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.LIBRARY
Michigan State
University

This is to certify that the

thesis entitled

COMPARATIVE AUDIENCE RESEARCH METHODS AND AN APPLIED
CASE STUDY FOR WDBM-FM

presented by

Lindsay E. Peters

has been accepted towards fulfillment
of the requirements for

M-A- degree inTelecommunication

Qaalip

Mia) professor

Dategklm

0-7639 MS U is an Affirmative Action/Equal Opportunity Institution

 

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PLACE IN RETURN Box to remove this checkout from your record.
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.__..< ._ _ __ __“.__

 

 

COMPARATIVE KW

COMPARATIVE RADIO RESEARCH METHODS AND AN APPLIED CASE
STUDY FOR WDBM-FM

By

Lindsay E. Peters

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Telecommunication

2001

 

COMPARATIVE R

 

In today's COI
ever. more importar
quantitative radio a;
aradio audience. II
data to be used by r
titanic and often t
mearch possibilitie
Warm and conlr
audenoe research r

dexamining both q:

Adda of a radio st;

 

ABSTRACT

COMPARATIVE RADIO RESEARCH METHODS AND AN APPLIED CASE
STUDY FOR WDBM-FM

BY

Lindsay E. Peters

In today’s competitive radio marketplace, ratings are proving to be
even more important than in the past. Arbitron, the nationwide leader in
quantitative radio audience research, is useful in providing a measurement of
a radio audience. It does not, however, provide qualitative audience research
data to be used by radio program directors. Radio audiences are very
dynamic and often hard to study. This thesis looks at the range of audience
research possibilities. A web based qualitative study for WDBM-F M is
compared and contrasted with Arbitron data to offer a broad based view of
audience research methods. In addition, this thesis illustrates the importance
of examining both qualitative and quantitative methods to achieve the clearest

picture of a radio station’s performance.

 

. v q“.—

Copyright by
LINDSAY E. PETERS
2001

 

LIST OF TABLES
UST OF FIGURES

INTRODUCTION

 

CPAPTER 1
Tiny is Important to

CHAPTER 2
Current Issues For

CHAPTER 3

Ratings
Definition
Strengths
Weaknesses
lnterpretatiod

CHAPTER 4
Auditorium Music TI
Definition
Strengths
Weaknesses
Interpretatior

CHAPTER 5
caILUUI MUSIC TEST,
finition '
Silengths
Weaknesses
'“Ierpretatron

CIT‘iI’TER e

FOCUS GrOUps
Definltion
SCTengths
Weakrtesses
'“letpretauon

 

 

TABLE OF CONTENTS

LIST OF TABLES vi

LIST OF FIGURES xii

INTRODUCTION 1

CHAPTER 1

Why is Important to Analyze Audience Research Methods 6

CHAPTER 2

Current Issues For the Radio Industry . 10

CHAPTER 3

Ratings 22
Definition 22
Strengths 24
Weaknesses 29
Interpretation 32

CHAPTER 4

Auditorium Music Tests 35
Definition 35
Strengths 37
Weaknesses 39
Interpretation 44

CHAPTER 5

Call-out Music Tests 46
Definition 46
Strengths 47
Weaknesses 48
Interpretation 49

CHAPTER 6

Focus Groups 51
Definition 51
Strengths 52
Weaknesses 53

Interpretation 54

iv

CHAPTER 7

Perceptual Resea
Definition
Strengths
Weakness
Interpretat;

CHAPTER 8

New Online Meth

Research Compa
Definition
Strengths
Weakness
Interpretat
Internet V,
Broadbanc

CI‘APTER 9

Case Study: Wet
Consent F
Survey
Results Fr
That Can I

CHAPTER 10
Progiammlng SU

CHAT”TER 11

StiggeSlIOns TOT I
FUTUte WT
SUQQGSIIO

CONCLUSIQN

 

CHAPTER 7

Perceptual Research 56
Definition 56
Strengths 57
Weaknesses 58
Interpretation 59

CHAPTER 8

New Online Methods of Research: A Look at Internet Based Audience

Research Companies and Studies on Internet Usage 62
Definition 62
Strengths 62
Weaknesses 68
Interpretation 69
Internet V, VI and VII 70
Broadband Revolution 2 85

CHAPTER 9

Case Study: Web Survey for WDBM-FM 92
Consent Form 95
Survey 96
Results From the Survey, WDBM Data from Arbitron and Assumptions
That Can Be Made 101

CHAPTER 10

Programming Suggestions for WDBM 204

CHAPTER 11

Suggestions for Future WDBM Surveys and Other Web Based Research 217
Future WDBM Surveys 217
Suggestions for your own web-based research 220

CONCLUSION 223

APPENDIX 227

REFERENCES 246

BIBLIOGRAPHY 249

Ta:Ie1: Nationai
Table 2: Interest

Taste 3: America
Internet. Internet

Table 4; Most Pc

Tabie 5: Things '
VII

Table 6: Broadb.
Table 7: Types (
Test 8: Time 8
Table 91 Arbitror

Table 10: Arbitrr

 

LIST OF TABLES

Table 1: National Alternative Study, Paragon Research, March 2000 18
Table 2: Interest in Features of a Radio Station Web Site, Internet VI 72

Table 3: Americans Spend Less Time with Traditional Media Due to the
Internet, Internet VII 73

Table 4: Most Popular Internet Video Subscription Models, Internet VII 75

Table 5: Things That Would Cause Audio Streamies to Listen More, Internet

VII ~ 75
Table 6: Broadband Accelerates Use of Streaming Media, Internet VII 76
Table 7: Types of Programming Streamies Listen To, Internet VI 78
Table 8: Time Survey Respondents Said They Tuned in the Most 101
Table 9: Arbitron Spring 2001 Shares for 12+ 103
Table 10: Arbitron Spring 2001 Shares for 18-34 104
Table 11: Average Quarter Hour Comparison for Monday-Friday 105
Table 12: Average Quarter Hour Comparison for Saturday 106
Table 13: Average Quarter Hour Comparison for Sunday 107
Table 14: Time Survey Respondents said they tuned in the least 107
Table 15: Lowest Arbitron Shares 109
Table 16: Amount of Time Survey Respondents Said They Listened 109
Table 17: Arbitron Average Time Spent Listening for 12+ 110
Table 18: P1 Listener Vital Signs 111
Table 19: Places Survey Respondents Said They Listened 111

Table 20: Listening Locations Broken Up by Average Quarter Hours (Monday-
Sunday) 1 12

vi

Table 21: Listenin

Friday I
Table 22; How SL
Taste 23: Favorite
Table 24: Least F
Table 25: Impact
Table 26: Sit or 5
Table 27: The Ba
Table 28: The Ac
Table 29'. Space
Table 30: Progre
Table 31: The Je
Table 32; Imp a c
Table 33; Mech;
Table 34: Sneak
Tame 353 The C
Table 36; Globe

 

 

Table 21: Listening Locations Broken Up by Average Quarter Hours (Monday-

Friday)

Table 22: How Survey Respondents Said They Tuned In
Table 23: Favorite Artists of Survey Respondents

Table 24: Least Favorite Artists of Survey Respondents
Table 25: Impact Flashback

Table 26: Sit or Spin

Table 27: The Basement

Table 28: The Accidental Blues

Table 29: Space Odyssey

Table 30: Progressive Torch and Twang

Table 31: The Jazz Spectrum

Table 32: Impact Exposure

Table 33: Mechanical Pulse

Table 34: Sneak Preview

Table 35: The Cultural Vibe

Table 36: Global Sounds

Table 37: Two Tone Beat

Table 38: Thee Hourz 0 Power

Table 39: WDBM Diary Recall

Table 40: Programming Preferences of Survey Respondents
Table 41: Well Known Artists vs. Genre-Specific Programming
Table 42: The Impact Has a Wide Variety of Music.

vii

113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
135
136
137

138

3; The
niversfi

latte
State

Ch

Taste 45: The
Erening.

Taste 46: The
Tab‘e 47: The
Table 48: The

Table 49; The
Stations.

Tame 50: The
Table 51: The

able 522 The
Day.

Community

Table 541 The

Table 551 The
Smons.

 

Table 43: The Impact Could Do a Better Job Communicating to Michigan

State University. 139
Table 44: The Impact is Consistently Enjoyable to Listen to Throughout the

Day. 140
Table 45: The Impact is Consistently Enjoyable to Listen to Throughout the

Evening. 141
Table 46: The Impact Does Not Cater to All Music Tastes. 142
Table 47: The Impact Has High Quality Genre-Specific Shows. 143

Table 48: The Impact Could Better Inform Listeners About New Music. 144

Table 49: The Impact Has DJs That Are Worse Than DJs on Other Radio
Stations. 145

Table 50: The Impact Has Music For Every Taste. 146
Table 51: The Impact Plays Music That Many Other Radio Stations Play. 147

Table 52: The Impact is Not Consistent Sounding When Listening During the
Day. 148

Table 53: The Impact Addresses the Needs of the Michigan State University
Community. 149

Table 54: The Impact is Not Always Enjoyable to Listen to in the Evening. 150

Table 55: The Impact has DJs That Are Better Than DJs on Other Radio
Stations. 151

Table 56: The Impact Could Improve its Genre-Specific Shows. 152

Table 57: The Impact Has Helped Me Learn A Lot About New Music. 153

Table 58: Dave Matthews Band 155
Table 59: Ani DiFranco 156
Table 60: Travis 157

Table 61: Sarah McLachIan 158

viii

Table 62: Troll For
Table 63: Billy Bra;
Table 64: Barenaki

T3316 65 WIICO

 

Tabie 66: 19 Whe
Table 67: Old 975
Table 68; The Ven
Table 69: Indigo C
Table 70: Oasis
Table 71: Domesti
We 72; The War
T3519 73: Paveme
Table 74: F Taming

Table 62: Troll For Trout

Table 63: Billy Bragg

Table 64: Barenaked Ladies
Table 65: WIIco

Table 66: 19 Wheels

Table 67: Old 973

Table 68: The Verve

Table 69: Indigo Girls

Table 70: Oasis

Table 71: Domestic Problems
Table 72: The Waterboys
Table 73: Pavement

Table 74: Flaming Lips

Table 75: Knee Deep Shag
Table 76: Our Lady Peace
Table 77: Dinosaur Jr.

Table 78: Angie Aparo

Table 79: Blur

Table 80: Echo and the Bunnymen
Table 81: Reverend Horton Heat
Table 82: Peter Gabriel

Table 83: Tori Amos

Table 84: The Atomic Numbers

159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181

 

Table 85. Ben Ha'
Table 86: Liz Pha?
Table 8?: REM. I
Table 68; Familiar
Table 89: Female
Table 90: British A
Table 91: Local Ar

Table 92: America

 

Table 93.- College
Table 94: Categon
Table 95: Gender
Table 95'- Age of 5
Table 97; Arbitron

Table 98: Arbitron

Table 85:
Table 86:
Table 87:
Table 88:
Table 89:
Table 90:
Table 91:
Table 92:
Table 93:
Table 94:
Table 95:
Table 96:
Table 97:
Table 98:
Table 99:
Table 100: Arbitron Age Composition Comparison for WDBM

Table 101: When Listeners Leave WDBM, Where Do They Go?

Ben Harper

Liz Phair

R.E.M.

Familiar Artists and Their Average Score
Female Artists and Their Average Score
British Artists and Their Average Score
Local Artists and Their Average Score
Americana Artists and Their Average Score
College Artists and Their Average Score
Category Scores

Gender Preference

Age of Survey Respondents

Arbitron Age Information for WDBM
Arbitron Age Information for WHZZ

Arbitron Age Information for WWDX

182
183
184
185
185
185
186
186
186
186
188
191
192
192
193
194'

195

Table 102: Non-Commercial Station Comparisons for Share, AQH, Cume and

TSL

196

Table 103: Arbitron Gender Composition Comparison for WDBM, WI-IZZ and

WWDX

Table 104: Pertinent Lansing/East Lansing Demographic lnforrnation

Table 105: Workplace Zip Codes

Table 106: Where Survey Respondents Live

198
202
203

203

Tab‘e 107: Res

Table 107: Residential Zip Codes 203

xi

Figure 1: Front pa

 

Figure 2: Front pa

Figure 3: Front pa
Istener survey

Figure 4: Time So

 

Figure 5: Arbitron
Figure 6: Arbitron
F ure 7: Time SL
Figure 8: Lowest .

F9116 9: Amount

LIST OF FIGURES

Figure 1: Front page of www.ratethemusic.com
Figure 2: Front page of www.pickthehits.com

Figure 3: Front page of www.impact89fm.org showing advertisement for
listener survey

Figure 4: Time Survey Respondents Said They Tuned in the Most
Figure 5: Arbitron Spring 2001 Shares for 12+

Figure 6: Arbitron Spring 2001 Shares for 18-34

Figure 7: Time Survey Respondents said they tuned in the least
Figure 8: Lowest Arbitron Shares

Figure 9: Amount of Time Survey Respondents Said They Listened
Figure 10: Arbitron Average Time Spent Listening for 12+

Figure 11: Places Survey Respondents Said They Listened

Figure 12: Listening Locations Broken Up by Average Quarter Hours
(Monday-Sunday)

Figure 13: Listening Locations Broken Up by Average Quarter Hours
(Monday-Friday)

Figure 14: How Survey Respondents Said They Tuned In
Figure 15: Impact Flashback

Figure 16: Sit or Spin

Figure 17: The Basement

Figure 18: The Accidental Blues

Figure 19: Space Odyssey

F igure 20: Progressive Torch and Twang

xii

65

66

100
101
103
104
108
109
110
111

112

113

113
114
117
118
119
120
121

122

Figure 21: The .13
Figure 22: Impact
Figure 23: Mecha :
T311824: Sneak
Figure 25: The CLi
Figure 26: Global
Figure 27: Two Tc

Figure 28: Thee H

 

F9318 29: PrOgra
FPure 30: Well Kr
H9'41'631: The Im

Figure 32: The im
State University

Figure 33; The I rr
Day

- 11
Evening, e In

Flgure 353 The In
Figure 351 The In

Figure 373 The In

Fl9ure 33

Slaians. -The In

Figure 21: The Jazz Spectrum 123

Figure 22: Impact Exposure 124
Figure 23: Mechanical Pulse 125
Figure 24: Sneak Preview 126
Figure 25: The Cultural Vibe 127
Figure 26: Global Sounds 128
Figure 27: Two Tone Beat 129
Figure 28: Thee Hourz 0 Power - 130
Figure 29: Programming Preferences of Survey Respondents 136
Figure 30: Well Known Artists vs. Genre-Specific Programming 137
Figure 31: The Impact Has a Wide Variety of Music. 138
Figure 32: The Impact Could Do a Better Job Communicating to Michigan
State University. 139
Figure 33: The Impact is Consistently Enjoyable to Listen to Throughout the
Day. 140
Figure 34: The Impact is Consistently Enjoyable to Listen to Throughout the
Evening. 141
Figure 35: The Impact Does Not Cater to All Music Tastes. 142
Figure 36: The Impact Has High Quality Genre-Specific Shows. 143

Figure 37: The Impact Could Better Inform Listeners About New Music. 144

Figure 38: The Impact Has DJs That Are Worse Than DJs on Other Radio
Stations. 145

Figure 39: The Impact Has Music For Every Taste. 146
Figure 40: The Impact Plays Music That Many Other Radio Stations Play. 147

Figure 41: The Impact is Not Consistent Sounding When Listening During the
Day. 148

Figure 42: The In”
Community.

Figure 43; The I”

Figure 44: The '”
Stations.

Figure 45: The In
Figure 46: The In
Figure 47: Dave
Figure 48: Ani Di
Figure 49: Travis
Figure 50: Saral‘
Figure 51: Troll T
Figure 52: Billy E
Figure 53: Barer
F‘QUIE 54; Wilco
Figure 55; 19 w
Figure 56: Old 9
FlWe S7: The \

U

”We 58: Indigi

“sure 59; Oasi<
Figure 50: Dom
I

figure 613 The I

Fri
' ave;

F .
We 631 F learn
I

Figure 42: The Impact Addresses the Needs of the Michigan State University
Community. 149

Figure 43: The Impact is Not Always Enjoyable to Listen to in the Evening.150

Figure 44: The Impact has DJs That Are Better Than DJs on Other Radio
Stations. 1 51

Figure 45: The Impact Could Improve its Genre-Specific Shows. 152

Figure 46: The Impact Has Helped Me Learn A Lot About New Music. 153

Figure 47: Dave Matthews Band 155
Figure 48: Ani DiFranco 156
Figure 49: Travis 157
Figure 50: Sarah McLachIan 158
Figure 51: Troll For Trout 159
Figure 52: Billy Bragg 160
Figure 53: Barenaked Ladies 161
Figure 54: Wilco 162
Figure 55: 19 Wheels 163
Figure 56: Old 97s 164
Figure 57: The Verve 165
Figure 58: Indigo Girls 166
Figure 59: Oasis 167
Figure 60: Domestic Problems 168
Figure 61: The Waterboys 169
Figure 62: Pavement 170

Figure 63: Flaming Lips 171

xiv

Fggure 64'. Knee
Figure 65: Our L.
Figure 66: Dinos
Figure 67: Angie
Figire 88; Blur

Figure 69: Echo
Figure 70: Reve
Figure 71: Peter
Figure "/2: Tori I
Figure 73: The I
Figure 74: Ben I
Fliure 75: Liz P
Figure 76: RBI
Figure 77; Cater
Figure 78: Genc
Figure 79: Arbit.
PM 803 Arbrr.

Fm"? 81$ Arbit-

Figure 64: Knee Deep Shag

Figure 65: Our Lady Peace

Figure 66: Dinosaur Jr.

