RAB 101 Handbook Web

8/3/2019 RAB 101 Handbook Web

http://slidepdf.com/reader/full/rab-101-handbook-web 1/38

101 WAYS TO GET THE BEST OUT OF RADIO ADVERTISING





We at the RAB live and breathe radio. We’re committed to seeing radio

advertising thrive by continually providing the advertising and marketing

industry with inormation, constant communication and innovative thinking,

regardless o technological or economic changes.

It’s with this that we’d like to thank you all or your contributions. We hope

that our handbook will inspire, inorm, and encourage great media and

creative thinking within the world o radio.

One hundred and one ways to improve your understanding o the

processes required to deliver a great radio campaign.

Happy reading!

RAB South Arica

Shaping The Future

FOREWORD

Think about it. What’s the one important thing about radio you’ve had to

learn the hard way? What is it about the medium that one day suddenly

struck you like a bolt o lightning, only ater years o making radio spots?

What is that very obvious technique that makes or outstanding radio

advertising time and time again? The Radio Advertising Bureau’s ‘101 Ways

to Get the Best Out O Radio Advertising’ handbook is designed to answer

these and many other requently asked questions.

That’s because as the champion o the medium o radio in South Arica,we’ve made it our business to nd out just what makes radio work, and how

you can take advantage o this, in your radio advertising. Ater all, we’ve

come a long way since the broadcast o the rst radio commercial on US

based radio station WEAF in 1922!

To do this, we’ve enlisted the help o advertisers, marketers, media planners,

strategists, buyers, creative experts and just about everyone who shares our

passion, culminating in these 101 insights on how to make the most eective

and creative use o the medium.



casting

001

002

The biggest challenge is incorporating a creative and entertaining

idea into a 30-second spot - which is not a lot o time - without

detracting rom the single-minded message that you want the listener

to walk away with. I usually start with “What is the message that we

need to communicate and what would be the most unexpected way

to communicate that message?”

Radio doesn’t give one the luxury o hiding behind beautiul art

direction or ancy computer graphics. Either your idea works or itdoesn’t. Because only one sense is being engaged, i.e. hearing, you

really do have the opportunity to engage and stimulate the consumer’s

imagination in a way that you cannot on any other medium.

The casting o the actors is critical – they truly can make or break an ad.

Justin Osburn - Copywriter - FoxP2

Justin Osburn - Copywriter - FoxP2 Justin Osburn - Copywriter - FoxP2

003



005

006

004We need to look careully at how we can improve and grow the bank o

quality South Arican voice talent as there is a dire shortage. I we haveto establish radio acting classes, then that’s what we need to do

As an industry, we need to look careully at the new generation o

writers coming out o advertising schools and see how we can grow

their writing skills in the radio arena. We’re not necessarily looking at

creating another advertising award, but we are looking at some ideas

that will hopeully teach us to be better audio writers.

Alistair King - MD - King James

Justin Gomes - Creative Director - Fox P2 Alistair King - MD - King James

Identiy the production house thatyou eel is best or the particularscript and invest adequate time intovoice selection and crating.



008

009 010Great print visually s timulates the reader. By the same token, great radio

should captivate the listener by painting pictures in their minds with thewords or sounds used. Time in the studio and endless revisions are one

way to really get the best out o an idea, however, it needs to be a good

idea to begin with.

Radio is still oten seen as the poor cousin to the other, sexier media

types such as TV or print. Not as much time is spent on pre-production -choosing the right voice and music - as is done on a TV commercial, and

I think that’s a big mistake. Maybe it’s the perception that because you’re

spending millions instead o thousands o rand, one is more important

than the other? Spend the time and reap the rewards. Remember, it takes

brave work and an even braver client to do this kind o work

Copywriters must rerain rom thinking that a conversation between two

people or a joke stolen o the Internet and re-enacted on radio, is agood radio ad. It’s lazy and it doesn’t help the client. Bottom line: this

is a dirty, subjective business where ailure is just a bad voice artist or a

lazy script-writer away.

Tim Beckering - Creative Group Head and Senior Copywriter

- Net#work BBDO

Rob McClennan - Executive Creative Director

- Net#work BBDO

007A good dose o humour,a simple message as well as an in depth understanding o the target

audience or the environment in which the ad will be played are key

ingredients or a great radio spot.

Mike Wilson - Creative Director - King James (JHB) Mike Wilson - Creative Director - King James (JHB)



012Encourage yoursel to break the usual gag-and-tag setup o telling a story or joke, then tagging on the announcer with brand/product payo lines at the end.

