IMAGING – PART TWO Chris Byrnes – ByrnesMedia Last month we challenged Program Directors to examine all the imaging on the radio station to ensure each image cut has a purpose and reason for being on the radio station. The article prompted a number of Programmers to contact me with additional questions as well as a few comments so perhaps the article served its purpose and got people thinking. Feedback is always welcome. In order to offer some more practical advice on this topic I talked to four of the top image voices in the business who are tasked with bringing scripts to life and asked them to share their thoughts on ways to improve what happens between the records.
1. What should a radio station look for when choosing an image voice?
David Kaye (www.davidkaye.com): Someone who will communicate with the exact audience you’re going after. A good friend of mine at a radio station in Florida said when people hear the voice they should think of it as the owner of the station, so it’s the first line that creates the image. When I was smaller I used to hear the voices on the radio station, without knowing what I was going to do for a living and thought that must be the boss. The voice has to be versatile so they can deliver different styles and give you different variations to bring the script to life.
Jeff Rechner (www.voiceboy.com): If you can't afford several voices, find somebody who has a lot of flexibility in their reads so that, if you go off in some weird direction for a promo or set of imaging, that voice can head there. I was hired by KCUV in Denver, a very eclectic Triple-A, because I had a strong casual read, but also, because when they'd occasionally get weird or need a spare Monty Python character, I could turn those reads around for them as well.
David Tyler (www.davidtyler.com): I think 'personality' is something to look for in your imaging voice. For too long the 'image voice' has been this huge disembodied, almost monolithic omnipresent thing on radio stations. There are some times when you'll want that for effect... so, look for somebody that's flexible in their reads.
Mike Giunta (www.giunta.ca/aerie): This is not always obvious. It depends what they are attempting to accomplish in the short and the long term. As an imaging voice, I can tell you that often the reason I get a new contract or loose one is "change for the sake of change". It would seem to me that the best way to consider voice is in some of the more obvious ways. Is he/she dependable? Are rates comparable to other pros? Will this voice deliver the "tone" you are trying to create with your overall station sound? In an era of voice tracking and a short talent bench, does this voice convey your stationality? It also bears mentioning that if things are going well and you need to make a change internally (change in mornings, pd, music etc) it might be best to KEEP your current imaging person for continuity. I should also mention that if there is an uncharted new direction for a radio station in the works, outside council regarding imaging can help prevent a major faux pas.
2. How do you prefer to work with radio stations? What do you find is the most effective in terms of communications between the voice and the station?
David Kaye: I like to have a session or two when we first start working together when the client is on a phone patch or an ISDN just to make sure we get in the pocket of exactly what they want. A great working relationship is one where we got to the point where the client is comfortable just sending me copy. I know the PDs are busy and they have lots on their plate especially these days. I worked with a PD in LA who was insanely busy, but what he really liked was when he sent the copy, as the voice I got it and he knew what he was going to get back.
Jeff Rechner: Any and all feedback from the one or two people in charge of the imaging sound is always welcome. Sometimes, things get a little muddled in the translation and that's why I'm big on giving a few different reads on everything so that, even if the style doesn't change dramatically, the imaging producer may hear something that even he or she hadn't thought was appropriate first time around. Live ISDN sessions are of course, the best, and quicker for me because I don't have to edit!
David Tyler: Pick ONE contact person p-l-e-a-s-e! When I start receiving copy from 3 sometimes 4 different sources at a station it gets confusing...especially when Bob (the production guy) doesn't know that Mary (in promotions) is working on a time sensitive contest promo and blows the month’s quota on a bunch of Christmas liners in June!
Mike Giunta: I've worked with many operations over the years but most often a close one on one with the Producer is the most effective means of getting the character right week to week. I've always assumed that the Producer - even an out of station Producer - "knows" what the station needs. When a PD, APD or GM gets involved beyond the initial sessions, it can be difficult to settle on exactly what is needed... ahhh, the vagaries, subtleties and nuance of language.
3. If you could suggest one thing to improve the average script what would that be?
David Kaye: Less is more. The listeners are more savvy today and unfortunately the attention span is short and getting shorter. But cleaver copy can get your point across and the listeners do get it. We don’t have to beat them over the head with every point. Humour is always fun, but get to the point.
Jeff Rechner: Get rid of any superfluous words and especially any words that sound "radio". If real people wouldn't say it, why should we? I worked on air at CHR's for years and learned and re-learned how to take a 30-second thought and try to condense it to 10 or 15 seconds. When you do it right, it can make the copy way more effective.
David Tyler: Write like you talk. Don't use a big word where a diminutive one will suffice.
