Radio Direct Response: Direct Response Radio Advertising Agency | Blog Zone

The copy has been approved.

The voice(s) have been cast.

The magic is all set to happen today. It’s recording day.

And recording said talent is as easy as 1-2-3.

1. Have a game plan. It may seem obvious, but read over the copy and figure out, in your mind a game plan. How do you want every line to sound? How should those lines fit together? Those are important questions that need to be thought of before going into the session. Otherwise the session becomes laborious. You won’t get the best the talent has to offer if what should have been a 15 minutes session turns out to be 45. This leads us to…
2. Be flexible. You hear it in your head one way. For whatever reason the talent is not able to give it to you that way. He/She may not have the range, the director may not be able to express it properly, whatever the case, at some point, it’s going to be obvious you are not going to get what you want. Before recasting, try different approaches. Get different reads. Different inflections. Different accents. Be flexible, record everything and you may strike gold. But above all…
3. Know when enough is enough. If the session hasn’t ended after 15 – 20 minutes, it’s time to end it. At this point, you’ll have gotten the best you can out of the talent. Trying to get something “better” will be laborious and a chore. For the talent, the words that are being read will lose all meaning and just be a jumble of sound. For the director, you’ll lose the ability to “hear” anything. At this point if you still haven’t gotten what you need, then it will be time to recast. But once you hit the 15 – 20 minute mark, you won’t get anything better than what you already have.

There you have it. The three easy to follow steps to directing voice talent. (Of course, step 4 is having a great director who can get the most out of the voice talent. But that’s a whole other blog.)

Ian Cohen, Production Director

We all know the “definition” of insanity: doing the same thing again and again and expecting different results.

So when your radio commercial pops up in a five-minute stop set, and in that same five minutes two of your competitors’ commercials also air and all three commercials are saying the same things, why would you expect to get better results than the other two?

Fast forward another half-hour to another five-minute stop set and now you’re hearing three OTHER competitors’ commercials. And they’re saying the same things you and the previous competitors said 30 minutes earlier.

You’re all playing a game of “Duck, Duck, Goose,” except there’s no goose.

Now’s the time to try something completely different to make your product stand out from the competition. Now’s the time to make a bold, daring statement. Now’s the time to stand up, wave your arms wildly and yell “Hey, look at me! Look what I can do that no one else can do!”

What’s that? There’s not any real noticeable difference between you and the competition? Invent one! Create a strong, compelling, unbelievable, holy crap, OMG type offer.

For example, someone in the crowded, debt/credit relief category can hold a sweepstakes offering $10,000 to pay down debt. Or a few hundred dollars off a new customer’s first payment. Or (knowing it’ll take years for this to happen) making a new customer’s final payment.

Perception being what it is and because someone, somewhere, will try something different (and be successful with it) why not be the first to do it? Otherwise you’ll be playing catch up and will have little chance of overtaking the competition. It’s easier being the lead dog blazing new trails than being the copycat yelling, “Hey, look at me! I can do that too!” No one remembers who comes in second.

Ian Cohen, Production Director

Recently Tribune CEO Randy Michaels gave WGN-AM Chicago news anchors a list of 119 words and phrases they are no longer allowed to use on-air. Like many people, my gut reaction was that this mandate goes against the First Amendment, particularly the freedom of the press part.

Then I saw the list.

I don’t know the motivation behind this and the why behind it doesn’t matter to me. I just know that like it. Looking over that list it seems Randy Michaels wants the anchors to be real and not cookie cutter newsreaders that try to sound smart.

A pet peeve of mine is redundancy. If I’m watching a movie or TV, listening to the radio or reading a newspaper or magazine, I’m the guy that points out redundancy. If I hear (or read) a news report that says it’s “5 a.m. in the morning” or that “there was a fatal death,” it makes me laugh. Last I checked there’s no such thing as “5 a.m. in the afternoon” and I’m pretty sure that ALL deaths are fatal. (Side note: Anyone using your and you’re interchangeably should be openly mocked.)

Randy Michaels’ list is full of similar clichés and doublespeak. Many in the industry say he’s acting as the Word Police and that this directive will hinder how stories are reported. I disagree. This strikes me as a missive to motivate news writers and newscasters to work harder to craft their prose. He’s challenging his reporters to think of what and how they report news and, in the process, to be smart about it. And that’s a good thing.

Ian Cohen, Production Director

Part Two of our interview with 15-year radio, TV and voice over veteran Jon Carter features Jon’s feedback on voice styling, client direction and a look at the most powerful commercial he’s voiced.

What have you found to be effective in voicing a commercial? Different/varied intonation? Phrasing?

