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

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

If you are one of the tens of thousands of new products looking to gain or maintain retail shelf space in 2010, then you know that the battle for shelf space has never been greater. National brands need to pay to play and - once they gain chain-wide distribution - they need to support the brand in order to STAY!

When properly utilized, Radio is a great way to secure retail distribution and stimulate sell through. You see, your retail customers LOVE radio because it’s heard in the car (close to the point of purchase) and sways listeners to shop at retailers who effectively and emotionally promote their stores. Knowing this, many CPG brands engage radio to promote their products AS WELL AS key retailers in target markets. Doing so not only helps brands secure shelf space, displays and incremental sales, but also drives additional traffic into featured retailers and boosts overall store sales. It’s the proverbial “you scratch my back, I’ll scratch yours.”

As consumers continue to seek savings, private label product sales continue to grow (7.4% in 2009) at the expense of national brands. In fact, many private label brands are now viewed as similar, perhaps even superior, to brand named CPG products (Kirkland private label at Costco comes to mind). That means national brands need to step up and promote.

At RDR, we create sales promotions that maintain the integrity of the brand while attaching a limited-time offer that gets consumers to pay attention and buy NOW. Often times, the promotion is tied to a high-margin department of the retailer (i.e. bakery, produce, floral, etc.) in order to get retail buy in. Many times, the promotion includes an exclusive sweepstakes or gift with purchase that emotionally connects with consumers. And, every time, the promotion is designed to meet or beat your ROI. It’s an explosive chain reaction of event designed to trigger sales. And it all starts with a phone call to RDR.

Lisa Sable, Senior Marketing Strategist

Schedule an hour in the coming week to attack a writing project. Close your door and hold your calls. Then, put yourself in the mindset of your bulls eye target customer.

Contemplate what about your company would attract them to become your customer. Jot down what they might tell their friends (in their own words) when you’ve met and exceeded all of their needs.

Assemble these thoughts as a letter to your company. Print it out and read it aloud. Now, take the key points and think in terms of a radio commercial. Where’s the “WOW!” that would grab someone’s attention? What’s the Unique Selling Proposition that differentiates your company from the competition?

Mindful of your customer’s needs, what’s the one thing you can tell them – that they probably don’t already know – that would stop them dead in their tracks to become your customer?

It’s an energizing exercise to force you to switch hats between provider and consumer. You get to ask the tough questions and then answer them in the safety of a writing exercise, away from a board meeting. And you can raise your own tough questions – which the consumer might not conjure up on their own – and then be the hero by saving the day.

If you have trouble getting started, read a handful of e-mails and snail mails from your customer base. Ask your co-workers what they’ve heard from your customers, both pro and con. Put so many paints on your palette that you’ll always have plenty of choices to draw from when you start to tell your story.

You may not craft the next great radio commercial, but if you take the time to complete this exercise, you’ll almost certainly gain new insights that will help you improve some part of your marketing and sales process.

The key is to just stop being you.

Mark Lipsky, President & CEO

Peter Smyth is Chairman & CEO of Greater Media, a radio group with dominant stations in Boston, Philadelphia, Detroit, Charlotte and New Jersey. His views on radio’s future mirror the initial spike upwards in radio revenue so far in 2010.

“Radio is and always has been the most intimate, personal and multi-tasking of the media,” says Smyth. “We have a medium of attention, impression and reach that, if invented today, would be the fulfillment of many technological dreams. Think of it: a medium that’s local, informal, personal and fun.”

So what’s been holding radio back?

“Our industry has always had an inferiority complex; many times it has been deserved. Our willingness to give away the store has, at times, undercut our value in the marketplace. Our preoccupation with the radio business as opposed to the business of radio has turned too many of us into operators, not broadcasters. We need investors, owners and managers who actively choose this business as a long term occupation and are not looking for an exit strategy.”

How has Arbitron’s new measurement system affected the way Greater Media programs its stations?

“Programmers face a difficult new challenge. As we learn about the listener’s behavior within the PPM system, we’re seeing a more demanding audience. Our collective experience level with PPM is focused to date on eliminating negatives from our programming. We need to move beyond subtraction and begin to focus on what positives we can add that will have a beneficial programming impact. We need to remember that this is still show business, and we need good performers who can deliver good value daily to their local communities.”