Figure 67: Angie Aparo

Figure 68: Blur

Figure 69: Echo and the Bunnymen

Figure 70: Reverend Horton Heat

Figure 71: Peter Gabriel

Figure 72: Tori Amos

Figure 73: The Atomic Numbers

Figure 74: Ben Harper

Figure 75: Liz Phair

Figure 76: R.E.M.

Figure 77: Category Scores

Figure 78: Gender Preference

Figure 79: Arbitron Age Information for WDBM

Figure 80: Arbitron Age Information for WHZZ

Figure 81: Arbitron Age Information for WWDX

Figure 82: Arbitron Age Composition Comparison for WDBM
Figure 83: When Listeners Leave WDBM, Where Do They Go?
Figure 84: Non-Commercial Station Comparison for Share
Figure 85: Non-Commercial Station Comparison for AQH

Figure 86: Non-Commercial Station Comparison for Cume

XV

172
173
174
175
176
177
178
179
180
181
182
183
184
187
188
192
193
193
194
195
196
197

197

Figure 87: Non-Cr

Figure 88; Arbrtror
i‘lr‘FJX

Figure 87: Non-Commercial Station Comparison for TSL 198

Figure 88: Arbitron Gender Composition Comparison for WDBM, WHZZ and
VWVDX 199

xvi

Commerci'
exists to make in
audience. T0 at.“
lobe in touch witi
audience is to res
Radio is available

can vary from acti

 

concert tickets) to
”059), and Iistenr
Since the ‘I
S‘alion 0Wnership
”’35 that Competir
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CorWation Own
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US. radio Static,

T .
W de$lrable T‘
c

INTRODUCTION

Commercial radio is a business, and every commercial radio station
exists to make money. Radio also exists to satisfy the needs of a particular
audience. To attain a profit and to cater to a group of listeners, stations must
to be in touch with their audience. The only way to really understand a radio
audience is to research it. Radio audiences are challenging to study though.
Radio is available everywhere and at any time of the day. Listening intensity
can vary from active (a teenager waiting by the phone to call a station to win
concert tickets) to passive (someone who turned the radio on for background
noise), and listening can take place alone or with a group.

Since the Telecommunications Act of 1996, consolidation of radio
station ownership has significantly changed the radio industry. The initial fear
was that competition would decrease through consolidation, but radio today
really has more competition than it ever had in the past. Before the Act, it
was common for individuals to own one or two stations. It was also becoming
common for stations to not make a profit or even break even. Now,
companies such as Clear Channel Communications and Infinity Broadcasting
Corporation own hundreds to thousands of stations as well as concert
promotions companies and other media outlets. Since these huge
corporations have been competing to buy U.S. radio stations in the past few
years, the price of radio stations has skyrocketed. In July 2001, the price of
US. radio stations ranged from $15,000 to $60 million. And the price of the

most desirable radio stations can exceed $100 million. In the week of July

   
  

3t 2001 alone, 5,

s‘ations in the Un

station to find app

managers and sat

 

quantitative data.
station.
PrOgrammi
1“ addition to Carr
the musical and r
Pregram director:
mime”), help ir

Won CIk’st’ly With

30, 2001 alone, $70.9 million changed hands in the acquisition of AM and FM
stations in the United States. As of July 30, 2001, 115 stations and $365,117,
555 changed hands in 2001 (Rathbum). Radio stations are not only profitable
today, but some of their parent companies are now worth billions of dollars.

Commercial radio stations make this money through the sale of
advertising. Advertisements are sold by sales managers and sales staffs.
These people are in touch with the makeup and tastes of listeners of a radio
station to find appropriate customers to advertise on their station(s). Sales
managers and sales staff gain this information through qualitative and
quantitative data. A program director analyzes much of this data for a radio
station.

Programming a radio station is more work than people may think it is.
In addition to carrying out and analyzing research, a program director selects
the musical and non-musical programming to be aired on a radio station.
Program directors must also critique on-air staff members’ performance to
continually help improve the overall sound of the station. In addition, they
work closely with the station manager as well as the sales, marketing,
promotion, production and music directors.

A program director is not a researcher. But in order to be effective, he
or she needs to take research into consideration, instead of just intuition.
Dependence on listener mail or phone requests can also lead to biased
results because the kind of people who interact with a radio station generally

make up no more than one to two percent of the audience. Disc jockeys

some program dir

Successful radio

  

There are

seem as though they are in good touch with the music played on radio
stations. But focusing on their own musical preferences can be too narrow.
Likewise, record sales do not reflect how a radio station should sound. Also,
every single radio market in the United States has unique characteristics and
listeners with different needs, expectations and musical tastes. Today, many
people just take radio for granted. Even in today’s competitive environment,
some program directors still make decisions based on intuition. But the most
successful radio stations today conduct audience research on a regular basis.
There are many different styles of valid audience research, and all
have strengths and weaknesses. By using both quantitative and qualitative
methods, programmers can get a clearer picture of their audience.
Quantitative methods are those that involve a large enough sample to
generalize the results to a larger population. Qualitative methods are those
that are an analysis of a phenomenon and do not depend on the
measurement of variables. They generally have smaller samples.
Quantitative data, such as the data provided by Arbitron, can give information
on what programming was the most successful on a radio station, as well as
what demographic group made up the listening audience. Other quantitative
methods, such as call-out research and auditorium tests, tell program
directors the musical tastes of a population. And qualitative research
methods, such as focus groups, can give a program director information on a
population’s opinions on types of music, specific radio stations or just radio in

general.

There are
radio research in
feet his or her a
an advantage ove
radio stations tar
Atarget audience
No matter wheme

there are commor

 

istening habits, g.
Deconal'rties

N0 rBSearr
enough to pTOVldr
W Thus Samp
8mm Darth
and omEI’ TOWNS
hermetic”. Mo:
do nOt give a prc
Existence in im
Tolmake radio :

There are new options that the lntemet and E-mail now provide for
radio research in the 21" century. By looking for fresh ways to understand
what his or her audience expects from the radio, a program director may gain
an advantage over his or her competitors. It is important to be in touch with a
radio station’s target audience, regardless of how large or small a market is.
A target audience is a specific group of people a radio station aims to reach.
No matter whether radio listening is online, in the car, at home or at work,
there are common factors for a program director to keep in mind: audience
listening habits, general image of a station, favorite songs and favorite
personalities.

No research method is perfect. Sample sizes may not be large
enough to provide statistically significant results, and response rates can be
poor. Thus samples will not be representative of the radio listening audience.
Sometimes participants’ responses are confusing. In addition, ratings diaries
and other forms of measurement often present poor recall of station
information. Most importantly, some forms of audience research methods just
do not give a program directors enough significant information to provide any
assistance in improving a radio station’s programming. Research alone does
not make radio stations successful, but can help improve them. Because
each audience research method has strengths and weaknesses, the more
types of research a program director uses, the clearer the picture will
become. Experimenting with the effectiveness of newer audience research

methods may be a way to become more competitive as well.

Exhibiting
effective way to t

20 years in telev:

 

      
 
 
  

Troubleshootin ,

Execution and In ;

detaining. planni:

The PUTDC
aPTBCtiCal Way a
Program directors
The following top.
HMS; current '

”‘10“ music res

IESearch mEThOdS

Exhibiting great attention to detail when researching is the most
effective way to have successful results. Walter McDowell, Ph.D., spent over
20 years in television broadcasting. He is the author of a book entitled,
Troubfihmting Audience Research: Detecting Problems in Design,
Exgution and lntemretation. He said, “Quick and dirty short cuts will usually
result in bad information and therefore bad management decisions” (12).
Every study must be credible. Taking the appropriate precautions in
designing, planning, executing and interpreting will minimize error.

The purpose of this study is to review and apply audience research in
a practical way as a basis for recommendation for future research that
program directors could conduct themselves. This thesis is divided among
the following topics: why it is important to analyze audience research
methods; current issues for the radio industry; ratings; auditorium music tests;
call-out music research; focus group research; perceptual studies; new online

research methods; a web survey for WDBM-F M; and a conclusion.

 

llllYI‘l IS IMP .

James We

book entitled. Ra‘
Reseich. Inge)
audiences are el'I

hey remain uns

audience resear
There are three tl
llaintain an and
Increase the cur
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Change PTOgra
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”Ethods again ;

CHAPTER 1
WHY IT IS IMPORTANT TO ANYLYZE AUDIENCE RESEARCH METHODS

James Webster, Patricia Phalen and Lawrence Lichty are authors of a
book entitled, Ratings Analysis: The Theorv and Practice of Audience
Research. In their book, they stated, “Radio, television and Internet
audiences are elusive commodities. Dispersed over vast geographic areas,
they remain unseen by the media and their advertisers. It is only through
audience research that they become visible” (1).

There are three things every radio station strives to do:
-Maintain an audience,

-lncrease the current audience’s time spent listening and,
-Attract new listeners.

In addition to using intuition, some commercial radio program directors
conduct the same types of audience research over and over again, even
methods that do not seem to significantly improve the overall sound and/or
overall ratings of a station. Like many people, some programmers resist
change. Programmers accept the limitations that many traditional research
methods have because of the cost of higher quality data. Program directors
are increasingly in charge of more than one radio station, so even the time
spent on the flawed methods is decreased. Conducting traditional research
methods again and again is generally easier than trying new, progressive
ideas. Continual consolidation in the radio world and the increased price of
radio stations has caused profit margins to become more important than ever
before. Industry changes demand radio professionals to work harder. Part of

that process is finding fresh ways to study audiences.

For some)
research altoget'
University of One
article he wrote i ,
'For many years
application of au.
considerations 0
Today audience r

both network anc

 

 

 

and lundraising‘ l
ooh ”Qahlzatior
audience,

As stated,
“adequate. This
audience TBSearc
What a program ‘
new Ways IOr DTC

audleth thTOUg‘

For some time, non-commercial radio programmers resisted audience
research altogether. Alan G. Stavitsky, Ph.D., is an Assistant Professor at the
University of Oregon in the School of Journalism and Communication. In an
article he wrote in the Journal of Broadcasting & Electronic Media, he said,
“For many years, public radio managers widely resisted the conduct and
application of audience research as marking the ascendance of market
considerations over public broadcasting’s social and cultural imperatives.
Today audience research is extensively utilized by public radio managers,
both network and station based, when making decisions about programming
and fundraising' (177). Research is even important for stations that are non-
profit organizations. There is no other way to know how to please an
audience.

As stated, many accepted audience research methods are somewhat
inadequate. This thesis will examine current and traditional methods of
audience research. It will cover their strengths and weaknesses in relation to
what a program director should get out of them. This thesis will also examine
new ways for program directors to explore the tastes and habits of a listening
audience through online methods.

College radio is also an outlet where program directors make many
intuitive decisions. It is rare to find a station that does research on a regular
basis. WDBM-FM is the focus of the survey conducted for and analyzed in
this paper. WDBM is a student-run, non-commercial radio station on the

campus of Michigan State University in East Lansing, Michigan. Though

llDBM receiv
funds in the b
noncommerc
abutt ratings
ratings and c:
the monetary
time involved
Professional I
student. and .

As is t1
WDBM to finr
Iadio stations
uncovered th
attempt to int

Instea.
f" he Woei
qua"tillative C
This Was One

OVEIthe12y

“3H0 begln

WDBM receives its operating funds from students, currently there are no
funds in the budget to conduct audience research on a regular basis. Being a
non-commercial radio station, WDBM does not necessarily have to worry
about ratings to survive, but audience research methods such as surveys,
ratings and call-out research could certainly help the station. In addition to
the monetary issues, WDBM simply does not have enough staff to handle the
time involved with analysis of audience research. With the exception of the
Professional General Manager, Gary Reid, everyone at WDBM is a college
student, and almost all that are involved are volunteers.

As is the case for any commercial radio station, it is important for
WDBM to find out what its listeners want. Non-commercial and commercial
radio stations alike serve to satisfy their audience. Those preferences are
uncovered through audience research. The goal of the WDBM study is to
attempt to inventory the thoughts of listeners.

Instead of trying traditional methods, an lntemet survey was created
for the WDBM web site. It is essentially a qualitative study with some
quantitative questions to provide further insight into the listening audience.
This was one way to begin studying a station that has had minimal research
over the 12 years it has been on the FM dial. Qualitative studies are a great
way to begin studying an audience. They can give a snapshot of an audience
and help create topics and questions for future audience research. The

WDBM study also serves as a guide in finding out the effectiveness of

research conducted online.

The r
apractical \l
program din
specific way
listening or
program dir
research his
listeners, th

revenue ma

The purpose of this thesis is to review and apply audience research in
a practical way as a basis for recommendation for future research that
program directors could conduct themselves. This paper will not discuss
specific ways to increase station revenue through improving time spent
listening or increase the cumulative audience. This thesis is meant to help
program directors specifically. But if a program director learns to effectively
research his or her audience, it is likely that the station will attract more
listeners, the time spent listening to a station will increase and an increase in

revenue may follow.

C
In 2001.
States has affe
radio companii
stations must 5
web site is ma?
Kassoff& Co.
Dilceptual stUr
Site. Kassoff 3;
share of the at
S‘etions Tod;
“05°95, becar
Prograr
co”30hlation.
AdullAlbUm A
be Smailer tha

thtill ”Eeds tal

CHAPTER 2
CURRENT ISSUES FOR THE RADIO INDUSTRY

In 2001, consolidation of ownership of radio stations in the United
States has affected the way radio stations research their audiences. Many
radio companies own up to seven radio stations in one market. All those
stations must still compete against one another and all must make money. A
web site is maintained for Mark Kassoff & Co. at www.kassoff.com. Mark
Kassoff & Co. conduct audience research, market research, format research,
perceptual studies, focus groups and auditorium music tests. On the web
site, Kassoff said that radio sales people now require their stations’ combined
share of the audience in order to sell advertising time in packages across all
stations. Today, program directors want to take fewer chances in musical
choices, because so much more money is now on the line.

Program directors are very much affected by radio ownership
consolidation. \Mth the abundance of niche formats such as Alternative and
Adult Album Alternative, Active Rock and Classic Rock, radio audiences may
be smaller than in the past, but have become more specific groups. Serving
their needs takes considerably more work than in the past because there are
simply more choices on the dial. In addition to fragmentation caused by niche
formats, program directors have to deal with the fact that their audiences are
fragmented because of other media such as the lntemet, CDs, broadcast

television, cable television, satellite radio and even cell phones. These issues

fOree program directors to target a more specific audience than in the past.

10

 

 

Anot
people, insi
homogenizi
Commissio
oonoentrate
voices. fres
and Hochrr
were all pla
market (Ba

Greg
We with
days of log
and r9500!"
plalists an
befabel m
l'25l Miles
Said, The .'
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In or
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C

Another issue for radio today is the issue of homogenization. Some
people, inside and outside of radio, argue that consolidation has
homogenized the sound of radio. Former Federal Communications
Commission Chairman William Kennard said, “As more and more licenses get
concentrated in fewer and fewer hands, it means less opportunity for new
voices, fresh formats, experimental formats to come to the ainivaves” (Baxter
and Hochman 28). For example, in May 1999, 40 percent of the top ten songs
were all played on Alternative formatted radio stations, regardless of the
market (Baxter and Hochman 24).

Greg Kot published an article in Rolling Stone in August 2001. He
spoke with several people in the radio and music industries. He said, “The
days of local radio breaking new records, taking chances on unknown acts
and responding to its audience’s interest have all but disappeared. National
playlists are in the hands of corporate programmers, who are influenced by
big-label money funneled into the station by independent radio promoters”
(25). Miles Copeland, chairman of an independent record label, agreed. He
said, "The airwaves are a public trust, but we have given that up and let one
small group of people heist all the country’s programming decisions (Kot 25).”

In order to get a song considered on commercial radio, Kot said that a
record label must put up a large amount of money. This may sound like a

great way to get non-traditional revenue for a radio station. Seeing the larger
Picture may better help program directors though. The short-term answer to

revenue may not produce a long-term profit. If radio stations continue to

11

decrease th
able to char
revenue. Ki
radio has re
percent. Ac
teens and e
people betw
downloadec
have becorr

Addit

WEIages OI

decrease their playlists, Ratings may decrease and radio stations will not be
able to charge as much for advertising, which is by far their primary source of
revenue. Kot noted the latest Arbitron ratings figures. The total audience for
radio has remained steady, but time spent listening has gone down 13
percent. Additionally, there has been a 10 percent decline in listening for
teens and eight percent decline for people ages 18 to 24 (Kot 25). Many
people between these ages store music on their computer that they
downloaded from the lntemet. Programs such as LimeWire and Napster may
have become their way to find out about music.

Additionally Kot noted that 30,000 CDs are released every year. That
averages out to about 536 CDs a week. If an average CD has 12 songs on
it, than an average of 6,432 songs come out every week. A certain amount of
those musical pieces will not be appropriate for radio, but Kot noted that in
one mcent week the 40 top Alternative radio stations only added a total of 16
new songs. The largest Contemporary Hit Radio stations, originally known as
Top 40 stations, added a total of 20 (Kot 25). It is surprising to see that the
Alternative stations, once known to play new music first, added fewer songs
than Contemporary Hit Radio stations which are still today known to be
repetitive by nature of the format. Either way, 16 to 20 new songs is a very
small number being exposed to listeners, based on the quantity of CDs

released weekly. Program directors may be better off programming their
sfation(s) based on audience research, not based on record company

suggestions.

