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10 Questions with ... Ed Thompson
July 7, 2013
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BRIEF CAREER SYNOPSIS:
Web :: www.edthompsonvoiceovers.com
I started my broadcast career in 1981 spinning country at night at KJAN in Atlantic, Iowa, eventually working my way up to PD before taking middays and host of the Saturday Night Cruise at KAT-FM in Dubuque, Iowa. From there, I went to specializing in Production at crosstown WDQ/KLYV. I then managed the Production department for 5 station-Staradio in Quincy, IL before landing with 7-station Waitt Radio/NRG Media in Omaha in 2002. I was also a contributing writer for Radio & Production magazine from 2001 through 2011.
1) You began your broadcasting career almost 35 years ago! How has the industry changed over time?
My first gig was 1981, pre-deregulation when most stations or combos were owned by much smaller companies or even families. Since that time, most of the stations are owned by large corporations. There are still some smaller companies out there doing good business, I might even go so far as to say they're doing better business because they're not so burdened with debt. The internet has had a huge effect on our industry as well. Streaming has helped some stations reach audiences they might otherwise not have been connected, opening new avenues for revenue growth. However, the one thing that hasn't changed; entertaining content that's relevant to our listener still wins an audience, no matter who owns the station.
2) You have seven stations on your hands! What's a normal week like keeping those organized?
Some weeks I feel like Sisyphus pushing that rock up the mountain only to have it roll back down. Others, not so much. I work with a pretty good staff of managers, AE's, and producers who get that good production adds to our bottom line and they give me all the information, time, and tools to make it possible. Computers have really made time management and organization so much better. When I first started specializing in production in the early 90's, we had triple copy forms, notes on napkins, and thoroughly theoretical deadlines. Now, because of cloud-based software like Marketron and V-Creative, deadlines are respected, and all that information is now centered on one computer screen instead of spread out over too many pieces of paper. I have a printer in my studio but, I sometimes go a day or two without printing a single sheet. Others aren't as lucky as me. They still have to deal with repeated and ridiculous requests to create scripts at the last minute; regardless whether the logs are down or that production director had plans with his/her family that night. When an AE regularly brings production orders at 5:00 that need to start the next morning, that's bogus and it really needs to stop. We're losing too many talented producers and copy writers because of amateur hour stuff like that. Producers get burned out, frustrated, and resentful, then they leave the industry and get a "real job". But ultimately, it's bad for business. First, it leads to bad spots getting on the air. Bad spots mean bad radio. Bad radio means lower listenership. Lower listenership means lower revenue. It all adds up, so to speak. Deadlines are your friend. Let me say that again. Deadlines = higher bottom line.
3) For those who aren't familiar, how does Production play a role in helping a station succeed?
It all comes down to what comes out of the speakers. Always. If the jock is having a really great shift, hitting all their posts with great phoners and bits, the only thing that can bring that down is a stop set full of awful commercials with nothing but clichés, laundry lists, or conversations that never occur in nature. Regardless of what many think, listeners don't hate commercials. They hate CRAPPY commercials. So, when I create a spot, the very first thing I have to do is to create a commercial that is going to relate our client to our listener is some way. I do that by trying to elicit some sort of emotional attachment by telling a good story of some sort, using talented voice over artists, adding music that helps advance the story or NOT adding music if it interferes. Then, if I've done my job, two things happen. A. The station presents more relevant content to the listener and helps the client makes an impression on a future customer. B. The station gets to cash the client's check.
4) You were an on-air host before specializing in a Production department. How has your on-air experience benefitted you on the Production end of things?
Again, it's that desire to make sure what comes out the speakers is good radio. But, being on the air is a different skill than being in the production room. They're both performances but, they're different kinds of performances. Being on the air is like being in a band on stage and running a good guitar riff. Being in the production room is like being an actor on the stage and making an audience cry or laugh. Understanding that makes all the difference.
5) What tips of the trade do you have for others who are looking to successfully manage creating content for multiple stations?
First things first, take some acting classes. Doing voice-overs for commercials is not like being on the air. Watch good actors work their craft. Gary Oldman is fantastic. So is Daniel Day-Lewis. But also, listen to good voice actors. My heroes were Mel Blanc, June Foray, Dawes Butler, and even Tim Matheson. He was Johnny Quest before he was Eric Stratton in Animal House. Second, learn to write well. Grammar matters. Punctuation matters. Spelling matters. Capitalization matters. The best way to learn how to write well is to read good writing. Third, read anything...scratch that...read EVERYTHING written by Roy H. Williams, the Wizard of Ads. Those books should be required reading for anyone in marketing, radio or otherwise.
6) What drives your passion for radio?
Baseball. Believe it or not, my preferred way to experience baseball is by listening to a game on the radio. Baseball is boring on TV. On the radio, the play-by-play guy has to paint the picture with his voice. He'll tell funny stories, and share interesting facts. Listening to ballgames lead me to listening to DJs like John Landecker, Tommy Edwards (from whom I stole my air name), Larry Lujack, and Spike O'Dell. I knew when I was 9 years old that I wanted to be on the radio. It is still the most intimate medium there is.
7) What do you find most rewarding about working in production and creative services with radio stations?
When a client tells me that a spot I created for them helps them do better business. Really. I have a boatload of awards and they look pretty on a shelf but, when a client trusts me to create a commercial that affects their business and it helps them be successful, that's very gratifying.
8) You have moved all over during your years spent in radio. What cities do you find tend to stand out to you when it comes to Country radio success?
My career has stayed completely in the Midwest. As a result, I've come to believe that Country stations that are closer to the country do a better job than stations in larger markets. Just one man's opinion.
9) In what way do you see that Country radio can improve at this point?
Just be real. I really believe Country listeners have slightly more sensitive B.S. meters than listeners to other formats. One of the best Country DJ's I ever worked with is Doc Holiday. We worked together in Quincy, Illinois. He's honest as the day is long and it came across in his work. He had a fantastic sense of humor. He was sincere and genuine, the kind of qualities that can't be faked. He loved his listeners and they loved him right back. I loved listening to him work. He's no longer in radio. He's gone on to work with a non-profit and he's doing really good things. Now, how does that relate to production? Easy. Respect the listeners B.S. meter. If the production doesn't reflect that, it will have a corroding effect on the whole personality of the station.
10) What is the secret to producing great content for a great radio show?
Be relevant. If you're not, your career won't last 32 days, much less 32 years.
Bonus Questions
1) What's your favorite guilty pleasure television show?
The Big Bang Theory. Great writing. Great performances by all the members of the cast. Damned funny stuff.
2) What junk food can we find lying around for snack time?
Being diabetic, I don't do many snacks. However, I would not be lying if I told you that someday, some coroner will write "Cause of death: Haagen Daz Chocolate & Peanut Butter".
3) Can you tell us a few songs that are really on your "favorites" list at the moment? It can be any genre.
I'm really loving Walk Off The Earth "Red Hands" lately. That "R.E.V.O." record is solid from start to finish. I also loved, loved, loved Adele's "21". That said, I always rely on my standbys, Lynyrd Skynyrd and the Allman Brothers Band. In Georgia, I'm told that when you listen to "Jessica", you are legally required to listen to it at full volume.
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