I mentioned this in another thread, but the Adult Alternative station has given up on the format in the Tri-Cities. I kind of liked it, but am not surprised as it had very little advertising. The new station is now known as OZ 100. Weird handle, but best wishes as they go up against a market powerhouse, KEGX.
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KQFO ( The Oasis) Tri-Cities dumps Triple A, goes Classic Rock
- Thread starter seatownmedia
- Start date
Yes, too bad.
Poorly run. The things that the successful AAA's do in our region - KPND, KINK - Hodgins couldn't or wouldn't do. So the demise was inevitable. AAA's don't work as super focus group tested programmed and run as jockless IPODs. Which is sad, Hodgins knows of KPND and what they do to make it work. Hodgins even told a PD friend of mine, The Oasis was like his station only better. The station my friend is at is listenable over long stretches. Every time I listened in Tri-Cities I couldn't listen for long because it was just blah and I have a strong appreciation for the format. Well run AAA's have some spunk, air and personality about them mixing the local, familiar and tasteful while working with sales to reach the station's demos though traditional and non-traditional means.
The OZ thing is interesting because it's upper skewing the age demo (50+) in the classic rock format. It's almost like KEGX was in 1994 in it's earliest days. Strange. Strictly 60s, 70s and 80s tunes by core classic rock artists. The OZ 95.7 translator in Spokane is hilarious. It only does maybe 10 miles from the stick before Walla Walla's 95.7 rips it to shreds.
Poorly run. The things that the successful AAA's do in our region - KPND, KINK - Hodgins couldn't or wouldn't do. So the demise was inevitable. AAA's don't work as super focus group tested programmed and run as jockless IPODs. Which is sad, Hodgins knows of KPND and what they do to make it work. Hodgins even told a PD friend of mine, The Oasis was like his station only better. The station my friend is at is listenable over long stretches. Every time I listened in Tri-Cities I couldn't listen for long because it was just blah and I have a strong appreciation for the format. Well run AAA's have some spunk, air and personality about them mixing the local, familiar and tasteful while working with sales to reach the station's demos though traditional and non-traditional means.
The OZ thing is interesting because it's upper skewing the age demo (50+) in the classic rock format. It's almost like KEGX was in 1994 in it's earliest days. Strange. Strictly 60s, 70s and 80s tunes by core classic rock artists. The OZ 95.7 translator in Spokane is hilarious. It only does maybe 10 miles from the stick before Walla Walla's 95.7 rips it to shreds.
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The Oasis is back on 106.9 in Tri-Cities, but the signal is sketchy around some of the metro. Richland is perhaps the weakest area, and potentially has the greatest possible audience in The Tri due to demographics. I also feel their focus is a little scattered of late...just concentrate on the good songs and perhaps not be experimental, though I understand that is part of the equation to some extent.
Interesting how we have AAA on 106.9 in Yakima (X-FM) and AAA on 106.9 in southeast WA as well! I think the Oasis is K295AV ex-Bob FM, which is now on KQFO/100.1. Then as you head east on Hwy 12 heading towards the Palouse, 106.9 turns into 'The Outlaw' KMOK with country! Before K295BT went on, I could hear KMOK sometimes in Yakima along with KRWM.
As I mentioned, KQFO at 106.9 is weak in Richland. It does better in Kennewick and East Pasco. (Again, Richland is their prime target, IMO). The music focus seems to be somewhat weak. Too many "dj choice" hits, or another way of saying let's "play anything we kind of like", but please understand that I totally understand that "dj's" have nothing to do with it, as this format has none. There is a science to this format, and it isn't the programmer putting his/her favorite songs on the radio. It is choosing titles that work, and while The Oasis generally does OK with this, at times they go off the rails. Just IMO.
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Still little improvement to the signal in Richland. Best catch is East Kennewick, and East Pasco, not really a demographic strength for this format. IMO, they continue to be very scattered, (and that may be on purpose), but hard to listen to for more than about 10 minutes as they provide a tune-out title at about that point. I would like to hear more good tunes that deserve airplay, and less "programmer's choice". But then again, this is all subjective. I think a reset would include some sure-fire tunes as have been proven among successful Adult Alternatives.
This is an old thread, but I concur about 'The Oasis.'
