was purely mechanical then his algorithm would be more predictive and not have as many outliers.

Might I suggest there is a lot behind the curtain that most folks don’t know.

How many stations on one of the charts does iheart own?   How many on the other chart are owned by Cumulus?

We do see iheart “initiatives” where all of the country stations play a new release once an hour all day long.

Let me share a little secret with you.  That really spikes a record on the chart!

Funny thing is you see the record pop way up into the 30s or even 20s on the chart.  However, after the mandate to play the song hourly is over the song settles way back.

There is also the Monte Hall aspect of charts.  Let’s make a deal.  “You can drop my poorly testing Superstar song and use that slot to add my new Midline Act.”  As if the label owns the “slot” on your station.

Then there is the “we’d like to support your play of this superstar act with tickets, meet and greets and a fly away.” Pause half-second.  “Can we count on you being there for us on the “new song that we are heavily investing in?”

Whoops “this bag full of American Express gift cards just slipped out of my hands.”

This is “legal” because I never used the words “in exchange for.”

Funny that during my music calls with radio stations on a weekly basis I have to identify certain songs as songs that have had some kind of manipulation to them.

Look at the second page of the chart.  (25-50 or 31-60)  How is when most songs get 1,2,3,4 stations to add a song in their 15thweek.  One song has a gigantic add week with 14 adds?

Really 14 stations all organically came to the conclusion that this turtle on the chart was thee song to add?  All in the SAME WEEK?

Now, I do not want to besmirch every label and every record professional.  There are some  honest folks and ethical operations.

I really like the “concept” that there would be an algorithm to predict how far a record would go on the charts.

For those of you without a consultant or VP of programming to help you might I suggest you look at daytime spins only!  Or if you don’t have to tools to do that… simply lose page two of the charts.

However, as one of the folks who has been observing this game for 40 years, I feel like the old baseball scout that mumbles, “steroids” or “he’s juiced” or “I won’t believe it till we get our own doctor to do the MRI.”

With human intelligence and years of experience I have in my head an algorithm that will work. When you know about the label plan to torpedo the song by the superstar that isn’t testing well AND know about the army of promo people from that same label are on the phones calling every station saying you can drop the superstar because “we need adds on newbie.”  I can guess the direction of each song on the charts.

One other thing I am seeing right now and I’ll admit I don’t have it all figured out.  There is a glut of newbies.  Right now I resort to one of the oldest saws in business.

When the elephants fight the ants take a beating!

I conduct weekly calls with my stations and they get real intelligence regards what’s real and what the Shenanigans are.

Is your music right?

Get Your Music Right.          

Call The World’s Leading Authority On Music Scheduling

Keith Hill 252-453-8888

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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

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50,000 Watts Of Goodwill

50,000 Watts of Goodwill

The theory of regulation by the F.C.C. of the airwaves is the scarcity of the spectrum space. We all agree that so we don’t all get on similar frequencies and interfere with each other that we need a regulatory body to thoughtfully plot where those frequencies can be used. They assign power and antenna heights or patterns so that there is broadcast coverage for the people. The essence is that we will at least at some level use these frequencies to serve the public, to do some kind of good.

When I was a kid and young man I learned the super value of the work done by stations like WCCO, KMOX, WHAS, WBAL, KDKA and others.  They were places to turn to for folks to get news and information that was vitally important.  In snowstorms, tornadoes wind and hail, floods and the like.  They also covered local ethnic festivals, charitable events and were there to provide entertainment in between.

It was because of the cornerstone of news and life saving information that these kinds of stations had high ratings and could demand the highest adverting rates.  By the way the spot advertising campaigns broadcast on these stations worked robustly. They delivered huge results back to these advertisers.

When I think back on my own career there is one event that changed me.

I was program director of WMID in Atlantic City, New Jersey.  It had been a legendary top 40 station in it’s hey day.  It had one more hey day left in it.  I was hired to take it MOR/Big Band. Southern New Jersey was aging, lots of folks moving there to retire and AM was more the band of older demography.

