The current issue of my Radio Programming Letter discusses some of the challenges of working with a morning show partner and also presents my deconstruction of most programmers’ fallacious conception of “forward momentum.”
This post is for my subscribers to use to add their own comments, thoughts, objections, examples, etc.
Comments on this entry are closed.
Dan O’ –
You’ve been preaching this for years … and you’re still right!
I so much agree about the music behind the voice. Big trouble is the music is so often in front of the voice.
Also Morning shows. Ok they do not wake up now wanting to know the bomb had not dropped in the night, but they do need ANCHOR POINTS. Don’t put so much in that you cannot keep to the anchor points so the audience knows if they are late for the bus or train.
Thank you for advising that morning announcers should be allowed time to de-compress. I have always felt that morning drive people who do the job right work the equivalent of an 8-hour day in half the time. As such, there is always tension between the morning host, who arrives long before dawn, and the rest of the staff, who arrive energetic and rested at 9.
When I first started full-time in commercial radio a few years ago, as soon as I finished my shift at 10, sales staff would swarm around me, wanting to schedule appearances at remotes, events, or to do last-minute things, like voice a spec spot “just this once.” Or they would have me conduct a phone interview right after morning drive.
Initially I didn’t object, thinking that this was the price a morning host had to pay. It eventually drove me into a spiral of deep fatigue.
I asked my colleagues to give me an hour’s rest after morning drive. They didn’t take it seriously. After that, I’d leave the station for a couple hours until I was ready to resume work. It drove my co-workers crazy when they couldn’t find me. But I loved it.
” I’d leave the station for a couple hours until I was ready to resume work. It drove my co-workers crazy when they couldn’t find me. But I loved it.” — HA!!!!!!!!!!!!
Say, quick question about music beds: why, then, do we use them on prerecorded commercials? Should commercials be “dry”, too?
Hi Dan,
I agree with Paul. The “golden nuggets” of wisdom that you have been preaching over the years have remained and will remain true for a long time, if not for eternity.
Your subscriber,
Rey Bargamento
Mix 105.9
Davao City
Philippines
P.S.: I know that you’re a big fan of Gary Owens, Dr. Don, and Gary Burbank among several other radio greats. A couple of months ago, I chance upon video airchecks of Bruce Vidal, Big Ron O’Brien, and Tim Kelly on YouTube. I remember being made to listen to their airchecks by my mentors in my first radio station. I’m from the Philippines and hearing these personalities were a “whoa” experience for me even up to now. You may have chanced upon these guys, I’d appreciate to hear your thoughts about them and their passion for their craft.
Daghang Salamat, Dan (Thanks very much, Dan),
Rey
Over the course of my time in radio I found that the PDs who demanded music under all breaks to help keep the momentum going were some of the most mediocre uninteresting and unimaginative people I ever met. Exactly the type of people WHO SHOULD NEVER BE IN RADIO!
Thanks for letting me vent that bit.
I agree that having a music bed underneath your spoken word is not always the best way to communicate to your listener. As Nick Michaels also explained in your seminar ‘When a whisper becomes a scream’ acapella spoken word has a growing amount of impact on the listener. Especially when it’s squeezed into the music you play and the promo’s (often with a lot music clips) and the commercials (again often produced with a music bed underneath). Spoken word without a bed, drone or filler leaps out of the ongoing noise of the station.
Also it creates a more direct and personal ‘feel’ and it communicates in a clearer way because there aren’t any noises that distract the listener from the spoken word. At least no noise on the radio, because in the listening environment ofcourse there are probably enough distracting noises.
Nevertheless I think there are situations in which a music bed can enhance the communication in a radioshow. Music that enhances a certain mood or feeling or even a sound of the sea or a storm may help the envisioning of the listener. Your example of the guy with the Powerpoint presentation with sound effects appearing on every new page is indeed a painfull one but I think the comparison is not that black and white. In case of a Powerpoint presentation there’s something to be seen aswell as heard. On radio there’s only sound…but I agree that when forward momentum is the ONLY reason to add a music bed then just go acapella. If you do use music or sound effects, first think about if these elements do add something to the story or are they just an easy way to disguise your poor story telling abilities.
Thanks for the possibilty to give my opinion and also many thanks for the inspiring Radio Programming Letters!