What a waste. I spoke Tom Hodgins owner of Alexandra Communications some time ago. I mentioned I have experience with this format. He only wanted to talk about how great it was. When he asked what I thought, I said it's a good start. The truth? Instead of focusing on what AAA does well, he's trying to be like KTCV meets indie rock meets Adult AC. If I'd gotten face time with him, I'd have made it very clear that KINK and KPND are the models of success in the northwest with the format. Study them, learn from them, take what works from them. I'll tell you what it's not - it's not KTCV. KTCV is it's own entity in the market and competing against it is a waste. If you want to be profitable study what those long standing AAA's do right. Zero local talent with only bumpers announcing songs is just total cheapskate.
And yes, the music selection is scattershot. No focus I can glean. Familiarity? None. In 25 minutes I only recognized the Violent Femmes and I'm pretty damn savvy with artists. AAA is a delicate balance of familiarity, new and some quirk. KPND and KINK you can TELL who their audience is just in a 15-20 minute listening session. If Hodgins spent more time studying and coming at these things in ways that set formats up for success he wouldn't be flipping formats every six months.
Good thing the guy has play money from his other business ventures. He's only really vested in OZ or the HANK brands it seems right now. It's too bad. As a fan of AAA and programmer of it in the past, with the proper inrfastructure, targeted demos and someone who knows how to dial in the local demos - it WOULD work.
With a guy who changes formats like pants, it didn't stand a chance. If you'd have let me in there, I'd dial it in and get its demos dialed in. Music and presentation would fall in line with KPND, WTTS etc.
Life goes on right?
I'm in the Tri-Cities for the short term, I've been listening to KPQ FM out of Wenatchee. They balance their demos pretty good. The hard rock never gets too out hand and they have their demos & programming nicely centered for maximum appeal. Plus, their processing sounds wonderful.
Cheers.
EDIT: Oops. Forgot about my old post in this thread.
What a waste. I spoke Tom Hodgins owner of Alexandra Communications some time ago. I mentioned I have experience with this format. He only wanted to talk about how great it was. When he asked what I thought, I said it's a good start. The truth? Instead of focusing on what AAA does well, he's trying to be like KTCV meets indie rock meets Adult AC. If I'd gotten face time with him, I'd have made it very clear that KINK and KPND are the models of success in the northwest with the format. Study them, learn from them, take what works from them. I'll tell you what it's not - it's not KTCV. KTCV is it's own entity in the market and competing against it is a waste. If you want to be profitable study what those long standing AAA's do right. Zero local talent with only bumpers announcing songs is just total cheapskate.
And yes, the music selection is scattershot. No focus I can glean. Familiarity? None. In 25 minutes I only recognized the Violent Femmes and I'm pretty damn savvy with artists. AAA is a delicate balance of familiarity, new and some quirk. KPND and KINK you can TELL who their audience is just in a 15-20 minute listening session. If Hodgins spent more time studying and coming at these things in ways that set formats up for success he wouldn't be flipping formats every six months.
Good thing the guy has play money from his other business ventures. He's only really vested in OZ or the HANK brands it seems right now. It's too bad. As a fan of AAA and programmer of it in the past, with the proper inrfastructure, targeted demos and someone who knows how to dial in the local demos - it WOULD work.
With a guy who changes formats like pants, it didn't stand a chance. If you'd have let me in there, I'd dial it in and get its demos dialed in. Music and presentation would fall in line with KPND, WTTS etc.
Life goes on right?
I'm in the Tri-Cities for the short term, I've been listening to KPQ FM out of Wenatchee. They balance their demos pretty good. The hard rock never gets too out hand and they have their demos & programming nicely centered for maximum appeal. Plus, their processing sounds wonderful.
Cheers.
EDIT: Oops. Forgot about my old post in this thread.
No worries, this part of R-D is seldom read or posted to. But I think it is important to be able to comment on smaller market radio. You and I agree that The Oasis has moments of brilliance, but then muck it all up with weird, (even bad) tunes that just don't fit in. Whenever I hear 2-3 tunes on The Oasis that I just love, they always seem to let me down with something that is way out there and is an immediate tune-out. If I were programming it, (and I am not), I would make the playlist about 75% familiar, as opposed to a current rate of about 50%.
One more thing...very little advertising on The Oasis. And virtually none from Tri-Cities advertisers. Yeah, I understand the signal can be weak, especially in Richland, but it does have some good coverage in Kennewick and most of Pasco. I wonder if this format could gain revenue up here and also if there is anyone calling on potentials. If it is a dead-end then that will be that.
