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February, 2014

Radio Airplay 101 – What Are Your Goals?

Pressing Media USA and Canada, CD Manufacturing and DVD Manufacturing, CD Duplication and DVD Duplication

FOR IMMEDIATE RELEASEPublication date: February 17, 2014

At Pressing Media we are committed to educating our customers and giving them the tools to succeed.
I was fortunate to get a preview of an article from an associate of mine, Bryan from (Bryan Farrish Promotion).

When you are assembling your projects budget, it’s extremely important to understand what your
goals are for sales, manufacturing product, distribution, marketing and promotion. Without a good
vision of the end result, you may waste time and money needlessly. When it comes to
manufacturing of retail, live event and promotional items feel free to call anytime for a consultation as
this is Pressing Media’s area of Expertise.

Here is an article we feel will assist you in the promotion of your business goals as a recording artist,
independent musician or label operator.

By Bryan Farish, CEO Bryan Farish Promotions

Radio Airplay 101 – What Are Your Goals?

New for 2014: If you were going to build a restaurant, you’d have some type of goal or plan before
construction began, right? If you were going to buy a car, you’d have some type of goal or plan as
to what you wanted, how much the payments would be, what the color would be, etc., right? Well for
some reason, artists never have a goal for their music (much less radio), other than to “get it out
there”, or to “do as much as possible”. Can you imagine telling a restaurant contractor to build you
“as much restaurant as possible”, or telling a car dealer that you want “as much car as possible”?

When you have a numerical goal (any numerical goal), the best way to achieve that goal is to
minimize anything else that might stand in the way of that goal. If your restaurant goal was to be
able to sit 500 people at once, then you can get cheaper real estate and put the extra money into a
larger size and more seats instead. If your goal however is to serve only expensive dinners, then
you can reduce the number of seats and put the extra money into fine-dining amenities. With this in
mind, here are some numerical goals you can think about…

SPINS: This is probably what most people think about when they think about radio, especially now
with the “counter” on Youtube that artists always fake. A “spin” is a single play on a single radio
station (or in a club). The way to maximize spins is to minimize how difficult they are to get. So,
you go for college stations or web stations, or for commercial radio, you go after unrated and small
market regular rotation (especially in the overnights). For college radio campaigns, 10 to 100 spins
a week is common, and for unrated/small commercial regular rotation, 50 to 500 spins a week is

PLAYLISTS: A playlist is a list of what a single station played in one week (sometimes, one month).
Even a single spin of yours on a playlist still puts you on that playlist. So you want to go after
college, web, and unrated/small market commercial stations (especially tests, spikes, mixshows and
specialty), and go after a LOT of them (hundreds) at once, so you can get one or two spins on as
many playlists as possible. When you print all these playlists out at the end of a campaign, it is
really an impressive stack. It’s common to get 50 to 200 playlists in a campaign.

CHARTING: A “chart” is a weekly count of how many plays a certain GROUP of radio stations is playing
you in a week; it’s very similar to how many playlists you are on in a week. Radio charts, as of
2014, all are based on spins. So you simply want to maximize spins, generally by going after the
smaller stations which report to the particular chart you want, and going after the easier overnight
spins which count the same as the daytime spins.

LISTENS: Listens are what drive everything in the music business. A “listen” (also called “audience”
or an “impression”) is when one person hears a song one time. If you play your song to 5 people in
your living room, you have 5 listens. If you play the same song to the same 5 people again, you now
have 10 listens, although the number of listeners is still 5. Getting lots of listens is the
toughest and most expensive part of radio, and the music business, because you have to maximize the
number of stations, and the number of spins on these stations, and the number of listeners to each
spin, simultaneously. College and web campaigns can’t be used because the listenership is almost
zero. Unrated/small market campaigns can commonly get 10,000 to 100,000 listens per week, for a
total of 100,000 to 1,000,000 listens. Medium market station campaigns can commonly get 200,000 to
1,000,000 listens per week, for a total of 1,000,000 to 10,000,000 listens. And major market station
campaigns can get 1,000,000 to 10,000,000 listens per week, and a total of 5,000,000 to 50,000,000

MARKET SIZES: Sometime an investor, sponsor, or parent wants you to be played in a large city
(market) that he or she knows, and it does not really matter how many times (spins) it plays, or how
many times it’s heard (listens). In these cases you want to go for single spins (“tests”, “spikes”,
“specialty”, “mixshow”) on the smallest stations in the biggest markets that you can get. Just being
able to say “WXYZ” in BIG TOWN played you, even though it’s the smallest station there, and even
though it’s just one spin overnight, is sometimes enough to make your next step happen.

