In a recent post about voicetracking – good, bad, or ugly – a number of comments rolled in on all sides of the issue.
And prominently, Larry Rosin (right) has essentially come out against program “nationalization” as well as rampant voicetracking – which he refers to as “a disaster for the radio industry.”
On the other side, UK consultant James Cridland (left) takes a different view. In a piece called “Why voicetracking is good for the radio industry,” he explains that when done well, voicetracking can be “a powerful tool that makes good people sound even better, and makes radio sound better for listeners.”
They’re both right, of course. And in the process of considering their respective points of view, and reviewing other comments that I received, there was this tweet from Josh Potter:
And so I’ve been thinking about why we usually don’t care about being in real time when we watch TV (except for sports and programs like the Oscars, of course).
On TV, if it’s good, it’s entertaining, whether it’s recorded or live.
But here’s the difference. Most radio listening is simply much more intimate and personal than television viewing time. As the statistics continue to remind us, the lion’s share of radio listening is occurring while we drive. And more often than not, we’re alone in the car.
Radio has an opportunity at intimacy, connection, and companionship while people are behind the wheel that is simply not available to other media.
Sure, you read a newspaper or magazine by yourself. But that content is printed – static, unchanging – whether it’s on the page or online.
With TV, the bulk of what we watch has been recorded, sanitized, edited, and packaged. We appreciate that because we’re usually looking for a strong, slick product that is well crafted and tight.
But with radio, we expect it to be more real, complete with a mistake, a stutter, or a surprise now and again – just like how these things happen throughout the course of unscripted conversations we have with each other.
I sure don’t see lots of people in HOV lanes these days now that gas has fallen well below $4 in most states. Most drivers are alone, lost in their thoughts, daydreaming, talking on their mobile phones – and very open to hearing something of substance from a favorite DJ, host, or show, whether on a commercial or public radio station. We think differently while we drive, it’s one of the last places where we can truly be alone, plan the day ahead, or replay the one that’s just transpired. Admit it – we talk to ourselves, sing along, and react to what we hear. There’s something very special about this space.
And radio oftentimes gets to share it.
That’s where voicetracking falls short. As good as it can be, it just can’t capture that live, unscripted moment in time when it starts snowing again, when a news story breaks, or when a new song walks in the studio about to be played for the first time.
Bad voicetracking is inexcusable. It is lazy and offensive to the audience and our advertisers.
Good voicetracking can provide a way for great talent to achieve greater reach and exposure, entertaining more people at convenient times from faraway places.
But live, local radio – when done right – is like nothing else. Not Pandora, not your iPod, and not a satellite radio DJ you don’t know. It provides intimacy, a personal touch, maybe a surprise, and hopefully, a sense of place.
That’s the magic of radio.
Jacobs Media has consistently walked the walk in the digital space, providing insights and guidance through its well-read national Techsurveys.
In 2008, jacapps was launched - a mobile apps company that has designed and built more than 1,300 apps for both the Apple and Android platforms. In 2013, the DASH Conference was created - a mashup of radio and automotive, designed to foster better understanding of the "connected car" and its impact.
Along with providing the creative and intellectual direction for the company, Fred consults many of Jacobs Media's commercial and public radio clients, in addition to media brands looking to thrive in the rapidly changing tech environment.
Fred was inducted into the Radio Hall of Fame in 2018.
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Thanks for the nice blog post and the mention Fred. You made me think about this even more. Of course James is right that one shouldn’t blame the technology, but the USE of the technology (not that I think I did blame the technology, but still…)
But I don’t think James fully appreciates or hears often enough how Voice Tracking is employed in the states — largely with out-of-market and out-of-time dj’s sending their cuts days or weeks in advance to another city, leading to references to the “Golden State Bridge” in San Francisco (SAN FRANCISCO!) and to hearing what a nice sunny day it is as the rain is pouring down. In fact I’m not aware of a single American show that is using Voice Tracking the way James implies — to get perfect links each time but in-market and next-to-live — but I’ll be happy to hear from those who do use it that way.
