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Oct
19
Joel North
Joel North Blog: How Are You Treating Your Customers?
Joel North Blog 0 ,  

By Joel North East Coast Radio Creative

How are you treating your customers? Not the listeners, the clients. Both are equally important to a radio station, but this is about the ones who provide the cash that keeps a station running.

Recently, a client had a spot declined by a station he was seeking to advertise with.

The station had identified a couple of issues:

  • The spot was 31 seconds long, so they were going to bill as a 60
  • The spot was in stereo, rather than mono, and they would charge a fee to convert

The first is a legitimate concern. However, upon inspection, I noticed the spot was actually 30.4 seconds long.

The second was a little more bizarre. Although it seems absurd to me that anyone is working with a software that cannot ingest a stereo file, I will give them the benefit of the doubt. There are many unique situations and setups with different requirements.

It takes less than five seconds to convert a file from stereo to mono. It takes about the same time to reduce an audio file from 30.4 seconds to 30 if indeed the extra .4 seconds is an issue. Is any of this worth losing business over?

Understandably, all stations are different. It’s possible their production department is stretched and doesn’t have time. The problem here is attitude and how it’s seen by the customer.

My philosophy, as should be the case for any business, is to do anything within reason to get a client on the air. Sometimes even beyond reason. Perhaps I am too generous, but acting in a way which causes lost business certainly doesn’t seem ideal, either.

Needless to say, the client decided not to advertise with this particular station.

In my experience, most stations have sales, production and traffic staff who are extremely friendly, helpful, and accommodating. Clearly, this particular station has work to do. It never hurts to step back, take a look at some operations and policies, and consider how clients perceive them.

 

 

***

Joel is a voice talent and audio/podcast producer at East Coast Radio Creative.

May
8
Larry Gifford
GIFFORD: Inside Radio Stuff #100
Larry Gifford, Radio Stuff Podcast 0 , , , , , , ,  

RS 100 coverI just recorded and edited the 100th episode of the Radio Stuff podcast. It features an extensive interview with Cumulus and Westwood One personality Jonathon Brandmeier. It also marks the milestone by sharing memories with original co-host Deb Slater and listening back to a few favorite moments. I realized of all 100 episodes this one is among the most challenging. Primarily due to production. This experience reinforced the importance of caring about the details and asking for help when you need it. Here’s how it all came together.

LANDING BRANDMEIER
I had been talking to Brandmeier and his team about doing the podcast even before the new show was announced on WLS and Westwood One. We have mutual friends and had some business dealings in the past year so it wasn’t really ever about IF he’d do it, but WHEN the timing would be right. They wanted to wait until about a month into the new show. Last week I suggested the 100th episode and Johnny made it work.

Our call was scheduled for 10:00 a.m. PDT immediately following his syndicated show. I asked for 30 minutes, we talked for an hour. I started rolling tape and talking to the Radio Stuff listeners while waiting for the phone to ring. I don’t have a phone coupler, so I plug the phone directly into the board, place the phone on the desk. I record my part into a microphone and the phone mic sends my voice to the guest. In this case, I was talking for about 8 minutes before he called. Rolling before the interview is an NPR trick to capture everything. I blogged about it with Anna Sale a couple of months ago. My monologue and our opening exchange become a teaser clip I released 24 hours in advance of the podcast. His opening line to me after I answer the phone is the first thing you hear on the podcast.

 

THE CLIPS and DROPS
Brandmeier uses a lot of audio during his show and our interview was no different. However, the phone distorted the audio he was sending down the line. So, I had Brandmeier send all the clips after the interview to insert in post. The clips, for the most part, are longer than what he sent down the line, so I had to find the parts he used, edit, insert them and silence the phone version. For example, I used about 20 seconds of the audio from this video in the show.

THE LEVELS
After recording, even though I thought the levels were perfect, my voice entirely dominated Brandmeier’s, so I went through the entire interview and adjusted all my parts to blend more seamlessly with Johnny and then raised the gain on the whole file.

DEB SLATER
Deb recorded her voice on her end and I recorded my voice on my end. She then sent her file to edit in a higher quality audio. I recorded her right after Brandmeier and forgot to unplug the phone from the board. So, that means I recorded her too. I tried to silence the phone quality version of Deb, but I couldn’t get it all. You’ll hear it switch back and forth especially when she’s laughing or talking over me. My mistake. Won’t do it again.

During our chat she mentioned several moments from early Radio Stuff shows that I found after our call and inserted in post production.

ASKING FOR HELP – PART 1

After receiving that tweet from John Collins about the return of the fake town crier after the second Royal baby was born, I put an all call out for audio of the town crier.