Management had already put in place an All Star Line up of personalities for the most part. Ed Davis was thee morning man of the market.  His newsman was Howard Berger.  One of the biggest talk personalities of the market was Don Williams.  I rounded out that staff with some other hires that were just solid air folks like Fred Sharkey and Elise Sommers.

I started the softball team mostly because I wanted to play softball.  I got a sponsor for the team.  We got uniforms.  I remember turning over the naming of the team to the listeners and we became the WMID Station Breakers.

We ran promo-psa’s that said we would play your team for fun and to raise money for your event. We would show up with folding tables, a pa, and sell baked goods and do play by play of the game there.  We did 50-50 raffles and played other silly games where we gave away prizes, but the key was to raise some money for schools, churches, and community centers.

One local fire department we played didn’t get it.  They beat us 60 to 1.

One day sitting in my office I got a call from the director of the Children’s Seashore House. It was a place where kids came to get help from injuries or debilitating diseases.  We talked about how the WMID staff would come out, play softball for fun and do play by play over a pa.  They could sell baked goods or hot dogs and we’d raise money for them. The date was set.

We showed up and played the staff and faculty of the Children’s Seashore House.  There were other groups there from Churches and Civic centers selling cookies and cake.

After the game the director asked me if we could play the kids.  These kids were on crutches, in wheel chairs, some had very limited motor skills.  I said yes not knowing what would happen.

I huddled up my gang and told them the plan.  We would ham it up.  Throw away the ball, fall down, drop the ball etc.   It was to let the kids play and win.  (Something I had wished those firefighter we had played earlier understood!)

I was pitching. And up was a young man in a wheel chair.  I got very close to the plate and lobbed a ball softly so the teacher helping him could at least bunt the ball.

The young man got his first single in a softball game ever!  From there stolen base.  Advanced on another hit and finally to home.

We made sure every kid who wanted got a chance to bat and be on base.

No one will ever remember the score.

I just remember the tears of happiness from the parents and teachers of these kids.  They were happy.  It was their day in the sunshine playing and winning softball.

That’s over 30 years ago and I still remember it today.  It was one of the most heartwarming events I had ever been involved in.

WMID had not been in the top 10 for years in ratings.  The station was good.  The morning show was excellent.  The promotions and imaging were A+.

Atlantic City was a fun town because of the Casinos.  I remember a old fashioned Dance-A-Thon I set up with listeners at a Casino all to raise money for Leukemia.  Elise, who did afternoon news and I danced in the event and raised a bunch of money.  We had listeners who didn’t want to dance in a marathon so I talked Elise into doing it with me and they could sponsor us to raise money for every hour we danced.

We had fun.

WMID was #1 or #2 in 12 plus and 25-54 my entire tenure there.  I’d tell you it was the programming.  But the truth is we did 9000 things right.  Not the least of which was give back to the community.

I wasn’t even doing for ratings.  I was doing it because it felt good to us.

I have an old friend who after winning a major broadcast award for Community Service and someone said to him afterward, “it so good that you do these things to help your community.”  He is a very funny morning man and very smart. His response was, “oh I didn’t do it to help anybody, I did it for the ratings.”

Knowing him that’s pure BS.  The truth is he knows how to create ratings and loves people in the first place.  He has a sister with an awful disease.  He regularly does charities to raise money for the foundations that help folks with her disease.  But, he rarely brings up his foundation reason.

WDIA in Memphis is where the titles of this week’s blog came from.

WDIA was the first station with full time programming aimed at the African American community. WDIA was dying as one of the 6 radio stations in Memphis playing country, pop and classical block programming.  It’s when they added a block of African American programming and music that the fate of WDIA changed. You see 40% of Memphis was black and they didn’t have their own station until WDIA made a format adjustment.

It was classically one of those stations that was “the People’s station.”

They started a “Goodwill Fund.”  They were raising money to help provide transportation for poor black kids to get to schools.

For years WDIA has used as it’s top of the hour verbiage with the legal id..  “You’re Listening to 50,000 Watts of Goodwill W-D-I-A Memphis.”

