CALL LETTERS AND POSITIONING STATEMENT - A MUCH-NEEDED REFRESHER Greg Diamond We have heard it countless times during our careers – say the Call Letters!!! In fact, “calls” are such a basic fundamental of our industry that an article like this would seem to be without merit. Then why is it I continue to hear these crucial break elements either elided or omitted completely. This is not restricted to smaller markets, either, as I hear the same thing on stations in our largest cities.
Indulge me then, as I wade in with my two cents on the subject with both the “whats” and the “whys” of proper Calls/PS usage.
The Call Letters/Station Name and Positioning Statement should usually be the first thing said by the announcer in a backsell position and the last thing said in an intro position.
If the announcer says the calls/name first, they are liable to receive the intensity they deserve. To explain this further, let’s examine the normal inflective curve of a break.
The illustration shows how most breaks start off at their highest point of emphasis. The announcer uses surveillance elements (Calls/Station Name, Positioning Statement, Backsell, Time, Name, Temp Check or Weather) to step their inflections down to a normal speaking level for execution of the Main Body of the break. There is a slight upturn in emphasis as the jock then creates momentum into the stopset (this is not an increase in tempo or pitch, but rather an increase in inflective emphasis during the tee-up).
The illustration also shows why beginning a break with the call letters will naturally allow the jock to better “sell” them, given the already-occurring stress (i.e. “Classic Rock, 105.3 The Aardvark… The Police, ‘Roxanne’”). It also shows that if placed in the backsell (i.e. “That’s “The Police, ‘Roxanne’, on Classic Rock, 105.3 The Aardvark”), the decrease in inflective level already at that point detracts from the preferred emphasis. If jocks try and maintain their original intensity, their delivery would be less natural and more fatiguing to the listener. Granted, the difference is slight and there is no doubt it can be performed well in either manner, but given the two, it is preferable to use the first method more often and intersperse the second to decrease the sense of predictability in delivery.
Keep in mind, the curve as shown above does not take into account such issues as differences in announcer style as per format or the intensity level of the song leading into the backsell. Nevertheless, the normal inflective curve is applicable to all breaks when adjusted accordingly for such criteria. The difference in intensity between the start and main body of the break is the only thing that changes.
Under the present diary system (unaided recall), when everything else is swept away (and by making the bold assumption the station is effectively positioned and sounding acceptable), the primary function of everyone involved in the industry (not just announcers) is to ensure the station is top of mind when a listener sits down to fill out his or her ballot. This is often done during the week after the ratings window has closed and could be a number of weeks since the person was listening to the station. In no way is it realistic to expect an individual to clearly remember which station(s) they had on. Instead, all that can be hoped for is that your station is the first one they think of when the time arrives. This reinforces the need to properly identify the station at all times.
Encourage the announcers to perform this task properly once per break and then rely on station/promotional tie-ins (e.g. “CXXX presents Great Big Sea”) and branded elements elsewhere in the break to further reinforce the station identity (e.g. “CXXX Weather”). This is a far more effective multiple call/name use than continually saying them in odd and unnatural places (e.g. “Classic Rock, 105.3 The Aardvark, with the Stones, Satisfaction on the Aardvark… The Aardvark presents Styx this Thursday… Keep listening to The Aardvark for your chance to win tickets only here on 105.3 The Aardvark… Aardvark Weather… cloudy and 10 today… It’s 5 right now at The Aardvark… Coming up on The Aardvark… Boston and Pink Floyd… Up next, it’s Zeppelin on Classic Rock, 105.3 The Aardvark”).
Such usage is actually counterproductive as it causes the Call Letters/Station Name to become a listener irritant – the last thing they should ever become!
Proper, measured use of calls, will identify the station effectively, but will not “overload” the listener and give them the negative impression they are being “hit over the head.”
Avoid using the Call Letters/Station Name when going into commercials. There are a couple reasons why this is not recommended.
First, by consistently using calls into spots, the listener can begin to make a subconscious association between the station name and commercials. This is obviously not desired. Commercials are certainly necessary for a station’s existence, but tying them directly to the calls can create the illusion of heightened commercial loads.
Second, if announcers consistently use calls into commercials, the likelihood of “throwing them away” is greatly enhanced over time. The announcer will start giving the calls in a very subdued, formulaic fashion, which puts them in a negative light, and therefore, they should be removed completely from this part of the break. Further, such usage will detract from the announcer’s ability to perform the end of the break as detailed in the inflective curve illustration above.
Consistency is essential with regards to Call Letters/Station Name and Positioning Statements. Having the airstaff deliver calls in the same fashion will be much more effective in keeping them top of mind – of branding them.
Call/name use in sweep positions should be restricted to the end of the break, but should the sweep break be long enough, thought could be given to “bookending” with the calls (i.e. using them both at the start and the end). In such circumstances, using “105.3 The Aardvark” at the start is sufficient, and then coupling that with the PS at the end is suggested (i.e. “Here’s Mellencamp, “Small Town”, on Classic Rock, 105.3 The Aardvark”).
Use of frequency is very important when giving the Calls/Station Name and Positioning Statement. Most listeners now associate station preference by frequency primarily and in some cases solely.
In social settings (particularly where new acquaintances are introduced), conversation will almost invariably switch to radio when others learn of your career. If asked which station(s) these people listen to, they are quite likely to reply with “Well, in the car I switch between 104.7 and 101.2 (this is often given as “one-o-four-seven and one-o-one-two – i.e. no “point” is used) and then when I’m at home I like to catch the news on 103.5.”
Stations (except those that are heavily branded or have considerable heritage [the CBC is a prime example]) are quite simply less likely to be named as they once were. The digital tuner (primarily in vehicles) has allowed the listener to develop a powerful visual connection to their favourite frequency. Therefore, inclusion of frequency in call/name usage is now essential.
Proper station identification is necessary to ensure you are getting credit for everything you do. This is why cold sweeps have virtually disappeared in larger markets as the competition forces stations to “hammer the calls” at each opportunity. By the way, it’s also why television stations have gone to displaying their logo on the screen at all times.
Should PPM’s eventually replace ballots, then the need for such constant identification will lessen as the “game” will switch back more towards programming from the heavy marketing slant it now receives… but that’s another article… or three.
Thanks for your indulgence, and should you actually work at a station called The Aardvark, my apologies… and sympathies. |