12

Anothe
development.
Somerville. NI
hdustries, as
conducts onlii
other radio cc
adtnowledge
stations onlin
Percent as of
radio stations
Significant ar
streaming y
aradjo Signa

SWins air tl

Another factor program directors face in the 21’t century is lntemet
development. Edison Media Research is a market research firm based in
Somerville, New Jersey, which serves clients in the radio and record
industries, as well as conducts exit polls for politicians. Additionally, Edison
conducts online surveys and mail-back surveys. Edison also works with
other radio companies to release studies on radio and the lntemet. Edison
acknowledged that the number of Americans who have listened to radio
stations online has increased from just six percent of Americans in 1998 to 52
percent as of July 2001 (www.edisonmediaresearch.com). This indicates that
radio stations have the potential to maintain current listeners and gain a
significant amount of new listeners through web development and online
streaming. With the advent of the lntemet, it has become possible to encode
a radio signal to air it over the lntemet. This is called streaming. Some radio
stations air their AM or FM signal. Others have found that unique online
niche or genre-specific programming is popular among listeners. Whatever
choice is made, developing web initiatives may further help a radio station
survive in the 21‘t century. Some radio stations today are hiring lntemet
directors to create and maintain a web site and possibly handle streaming.

Having these new programming outlets on the lntemet requires more
audience research. When do listeners listen online? Where do they do it—at

Work or at home? How long do they listen? These are a few of the questions

that have risen for program directors today.

13

 

Mom
article by Di
olmusic an
research ar
based in Ne
be spent on
lntemet: Th
mass medit
years to rea
lntemet only
hhmhgyy
loneyto bf

Toda
Streaming 0
till listen to
no immedial
unique radic
then broad,
WSW an
broadcast. 1,

“to be

ME.

ila radio Sta

StaIIOn.

Money spent online has increased with overall time spent online. An
article by Don Jeffrey published in Billboard in July 1999 examined a survey
of music and the Internet by Xceed Intelligence. Xceed Intelligence is a
research and analysis group specializing in online business strategies. It is
based in New York City. Xceed Intelligence estimated that $2.53 billion will
be spent on music online by 2003. The survey entitled “Music and the
lntemet: The Digital Revolution,” stated that the lntemet is the fastest growing
mass medium ever (Jeffrey 59). Morgan Stanley said that it took radio 38
years to reach 50 million users, it took television 13 years and it took the
lntemet only five years (Jeffrey 59). Program directors who embrace the new
technology may be more successful than those who are afraid of it. There is
money to be made and listeners to be gained on the lntemet.

Today, thinking about programming to a global audience when
streaming online is also a good idea. Anyone in the world with a computer
can listen to a streamed station. If a station simulcasts the FM or AM signal,
no immediate programming changes need to be made. But if streaming a
unique radio station online, issues such as local news become less important
when broadcasting to the entire world. Other factors come into play, such as
choosing an appropriate language or number of languages to use for the
broadcast. This certainly makes a programmer’s job a little more stressful
than before. One might even argue that a second program director is needed

at a radio station—one for the FM or AM station, and one for the Internet

$tiiltion.

l4

Radir
also have th
online progr
a radio stati
advertiseme
larger. less '
as Pepsi or
completed.
research wit

Corny

altects how

Radio’s strength certainly lies in serving a local audience, but stations
also have the ability to gain new listeners and revenue through an imaginative
online programming strategy. Some advertisers could display banner ads on
a radio station’s web site instead of, or in addition to, over-the-air
advertisements. Examples might be national advertisements aimed at a
larger, less local group of people through large international companies such
as Pepsi or McDonald’s. Again, to achieve that audience, research must be
completed. Conducting this research online is a good idea because the
research will pertain to the habits of people using the Internet.

Computer penetration is not even among all Americans. This also
affects how programmers will make decisions pertaining to online content.
The Xceed Intelligence survey found that while 48 percent of the United
States is male, 58 percent of Internet users are male. In addition, 24 percent
of Americans are college graduates, but 50 percent of lntemet users are
college graduates. Likewise, the average US. household income is around
$34,000, but it is $61,500 for lntemet households. Also mentioned is that the
average age in the US. is 35, but online it is between 21 and 30. Finally,
though America is 72.1 percent white, 88.3 percent of online users are white
(Jeffrey 59). These demographic factors must be understood when
determining an effective online programming strategy.

Across the border in Canada, lntemet usage is up as well. John

Harding is a writer for Marketing Magazine. In an article published in July

2000, he discussed lntemet use among Canadians aged 18 or older. Usage

15

 

increased tron
those people i
unaffected by
said. ‘Given ra
parallel activlti

Broadb
such as online
38 percent be
Ola curse for
blitadcast sig
News Networ
W08 locust
Bbased in Al
mime-delivr
Tadttiohaj me

increased from 40 percent in 1999 to 55 percent in 2000. Fifteen percent of
those people made purchases online. Time spent listening to radio is
unaffected by lntemet usage, which is good news for program directors. He
said, “Given radio’s passive nature and how listening allows one to carry on
parallel activities, this finding is not surprising” (11).

Broadband is helping more and more people use streaming media
such as online radio stations. The number of streaming media users jumped
38 percent between January and July of 2000. This could become a blessing
or a curse for radio stations, depending on whether or not they stream their
broadcast signal. Shaman Fridman is a writer for Newsbytes. Newsbytes
News Network is a division of The Washington Post Newspaper. It is a news
service focusing solely on information technology. It was founded in 1983 and
is based in Arlington, Virginia. Fridman said that Broadband and even
satellite-delivered content could pose a challenge and opportunity for
traditional media providers. He added, “This competition will force local
stations and other media providers to shift their focus onto the lntemet and
develop original online content”

(http://www.newsbytes.comlnews100l1 50445.html).

In October 2000, the American Federation of Television and Radio

Announcers (AFTRA) came to an agreement that requires any AFTRA
member to receive compensation for any of his or her commercials or
Promotional spots that are played online. The compensation is 300 percent of

his or her session fee and that compensation covers a one year period. After

16

that an addit

Currents On

 

the significar
nMamn
have stopper
commercials

Anoth
court ruling c
mlattices to it
Copyright Ac
severely hurt
hoen set for '
93m radio st
Wberadic
radio 5mm:

Satell
XM and SiriL
chartriels the
100 radio ch.
Smas- Ther

absorbed int

minim IO adi

Commie-ii

that, an additional 300 percent is due to renew usage for nine months

WM: www.beradio.com). In order to prevent paying
the significant fees, some radio stations have inserted new promotional spots
or other non-AFT RA member commercials on the online audio signal. Others
have stopped webcasting altogether. Whatever the stations choose,
commercials are now at a huge disadvantage due to this ruling.

Another roadblock for radio stations was put up in August 2001. The
court ruling on August 3, 2001 forces radio stations that stream to pay
royalties to musicians. This ruling confirms that the Digital Millennium
Copyright Act of 1998 applies to radio broadcasters. This ruling could

severely hurt the growth of radio station streaming initiatives. No rate has
been set for the royalty fees, but all the fees will be retroactive to the time that
each radio station began streaming (Currents Online-August 2001:
www.beradio.com). Due to the AFT RA fees and musician royalty fees, many
rad io stations across the US. have completely ceased their streaming efforts.
Satellite radio is also a new competitor for traditional radio listeners.
XM and Sirius are the two companies who are both launching satellite radio
channels that transmit digitally. Satellite delivered radio will provide about
1 00 radio channels that can be listened to anywhere in the entire United
St-ates. There is a monthly fee of between $10 and $12, which could be
at>S<arbed into a monthly lease for receivers in cars. XM has a budget of $100
"hi "ion to advertise the service and major investors include Clear Channel

communications, DirecTV and General Motors. Sirius has raised $1 billion

17

and has p
will be ver
mflwn
mme
to happen
thw
En
has
disappear.
Specializes
Paragon p
The comp;
andheUl
March 0I2
listeners 3!

513M that

and has partnerships with Ford, BMW, and DaimlerChrysler. Most channels

will be very specific niche formats, such as News, Talk, Reggae, Alternative
and Latin. Some of the stations will be non-commercial, making them even
more tempting to consumers. XM expects the complete roll out of its services
to happen by November 2001 (Alleyne 8). Sirius has delayed the launch of

its service until 2002.
Even given the increase in potential competition from the lntemet and

satellite delivered radio, traditional AM and FM radio are not going to

disappear. Paragon Research is a research and consulting firm that
Specializes in traditional media, emerging media, and entertainment.
Paragon provides strategies for media companies to increase market share.
The company is based in Denver, and has offices New Hampshire, California
and the UK. Paragon Research released a study about Alternative music in
March of 2000. Paragon surveyed 704 self-identified Alternative music
"steners ages 15 to 39, with a 60/40 ratio of males to females. Paragon
stated that Alternative music listeners use traditional radio as their primary

sc->Llrce for Alternative music. The breakdown is as follows:

M Percent who state radio as their grimam Alternative music
F\l—Irg_e;
F. 1 5-24 79
F. 25-34 63
- 35-39 77
M . 15-24 71
M . 2534 78
1M . 3539 78
Total Female 73
Otal Male 75

Table 1: National Aitemag've Study, Paragon Research, March 2000.

18

The ;
age groups
average pe
average pe
media. with
television (\
computer p
such as sor
NeoMofl
oMamm
bl flee and
Webster, Pr
amount oft
such as Na
radv Slalior
Trad'lllonal 1
me C0meet:

‘6 rr

The above figures illustrate that Alternative music listeners in many
age groups continue to listen to the radio to hear the music they like. The
average person also spent a considerable amount of time with radio. The
average person in the year 2000 spent more than 9 hours a day consuming

media, with nearly 80 percent of their time spent with radio or some form of
television (Webster, Phalen and Lichty 11). Napster and Lime Wire are free
computer programs that enable lntemet users to locate and share media files
such as songs or videos with anyone else who downloads Napster or Lime
Wire onto their computer. Downloading means to load a file from the lntemet
onto a personal computer. These programs allow users to download music
for free and create their own playlists. Based on the numbers from the
Webster, Phalen and Lichty, the average person is still spending such a large
amount of time with radio or TV daily. So music software sharing services
suCh as Napster and Lime Wire may not be a horrible threat to music based
rad io stations. New technology does not always replace old technology.
Traditional radio stations that embrace new technology may be able to fight

the competition coming from file sharing lntemet programs.
As mentioned, file sharing programs such as Napster and Lime Vlfire

are new forms of competition for radio. As more and more of these music
c’lal‘lflets pop up, it could mean less and less time spent with radio. To maintain
time spent with radio, or better yet to increase it, it is necessary for radio
stations to work harder. To get on a level playing field with file sharing

services, radio stations can use their clout with record companies to capitalize

l9

wwwwz
companies t
exclusive mi

Anott
and AM radii
News/Talk r;
The largest g
The music it
totalk and A
Programmer
listeners bac
audience res
’Bdm station

Finally
radio listenin
little at High‘
CEO of The
based in Aus
He also has
netwOrlrs. H.
W! five DErc

F$180;an is 56

We mol’liin

on the appeal of downloading music. By working with the major record

companies that radio stations know so well, stations can offer their own

exclusive music downloads on their web site.
Another issue in radio today is the success of talk and AM radio. Talk

and AM radio, long considered dead, are doing extremely well. In Fall 2000,
News/Talk radio stations had the highest listenership of any radio format.
The largest gains were from adult listeners between the ages of 35 and 64.
The music formatted radio stations that might take a hit from losing listeners
to talk and AM radio are Oldies and Album Oriented Rock (Bachman 16).
Programmers at those formats have the task of finding ways to get their
listeners back. More news and local information may be the key. Again

audience research is important to find the best way to attract listeners to a

radio station.
Finally, one other issue for the radio industry today is that much of

fan io listening is secondary. Today most people do not gather around their

r ad io at night, like in the past before TV was invented. Robert Balon is the

C EC of The Benchmark Company, a broadcast research and consulting firm
baged in Austin, Texas. Balon has conducted research in every radio format.

He also has done a considerable amount of work with talk radio stations and

hematite He noted in his book, The New Rules of the Ratings Game, that

0"- Iy five percent of radio listening is primary (10). The other 95 percent of
IiStening is secondary, such as in the car, at work, while doing housework or

'n the morning while getting ready for work or school. Listeners may be able

20

to better recs
or she heard
instead of jus
promotions tl
ahmmh
are listening.
may help dis
explained, '1
tormemselvr
limit) of lists

Specifically t2

to better recall what he or she was doing when listening, rather than what he
or she heard. This makes the job of a program director more complex.
Instead of just playing what music has tested well and coordinating
promotions that are appropriate for the target audience, programmers must
also be in touch with exactly what the station’s listeners are doing when they
are listening. Incorporating these sorts of lifestyle elements into the music log
may help disc jockeys communicate to listeners most effectively. Balon
explained, “The more one understands their lives and the rituals they create
for themselves throughout the day, the better one can market a station to a

group of listeners” (12). For example, some very successful radio stations

Specifically target at work radio listeners.

21

Definition
The is
time that me;
leader in con
audience me
advertising a
radio networ
Arbitron aim
The a
pepple tuner
Who have ra
Citi and its 5
Sham ‘5 anc
definition of
Dailicmar ra
girth perm
Acco-
in abour 25C
by a We ,a
to rim-m0" p
Milena; FEp.

examine ne1

CHAPTER 3
RATINGS

Definition
The term “ratings” is a broad term for quantitative data compiled over
time that measure audience size. Arbitron is a company that is the worldwide
leader in compiling radio ratings. It is considered the standard in quantitative
audience measurement for the radio industry. Radio stations, advertisers,
advertising agencies, media buying services, national representative firms,

radio networks, radio syndicators and other radio industry vendors use

Arbitron almost exclusively.
The actual definition of a Rating is the percentage of households or

PeOpIe tuned to a particular radio station, out of the total population of people
Who have radios in a certain market. Arbitron defines a market. It is usually a
City and its surrounding area, such as Lansing/East Lansing or Detroit. A
SI“are is another common piece of data used by program directors. The
de‘l‘inition of a Share is a percentage of households or people tuned to a

pa l‘ticular radio station, out of all those people who had their radio on at a

9 i\Ien period of time in a certain market.
According to Arbitron, a seven day diary is used to measure audiences

in about 260 markets in the United States. Survey participants are selected

by a pure random selection process and over one million people return diaries

to Arbitron per year. In addition to local market ratings books, county and

national reports are made to examine listening on a larger scale, as well as

eNtamine network and syndicated listening.

22

Rating
many' but no
data mention
for radio stat
or every sea
weeks oi rer
Basically, ti
station can

An ir
M in t
‘3le static
Station fart
abbreviatir
listeners V

”OUT DQfS

Ratings and Shares are quantitative data. These figures answer “how
many” but not “why.' Ratings and Shares are the most common forms of
data mentioned about radio stations. These figures are compiled into books
for radio stations. Ratings books are put together once a year, twice a year,
or every season, depending on market size. Each book contains twelve

weeks of records that are divided into three month long trend periods.
Basically, the higher the Ratings and Shares a station has, the more that
station can charge advertisers. Higher Ratings equal more money.

An industry newsletter published by Arbitron biannually is called a
. In the Spring 2001 newsletter, there was an explanation of how a

News
radio station performs in a ratings period. Two things determine how a radio

 

Station fared: Cume and Average Quarter Hour (AQH) persons. Cume is an
abbreviation for cumulative and expresses the total number of different
"steners who tune in to a radio station in a given week. Average Quarter
Hour persons is the average number of listeners tuned in to a radio station for
at least five minutes in an average 15-minute block. The combination of
chine and time spent listening equal the Average Quarter Hour Ratings and

Average Quarter Hour Shares. Many program directors, general managers

and owners are not aware of this (PD News, Spring 2001).

23

 

Strengths

We
electronic
speaking.
supported
do this, he
aMMm
to radio st
station. A
(age and :
program
And. Arbir
This way .
demogra;

Value of a

Strengths
Webster, Phalen and Lichty said, “In order to sell commercial time, the

electronic media must attract the audience that gives value to time. Broadly
speaking, that is the job of a programmer. In the world of advertiser-
supported media, the programmer sets the bait that lures the audience. To
do this, he or she must know who comprises that audience” (35). Ratings
are the guidelines to setting advertising rates and they are what delivers profit
to radio stations. Ratings basically say how many people listened to a radio
station. Additionally, Arbitron data shows advertisers what type of person
(age and sex) listened at a certain time. Arbitron data also tells a
Programmer how often these people tune in and out and how long they listen.
And, Arbitron data tells if a person listened in the car, at home or at work.
This way an advertiser can decide on the best time to target a specific
demographic audience. Again, increased audience size means increased
Va I ue of advertising time.
Arbitron also supplies information on P1 and P2 listeners. P1 listeners
a r e those who chose a given station as their favorite. P2 listeners are those
who chose a given station as their second favorite. By examining this
i"“l"<3rmation, program directors can learn about the percentage of people who
chose their station as their favorite and a breakdown of percentages for all the
d i‘l‘il’erent stations they chose as their second favorite. Program directors can
a '80 see the percentage of their listeners that are P2 listeners and a

b"eakdown with percentages of every station that is the first choice for them.

24

his is a useit
competitors.
Market
Examples inc
dem
the age range
Arbitrc
but also on ill
Glide and is r
Workplace 31
they have m
attracr new |
Furth
dai the stat
Manned i
AM to 10 A
Shares for
on a Daniel
m0” per

396 of hon

This is a useful way to find out what stations are a radio station’s main
competitors.

Market and demographic information are included in Arbitron data.
Examples include population size, ratio of men to women in a market and
number of people from every race in the market. In addition, Arbitron details
the age range that the largest percentage of listeners a radio station has.

Arbitron not only has information on where people in a market listened,
but also on where listeners actually live and work. This is broken down by zip
code and is presented with a percentage of listeners in each zip code for
workplace and for home. This is a way for program directors to learn where
they have many listeners and in what areas of a market they can work to
attract new listeners.