In most places using an industry term like “Goodwill” would be like saying “where are carts are cued up.”  It might not mean anything meaningful to a typical radio station listener, except WDIA provided “Goodwill” and called it just that, “Goodwill.”

Dictionary dot com defines Goodwill as; an intangible, salable asset arising from the reputation of a business and its relations with its customers, distinct from the value of its stock and other tangible assets.

My question to you;

What has your station done to earn some “Goodwill” in your marketplace?

For Help Building the Measureable and Tangible along with the “intangible” at your stations call Keith Hill 252-453-8888

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How Would David Letterman Do This Remote

How would David Letterman Do This Remote … or…

REMOTES – WE GENERALLY DO A POOR JOB OF THEM.

It’s so easy to take a swipe at the way radio executes things today.  We voice track, we don’t have live talent at night, weekends, and we give away smaller prizes than we did years ago.

How are we on the streets?  Billboards? TV?  Remotes?

Over time I’ll be able to pontificate about many of these things but I’m dusting off in my mind a memo I wrote many years ago called “How Would David Letterman Do This Remote?”

Why do we think that a card table with a banner hanging from it with duct tape is the big eye-appealing thing?

My old friend Shane Finch who now works with Musicmaster told me about working in Des Moines where Kipper McGee was his boss.

Kipper held “Balloon School.”  How to properly inflate, tie, set up and display balloons.  You want the logos facing so they can be seen.  The care of planning how we look, what we do, how we act, what we say, how we engage the folks at the remote shows a care that seems to be left hundreds of miles behind us.

One of my old bosses in Philadelphia used to call decorating our booth, “making sure it was festooned with our call letters.”  Partly because despite 50 logos and in demo couple would walk up and look at it and the man would ask his wife, “is this WYSP?” When we had 50 logos that said Power 99.

To fairly think about a remote today you need to realize there are two parts.  The on air part where 38,500 people will hear the break.  Plus there is our look, how we engage with folks, what we do on site for fun and to drive home the images we want.

You can decide for yourself how the on air should sound.  Perhaps they are pre recorded.  I have one morning man who biked to raise money for a charity.   He is such a showman and show off that he pre recorded his breaks, added sound effects and acted like he was huffing and puffing and out of breath during the bike event. It allowed him to do the bike ride and on site fun.

Way back in the 80s I worked at WCTC in New Brunswick, New Jersey and we took out two turntables, records, a small console, mics, and a rack of things that had nothing to do with broadcasting just to have lights flashing on them to add to the mystic,magic the “show” of it all. We actually played the music on air from those turntables.  It was a real “live” broadcast.  There was even more to it than that, but it was a real show for listeners to see the radio station in operation.

Years ago in my memo “How Would David Letterman Do This Remote” I suggested that David might drop by the local grocery store and pick up some produce like watermelons, cantaloupes, etc.  He might also hit the local Radio Shack and buy two of those remote controlled cars.  It might also be nice to get some orange cones.

He would put a prize in the trunk of a car and play, “what’s in the trunk?” with listeners who came to see the broadcast.

I claim that David would have someone drive over the watermelons in a car themed “Gallagher-esque” moment of the show.  Today, he would add Facebook live to that.

Then there would be remote controlled car racing in the parking lot or in the showroom. Those orange cones come to play during the “Car Racing At Hill Chevrolet!”

There would be no end to the “fun factor” that would be added in the remotes.

There might be a local fitness champion (from a local Gym that is a sponsor too) loading and unloading the bed of a pickup truck.  Challenging anyone from the general public to unload the truck faster for a prize.

A sash given to “Miss Hill Chevrolet” in a contest of women being the models showing off the cars right there in the lot.

Chalk with a hopscotch game and oil changes at Hill Chevrolet as prizes.

Yes, there would be some quick interviews about the cars, service, deals, etc.   Then after that 20 seconds of real business the fun and monkey business would round out the 60 seconds.  Yes, you heard me the trains would run on time.