REFERRALS: Getting a “referral” is when a station recommends that a store, newspaper, venue, or
restaurant in their town for you, and tells you who at that store, newspaper, venue or restaurant
you should talk to. Referrals are great because almost anyone at any station can give you one.
College stations are probably the best because the kids there are unpaid but know a lot of the music
scene in the their town; they can however be hard to reach. Commercial stations will always answer
the phone, and sometimes even the secretary can give a recommendation. But whatever the station,
when you call the person that the stations recommends, you can be sure that your call will get
through much more often. And getting referrals is simple: Go after LOTS of stations.

FREE/PAID TICKETS: When a person goes to your gig, we say they got a “ticket”, whether the tickets
are paid or free. Maximizing tickets (meaning, the number of people who came to your gig just to see
you) requires you to maximize listens and to concentrate them in particular cities. Have listens
spread out around the world does you no good; all the listens need to be in a particular city so
that the listeners in that city will all have heard your song enough times to want to see you live,
and will all talk to each other (and to the venues there) about you, so it will appear that
“everyone is talking about you” in that city. Thus, maximizing tickets in particular cities requires
you to minimize the number of cites you try for.

FREE/PAID DOWNLOADS: Getting the most downloads, whether free or paid, is almost the same as getting ticket sales. The listeners need to have heard the song enough times (generally at least 10 times
per person, which requires 100 plays per station), so that they and all their friends talk about it
enough. Matter of fact, the cities with the most downloads will be the same ones with the most
tickets (downloads will occur first). Generally for an unknown indie, it requires 10,000 listens to
get one paid sale, whereas a major only requires 1,000. More known acts are somewhere in the middle.

RETAIL SALES: As of 2013, half of all sales are physical. Assuming your physical product is in
physical stores (which requires a salesperson), the number of units sold will be directly
proportional to the number of listens in that market. Generally for an unknown indie, it requires
10,000 listens to get one retail sale, whereas a major only requires 1,000. More known acts are
somewhere in the middle.

GIGS: A “gig” is when you are scheduled to perform at a place, free or paid, for a certain number of
people. Maximizing the number of gigs is done by minimizing the size of the place, and minimizing
the number of people who would see you there. The smallest would be apartment gigs, where you go
from door to door and offer to perform for them in their place. In one day you can do 10 of these
gigs, and you really don’t need any radio to do them, although there really will not be any ticket
sales. As you move up the ladder, you will reach a point where the places won’t talk to you unless
you have lots of listens in their market. At this point you are back to maximizing ticket sales.
When you maximize your demand for tickets in a town, you will get booked easily at comparably-sized
venues in that town when you call them on the phone.

LABEL/MANAGEMENT/DISTRO OFFERS: Since you can’t really have multiple “deals”, the goals with labels, management, or physical distribution people is to maximize the number of offers you get from them, of a certain size. Doing this varies widely based on the level of person/people you are trying to
get offers from. Individuals, and small labels etc, are usually impressed fairly well with
playlists, whereas medium labels will probably want Billboard charting.

CONSIGNMENTS: Getting your physical product into physical stores on a consignment basis actually
just requires a salesperson to do it. Any listens, playlists, charting etc is a bonus; but really
it’s your salesperson visiting each store that does it.

Bryan Farrish Promotion is an independent promotion company handling radio airplay promotion, and venue booking promotion.

He can be reached directly at: 310-998-8305 airplay@radio-media.com.

I hope the information above is of benefit and again please feel free to call or email us anytime

for professional and expert advice about your next release, event or specialty promotion item.

Toll-Free: 1-800-511-8171 or email: sales@pressing-media.com