Tone, phrasing, inflection…the list goes on and on. Doing a great read is all about communicating a message. If you listen to the spot and you feel that the person is really speaking to you, then chances are it’s a great commercial.

Does having the client “sit in” impact the session in any way?

It always impacts the session. I appreciate clients who want to sit in on a session. It’s a different process. I communicate with the client and make sure we get the reads just right. Many times a client will point out things that get you out of your own head and help you perform even better. Also when the job is done, I know that we have nailed the project because you get the green light directly from the source. It’s truly a rewarding feeling to work with someone on that level and know you are making the client happy.

What technological advancement has affected you the most when it comes to voice work?

Wow. I can’t say that there is just one! There are so many advancements that have totally impacted the way I do my job. Computer workstations and software have completely changed the whole process(for the better). Also, being able to deliver jobs via the internet and email has increased efficiency and job turn-around time. Another thing I would like to mention is the fact that now you can get an amazing microphone for under $500.00. The marketplace has certainly evolved as a result of these technological advancements and many more.

What have you found to be the most effective call to action? Or what have the various calls to actions been recently? What have you seen change over the years?

Please excuse me for the generalized answer, but the best call to action is a spot that evokes emotion from the viewer/listener. If you move people emotionally in some way, they will be more likely to act. Simply asking the listener to “call now” or “log on now” are just not enough. You must reach the listener on some kind of emotional level. Find what moves people (in relation to your commercial/product) and use it to evoke response.

What has been the most powerful commercial you’ve been in?

The Haan Steam Cleaning Sanitizer? It was powerful because it can really bust through dirt and grime on hardwood floors…Ok, just kidding (although that infomercial did turn out great). I have done a few promos for CNN that came out nice. Also, a lot of my voicework used in radio promos/imaging turned out very dramatic and powerful. I am lucky to work with some very talented people who really know how to make me sound my best.

What has been the most successful?

I have around 150 clients that keep coming back for more so I guess you would have to ask one of them that question. All I know is that if they keep coming back, we must be doing something right!

Visit Megahertz Studios for more information about Jon and to hear samples of his work.

Ian Cohen, Production Director

Saying Jon Carter is “just” a voice talent would be like saying the Grand Canyon is “just” a hole in the ground.

Sure, Jon’s voice has been featured on radio stations such as 94.7 Fresh FM/Washington, DC, Fresh 105.9/Chicago, Fresh 102/New York and in commercials that have aired nationally, but Jon also composes original electronic and hip-hop music scores and has composed thousands of scores for radio and TV production packages released worldwide.

Recently we caught up with this 15-year radio, TV and voice over vet for his views on the industry.

What vocal techniques have you found to be the most effective for creating commercials that inspire response?

It’s all about the style of the read and knowing what each individual spot requires. I try to take a look at the overall tone of the spot and then match up an appropriate read in order to bring out the meaning of the copy. Microphone technique is also important. For more intimate spots I get closer to the mic and adjust my read accordingly. For an exciting spot I may back off and project more. Every project is different.

Is there one type of voice (delivery, inflection, etc.) that you find gets results more than others?

I have found that my most natural read has garnered the most jobs for me in terms of narration and commercial voicework. My clients have often said that my natural voice style communicates their message in a way that is relatable and clear.

What’s the most common mistake made by voice talent or people directing voice talent?

The most common thing I hear from voice talent is when they try to sound a certain way. For example, a lot of guys want to have that big voice sound, but they really don’t have the pipes for it. Therefore, they always sound better working within their natural range. It’s all about finding your most marketable read and working with what you have. In terms of direction, I have seen some directors offer too much feedback. The end result is a voice talent who is left feeling inadequate and confused. For people directing voice talent, it’s all about brief, specific, clear instructions. I have found that to work so much better.

What’s the best direction (or type of direction) that someone can give you before (or during) a session?

Simple, clear instructions. Brevity is key in my opinion. However, I am open to anything. I always do my very best to give the client exactly what they need.

What was the oddest/weirdest/strangest request you’ve had?

I had one client who told me to stress almost every other word in a spot. After the recording was done it really sounded unnatural and disjointed. They liked it though so I didn’t say a word! (no pun intended)

Who (What brand) gets it right? Who’s doing great radio production?

There are a lot of companies that are doing great commercials. Geico is a great example. They use humor to deliver their message. They do such a great job that you find yourself tuning in specifically for the commercial when it comes on. If your commercial is well written, well performed, relatable, and it evokes a response, chances are it is a good one.

Part Two of our interview with Jon Carter will be published here on Thursday 2/25.

