CLIENT-VOICED COMMERCIALS: WHAT'S YOUR TAKE?

The Friday Poll Question for members of Radio Sales Café was a two-parter:

1) What percentage of your advertisers voice their own ads?

2) What are your thoughts on having clients doing their own voicework?

Some stations said "zero." Others reported that 15-20% or more of their clients did their own ads. My answer was decidedly, and perhaps remarkably, on the high end: two-thirds of my top local clients voice all or most of their own commercials!

Of these, most read from scripts. They have been doing this for so many years that they're for the most part quite comfortable at the microphone.

Admittedly, I'm a fairly driven coach; I've been called a "harsh taskmaster" by more than one client in this regard. I have no problem requiring repeated readings or "takes," until I have sufficient material to piece together an effective spot.

Former Los Angeles radio production whiz Blaine Parker, who now operates a boutique advertising agency/creative services company atop a mountain in Park City, UT, is adamant about the conditions under which he allows his clients to get near a mic. He says:

We're a general agency, and at the moment, we have two clients on radio. One of those clients is voicing his own commercials. The other client has testimonials. Both campaigns were produced exactly the same way: non-professional voice talent sitting behind a microphone, answering relevant questions about the business and what it means to be a customer. Then, those extemporaneous recordings are cherry picked and massaged to create glowing sound bites. When we know what the performer is saying via the magic of non-linear digital editing, we write announcer wraparounds.

That is just about the ONLY way we ever let clients voice their own commercials.

When you hand them a script and crack the mic, most clients' voiceover sound like exactly what it is: amateur product. Sometimes, that can be endearing and work in their favor. Too often, it just sounds bad. If it must be done that way, there are simple tricks to directing them that make them sound much better. But overall, I try to never make a client read a script or carry the entire weight of the voiceover on his shoulders. Whenever possible, I record him extemporaneously and pull out the nuggets. It's more real than anything we could ever write, and it presents the client in the best, most flattering light possible.

I would tend to agree with Blaine's approach: record conversations and extract the gold. It's a time-consuming and painstaking process, a labor of love that typically results in an exceptional and effective commercial. This is the only technique I employ when creating testimonial campaigns, and it's a great way for an advertiser to tell his story, one nugget at a time.

Do my clients have the training and polish of voice actors? Of course not. Nor is it important that they do.

In the context of a local market where they are known by many, what's important is that they come across as who-they-are, doing what-they-do, that they sound authentic and credible, and that the content of their communication meets their customers' needs. When all these factors line up, the results speak for themselves*.

Now, I don't disagree with Blaine's analysis for the most part, based on the fact that too many client-voiced commercials one hears seem to have been done hastily and without critical analysis. Whether due to a lack of education or training, a lack of time or effort, or a lack of concern, there's no good reason to settle for second-rate work. But the salesperson, producer and client must be of the same mind on this, each willing and able to invest the time and effort to persist until it's right.

Either do it well or don't do it at all.

It's interesting how attitudes toward client-voiced ads have changed over the past couple of decades. Today the practice is widely accepted. When I first started pushing for clients appearing in their own commercials back in the late 1970's, most radio programming and production people resented it as an incursion onto their sacred turf. Their attitude was not unlike what we encountered from the education establishment when the home-schooling movement began to gain some momentum in the late 1980's. These days, the accumulation of success stories has demonstrated the merit of both ideas.

*Here are three examples from campaigns currently on the air in our small market. One is relatively new, having started this past summer. Two have been on the air for over a decade. Are they "airworthy?" Listen, then decide.

IMPORTED CAR SERVICE

CHUD WENDLE - REAL ESTATE 101

ASK DR. DEVLEMING

Sales trainer Jim Williams used to say that the real proof a campaign is working is that the advertiser continues to pay his monthly bill, year after year. Folksy, perhaps, but true nonetheless.

Which clients are doing their own commercials successfully on your station? (Comments at RSC here.)

Who's Your Darci?

Darci the bank teller caught me off guard.

"I want to do a radio commercial. I want to be on the radio," she said.

"Really." I replied.

"Yeah, I want to do a spot for our new CD. I'd be good at it!"

In the short time Darci had been working at the bank she'd become a favorite with her customers, myself included. Her quirky repartee was equally amusing and endearing; people rarely left her window without smiling or chuckling.

Why not? I thought. The bank manager was a good client, and I knew he wouldn't object to the experiment. If it worked, he'd be glad to put it on the air. If not...well, no harm done.

"OK, sure. Let's give it a try." Darci was genuinely excited and said she had some ideas for the commercial. We scheduled a recording session, allowing ourselves plenty of time for improvisation. The result was this:



The bank manager liked it, authorized it for airplay, and for several weeks Darci became the new voice of the bank.