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That was one thing Hodgins said to me, he needed sales people. That's not my thing. I'm more of a programmer.
This highlights especially the KPND model for success. They don't subscribe to Arbitron. They do their work with their local salesforce in the trenches. It works. It's my contention that Alexandra flips so much and so often, what sales staff there is can't begin to build a clientele. They never know what'll be on their sticks next week. Would be a death sentence for a sales person.
I did want to explore the idea of moments of brilliance. Of course The Oasis had potential, but brilliance I never really saw it. The brand was wrong, it wasn't researched right, wrong demos, crappy canned presentation, wrong people to get the pulse of the market. No Tom Petty, No Neil Young, No Beatles, No Bruce Cockburn - the ability to peel from KEGX and the commercial rock stations (Notice - NOT KTCV) with deeper familiar cuts from those essential familiar artists - no one cared to see that's the backbone of your listener base. That's essential to AAA. That familiarity, as you mentioned seatownmedia, and is essential to profitability. Bragging about Stone Temple Pilots songs being well tested and going back barely any further from the 90s cuts off a huge lucrative financial demo not to mention that musical depth the brand brags about. There in lies the art of mixing that familiarity, new in a musically engaging package that's profitable.
My goal isn't to do a post-mortem on The Oasis to a large degree, but as a fan and a programmer of AAA I hate to see shotty execution when the owner/programmer had a terrible understanding of how to make it work in the general and the specific.
This is what happens when you flip formats a lot, and especially nuanced ones that require a non-traditional approach. You sink or swim. AAA requires effort and intelligent execution by a GM/PD who gets it to be profitable.
Cheers.
EDIT: I think I figured out Oasis's demos: Whitman College students. I can't figure out anyone else the programming is targeting.
This highlights especially the KPND model for success. They don't subscribe to Arbitron. They do their work with their local salesforce in the trenches. It works. It's my contention that Alexandra flips so much and so often, what sales staff there is can't begin to build a clientele. They never know what'll be on their sticks next week. Would be a death sentence for a sales person.
I did want to explore the idea of moments of brilliance. Of course The Oasis had potential, but brilliance I never really saw it. The brand was wrong, it wasn't researched right, wrong demos, crappy canned presentation, wrong people to get the pulse of the market. No Tom Petty, No Neil Young, No Beatles, No Bruce Cockburn - the ability to peel from KEGX and the commercial rock stations (Notice - NOT KTCV) with deeper familiar cuts from those essential familiar artists - no one cared to see that's the backbone of your listener base. That's essential to AAA. That familiarity, as you mentioned seatownmedia, and is essential to profitability. Bragging about Stone Temple Pilots songs being well tested and going back barely any further from the 90s cuts off a huge lucrative financial demo not to mention that musical depth the brand brags about. There in lies the art of mixing that familiarity, new in a musically engaging package that's profitable.
My goal isn't to do a post-mortem on The Oasis to a large degree, but as a fan and a programmer of AAA I hate to see shotty execution when the owner/programmer had a terrible understanding of how to make it work in the general and the specific.
This is what happens when you flip formats a lot, and especially nuanced ones that require a non-traditional approach. You sink or swim. AAA requires effort and intelligent execution by a GM/PD who gets it to be profitable.
Cheers.
EDIT: I think I figured out Oasis's demos: Whitman College students. I can't figure out anyone else the programming is targeting.
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Here's what I've learned: Anybody can be a programmer. Just scan around the various internet radio stations. Lots of hobby stations run by amateurs with a computer and a passion for music. Hopefully they have a full time job to pay the expenses. What this format needs is someone who can sell it. The bad news is the listeners to this format absolutely hate advertising. They don't want to be sold anything. They want a free music service that they can hear on their car radio. They don't want to pay for a subscription. They don't want to share their credit card or personal info. They don't even want to give their email address. They only want to hear their favorite music. And they don't care much about hosts. Think you can sell that?
With an eclectic format with a rather low listener base, that approach will only get you to low-tier revenue. They rank around 15th in revenue in Spokane, and their sister station, a Coeur D'alene rimshot, is ranked even lower.
But as a combo operator, they do have some economies and their 5 station group, plus translators, bills around $1 million a year which should throw off a small profit. But $1 million is about what an average Pizza Hut franchise grosses in a year, so it's a very small business.
As BigA observed in another thread, most AAA stations are non-commercial, as (with the exception of a very few remaining heritage stations) it is next to impossible to make money with the format.
