In today’s world of smart phones and social media, it’s nice to know that radio can still be just as impactful as it was 10 years ago. A few weeks back the radio world was on fire due to comments made by Rush Limbaugh. Advertisers, stations and consumers were all up in arms regarding his comments, which made for some tough business decisions. Some looked at this situation as an example of freedom of speech, while others perceived it as going over the invisible line that many of us have come to draw our conclusions from. No matter what side of the coin you were on, one thing can be made certain – radio is still as vital and powerful a media outlet as ever.

Rush’s comments were all over the local and National media outlets and everybody had an opinion. His show was being tracked on a daily basis, following which advertisers were still placing ads within his program. You don’t have to agree with what he said, or how he said it, but there is no denying that radio and its “voices” are still being heard.

 

This year Target + Response is enjoying the large number of holiday treats we have received from our clients/partners. We haven’t seen this kind of display in several years. Our kitchen is filled with savory and sweet items, and it’s nearly impossible to pass by without trying something (I’ll only have one piece of toffee…). Is this indicative of the current climate? Are clients able to send more gifts because they have bigger budgets for spending?  Could this mean advertising spending is on the rise for 2012?

-Michelle Draus

Read an exclusive interview with Michael Battisto, President of Target & Response, on the “You’re on the Air” interview series from Every Marketing Thing.

http://blog.desertrose.net/2011/11/04/youre-on-the-air-an-interview-with-mike-battisto-from-target-response/

Advertisers paying rate card for spots get to dictate their scheduling for the most part, but why is it that remnant companies are requesting, and receiving the same demands? Paying “something” for every spot seems to be the trick these days, but watch out; they might be creatively pulling the wool over your eyes. Remnant companies have to be making money with their current system, but how much are they making? Nobody knows…except them! An advertiser that pays rate card for a spot expects a certain level of effectiveness; otherwise they will take their advertising dollar to another station. With remnant, the media becomes the one needing to expect a certain level of return, but they never receive that information. They have no knowledge as to how much money they could be leaving on the table. While the station is left clueless, the remnant buyer is left with all the knowledge and the capability to buy numerous spots at the prices and dayparts they want. Does this seem reasonable? Over the last few months, these are the same companies that are trying to convince radio stations that Per-Inquiry advertising is deceptive. Why would you play a spot for potentially no return? The answer is easy. If your station wants to maintain its rates and use more of your salespeople to do what they’re paid for, to sell, you should always have a certain percentage of inventory left unsold. If not, your rates are too low, meaning you are undervaluing your inventory. With the remaining inventory, you can run a PI spot and know that the full value is coming your way. It is unrealistic to think that every spot utilized on a station garners some return in revenue for the client. It is also unrealistic to think that some don’t bring on a much greater return than what was invested for the spot. With PI advertising, you are in control. You get to schedule the spots where there are holes and dictate what advertisers you run. PI companies depend on station response to make money, so they will always look out for the media. Remnant companies don’t take on any risk, thus preying on vulnerable stations, just looking to make a buck anyway they can. Media interested in regaining control of their inventory, scheduling and rates must cease working in the dark for any offer that gets thrown their way.

 

Adam Zolmierski

Media Sales Representative

My company specializes in pay per call placement so as you can imagine we constantly test ways to increase response rates.  Recently we have been testing some methods that target mobile responders.  Initially we were thrilled with the response rates and increase in call volume but then a curious anomaly occurred.  We noticed that many of the mobile callers hung up as soon as an operator answered.  This is a big problem for our clients because many use complex phone systems to route calls to their best operators and monitor call stats closely.  Thinking these were misdials or mobile users storing a number in their phones to respond later we started putting up barriers which required additional actions by the caller in order to reach an operator, giving mobile responders a chance to hang up before reaching an operator.  These barriers did have a small impact on reducing the anomaly but we found that no matter how many barriers we used, and we stopped at three, mobile responders were still going through each barrier reaching an operator and hanging up.  On the other hand the mobile callers who did speak to an operator turned out to be highly qualified leads so our clients would love to keep the campaigns going if we could find a way to mitigate the operator hang ups. 