But more to the point — your comments make me realize that James and Josh are using the wrong metaphor, at least for American radio. Radio has long been called (and correctly so) “Theater of the Mind.” (James — that’s “Theatre” in American ;0) Not ‘television of the mind’. Fred your comments nail it — the best radio has that crackle that only a live ‘theatrical’ event brings.
Larry, thanks for the comment and continuing this conversation. There is that chasm between the potential the technology promises and the reality of how it is being used by most broadcasters. What was first a tool has too often become a crutch – much like music scheduling systems. James, what do you think?
There was an article I read a few years back by T Bone Burnett where he discusses the homogenization of American music in general. He discusses how the Memphis sound, Detroit sound, etc…. wasn’t just about the local “talent” available to the recording studio. One example he states, mic’s, mostly ribbon back in those days, would react differently to even the humidity and local weather of the area it was recorded. Adding to the “local” sound. Just as an example. Today, with digital, everything sounds the same, with ones and zeros no matter where it’s recorded.
I think there is a lesson to be learned from this that goes beyond just a voice tracked talent talking about a local landmark or if it’s raining or not (and yes, Larry I do agree with you). Although every city has a mall and much of America looks the same, there is a feel to a city or area that can not be captured by someone from somewhere else, or for that matter just one person from a local market. Example: How much of the ‘fly over’ states feel just how out of touch the NYC centric (media) ego is.
As a one-time programmer for talk talent, I would always tell them the best shows/topic were right in front of them. Forget scanning the newspaper or looking for buzz on the net. Go to a coffee shop, a restaurant, the park, anywhere people were and listen to their conversations. What were they discussing, talking about, what mattered to them? That’s your best topic.
There is a buzz, a community and uniqueness to a city/town/place, that just can’t be tapped by the homogenization of a media and loss of the connectivity of the humanness of the individual.
It goes back to that sense of place, John. A great voicetracker can Google local events and happenings, and at least give lip service to the local community. But only someone living and breathing the air in Detroit or Austin or Tampa can truly connect with the populace. Thanks for the comments that are contributing to a great conversation.
Guys, I don’t want to take one side or the other because I think there is voice-tracking and then there is talent replacement. We use voice-tracking in our stations differently from what you (in a major market) may be referring to. I have a midday host who is also production director and that person is able to track a 4-hour show and still be in the building during that entire show. He can walk down the hall and update weather, do a contest, take calls for playback later, jump in with a traffic report or news break if something bad happens, etc. This isn’t the same as importing tracks from another market or even tracking 3 days ahead of time and boxing the entire radio station. Just want to say, for those of us who operate largely live and local stations, there is a way to do it without sacrificing quality or timeliness. Maybe this is a middle ground?
Jack, there is a middle ground. Done responsibly and in moderation (sounds like a Crown Royal spot), voicetracking can let a multitasking talent get the job done. And you’re right – you’re using local talent, but just deploying them to suit a myriad of needs. Thanks for raising this point.
I agree that bad voicetracking is lazy and offensive, but you get what you pay for. I believe that a lot stations don’t offer talent much incentive for doing a great voicetracked show. Quite a few clusters also require talent to track sister stations for no extra compensation. In my current situation, I get paid for one hour’s work at minimum wage ($7.25/hr) to track a five-hour show. I have the talent and the drive to deliver good radio. I try to make my voicetracks rock, because you never who’s listening, but I don’t feel like I’m getting much love for my efforts and the extra time needed.
This is a great comment “from the trenches,” and it typifies the problem. If companies don’t truly value the product – all lip service aside – then in fact, we shouldn’t be surprised that the net net is mediocre. That might have sufficed in the radio vs. radio battles, but it won’t cut it in the car. As our post pointed out, there is great potential for radio to achieve a level of intimacy while consumers drive. But it’s not going to happen by going down this road. Thanks for the honest comment.