I would politely disagree that with AAA, the hosts don't matter. The many of the long standing commerical AAA's have local hosts who know the music and know their markets. There is almost like a familiar vibe. My contention and it appears we disagree, is if you strip the human interaction and reduce yourself to selling a pandora type product with just bumpers with no human hook you've made selling it even harder. If you want a uninterrupted audio stream there are choices for that right from your portable device that are free.
If if it's as bad as that TheBigA, AAA would've died. One of the things that keeps us in the game is being local and connecting on a local level. If we throw that away, we might as well turn our transmitters off and surrender to online streaming.
I agree some NPR's have picked up variations of the format. Dallas being a major example. The trick is as we've covered a bit ago finding a way to sell it and be profitable.
And no, not everyone can be a programmer. Pick a 40 year off the street and give them full reign to program a 100kw stick, I doubt they'd succeed in terms of programming or profitability. There is a skill, knowledge and market awareness that goes into more than just playing 'whatcha like.' I just had a run up in Spokane doing programming. I brought significant revenue increase to programming that was a dud and failing and had been doing so for 5 years through 4 hosts. There is a skill and smarts involved to position for listener and financial growth.
My first PD had a philosophy, the PD/MD have to do their job and position the station for listener growth and financial profitability - then the sales staff can do their job. You have to give them something to work with.
If if it's as bad as that TheBigA, AAA would've died. One of the things that keeps us in the game is being local and connecting on a local level. If we throw that away, we might as well turn our transmitters off and surrender to online streaming.
I agree some NPR's have picked up variations of the format. Dallas being a major example. The trick is as we've covered a bit ago finding a way to sell it and be profitable.
And no, not everyone can be a programmer. Pick a 40 year off the street and give them full reign to program a 100kw stick, I doubt they'd succeed in terms of programming or profitability. There is a skill, knowledge and market awareness that goes into more than just playing 'whatcha like.' I just had a run up in Spokane doing programming. I brought significant revenue increase to programming that was a dud and failing and had been doing so for 5 years through 4 hosts. There is a skill and smarts involved to position for listener and financial growth.
My first PD had a philosophy, the PD/MD have to do their job and position the station for listener growth and financial profitability - then the sales staff can do their job. You have to give them something to work with.
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It hasn't died, but it's heading in that direction. The format has largely moved to non-commercial stations, where it's not bound by rules set by advertisers. The few commercial stations that remain are among the lowest rated stations in their markets. I know the owner of one station, and its clearly a pet personal project of his. He does it for the love of music, not the pursuit of money. For some listeners, the local talent is important, but for others, they can be an annoyance. If you ask the fans of the music, they'd love these stations to become free Pandora.
My point of saying anybody can be a programmer was to distinguish it from being someone who sells the format. I would suggest that the best use of someone who knows and loves the format would be as a seller of that format, because that's where the need is. A brilliant format with little income won't be on the air long. I recall getting told that I was in a format that couldn't be sold. My sense was the sellers didn't have a passion for the music, or the understanding of the audience. They were just selling numbers. I asked if I could try to sell the format, and in less than a year, the company decided to divert more attention to my format. You might give it a shot. I found it made me a better programmer.
There is no question that this format is tricky. It probably is more objective than any other radio format. I can listen to this format and love 1-2 songs and then completely tuneout on the 3rd song. My point is there should be a common Triple A list (I know there is, but it doesn't include the reccurents/gold), and put a bit of structure into the playlist. I have yet to hear many of this ilk that satisfy me for more than 3 songs, but that may be the point at the end of the day. Again, tricky.
This is a "format" that isn't helped by structure. It's supposed to be anti-structure. The audience loves this music because it's not popular. It's music that's more aimed at individuals rather than the mass. What's good for the music isn't necessarily good for radio, which is why it has so much trouble in the commercial world, and why corporate stations stay away.
I will agree and disagree. I agree that many love it because the music is not particularly popular. But "structure" is still important, as in building the library. There is so much good music out there that doesn't get played, and this is where this format can shine. If there was a Triple A chart that could put together that top 100 titles, both new and old, that would be great. But then again, I suppose that would be anti-alternative. Hard to win this battle. This is why the format is so unique and hard to program. It is entirely objective, and based on a programmer deciding what his audience wants. At the end of the day, you are correct, hard to compete in the commercial world.
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