How will things change with in-dash wireless access?

“The promise of wireless Internet has become a reality in numerous new car models. How it evolves will determine how it will change customer behavior. Right now, the ability to use voice-command to retrieve e-mail is a first step. However, we still don’t exactly know the reliability of wireless Internet connections on a persistent basis for other applications such as streaming audio. We know it works under controlled conditions, but we need to gain some more real-world experience. If it does work robustly and reliably, then the dashboard will become the home to all of the Internet audio services now patched together with apps and iPhones and connector cords. Our challenge will be to make sure that local radio earns its place as a preset in this new universe, just as we earned the first or second pushbutton on the analog radio.”

With integrated solutions and creativity, Smyth notes, radio can sell marketing solutions that can change an advertiser’s business. The challenge is to avoid the trap of turning commercial inventory into a commodity.

“If we perceive ourselves as just making inventory available, then we will continue to scramble for a share of a decreasing pie. We must become proactive in order to stabilize and expand our revenues. In short, we have to sell new ideas to new business partners.”

Vince Raimondo, Vice President of Marketing

With Valentine’s Day fast approaching, we asked the romantics around the office to submit their favorite love songs that mentioned someone by name. Here’s hoping our list contains a song for you.

Alison - Elvis Costello
Amanda - Boston
Amie - Pure Prarie League
Angelia - Richard Marx
Angelina - Louis Prima
Angie - Rolling Stones
Athena - the Who
Barbara Ann - Beach Boys
Bella Linda - Grass Roots
Bernadette - Four Tops
Beth - Kiss
Brandy (You’re A Fine Girl) - Looking Glass
Candy - I Want Candy - Strangeloves (or Bow Wow Wow)
Carol - Oh! Carol - Neil Sedaka
Caroline - Sweet Caroline - Neil Diamond
Caroline, No - Beach Boys
Carrie-Anne - Hollies
Cecilia - Simon & Garfunkle
Daisy Jane - America
Dawn (Go Away) - Four Seasons
Delilah – Tom Jones
Diana - Paul Anka (or Bobby Rydell)
Donna - Richie Valens
Eileen - Come On Eileen - Dexy’s Midnight Runners
Eleanor - Turtles
Emily - For Emily, Whenever I May Find Her - Simon & Garfunkle
Gloria - Laura Branigan
Gloria - Shadows of Knight (or Them)
Hazel - Hooray For Hazel - Tommy Roe
Iris - Goo Goo Dolls
Jackie - Jackie Blue - Ozark Mountain Daredevils
Jane - Jefferson Starship
Jane - Sweet Jane - Velvet Underground
Jean - Blue Jean - David Bowie
Jean - Oliver
Jean Genie - David Bowie
Jennifer Juniper – Donovan
Jenny Take a Ride - Mitch Ryder & The Detroit Wheels
Jessica - Allman Brothers Band
Joanna - Kool & The Gang
Josie - Steely Dan
Jude - Hey Jude - Beatles
Judy - Suite: Judy Blue Eyes - Crosby Stills and Nash
Judy In Disguise (With Glasses) - John Fred & His Playboy band
Julia - Beatles
Juliet - (Just Like) Romeo & Juliet - Reflections
Laura - Think Of Laura - Christopher Cross
Layla - Derek and the Dominoes/Eric Clapton
Lily - Pictures Of Lily - The Who
Lola - Kinks
Lorelai - Styx
Lucille - Little Richard
Lucy in the Sky with Diamonds – Beatles
Maggie May - Rod Stewart
Mandy - Barry Manilow
Maria - Take A Letter Maria - R.B. Greaves
Maria Maria - Santana
Marianne - C’mon Marianne - Four Seasons
Mary - Along Comes Mary - Association
Mary - Proud Mary - Ike & Tina Turner (or Creedence Clearwater Revival)
Mary Lou - Hello Mary Lou - Ricky Nelson
Maybelline - Chuck Berry
Melissa - Sweet Melissa - Allman Brothers Band
Michelle - The Beatles
Molly - Good Golly Miss Molly - Little Richard
Nancy (With The laughing face) - Frank Sinatra
Natalia – Van Morrison
Nikita - Elton John
Paula - Hey Paula - Paul and Paula
Peg - Steely Dan
Peggy Sue - Buddy Holly
Prudence - Dear Prudence - The Beatles
Rhiannon - Fleetwood Mac
Rhonda - Help Me Rhonda - Beach Boys
Rita - Lovely Rita - Beatles
Rosalinda’s Eyes – Billy Joel
Rosalita - Bruce Springsteen
Rosanna - Toto
Rosemary - Love Grows (Where My Rosemary Goes) - Edison Lighthouse
Rosie - Cracklin’ Rosie - Neil Diamond
Roxanne - Police
Ruby, Don’t Take Your Love To Town - Kenny Rogers & New Edition
Sadie - Sexy Sadie - Beatles
Sally - Lay Down Sally - Eric Clapton
Sally – Sneakin’ Sally Through the Alley – Robert Palmer
Sandy (4th of July, Asbury Park) – Bruce Springsteen
Sandy - John Travolta (Grease)
Sara - Fleetwood Mac
Sara - Jefferson Starship
Sara Smile - Hall & Oates
Shiela - Tommy Roe
Sherry - Four Seasons
Sherry Darling - Bruce Springsteen
Susie - Wake Up Little Susie - Everly Brothers
Susie Q - Creedence Clearwater Revival
Valerie - Steve Winwood
Valleri - The Monkees
Venus - Frankie Avalon
Veronica - Elvis Costello
Victoria - The Kinks
Walk Away Renee - Left Banke
Wendy - Beach Boys

