RadioGuru4Life said:
Again, NCI has been around for 25 plus years and are embedded into peoples heads. They can get away with pretty much anything they want. ANYTHING. Channel 945 covers all of the direct ares in Dayton, so the signal isn't that big of a problem. The problem is Clear Channel. Unless they put money into that station, well you know the rest. The imaging sounds really good if you ask me. I am a 24 year old male, how old are you ALANS and Jason? I really don't think that 94.5 nor Hot 102.9 cater to your guys demo! I respect your opinions, but you seem to not be in tune to the times and how the Top 40 world has changed. jason mraz, Katy perry, T.I., Pink, Britney Spears, Kevin Rudolf, Lady Gaga, beyonce, Neyo, Saving Abel, Akon, Nickelback, Kanye west, Taylor swift, leona lewis, Rihanna, & Gavin Rossdale all make up the Top 20 on the charts right now in Top 40. 94.5 is playing all of that with exception of taylor Swift and gavin Rossdale. Get hip with the times, 94.5 is playing the CHR scene. They just lean rhythmic, and like I said dayton is a Rhythmic City. THAT IS A FACT.
I respect your opinions, and I appreciate you saying you respect mine.
I admit, I'm 51. No, I'm not in the demo, though my voice sounds young enough that I could probably still pull off a CHR airshift as a fill-in if I had too. Though, please keep in mind a couple of things:
Like "One Who Knows", I, too DJ on the side. I still do a few school dances, but today, I only do ones at schools where I feel comfortable with the students. I also do many (say 30-35) weddings and private events each year...quite a few of which involve the 18-24 crowd. I do not do club work anymore. (I've had it with dealing with drunks at bars). My side business is successful, and I do many, many dances which turn into parties. And yes, some of these dances, because of the age of the crowd cause me to play mostly, if not all, hip hop.
For my side business, I purchase a radio station music service which is available to me because, with my radio affiliation, I am considered a "professional" DJ. I have the music often before stations such as 94-5 start playing them. I do not listen to this music all day long, but I am "familiar" with every single artist you mentioned. And the dances are easy to do. I just pull up a weeklong monitor of either 94-5 or Hot...with that, it's easy to figure out the power songs, the mediums, the tertiaries, the golds, etc.
It's fairly easy to do...even when you're 51. So enough of this age BS, ok? Let's talk radio and get back to the topic we've been discussing, OK?
My point was that making any radio station successful involves a number of things. All of them have to come together in place for success. And the "rules" for success transcend all formats. CHR is no different from Country, or A/C, or Classic Hits, or Alternative, or Contemporary Christian. Here, in order is what it boils down to:
1.) Signal. Why signal? If you don't have it, no amount of money, no high-priced major market airstaff will make the
station succeed. Big signal trumps little signal everytime, unless, big signal is really, really, really screwed up.
The city grade contour of a Class A FM extends (last time I remember) about 7-8 or so miles from the tower. The only
way to extend your coverage by half more of that - is double the power. Obviously, the city grade signal of
a 50K FM is much larger. Your chance for your largest audience is mostly contained in or near that city grade
contour.
2.) Format Hole. There must be a definable hole in the market for what you want to put on the air. If a big station
is already covering that hole, you have your work cut out for you and, most likely, you'll be a 2 to 3 share wannabe
no matter what you do. Promotion money can help, but CHR is a money-game, if you're going to play it right. If
you cannot consistantly spend (or find a way to come up with) "bigger than life" promotions, forget it. And, today,
the number of companies able or willing to spend that kind of change are slim, indeed. And remember, if big signal
usually controls the cume. The station that controls the cume, controls the perception of the audience.
3.) A well prepared programming strategy that has been tested to meet the format hole, and the audience perceived
weaknesses of the competition, if any. If there is no audience perceived weakness, try another format.
4.) Promotion Money: see above.
5.) Music. You must play the right amount of well-tested music, and, in CHR, the list must be tight. Maybe not 130
hyperspins per week (although there are strategic reasons why a small station might want to try it when it first
comes on the air), but a CHR must pound the hits to get the cume. And a small station in a battle needs all the
cume it can get. But, remember - the big station usually is more able to control cume, than the little guy.
6.) Airstaff. (See how far down the list it is?) The better the airstaff, generally, the better your chance of success.
BUT...a great airstaff on a bad stick, well...see #1. Generally in this case, at best, the better airstaff is still about a
2-3 share station, which is why so many of these are flanker jukeboxes these days.
Every successful CHR programmer (as well as successful programmers in general) understand this. Being "in tune with the times" is necessary for "image" (that's why I don't do CHR anymore), but successful programming strategies and theories
have zero to do with it.