Calling Out The Callout

Research Avoids Costly Scheduling Errors

This editorial is as much for label executives and promotion specialists as it is for radio programmers and consultants. It has to do with research in general and callout research in particular. Callout research is a major factor in determining which jams make it into which rotation, along with the categories into which these tracks are placed.

In a decade where most radio stations are run by "bean counters." whether or not there have been major or minor formatics shifts in your market lately, you still need to make the best possible music decisions you can, particularly if yours is a market currently being measured by Arbitron's PPM. We have gotten a number of questions from our Urban Forum recently asking how many times a station should play a song before they even put it into callout. The answer really depends on the jam and whether of not it's the type of track that's going to surface quickly. In other words, is it a "first listen" record? Ideally we used to say that 80-90 spins was the minimum number of times that a new record should get before it goes into callout. We've had to modify that, primarily because most Urban formats that have a syndicated morning show can't possible schedule it that many times. So we've downgraded that number to a minimum of at least 70 spins.

Now if you're in a market with format-similar stations that offer at least three other places where a new jam is getting spun, you might find it tests strong right away. But if you are the only station playing a record in the market, you should be realistic about your expectations of just how quickly it's going to kick in.

Burnout And Sliding Slots

Something we've discovered that is unique with Urban formats is the audience's tolerance level for burnout. In other words, how long will they listen to a song they've heard too many times? Research studies say they will listen for two songs in the home, one in the car. That means if you schedule titles that are too burnt-out, no matter how well-tested, you could go from a P1 to a P2 instantly in as little as two songs. The change comes even quicker in the car, where it's a one-button motion for those fickle fingers to find a new frequency. So, obviously, the way to win this spring is to ensure that your station, especially if it's an Urban Adult station, plays enough new music to keep the format fresh.

Most stations have a policy that says they may air a new song in an extra or even a "power new" category for a few days before they officially add it. This allows them to make certain they're comfortable with it. Then, by the time they're ready to report it, they'll know if it's something they can live with for the next five or six weeks in order to give it a good shot on-the-air.

Most mainstream Urban stations have to juggle and expose new artists to maintain the freshness their audience demands. With only so many slots, that becomes a very difficult game. "So why not just expand the number of slots?" asks a well-known promotion executive for a major label group. Rhe answer is if you expand the light rotation (this is where most new adds wind up), those lights don't get enough exposure in a week to justify a report, generate a high enough passion score or to determine whether or not they (the new tracks) should move up, remain in light rotation, or go away.

The secret is steady growth over several weeks. For new artists this is especially true. But, it's also a negative to see a major artist slow down after just a few spins. Callout research can give you an early indication for the initial feel of the song from the passive audience (provided they can find the right hook, of course). The problem there is that you have to get your spin totals up above 50 a week before the passion scores kick in. A lot of Urban stations, especially with syndicated morning and afternoon shows, are simply not able to do this.

Lately, with companies reducing or, in many cases, eliminating callout research (except for what the station can do online), the question that comes up is how many songs should a station put in callout and how long should they remain? The answer to the first question is somewhere between 30 and 35, for most stations. The answer to the second question depends on the song and what type of expectations you have for it. Some jams are going to take longer than others to develop because of their nature. Some hip-hop songs get an immediate reaction, especially if they come from the clubs. The straight R&B songs from new artists can take a lot longer.

The last question is how many weeks should it take for the results of the callout to show? The answer is, if the callout research is being conducted correctly, about a week. Again, you're looking for familiarity in the beginning and burn-out at the end.

Sometimes stations drop a record and then are forced to put it back a week or two later. Usually this means they didn't hear it at first and maybe should have never played the record in the first place until it was further along in its development. Urban programmers still have the right to play only the strongest jams at any given point. Really sharp programmers will figure out what songs show early signs and figure out how to work with and nurture the record enough to make it a hit without making the station vulnerable. It's all a matter of scheduling.

