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

I know you can’t see me, but I’m all smiles after reading October’s special weeks and days in Chase’s Calendar. There is no excuse NOT to do a promotion in October, tying in with whatever makes sense for your brand.

October is Class Reunion Month and Self-Promotion Month. If my brand helped people look or feel good in any way, I would be all over radio stations, helping listeners prepare to promote their new look or attitude at a reunion or job interview.

World Smile Day on the 2nd might be a good time to offer radio listeners your product or service in exchange for showing some teeth. Have a station’s street team find a smiling person and award them for infecting others with happiness.

The 13th is National Face Your Fears Day. Whether you are a TV show with a fearful plot/cast member or a product that gets rid of those worry lines on your forehead, have radio stations coach their listeners through a scary phone call they have been dreading or first step they have yet to take to win your product or service.

Mulligan Day is October 17th. I can hear Rock stations asking listeners to call in with the most regrettable “hook ups” due to blurred judgment (or vision) or a Hot AC station asking listeners to post pics of themselves wearing what turned out to be the worst choice of attire for an occasion that was immortalized on film.

More dates to note are:

• October 12 – National Kick Butt Day
• October 14 – Be Bald and Be Free Day
• October 17 – Sweetest Day
• October 24 – Make a Difference Day
• October 31 – National Knock Knock Day

Call us for ideas on how to promote your brand using one of these ideas or the many others we can create once we know your goal.

Barbra Tabnick, Senior Account Manager

Thirteen months ago I wrote a blog called “Reaching the Masses: The Reach of Radio”. I outlined Arbitron’s just released data report, RADAR 97, describing how the US population used national radio networks on a weekly basis.

On June 22nd 2009, Arbitron released its latest figures for RADAR 101 and guess what? Radio networks are reaching even more people than a year ago. Surprised? You shouldn’t be. More than 235 million people in the US listen to radio every week. Arbitron is reporting that more than 213 million people aged 12 and older are listening to more than 7700 RADAR Network Affiliated stations as compared to 210 million just over a year ago. Every day, more and more people are discovering the power and reach of network radio.

Radio strength and stability continue to grow as the latest figures report 92% of persons 12 and older use radio each week. Even 89% of the teens tune in, despite the advance of new technologies, MP3 players, the Internet and other forms of media, continue to tune in. Radio also reaches about 93% of both African American and Hispanic Adults aged 18-49.

Radio continues to reach the educated and affluent. RADAR 101 reports radio reaches 94% of college graduates ages 25-54. A whopping 95% of adults 25-54 with college degrees and an annual income of $50,000 or more all tune in over the course of a week.

Network affiliated stations reach almost 86 % of college graduates aged 18-49 with an annual household income of $75,000 or more. The growth of network radio seems to be unstoppable as the baby boomers continue age and become more affluent.

What does this mean to you? Plenty. If you are an advertiser looking for ways to promote your business, don’t allow yourself to be distracted by the latest buzz on the cool, new media at the expense of sacrificing tried and true delivery systems. Look to radio, where more than 235 million tune in every week to enjoy a personal, one-on-one experience with their favorite stations and personalities.

If it’s not already part of your media mix, put network radio on your RADAR.

Danny Ocean, Vice President/Director of Operations

Imagine a radio commercial that began with the words, “Hey, Steve! Yeah, you, Steve – driving the silver Acura, married to Kathy and wondering how you’re going to afford Alli’s tuition payment.”

For a guy named Steve who fits that description, he’d have no choice but to pay full attention to the little man in the radio speaker who’d somehow knew him and his problem by name.

Recently, we stumbled upon the next best thing.

The client was a mortgage lender, providing home financing opportunities to active and retired members of the Military. Here’s how the collaborative process unfolded.

First, one of our five writers thought it would be a good idea to have our voice talent – an ex-Army Major – bark “At Attention!” midway through the commercial to command the listener’s attention just before delivering the call to action.

Then, the client suggested that the words “On Your Feet!” would be a better command than “At Attention” to accomplish that goal.