What do they say about intent and the law? I have no idea, but the original intent for voice-tracking in the US was to cut costs. To reduce staff.
Even at the mighty (fat) Susquehanna in San Francisco, nights & weekends were being tracked in 2001.
I empathize with the notion that a pre-recorded break should provide all the opportunities I get in creating promos – everything can be made just right before it hits the air.
But that’s not how it’s used (as larry as pointed out)
In fact- most “live” jocks only crack the mic 3x an hour anyway. They already have all the time and resources needed to make sure even the live breaks are perfect. Do they? I still hear a lot of disposable breaks daily. VT or live makes no difference if the content is lame.
I’d be curious if Millennials even care about this Live vs VT stuff – or is it just another boomer relic hanging around just a little too long?
Larry?
Larry – I feel Millennials would listen if the content was local and good enough. Introduce them to great content and hook them.
Jeff, part of the blame falls on PPM interpretation, too. It’s that notion that talk is bad, causes meters to migrate, and we should do as little as possible. After awhile, it devalues the DJ contribution. We’ve all been there.
And maybe the reason that Millennials don’t care about this “live vs. VT stuff” is that they haven’t heard enough great radio in their lifetimes. Maybe it has less to do with how they’re wired and more to do with what we’ve been serving them since they first sat in car seats and had to endure insanely long commercial breaks and insipid positioning statement-filled breaks. Just asking.
Fred, you’re right. The Millennials haven’t been exposed to good content on the radio. There’s no training ground for the next generation of air talent and no training for this generation, either. Does anyone aircheck their staff any more and provide constructive criticism?
Maybe when all talk voicetracked all talk is bad; perhaps blame is mistakenly being laid on PPM when bad talk is the real culprate. I wonder if PPM had been available in 1985 if all talk would have been viewed as bad.
Reactions and overreactions to PPM are a part of it. Instead of pushing broadcasters to focus on relevant, quality programming, they have instead motivated a “less is more” philosophy. It’s notable that public radio talks like crazy. And more often than not, the ratings are pretty damn good. Quality, not quantity.
the first thing a focus group will tell you about your music station is they want “more music, less talk.” Then the group will tell you about how funny some morning show is and how they love to listen to them. See Fred’s comment above.
John, just as the knee-jerk strategy with PPM is just not to talk or talk less. It all misses the point.
Awesome. Just Awesome. Even in medium to smaller markets we’re faced with large voice tracked portions, and even with staff shortages, (juke box periods). For me as a programmer, extremely disappointing. The thing is this – if radio sales deplete more voice tracking is added, reaching a critical point where programming blame sales, and sales blame programming. As well a station can audience rich, but Sales poor, so a tug of war exists between sales and programming. The rubber meets the road when high profile personalities leave – and where are the fresh, new talented bunch coming from? No where. They’re aren’t any. Talent never got the chance to hone their skills. I fear with the lack of premium content and talent throughout the day, nothing will keep a listener. I feel this must change before we reach a point of no return.
I’m faced with owners who say “well they do this vt thing in big cities – there are no announcers, they play splitters and music – it seems to work here” – well here – is a long, long way from my desk. Maybe I’m getting old. Many thanks for a great article. Must run along, must vt between 9 am and Noon.
As you point out, Bill, good habits aren’t being handed down from the larger markets. And that sense of “If they’re getting away with it in Chicago, San Francisco, and L.A.” creates the industry standard in medium and small markets. You’ve pointed out the lack of a farm team – a direct result of rampant voicetracking. It is another result of “mailing it in.” Thanks for the perspective.
There’s huge difference in how the public uses/relates to radio, depending on the country,. One item affecting the argument for Voice Tracking from James Cridland: In the U.S., it’s purpose is not to spread quality talent but to save dollars.
There’s something having more impact though: a microphone is only open for a small percentage of time within an hour – whether it is VT or live. And this ties closely to your statement, Fred, of “With TV, the bulk of what we watch has been recorded, sanitized, edited, and packaged. We appreciate that because we’re usually looking for a strong, slick product that is well crafted and tight.”