Further, Arbitron can tell programmers in what programs and times of
day the station is most successful. Arbitron has data on how a station
performed in every daypart. A daypart is a block of time in the day such at 6
AM to 10 AM or 3 PM to 7 PM. A programmer can look at Ratings and
Shares for a station for an entire week, a single day, or even a four hour block
on a particular day of the week. Graphs are also available to illustrate how a
station performs each hour in a day. There is even a breakdown based on
age of how many quarter hours people spend with a radio station in a week.

Ratings books can help find the key to a problem a station may think it
has with a particular radio program. For example, if a program’s Ratings are

lower than acceptable, it may be because fewer people in general listen to the

25

radio at the ‘
atthe above
and that wil
Ratings for
medium. sr
Listt
specially
listening ir
hfonnatio
interpret“
lifegramn
The numt

ln

radio at the time the program airs. Program directors can find out by looking
at the above-mentioned graphs. Listeners may have tuned to another station
and that will be reflected in higher Ratings figures for another station. Or
Ratings for every station may decline, reflecting the choice to use another
medium, such as television, at that time of day.

Listening trends can be carefully examined with Arbitron data. This is
especially useful to program directors. It cannot tell a programmer why
listening increased or decreased, but when it happened. After finding out the
information, programmers can try to prevent tuneout in the future by making
interpretive assumptions. These assumptions may suggest shifting the
programming schedule or possibly canceling programming that is not getting
the number of listeners wanted by a station.

In addition to looking at listening trends by hour and day, there is
another effective way to examine listening trends. Program directors can look
at figures that show what station a specific radio station’s P1 listeners listened
to most often six months prior to filling out the ratings diary. The list is
basically a prior recall of diary keepers. Recall is the ability to remember
some part of the name of a radio station. The percentage listed next to each
radio station is the number of current P1 listeners who said they listened to
that station six months ago. That number expresses the percentage of
listeners a station lost to the programmer’s own station. If a programmer’s
own station is listed, then that percentage is the number of people who have

been listening for at least six months. Likewise, a program director can look

26

homers
ohershhi

An
cdthkr
mmwhr
46) Excl

Ct
Cuntadu
shionst
Cmedt
the mark
’W. Air
numbers

indiilidu;

kWhit

‘iiCang
WWBn

eqUen

{Oyam

Cline,“
andlJcl

by3in

at other stations’ lists to see if he or she lost any of his or her listeners to
other stations in the market.

Another useful type of information ratings books provide is a statistic
called Exclusive Cume. This is the number of people who listen to just one
particular radio station during a specific daypart (Webster, Phalen and Lichty
46). Exclusive Cume is a measure of station loyalty.

Cume duplication is also a useful piece of data found in ratings books.
Cume duplication is the term for a statistic that lists all the combinations of
stations that individuals heard, which is also a measure of station loyalty.
Cums duplication is illustrated through a chart that lists every radio station in
the market (or every format in a market) across a column and also across a
row. At each intersection of each row and column, there is a number. The
numbers represent a percentage of people who listen to each combination of
individual stations or combination of formats.

In Ratings Anahrsis: The Theory and Practice of Audience Rflarch,
loyalty is said to be important to programmers for three reasons:

-It can give them a better feel for their audience and how they use
programming.

-Audience loyalty is closely related to advertising concepts like reach and
frequency, so it can have an impact on how the audience is sold.

-Loyalty can provide an important clue about how to build and maintain the
current audience, often through effective use of promotions (Webster, Phalen
and Lichty 44).

Ratings books usually measure another factor that illustrates listener

loyalty called recycling. Recycling calculates the number of listeners who

27

listened in |
Lichty 45).
and ahemc
and lrom w
afternoon it
same radio
perhaps as
Ther
Arbitron. A
radio statio
director 631
iii? identify
med sta'
itself Vary (
West r
be identify
Was the Ca
{enemy 0
As i
“991mg I
not he“, n

pmgtam d

a”ails it

listened in both morning and afternoon drive time (Webster, Phalen and
Lichty 45). Morning and afternoon drive times are the times in the morning
and afternoon when many people tune in to radio stations in their car going to
and from work. Morning drive is generally considered 6 AM to 10 AM, and
afternoon drive is generally from 3 PM to 7 PM. People who listened to the
same radio station in the morning and afternoon are loyal listeners, and
perhaps as a captive audience, more attentive.

There is another worthwhile piece of information that comes from
Arbitron. Arbitron compiles all the ways diary respondents referred to every
radio station in a market. This is a test of diary keeper recall. A program
director can look at this list and see if his or her station is doing a satisfactory
job identifying itself. If there are only a few similar responses, such as the
correct station call letters, slogan or dial position, then the station is imaging
itself very well. But if there are many different responses and some are
incorrect, then a program director knows right away that the station may not
be identifying itself consistently enough. He or she will also know whether it
was the call letters, slogan and/or dial position that listeners identified
correctly or incorrectly.

As will be stressed again and again, research may help program
directors. It can take the guesswork out of the process. Program directors do
not have to compile ratings data themselves. Arbitron does that for them.
Program directors purchase the information and Arbitron will even help them

analyze it. Ratings should always be used in conjunction with qualitative

28

research
cannot.
Weakne
T
Second.
of rating
n_ot to a
audienc
certain
though,
choice
been b

at wont

research though. Qualitative data answers the “why” questions that Arbitron
cannot.
Weaknesses

The first thing to know about Arbitron data is that it is all gs_ti_[_n_a_lt_e_s.
Second, this data can only partly help a program director. The main purpose
of ratings data is to set advertising rates and make money for a radio station,
not to aid a programmer in choosing the best songs or shows for his or her
audience. Ratings tell the quantitative facts about people who listened to a
certain station at a certain time. Ratings do not tell any qualitative data
though, such as My people listened to radio stations at a specific time. The
choice may have been because of convenience or preference, or could have
been because the individual had no choice in what to listen to when they were
at work or at the mall, for example. Ratings are most useful to station
managers and sales managers. They see audiences as a commodity.
Programmers generally do not. Knowing how many people listened is
important, but also knowing why they listened is important to a program
director. Ratings are of little help to a station in determining what their future
will look like either. Ratings simply define what happened in the past. Only
guesses about the future may be made from reviewing ratings data.

The next thing to keep in mind is that the average diary keeper is not
the average radio listener. Robert Balon found that as radio listenership
increases, so too does the likelihood of accepting a diary if a phone call is

made to that household. On the other hand, Balon said that “because an

29

individual at
any more lil
even thougl
listener doe
them to be

Furtl
subtraction
Knowing th
listening, R
“0 the mu
adding a St
around, by
aUdience' (
“Superior
here be 8

Tim
ma”)! only
Snot going
Staten in a
Albino” or
trioer 00,"
”edit; Static
numbErs b

individual accepts a diary does not make him or her the authority on radio or
any more likely to accurately record listening better than anyone else.” So
even though diary keepers listen to the radio more than the typical radio
listener does, they still are not as accurate as program directors would like
them to be (109).

Further, there is no linear relationship between the addition and/or
subtraction of music and subsequent audience reaction (Balon 103).
Knowing this, no program director can assume that increased time spent
listening, Ratings or Shares occurred because he or she added a new song
into the musical rotation, for example. Balon said, “Tweaking a station by
adding a song or two, changing a record or moving a commercial stop sat
around, by and large is not going to have any huge impact on the radio
audience” (103). Balon also noted that broadcasters constantly make the
assumption that no matter how miniscule a change they make, so too will
there be a move in ratings. He says this is wishful thinking.

Time spent listening is also an estimate, but what is worse is that it is
really only listener perception (Balon 103). Even the most loyal diary keeper
is not going to have exact times for how long he or she listened to a particular
station in an entire week. But regardless of the recorded time spent listening,
Arbitron only requires diary keepers to record five minutes of any quarter hour
to get counted for the entire fifteen minutes. This may initially sound great to
radio stations, but the more estimating that occurs, the less accurate the

numbers become.

30

Anot
idenerrec:
pshons.|
station. the
actually les
they are as
the mall, or
iatpoorre
down that t
This could
even forget
chise,yy5
days a Wee

"lat
Siiceolhlrr
”hmmag
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hisr
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tohalilten

Another problem with time spent listening is that Arbitron relies on
listener recall. Arbitron does not supply station call letters, slogans or dial
positions. If a particular ratings book showed lower numbers for a radio
station, the reason for the dip in numbers could be low listener recall, not
actually less time spent listening. Most people cannot fill out their diary while
they are actually listening. it is pretty difficult to fill out a diary in the car, at
the mall, or even at work. The problem here is that there is no way to prove
that poor recall was the reason for lower numbers. Participants may write
down that they listened to something other than what they actually listened to.
This could be the product of peer pressure or embarrassment. They may
even forget all the stations they tuned in to on a particular day. And, of
course, it is possible for a listener to tune in to one station for 8 hours a day, 5
days a week, and simply not remember its name.

In addition, Robert Balon found that diary keepers are typically like a
slice of “Middle America.” They have a lower to middle class income. He
said that as income rises, the inclination to fill out a diary declines (111).
Formats like classical or public radio with generally an older, more upper
class target audience could be disadvantaged.

It is equally important to note that data can easily be inconsistent from
one ratings book to another. Balon acknowledges three main reasons for this
to happen. The first is obvious: listeners made a conscious decision not to
listen. Second, a disproportionate number of listeners did not get a diary,

received one and did not return it or refused the phone interview asking them

31

to participa
asurvey o
the amour
position w
station car
what one

decrease

to participate. The third option is that the station’s listeners were contacted by
a survey company and participated in the process, but were unable to recall
the amount of listening they did to the station or the call letters or the dial
position with any degree of accuracy (113). There is absolutely nothing a
station can do to prevent ratings inconsistency because it is too hard to tell
what one or more of the three reasons caused the numbers to increase or
decrease.

Another problem is with the distribution of diaries. No person living in
any type of communal living quarters, such as a college dormitory, will receive
a diary. So college campuses are never included in Arbitron’s samples. This
can be a huge disadvantage to a radio station such as WDBM in East
Lansing, Michigan, which has a target audience of college students.

Lastly, Arbitron uses a practice called sample balancing (Balon 30).
This process employs a statistical weighting process to adjust numbers up or
down to better match population estimates for a particular demographic
category.

Interpretation

Arbitron suggests looking at trends of three to five books to understand
Cume. If a station’s current Cume is the same or down, a station may need
to work on attracting more listeners. Arbitron suggests that marketing is the
easiest solution. If there is not enough money to do the appropriate amount
of marketing, it is a good idea to check with other stations owned by the same

company as the station that needs improved Cume. Radio stations can now

32

snap prom
amdio stat
reel (E

To t
realize that
past. Arbit
listening' 2
come bacl
Domes bar
has of gen
Spent liste
aladio st;
toenable .

In a
8k"galls a
mammab,
may help

numbers l

swap promotions with each other at no cost. By looking at Cume duplication,
a radio station can find out what other stations its listeners also listen to in a
week (PD News, Spring 2001).

To understand time spent listening, a program director has to first
realize that today people cannot listen to the radio as much as they did in the
past. Arbitron suggests the use of benchmarks such as “appointment
listening” at certain times (8 am, noon, 5 pm, etc.) to remind people to
come back to a radio station many times during the day. The more a listener
comes back (and records it in his or her diary), the better chance a station
has of getting more credit for time spent listening. This is referred to as “time
spent listening per occasion” (PD News, Spring 2001). One essential part of
a radio station’s web site is the program schedule, in which primary function is
to enable appointment listening.

In addition to using benchmarks, radio stations that have catchy
slogans and creative programming may make a radio station more
memorable and keep listeners tuned in for longer periods of time. Doing so
may help a diary keeper become more accurate. Instead of only relying on
numbers in a ratings book, program directors that also rely on themselves
and other forms of research may be able to better find out how to increase
time spent listening.

Investing in ratings books gives a program director much worthwhile
information. Ratings used in conjunction with qualitative research and other

quantitative audience research methods can help give the clearest picture of

33

a radio audi
songs to pit
happened.
hour, day. a
radio static
not utilize i
probably r

needs oii

a radio audience. Ratings alone will not help a programmer decide what
songs to play or not to play. Nor will they determine why certain things
happened. They will however, examine listening trends that vary among by
hour, day, age and sex, as well as other important demographic variances. A
radio station may have great ratings and a large profit, but if the station does
not utilize other types of research in addition to Arbitron data, the station will
probably not have a clear picture of whether or not it satisfies the wants and

needs of its target audience.

34

Definitior
An
aradio st
the contn
ibraries r
auditoriu
not atwa
addition:
results c
ieshent
P
reftttirer
RefitUire

a Panic

CHAPTER 4
AUDITORIUM MUSIC TESTS

Definition

An auditorium music test is a quantitative research method that allows
a radio station to test a large number of songs in a short period of time with
the control of a moderator. Auditorium music tests are often used to test
libraries of familiar music (MacFarland 150). Program directors conduct
auditorium tests to find out specific song preferences of listeners. Listeners do
not always enjoy hearing their favorite songs. Removal of some songs and
additions of others can freshen up the overall sound of a radio station. The
results of an auditorium music test will basically reflect what a station’s
freshened up playlist could look like in a dynamic sense over a period of time.

A market research firm recruits a group of participants based on strict
requirements made up by the radio station and/or consulting firm.
Requirements could be a specific demographic or a specific kind of listener of
a particular radio station. A neutral, local location such as a hotel banquet
room or a movie auditorium is also rented out for an approximately three-hour
period for the testing to take place. Participants listen to song snippets called
“hooks” that are played back to back for about one and a half hours at a time.
As the hooks are played, participants rate the songs on a scale of strongly
dislike to strongly like, and also may add if they are unfamiliar with the song
or if they are tired of hearing it. Tom Kelly is President of Kelly Music
Research, Inc. based in Philadelphia. He has specialized in music listener

surveys since 1991. He has experience as a disc jockey, program director,

35

oonsultar
the opini

J2
Jacob M
stations
Classic l
The job
auditorit
given to

later ch:

consultant and researcher. In his book, WW
Etpmal Sugass, he said that the goal of auditorium music testing it to project
the opinions of listeners that can impact ratings (71).

Jacobs Media is a radio consulting firm based in Southfield, Michigan.
Jacob Media has clients at radio stations across the US. ranging from Rock
stations to Public Radio stations. Jacobs had a client that was a Cleveland
Classic Rock station that hired Jacobs to conduct an auditorium test for them.
The job assigned to Jacobs was to conduct a mini-perceptual study and an
auditorium test for 600 songs. A perceptual study is a survey questionnaire
given to a random sample of a population, usually done over the phone. A
later chapter will be devoted to perceptual studies.

Including a mini-perceptual study at an auditorium test is smart for
several reasons. First, the sample size for a survey is significant enough,
with approximately 100 people attending. Second, the sample population is
very specific: the radio station’s P1 listeners and a few P2 and P3 listeners as
well. P1 listeners are those who say that a specific station is their favorite.
P2 and P3 listeners are those who choose that station as their 2"6 and 3'“
choices. Third, a mini-perceptual study is a nice compliment to go along side
an auditorium music test as a backup, or as further insight into a specific
population of listeners. Mike Henry works for Paragon Research and
published an article entitled, “Programming To Win” at the Paragon Research
web site. He made a valid point when he said, “just because they like it

doesn’t mean that they want to hear it on your station” (www.paragon-

36

researchi
otter kinc
Then it ar
same ion
hmmhhy

Ti
oonsistin
listeners
Peeple s
listening
mmkm

Shengt

research.comfindex_radio.html). A mini-perceptual test might uncover what
other kinds of music and formats of radio stations the participants enjoy.
Then if any “control” songs (songs included even though they are not in the
same format as the other songs in the auditorium test) get high scores,
hopefully the mini-perceptual can explain why they did.

The market research firm successfully recruited a sample not only
consisting of a good range of ages, but also a sufficient amount of P1
listeners. The participants’ ages ranged from 32 to 47 and 88 percent of the
people said they listened to classic rock on a frequent basis, with 12 percent
listening occasionally. These numbers show that everyone at the auditorium
music test liked the genre of music they were going to rate.

Strengths

Tom Kelly said, “The listener is the fuel that propels the money rocket.
A common mistake many operators make is to forget the importance of
music. They become so occupied with all the other aspects of the
station—jocks, promotions, marketing—that they forget the listener’s priority”
(15). In radio formats targeting a more tightly defined niche, such as
Alternative Rock, listener interests change all the time. “Without a broad base
audience to fall back on, staying on top of trends and music styles is an
absolute necessary,” Kelly also stated (24). Dave Richards is Program
Director at WKQX-F M. WKQX is a commercial Alternative station in Chicago.
He pointed out that “music changes so rapidly that six months after your last

test, there can be a whole genre of music or a few clusters that have just

37

burned or
We have
tuneout ta
Asong m.
hearing it.
are often r
things anc
The
songs can
participant
Mike Henr
Station's rr
Within thos
Through a-
rtiusic:
.Wryay Song

'Mai Song
iii. and

that Song

This
Dior/trying th
Dlayyyst and

burned out or don’t matter anymore. Music research is more than important.
We have to use it“ (Kelly 24). Burn factor and unfamiliarity are two major
tuneout factors (Kelly 105). Burn factor is the amount of tiredness of a song.
A song may be well liked by an audience, but the audience may be tired of
hearing it. If that is the case, it will have a high burn factor. Unfamiliar songs
are often undesirable as well. Auditorium music tests measure for those two
things and can be extremely helpful in playlist adjustment.

The major strength of auditorium music test is that a huge number of
songs can be tested in one sitting in a controlled environment. Also, the
participants are handpicked to allow for a significant sample for a station.
Mike Henry said that a programmer should “let the listeners decide what your
station’s music boundaries should be, then build a great sounding format
within those boundaries” (www.paragon-research.comfrndex_radio.html).
Through auditorium test, stations can find out their listeners” decisions on
music:

-What songs their listeners need a break from,

-What songs they have not helped their listeners become familiar enough with
yet, and

~What songs they like and dislike.

