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102.1 THE KING
- Thread starter BIGSTICK
- Start date
R
Rick Rose 2.0
Guest
oh well
I enjoyed listening to the station on 96.1 HD4 over the past few months with its modern gospel format and even some yesterday but i pulled out the portable HD radio just now and hear Phil Collins so i guess Joy FM Praise will get a preset in my top 6. I wonder why they kept the King name, especially since the king is Jesus. Anyway maybe not able to make money with the gospel based format. Even with its high numbers Praise does not make the money it should. I guess more LF radio on 93.3 HD 3. Still got the ability to stream as well.
I enjoyed listening to the station on 96.1 HD4 over the past few months with its modern gospel format and even some yesterday but i pulled out the portable HD radio just now and hear Phil Collins so i guess Joy FM Praise will get a preset in my top 6. I wonder why they kept the King name, especially since the king is Jesus. Anyway maybe not able to make money with the gospel based format. Even with its high numbers Praise does not make the money it should. I guess more LF radio on 93.3 HD 3. Still got the ability to stream as well.
K
kf4rca
Guest
Good Signal Spaghetti Junction Area
They say they're the number 1 station. How can that be? Sounds like their automation computer needs to be tightened up a bit. If those are CD cuts they'll have 2 seconds of silence at the end which needs to be edited out.
They're selling spots so they have some revenue coming in.
Heard Gino Vanelli and Basia on there. Remember them?
They say they're the number 1 station. How can that be? Sounds like their automation computer needs to be tightened up a bit. If those are CD cuts they'll have 2 seconds of silence at the end which needs to be edited out.
They're selling spots so they have some revenue coming in.
Heard Gino Vanelli and Basia on there. Remember them?
It's not the automation system (which is a computer) that determines the timing on sequencing the next event... that is done manually by hand by someone when each song is dubbed or copied onto the automation system. So if there is silence after every song, either they want it that way (the way Shulke did in the 70's with Beautiful Music stations) or someone has not done their job.
Having commercials does not mean they are making money. In this case, they may be bonus spots from a buy on another station with the same owner or they may be "dollar a holler" low rate ads.
Haha! You reminded me that Shulke was the only format with dead air built in. The announcers were told to count to 3 after the end of a music set before speaking.
... all day... all night ... all nice... (insert station name and dial position here). (Pause) go to commercials.
There are lots of people who have convinced themselves that radio was once all live and local, and all of this syndication is a recent thing caused by greedy corporations who overpaid for their stations. They forget about all of these crazy companies like Bonneville and Narwood and Shulke and Century who did this kind of thing in the 60s.
Here you go...paging Caller10.
https://youtu.be/_qArDJMN0HE?t=50
https://youtu.be/arnCg-F21NA?t=2942
And here's a Peach 95 aircheck with the dead air: https://www.youtube.com/watch?v=XXQF3XKvwKs
Yes, and by the mid-70's, it was thought that over half of all FMs in the US used syndicated programming services that came on tapes of music and even the intros and outros and segues.
RPM, Shulke, Bonneville, KalaMusic, Peters, FM 100, Drake-Chenault, TM Century, Century 21, Churchill, Al Ham, Musicworks, and more had tape formats, some companies having five or 6 different formats.
Please! It's not dead air. It's a relaxing, stress-reducing pause!
It was a huge business...so big that the traditional radio networks wanted to get into it. ABC first tried in 1984 with SuperRadio, and when that flopped, they bought Satellite Music Network. Even Buck Owens created his Real Country network with ABC. All this long before consolidation in the 90s. Had consolidation not happened, you just would have seen indie syndicators get bigger. We'd be in the same place with different players.
The change to satellite distribution in the 80's upped the number of stations using syndication. Instead of having a high school student at night or on weekends changing tapes, you could monitor from the manager's or engineer's home and have the satellite run everything.
Even if the station did some local news or events in mornings and afternoons, most of the time the station ran itself. In some cases, the manager / owner did some things in the morning show, then locked the door and went out to sell. Some guy in a nearby bigger market cut the spots, and the manager loaded them.
Of course, we can go back to the 30's and look at the Red, Blue and CBS networks which did not allow for much local programming and where most people listened mostly to programs from LA, Chicago, San Francisco, New York and Detroit carried across the nation. That was what made Congress and the FCC limit ownership and AM station power to the rather low 50 kw maximum.
It seems no one else here worked at a Schulke station, so I'll defend it. First, there were competitors, but in markets where there was a Schulke station that followed his rules exactly it usually was the leader. Second, the ideal spacing between the end of the song and the announcer's voice was 1.5 seconds. He was, in my opinion, a very smart programmer. The goal was to play beautiful, relaxing music and give the listener no reason to tune away. A good flow, non-distracting announcers and commercials that were as smooth as the announcers. Not all stations had the discipline to reject ads that were irritating. To their credit, the management of Peach in Atlanta said no to many advertisers who just didn't understand the goal. For those that did, a well executed spot worked for many businesses...especially high-end retailers such as jewelers and luxury car dealers. The Arbitron diaries were filled with entries that began on Thursday mornings and had Peach listed all day every day. Still to this day there are stations in Florida that are some version of "easy favorites" but play the most horrid mix of music imaginable. Those programmers apparently never had the chance to see the format done correctly.
Bonneville could and did beat Shulke in some markets.
It often had to do with being first. But it also had to do with being better, from ownership on down the food chain.
https://marlintaylor.com/radio/two-cities-two-great-stations/ shows how Bonneville had the #1 stations in both NY and LA, beating all others. It had to do with very committed ownership, good managers and Marlin Taylor's programming.
I personally thought Bonneville had a bit more song-too-song variety and was a more interesting format to listen to. I competed with Bonneville in one Top 20 market with our own customized version of FM 100 and won, but only because we were both in first and executed much better than the Bonneville affiliate, particularly in refusing loud spots.
Seems to me one big market was New York. WRFM regularly beat WPAT. Part of that may have been the live hosts. Part of that might have been Marlin Taylor.
And in a number of markets in the early 70's, a Beautiful Music station was #1 in Persons 12+.
There was a difference between satellite services such as SMN, which were basically turnkey programming used for the most part in smaller markets, and syndicators such as Shulke in larger markets which provided music and format guidelines while the announcers were live and local.
There of course was no reason that announcers on Beautiful Music stations were live and local except that today's technology didn't exist. Shulke and Bonneville both owned Beautiful Music stations in major markets. If today's technology existed, they would likely have been run from one studio.
Today, satellite turnkey programming is still pretty much limited to smaller markets (or possibly small AM's in larger markets). Major markets are pretty much devoid of the total broadcast day delivered by syndication. Major markets do of course have voice-tracking in certain dayparts, a function of companies owning numerous stations and of technology; and have syndicated morning shows.
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Both stations had live hosts. But I agree with you that Marlin Taylor had a lot to do with it. He was a great programmer who didn't get as much press as his counterparts in other formats.
Superradio is an interesting story....it never actually launched. The concept was Dan Ingram and Ron Lundy in midday, the affiliates still doing live morning and afternoon drive shows (with picks from the Superradio Directory of Recommended Talent). Dick Purtan and Larry Lujack were supposed to have weekend shifts and I don't remember who was set for nights and overnights. Some affiliates had already fired their current talent and hired copy/production people. On the last day of WABC as a music station, Ingram and Lundy talked about leaving for Superradio.
They couldn't get major market clears. They intended the ABC-FM stations to run it, but they were all having great success with various album rock formats.
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