Mike Giunta: Efficiency or economy of language is the number one way to improve scripts. Redundancy and non essentials will clutter a promo and can destroy any chance of conveying the true message. It doesn't have to be boring, just use the power of language bolstered by what your imagination will do in the absence of visuals and you'll be ahead. Emotional connection will be possible when a voice has been freed of the shackles of the "speed read!"
4. How much feedback do you prefer to have from the stations? Do you like them on the phone during the session, or do you prefer briefing notes in the margin?
Jeff Rechner: Either or. Most of my client stations do the phone or ISDN sessions early in our relationship until we're all on the same page as to the style of delivery. Briefing notes are excellent anytime because they can give me new ideas on how to voice a promo or liner that might normally just seem like the same old thing.
David Tyler: I prefer notes in the margin and having somebody on a patch is an added distraction for me. What I DO LIKE is to hear the final produced liners and promos, to hear which takes they ended up using...it helps me pick my approach for the next session.
Mike Giunta: I've found that, once you've agreed on a character and a tone, ongoing feedback isn't key. Most operations, perhaps because they are jammed for time, let me do my thing. Once completed, I post the V/O's for pick-up. I never have a problem redoing something if it's not quite right. When I get mailed a script, I'll look at it quickly and if there are any concerns, typos, pronunciation or issues of understanding, I'll call right away. Over the years, people's need to be time efficient and the power of the internet has liberated a lot of people from the phone patch and ISDN lines.
5. Who do you think is the best imaged radio station on the planet and why?
David Kaye: I think radio can learn a lesson from the way television is imaged. They will contract a main voice, but they will use a sprinkling of other voices so it does not sound the same all the time. Living in Los Angeles I am exposed to some great radio stations. My daughter makes me listen to KISS FM every morning. The overall feel is “fun”, the writing is to the point, and the imaging compliments the radio station and it fits with the feel of the radio station. It’s not all over the map and has a purpose to my ear.
Jeff Rechner: Any that I work for ("Arr arr arr" in a Mr. Crabs voice). I love any stations in which the imaging isn't actually a replacement for the on-air people but rather, an enhancement. There are less and less of those though.
David Tyler: The best imaged radio station on the planet is Z100. Why? 2 words: Dave Foxx.
Mike Giunta: Good question. I don't think a lot of people listen to radio the way I do. I drive my wife crazy! I listen to the production and commercials and punch out when the music comes on! Rather than one station in particular, I find that a lot of the best operators in the NEW ROCK formats by definition have a much bolder, edgier, more in your face type of production. As a voice artist, it can be lots of fun "fitting into" these bolder concepts that are sometimes designed to stand out and be quite challenging. KROQ spends a lot of money, time and effort on the consistency of their imaging and you can hear it... (Bold isn't always loud either!) When the imaging, personalities, ads, and music are one and you are true to the expectations of your listeners, you will excel in any format.
6. Anything else you feel might be helpful to PD’s and the folks who write the scripts.
David Kaye: When budgets are tight it’s easy to make the mistake of hiring the guy who can do it for less. But you need to make sure that the voice you hire is no different from the guy who is hired to record the movie trailer. Just as that trailer for the movie will largely determine if you will go and see that movie, a good image voice and good imaging will often determine if you will keep listening to that radio station or even remember to which radio station you’re listening. A good voice person will turn around the script quickly and the client should have the confidence it will arrive on time and sound even better than the writer imagined it would. The voice you hire is the image of the radio station so make sure you hire the right one and make your best move first.
Jeff Rechner: No matter how small your station is, I think it's incumbent upon the PD to make sure whoever's in charge of writing the scripts is placing as much importance into that work as anything else they may have on their plate. Too often, PD's are forced to type something in a hurry to get it on the air, and no matter how hard a producer and voice try to make it sound Oscar-worthy, it's going to sound like a PD was typing something in a hurry to get it on the air.
David Tyler: At the risk of sounding redundant, "Don't sell the steak...sell the sizzle". People aren't listening to you because you play "the most music", they aren't listening to you because you play "the best variety from the 60's, 70's, 80's, 90's and today"... they're listening to you because of the way you make them feel...reflect that feeling in your imaging.
Mike Giunta: Stay razor-focused on who you are in the ear of your listener when conceiving contests, imaging and any and all promotion. Remember that while the sales team is a core component of who you are, sales and promo are not the same thing. Many a great on air concept can be deflated by a badly negotiated sponsor deal... the "brought to you by" should never sound more important than the promo or the station itself.
Conclusion: My thanks to Jeff, David, Mike and David for their excellent suggestions on ways to improve the scripts and what comes out of the speakers. If you’re looking for a new imagine voice, consider using one of the voices we prefer, providing of course they are available in your market. |