This data helps a program director keep the station’s rotation fresh by
providing the highest testing songs that would work on a radio station’s
playlist and the lowest testing songs that should be scrapped (temporarily or

permanently) from the station’s rotation. 600 songs were tested in a 3-hour

38

 

 

window
prim to

Wealth

fora re
invitatic
amount
just will
untistec
Particip
bill will i

l

cause;

window. Participants were paid $50 for their time, which is about the average
price to pay for this kind of study.
Weaknesses

There are many weaknesses of auditorium music tests. It is very hard
for a recruiting firm to get in touch with suitable participants, because
invitations to participate are given over the phone. As a result of increasing
amounts of Tale-marketers, more people have caller ID. on their phones or
just will not talk to people they do not know. Many phone numbers are
unlisted. If a recruiting firm cannot get through to people to ask them to
participate, more calls will have to be made and the larger the radio station’s
bill will become.

Next, the huge number of songs tested, even being just snippets, will
cause a large amount of fatigue for the study participants. Knowing that,
scores for the first half of the songs could easily be much higher than the
second half just because participants got tired, pg because they did not like a
particular song. It has been tested and proven that as long as auditorium
music tests are no longer than two hours and no more than 500 songs are
tested, fatigue is not an issue (www.kasoff.com). Radio stations do not
always follow that model though. At the Cleveland auditorium test, 600 hooks
were tested and the whole test lasted about three hours. What order should
the songs be put in? Since the test can only be administered once, there is

no way to mix up the songs to account for possible low scores based on

fatigue.

39

kno

Alta

isvr

Ger

pert

afiv

Sim;

Moreover, the song snippets can be way too short for some music
formats. For Classic Rock stations, which typically play many very well
known songs, the hook length is probably appropriate. For a format like
Alternative or Rock that would likely test songs that will not all sound familiar,
the hook length is way too short. Unless participants hear longer snippets, it
is very hard to form their true opinion of the songs.

In addition, what part of the song best represents the whole song?
Generally it is the chorus, but there is no hard and fast formula to get a
perfect sample of a song. Music is more of an art than a science, and finding
a five to six second representation of a three to seven minute song is not that
simple.

Another weakness of auditorium music tests is the fact that regardless
of pre-planning, very often things can go wrong. The Cleveland auditorium
test was no exception. Even though a classroom-style room was requested,
no tables were set up. This was a necessity, since participants have to score
the songs on a Scan Tron sheet. Technical problems may occur as well. The
radio station engineers who brought the cassette player for the auditorium
test joked that it only cost $7. Fortunately, it was functional. The machine
even produwd a decent sound, which was in itself luck. A common problem
at auditorium music tests is terrible-sounding audio equipment, which can
skew results.

Other possible problems include: power outages, lack of refreshments

for participants, broken and/or not enough pencils and room temperatures

that ar
issue i
envirc
songs
they a
This r

to do

twith
lese

Get
all t

C0v

that are comfortable for some but uncomfortable for others. There is also the
issue of an unnatural listening environment at auditorium music tests. The
environments can often be too crowded. Participants are not apt to score the
songs the same way they would at home, at work or in their car (places where
they actually listen to the radio). They also may not pay attention to the rules.
This may occur because they tune out or they forget what they are supposed
to do after a long period of sitting. Auditorium tests require a large amount of
busy work, so participants may get bored and fill in random responses instead
of recording their true thoughts. This fatigue or boredom can even cause
people to leave during a break.

Even though market research firms are able to screen participants
according to a very specific chosen demographic, those who participate may
be more of a “research hog” than be a real P1, P2 or P3 listener. A “research
hog” is like a professional test-taker that enjoys having his or her opinion
heard and/or wants some extra cash. Participants who come in to the study
without any pro—conceived notions about they are taking part in will give better
results because they will be less biased. As mentioned, it is hard for market
research firms to get a hold of people over the phone. If too many “research
hogs” are recruited, the results may not actually represent the appropriate
demographic. Also, there is a problem with getting a sample of people from
allover the entire radio market. In large markets, the listening region could
cover many counties. It is very difficult to get people to come to an auditorium

test from all over a geographic region. The sample can be more heavily

41

weight
achiev
only be
deter

affect

statior

Next,

trade

10 a r
radio
an in
name
Rad;
501th
each
muse

Can,

weighted toward one area of town, which also adds to the task of a trying to
achieve statistically valid sample. According to Tom Kelly, the sample can
only be drawn from a geographic area no more than a 15—minute drive from
the test location (51). Lastly, regardless of who is chosen, bad weather can
affect the amount of participants who show up.

Another problem with auditorium tests is that they are expensive for a
station to carry out. First, a hook company must be hired to compile the
hooks for the 600+ songs onto tape, which costs around a dollar a hook.
Next, the hotel room must be booked. Fortunately, this is usually done on
trade. Trade is the same as barter: goods are exchanged instead of cash.
For example, a hotel or theater that offers a free room for an auditorium test
to a radio station will receive free advertising for the hotel or theater on the
radio station. But there are more fees. The market research company is paid
an incentive of approximately $60 per person to recruit and $50 goes to each
participant. In addition, there is the need for a software program such as
Radio Computing Services Song Track to process all the data. This type of
software program not only must be purchased, but also has a licensing fee
each time it is used for a new auditorium music test. Additionally, stations
must pay either a research company or consultant for their services, which
can range from $1,500 to $25,000, depending on the firm.

Further, there is much busy work on the research company or
consultant’s end. The perceptual questions and possible responses all have

to be entered into a software program such as Radio Computing Services

42

kmgin
manually
Services
forperce
sides pe
reviewee
decide a
score by
Damcipa

it
cannot ;
Mflsa
ndonu
Citinerai
Mhhh

math

Song Track. Next, all the perceptual tests and all the song scores must be
manually fed through a Sean Tron machine that works with Radio Computing
Services Song Track. There were 3 sheets per person for the study (1 page
for perceptual test and 2 for the 600 songs with 2 sides per sheet), totaling 5
sides per person, or 500 feeds through the machine. Next, the data must be
reviemd for any errors. Finally, the consultant or research company must
decide on a breakdown of ways to view the data such as average score,
score by alphabetical order, fatigue, unfamiliar, and favorites of each type of
participant (by age, favorite station, etc.).

Moreover, auditorium tests alone can only measure the past. They
cannot predict the future. No brand new songs can be tested because song
hooks at auditorium tests are too short to test totally unfamiliar songs that are
not on the radio yet. Auditorium tests cannot track music trends either.
Generally, auditorium tests are done once or twice a year. Call-out research,
which happens as often as weekly, is the appropriate method for examining
music trends over time.

Finally, the most important weakness to note is that auditorium
research only tests people who already listen to a particular radio station.
They focus on a very specific target. This “super sewing” of an audience will
not bring in any new listeners. Time spent listening may increase among

current listeners, but the Cume probably will not.

43

interpre

\l
tradition
minimize
feel imp
every p

i
researc
lesearc
many i
to partt
Clearly

Additic

Interpretation

When in need of a fast response, programmers can settle for the
traditional auditorium test at a hotel or theater. To get the best results and
minimize fatigue, the environment should be positive and participants should
feel important, and most importantly have some fun. Reducing boredom in
every possible way may also improve overall results.

When in less of a hurry, a good suggestion to perfect this style of
research is to change the setting to at-home. Some firms are doing the
research by distributing a phone number for participants to call and do as
many hooks at a time as they want. Others are distributing cassettes or CDs
to participants so they may do the test at home and again at their own pace.
Clearly, over the phone testing, like auditorium testing, is an unnatural setting.
Additionally, the sound quality is bad. At home testing with a cassette or CD
may just be the smartest way to test a large group of songs when program
directors can wait a bit longer for results. At home testing will also allow a
wider range of people to take part. Busy people may be more willing to get
involved because they can take the test in several sittings as well as take the
test wherever they wish. At home music tests also eliminate the necessity to
recruit “research hogs.”

There is some control lost in administering music tests at home. Who
will actually take the test? Is it the actual person recruited? The more
stringent demographics a programmer gives a recruiting firm to screen for an

auditorium style music test, the higher the chance the firm might cheat

anyway
precaut
screeni-
ensure
Another
designe
that me
hoe of

most in

have s
group i
always
Surveg
audien
altarn;
Corteg

Mile ;

anyway. Loss of control can happen in either case. Regardless, there are
precautions built into the at-home test. Questions asked during the telephone
screening process must be answered the same way on the survey form to
ensure the correct person took the test, or it will be rejected (Kelly 70).
Another positive aspect of at-home testing is that it is the most closely
designed to the Arbitron Diary. The goal is always higher ratings. Kelly said
that making the methodology similar to a diary will hopefully attract the same
type of person that will fill out a ratings diary and get a station in line with the
most important people to them (70).

Additionally, the sample chosen for an auditorium music test must
have small age ranges, like 18-24, or 25-34, to get enough people in each
group (Kelly 89). This will make the study statistically valid. Also, there
always needs to be a mix of P1, P2 and P3 listeners in the sample (Kelly 87).
Surveying them all helps a program director hear about his or her entire
audience. Program directors who try to keep their P1s happy and also
attempt to convert P2 and P3 listeners into a P1 listener are doing their job
correctly. It is a balancing act for a program director to please his or her
entire audience.

Whether at an auditorium or at home, stations that conduct music tests
on a regular basis will have fresher sounding and less boring radio stations.
Testing once a year is an appropriate amount for stations that do not play a
large amount or any current music, such as classic rock or oldies. Testing

two to four times a year is appropriate for current music based stations.

45

Defini

mhuer
musc
apope
audio
igene
pomp.
Resee
exam
Gheg
Sonh
or 5, ;
addit

fiaho

CHAPTER 5
CALL-OUT RESEARCH

Definition

Call-out research was designed to target passive listeners who can
influence ratings (Kelly 48). This style of research is similar to auditorium
music tests. A market research company phones randomly chosen people in
a population to rate approximately 20 songs along the same scale as
auditorium tests: strongly dislike (generally with a “1") to strongly like
(generally with a “5”), unfamiliarity and burn factor. There are many research
companies across the US. that offer call-out services: Strategic Media
Research, Core Call Out Research and Critical Mass Media, Inc. are a few
examples. Some of these companies break the data down into many
categories in addition to the song’s number rating, familiarity and burn factors.
Some companies will list the percentage of people who rated a song with a 4
or 5, as well as the percentage of people who rated the song with a 1 or 2. In
addition, data is broken down further by age, sex and participant’s radio
station preferences.

This kind of research is very helpful to radio stations. It can be done
on a yearly, monthly, bi-weekly or weekly basis. Most stations that use call-
out research are those stations that play current musical releases. The
stations that use call-out research generally get results weekly, every other
week or once a month. From the results, charts are compiled. The charts

that get compiled from call-out research are different from airplay charts.

hmhyc
(Kelly 4C

Strengtt

sample .
atatime
P25. P3
results.
Dopuiat
phone e
only ab
ipicai
a respc

actually

ital gia

Airplay charts reveal radio exposure. Call-out charts reveal listener response
(Kelly 40).
Strengths

The main strength of call-out research is that a statistically significant
sample can be achieved on a very regular basis, and fewer songs are tested
at a time. Specific P1 listeners a_ng other demographic audiences (such as
P25, P3s and other stations’ P1s) are usually included in call-out research
results. This method offers comparisons to be made among different
populations. Each population is gathered randomly, usually with random digit
phone dialing. An additional strength of call-out research is that there are
only about 20 songs to test and the songs played can be longer clips than the
typical auditorium music test hooks. By playing fewer songs with longer clips,
a respondent can get a much better feel for whether or not he or she would
actually listen to it if it were on the radio.

in addition, call—out research is great for hit-oriented radio formats. At
first glance, testing only a few songs looks like a weakness. But for hit
formatted stations, this is in line perfect with them, since program directors at
those stations do not add many new songs each week (MacFarland 150).

Call-out research can be worth the price. Call-out research prices
range from $800 to $2000 a week. Call-out research companies conduct
music tests almost every week of the year, excluding the end of the year
when there are fewer music releases. Adding up the cost of call-out research

for a year may sound like expensive, but call-out research is the fastest, most

47

up to
and d
throui
on ca

Weai

thes‘

twice

out re

Scree
conh
quaiir'

dinne

up to date way to find out what current songs a radio station’s audiences likes
and dislikes. There is no work on the radio station’s part, minus reading
through the weekly results. Time is money. Spending up to $100,000 a year
on call-out research is certainly not inconceivable.

Weaknesses

The main weakness of call-out research is the sample. Sometimes
the sample does not end up being truly random, although it is supposed to be.
Occasionally a market research firm will use the same group of respondents
twice, which also should never occur. Of course, another problem with call-
out research is that it is done over the phone. Though each respondent is
screened, it is hard to tell if they are actually the demographic asked for in the
screening questions. The element of being on the phone can in itself be
confusing, whether the responses are spoken or typed. There is poor audio
quality over the phone too. And at home, there are many distractions like
dinner cooking, children fighting and the television blaring.

The possibility of interviewer bias is also a weakness of call-out
research. Tom Kelly stated that a radio station must be very careful in who
they choose to cany out the calls (63). A young, passionate person may
skew results based on their own opinions.

Additionally, call-out research mainly tests current music. This sounds
appropriate for any station that plays new music, but it has the potential to
cause skewed results. Often times there will be many “unfamiliar“ and “tired”

responses in this situation.

 

creai
cout-
Stati
histr

lnte

“Music testing alone is not enough to win radio wars,” Tom Kelly said
(118). People listen to the radio for more reasons than to hear music. They
want to be entertained, they want information and they want spontaneity.
Programmers today who are aware that there are many other factors than
music to concentrate on, such as station imaging and on-air promotion, will
have a more successful radio station than programmers who are not aware of
such factors. Incorporating more into the station’s music logs than just music
is a way to illustrate that knowledge. Today, many stations play the same
songs as each other. Because of this crossover, the emphasis shifts to
creating an image for a station with more than just music. A program director
could almost be called an image director. His or her job is to make a radio
station sound different than other radio stations. If there was any time in radio
history that creative people were needed, it is now.
Interpretation

Making sure that all songs that are tested have been in rotation for a
long enough period of time will increase the amount of familiarity to a good
chunk of a station’s audience. This could mean songs that have been played
100 or more times. This number will vary from format to format, but it is
important to all stations. Call-out results that have all unfamiliar ratings next
to each song will not be very helpful to a program director.

Radio stations that play current music will reflect the tastes of its
audience by conducting call-out research. Call-out research will keep a

playlist fresh, let programmers see the musical preferences of many different

49

types e
ran ate
piayec
a rep
not to

eitest

types of people and allow them to analyze musical trends. Call-out research
can also aid a programmer when he or she decides how often songs can be
played. Interviewer bias and inappropriate samples can be avoided by using
a reputable, trustworthy market research firm. People today are busy and will

not tolerate a long interview. Short calls are the only kind that will be
effective.

50

Defini

Sourc
his a
ionn r
Peopl
partic
34 yr
get r
and

gene

lilov

leire

mot

ext;

CHAPTER 6
FOCUS GROUPS

Definition

The National Association of Broadcasters” Audience Research
Sourcebook calls focus groups the “Tip of the Iceberg” research and suggest
it is a good first step in creating a competitive edge (61). Focus groups are a
form of qualitative audience research that involve a moderator and a group of
people sized from 10 to 20 people in a conversation for about one hour. The
participants are usually part of a radio station’s target audience, such as 25-
34 year old women or 18-24 year old men. Focus groups are often used to
get reactions to promotion and marketing campaigns, station image, formats
and programming elements (Audience Research Sourcebook, 23). They
generally last between one and one and one half hours. A market research
provides the venue for the focus groups to take place. The market research
company screens and recruits the participants and provides the facility and
refreshments. If done correctly, focus groups are conversations led by a
moderator who asks questions that stir up the participant’s interest enough to
speak freely for an hour. The goal of focus groups is to help define in plain
English what people think about a station, a style of music, or any other
related topic. Mike Henry said, “What listeners think your station does is
more important than what your station does” (www.paragon-
research.comfrndex_radio.html).

A moderator who knows the radio industry inside and out, but is also

extremely unbiased is the best person to conduct focus groups. Everyone on

51

 

he i
othe

mis-

for;

iOC

dra

list

(I

the radio station's management staff should be there to observe from the
other side of the mirror. It is too hard to try to fill someone in on what they
missed, when every response is important.

In spring 2001, Jacobs Media was hired to conduct two focus groups
for a public radio client. Both focus groups were very favorable in responding
to questions probed by Fred Jacobs. Jacobs’ client had recently made a
drastic change in it’s programming and wanted to find out just what its
listeners thought of the station and the change. Most of the reason that they
were successful was because Fred Jacobs was the moderator. He has years
of experience and asked the right questions. He was unbiased enough to ask
appropriate “what if” kind of questions. Also part of the reason that the focus
groups worked was because the participants were very passionate about the
radio station being discussed.

Strengths

The strength of focus group studies is that they give a station a live
critique from their listeners. A radio station can actually hear listeners’
perceptions in their own words. This can sometimes be sobering, because
many times listener recall is less than what the station had hoped. The
results are immediate. Focus groups can give an idea of what is going on in
the market and delve into how people bet about station programming and
personalities, as well as how they feel about competing radio stations. Focus
groups strive to provide a laid back environment so participants are able to

speak their mind. Focus groups are also good at being precursors for other

52

resee
then
prove
the li
inten

Wea'

signi
Pope

intor

ane

beie

Whit
Eith

halt

Qioi
36s
3p;

Dig.

research. They may uncover a problem a station did not know it had and
then help shape a perceptual study. Robert Balon said that it has been
proven that ‘the more a listener can tell you about a radio station, the greater
the likelihood he or she will write it in their diary or mention it in a telephone
interview” (4).

