Lecture 27

CREATING RADIO
ADVERTISEMENTS
• Producing radio commercials is far simpler and less costly than
producing TV commercials. First, the agency or advertiser
appoints a radio producer, who converts the script into a
recording ready to go on the air.
• After preparing the cost estimate and getting budget approval, the
producer selects a recording studio and a casting director, if
necessary.
• If music is called for, the producer calls a music "house" that
usually composes, arranges, and takes all steps necessary to get
the finished music.
• If the music is not a big-budget item, the producer can call for
"stock" music (prerecorded and used on a rental basis).
• After the cast has been selected, it rehearses in a recording studio,
which can be hired by the hour.
• Because most commercials are made in short "takes" that are later
joined in the editing, a formal rehearsal is usually unnecessary.
 When the producer feels that the cast is ready, the
commercial is acted out and recorded on tape.
 Music and sound are taped separately and then mixed with
the vocal tape by the sound-recording studio.
 In fact, by double- and triple-tracking music and singers'
voices, modern recording equipment can build small sounds
into big ones.
 After the last mix, the master tape of the commercial is
prepared. When final approval has been obtained, duplicates
are made on inch tape reels or audiocassettes for release to
the list of stations.
• Pre-production
– Arrangements and preparation for production
– Scriptwriting
– Talent-casting (workshop)
– Jingle composition
• Writing of a study script which includes all
necessary copy points
– Jingle writer make s final interpretation
• Production
– Taping (audio)
– Recording
• Post production
– Editing
– Sound effects
We summarize the steps in producing a commercial as follows:
1. An agency or advertiser appoints a producer.
2. The producer prepares cost estimates.
3. The producer selects a recording studio.
4. With the aid of the casting director, if one is needed, the producer
casts die commercial.
5. If music is to be included, the producer selects a musical director
and chooses the music or selects stock music.
6. If necessary, a rehearsal is held.
7. The studio tapes music and sound separately.
8. The studio mixes music and sound with voices.
9. The producer sees that the master tape is prepared for distribution
on either tape or cassettes and shipped to stations.
You are on the air!
1. 1 second silent space
2. Exposition (define scenario)
– Special sound effects or “peripherals”
– No more than 3-5 seconds
– Eg. Lifestyle of prospective buyers; should be identifiable
with target market/consumers
3. Main dialogue-elaborate on the message
4. Call to action-Eg. “Try it now!”
– Approx. two seconds
5. Product tagline-1 second
6. Miscellaneous-government regulations, disclaimers
7. 1 second silent space
The size of the radio station and / or the budget often dictates the
number of people involved and their job functions, but regardless
of whether one person fulfills all the roles, or there is a greater
degree of specialisation with different people assigned to each, the
main skills and the roles needed to produce a commercial, and
there are essentially only four:
•The Scriptwriter: having the writer present at the session often
helps clear up any misunderstanding with the written word.
•The Sound Engineer: a good experienced technician with a good
pair of ears can make every work quickly and smoother.
•The Producer: the person in overall charge of achieving the end
result.
•The Voice Over(s): Good casting is essential and knowing the
capabilities of each voice helps.
All the above roles can be, and often are, completed by
one person, and sometimes for larger campaigns with
larger budgets, present in the studio can also be:
•The Client(s): whose money is paying for the session.
•The Media Sales Representative(s): responsible for
booking the commercial airtime.
•The Advertising Agency: either in a creative capacity
as the writer and producer or as an advisor to the client.
Before any recording begins there are a few steps well worth doing if not
essential that will not only save time later as the recording progresses but
will ultimately lead to a better end product. Some of this is preparation and
some skills and technique need practice and experience.
•Read the script, again (and this applies as much to the scriptwriter) If not
the writer, discuss the script with the scriptwriter so that all understand it.
•Look out, or pre-record any sound effects.
•Listen to the options, choose and set up music tracks.
•Cast the voice artists carefully, and give them as much information about
what’s required and as much encouragement as they need.
•Try and create a good atmosphere in the studio, relaxed and open for ideas.
•Be prepared to enjoy it!