Finally, in the editing session, our Production Director created an alternate version of the commercial that opened with the “On Your Feet!” command instead of burying that nugget somewhere in the middle. It instantly became our favorite studio take.

When the commercial hit the airwaves, something wonderful happened. On the very first day this spot aired - promoting a brand that had never before been mass marketed to the public - the phones rang and rang big. And that continued on Day Two. And Day Three. And this wonderfully collaborative process between agency and client gave birth to an attention-getting device that worked just as well as calling out to the listener by name.

And this all was accomplished using three words, containing a total of three syllables: “On Your Feet!”

We appreciate the results and the reminder of lessons learned from this experience. Always look for ways to command the listener’s attention with the fewest number of words. And engage the client in the process so that their knowledge of their customer, married with our knowledge of the medium, enriches and enhances the message.

We are, most certainly, at attention.

Mark Lipsky, President & CEO

Format Description:
This Talk format is 100% focused on Sports…except for the times when “Man Talk” topics like women, beer, movies, etc. filter into the mix. Sports/Talk is a foreground format with lots of listener interaction. Hosts have strong opinions and very often create controversy stirring the emotions of their listeners on a daily basis. The format is driven by what’s happening in the sports world and - on many stations - includes full in-season game coverage. Interviews with local and national sports celebrities and/or shows hosted by those personalities are often part of regular programming. Some markets with multiple sports franchises support two Sports/Talk stations. Often times, one is anchored by local hosts while the other features national programs and personalities such as Jim Rome, Dan Patrick, ESPN or Fox Sports.

Audience:
Men 18-54

Key Radio Stations:
WFAN/New York
WEEI/Boston
KTCK/Dallas
WHB/Kansas City
KNBR San Francisco

DR Factor:
Rabid males hanging on every word? Yes, Sports Talk stations can be strong partners for direct response radio advertising. Personality endorsements may be pricey, but the right personality can make products fly off the shelf. Exercise caution when investing in live, play-by-play coverage. Many fans are too wrapped up in the game to stop listening and take action on your offer.

For more information, visit:
WFAN
WEEI
ESPN Radio

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

While the competition is laying out on the beach, use summertime to plan ahead. Radio rates will rise in fall, escalating into the November-December high season of holiday advertising. But you can test under the radar and be ready to roll out a national campaign – at bargain basement rates – come January.

RIGHT NOW prepare for your fall test. Identify which specific product or service you’re going to market. Determine the most compelling reason for someone to make a buying decision. And resolve exactly what you want the radio listener to do when they hear your radio commercial.

Next, line up your call center and/or web site and secure the “radio friendly” phone numbers, URLs and pick the promo codes that will help you source leads and sales.

Enlist multiple writers to create script treatments, giving you a wide variety of styles to evaluate. Produce as many of the winners as you can afford, but by all means, produce more than one version, even if it’s only a subtle change in the presentation of your offer.

Then, based on your core target audience, determine which media properties will be used to air your test. Choose smaller, low cost properties. You don’t need to buy $10,000 network commercials to compare and contrast how well one spot performs versus another.

Use a 10-week stretch throughout fall to test different creative treatments and offers, keeping your media buy constant. This change-only-one-variable approach will give you a clear picture of the metrics each commercial is capable of delivering. A little number-crunching will tell you if you’re turning a profit or if you’ll need to negotiate better rates or added value.

Once you’ve patiently measured your results, you’ll know which properties – and what CPMs – are needed to profitably market your brand on radio.

NOW you’re set back up the Brink’s truck when rates bottom out in January.

Flesh out a complete checklist and assemble your time line, mindful of product, distribution, shipping, call center and order processing steps in the process.

If you start this process in November, you’ll miss radio’s high season for direct marketers. Plan now and test under the radar in fall to be perfectly positioned to start 2010 higher sales and profits than 2009. And wouldn’t that be a refreshing way to say “Happy New Year!” after this year?

