2010 Radio And Production Awards: The Envelopes Please!

Congratulations to the winners, runners-up and finalists of the 2010 Radio And Production Awards!

Q It Up: Can I use Lady Gaga's new song under my commercial? - Part 1

Q It Up: What is your understanding of the laws regarding the use of unlicensed, copyrighted music under commercials and promos, and how do you deal with these requests? In markets small to large, some people, even in management levels, believe they have the right to use music from their playlist under commercials and promos because they pay ASCAP/BMI for Performance Rights. Many have never heard of Synchronization Rights. But it's the gray area that gets most debated. Is it okay for clubs to use popular music under their spots? Has a club or station ever been sued for doing so? Is it okay for stations to use songs from their playlist under a promo that has nothing to do with the artist? Has a station ever been sued for doing so? Do you know of any lawsuits involving copyright infringement we can share with clients, sales and management to use as examples of why it's best to obey the law? Is there any such thing as a "7 second rule" allowing legal use of up to seven seconds of copyrighted music? To our non-US readers, most of what we've printed in RAP on this subject has come from the perspective of United States laws and practices. How is this situation dealt with in your country? Indie producers, are things any different for you?

Production 212: Funny, You Don't LOOK Like Lucille Ball

by Dave Foxx

I recently had an email come in from Randy, a producer at a rather well known network, complaining that he was stuck. He felt that assembling image part – bed with content – image part was not stimulating his creative juices. He said he had tried to fill the well as much as he could, but somehow all his "not-at-the-radio-station" activities and his production seemed to be disconnected. At first, I wanted to just tell him that he must not be paying attention, but then I remembered that I've heard that same complaint from some really heavy hitters. I listened to Eric Chase complain about it over drinks in Atlanta once. Andy West made some noise about it at lunch in Manhattan. One year at the R&R Convention Production Gods dinner in Los Angeles, Kelly Kelly Kelly groused to me about sometimes feeling like Lucy at the chocolate factory conveyor belt.

Radio Hed: Future Perfect

by Jeffrey Hedquist

Here's a copy technique we've been using for decades. I've called it "test drive" or "Rehearsal." In sales a variation is known as the assumptive close. In the world of NLP (Neuro-linguistic Programming) it's known as future pacing. It's based on visualization techniques. Whatever name you give it, it employs your audience's rich imaginations to place them sometime in the future using and benefiting from your client's product or service. It can give someone the simulated experience (rehearses them) before they actually have the experience in reality. The assumption is that the mind can't tell the difference between a scenario that's real and one that has been clearly visualized.

Test Drive: Adobe Audition for Mac - PREVIEW

by Steve Cunningham

As recently mentioned in this column, the DAW race continues to heat up in the past half-year or so. There are new entries like Cocko's Reaper, along with new versions old favorites like Pro Tools 9 that are more competitive because they have to be; decoupling PT from its formerly required Avid hardware could only have been a competitive move. Adobe has made a competitive move of its own. They are in the process of giving some long-time users of Audition that which they have clamored for -- a Macintosh version of Adobe Audition. Rather than release it fully-formed at retail, Adobe has instead decided to turn loose a "beta" version to the general public. It is free, carries no dongle or serial number, and promising in some areas while disappointing in others. Nevertheless, it's important and worth a preview look-see.

...And Make It Real Creative: Half a buck, or, the old man blathers on about, something...

by Trent Rentsch

I started writing for RAP in 1994. At the time I was, what, 33? As of this month, I am... ah, hell. How did THAT happen? I mean, I look in the mirror and I don't see it. Of course, to be fair, I don't see as well as I once did... I consider myself lucky, still finding work in Creative media, especially when the world considers youth the ideal. It wasn't like that when I was a kid, but then, things change. I see many of my contemporaries doing their best to hide their age, in an effort to "remain viable." I see things differently. I figure that now is as good a time as any to begin to be viable.

The Monday Morning Memo: Targeting the Imaginary Customer - Ask the Wrong Question and You Will Get the Wrong Answer

by Roy H. Williams

Most businesses target an imaginary customer because someone – probably an advertising salesman – once asked, "Who is your customer?" Ask any businessperson, "Who is your customer?" and he or she will likely answer with a singular customer profile. Something like, "My customer is a career woman between 28 and 44 years old, college educated, making at least $45,000 per year. She has exceptional taste and style and wants to express her individuality through her purchases." And her favorite author is Danielle Steele and she likes to take long walks on the beach in the moonlight, right? Ill-advised questions like, "Who is your customer?" must find their answers in that shadowland where memory meets imagination.

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  • The R.A.P. Cassette - August 1998

    Voiceover demo from interview subject Bettye Pierce Zoller, ZWL Publishing, Dallas, TX; plus more promos, imaging and commercial work from Randy...