•Recording any audio is as much about the people involved in the process as
it is about the technicalities, technology and equipment.
• The recording studio is the sound engineer’s domain and a good
sound engineer will have studio skills including both sound
recording and editing skills and be familiar with different types
of production software and their capabilities.
They will add considerably to the whole production and should:
• Contribute ideas including suggesting the sound effects and
music available.
• Suggest the best way to record the audio.
• Consider other places to record the audio that might help the
final production.
• Ensure all the equipment is working efficiently.
• Pick the right microphone for the number of voices involved.
• Set up the studio and provide all the facilities.
• An experienced sound engineer will make a recording session
run smoothly and contribute greatly to the production.
Most production companies and studio personnel will
acknowledge that without a good script, making a good
commercial is difficult if not impossible. Conversely a good
script can be wasted by poor production.
A good script or series of scripts and a recording session
when all the above is in place can produce some effective and
creative audio.
• Make the big idea crystal clear.
– Concentrate on one main selling point.
• Radio is a good medium for building brand awareness, but not
for making long lists of copy points or complex arguments.
• Mention the advertiser’s name early and often.
• Take the time to set the scene and establish the premise.
• Use familiar sound effects.
– Ice tinkling in a glass, birds chirping, or a door shutting can
create a visual image. Music also works if the meaning is
clear.
• Paint pictures with your words.
– Use descriptive language to make the ad more memorable.
• Make every word count.
– Use active voice and more verbs than adjectives. Be
conversational. Use pronounceable words and short
sentences.
 Be outrageous.
 The best comic commercials begin with a totally absurd
premise from which all developments follow logically.
 But remember, if you can’t write humor really well, go for
drama.
 Ask for the order.
 Try to get listeners to take action.
 Remember that radio is a local medium.
 Adjust your commercials to the language of your listeners and
the time of day they’ll run.
 Presentation counts a lot.
 Even the best scripts look boring on paper. Acting, timing,
vocal quirks, and sound effects bring them to life.
• Straight Announcement
– Announcer delivers the sales message.
– Can be designed as an integrated
• commercial (woven into a show or tailored to a given program)
• Presenter Commercial
– Uses one person or character to present the product and carry the sales
message.
– A radio personality may ad lib an ad message in his or her own style.
• Testimonial
• Demonstration
• Musical commercials or jingles
Variations: Entire message may be sung; jingles may be written with a donut in
the middle (a hole for spoken copy); or orchestras may play symphonic or
popular arrangements.
 Musical logo (e.g. Nokia)
 Should have a hook (part of the song that sticks in your memory)
 Slice of life (Problem Solution)
 Lifestyle
 Animation
• Product Demo
– The commercial tells how a product is used or the purpose it
serves.
• Voice power
– A unique voice gives the ad power.
• Electronic sound
• Synthetic sound-making machines create a memorable
product-sound associationCustomer Interview
– A spokesperson and customer discuss the product
advantages simultaneously
• Humorous fake interview
– The customer interview is done on a lighter vein
• Hyperbole (exaggeration) statement
– Overstatement arouses interest in legitimate product claims
that might otherwise pass unnoticed, often a spoof.
 Fourth Dimension
 Time and events are compressed into a brief spot involving the
listener in future projections.
 Hot property
 Commercial adapts a current sensation, a hit show, performer or
song.
 Comedian power
 Established comedians do commercials in their own unique style,
implying celebrity endorsement.
 Historical fantasy
 Situation with revived historical characters is used to convey
product message.
 Sound picture
 Recognizable sounds involve the listener by stimulating
imagination.
 Demographics
 Music or references appeal to a particular segment of the population,
such as an age or interest group.
 Imagery transfer
 Musical logo or other sound reinforces the memory of a TV campaign
 Celebrity interview
 Famous person endorses the product in an informal manner
 Product song
 Music and words combine to create a musical logo, selling the
product in the style of popular music.
 Editing genius
 Many different situations, voices, types of music, and sounds are
combined in a series of quick cuts.
 Improvisation
 Performers work out the dialog extemporaneously for an assigned
situation. May be post edited.