If you are airing radio commercials for your business, take a moment to look at the ad copy. Then ask yourself… does this script speak to my target customer of today? Are the terms reminiscent of how your customers speak? Are the descriptions accurate and appealing or do they sound over-used and cliche?

I recently spent several hours driving across a state listening intently to local radio, and what heard what disturbing. Especially in an economy where every penny counts. I heard radio commercial after radio commercial filled with weak offers, non-existent call to action lines, and less than appealing voices calling for the consumer to take action. If just ONE of these commercials had a little more time spent on it – ironing out the details – reviewing its goal – it would have been a shining diamond in the rough of the radio commercial landscape.

I was hearing terms like “space age technology” in a message targeted at 20 some-things. I’m sorry but the space age technology line was outdated by the late 80’s. Twenty years later, it’s an antique term.

“Biggest variety”, “great selection” – These I hate too. It describes nothing. Everyone has a selection. What makes your selection different? Point that out!

h t t p / / w w w DOT – Please stop with this! Everyone knows www, hell, you don’t even need to type it anymore! “Visit us online”. Really? Why? What’s the ploy of visiting you on line… give me a REASON! Please DON’T send me to your site, if it looks like it was designed in 1995 by your cousin’s son for a school project.

I’m just scraping the surface here. I could go on and on for days. Bottom line, If you advertise. Make sure you know what is being said about your business in those “advertisements” or they could very quickly start working against you as compared to “working for you”.

By: Tony Brueski

About the Author:

Radio Publicity

Proper music selection and proper music clearance for radio commercials is an important step in the radio advertising process. Whether you are a radio station, an ad agency, a voice-over talent, or an independent production company it is imperative that you do a good job choosing the right music for your spot, as well as getting the proper music clearance for your project. Royalty free music libraries are a great place to start, as they have many different styles of music that can be previewed online.

Choosing the right song is typically the easy part. As you sit down to create your radio commercial, ask yourself the following question: “what is the mood that I need to support with my choice of music?” For example, if you are creating a public service announcement designed to tug at the heartstrings, your music choice should be emotional, mild, and slightly dramatic. On the other hand, if you are trying to sell the latest and greatest fitness equipment, you probably would want to steer the music toward some high energy, workout music. Ultimately, the music and the copy need to support each other. A radio commercial with well selected music can bring a far greater return than one that is put together without a lot of thought given to the production music.

For most people, proper music clearance is a bit more complicated than selecting your music. For example, if a radio commercial is read as a “live spot” on the air, the station can use almost any music in the background that is covered by their ASCAP or BMI licenses. The key here is that the music is not repeated consistently, or used so frequently as to be construed as theme music for that particular radio commercial.

On the contrary, most radio commercials are produced once for multiple broadcasts. Regardless of who is producing the radio commercial or where it is being produced, proper music clearance is a vital step in staying on the right side of the law. When you synchronize a piece of music with your commercial, you will need to get music clearance from the owners or representatives of that musical work (the music publisher) and of the owners of the master recordings (sometimes the publisher, sometimes the record label, sometimes the artist, etc.). Royalty free music libraries are a great place to start because they can typically grant full music clearance on both the musical work (copyright) and master recordings.

If you are hiring someone to create your radio commercial for you, the responsibility for the music clearance typically falls on the radio station, ad agency, or production company who actually creating the spot for you. It is always a good policy to discuss music clearance with them to make sure everyone is on the same page.

By: Scott E. Meath

About the Author:

Radio Marketing

The commercial two way radio is used by the people for commercial purposes. This type of radio provides you with the facility to talk to your employees and the wholesalers and the retailers. The Two way radios run on batteries and so for the better being of the radios you need to choose your two way radio batteries very cautiously. The commercial two way radio is used for long hours in comparison to the domestic radios. So the batteries should be of very good quality to support the use of it.

There are many types of batteries used for the commercial two way radio. The battery has also to be long lasting and durable as well. The batteries should be chosen only after a great scrutiny and analysis. The unambiguous needs should also be known before you opt for any batteries.

The knowledge of the different types of batteries is a must before buying a battery for the two way radio. There are many types of batteries found in the market but the most common one is the NiCd battery. The introduction of the Li-ion battery has really benefited the users of this type of radio. These batteries are very light and are almost zero maintenance. These batteries still provide a good amount of power to the radio and so this is the reason for their extensive use. The two way radio has become one of the easiest modes of communication amongst the people. They have been serving the mankind with a great support.