Weaknesses

The weakness of focus groups is that the sample size is definitely not
significant. With only 10-20 people per session, no generalizations about a
population may be made. The research is really just a tiny snippet of
information in the grand scheme of a research project. The comments of a
few people cannot dictate how a station programs. Focus groups are more of
an emotional check. Walter McDowell suggests, “The formal results should
belong on concepts and short on statistics" (18).

Also on occasion, one individual may dominate the conversation,
which can be troublesome. Or, some focus groups may barely talk at all.
Either way, it is not a completely objective setting. With only one to one and a
half hours to cany out the focus group, a large amount of money can be
wasted if the group is unwilling to share their thoughts. in general, focus
groups are expensive. The participants are paid approximately $50 per
session to participate. In addition, the recruiting firm company charges
approximately $50 to $100 per person recruited, $400 to $500 per session to
provide the room and $100 to $400 for food for the client and study

53

paid
SSDOl

than

the qr
group

Naho

participants. Finally, the moderator must be paid, which can range from
$5,000 to $10,000.
Interpretation

Coming up with an objective to conduct a focus group gives the
research direction. What is the radio station trying to find out? How should
the questions be phrased? Why are focus groups the best option? Are focus
groups going to be a preliminary or complimentary form of research? The
National Association of Broadcasters’ Audience Research Sourcebook says
focus groups might be done under these kinds of circumstances:
-A new station start up,
-A station is newly acquired,
-As a “check up” for an established station,

-A new competitor enters the market, or
-As a potential air talent/syndicated program evaluation method.

(Audan Research Sourcebook, 62.)

Make sure to call upon references before choosing a market research
company. Jacobs Media used a list of acceptable groups based on whom
they had been successful with in the past. If focus groups have never been
used before, ask for references. If it is a reputable firm, they will have people
who will say good things about them.

Like auditorium tests, focus groups can be successful if they have an
element of fun mixed into them. And moderators who ask probing questions
will get the most people talking. Doing so will enable both goals to be
achieved: the group will enjoy themselves and the station will hear as much

information as possible.

Open
to be
Broa
keep

’haic

No matter what the reason is for conducting a focus group, keeping an
open mind AND keeping things in perspective will enable a program director
to benefit most from the research. The results do not reflect a total audience.
Broad ideas will be uncovered, not specific answers to problems. Also,
keeping the sponsor’s identity disclosed can prevent the “halo effect.” The
“halo effect“ occurs when participants know who is putting on the study and

become reluctant to say anything bad about it (McDowell 19).

55

Definitie

sample.
always
be done
ican e
Perce;
or stat
Specih
air per
DaltiCr
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and;

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CHAPTER 7
PERCEPTUAL RESEARCH

Definition

A perceptual research study is a survey usually given to a random
sample. Sometimes it is given to a specific demographic sample, but they are
always randomly chosen, usually by random-digit dialing on the phone. It can
be done right over the phone, or a survey can be sent out in the mail. Today,
it can even be conducted on the Internet. It is a one-step research solution.
Perceptual studies can be one of three types: market (demographic), format,
or station-specific (www.paragon-research.com). Generally, the station-
specific surveys ask questions about music preferences, station images, on-
air personalities, as well as reasons why and when people listen to a
particular radio station. Perceptual tests may also ask what radio stations a
person has listened to less or more lately. They often ask people questions
about how they identify stations with options such as “the station with the
most community involvement” or “the station with the most commercials.”
The types of questions may be statistical or demographic, recall, behavioral
and attitudinal (McDowell 19). Perceptual studies can reveal a radio station’s
own strengths and weaknesses and also that station’s competitor's
vulnerabilities (Kelly 86). This kind of study can provide the most in—depth

information for a program director. It can be quantitative, qualitative, or both.

56

Streng

doing 1
so per
imagir
percer
does ‘
lwww
Cleve
got a
mini-
Roci

rema

Strengths
The strength of perceptual tests is that they tell a station what they are

doing right and wrong. Radio stations all try to capitalize on a specific image,
so perceptual tests help programmers find out if they are successful at station
imaging. As Mike Henry stated, “Their perception, as in your listeners’
perception, is definitely your reality. What your listeners think your station
does is much more important what your station actually does.”
(www.paragon—research.comfindex_radio.html). For example, at the
Cleveland auditorium music test referred to earlier, the radio station quickly
got a significant sample of their P1 listeners’ view of their station with their
mini-perceptual study. Of the 99 participants, 67 chose the Cleveland Classic
Rock station that conducted the music test as their favorite station and the
remaining 32 said they listened to it at least one hour a week. A recruiting
firm is hired to find these very specific demographic profiles to participate in
the study. Looking at the station’s mini-perceptual test, questions focused on
station images, personalities, listening habits, artists and also asked a few
lntemet questions, totaling about 50 questions. A few examples include:
-Which station does the most advertising for itself?

-Which station is most involved in the area concerts you care about?

-Which station do most of your friends listen to?

~Which station have you been listening to less lately?

57

ant

and
that
lists
will
san

aud

93C

FUR;

l

The questionnaire also asked participants’ age, sex, and their thoughts
on local radio stations, specific genres of music, specific morning show hosts
and specific music artists/bands.

Another strength of perceptual tests (unlike ratings or focus groups) is
that this style of research can help as a predictive tool. Questions can probe
listeners about any ideas that a station may want to try. And the responses
will be significant enough, since perceptual tests are distributed to a large
sample of a population.

Perceptual tests can also gauge the most popular music styles of an
audience. In a perceptual test, the names of musical artists and bands can
be lumped together by style and survey participants can be asked to rate
each group. Lany Johnson works for Paragon Research. He said, “Finding
the most popular music styles is essential to maximizing your audience. You
can use the metaphor that each style is a hill in a mountain range. You want
to see which hills are the highest and which hills will stand with others
(compatibility). if you can arrange the compatible and popular music hills
(styles) into the best array, you’ll have on of the highest possible mountain
ranges, hence maximizing your audience” (paragon-
research.comfrndex_radio.html).

Weaknesses

The main weakness of a perceptual study is that radio stations usually

live and die by the results. Stations can change their format because of them.

Further, perceptual tests are very expensive to carry out. A large, random

58

an:

alt

tor

8W

rllat

sample must be found. That is a timely task and recruiting firms must be paid
for their time.

Perceptual tests can be done as needed, which might be when a
station is bought out, or when ratings are not where a station would like them
to be. These studies can also be very time consuming for a station to
analyze. Perceptual tests can also, like any research, have skewed results
because of a bad research firm incorrectly screening participants in an
attempt to get a random sample.

Like recruitment for auditorium music tests, it is very hard to get people
to participate over the phone. It is just as hard to send a survey in the mail
because of the advent of junk mail that increasing amounts of people throw
away without even looking at it. Mail surveys are expensive as well.
Addresses must be accurate. Addresses of mobile people like college
students are often changing and will not be contained in databases
(McDowell 25). Response rate is low and slow and, of course, it is hard to tell
who actually filled the survey out.

Interpretation

The Lund Consultants is a multi-format custom programming and
management consultant group based in San Francisco and has offices in St.
Petersburg, FL and Chicago. They said that just like focus group preparation,
programmers must have specific goals and targets for a perceptual study
(http://wwdanoday.com/articleslresearchingyourlistnersl.shtrnl). The same

kind of questions must be answered. What is the radio station trying to find

59

out?

abou

respr

Havi

that

othe

will

Sur

Bill

Ste

35.

out? How should the questions be phrased? How much should we know
about our competition? How long should the perceptual test be?

Survey questions must be written clearly and concisely to get
responses that actually answer the questions. The clearer the questions are,
the better the chance that the program director will understand the responses.
Having many different people thoroughly read over the questions can ensure
that the questions are worded correctly to ask the appropriate question.

Once the goals are decided, the questionnaire should be pre-tested.
This will determine the length of the test and find any word ambiguities or
other confusions (www.paragon-research.com).

The more random the sample of respondents is, the better the results
will be. Having a good mix of P1, P2 and P3 listeners that take a perceptual
survey will give a wider array of responses (Kelly 87). Surveying all different
types of listeners can help a program director learn about his or her entire
audience. Again, smart program directors always try to keep their P1s happy,
as well as attempt to convert P2 and P3 listeners into a P1 listener.

For a station that is just starting to do perceptual research or for a new
station, the questions may be altered. Instead of asking specific questions
about stations, the questions might ask about format preferences (Kelly 88).
This is wise because it will help the station best position itself within a market.
The survey can find a void in the market and fill it. A question that perceptual
tests could ask is, “When do you listen to (or like to listen to) the radio the

most?” This style of question goes along great when asking participants

abor
tell a

amo

pr 09

ever

othe

like ‘

main

about what kind of radio shows appeal to them. Together, the answers can
tell a program director when to schedule radio shows to achieve the largest
amount of listeners. It can also give a programmer an idea of what type of
programming to offer.

There are two things to keep in mind. First, the sample should have an
even amount of males and females (even if the target audience is one or the
other) to help achieve better overall balance as well as variance of answers.
Second, like auditorium music tests, the sample must have small age ranges,
like 18-24, or 25-34, to get enough people in each group (Kelly 89). This will

make the study statistically valid.

61

 

 

 

NE

De

on

SU

he

81

CHAPTER 8
NEW ONLINE METHODS OF RESEARCH: A LOOK AT INTERNET BASED
AUDIENCE RESEARCH COMPANIES AND STUDIES ON INTERNET
USAGE

Definition

There are two main types of audience research that now take place
online. The first type is an e-mail survey and the second type is a web site
survey. Online research methods ask basically the same questions as the
traditional methods examined in Chapters 3 through 7, but are conducted by
distributing e-mails or by displaying a survey or music test on a web site.
Strengths

There are a few great reasons to research a radio audience online.
First, it is convenient for a radio station because it is inexpensive. It is also
convenient for a listener because it is less confusing than punching numbers
in over the phone and less work than returning a mail survey. Second, it is
not intrusive like a phone call or inconvenient like an auditorium music test
(Kelly 108). Third, people are spending more time online, so program
directors can try to target listeners where they spend some of their time.
Fourth, online content can be very personalized. Finally, possibly the most
important reason is certain people who might not get asked to or may not
want to participate in traditional audience research methods may want to take
an e—mail or web survey.

Dan Vallie is the President of Vallie/Richards Consulting. Before
consulting, Vallie programmed stations in New Orleans, Pittsburgh, Miami

and Richmond. He said, “The lntemet is a paradigm shift. It is inevitable that

62

practically every station will do tests via the lntemet. The Internet will
continue to weave into the very fabric of our daily lives to the point that it is
natural and we don’t give it a second thought" (Kelly 108). Kelly agreed with
Vallie. He said that perceptual questionnaires, such as the WDBM study
used in this thesis, answered on the lntemet seem to be producing responses
that align with expectations which gives hope to the notion of online testing

(1 09).

As mentioned early on, many programmers and station owners resist

change. They stick with research methods they have always used and shy
away from new methods. Doing the same research over and over will simply
give the same results. There is no real benefit in that kind of practice. Gary
Fisher and Phil Giordano own stations WAWNVZXL and KBFMIKI' EX
respectively. They tried out new research approaches and their Ratings
increased between 40 to 50 percent (Kelly 115). Instead of fearing for their
jobs, they became aggressive competitors. New styles of research, like
online research, can sometimes provide new answers to common questions.
For smaller markets with less cash flow, such as Lansing/East Lansing where
WDBM is located, online research may be a viable alternative to traditional
methods because it is essentially free to conduct. Dave Gariano is President
of Super Spots and Calibre Communications. He started in radio in 1972,
Worked as a research director and is currently a station owner. He laid it out
Plain and simple when he said, “If you want to be the best, then you better

ask listeners for their opinions” (Kelly 116).

63

There are several major companies that come to mind when thinking
about online research. Mediabase Research, a division of Premier Radio
Networks, has a web site called www.ratethemusic.com (“Rate The Music”).
“Rate The Music” is owned by Clear Channel Communications. Additionally,
Alan Burns Consulting, a US. radio consulting firm, has a site entitled
www.pickthehits.com (“Pick The Hits”). Both web sites generate data on a
regular basis that is distributed to radio and music industry professionals.
The contents of “Rate The Music” follow:

About Us

“RateTheMusic.com is a national music survey company operating out of
Orlando, Florida. The idea was conceived by three of the nations most
respected radio professionals with over 70 years of combined radio
experience. RateTheMusic.com is powered by Access Orlando and is a
product of Mediabase 24/7.

RateTheMusic.com's mission, utilizing the power of the web, is to relay
listener's feelings, likes, and dislikes concerning music, to radio stations and

record companies, ultimately influencing the music that is sold in stores and
played on radio stations.”

 

Everyone who participates is ante ‘rI ureakly drawings for
Rate Themsiccom T-shirts. We 11 givea y 100 shirts every week!

Finally. you have a voicsl “Mutual is an interactive
website that allow: you to listen to musrc, and let your opinions
be hoardl

NO MATTER WHAT KIND OF MUSIC YOU UKE . Top 40 Adult

Contemporary Alternative Country Classic Rock Urban

Contemporary Adult Album Altomative Jammin' Oldies Jazz.

Rock PoplAl‘lemativs. Oldies, or Contemporary Christi:n-

Radio Programmers and Record Company executive

craving your feedback and your opinions will help influence the

music that is sold in stores and played on the IadIo. Sign Up Now!

There '1 weekly drawings
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Figure 1: Front page ofwww .ratethemusip. com

This web site works the same way as call-out research does, but is not
meant to replace call-out data. Participants are screened on the lntemet.
Once they pass the screening, they receive e-mail invitations to take part in
music tests based on the music preference they stated in the screening
process. Songs are rated on a scale of 1 to 5, with 1 equaling “dislike very
much” and 5 equaling “like very much.” Burn and familiarity are also tested.
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This company does not send out e—mail notifications to get participants

to take their music tests. The tests are all listed on the front page of the web

site and are divided up by music style. To participate, a login and password

are needed. There are no restrictions, other than age. 12-44 year olds are

welcome to participate. Each person is allowed one vote per song.

This web site was developed because Alan Burns and Jeff Johnson

realized that pre-testing of music could benefit music labels and artists.

Therefore, their client base is record labels, artists and those in music

management. Through the service, they have successfully been able to

select hit songs. A couple of examples of hits predicted by Pick The Hits are

“All Or Nothing" by O-Town and “It's My Life” by Bon Jovi (Cummings 10).

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These two types of online research are different from focus groups,
auditorium, call-out research and perceptual tests in that the latter are
considered custom research. Custom research will never be seen by anyone
outside a radio station. These online methods, as well as ratings, are
considered syndicated research because people can subscribe to receive the
results (Webster, Phalen and Lichty 5). Right now, record companies are
using both web sites more so than program directors, but “Pick The Hits”
sends out weekly research findings to many programmers who may be
interested in them. “Rate The Music” sends out weekly faxes to radio
professionals. In the faxes are the weekly music charts for each radio
formats based on respondents aged 12 and up. The fax shows the charts for
this week, last week, two weeks ago and three weeks ago, as well as
familiarity and burn data. The fax states that the charts merely serve as
ancillary data not meant to replace a radio station’s call-out data. Since both
companies are based on helping choose hit records, hit based formats like
Contemporary Hit Radio (CHR) and Hot Adult Contemporary (Hot AC) can
benefit the most from seeing their research results. Overall though, these
web sites are less tailored to help programmers than they are to help record

company executives.

67

MM

There are several weaknesses that exist when conducting audience
research online. Just like in office and/or home mailboxes, junk mail
continues to increase in e-mail inboxes. Therefore, as junk mail increases,
the likelihood of e-mail surveys being deleted before a response is sent
increases. Additionally, the price of purchasing e-mail addresses can be very
expensive, depending on how many need to be bought. More than the
required amount of responses must be purchased, since it is certain that
some surveys will not be returned.

Web surveys also have their share of weaknesses. The most
significant weakness is that a considerable amount of control is lost when
surveys are open for anyone to take. Even those surveys that require a
password and login can potentially be taken by someone other than the
intended recipient Due to this loss of control, the sample may not be
reflective of the population being surveyed.

Additionally, though inexpensive, web surveys can take long periods of
time to get the desired amount of responses. And even if a large number of
responses are received and they seem to be reflective of a population, they
cannot truly be reflective until 100 percent of a population is online.

Lastly, because e—mail and web research is conducted electronically,
there is always the possibility of a technical error. E-mail addresses may be

outdated or incorrect and get returned. Survey recipients may respond to an

68

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e-mail, but send it to the wrong e—mail address. Web servers can crash.
Surveys can be lost.
Interpretation

Program directors who have very busy schedules may benefit from
conducting e-mail or web surveys. They do not take a terrible amount of
effort to put together, and do not require much maintenance either. Once an
e-mail survey is written, it simply must be sent out to a list of e-mall
addresses. Once a web survey is written, it simply must be placed on a web
site and announcements must be made to ask for participants.

Asking a few questions to screen participants may help to get a
sample that is reflective of a certain population. Regardless of the sample,
online research is an acceptable form of preliminary research because if a
sample does not turn out to be large enough or diverse enough, the data can
be treated the same way as focus group data. The data can serve as a guide
for future audience research. Also, looking at research about the behavior of
lntemet users can be helpful to program directors. Next is an examination of

a few recent studies.

69

IN RNET V VI n VI

Edison Media Research and Arbitron sponsor studies every six months
that focus on radio and the lntemet. The most recent three studies are
entitled “Internet V: Startling New Insights about the lntemet and Streaming,”
“lntemet VI: Streaming at a Crossroads,” and “Internet VII: The lntemet &
Streaming: What Consumers Want Next.” These studies contain recent and
relevant statistics for all program directors to analyze. These are all available
online for no cost at:
www.edisonmediaresearch.com and www.arbitron.com.