Mark Lipsky, President & CEO

“You can’t wait for inspiration. You have to go after it with a club.”
Jack London

I fancy myself a writer of songs, humbly calling myself “the best songwriter you never heard” on my “MySpace Music” page. Whether I am or not, I’ll leave that up to you. What I really enjoy is the process of writing a song, wrestling with lyrics and melodies until they lyrics and the melody meld together into a unified piece of music that pleases me first, and then an audience. I write every single day…if only one line.

Many writers and artists suffer from artistic blocks from time to time…the ideas stop coming, the inspiration disappears and sense of desperation settles over them, fomenting feelings that they will never create again. From my perspective, there is no such thing as “writer’s block.” Inspiration is constantly around us. You need to have your net of choice with you at all times to catch it. You must keep writing. You must keep painting. You must keep sculpting. Shaping and trying to recapture your momentum. I guarantee your inspiration will return.

Coming from the world of Direct Response Radio advertising and marketing, I never have the luxury of waiting for inspiration to strike me like a lightning bolt. When a client needs a commercial script written, it was usually needed quickly. Scripts get written fast - often it was an excellent script written by copywriters who wrote copy under serious deadline pressure. If the ideas didn’t come immediately, we brainstormed or daydreamed or we wrote nonsense just to be involved in the process. Eventually the light bulb goes on and we found an angle. Great writers read constantly and write daily. I try to pattern my song-writing in that manner, even though greatness eludes me.

One of the best books I’ve ever read was “On Writing,” by Stephen King - yes, that Stephen King. He writes ever day of his life from 6am to 11am daily and has for the last forty years. As a result, he is an incredibly popular powerful and prolific writer. He may not be your “cup of tea,” but the guy’s one of the best writers of our generation and one of the richest just by being committed to the creative process.

Here at Radio Direct Response we write and produce hundreds of radio commercials every year. Every project is assigned 5 writers who return three scripts each. We start every project with 15 scripts. Inspiration is not a problem. Our level of creative excellence is unimpeachable. Our writers are among the best in the business. However, we don’t win creative awards. We write and create great commercials which produce measurable and profitable results for our clients.

Our writers get it done quickly. The inspiration comes fast to aggressive writers who understand how to chase down inspiration and beat it into submission. At Radio Direct Response, if our commercials don’t work…we don’t eat. That’s all the inspiration we need.

Vince Raimondo, Vice President of Marketing

September is a hodgepodge of special dates and anniversaries that would appeal to just about any brand or radio station format.

To all of those involved with cooking in any way, shape or form, I am happy to report that September is National Chicken Month. A great, radio-friendly promotion would be a daily chicken recipe posted on a radio station’s website with info on your product and links to your website all over the place. In addition, you could sponsor a cooking contest or simply give listeners your product to spice up their poultry through the month or during a specific week.

September 10^th is Swap Ideas Day. Sponsor a promotion where radio stations choose a daily topic or issue (let them pick, if they want) and listeners simply call in with ideas. Chances are, many stations do this anyway, so you are simply giving stations an excuse to give away YOUR product or cash from your brand to listeners who participate. For formats that are talk-intensive, like Rock, this is perfect.

Nick Jonas turns 17 on September 16^th. Like, OMG! If you could score tickets to a Jonas Brothers concert, you would, like, SO rule in your kid’s eyes. Stations probably have tickets already, but maybe your brand could enhance a winner’s experience with their kids by throwing in a limo and shopping spree to buy a cool new outfit to wear to the show.

Wife Appreciation Day is the 19^th. Stations could have men everywhere shock their wives by helping them to complete a project they’ve been begged to do forever. We might even settle for a housecleaning or mani/pedi. We’re not that hard to figure out, I promise.

Other promotion-worthy dates include:

• September 12 – Video Games Day
• September 18 – National Respect Day
• September 20 – National Singles Week
• September 25 – Love Note Day
• September 27 – Meat Loaf turns 62

Barbra Tabnick, Senior Account Manager