By: Phil J Davies

About the Author:

Free Radio Advertising

Ask some businesses about radio advertising and they’ll tell you it’s the greatest investment they ever made while others will tell you it was a complete waste of time and money. So why does radio work for some and not for others? What’s the secret to successful radio advertising?

Know this: Radio can be a major player in your advertising mix if you know how to
do it and I’m about to give you the secrets to successful radio advertising so read
on.

First, write down a detailed description of who your core customers are. You can do
this by looking at prior sales or just by knowing your products and services. Are
they women in their 30’s and 40’s who have a good disposable income? Are they
men in their early 20’s who are into sports and cars? Figure out who your target
customer base is and then you’ll be one step closer to figuring out how to reach
them.

Second, give a listen to the radio stations in your market besides the ones you
usually listen to. Remember, just because you listen to a certain station every
morning doesn’t mean your potential customers do. Most stations have a pretty
definitive type of music or format they follow which gives them their listening base.
You don’t have to be a media buyer to know that certain stations will be right for
your targeted consumer while others will be way off the chart. For example, if your
customer base is women in their 30’s and 40’s, then you can rule out formats such
as rap and sports, right? If you live in a major market like Atlanta or Chicago there
may be as many as 30 to 40 stations on the radio dial so you’ll have plenty to
choose from. If you live in a smaller market you’ll have less stations to choose from
but you’ll still have a good selection.

Third, figure out your budget. How can you do this if you know nothing about radio
costs? One way is to contact an advertising agency who places radio on a regular
basis. Most likely they’ll have the pulse on the market you’re in and if not, can
gather enough information to help you decide how much you’ll need to spend to
make radio effective. If you’re hesitant to call an ad agency right away, the next best
thing to do is call two or three of the stations you’ve chosen yourself. Ask to speak
to the sales manager and let them know you’re trying to gather information for a
radio buy. Most likely they will assign you an account executive to work up a plan.
Keep in mind that a good advertising agency may be able to negotiate for better
rates and added incentives due to their relationship with the stations and their
experience but at the very least, this will give you a good starting point . Don’t be
overly concerned if you discover that you cannot afford the top stations in the
market. There are usually several stations in each market that share listeners and
formats and their costs will vary greatly. The rates you receive will be based on
many factors including the time of day you want to advertise, how soon you want to
be on the air, and the “avails” or inventory the stations have at the time you want to
advertise. “Drive time” is the term used by radio to mean just that: the times
listeners spend driving in their cars listening. Typically this is 6am to 10am and
4pm to 7pm. These are the coveted listener day parts for most stations and they can
be very expensive. But do you need to buy these times? Again, by defining your
target customer, you can determine the best times to reach them. There are also
spots known as “broad rotators” that can be equally as effective and less expensive
because you allow the station to place them over a longer period of the day for
example, 6am to midnight.

Fourth, and I feel this is equally if not the most important aspect of radio
advertising: the message. While some stations brag about playing thirty minutes to
an hour of uninterrupted music, this can be bad for you as an advertiser because it
also means that your radio commercial or spot will be slammed with six or more
other spots at one time in order to get all their advertisers on the air. I don’t know
about you, but if I endure three or four spots in a row and the fifth one doesn’t
catch my ear, I’m punching the button. Therefore your spot has to be clever. It has
to make the listener want to hear your message. Remember that the spot they hear
may be the first time they learn about your business so it needs to catch them right
away. I have found that humor, when done well, can be very effective. It’s always
amazed me how some companies will devote so much time and money into making
sure their radio buy is right but devote so little time to the message itself. Sure,
they’re on the airwaves alot, but are the listeners paying attention? Without an
effective ear-grabbing ad, it’s money down the drain. That’s why it would be wise to
let a professional write and produce your spot. The radio stations may even
volunteer to do this for you for free but remember, you get what you pay for.

The final piece of advice I will give you is this: repetition, repetition, repetition. It
doesn’t matter how clever your ad is or how well you placed the buy if you do not
have the budget to stay on the air consistently so make sure when putting together
your budget you think long term.
Consumers are bombarded with so many messages every day including television,
the internet, billboards, mailers, matchbook covers, even some grocery store floors
and elevators now carry advertising, unless you stay in their ears on a regular basis,
they will forget about you.