It worked! I received this email a few days later;

Dear Larry,

You asked on Saturday for a clip of the town crier announcing Kate’s baby.
Here’s how 680 News in Toronto reported it.

soundcloud.com/bandanachap/royal-birth-town-cryer

Downloadable WAV (but from internet feed), 12MB, 1:10.

There’s a lesson in how radio has no borders any more.

Journalists in London capture the sound, and beam it around the world.

An all-news radio station in Toronto edits the announcement into their piece, broadcasts it to their listeners in Toronto, and right around the world on the internet.

A listener travelling on a train in Britain hears the piece, thinks “that might be interesting”, hits rewind on his mobile app, records it for posterity, and makes it available.

Congratulations on Radio Stuff 100, and here’s to many many more.

All best,
Weaver

ASKING FOR HELP – PART 2
After realizing the town crier was going to be a topic of discussion, I again asked twitter followers for help.

Geoff McQueen saw it and tagged DJ Dapper Dan and within an hour it was done. DJ Dapper Dan also had some thoughts on the fake town crier.

“That chap Appleton did not have the permission to cry from the Royal Family, they just said they didn’t object and that he should consult the relevant local authority which he failed to do as far as we know over here. Anyway he is not a bona fide Town Crier as you have to be appointed by a Lord of The Manor, A Local Authority or Similar level of accepted Government Body. He is not, never has been and is not likely to be. But fair play to him, he got a lot of publicity!”

ASKING FOR HELP – PART 3
I also reached out directly to Radio Today host Trevor Dann to see if he would offer a toast for the 100th episode. Trevor has been a supporter and reoccurring guest over the course of two years and I was happy he agreed to record a little something for the show.

CONCLUSION
I sometimes wonder why I go through all the hoops I do to create a show each week, but it is because I want it to be great. I don’t always hit out of the park, but when all is said and done I’m usually extremely satisfied with the product and proud to put my name on it. Johnny said it in the interview and I believe it to; you have to do the show for yourself first and not worry about who is listening.

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Subscribe to the Larry Gifford Media “Radio Stuff” email and each Tuesday you’ll receive an email with all sorts of stuff about radio. Sign up here.

Feb
23
Larry Gifford
When Copyrights Trump Commercial Creativity (Spoiler: Always)
Larry Gifford 0 , , , , , ,  

copyright

Orginally posted on www.larrygifford.com

I was listening to radio this morning and heard a spot for a local restaurant trying to be relatable by exemplifying how hard it is for working adults to find time to eat breakfast. They preached the importance of the first meal of the day. And wouldn’t you know it? They have a quick, easy, affordable breakfast sandwich you can pick-up on your way to the office to help solve your problem. Not a bad spot overall, but at one point the announcer says, “before you know it Heigh-Ho, Heigh-Ho it’s off to work you go!” and then fairly quietly layered underneath was the unmistakable original recording of the seven dwarfs singing the song.

That’s a problem.

  • It’s not an original work created by the advertiser.
  • It doesn’t qualify under “fair use” exceptions.
  • The song isn’t in public domain. The only songs that are public domain in the USA are songs and musical recordings published in 1922 or earlier. This song was released in 1937. (Check out the website here with examples of public domain works www.pdinfo.com/)

So, that means either Disney licensed copyright permissions to a local breakfast joint in central coast California or the restaurant and radio station stole it. It probably wasn’t intentionally and in fact, it was a solid creative choice, but the law doesn’t factor in intent, creativity or ignorance.

What should they have done? Here’s some advice from business law firm Brooks/Pierce:

“To secure a license for a musical work, you will need to contact the publisher directly. You can obtain publisher contact information using the repertory databases maintained by ASACP (www.ascap.com), BMI (www.bmi.com), SESAC (www.sesac.com), and/or the Music Publishers’ Association (www.mpa.org). If a sound recording license is also needed (e.g., for dubbing an original recording), you will also need to contact the record company directly. Record company contact information can sometimes be obtained by the music publisher and is often also available on the copy of the recording (e.g., the CD liner notes). Publisher and record company contact information may also be located on the U.S. Copyright Office’s website (www.copyright.gov).”

That’s a lot of time, work and likely money for a :07 sample of a song in a :30 radio ad that you’re charging 50-bucks a spin for on your radio station.

Here’s the kicker. Even if the radio station didn’t produce the spot they can be held liable for copyright infringement. (Production Directors and Traffic Directors listen up!) Penalties can range from $150,000 to $250,000 per infringement and up to 10 years in prison. And in this case, Disney doesn’t shy away from going after little guys, because once you knowingly allow one entity to infringe a precedent is set. Typically a cease & desist will be the first action taken, but I wouldn’t press your luck.

Be careful out there.

Subscribe to the Larry Gifford Media “Radio Stuff” email and each Tuesday you’ll receive an email with all sorts of stuff about radio. Sign up here.