Why do mobile responders place calls and navigate through an IVR/VRU only to hang up when they reach an operator.   “What’s up wit dat?”

Michael Battisto

President at Target + Response

You want your radio direct response marketing campaign to have all the right tools to maximize response.  If you are trying to generate phone responses, then you want to use the best toll-free phone numbers you can.  What do I mean by “best?”  I mean phone numbers that are easy to remember and call.

Easy-to-remember phone numbers minimize misdials and increase response.  When selecting phone numbers for radio direct response marketing, here is what you should consider:

Toll-free area code – in the “old” days, there weren’t any area code choices.  All toll-free phone numbers were 800-numbers.  Although the demand for more toll-free numbers expanded the options to 888, 877, 866 and 855, the most desirable and recognizable area code is still 800.  Even if you have an 888 or 877 phone number in your radio advertising, there’s a chance that some listeners will dial 8-0-0.

Today it’s no longer easy to get good quality 800-numbers.  If you need to use a phone number that has one of the other toll-free area codes, then my recommendation (in order of preference) is to go with 888, then 866.  The problem with 877 is that the number 7 is two syllables long.  So when you repeat that number several times, it takes extra time out of your copy.

The last four digits – The best phone numbers have a simple structure or pattern in the last four digits.  The premium phone numbers are “hundred” series numbers – those that end with “00,” such as 8100, 2900, 5500, etc.  The next best are those with an easy repetition, such as 5522, 3344, 4242, etc.  Another desirable combination would be numbers in a sequence, such as 1234, 2468, etc.

Vanity numbers – Vanity numbers spell a memorable word when you translate the numbers for letters on the phone’s keypad.  If your phone number is an important component to your brand, and you will not be using multiple phone numbers for tracking, then a good vanity number may be perfect.

However, vanity numbers can be problematic too.  When you call a vanity number, it takes extra effort to find the letters on the keypad, which makes dialing more difficult.

You also need to be careful in selecting the vanity word you’ll be using.  The letters Q and Z are not on every phone, so avoid words with those letters.  And there can be a significant amount of confusion with the letter O versus the number 0.  If your vanity number has the letter O, you should expect that some percentage of your respondents will press the number 0 instead.  I think it’s best to avoid vanity numbers that have the letter O in the name.

Several years ago, a major consumer advertiser initiated a very expensive awareness campaign promoting their new customer phone number.  They selected a vanity number that was easy to remember.  Unfortunately, it included the letter O.  When it was announced, I decided to call it by using the number 0 instead of the letter O.  Imagine my surprise when the “misdialed” call was answered by one of their direct competitors!

If you are using toll-free numbers in your radio direct response marketing program, select phone numbers that are easy to remember and easy to call.  Since radio is a non-visual medium, it will improve your ability to generate inquiries and make your radio advertising work smarter.

Given that most direct response advertisers have budget limitations, it’s not always possible to run your commercial on every possible radio station.  How do you spend your media dollars in the most effective way?  One important consideration is in regards to reach and frequency.

 Reach means you’re casting a wide net, trying to make an impression on as many unique listeners as possible.

Frequency means you’re trying to make multiple impressions on the same listeners.

There are all kinds of formulas for determining optimal reach and frequency, and they vary by medium and the objective of the advertising message.  When it comes to radio direct response advertising, our experience has shown that frequency is much more important than reach.

Why is that?  One reason is because radio is a companion medium.  Listeners are oftentimes doing something else while they are tuned in.  They may not be fully engaged to what is being said.  They may hear some of your message, but not enough to respond.  This is where frequency works to your benefit.  If they hear your commercial a second, third or forth time, your message may finally resonate enough for them to take action.

Radio advertising needs to work hard to generate response.  Don’t take a soft creative approach.  You should always write your commercial with the goal of getting listeners to respond the first time they hear it.

You will have more impact by running a high frequency schedule on fewer radio stations than you will by running a low frequency schedule on multiple radio stations.

So if your budget has limits, take a laser beam approach to your radio placements.  Crank up the high frequency first before you expand the reach.