Utilize these basic rules and soon when someone asks you if your radio is effective
you can reply, “Yes it’s been wonderful!” because you’ve learned the secret to
making radio advertising work.

By: Hal Eisenberg

About the Author:

Radio Ads

We recently started a radio advertisement campaign on CBS KFWB Los Angeles. KFWB 980 is one of the largest radio stations in the city known for its second largest media market in the world. This was the first time we prepared a script for a station with million + listeners. So far, we ran 2 separate spots. Interestingly, one worked and the other didn’t.

Use simple scripts

Using technical jargon or unfamiliar business terms in the script will confuse listeners. Our first set of ads was straight forward, with the terms in the script very easy to understand. As a result, we received many responses. Our second spot didn’t generate as many responses because of the complexity of the words used in the script.

Free is always good

The word ‘free’ is an immediate attention grabber. The scripts that stand out should include phrases like “free assessment”, “free first consultation”, or “free passes”. We are including the term “free consultation” in our third spot that is starting in January. Lets see how this will work!

Direct to the website that has detail information

With the advertisement that didn’t work, we relied too much on receiving calls to our 800 number. Instead, we ended up getting many hits on our web site. As we did not have the most up to date content on our website, we lost some leads. Always have supporting information on the website. Try to create a custom landing page other than your main website for each advertisement that you air.

Come up with a catchy 800 #

Try to come up with catchy letters corresponding to your 800 number. Fedex uses 1 800 GO FEDEX. This works especially well on radio commercials because the chances are that people hear your ad while they are on the road and cannot stop in time to jot down the number. Fun, creative numbers can work wonders for businesses.

Do not miss the incoming calls

Too often companies spend large sums of money for advertisement, but fail to align the back-end fulfillment portion. Each missed call represents missed revenue. Be ready to take all the calls. Have people standby when the ads come out. Or, even better, have answering service pick up the calls 24/7 while you are busy or attending other clients. There are many good services out there. Companies like Global messaging Center in Hollywood have trained staff and good customer service to take calls 24/7.

In case you miss the calls, follow up promptly and offer to visit them in person.

By: Jay Maharjan

About the Author:

Radio Ads

The challenge for any election season is to write radio scripts that touch the heart and not deflect off the shield that surrounds the soul of most voters. The conditioning of the mind has been evolving since the first political radio commercials. The challenge for the writer is obvious. Be subtle in the approach. The days of overt name calling or shouting the candidates name in hopes of making an impression with the voters is over. With so many listening options outside the commercial radio market, candidates and special interest groups will demand much more from the writers than before.

Scott Radio, a radio political voice and script writing organization conducted a survey of over five hundred radio listeners in a quest to understand the mindset or comfort zone of the average radio listener. Some of the discoveries were as follows:

First, the tolerance level for commercials is eroding. Fifty percent of those surveyed stated that they have a quick “trigger” to avoid commercials.

Second, the survey revealed that for political radio advertising specifically, the over saturation by candidates during the campaign is reason enough to avoid commercial radio.

Finally, the research shows that candidate bashing is what the cable news shows do each day in such detail that for a candidate to spend time on the negative issue radio advertising is pointless.

The content of the commercial usually outdated. The American public is now quick to find resolution to an issue. They no longer wait for someone else to assess guilt or innocence. They frame their opinion and only when presented overwhelming evidence to the contrary do they waiver. They take pride in being stubborn on political issues, because they can be.

To spend money advertising issues or negative commentary about an opponent now runs the risk of being old copy, as the voter has most likely formed an opinion before the commercial is produced. By the time the political attack ads make the commercial rotation, a new issue will have surfaced. There is a much better way. scottradio.com has discovered it.

By: Scott Perreault

About the Author:

Free Radio Commercial

So you’re the client. The brand custodian. You’ve booked the airtime for your radio campaign. You’ve approved the 23rd proposed script. You know what you want and exactly what the commercial should deliver in terms of measurable results and revenue. Now it’s time to record the commercial. Just one small problem – you’ve never been in a recording studio before.

For most people, the first time inside a recording studio is a daunting experience. But if you know the basic rules and etiquette, it’s an experience that’s exciting and fun. Not to mention beneficial to your brand.

When a recording happens a special chemistry develops between the people in the studio. A magical thread is spun that links them to each other and to the delicate thing they are creating. That’s when the recording goes well.

When a recording goes wrong…the threads become chains that drag everyone down. You often hear it on the radio: The voices sound strained, the music is just a little bit too unobtrusive and the mixing overcompensates just a little too much. The overall effect sounds like a chain being dragged through a hollow hallway.