It takes an elite greyhound three steps to reach its top speed of 45 mph.

Take a moment to fully appreciate this marvel of nature. One step – two steps – three steps and WHOOSH - you’re sprinting at 45 miles per hour. Keep this amazing statistic in mind the next time you write or read the next script for your radio commercial.

We’ve all seen and heard radio commercials that stretch and labor 20 seconds or more before mentioning the advertiser’s name or what it is that they’re marketing. They get so lost in establishing a clever premise or trying to create a Broadway play they forget that the typical radio listener isn’t sitting and staring at their radio with rapt attention and focus. Listeners are simply going about the business of their day with radio as a complementary companion in sound. And so those commercials that try too hard to be clever will typically fail the litmus test of profitability.

So what can we learn from the elite greyhound?

• Grab the listener’s attention in the opening 3-5 seconds rather than risk them failing to catch every nuance of a lush soundscape that will fail to generate appreciable results or response.
• Establish the itch that your product or service will scratch. Give the listener every opportunity to think, “Ouch. Yeah, that’s me. I have that problem. Now wait a minute – THIS thing will solve my problem?”
• Raise a question. Use a testimonial. Shock with an astounding statistic.

Listen closely to the radio commercials on your favorite stations over the next few days. Notice which ones command your attention early, present a compelling case for their solutions to your problems and then deliver a clear and urgent call to action. Chances are these are the same commercials you hear day after day, week after week. Why? Because they work.

Get to your destination, lightning fast, like a greyhound.

Mark Lipsky, President & CEO

No matter what your brand, there are ways to promote in key markets all year long for 1/3 of the cost of a traditional media buy.

In April, for example, why not tie in with the April 2nd anniversary of the U.S. Mint? If you are a manufacturer of gum, candy, toothpaste or anything “minty,” you have a fun way to associate your brand with giving much-needed cash to radio listeners. Contesting could include trivia questions about who is on various paper bills or coins.

April is National Humor Month. Have radio stations invite listeners to call in with a joke or funny story to win your brand’s product/service. You can’t go wrong aligning your brand with making people laugh.

National Inspirational News Week begins Monday, April 19th. Allow radio stations to reward their listeners who call in with positive ways they are influencing or impacting their community. It might also help ease the post-income tax deadline headache!

More April anniversaries and notable days around which to build a promotion for your brand include:

• April 3rd - Wayne Newton’s Birthday (I smell trips to Vegas!)
• April 10th - The Beatles Break Up Anniversary
• April 12th - 21 Jump Street TV Premiere Anniversary (Johnny Depp movie library giveaways)
• April 15th - National That Sucks Day
• April 16th - National Wear Your Pajamas To Work Day
• April 22nd - Earth Day

Barbra Tabnick, Senior Account Manager