Always think o interesting ways o breaking the usual structure o a radio ad.

Craig Ross - Copywriter - Ogilvy CT

011


I it’s a conversation between

two people, make sure neither

one rattles on or too long, or the

listener will lose interest.Always ensure

dialogue is short

and punchy.



013You can never be too nit-picky in thestudio. I you think the voice-over artist is notpronouncing the ‘p’ strongly enough in thesecond line, let them know. Take pride in everydetail o your work.


015 016Always look at your available budget and ways in which you can

make the most o it. I Mel Gibson singing ‘Kumbaya’ in a high-pitchedvoice can be used to enhance the concept o your radio ad, and you

can aord it, do it.

Ensure you know, work with, and write the script around the mandatory

requirements rom the client, rom the beginning. These include anyURLs, payo lines and product details. You don’t want to nd yoursel

having to cut a vital piece o the dialogue down to t in some special

oer at the end.

Craig Ross - Copywriter - Ogilvy CT Craig Ross - Copywriter - Ogilvy CT

014Be very careul with timing. Sometimes you have to be very ruthless in

what you have to cut to make the 30” time limit. Rather have a goodcomortably-timed dialogue, than something that’s crammed and

rushed. Never underestimate the power o an ‘awkward silence’.




017

019

018Although radio works with the theatre o the mind, you don’t want to

leave too much work to the listener’s imagination. It’s important notto rely on sound eects to tell the story, as these are merely aids in

depicting the situation / setting.

True briiane oes fro a ear-ut brief; after a, ess is ore.

Every listener thinks dierently, so i the creative execution is spot on,all listeners will have the same picture in their minds. In the end, that’s

all that matters - having a message that means the same thing to

everyone, and ultimately springs them into action.

Writing world class radio commercials is a talent only a ew are blessed

with. That’s because crating radio ads can no longer just be a plain 30”spot with library music and winked-in-copy rom Voice Bank. Oer the

listener the opportunity to interact. The most memorable commercials

are those that induce a particular mood or even elicit antasy.


Melissa Cogle - Implementation Buyer

- Starcom MediaVest Group





020Although you can’t quite literally show a brand on radio, it is possible to convey the emotional element that all brands carry.

Don’t put your radio commercials in a 30” box, rather allow or the message to determine the duration.

A 10” ad can be more powerul than a 30” commercial.Remember - strategic placement o commercials and the creative message they carry will determine the success o your emotional brand building.



021 022Quality is one language everyone understands. I you omit it rom your

radio ad – whether English or vernacular, you’ll miss an opportunity tocreate memorable communication.

Don’t play the ‘time card’ i.e. “I didn’t have enough time to produceproperly” OR “I need more time on this ad” OR “I can’t do anything

creative in 30 seconds”.

Yes you can – and you’d better!

Xolisa Dyeshana - Creative Director - Joe Public Xolisa Dyeshana - Creative Director - Joe Public





A great radio ad starts o with the copywriter. The best scripts always

come rom writers that have a passion or words – not just a love orwriting. You can’t produce a brilliant ad without a brilliant scr ipt.

Stir up an emotion.You have to eel somethingwhen you hear the ad.

027

028

Tanja Rae - Head of Radio Production - Net#work BBDO


Make sure your script is in the hands o a brilliant audio engineer.

They are the unsung heroes but play a huge role in bringing the

concept to lie.

029




Play around with ideasand be passionate about what you do. Make sure that the producer is

as passionate about your script as you are. They need to understand

what you are hearing in your head, and make it come to lie.

It’s been said beore and it’s not always possible when your client basically rewrites your beautiully crated script, to make it a retail read (killing

any semblance o the concept you’ve worked on!) or inser ts so many nance conditions that the read begins to sound like listening to the stockexchange, so I’ll say it again –

Cut through the clutter! Create a great concept and steer clear o diluting it.

030

031


Natalie Sutton - Radio Producer - Net#work BBDO



The one thing I really allow voiceover artists to do is to become the

role. Most o them are actors, or have been doing voiceovers or a longtime and can take the script and make it that much better. Allow them

to play around a bit, especially ater you’ve got the spot you need or

client. You never know what you will get. Sometimes it will make the spot

way better, at other times it’s better to stick with the sae spot.

035

Theo Egbers - Copywriter - The Jupiter Drawing Room

With radio you have a captive (albeit, sometimes reluctant!) audience.