With the advent of streaming technology today, concentrating on
programming online radio station content in addition to on-air content is a
good way for program directors to help ward off competition. Understanding
who is online, when they are online and how much time they spend online is
also important to today’s programmers.

The Edison/Arbitron Internet studies were completed in July 2000,
January 2001 and July 2001. Edison and Arbitron conducted 3,005 telephone
interviews from a national random sample of Fall 2000 Arbitron diary keepers
ages 12 and up for lntemet V and VI. They interviewed 2,507 people for
lntemet VII. Interviews were also conducted with web site visitors and
streaming media executives. The goals of the studies are to track changes in
the lntemet, assess impact of lntemet streaming media on traditional radio
and create information to allow radio managers to develop profitable lntemet

initiatives.

70

Finding; of Ingmt VI VI and VII

Overall am to the Ingmet continues to increaseI but slowly.
As of July 2000, 60 percent of all Americans had access to the

lntemet. Access simply means that the user has a computer and phone line
to use to get online. As of January 2001, access grew to 62 percent. And in
July 2001, the percentage of Americans with lntemet access at home, work or
scth was 66 percent. This overall number is unlike most college campuses
such as Michigan State University, where web access is at 100 percent. The
percentage of Americans with lntemet access is growing slowly. With the
economic slowdown in the U.S. in the later part of 2001, access will probably
continue to increase very slowly. Regardless, access will be able to continue
to increase because computers are decreasing in price.

Fmr nmgmg gr; getting gnllne as the lntemet matures.

Forty five percent of those surveyed in January 2001 said they first
accessed the lntemet over three years ago. Thirty five percent accessed it
one to three years ago. And 19 percent accessed it for the first time in the
last year. This could mean that the excitement over using the lntemet has
waned, or that people cannot afford a computer and/or the phone bills.
Another possibility is that those who are not already online are not computer
literate. With two thirds of Americans online, Arbitron and Edison think it is
likely that future growth of those accessing the lntemet will be incremental. It
already seems to be that way, looking at the slow increase of just 6 percent

from July 2000 to July 2001.

71

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Acfl to the lntemet is up. but time sgnt online is down.

In January 2001, an average of 7 hours and 8 minutes a week was
spent online. That number is down from an average of 7 hours, 49 minutes a
week in July 2000 and 8 hours, 1 minute in January 2000. This is still a
significant amount of time to be online though. Assuming that most online
usage takes place Monday through Friday, people are spending on average
more than an hour a day on the lntemet. Additionally, 79 percent of those
surveyed in July 2001 said that they use it habitually, logging on every week.
Considering what lntemet users want in a radio station web site may increase
their time at those sites. Here are the features of a radio station web site

participants said they want (from January 2001):

92M Percent
- Ability to listen to the station 64
- Information about local concerts 61
-'I”rtles of songs and artists 60
-To enter contests 53
-Listings of fun/Interesting places 48
-Local weather 45
-Vote on songs 45
-Schedule of programming 45
-Local news 44

-lnfonnation on and pictures of disc jockeys 43
Table 2: lntemet in Features of a Radio Station Web Site, lntemet VI

ansumers M to sggnd more time listening to radio stations online.

In July 2000, lntemet V said that monthly and weekly online radio
listening was growing. At that time, 7.9 percent (or approximately 20.5 million
Americans) listened to a radio station online in the last month and 3.2 percent
(or approximately 8.3 million Americans) had listened in the last week. In

January 2000, the numbers grew to 21 percent (approximately 54.6 million

72

people) for listening in the last month and 10 percent (approximately 26
million people) for listening in the last week. In July 2001, only one year after
lntemet V, the numbers more than tripled to 25 percent (approximately 65
million people) for listening in the last month and quadrupled to 12 percent
(approximately 31.2 million people) for listening in the last week.

Thirty four percent of people surveyed in January 2001 expect to
spend more time with radio and 30 percent expect to spend more time with
the lntemet. As Edison/Arbitron said, overall growth may be slowing, but the
lntemet is still becoming vital to a huge percentage of households. Findings
from July 2001 confirm this. Those surveyed for lntemet VII said they are

spending less time with traditional media due to the lntemet. The statistics:

Activgy' Percent less time they are sgnding
Watching TV 33
Reading magazines 25

Reading newspapers 23
Listening to the radio 16
Table 3: Americans Spend Less Time with Traditional Media Due to the
lntemet, lntemet VII.

It is good news for radio that it had the smallest decrease in usage.
Radio is a medium that can be used while doing other things. A person who
is using the Internet or checking email can certainly listen to the radio at the
same time. In July 2000, almost half of the respondents of lntemet V said
they are most likely to listen to the radio while accessing the lntemet.
Additionally, more radio listening takes place during the morning and daytime,

whereas peak lntemet usage is at night. That might explain why the largest
percentage of people said they are watching less TV, since the peak time for

73

watching TV is also at night. In the future, online or over-the-air listening may
increase in the evening when many people are choosing to surf the lntemet
and not watch TV.

lntemet Vll confirms that most consumers (62 percent) who listen to
the radio online do so in addition to the time they spend listening to a station
over the airwaves. At the same time though, 23 percent say their time spent
listening to a radio station over the air Is down. Nine percent said the time
spent listening has not changed. The remaining 6 percent did not know if
their time spent listening had increased or decreased.

The amount of time spent listening to radio stations online could
quickly decrease or completely end, due to the AFTRA and web royalty court
rulings. Now radio stations that air commercials with AFTRA actors in them
have to pay the actors large fees. And any radio station that plays music will
have to pay royalties to record companies for the music played on each
station. The Recording Industry of America (RIAA) has not yet set the royalty
rates, but not only will they be retroactive to the first date that a radio station
started streaming, but the royalties are very likely to amount to a significant
amount of money. Because of this, many radio stations and other webcasters
have completely ceased streaming. If the royalty fees turn out to be too high,
streaming could end altogether unless broadcasters charge a subscription fee
to listen.

lntemet Vll asked participants if they were interested in paying a

subscription fee for certain online audio events. Here are the statistics.

74

Audig gent & Percent “veg interested” if reguired to pay a small subscription
fee

Songs and albums from your favorite artists-27%

Concerts-24%

NFL football games-11%

NBA basketball games-8%

Radio programs too risque or controversial for over-the-air broadcast-7%
NCAA basketball games -6%

NCAA football games -5%

Table 4: Most Popular lntemet Video Subscription Models, lntemet VII.

lntemet Vll also asked participants about their thoughts on what might

cause them to listen more online. Here are percentages for each possibility:

Option 8 Percent of audio “streamies” who said they would listen more
Get the audio programming you want on-demand when you want it-79°/o

Easier to find the types of streaming audio you want-78%

Able to listen on a device that was as easy to use as a regular radio-74%
Better online directories of available streaming audio programming-70%
More radio stations available to listen to over the lntemet-62%

Could listen to streaming audio in the car-61%

Listen to streaming audio on a portable device-55%

Personalities such as Howard Stern or Rush Limbaugh on the lntemet-31%
Table 5: Things That Would Cause Audio Streamies To Listen More, lntemet
VII.

The lngm ls mgre imgrtant than TV to a large gggmnt.

Thirty three percent of those surveyed in January 2001 said they would
give up all their televisions in their home before they would give up their
lntemet access. That number jumped up to 67 percent by July 2001. This is
a really surprising statistic. This statistic shows that the lntemet is not just for
information anymore. It has become an entertainment medium as well.
Combining a traditional medium like radio and the lntemet is very smart. The
January 2001 survey says 12 to 24-year olds are almost evenly split on
whether they could live without TV or the lntemet. That seems fairly

appropriate. That group of people has lived with the lntemet from a much

75

younger age and has come to depend on the web like older generations
depend on radio and television.
What will Broadband bring?

As of January 2001, 82 percent of all Internet users did not have
Broadband access. Eighteen percent had it at home or work or school. Sixty
nine percent of those surveyed do not plan to get Broadband in the next year.
This is probably because of two factors: it is too expensive and/or it is too
difficult to install Broadband in their home or workplace. But in July 2001,
only six months later, the number of people surveyed who have Broadband at
home increased from 12 percent to 16 percent. Additionally, of those who
have dial up lntemet access, 14 percent plan to buy Broadband within the
next year.

Arbitron and Edison state that Broadband is the catalyst for consumer
use of streaming media. In July 2001, the difference in streaming media
usage between dial up lntemet users and Broadband Internet users was
pretty significant.

Com r‘ s

-53 percent of dial up households have ever listened vs. 69 percent of
Broadband users

-23 percent of dial up households used streaming media last month vs. 44
percent of Broadband users

~10 percent of dial up households used streaming media last week vs. 28

percent of Broadband users
Table 6: Broadband Accelerates Use of Streaming Media, lntemet VII.

76

 

 

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Out of the 62 percent of Americans online, only 21 percent were

“streamies’ as of December 2000. The definition of a “streamie” is someone
who has ever viewed or listened to audio or viewed a video on the lntemet.
As of January 2001, more than 25 percent of Americans were “streamies.”

By July 2001, that number passed the 50 percent mark for the first time. This
Is especially notable, since a large amount of American commercial radio
stations stopped streaming due to digital copyright issues and other fees now
applying to online radio stations. Companies such as America Online, who
are not in the radio business but have the money to pay royalties, are jumping
on the bandwagon to stream online.

“Streamies” are different from lntemet users who do not consume
streamed audio or video online. They pay much more attention to banner ads
and spend much more time on the lntemet. They are also more likely to shop
online. Arbitron and Edison call “streamies” “media junkies.”

Even the most active “streamies” spend a limited amount of time with
lntemet audio and video. As of July 2001, “streamies” who have tuned in
online in the past week say they spend approximately 3.5 hours with
streaming audio each week. Arbitron and Edison note that these relatively
small numbers further illustrate that broadcasting on the lntemet is still a new

phenomenon.

77

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Tym of gmgrammlng “streamles” listen to

In January 2001, lntemet Vl asked “streamies” what they listen to

online. Their responses were:

PQgramming Percent
Music 44%
Radio stations 25%
News reports 24%
Music from Napster 24%
MP3 audio 22%
News & information found on local radio 22%
Music not found on local radio 22%

Table 7: Types of Programming Streamies Listen to, lntemet VI.
Mam radio and st_rgaming media meet
As mentioned, online listening is up significantly. Internet Vll reported
the most listened to formats online in January 2001 were Alternative, Rock
and Hip Hop/Rap. In addition, the most listened to radio stations online were
local stations. This proves that streaming is not just for niche formats. Local
stations have proved that audiences want local information and entertainment
that is relevant to them. What is more important is that streaming seems to
add to total station listening, not take away from it.
“ ” wo Id be u t If the couldn’t listen to radio online.

This Is very important. Sixty eight percent of participants who said they
listened online in the last week said they would be upset if they could not
listen, and 53 percent of those who ever listened to an online signal would be
"Pset. Arbitron and Coleman found that listeners are not loyal to discontinued

8tlearns. When one stream is gone, they find another. This illustrates the

i"ill:><>rtance of keeping an audio stream available, even if it means more work

78

 

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for a station to remove commercials to avoid AFT RA fees. “Streamies” spend
more time listening to radio at work.
The range of time spent listening between “audio streamies” and
“active streamies" in a week Is between 5 and 1/2 hours and 7 hours, 50
minutes. “Audio streamies” are people who have ever listened to streaming
audio. “Active streamies” are people who have consumed streaming media in
the last week or last month. That range could be greatly increased though.
Seven hours and 50 minutes looks like a signifimnt amount of time at first
glance. But since most people work 40+ hours a week, they really are not
doing as much online listening as radio stations would like. This is where
streaming the broadcast signal and streaming side channels can become
effective. Wlth more choices within one site, listeners can choose what they
want to hear, but the content still comes from one station. At work listening Is
very important to radio stations because the potential time spent listening is
so high. Generally, radio listening is secondary. At work time spent listening

has the potential to be at least eight hours a day.

i Ch
Side channels are meant to complement or extend a station’s over-the-

ai r brand. Examples of side channels might include a local music channel for
an Alternative radio station web site, or an All-Rap channel for an Urban radio
station web site. Not many “streamies” are listening to them yet because
there are few of these channels available. In January 2001, a large amount

0f people, 43 percent, said they are somewhat interested in hearing side

79

channels, and a significant amount, 30 percent, are very interested in side
channels. This proves that there is great potential to increase time spent
listening online if the content is original and different than what listeners can
find on the ainrvaves.

Are radio stations talking less about their web sites?

Thirteen percent fewer people surveyed in January 2001 said they
heard a radio station talk about their web site than those surveyed in July
2000. In turn, between July 2000 and January 2001, six percent fewer people
visited a station’s web site. Over-the-air promotion correlates with web site
visits. The more a station mentions all the valuable aspects of their web site,
the more listeners with lntemet access will visit. Listeners are engaged in
many other things when the radio is on and need many chances to actually
hear a message.

The same goes for radio advertisements for web sites. lntemet VI
stated that a decrease in the number of banner ads on a web site and fewer
mentions of a web sites by disc jockeys result in fewer web site visits and
clicks on banner ads. Banner ads are advertisements placed on web sites,
generally in a square or rectangle shape, resembling a banner. Fewer
banner ads and fewer web site mentions resulted in the amount of people
who visited a web site, which decreased from 49 percent in July 2000 to 39

percent in January 2001.

80

lmggrtant Points of lntemet VI VI and VII
Despite a slowdown in online advertising spending, radio stations that

maintain their web site initiatives will be at an advantage against those who
do not. Maintaining the initiative means continuing to talk about all the things
a radio station’s web site has to offer and continuing to update and improve
the web site. The lntemet is a very important informational and entertainment
outlet to many people, so radio stations that find a way to continue streaming
may be more successful than those who do not.

To get more web site traffic, Arbitron and Edison say it is in the best
interest of program directors and lntemet directors to provide unique and
compelling content on their web site. This could be artist/song information,
concert dates, song downloads, exclusive prizes, etc. The majority of people
who visit a radio station web site are P1 listeners. These are the most
important people to a radio station. It is easier to listen to audio online than it
is to watch video online, so radio stations have an advantage against TV
stations. Programming high-quality content on the over-the-air signal is the
most important thing for a programmer to do, and programming worthwhile
web content is a close second.

Time spent listening to online radio stations is slightly down.
Programmers may ask a few questions. Why are people online less? Are
people just too busy, or has the quality of content decreased? Are there more

exciting entertainmentfrnformational outlets available?

81

Even though people are spending less time online, there are still many
ways for radio stations to grab their attention when they are there. Offering
more promotions and giveaways online is a simple way to get listeners to a
radio station web site. Concert information, music news, local news and local
sports are just a few other good ways to attract the attention of listeners.
Additionally, a programming schedule is important to have on a web site to
encourage appointment listening. Appointment listening is when a person
makes a mental note to tune in to a radio station. Targeting at work online
listeners is also smart because this type of listener has the potential to spend
more time online than other listeners. Program directors and promotion
directors who remember that it is nearly impossible to burn out a slogan or
promotion have the power to make an unforgettable radio station and web
site. Reminding disc jockeys to be patient with promotions to ensure listeners
catch on Is also smart.

Streaming audio and/or video is also a very good way to make a web
site unforgettable. Maximizing listeners’ time at a radio station web site can
be done in an attempt to get listeners to depend on and learn about a radio
station by offering beneficial information on the web site and worthwhile
programming on the air. Form should follow function. Content is the most
important thing on a web site because it is what will bring people back. A
pretty web site without any valid information is worthless to users. In addition,
streaming seems to add to total station listening, not take away from it. This

suggests that not only do disc jockeys have to sell the web site successfully,

82

but also the web site has to sell the radio station effectively. The more a
station is on the mind of the listener, the better the chance of that person
recalling the station in a diary or a survey. Stations who do not fear the
lntemet will come out above those are afraid of it.

Broadband can help keep listeners at a web site longer and relevant
content can help bring people back. Radio stations that team up with
Broadband providers will give their listeners better lntemet connections for
less money. Stations can participate in promotions with Broadband providers
to give away things such as free installation and discounted rates for the first
year of installation.

There are many reasons to get Broadband. The most important
reason for a program director is Broadband will enable their listeners to
access their site with more ease, as well as listen as long as they want
without interruption. Another important point is that Broadband users are on
the lntemet as much as they watch television or listen to the radio.
Broadband is more of an opportunity than a threat to radio stations. Time
spent listening to either online or AM or FM radio broadcasts can greatly
increase through Broadband technology. Broadband allows people to stay
online longer and radio is a great media to use along with the lntemet.

Even with the inevitable threat of Napster and other online music
software-sharing programs, traditional radio still has an advantage that makes
it special. Traditional AM and FM radio stations are local. They have the

power to communicate with a local audience about local issues. They have

83

the power to play local music and interact with a local audience at places in
the community. Radio station web sites can also be extremely relevant to
their local audience. Local concert listings, local restaurant guides, as well as
content such as spotlights on local bands, exclusive downloads from those
local bands, and local concert venue information are a few examples of local
content a radio station could provide on their web site.

Stations are beginning to team up with record companies to provide
exclusive downloads of new songs on their site. The downloadable songs
could either be songs that artists performed live at the station, songs by local
artists or music not for sale yet. Instead of being afraid of this new technology,
stations that embrace it and jump on the bandwagon while it is new and
exciting may be a huge hit with listeners. They will also probably make
money by either garnering new advertisers to place ads on the web site,
charging a small fee to download exclusive songs, or both.