Visit Megahertz Studios for more information about Jon and to hear samples of his work.

Ian Cohen, Production Director

Mitch Phillips has one of “those” voices. The type that commands your attention the second you hear it. Mitch started his radio journey way back when at Fordham University. Among his many stops, he’s worked with some of the true legends of the business; Norman Rose, Ernie Anderson and Howard Cosell.

Finding the right blend of authoritative announcer and real, believable guy is not always easy. Don LaFontaine, Don Morrow, Scott Muni and others have influenced and mentored Mitch as he crafted his own unique style and technique.

Trying to fight the temptation to go over the top, and maintain as natural as possible in my delivery. With my voice, it’s a constant battle to dial the power down to in order to stay credible and for the listener to feel comfortable with the sound. When it works, it works very well!

Inflection for me is all about subtlety and moderation. Too much inflection can create an insincere message.

Mitch approaches each session with the same thought:  it doesn’t have to be “work.”

First and foremost, I like to have fun. It loosens everyone up when we start the session with lightheartedness. I also like to have the guidelines for the read set down as early as possible, preferably before the session, so I can give it a quick run through and scan for any potential speed bumps.

I try to get a feel upfront if the session will be friendly peer event, or a potential jousting match between talent and multiple producers/directors. If I get a warm hello and friendly introduction and some quick guidance on the read, it will move the whole process along fast and effectively.

If on the other hand, the talent is treated like a poodle from the get go, the session will still get done, but it won’t be as much fun and we might miss out on some cool takes!

That being said, not all sessions get the best results.

Every producer or director has a voice in their head that they want the voice artist to produce for them. More experienced directors have a better knack for extracting that read quickly, while others struggle a bit. Sometimes, it’s not the director’s or talent’s fault if the session goes poorly, but rather a bad casting.

In that case, the director will never hear what she or he had hoped for, and the talent is unable to create that sound.

Ultimately, a session and the final, fully produced commercial, will only be as effective as the copy.

I like the corny stuff, always have. If you can make me laugh at a silly or goofy situation, I consider it a big success because comedy is so challenging. Dos Equis and Apple vs. Mac are examples of funny and silly that work for me.

Every script is carefully crafted to promote a specific product (or message) to a very specific target audience. The script and its director call the shots. It’s my job to make the message sincere, important and believable.

With his voice heard on TV and Radio in the US and around the world, that’s one “job” Mitch has done very well.

You may have heard him on Sirius and XM Satellite Radio, “Click it or Ticket” PSA’s, NBC Sports, ESPN International, as well as commercials for Hyundai, Norman Love Chocolates, among others.  Mitch’s voice is also heard in sports arenas and sports broadcasts for teams such as the Minnesota Vikings, the Carolina Panthers, the New York Islanders and the Atlanta Braves.  Visit Mitch’s web site for more information.

Ian Cohen, Production Director

Since the ripe old age of eight, Alex Verde knew he wanted to be a voice over artist. While not a household name, yet, he certainly has a household voice. In fact if you’ve ever been to Disneyland and rode the Monorail, then you have heard his voice.

From his ISDN equipped studio near Laguna Beach, California, Alex voices for over 9,000 clients worldwide. And with over 20 years’ radio and voice over experience under his belt, there’s not much he hasn’t seen.

When too many producers are in the kitchen, it’s no good for anyone during the session. Also, not listening to what’s desired by the producer [is bad],” Alex says about some of the mistakes he’s encountered.

Voice work isn’t complicated. Alex says give them what they want. “My job is to get it right the first time. Sometimes it’s smooth. Other times [clients] want to add their input. They should be able to. They are paying for the session.”

It’s your job as the voice to do what’s asked of you.

“Voice what your clients want, and not what you want,” Alex suggests. “It’s whatever the producer calls for. They are not paying you for your opinion.”

And at the end of the session, when it all comes together everyone can be happy. Alex especially enjoys when the client says, “‘Thanks for helping me out.’ I think that’s funny, because it’s the other way around! I’ve been very fortunate.”

Alex Verde has over 20 years experience in radio and doing voice over work. Located near Laguna Beach, California, Alex voices for over 9,000 clients worldwide, usually with same day service. To learn more about Alex, click here.

Ian Cohen, Production Director

So it seems the FTC is cracking down on testimonials in all forms of advertising.

The FTC is seeking public comment on “Guides Concerning the Use of Endorsements and Testimonials in Advertising.

In a release, the FTC said, “In the newly approved Federal Register notice, the FTC’s proposed revisions to the Guides address consumer endorsements, expert endorsements, endorsement by organizations, and disclosure of material connections between advertisers and endorsers. On the issue of consumer endorsements, the proposed revisions state that testimonials that do not describe typical consumer experiences should be accompanied by clear and conspicuous disclosure of the results consumers can generally expect to achieve from the advertised product or program.”