This audience usually ‘zones out’ when the ad comes on, so do dierent,do resh, do something that gets people saying; “have you heard that

ad?” Make advertising interesting and worth listening to.

Watch your timing! It’s completely unproessional to start cutting copy

in a session and it’s almost always detrimental to the nal spot. Timeyour scripts beore you sell them to your client as 30” spots and then nd

you cannot deliver on this.

Great humour works beautiully every time. People

love a good chuckle when they’re sitting in trac.

032

034

033






Time your scripts accurately. Copywriters have a tendency to write

scripts that help sell the idea to client, and then don’t alter it beoregoing into studio. Suddenly a 30 second script takes 45 seconds to read

and then you have to do some quick editing, phone the client (i they

aren’t there) and it becomes a struggle. To be on the sae side, time

your scripts beore presenting them to client.

036


Actors can act.Make use o them inyour radio spots.

Don’t get angry during a recording. This is not good or the creative

ambiance. Step outside. Get a breathe o resh air. Go back with a smileand make it work.

I you are translating into other languages, remember that an English

script translated into another language will almost always be longer.

A 30 second script will miraculously become a 35 second script. Book

longer media, or write a shorter script.

039

037

038

Tian van den Heever - Creative Director

- DraftFCB Johannesburg







Don’t be araid to use classic jokes. They make many people laugh and

are easier to communicate to the masses in the short time you have.

Voicebank is your riend.Spend some time nding the voices you would like to use or your

radio ad. Don’t always rely on your radio producer to nd the voices

or you. Put this power in your own hands.

Learn some terminology to help you tocommunicate with your sound engineermore eectively.

041

043042

040

Be sure to have your most recent scripts with you.Make this your responsibility. I everyone else has the script without

the changes that were approved the aternoon beore, it can waste

valuable recording time.











Pay attention.You are there to record an amazing radio ad. Don’t sit there with your

laptop open, checking the status o the world on the Internet.

Somebody owns everything. Make sure you research the rights o

any material beore you sell your script to the client. This will avoidunnecessary trauma when you nd out that the whistle rom that big

movie is actually owned and you can’t use it - and it was what your

client loved about the script to begin with!

Read your script in ront o other people. When you do this, you become

more aware o the necessary pauses that are required to give a scriptthe space to breathe.

044

046 047

045When working with a voice artist that you like, be sure to keep their

contact details. Make notes on why you enjoyed working with them.This will make your lie a lot easier when you need to use them again.











Recording studios will have advanced speakers as well as normal ones.

Make sure you listen to the ad through normal speakers, so you get anidea o what people will be hearing through their radio or in their cars.

048

050

049

051I you can split your recording session over two days, do it. This will give

you time to listen to it away rom the studio, and help you come backwith resh ears and new ideas.

Give some thought to what you’d like your radio ad to sound like,

beore you get into the recording studio. Send the scr ipt and your ideasto the engineer the day beore. This will give them ample time to collect

the relevant sound eects and possible music options, giving you more

time to crat the ad.

Ideas can come rom anyone and anywhere. Be open to ideas rom

the client or voice artist.











The visual medium o television, the tactile/visual medium o newsprint,

the electronic medium o the Internet and all its permutations… nonecompares with the sheer immediacy, the unadulterated and unettered

reality o radio – and its relationship to our mind’s eye.

Radio is not required to conorm to increasing standards o aesthetic

appeal (and sheer sensationalism) where the audience has to dolittle more than placidly observe (and absorb) whatever images have

been careully selected to convey a particular message or agenda.

The medium is immediate to a much greater extent. The concept o talk

radio alone, oers the unique reality o listener participation – which is

completely random, and oers a unique insight into our country, and

the diversity o its inhabitants.

Radio can be a great companion, oering news, insights and practical

inormation. It has the unique ability to lter through material rangingrom the kind that prompts our intellectual (or spiritual) growth, to

breaking news stories as they unold. It connects us, and ignites our

imagination, and make us aware o the universality o experience.

052

053 054

Carolyn Frost - Editor - Bolander newspaper

Carolyn Frost - Editor - Bolander newspaper Carolyn Frost - Editor - Bolander newspaper



Pre-Prod your work Get your producers, creative director, and the production house

involved. Send scripts to the sound editor, get him to suggest voiceovers

and eects. Ater all, these guys work with artists every day. They know

good voices!

Have un. We are here to create entertaining radio spots. So when

you are writing the script, think about what will entertain you the most.When you are recording, try new things, new sound eects, words. I

it’s a unny script, make sure everyone in the room is laughing. I it’s a

serious script they must be crying! And so on... But most importantly,

just have un.