Stupid Human and Stupid Pet tricks sure.  Yodeling by listeners sure.  Don’t forget eating peanut butter and saying the “Phrase That Pays” as many times as you can in 30 seconds, sure.

The point is there would be some silly and fun.  There would be something to see and something to hear that would be fun. How about the throwing darts and popping balloons for prizes?  Then the serious business of selling cars would be in the broadcast. David would say, “Here’s Joe Jones the sales manager of Hill Chevrolet, Joe what’s the best deal on the lot right now?”  “David, I’d say this 2013 Silverado with 55 thousand miles on it.  It’s in A plus shape has a 2 year bumper to bumper Hill’s Warranty and I’ll sell in the next 30 minutes for just $8500 out the door.” “Thanks Joe.  So if you want this Silverado come grab the Orange Flag I have here that says, “I want to test drive the deal of the day” and take this baby for a spin.  Now back to our juggler Fred.”

Today only when you buy any car at Hills you also get to “dunk the sales manager” For every dunk Hills will donate $50 to the American Cancer Society.”

It’s not a car remote. It’s a radio circus.  SFX, horns, karaoke, jingle singing, corn hole games, putt-putt, Frisbee toss, pin the tail on the sales manager and more.

Somewhere today a jock will be assigned to do a car remote.  The plan will be card table, 4 pair of tickets to something no one wants to go to, a banner and duct tape.  They will use their cell phone to do the remote.  When they get there the Sales Manager from the car dealership will be surprised and say to the jock, “uh you can set up over there.” Pointing to a dark corner out of the way.

There are 9000 things wrong with that!

Shouldn’t they want a certain air talent by name because of the show that David Letterman guy puts on?

Cell Phone?  Not even some plug in mic with a mic flag and pop screen for show and better sound?

You mean we are just figuring out where we will set up?

Duct tape?

It should be that there is demand for the talent that does the Let’s Make A Deal, Gong Show, Radio Circus! That talent should be in demand and asked for by name by the dealership.

The look should include mic flags, banners held up by banner stand devices like a trade show that are good looking.  The talent should be in collared golf shirts with the logo embroidered on it or a brand new t-shirt promoting a station sponsored walk for charity next weekend.

Tuxedo’s ?   Nah this is a “radio three ring circus.”

Knowing what we know about how well it could be done my question is this.  Using the “Golden Rule”  if we ran the car dealership how would we want that radio station remote to look and sound?

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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

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It’s not History, It’s the FUTURE!

It’s not HISTORY, It’s the FUTURE!

When your scheduling your music you schedule ahead.  You schedule a day or a week ahead.  When you do then you check various metrics in your log but you should also check the history.

The funny thing is the history is what is scheduled ahead for the week or next day.  You are putting down the train tracks of your music to travel over the next day and week.

How do you judge your history?

It’s really pretty simple for a tight current.  How about stair-stepping through the hours?

Then for something that turns a little slower like a recurrent.. perhaps stair stepping through the dayparts!

And what about a gold song with an even slower turnover?

I look for turnovers that aren’t unacceptably close or turnovers that are much longer than the average.  The more often each play is close the average turnover the better.

Plus I look for even usage of all hours.  And how long does it take before a song appears in the same hour?  Here are 18 plays and all of them are in distinctive hours.

There are many rules and techniques you can use to accomplish this.  Many are using sensible and thoughtful math.

One is to set up your software with more shifts.  Sometime folks have the Nielsen day-parts as “shifts.”

I’d suggest 8 three-hour day parts.  Then when you ask a song to go through more day-parts. There are more distinctive places for the song to go!

The moral of the story, have a tight right library, but make sure the rules, settings and clock designs, size of categories are tuned to give you great histories.  That is how you get create the impression of a big variety.  Then you get higher TSL/ATSE.

Then you get great job offers, raises, bonuses, yes in radio it still happens.  The really great programmers who get the best results are in demand!

One of the steps to excellent ratings is getting your “histories” for the songs in your music library perfect.  Keith Hill 252-453-8888

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