So get ready to see and hear even more ‘results not typical’ as part of every disclaimer. And if you’ve been paying attention to TV commercials the last few weeks, you might have seen the words “Not testimonials. These are paid actors.” in small font on the bottom of the screen.

I haven’t heard that in a radio commercial yet.

Come to think of it, I’m hearing fewer testimonials on the radio.

I’m wondering why. Is it assumed the people voicing the testimonials are compensated in some way, shape or form, so the public is less likely to believe them? Is there a stigma that a product that has testimonials in its commercial means the product is of lesser quality? Is the public more leery and cynical than years ago and just not believing the testimonials?

I have no answer, just random unproven, untested theories. But if commercials have to start saying “Not testimonials. These are paid actors.”, what’s the point of using them? Why not just say, “Don’t believe anything these people are saying. They were all paid to say the following.”

So I pose these questions to you: Do you believe a testimonial when you hear one in a radio commercial or see one on TV? Do you think “It worked for him, so it’ll work for me”? How many products have you bought because of a testimonial in a commercial?

Which brings me back to my original question: Do we need testimonials?

Ian Cohen, Production Director

Greetings from the studio. People ask me all the time… “How’d you do that?” (Ok, no one asks me. They just want to know when their spot is ready for air.)

Seeing as how no one asked, I thought I’d offer up, for the first time ever, a few of my own tips to get the most out of your production. (I’ll save the technical stuff for those that ask.)

1. Kenny Rogers was right. Know when to walk away. You just spent 30 minutes recording the talent. Now you’re ready to edit and produce your latest masterpiece. Before doing anything, it already sounds GREAT in your head. Fast forward five or six hours later and you HATE the voice, the right piece of music doesn’t exist and the sound effects that were so clever now make you want to stab your ear drum with a spork. Yes, I said spork. Now’s the time to walk away. Shut everything off and forget everything that you did. You’ll be surprised at how ‘not bad’ it all sounds tomorrow.
2. Four ears are better than two. And six may be too many. So you have the production sounding perfect. Now’s the time to get a fresh perspective. Bring in another person or two and have them hear what you just created. At this point they may pick up on some things you’re missing because you’re too close to the piece. Getting a fresh set of ears will give you a fresh perspective. And a fresh perspective is always good.
3. Let music set the mood. You’d be surprised how music can alter a voice talent’s read. The read could sound down or depressed with somber music behind it. The same read could sound excited or energetic with happy, up music underneath it. Different portions of the same read can evoke different emotions from the listener. So before calling the talent back into the studio to recut some lines, try using different music under those sections that aren’t creating the emotions you’re looking for.
4. Change it up for emphasis. Are the most important copy points just not having the payoff they deserve? What to do. What to do. Change it up. If there’s music under the spot, take it out for those lines. If there’s no music, add a sound effect BEFORE those lines to jolt the listener into paying attention. Or add music under those lines. It doesn’t matter what you do… just do something that says, “Hey, you, listener, pay attention these next few seconds.”

There are four non-technical tips straight from the production department. If you’re interested in more ideas or in getting technical tips, feel free to shoot me an email.

Ian Cohen, Production Director

One of the great things about writing and producing a radio commercial is how 15 people can read the same piece of copy and hear it expressed in their heads 15 different ways.

So going into a production, as a producer, how should you manage expectations? Easy. Don’t have any. I know what you’re thinking. How’s it possible to read a script and not think this sound effect would be great here, that piece of music would sound great there or this sentence HAS to be read this way.

I admit, this is easier said than done.

As soon as you decide something HAS to be done one way, you’re no longer open to other option that may evolve when you’re recording or editing. This unflappable approach leads to frustration and disappointment when the spot doesn’t sound precisely the way you imagined it.

It also limits your creation from becoming a stronger marketing message than you’d originally envisioned.

That’s the reason why I’m hesitant to select sound effects, music or any other scripting element until AFTER the voice has been recorded. It’s too easy to fall in love with a piece of music or sound effect that doesn’t, ultimately, match the voice. It’s much easier to find effects and music to complement the voice than it is to match a voice to the effects.

That’s not to say you don’t need a plan of attack to produce a commercial. After all, you need to have a target before you aim and fire. Just don’t fall into the trap of determining that this is how your commercial HAS to sound before you get anything recorded.

Sometimes our most successful commercials end up 180 degrees away from how I thought they would turn out.

Ian Cohen, Production Director