Fast forward a few years. Darci is now working full-time for the school district and I haven't seen her in ages. One day I get a call from my CPA, for whom I've done some advertising during tax season. She tells me that she's purchasing a local video store, a mom-and-pop operation that's been a steady advertising client of mine for years, under a couple of different owners, and she wants to relaunch the store with an advertising blitz featuring a new spokesman—Darci!

Turns out Darci is her neighbor and friend. And she thinks Darci's unique personality and voice are perfect for the new campaign.

So, once again Darci and I are collaborating together in the recording studio, playing with different ideas and angles. Before long, this spot has more or less written itself:



From Day One it generates comments from listeners and customers who think Darci's a hoot. And we have the makings of a brand new schtick for the client. A few weeks later, a second spot follows. Then a third. And a fourth. Over the next several years, Darci records at least thirteen different commercials, including this one, a finalist in the 2005 Radio-Mercury Awards competition:



Since then, Darci has done other work for me. I've hired her to voice some of our syndicated features for GBS, and I've had clients hire her to do their commercials. Although she's had no formal training as either an actress or producer, she's proven capable of doing terrific work.

So, I consider myself fortunate to have been standing in line at the bank the day Darci had the itch to "be on the radio." And I sometimes wonder, who else might be out there — waiting tables, running a cash register, answering phones or reading to kids at the public library — waiting to be discovered and recruited for radio advertising work.

Might there not be someone in your market, too - someone with whom you interact regularly, just waiting to become your Darci?

Reaching Out to International Students via Radio

Living in a college town, we see quite a few international students here during the school year.

A few years back one of my clients, a medical clinic, challenged me to come up with a radio spot to reach out to these internationals, hoping to attract them (and their families) as new clients.

With a bit of probing, I was able to determine that the predominant cultures/languages among these foreign students were Hispanic, Chinese, and Arabic (not necessarily in that order). I thought it might be fun to record some of these students speaking in their native tongue, a "welcome" message to their peers. But where would I find them? And how would I be able to communicate with them?

I broached the situation with another client, who owns a popular coffee house on campus. He indicated that he'd have no trouble locating some suitable candidates - students who were bi-lingual and would enjoy helping. There was no budget for all this "talent," but the clinic's administrator did offer to buy fancy espresso drinks for the participants. So, we arranged a day and time to meet together at the coffee shop for a group recording session.

The day came, the group assembled, and everything clicked. As a bonus, a young professor originally from Poland, who happened to be in the coffee shop just then, appeared to be quite interested in our little production. She was quickly pressed into service as an "extra."

The kids were cooperative, patient, and seemed to enjoy "starring" in the project. Afterwards they all received a copy of the MP3 to send to the folks back home.

The resulting :30-second commercial pleased the client well enough that the clinic has trotted out this spot at the beginning of the school year every year since. Here's the spot:

$2500+ for Thirty Seconds: "Don't Tax That Dial!"

The NAB has announced a contest, open to all over-the-air U.S. broadcast radio stations, to create a thirty-second political spot encouraging defeat of the so-called "performance tax" on radio stations. The (mainly foreign-owned) record industry, represented by the RIAA, is trying to compensate for a failing business model by levying a fee on radio stations that play music, utterly destroying the symbiotic relationship that has existed for many decades, to the mutual benefit of artists, stations, and listeners.

According to an article in RADIO magazine:

The winning entry will be awarded $2,500 and be recognized at The 2009 NAB Radio Show in Philadelphia. Additionally, airfare, hotel accommodations and complimentary NAB Radio Show registration for two will be provided to the winning entry. Entries for the competition, open to over-the-air U.S. broadcast radio stations, must be submitted to the NAB no later than 11 p.m. EDT on July 31, 2009. Stations must complete a Political Agreement Form and place it in the political portion of their public file for a period of two years. Complete rules, guidelines and supporting material can be found on the NAB website

OK, so here's an idea: invite several of the station's best clients to participate in the effort personally. Presumably these advertisers have a vested interest in the continued existence and health of the station, their valued marketing partner. So, they talk about the station's importance to them, both as listeners and as advertisers, and urge their fellow listeners to contact their legislators to reject the Performance Tax. Advertisers enjoy some additional exposure, reinforcing their ties with the station and its listeners, and the station gets the message out in a "bigger" way.

Everybody wins.

In fact, stations could even sell these opportunities to advertisers (rather than giving them away) - with an offer to share the cost of the schedule in view of the shared benefit. I can think of a few advertisers in our own market who would take advantage of such an offer.

After all, it's essentially cause-related advertising, right?

Only in this case, the cause is us.

Worth considering.