Remembering a few simple things can help your first recording be a lot less painful. Most of them are common sense. But the funny thing about common sense is that it only becomes common after you get it wrong.

1. The Little Red Light

Most studio’s have a red light outside the studio door. If the red light is on, it means that sound is being recorded in, or broadcast from, the studio. Either way, it means a microphone is on somewhere and that any sound you make while entering the studio could be recorded.

The microphones might be on inside the soundproof booth. Or the microphones might be active inside the studio. Which means you could ruin a perfect take with a nervous giggle.

So when entering a studio (whether it has a red light or not) the basic rule is to keep quiet until you’ve seen what’s up.

2. Eat, Drink and Be Merry

But not in the studio.

The equipment in a studio is worth loads of money. It also stores huge amounts of data, plug in’s, programs and tracks. So generally, it is a good idea to not drop or spill anything on the equipment.

Take your queue from the sound engineer. He or she will probably invite you to bring your drink in with you; even order some catering.

Just keep all liquids away from the desk. And speakers are not coffee tables.

3. Don’t Phone Home

In general, cell phones should not be used inside a studio. (Neither should they be used inside a movie theater – and we all know how that goes).

As a rule, cell phones should be switched off, even the silent ones that vibrate madly on top of glass coffee tables.

The obvious reason is noise bleed. If the studio you are recording in doesn’t have top of the range soundproofing and super directional microphones, your cell phone noise could end up embedded in the recording.

Apart from that, it’s very distracting for a voice artist to try and deliver lines in character with a one-sided conversation carrying on. Ditto for the engineer trying to concentrate on the mixing.

4. Talk the Talk

If you are the client and it is your first recording, you might initially find the whole process simply marvelous. After a while, it could become a bit boring. Especially the engineering and mixing part.

Which is fair – if you loved listening to the same bar of music a hundred times over, you’d be behind the desk mixing it.

You might not think much is happening when things get boring, but actually, magic is being made.

So if you feel like some company, step outside for a chat. Or at least ask the engineer if he minds you going about your business. If he doesn’t mind, jabber away. But in general, only be inside the studio if you are interested in the process or can make a meaningful contribution.

Stick to business. After all, you’re paying by the hour.

5. The Dance – Who leads

This is a funny one. A real killer sometimes. When a piece of commercial audio (i.e. a voice over for television, corporate video, radio commercial or an online ad) is being recorded, a few parties are usually involved. These are the voice over artist, the sound engineer, the copywriter and the client / agency person / eventual approver.

One person needs to tell the voice over artist what to say and how to say it.

Only one.

If two people give direction, disaster looms. In my experience, the person with the best radio ears usually gives the best direction.

Voice over artists hear certain terms quite often in a studio – terms such as “say it with a smile” and “more emphasis on…”. They know exactly what to do when they hear these terms, because they are trained professionals.

If a person with non-radio ears tell them to “say it like the colour yellow…”, it doesn’t tell them what to do. It leaves a whole lot of room for uncertainty and throat-restricting frustration.

This does not mean everyone else’s opinions are less important than the director’s. In fact, everyone’s input is crucial. But only one opinion at a time, and only once the director (in my opinion the writer or engineer) has given the best damn direction he or she can possibly give.

The director will then ask everyone else present for feedback and thoughts. At this point, the whole process will start again and progress in another direction if the client is not happy with the delivery. If everyone is happy, it’s a wrap and the voice over artist can leave.

So in general, wait for the director to ask for feedback before you intervene and save the recording. But jump in before the voice over artist leaves the studio!

6. Recording Children

It’s difficult to record children authentically. Often the best way to start is to get rid of the parents. Get the parents out of the studio (unless the child is a novice and terrified of all the buttons and strangers).

Not only do parents distract children, but they love directing even more than clients do. Which usually only encourages everyone else in the room to start acting like children and to shout even more directions at the terrified child.

Instead, a good director (wearing the headphones) could sit inside the booth with the child (no headphones). They will talk about everything apart from the script until the child sounds at ease. Eventually, the sneaky director will try to get the line naturally from the child as an answer to an unrelated question. Or coax the child towards the most natural sounding delivery.

Older kids respond well when the ad idea is explained to them and they are able to imagine themselves in the situation. Most of the time they can then deliver the line naturally.