Label Add Dates

Another ongoing problem many stations have centers around label add dates. For example, a new single from a major core artist is sent to the station. The label gives them an impact date and the station prepares a spot for the cut on its playlist. Suddenly, the label decides it wants to push the add date back a couple of weeks. The station told the rep they were ready to add it now. This did not make him happy. Later in the day, an independent promoter calls for the station's adds. The station mentions the record in question. The independent rep reminds the station that the label wants to wait on that one. They've pushed it back. Now the PD is really upset. "They're (the label) not responsible for my playlist or my ratings. I had a couple of down trends and I need to be strong this Spring," he screams He tells the rep they are ready to add it now. The result was that the record did not show up as one of the station's reported adds the next week, even though the station added and was playing the record. This is not a case of the station not having access to a song. This is a case of the label wanting all stations to add the record on the same day to make a big impact. This type of scenario brings to mind the question of whether or not we want charts that give a true representation of what is being played. Is this really much better than reporting a record and not playing it?

There are two schools of thought, one of which holds that, regardless of add dates, once a record is released it should be fair game for any station to play immediately. The idea is taking a chance on a new jam can provide a competitive advantage over other stations by allowing the station to be first with a major established artist's new jam.

The second school of thought says that since many trade charts are composed entirely of airplay initially until sales kick in, trying to orchestrate a first big week of reports would appear to be an attempt to orchestrate a high chart debut by forcing reluctant stations to add a record that may eventually prove to be a stiff. From the label standpoint, the reality is that add dates give them the opportunity to service all stations before airplay begins and to allow them to coordinate their promotional efforts.

We spoke to a number of winning program directors around the country concerning this subject. Their feelings varied from "When you get a record you should play it if you like it." to "If you want to break the record in your market you should be able to, regardless of whether it gets reported and counted that week or not." Still another major-market Mid-western programmer said, "Stations should be able to take full advantage of pre-release schedules that permit early evaluations."

We should point out that the interval between receiving a record and its add dates gives programmers time to evaluate the release and lets them avoid impulsive commitments. The station's primary job is still to please its listeners. Nobody should get in trouble for early airplay of a released record.

There is one more issue we must bring up at this time and that is the tendency of some labels to have different add dates in different formats for the same record. Often today with consolidation these stations are in the same building, just down the hall from each other. That can cause confusion, frustration and chart problems. It also means, in the case of the individual stations, that they have to hold off reporting adds in one format if it's past the add date in another format on the same record. What's the solution? Again, it depends who you ask. Personally, I think stations have to do what's best for them regardless of who it affects.

The Quick-Hit Quandary

Next, we come to the problem that affects so many Urban stations today. They tend to get off songs too quickly. We all seem to have this chart-driven mentality that dictates moving a song down in rotation or dropping it altogether the second it loses its bullet or momentum. Studies continue to show that it takes a lot longer for the audience to become familiar with or tire of a record. We're dropping records just about the time listeners are starting to get into them. We often feel as though there's this 10 to 12-week time frame during which a song can remain in a current rotation. Often, with syndicated drivetime shows, dayparting, voicetracking and gold-driven soft night segments factored in, light rotation can be as low as one or two daytime spins in a 24-hour period. This is simply not enough. A station must be able to play those hits as least four or five times a day for the next several weeks. But we seemingly grow tired of a tune. A few of the active "music freaks" call up and start complaining and suddenly the song is gone. This forces the passive listeners to find a new frequency so they can hear a song they really like that the labels chased off the radio so they could play the new one.

If a song has gotten other airplay in the market, there's reason to expect an early read on it. What you really need to know is if it's reacting with everybody or just the people who pick up the phone. You don't want to use callout as an extension of your request line or website. You also don't want to be listening only to what the most active part of your audience says right away. Part of the reason to do callout is to reach people you can't reach any other way.

What's needed in 2010 is a program or music director who is knowledgeable, driven, passionate and committed with a decent set of ears ... one who's not afraid to say no to a record that he/she feels doesn't fit the system or yes to one that does. One who also knows when they do hear something that works and fits, they do not need to wait for the callout research to kick in before getting it on the air. Then, they need a GM and/or market manager and consultant who support them.

How you solve the "callout crises" depends on who you ask, but what matters more is an understanding that each station will succeed or fail based on its own ability to carefully target its content to its audience. In the final analysis, Urban stations will be defined by how well we answer the question: What does our audience really want to hear? Then we lace those answers with passion. It's our passion for this business that makes a difference and keeps us going. And it is the energy that passion produces that helps us win.

Word.