055

058


Remember! You are in charge. You wrote the script.

You know what you want it to sound like. You sold it to client.I you don’t like a suggestion, say so. Don’t be pushed over by

overzealous account managers or clients. Ater all, it goes

down as your work.

057


Be willing to adapt. Sometimes the voice over artist, the client, your art

director or the sound editor (we like to call them the ‘sound guy’) comeup with better ways to say something. A new word here, cut a word

there. Don’t be araid to listen to everyone involved. It will make the spot

that much better.

056





Radio is becoming ‘bigger than it’s ootprint’, and by using the chosen

radio brand’s entire oering, including online, promotions and events,the client is really tapping into the strength o the radio station’s

relationship with its audience.

The act that radio is a great ‘response’ platorm, as well as the strong

bond consumers have with their chosen station, makes this medium an

excellent platorm or eective communication.

Radio oers several advantages. Its production is cheap (without

a compromise on quality!), its audience is oten captive - and most

importantly - together with a great idea it oers the power to arrest the

listener, and punch home the message like ew other mediums can.

Because with radio, everything is laid bare, there are no beguiling

pictures to distract you rom the absence o a great idea or great

writing. It’s just you, the listener and an arresting idea. There’s a lot to be

said or simplicity. There’s more to be said or a great idea. And simple

ideas are the best. They’re invasive. They’re delightul. They’re why we

do what we do.

059 060

Eve Pennington - Consumer Context Manager


Grant Jacobsen - DraftFCB Johannesburg

- Executive Creative Director



The best radio ads are those that are short, inormative and unny.The unnier the better in act! Let’s remember that the ads are invading our space, so they have to be good, otherwise they end up irritating us. American accents

or example, irritate me because I don’t appreciate the act that advertisers just assume I respect something purely because it’s American. There are certain

ads that irritate me because they lack absolutely EVERYTHING that makes a good ad. No style, no humour, a terrible voice, and inarticulate speech. In other

words, just an invasion o our audio space.

Establish academies that oster the growth o young black creatives and

encourage them to script ads in their mother tongue. Hearing an adthat has been wr itten in English, and directly translated into vernacular

(oten in an eort to cut costs!) not only ends up misleading the

listener, it alls short o capturing the idiomatic nuances o a particular

language. Invest in proper language experts who will ensure that the

ad/campaign works within the vernacular.

061

062

Katie Miller - Copywriter - PokerPros

Andile Ndlovu - Translator/Copy Editor - DRUM magazine



Edutainment eatures have the capacity to synergise strategy with

creative execution, product unction with emotion.From baking to banking, soccer to cellphones, each unique eature

uses a variety o communication aspects into one synergistic

entity that encompasses;

interactivity presenter engagement, amiliarity, loyalty,

competitions, incentives

intimacy emotional connection with listeners

imagination storytelling and theatre o the mind

immediacy mouth to mouth, while it’s happening

relevance topicality, current events, immediate response

requency continual messages at dierent times/dates

language traditional cultural values and heritage

credibility word o mouth, presenter involvement

unique content added value o branded programming

It’s essentially allabout breaking

that 30” barrier.Every marketer is seeking an eective and interactive experience or

their brand. Radio delivers intimacy, immediacy and imagination. But

or the campaign to truly move its audience, the communication must

move beyond the 30” spot.

I a campaign is created to be perceived as part o radio programming,

a destination listening platorm is created. Listeners are driven to a

specic time slot on their avourite station where they can engage with

an edutainment eature, creating a relationship with the program and,by extension, the brand itsel.

064063

Lynn Joffe - CEO - Creatrix

Lynn Joffe - CEO - Creatrix


http://slidepdf.com/reader/full/rab-101-handbook-web 24/38˚With radio being a medium that is live 24/7, creatives, advertisers and

media planners alike need to tap into this connection between listenerand DJ, via sponsorships, promotions, eventing or give-aways.

I you really want to get the most out o your radio campaign and the stations that you have selected, meet with the station - not only the sales representative.

Include the marketing manager and nd out what the station’s main initiatives are in terms o station promos, CRM initiatives, CSI initiatives or how they areattracting listeners. In this way, you end up using radio as a 360-degree solution that not only provides a better connection with your consumer, but also yields

a better Return on Investment.