All this delightful deceit is to try and get a natural sounding delivery from the child, because kids sound terribly automated when reading.

None of the above applies when the whole commercial (including the unpronounceable client name and 15 digit phone number) should be read by a child. I have no idea how to do that well. Maybe hire an adult and alter the pitch of their voice? Not recommended but do-able.

7. Sounds and Music

It’s fun to pick sound effects and music tracks. This is where everyone can jump in and give their opinions freely.

If you hear a piece of music you like, and you think it will be great for your commercial, feel free to ask the sound engineer to drop it under the voice you’ve just recorded. You’ll instantly hear if the voice matches the music in tone and feel.

If you have a specific piece of music in mind, take it along to the recording. You probably won’t be able to use it because of copyright constraints, but it will give the sound engineer a good idea of what you have in mind.

Identify what you like about the track: Is it the beat? A specific instrument? The general emotional it evokes? Once you know what you like – that becomes your brief to your engineer: Match THAT specific sound THERE. But like any piece of music, play it together with the recorded voice first to see if it works.

Similarly, sound effects are a blast. Here an engineer will often show you what a great manipulator he is. He can make the slam of a tiny 1960’s Mini’s door sound like the constrained sweep of a Bentley. Just by fiddling with the levels.

Trust your creative team. And trust your gut. Respect the people and the process inside a radio recording studio and you will be amazed with the results.

(C) Lizelle Smit – All Right Reserved Worldwide

By: Lizelle Smit

About the Author:

Free Radio Advertising

You hear them all the time in radio commercials. Customers raving about a select business or service. However, not all radio commercial testimonials are created equal. The old rule of “any exposure is good exposure” does not apply here. If you heard someone talking about a service you were contemplating using, and it came across as very “forced” or “fake” – It may taint your idea of the service. It may even make you feel as though they were trying to “cover up” something… otherwise… why would they have “fake” customers talking about them? Even if that is not the case, that is the perception to the consumer. However when a radio commercial testimonial ia delivered in a genuine and sincere tone – it can be super successful! Here are the three keys to a successful radio testimonial.

The first key that you should have on your radio testimonials are real people. It sounds obvious, but more times than not testimonials are bogged down with bad voice actors reading from scripts written by the business owner in only the way a business owner would describe their business. The average customer does not walk into a store and say “wow, you have the best selection and the lowest prices around – with deals starting at 9.99 – that’s amazing!!”. You know your business better than your customers – so you talk in “owner speak”. If you want your testimonials to sound real AND connect. They need to come from the way your customers talk. How do you know what they are saying… Ask Them! Whey they talk about your business they my describe it in ways you never thought of.

The second key to a successful radio testimonial is not TELLING people what to say. Too often, I have clients bring me REAL customers who want to talk about their business. Then I see them walk into the studio with a script in hand! Newsflash! They are not talking about your business at this point, they are reading from a script you gave them, and might a I add… this is the worst type of testimonial. At least an actor can make an attempt at sounding real. Joe Blow with a script in his and is going to butcher what you want him to say about your business like you wouldn’t believe! No scripts when it comes to testimonials… Just questions… Questions that the people who are being recorded do know know in advance!

The third successful radio testimonial key is – Keep it customers only. No one wants to hear your children talk about “daddy’s store” or your wife make some stupid off handed remark about her husband or vice verse. People want to hear what other people just like them thought about your business – period! Keep the children talking and spouse jokes for the Christmas party presentations.

By: Tony Brueski

About the Author:

Radio Ads

A radio commercial is a pre-produced message designed to promote a businesses services or goods to a mass medium on the medium of radio. A radio commercial may air on AM FM or Satellite. Radio is considered by many advertisers to be one of the intimate and effective mediums to reach their target audience.

This history behind the radio commercial lies in the hands of WEAF in New York. They are credited for airing the first radio commercial on August 28, 1922 for a Real Estate company. Unlike today’s :30 and :60 standard radio commercials, the first radio commercial was a The ten-minute live commercial, or “Live Read” as it would be called today. Radio commercials today are usually sold in :10, :20, :30, :60 or :120 second increments, with :30 and :60 being most common.

Critics of radio commercials may say that point to the obvious limitation of being restricted to sound, however several psychological studies have been done an advantage of this limitation, the “visual” message is being supplied by the listener’s unbounded imagination. This can make a service or product appear bigger or better than reality may prove. It also speaks to the curiosity factor of human beings. An intriguing radio commercial may lure a listener to investigate a product or service more effectively than a visual message.

