By: Chris Malone
When scheduling a music log, it’s easy for many music schedulers to think in a linear fashion. The familiar thought process is as follows: run the automatic scheduler, edit the music log, check for consistency and flow, then export the log before the Traffic Department starts screaming there’s no log to merge! It’s a very traditional mindset, but there’s another dimension to consider – How well are your artists rotating from day to day? How well balanced is your library music? Or what’s lurking in the hold category?Read the rest of this entry
If you have had the privilege of sitting in a therapy session, you are aware of the benefits of having someone look at your life’s configuration and help recommend ways to get back on track. Did you know in MusicMaster, you have a built-in music scheduling therapist at your disposal too? One of the overlooked features in your rule tree is the Rule Wizard that gives you a list of recommendations to make to your rule tree based upon your last scheduling schedule.Read the rest of this entry
By: Chris Malone
In today’s reality of radio, many programmers are looking around the office only to find there’s very little help to accomplish the important music maintenance tasks. Those necessary programming support positions are no longer, yet time management is still very critical. Thanks to MusicMaster Scheduling, there’s a way to set things up to serve as your ‘right hand’ help. Here are 3 ways to leave your behind the scenes work to MusicMaster..Read the rest of this entry
Song ramps or “intro” times in radio relates to the number of seconds a song has on the front-end before the vocals start. Some programmers consider vocal harmonizing (think Mariah Carey) prior to the start of an actual verse is acceptable as the ramp too. I beg to differ, the slightest cough or vocal cue from the artist is the end of the intro and the start of the song in my opinion, but that’s neither here nor there, the intro times on songs have become noticeably shorter and shorter especially in contemporary hit music. This was the topic of a Sean Ross weekly blog via radio-info. Some programmers believe that record labels are appealing to the short attention spans of radio executives (basically get to the good stuff before they cut my record off and move on to the next). My point of view centers around the listener. As mentioned in Sean’s blog, radio exes. have shorter attention spans, however; we know that listeners do too. Radio had to adjust by creating shorter, more concise talk breaks. We’ve all heard the coaching technique: get to the subject, no long setup. For younger demos, I believe the record industry has started to notice the demands of a attention deficit generation. I can’t imagine too many 18-24 year olds sitting through a song on their Ipod that gives them nothing to vibe to within the first :05-:08 seconds. If the song “Papa Was A Rolling Stone” by The Temptations was released in today’s fast pace society, can you imagine how Gen Y would respond to the 1:02 song intro? They’d quickly bypass that song and to get to one that grabs them immediately. The same theory fuels the web, advertising, and marketing world too–quickly engage. Unfortunately or fortunately for radio, the short intro’s have been pushed our way in the process. Not because of us but, because of a sign of the times. Currently, I program an Urban AC station and the number of songs released with shorter intros are few and far between, but I’ve noticed the trend and I’m ok with it. Limits jock chatter over ramps and flows better.