065 066

067

Lynn Joffe - CEO - Creatrix Richard Proctor - MD - Vizeum

Richard Proctor - MD - Vizeum

Radio Edutainment provides an ongoing, interactive destination

platorm that makes a regular appointment with the target market ontheir terms, on their tur, in their language. It’s a communication gestalt

where the whole is innitely greater than the sum o its parts.



Radio attracts an audience.Because radio stations need to generate revenue streams, they sell

marketers the opportunity to address that audience, talk about theirproducts and infuence their behaviour. All o this is logic. Where the

problem arises, however, is the way marketers talk to listeners. Remember,

people see radio as a riend. You don’t shout at riends when you want

them to buy your brand, you have a conversation with them.

068

John Farquhar- Editor at Large

- Wag The Dog Publishers (Pty) Ltd



Listeners don’t tune in to listen to advertising. Advertising commercials interrupt the entertainment oering radio

listeners are responding to. What should be a great medium to infuence

consumer choice is dumbed down because most commercials are

rude in the sense that they interrupt instead o enlightening the listener.

Radio is portable, while giving you the opportunity to listen to

entertainment and inormation o your choice with a twist o the dial.

What more can you ask or? Just better commercials.

069

John Farquhar - Editor at Large

- Wag The Dog Publishers (Pty) Ltd

Understand the brand: One o radio’s strongest selling points is its

immediacy. Advertising can thereore be planned strategically toreach the listener when they are most receptive to the brand message.

For example, advertising home loans on Sunday aternoon or Monday

mornings and advertising breakast cereals within the morning-drive

will reach the market when they are most receptive.

070

Ilan Lazarus - Director - Page Three Media

KEY INGREDIENTSTO DEVElOPING AN

EFFEcTIVE RADIOmEDIA PlAN



Understand the campaign objectives: Determine the client’s campaign

objectives and translate them into relevant media objectives, which theradio plan will ultimately answer. For example, a teaser campaign will

generally require higher reach yet lighter requency levels, compared

to the introduction o a new category/launch, which will require higher

requency levels.

Understand the target market: Consumers are creatures o habit and as

radio is a habitual medium, it can be used to build awareness through

various strategic approaches. The primary responsibility is to ully

understand the target market and their average day usage o radio, as

listeners usually ollow similar listenership patterns each day. This allows

us to build both reach and requency more cost-eciently.

Work closely with the creative team: Each radio station oers a dierent

programming environment. Consider this to ensure the commercial

being fighted bets the environment. This applies to both the station

selection, as well as the time channel in which the ad fights, as many

presenters oer uniquely dierent ormats. Whether listening actively or

passively, the listener is ultimately receptive to the mood and sounds

o the radio station, so the advertising should t the environment o the

stations in order to enhance engagement.

Plan responsibly within the given budget: There are many campaigns

which fight with underweight media pressure as a consequence oa minimal budget. The ultimate result is a below threshold requency

level and a campaign that quite simply does not perorm as well as

expected. I the budget is tight, limit the number o radio stations to

generate sucient requency across ewer stations.

073

071 072

074


Ilan Lazarus - Director - Page Three Media Ilan Lazarus - Director - Page Three Media




Establish a denition o success. The problem we have in a lot o advertising situations is that money is spent without a clear

understanding o how to gauge success. We know we have the budget and we want to spend it at the lowest cost per point.

And then what?

The real measure o success should be what you want to be dierent i.e.

do you want to raise awareness?

do you want the cash register to ring?

do you want increased eet through the door?

Ask yoursel what it is you want to do that justies expenditure.

075

Mark Ramsey - US media/radio thought leader,

MRM President and regular RAB contributor

077

076





Use the power o personalities. One o the main reasons why listeners

have the relationship they have with stations is because o the connection

with the personalities rom those stations. It’s not just about the music.

By using the voice o a personality on your spot, you’re leveraging the

relationship that the listener has with that personality. Will that cost you

more? Yes – and it should – because it’s worth much more!

We’re not in the business o selling spots. We’re in the business o

connecting consumers with advertisers, mediated by our companies,

in the way they want to be connected. Whatever the mechanism,

whatever the venue – whether it’s radio or not. It doesn’t matter how

many consumers you reach. What matters is what they do when you

reach them.



Think in (verbal) pictures.You’ve heard the expression ‘a picture is worth a thousand words’,

but a ew words can paint a very clear picture. You don’t necessarily

need 1000. One o the biggest criticisms o radio is that it’s not

visual enough.

An ad tends to be in the orm o two people talking or three mentions

o a telephone number. All this is important but none o it matters unless

your advertising has the intended impact towards your goal.

