The Creative Radio Script & Production Specialists
Every day a lot of people hear a lot of radio. Artillery Radio aims to make them listen.
How often do you hear a radio commercial that you'd like to hear again? Not often enough. That's usually because the creation of the ad itself is an afterthought. Which is a bit like inviting your important customers to dinner in your home on Saturday night and not considering the food until Saturday afternoon. What could go wrong?
We’ll take your brief. And give you superior radio. Radio that works.
How it's done
Radio commercials are produced in either of two ways. In the first case, the advertiser goes directly to the radio station where someone quickly writes a script and records it in-house with available staff or contracted voices. You'll probably only ever be able to air the commercial on that station or a related station, but that may not be a problem. The resulting ad is basic, serviceable and may be all that's needed, especially if you've a product recall or a one-day sale.
How we do it
In the second scenario, the enlightened brand-owner engages Artillery Radio. Then an experienced copywriter takes (or distills) a brief, furnishing a brand strategy if one is needed. The copywriter usually writes with a voice or voices in mind and casts accordingly. He or she works with a dedicated engineer in an independent studio arranged and booked by Artillery Radio. If music is required, Artillery Radio will source and negotiate the usage rights or oversee its selection or composition. The Artillery Radio copywriter directs the voiceovers and produces the finished commercial, making sure it reaches the station or stations on time.
(Our first-class media partner can also plan and buy your campaign.)
How much it costs
There are three principal costs in the average radio commercial. These are A) the voiceover charges; B) the cost of studio hire; C) the cost of the creation and production of the radio script, including liaison and despatch. The cost of C) is usually not much more than the cost of A) and B) combined. Music, especially high-profile 'famous' music, can be a whole other cost, often more than A, B, & C combined. Many factors (number of stations on which the commercial is to be aired, number of voices in the production etc.) influence the cost of a commercial. See rate cards or ask Artillery Radio for a quote.
A BIT ABOUT MOST RADIO ADS
Radio that works is radio that stands out from the crowd. So it’s important to think about the context of other radio ads and what types they generally fall into. Here are four of the more common formats:
A. The voice of the brand.
A warm yet authoritative voice speaks about the brand in the first person plural, i.e. ‘We’. He or she can put a face on the brand.
Upside: Straightforward, Public Service-feel.
Downside: Conventional. Unlikely to produce much audience identification or catch attention.
B. Testimonial; Brand User speaks
We represent a customer (real or fictitious) and they speak about their experience of the brand.
Upside: People may relate to personal stories or in the case of celebrity, be influenced by those they admire.
Downside: May limit the demographic appeal (i.e. the endorsement of a middle-aged man may not impress young women or vice versa).
C. The conversational referral
A chestnut of radio advertising- the faux-endorsement.
Person 1 outlines to Person 2 the problem-solving/benefits/reliability/breath-taking beauty of the brand.
Upside: A tried and trusted, familiar format.
Downside: Tired. May lack authenticity. Needs careful handling to prevent the message sounding corny or dull.
D. The left-of-field approach
In an inventive, attention grabbing soundscape we bring the brand to life in an unexpected way. May involve crackling dialogue and quotable lines.
Upside: Shows the brand’s merits rather than just tells about them. Evocative. Capable of creating enormous identification among listeners. Made for radio, in that it uses radio's strength. Has the possibility of entering the public conversation and can be a real investment in building the brand, in making it famous.
Downside: More production time. More forethought.
A BIT ABOUT VOICEOVERS
The right voice is the making of an ad. It doesn't have to be that of a star, though it's probably better that it's not the same voice reading the next spot in the break. Sometimes an experienced, even slightly familiar voice, can be just what is needed. In other cases, a brand new voice, fresh and unpolished, can impart compelling authenticity. We've worked with 100 voices; recording for a milk brand in Toronto, a cable company in New York. We twice recorded in Los Angeles with a certain Star Trek captain (for a bank). We wrote and recorded with the Harlem Gospel Choir for instant coffee and a Motown star for toilet-tissue.
We believe that when it comes to voices no stone should be left unturned. Cut-through is vital. That's one reason that for the last several years we've led workshops for students of the National Academy of Dramatic Art. It's also why we watch a lot of film and take notes at plays. In short, we've spent a lot of time thinking about and working with voices. We're always happy to share what we've learnt.
A BIT ABOUT MUSIC
Music can be the signature of a radio ad; the element that communicates volumes about the brand or taps into a vein of goodwill, drama or nostalgia. Music can be a famous rock track or a classical overture. It can be an original composition commissioned for the campaign, or a carefully chosen piece of library music. If it is that famous track, then securing the rights, publishing and performing, can be costly and involve some delicate negotiation. If it's an original composition then everything from the brief to the execution needs to be accurate and professional. Whatever the task when it comes to music, Artillery Radio can deliver.
Below Stairs, 65 Merrion Square, Dublin 2. Phone +353 87 2655288