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HOW TO APPLY "MADE TO STICK" PRINCIPLES TO RADIO ADVERTISING Dan O’Day WORLD PREMIERE! What is a "sticky" idea? According to Chip Heath and Dan Heath, authors of MADE TO STICK, it’s an idea that survives and thrives...rather than making little if any impact and then disappearing forever. In this World Premiere, Dan O’Day will show you how to apply the Heaths’ principles to the radio commercials you create. How to strip an idea to its core without turning it into a silly sound bite How to capture and hold the targeted listener’s attention How to help people understand and remember your idea How to get listeners to believe your idea How to get listeners to care about your idea How to get listeners to act on your idea As usual, O’Day illustrates these principles with specific audio examples — including one that the Heath brothers wrote about...but didn’t know existed! TEN THINGS EVERY AUDIO PRODUCER MUST KNOW ABOUT MUSIC Dave Foxx WORLD PREMIERE! Whether you’re musically educated or musically illiterate, if you produce radio imaging then you must have a basic understanding of how music works. That is, if you want your production to stand above the mediocre masses.      "Music Theory" can be a daunting subject. But not when Dave Foxx teaches you, breaking each element down to the simplest of terms to give everyone a good grounding in music theory. As Foxx declares, "This could be the most valuable lesson any audio producer can learn." The components of music and how they interrelate How to make the perfect content edit every time How to stretch and contract music beds to length How to create perfect beat-mix promos from scratch How to make music more integral to your message How to take music apart and rebuild it to suit your needs How to add perfect intros to :00 start songs The critical difference between rhythm and tempo Beat-mixing vs. beat-matching — and when to do which BUILDING YOUR FOUR-SQUARE PROFESSIONAL NETWORK Writers: Would it help to have access to world-class producers and voice talent? Voiceover Artists: Would it be valuable for you to leave this year’s Summit with names of a dozen or more producers who would like to use you on future projects? Producers: Do you see the value in building your own stable of reliable, talented writers and performers...as well as fellow producers to share new ideas & techniques with? We have scheduled this unique session designed to do all of those things. You will leave this year’s Summit with your own Personal Professional Network.

IMPROV TO IMPROVE — AS A WRITER AND AS A PERFORMER Dan O'Day WORLD PREMIERE! Improvisation isn’t about "being funny" or "ad libbing." Improvisation is the act of discovering the truth of the moment — of suddenly seeing something that you hadn’t realized was there. Why does performing (and watching) real Improvisation so often provoke laughter? That laughter is the sound of recognition — of recognizing something so familiar that until that moment had been invisible to us.      Most people, naturally, think of Improvisation in terms of performance. But it’s equally valuable to the writer, because writing is just another kind of performing. How to discover new approaches to writing or voicing copy The 5 questions you must be able to answer before performing or writing a script 4 improv questions to ask when you’re "stuck" How always to give yourself a "fresh start" when writing or performing a script CRITIQUE-A-SPOT-OR-DEMO-A-THON Dan O’Day & Nancy Wolfson Want honest feedback on a commercial or promo? Dan O’Day and Nancy Wolfson give instant critiques of spots or voiceover demos brought by Summit attendees. Always entertaining, provocative, insightful, controversial...and occasionally brutal. Be inspired by the work of your fellow Summit attendees...and learn from the feedback they receive. TARGETING ANY SCRIPT’S EMOTIONAL INTENSITY "SWEET SPOT" Nancy Wolfson 3-Hour Super Session! When you read a commercial script’s specs — or when being directed by a producer or casting director — often you’re asked to deliver a performance with "intensity." But what do they really mean by "intensity"?      If you’re a voice actor, for the first time you’ll be able to refer to your own, personalized "last check" filter before making your final choices and submitting your audition. If you’re a radio producer, you’ll find it much easier to get better performances from yourself or from others via the same "last check" filter. What producers or casting directors really mean when they ask for "energy" or "intensity" The four different Energy to Volume Ratios: How to know which to apply, and how to produce it on demand The two different types of Energy Urgency vs. Volume Controlled Import vs. Loud Volumes Energy and Vocal Tension Your natural voice vs. your need to control your volume Note: This is not a theoretical lecture. Come prepared to get onstage and be personally coached by Nancy Wolfson.  Next Page >> [Page 1] [Page 2] [Page 3] [Registration Form] [Download a PDF version of this brochure now!]