When writing direct response radio copy, I can’t say enough about you.  Your feelings are important.  Your problems matter to me.  That’s why I want to make your life better.  I can save you time or money.  And right now, I’m offering you something for free that will help make you smarter, happier, healthier or wealthier.  So respond immediately and you will be better off.

In this example, I’m not talking to a group of people.  I’m not writing about how wonderful I am.  I’m focused on you, and how you can experience positive results if you act now.

When your direct response radio advertising is all about “you,” then you’re engaging listeners on a personal level.  It establishes rapport.  It generates more interest in your message.  And it turns your product’s features into benefits.  Benefits are what drive listeners to respond.

See how many times the word “you’ can be integrated into your direct response radio ads.  The more it’s used, the more effective your radio advertising will be.

Radio is a local medium.  It’s a personal medium.  Listeners have a relationship with their favorite radio stations, and think of them as companions.  When you create a sales message that plays to that strength, you’ll get more mileage out of your radio direct response advertising.

This may be difficult if you’re advertising on national radio networks, Internet radio or satellite radio.  But if you’re placing ads on terrestrial radio stations (which still make up the vast majority of radio listenership) or on a particular syndicated program, you should consider how to make your ad sound “localized” to the city or community, or to the audience base that is listening.

You want your message to speak personally to your audience.  The more you can sound “one-to-one,” the better.  There are different techniques you can apply to help your radio commercials be “locally” persuasive to your prospective customers.  Here are a few ideas:

Talent endorsements – Listeners like the intimacy of personality radio.  They may have a strong connection with the on-air talent.  This type of bond is very powerful if the talent will endorse your product or service in a message that’s shaped to his or her personality.  Endorsement spots make the phone ring, particularly if the talent is excited about your offering.

Local radio announcer copy – Rather than producing your commercial, you can provide a script to the radio stations and ask that they record it (or deliver it live) using one their own announcers.  Announcer scripts can make your radio commercial sound more like the station that is airing it.  For example, your radio ad may sound regionally different running on a Houston station than it would on a Boston station.  Or, from a programming standpoint, the same script sent to a country station would have a different delivery than a classical station.  Allowing the station to interpret the delivery style could produce a more favorable reaction from listeners.

Mentioning the city or region – Consumers like products or services that have a local identification.  Mention the city or region name in your radio commercial, as long as it flows well and doesn’t sound forced.

Special offers – You may already be making a “special radio offer” in your commercial.  Go to the next level of localization and position it as a “special radio offer for WXXX listeners.”  That could create more urgency.

Radio production and scriptwriting are not expensive, so the extra effort to localize or customize your advertising can really boost your radio direct response campaign.

You have a great product or service.  Your benefits are strong.  You’re confident that radio direct marketing can drive inquiries, and ultimately, customers.  So how can your message capture the attention of qualified listeners and get them to take action?

Capturing attention is the critical first step of what your radio commercial needs to do.  If you don’t generate listener interest within the opening seconds of your commercial, then your opportunity will be lost.

To capture attention, your radio commercial needs a strong hook.  The hook sets the tone and it generates curiosity.  It makes a listener want to know more.  One of the most powerful ways to engage listeners is to recognize the enemy.  The enemy is a problem your listeners have that can be solved by your product or service.

Identifying enemies is a strategic process that can produce captivating radio direct marketing copy.  This is the basis of the “problem-solution” approach, which has proven its success many times over.  To set up the problem, you need to single out the most dramatic “enemy” and then tell how your product will overcome the enemy issues.  Depending on your product, the enemy could be wasted time, money that’s being overspent, or the inability to accomplish a goal.  An enemy that generates an emotional reaction will have more impact on listeners, laying the groundwork for you to lead them into your sales message.

From there, you can explain why your product is the solution.  Be benefit-oriented.  Keep the copy focused and easy to understand.  And repeat your best points.  Listeners need to hear them more than once to retain their value.

There’s nothing wrong with having enemies if they can help you sell.  When writing radio direct marketing copy, the enemy can be your best friend, helping you create more impact and drive more response.

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