On all but talk radio the bulk of what’s heard is also recorded, sanitized, edited, and packaged – either as music or commercials. Where audience members complain that music is repeated ad nauseum, radio commercials are not usually a “strong, slick product that is well crafted and tight.”
Wish I could remember where it was, but earlier this week I read a comment from a major market production director who oversaw five stations. I held that position in a similar sized market for 8 years, for one station. There’s no possibility that “quality” could have continually rolled out of my production studio if five stations needed to be serviced. Creative takes time. Production must be finessed to be “slick.”
Radio people have the habit of throwing around terms like “compelling content” and “relatable advertising,” but are not held accountable to the true definition of each.
In the use of Voice Tracking, “good” is rare. As Larry Rosin states, “…I’m not aware of a single American show that is using Voice Tracking the way James implies.”
Ken, once again, the technology continues to be used in an economy of scale way, rather than James Cridland’s view that better radio could be brought to more markets. I think you nailed it in your first sentence. Voicetracking is largely used to save rather than to facilitate higher quality radio. That, in a nutshell, sums it up. And it also explains why that close bond that could occur while consumers drive is being lost. Thanks for the comment.
“Bad voicetracking is inexcusable. It is lazy and offensive to the audience and our advertisers.”
THIS.
It’s about leadership and quality in my book.
I truly believe if you’ve got a bad live jock and I’ve got a great tracked one (such as Track Dude), I’m going to beat you every time.
But if you’re a good PD who works with their bad live jock to the point where they become good and then great…I’m screwed. Might as well turn the transmitter off. When what limited places there are to get better die off, and the few PDs left with time to train go away, it’s going to be game over.
Keep fighting the good fight, Fred…hopefully your message will start getting through to these companies who cut to the bone to make the quarter but are destroying the long-term as a result.
And closed circuit to Ken: I DO know of situations where tracking is used as the gentleman from across the pond describes. There are two VERY good major-market talents that I know of (who will remain nameless out of respect) who are so insistent that their breaks are good that they actually track them a minute or two before they run. It allows them to have the intimacy and speed of live radio, but at the quality level they demand.
Jack, thanks for the perspective on both sides of the ball. I am very much enjoying these comments and perspectives.
It’s funny that we’ll spend 5 minutes editing a call or interview clip to make it perfect, but the idea of recording the other parts around it make people cringe? I agree 100% that being local and connected wins – but using the tools available to you to refine your craft isn’t a bad thing (IMO).
Exactly, Jim. It’s almost become a positive to see how quickly you can record an entire show – the very wrong way to approach the craft. Thanks.
GREAT comments on this one, Fred. I’m truly enjoying the banter!
Here’s MY take:
I AM a voice tracker for afternoons on a small market station.
I am ALSO a live jock, for a major market station, doing weekends & fills.
Regardless of WHICH station I’m on, I try to make every break COUNT. Sometimes its local info, sometimes a station promo, other times just commenting on something goofy like ‘that wacky FLO from Progressive’…
or ‘did you see that kid on The Voice,’ But it’s ALWAYS ME…being ME.
No one else CAN be me…and I do ME best, whether I’m live or tracked.
Not every station can afford a MAJOR market talent, but to have one voice-track for them may be…and it sure beats their other choices!
It’s all in the approach. If you look at voicetracking as a way to cut corners, it’s going to sound that way. If you approach it as a true opportunity to serve and entertain, anything’s possible. But tell me why PDs aircheck live shows, but rarely aircheck voicetracked ones?
I am enjoying this conversation immensely, JC. These are the moments when I think the blog truly works. Thanks for contributing.