Radio commercials today are usually produced by professional adverting agency’s creative services department or at a radio station itself. The audio quality differs greatly between an professional agency production and in-house radio station production. The time invested in effective script writing, voice-over skill, and radio commercial production is generally of much higher quality when created through an advertising agency. This is because agency’s generally have full departments dedicated to writing, voice-over, and production. As a radio station may only have one person to do the job of 5-6 people.

Radio commercials and radio advertising has always been one of the most affordable advertising media for small retailers and other local businesses. Rates for :60 or :30 generally do not differ greatly. Radio also offers some of the most cost effective ways to reach an affordable CPM, (Cost to reach 1,000 people).

Radio commercials are usually delivered and stored in digital formats such as MP3. They days of sending radio commercials via reel, cd, ISDN lines or other sources have been passed by due to changes in technology. Today most business can even play a copy of their radio commercial message on their websites if they would like, giving them even more credibility in the marketplace.

By: Tony Brueski

About the Author:

Radio Publicity

For smaller companies, the task of creating a TV or radio spot seems daunting at best. With so much competition out there, some valid, and then others who have just set up shop half hazzardly with a mere presence on the web, trying to emulate what you have spent considerable time establishing, you wonder how do I break through and get my message out there to increase sales and credibility with the public and break free from all of these ya hoos?

For the majority of small business owners this is a common question and one that quite honestly is not that easy for many to answer. For some, there ad dollars are much better spent in print or direct mail, or in classifieds, but for many TV and radio advertising could really boost their bottom line and give them the credibility and visibility that could carry them to the next level if done right. And done right is the key.

Many would be business owners, looking for the best deals in areas of business and related expenses, short change themselves on one of the most critical areas of the commercial and that’s the production element. Many think that if they can just get their name in the jingle with a few selling points and with their name and telephone number in there with that magical three times, that they are set to go. Unfortunately, what many don’t realize is just how important really good music and jingle writing along with great copy is for a solid and profitable campaign. Notice I didn’t say good, but really good. And quite honestly really good doesn’t have to cost an arm and a leg, but the “we’ll do a freebie or we can get it done for a couple of hundred dollars” isn’t going to get it. While we’re talking about it, you’re more than likely much better off having a production company write you a custom jingle than the radio or cable rep telling you that there in-house voice over guy will do the trick – Usually not the case. You’ll pay more, but more than likely your sales results will more than make up for a custom jingle.

Why is really good production so important? Because beyond the intrinsic value of a well crafted, rememberable and thought out commercial is the credibility factor. Ever listen to a local car dealership commercial and go this is so cheesy – The fact is we all have. The car dealerships spend so much on advertising that they blanket with all different forms of advertising and with lots of it. Obviously it is working to some degree for them or they wouldn’t be doing it. But the question is, what’s the credibility factor with those car dealerships? The answer is probably not so good. The next question more importantly is, do you have that kind of money to blanket and to be spending on advertising? If you’re like the vast majority of us you don’t, so you need a commercial that is not only remember able, driving traffic to your door step, but with the credibility of major league players in a cost effect way.

How do I establish the credibility factor and increase my sales in my radio and TV advertising? You do that by employing experienced media and music production houses that have your best interests in mind and not their sale or wallet, who are qualified to write effective copy and with production companies that absolutely do not cut corners. Check out which companies are being used by the small guy all the way up to the national brands – that will tell you a lot. You may still have to investigate further should their costs not be in line with your budget – but it will be a starting point. Here at ReelMusicianPro we pride ourselves on writing for the small business all the way up to national giants.

Even with the onset of the computer and fairly affordable music software out there, you’d be surprised at the incredible differences in quality and musicianship. Don’t play around with the $300 special. Most of these music guys are writing from a bedroom or basement, don’t have the expertise in marketing or music production and can’t give you the marketing edge – Their price might be right, but you’re far better off spending a few more dollars to get it done right with copy that draws and music that is sung far after the commercial has run. Chances are, a cheap and poorly written commercial will serve you no purpose and get you no closer to your goal of increased sales, visibility and credibility – it just won’t happen. Basement productions sound basement, come across as basement and if you go that route, more than likely your results will be basement. Get your commercial done right and you will not only see your business grow in the short run, but in the long run as well.

By: Tom Gauger

About the Author:

Radio Marketing