Think and write in pictures. In that way, the spot can be visualized by

the audience. It makes a stronger impression, which ultimately means

ewer repeats are required to get your message across.

078





RAB

INSIGHTSA great starting point in any radio creative process is to establish a

clear understanding o the role that radio will play within your media

mix. The brie is the most important component in the advertising

process, so spend time preparing a radio brie that encompasses all

the essential elements.

Grab them rom the get-go. Good radio should stimulate the mind. One

word or careully crated and delivered phrase has the ability to erupt

into a thousand pictures, emotions and eelings, allowing the listener to

immerse themselves in the experience.

079

080



Leave out telephone numbers. They take up a lot o time that you could

use to talk about your products or services. I you insist on having a

number, make sure it is easy to remember and repeat it at least twice.

Otherwise, you are just wasting time.

Use a testimonial rom people who have tested or used your product/

service beore. People like testimonials, especially i they come rom

a name or a company they trust.

081

082

083 08



What looks and sounds good as a script will sometimes not translate

into a good radio ad. And visa versa. Don’t be disillusioned.

Writing or radio is a dicult discipline to master.

Know your music. Go to your recording session

early, i you can, and ask to go through their musiclibrary. Search or songs that might work or yourad. This will save time.

083

085

Be ready to take the call. Companies oten spend large sums o money

on advertising, but ail to answer when enquiries are made. Every

missed call represents missed revenue. Have people on standby when

the ads are fighted.

Consider using a strong, open-ended question that’s pertinent to your

company and/or industry, which the average listener can relate to.

Examples include; ‘Are you paying too much or your medical aid?’ or

‘Is your home as sae as it could be?’ By posing a question like this, the

listener could be compelled to want to hear the solution, which should

be in your ad.

084

086

087



Sensory words win, no matter what product or service you’re selling.

You wouldn’t advertise a ‘chunk o bee served with a dollop o sauce’,

now would you? But a ‘sizzling Porterhouse steak, grilled just the way

you like it and topped with a warm creamy sweet onion Hollandaise

sauce’, and you’re cooking! Give some thought to the sensory

experience you want your clients to have when they deal with you,

and include this in your ad.

I your audience, product or service is airly broad, consider broadcasting

your ad on several stations at once. In this way, you get multiple exposure,

reach those people who requently switch stations, and are more likely

to benet rom word-o-mouth, ater the ad has been fighted.

It’s important or people to know that they’re hearing a commercial

or the same business, even when they hear slightly altered versions on

dierent stations. To standardise the sound o the spots done on dierent

stations (and i at all possible) use the same emale or male voice on all

spots and request the same music or energy you want put into the voice

e.g. an energetic read vs. a laid-back one.

088

087

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090

091

We know o very ew cars with TV’s or drivers who can saely read the

newspaper while driving. This makes radio the ultimate mobile medium

- its strength being drive-time when most people are in their cars, driving

to and rom work. The advertising on radio targets you passively. You

don’t have to be looking at it or reading it to get the message – so

capitalise on this.

Value is no longer ameasure o reach andrates. Count connections– not ears!



097096



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097096

You don’t want to, (and can’t possibly) reach everyone all at once, so

choose that right someone. It is better to reach 10% o the people 100%

o the way than to reach 100% o the people, only 10% o the way.

Don’t make the mistake o choosing a station, programme or DJ based

on your own personal likes or dislikes, select the station(s) according to

the audience you want to reach.

Tailor your radio message around what consumers are dealing with

at the time, but make sure you do it in a way that doesn’t necessarily

remind them o the diculties they might be acing.

099



099

100 101Competitions are great at inciting participation and excitement,

however, consider the act that there are those who tune in purely

or inormation and entertainment value. Make sure your promotion/

competition is entertaining or both participants and non-participants.

Keep an eye on your competitors. I they cut back on their adspend, it

could be a great opportunity or your company to capture a stronger

market share. Advertisers who reap the rewards are those that look at

a recession as an opportunity to increase their market share while their

competition makes cut-backs. As Henry Ford once put it; ‘A man who

stops advertising to save money is like a man who stops a clock to

save time’.

Make it relevant. As stereotyped as it might sound, you wouldn’t possibly

have a male voice-over artist advertising nappies or cook-in-sauces, so

choose the right voice or your product or service.



Radio Advertising Bureau South Arica / +27 11 325 4935 / www.rab.co.za

Documents

RAB 101 Handbook Web