Let’s sum it up like this……. How did the Red Wings do in overtime tonight? Hey…They might have found that airplane… Where is that pot hole on I-94 to watch out for. Breaking news on some rock star that just killed himself over a girlfriend. Oh…..! your voice tracking ….guess you’ll have to wait till morning or Monday to let your listeners know what’s up. Nothing say’s “Dont care” like taking the heart and soul of person and station image then voice tracking. Sure , I know it comes down to money …but at what cost to your brand. If you don’t think the audience knows…you would be surprised.
Screamin’ Scott is the night guy extraordinaire at WRIF in Detroit, so when you hear his rundown of what matters on a typical night in the Motor City, it makes you want to have live talent rocking your town after dark. Thanks for the perspective, Scott.
Well done, Fred! I started tracking for stations in 1996. From reel to reel shipped out overnight to the station I was working with, then dat, cd, and finally, FTP. Come to think of it, my former pd, Bob Belini would ask me to cut an hour long show on reel to reel, which meant pulling albums and recording it all in it’s entirety, all done to attend a staff meeting, so it goes back a bit further to my days at KFMQ.
It’s been a great journey. I was able to handle tracking for various stations, and still sound live. My full time shift was priority one, the stations on the side were a joy to work with. I kept up with sounding local and having fun, those things are key. Anyone can track, but can you sound live and great at the same time? Only if you care enough to put all you have into a show. I read local papers, internet, and talked to staff about what was fun in their city. It can come together.
Over the years as tracking became common at stations I worked at, I was amazed at how fast someone would get in and get out of the production studio. After hearing the final product on the air, it was simply “phoned in.” What’s the point of having your jock track a show if they’re not going to give their very best during the weekend? Am I perfect? Nah. But I care about what the listeners think and hear when I opened that mic, be it “live or Memorex.”
I have run into a few people who showed some annoyance at my tracking for stations. This in part due to, “taking a job from a local person.” Good point, but if I was approached and auditioned for it, I was still hired just as anyone local would be, this was during the early years of tracking, when the subject came up, I would say, “get on the bus, because change is coming.” I do admit, I’m not crazy about that change. Many good folks are out of live full time on air work. I miss hearing someone live in the evening while driving around. Or, when you’re stuck on the interstate in long traffic jam during a snow storm, at 8 pm, and you have NO idea what’s going on because there’s NO live jock. I did eventually find out there was a jack-knifed semi ahead. This was when I called my brother and asked him to log on to a local site for traffic…….Yep, live radio is a must.
Michelle, this is a great comment with more perspective from professionals on the front lines. You’ve described both sides of it well – looking at voicetracking as a craft vs. viewing it as the quickest way possible to “cut a show.” I have heard jocks brag that they were able to lay down an entire show in just 15 minutes.
As for the out of work piece, I shake my head when I hear people boycott grocery stores because they’ve installed a few self-serve lanes. You may as well boycott your bank, the gas station, and most other businesses in America because so many are using technology of one kind or another to save money and time.
But radio isn’t about efficiency or seeing how fast we can produce it. To stand out in this environment, we need to rethink why people listen and what they’re looking for at different times of the day. As you point out, it is rare – and comforting to hear a nighttime jock on a music station, another reason why companies like Greater Media should be commended for having talent like Screamin’ Scott, Jolene, and Matt Cord on local market institutions like WRIF, KISW, and WMMR.
Thanks for taking the time.
Sure there are places for tracking where it makes sense and if approached with the kind of professionalism and dedication expressed here can actually improve a stations airsound in places.
But it all comes down to radio CEOs who don’t care enough about anything but their 2-5 year personal financial plans. There is no other rational explanation for how they have approached the challenges of the past 15 years. It reminds me of the scene in The Grapes of Wrath where the fat guy is riding a tractor and tells a former farmer than her should get a job clearing out repoed farms and make “3 dollars a day” as he chomps down a piece of pie and throws the crust at his starving former friend.
Someone has to say it…
The quest for product and brand excellence in any organization starts at the top. I believe that as you look from radio company to radio company, you’ll see some major differences in how they view their stations and their constituencies. I believe some truly care. Maybe others, not so much.