Radio stations may find success with side channels of audio streams.
Side channels can be marketed as an extension of a radio station's best
attributes. For example, an Alternative station could have a side channel for
a sub-genre like metal bands, rap bands or local bands. “l-RlF,” a side
channel of WRlF-FM, an Active Rock radio station in Detroit, is an example of
a station using a side channel to promote one style of rock music. Stations
offering side channels may be able to increase their audience by targeting
people who may not partake in much of the programming heard over the air.

Seventy four percent of side channel listeners said that if a station did not

offer a streamed signal they would go elsewhere. Side channels allow radio
stations to satisfy two audiences at a time.

Finally, 45 percent of the lntemet VI survey participants said they are
interested in giving feedback on songs. These are the people who may also
be willing to take an lntemet survey. Program directors may learn new
information about their listeners through a web survey.

BROADBAND REVOLQTION 2

Arbitron teamed up with Coleman Research to produce a study
entitled, “Broadband Revolution 2-The Media World of Speedies.” This is
another worthwhile study for program directors today. This is also available
for free online, at www.arbitron.com and www.colemaninsights.com. This
study was conducted by interviewing a segment of the Internet user
population Arbitron and Coleman have entitled ‘Speedies.’ “Speedies” are
people who have high-speed, Broadband access to the lntemet at home,
work or school. The national sample who the companies spoke to was
approximately 2,000 respondents. Then Arbitron and Coleman conducted in-
depth phone interviews with 800 “Speedies” aged 12 and older in May 2001.
On top of that, a small supplementary group of interviews were conducted
with residential Broadband users. The questions in the telephone interviews
were derived from focus groups that took place in April 2001. There are

some useful findings from this study.

85

 

— . .

Nagy p _tl_'rird pf Amerlgn lntemet users have Broadband accm. with
the workplace being the most common source of those connections.

Approximately 60 percent of all Americans are online, so Broadband
users make up almost a fifth of American consumers. Additionally,
Broadband penetration correlates with age. The older a person is, the less
likely he or she has Broadband. Two thirds of Broadband users are between
25 and 54 years old. Only 11 percent of Broadband users are over 65.

Out of all Broadband users, 64 percent have access at work. Thirty-
seven percent have it at home and 22 percent consists of college Broadband
users. The figures add up to more than 100 percent because some people
have Broadband access in more than one place. College and workplace
users are the people that programmers can benefit most from targeting.
Radio stations can benefit from at work listening because it has the potential
to last from the time a person goes into work until they leave. This is similar
for college students who have fast lntemet connections like Broadband or
Ethernet. They can listen as long as they want without tying up a phone line.
Broadband or Ethernet connections are much quicker and more convenient
than dial up lntemet access, allowing people to surf the lntemet generally
without interruption. The more time a listener spends on a radio station web
site, the more chances the station can sell itself to the listener through its

audio stream, giveaways, playlists, program schedule, etc.

86

 

 

Thm with Broadbapd acpfl sand as much time using the lntemet as
they do with radio or television.

This means that the lntemet has become as important to those who
have Broadband as traditional media is for everyone else. Using Broadband
allows users to surf the web at a very fast rate. Broadband enables web
pages to load much faster than a dial-up connection. Broadband also
enables audio streams and downloads to load much faster. On average,
Broadband users use the television for 2 hours, 11 minutes a day, the radio
for 2 hours, 18 minutes a day and the lntemet for 2 hours, 16 minutes a day.
The time spent online is the most for 18 to 24 year olds. They spend an
average of 2 hours, 59 minutes a day online.

Although Broadband users spend a large amount of time online, only
18 percent of them consume streamed audio in a given week. As mentioned,
many radio stations have discontinued their online stream because of royalty
fees that commercial actors and record companies have demanded. And,
those listeners who have encountered discontinued streams have easily
found other sources of streaming that deliver similar programming.
Commercial radio stations have much work ahead of them to produce an
audio stream that excludes commercials. Arbitron and Coleman state that

continuous music and variety are Internet audio’s most wanted attributes.

87

 

ye;
m

 

la multitaskln c mon ut is m like involve a

pmbinatlon of online and offline media than multiple online mpgig.

lntemet usage is generally much higher among those Broadband users
who consume a large amount of TV, radio and prerecorded music.
Regardless of the medium, the more time spent with any of those media, the
more time is spent online. The average Broadband user spends 2 hours, 16
minutes a day online. But, heavy TV viewers use the lntemet for 2 hours, 38
minutes a day. Heavy radio listeners are online 2 hours, 32 minutes a day.
And heavy prerecorded music listeners spend 3 hours, 24 minutes a day
online. This Is good news for any traditional AM or FM radio station that ever
worried about losing Its audience to the Internet. The lntemet and radio go

together well, because both allow people to consume more than one while

using the other.
EntprtainmengI ppd not jppt ppgg. can mtepgglm me! future mpIdent

Bmdbapd agopgon.
Seventy percent of at work Broadband users have no plans for getting

Broadband at home. This will prove to be a marketing challenge. Offering
promotions for free Broadband installation and reduced cost or free access to
the service for a period of time can be a great way for radio stations to give
listeners a way to get to their web site easier. Twenty-seven percent of
college Broadband users said it is “extremely likely” and 38 percent say it is
“very likely” that they will buy residential service. Only 11 percent said that it

was “not at all likely.”

88

 

for n

352

pro

En4

US

SU

1.! [(15

In

 

The lntemet is most commonly thought of as an informational medium

for many Broadband users. Seventy five percent of Broadband users think of
the lntemet as an information based medium and only 14 percent think of It
as an entertainment based medium. This statistic illustrates that “fluff"
promotions and pictures of disc jockeys will not make a web site worthwhile.
The majority of lntemet users surf the web looking for information.
Entertainment only serves as a part of the purpose of a web site.

College Broadband users again differ from the average Broadband
user. They are more likely to look for entertainment on the lntemet. This
suggests that radio stations and Broadband companies should promote
content and high-speed access when marketing to potential college
Broadband users. The speed of Broadband connections is what allows users
to use entertainment like streaming audio and video so conveniently.
Streaming and downloading are more difficult without Broadband. Arbitron
and Coleman suggest that higher awareness, stronger branding, greater ease
of use and more compelling content will help increase streaming media

usage.

§treaming media show little mtential for hurting traditional broadcast
mgia and will mpre likely compliment radio and television.

Audio “streamies' indicated that the most common kind of radio
listened to online is local AM and FM stations. This probably has changed
significantly since the decision in favor of commercial actors and record
companies. Very few Broadband users are overwhelmed by audio streaming

choices, so those radio stations continuing to stream today have yet another

89

 

 

advantage. Additionally, over half-53 percent-of all lntemet users (those with
and without Broadband) who listen to audio streams find the quality of the
audio to be acceptable.

Heavy streaming users use more traditional radio and television.
Heavy “streamies” average 3 hours, 16 minutes listening to AM or FM signals
every day, compared to 2 hours, 11 minutes a day by those who have never
listened to streaming audio. Streaming audio is additive to traditional AM or
FM listening. Six percent of audio “streamies” say their usage has replaced a
large amount of their AM or FM listening. Twenty percent say it has replaced
a small portion. And 67 percent say the usage is in addition to their normal

AM or FM listening.

Downloagg mgic and stLeaLming audio pgge 5' mptivated by very
gifferent factors and represents two significantly different media.

“Streamies” share much in common with heavy radio users and those
who download music are more like heavy consumers of prerecorded music.
Those who download are younger (mostly 12-24 years old) and prefer newer
radio formats like Alternative. These people define themselves as “among
the first“ to be aware of new music. “Streamies” are generally older than
people who download music. Demographics of “streamies” range from 12—17,
25-34 and 45-54. “Streamies” tend to prefer older radio formats like Classic
Rock. They are less aware of new music than heavy users of downloaded
material. Understanding “streamies” helps to understand heavy radio
listeners. Understanding users of downloaded audio helps to understand

people who are among the first to be aware of new music.

 

 

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dc

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6X

Cc

all
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the
Cha
PM

the

lmmrtant Eoints of Broadband 2

Programmers who recognize and exploit the potential of Broadband
and at work listening mayistening, Ratings, Shares and Cume. Most people
that have their Broadband access have it at work and are there up to 8 or
more hours a day. Arbitron and Coleman say, “hit them where they are.”
Rewarding listeners at work is a good attempt to get them to listen longer.
Not only should radio stations sound better, but also their web sites should
work better. An audio stream may bring listeners in to a web site, and on air
reminders of the web site's original content may make them come back.

Programmers who acknowledge the attributes of heavy listeners of
downloaded audio will also better understand their audience. These people
exhibit a great deal of passion for music and hearing it first. Responding to
this passion by offering audio downloads of new releases and/or in-studio
exclusive performances may make a radio audience more loyal. Arbitron and
Coleman also suggest that radio stations sell concert tickets and music
memorabilia on their web sites.

Finally, if a radio station streams an audio signal, making sure it is
always in working order is essential to maintain and/or increase listenership.
Listeners are not loyal to discontinued streams. Commercial radio stations
that discontinued their stream can do two things. They can create side
channels that do not include any commercials, or they can play station
promotional announcements on the web stream over the commercials air on

the AM or FM signal.

91

CHAPTER 9
CASE STUDY: WEB SURVEY FOR WDBM-FM

As with many radio stations, the staff at WDBM makes assumptions
about its audience. The only way to find the validity in these assumptions is
to conduct audience research. In addition to that research, it is important to
review Arbitron ratings data to further study the validity of such assumptions.
Some common assumptions WDBM staff has made are:

-The main competition for WDBM is VWVDX,

-WDBM has more listeners during the day than during the evening, ovemights
or weekends,

-WDBM has more female listeners than male,
-WDBM does not have any listeners over age 40, and
-WDBM listeners enjoy hearing new music.

The WDBM web survey and Arbitron information proved essentially
every one of these assumptions to be wrong.

The survey prepared for www.impact89fm.org is essentially a
perceptual study tailored for the Internet. The goal is to find out the
preferences of WDBM listeners. This kind of survey is the least expensive
and least time consuming method for a college radio station in the 117th
largest US. radio market. It only took three staff members to make the
survey happen. Face-to-face surveys would have been impossible to
complete because they would take too long and take too many staff members
to carry them out. Mail surveys would have been too expensive, and the rate

of return is usually small. Telephone surveys might be acceptable, but they

have been done before, and they also require a large number of staff
members. Most importantly, in addition to finding out inforrnatlon about
WDBM listeners, the point of surveying online was to see how effective
lntemet research can be.

In markets where there is high lntemet penetration, like a college
campus with Ethernet access, more radio and music related experiments are
being conducted (Kelly 110). Certainly, some may argue that not all of the
WDBM listening population was able to take the WDBM survey because they
were either a) computer illiterate or b) not online. But, the primary target
audience for WDBM is 18-24 year old Michigan State University (MSU)
students. Every MSU student has free access to the lntemet, and the entire
campus is equipped with high—speed, Ethernet access. All students had an
equal chance to participate. The survey was on the web site for almost eight
months. This is a long time to keep a survey open, but there was the time to
do so while completing the rest of this paper. Programming remained
consistent during this period.

WDBM developed its web site and began streaming in 1996. WDBM
streams its audio signal 24 hours a day and has a concert calendar, music
news, a message board, a program schedule, links to some of the station’s
genre based programs and general contact information. WDBM has also
done a few lntemet based promotions and had a decent amount of listener

participation.

93

The potential for streaming audio growth continues to be high for a
non—commercial radio station like WDBM because it does not have to deal
with commercial actors’ royalties. WDBM can aggressively sell its
uniqueness over the air to get people to the web site.

All WDBM listeners were invited by disc jockeys to take the surveys.
WDBM generally garners other listeners than simply the college aged crowd.
People In their late twenties and their forties are also a significant part of the
WDBM audience even though the station does not necessarily target them.
Disc jockeys announced the survey on a daily basis. There were two

versions of a Public Service Announcement read by the disc jockeys. They

read:

“So you're a big time Impact listener. You probably don't listen to ANY other
station because you think we rock. Well, I agree. But in order to keep up our
good work, we need your help. Right now is your chance to give us some
feedback. Log onto impact89fm.org and complete our listener survey. WE
NEED YOU! We aim to rock the airwaves, so be critical. We can take it; we're
big kids. Again the web address is impact89fm.org. So log on soon, man!”

“So you're a big time Impact listener. You probably don't listen to ANY other
station because you think we rock. Well, I agree. But in order to keep up our
good work, we need your help, and their isn't much time left. Right now Is
your chance to give us some feedback. Log onto impact89fm.org and
complete our listener survey. WE NEED YOU, but we can only take your
input until Friday July 7th. We aim to rock the airwaves, so be critical. We can
take it; we’re big kids. Again the web address is impact89fm.org. So log on
soon, man!”

A copy of the survey follows.

 

 

 

lei

Lil

Cpmpt Form

“As technology continues to develop new ways to deliver radio signals
around the world, the importance of what an audience wants out of a radio
station Increases significantly. You will be asked a series of questions in this
survey. I am researching for my thesis in the Department of
Telecommunication at Michigan State University. I am interested in your
thoughts about how you feel about what you hear on the radio in the hope of
improving radio research for radio program directors. Completion of this
survey should take about 15 minutes.

You are being asked to freely participate in this study. Participation is
voluntary and you can elect not to participate in this study. At any time during
this study, you may discontinue your participation. You are eligible to submit
one entry.

All results from this study will be treated with strict confidence. This means
that your name will not be associated with the answers you provide to
questions in any report of research findings. Your name is only requested as
a reference when compiling data.

If you have any questions or concerns about your participation in this survey,
please contact Gary Reid at reidg@msu.edu. If you have any questions about
your rights as participants in a research experiment, you may contact David
E. Wright, Ph.D., Chair of the University Committee on Research Involving
Human Subjects at 517-355-2180.

You indicate your voluntary agreement to participate by completing and
returning this questionnaire.

Lindsay Peters, Program Director”

95

E

1. What time of day do you listen to The Impact the most?
_ overnight

mornings

midday

afternoons

evenings

weekends

g

at time of day do you listen least?
overnight
mornings
midday
aflemoons
evenings
weekends

a) On an average day, how much time do you listen to The Impact?
less than an hour a day
1 to 2 hours a day

2 to 4 hours a day

4 to 6 hours a day

6 or more hours a day

s

ere do you listen to The Impact? Check all that apply.
In the car

At home

At work

At the gym

Walking/biking to class

5. How do you tune in to The Impact? Check all that apply.
on the radio at 88.9 FM
on Channel 12 on AT&T Cable
on the web via RealAudio streaming
on the web via Quicktime streaming

 

 

 

6. Who is your favorite artist played on The Impact?

7. Who is your least favorite?

8. Every evening, The Impact airs a variety of genre based shows. Please
mark on a scale from 1 to 5 how often you tune in to the following shows.
(1=never, 3=sometimes, 5=often).
_Global Sounds
_Reggae Sunsplash
_Two Tone Beat
_Sit or Spin
_Space Odyssey
_Jazz Spectrum
_Sneak Preview
_Prog ressive Torch and Twang
_The Accidental Blues
_The Basement
_Thee Hourz 0 Power
_lmpact Flashback
_Mechanical Pulse
_The Cultural Vibe
Impact Exposure

For the shows you listen to,
9. a) What do you like about them?

b) What do you dislike, and why?
10. As a listener, what things keep you listening?
11. What things cause you to tune out?

12. If you could program The Impact for a day, what would you change?
Check
all that apply:

Add more familiar music.

Add more unfamiliar music.

Emphasize information about the Mid-Michigan area, in addition to
Michigan State University.

Have less talk from the DJs.

Have more news and sports throughout the day.

Have more information on music.

Other

 

13. Would you like to hear more well known artists or genre-specific
programming on The Impact? Or is the balance appropriate?

14. Please rate the following statements:

(1=strongly disagree, 2=disagree, 3=no Opinion, 4=agree, 5=strongly agree)
_The Impact has a wide variety of music.

_The Impact could do a better job communicating to Michigan State
University.

_The Impact is consistently enjoyable to listen to throughout the day.
The Impact is consistently enjoyable to listen to throughout the evening.
The Impact does not cater to all music tastes.

The Impact has high-quality genre-specific shows.

The Impact could better inform listeners about new music.

The Impact has DJs that are worse than DJs on other radio stations.
The Impact has music for every taste.

The Impact plays music that many other radio stations play.

The Impact is not consistent sounding when listening during the day.
The Impact addresses the needs of the Michigan State University
community.

The Impact is not always enjoyable to listen to in the evening.

The Impact has DJs that are better than DJs on other radio stations.
The Impact could Improve its genre-specific shows.

The Impact has helped me learn a lot about new music.

15. Review the following lists of artists you can hear on The Impact. Rate
them from most favorite to least favorite. (1=love, 5=hate)
Dave Matthews Band
Ani DiFranco
Travis
Sarah McLachIan
Troll For Trout
Billy Bragg
Barenaked Ladies
erc0
19 Wheels
Old 973
The Verve
Indigo Girls
Oasis
Domestic Problems
The Waterboys
Pavement
Flaming Lips
Knee Deep Shag
Our Lady Peace
Dinosaur Jr.
Angie Aparo
Blur
Echo and the Bunnymen

lllllllllll

98

15. continued
_Reverend Horton Heat
_Peter Gabriel
_Tori Amos
_The Atomic Numbers
___Ben Harper
__Liz Phair

R.E.M.

16. What gender of deejays do you prefer to listen to on The Impact? (If no
preference, skip to #18.)
male
female
17. Why do you prefer one gender over the other?
18. What would you like to see on this web site?
19. Please write any other comments on The Impact here.
20. What is your age?
21. What is your gender?
male
female

22. What is your occupation? (If you are a student, please write what school,
college or university you attend.)

23. Do you live on or off campus?

 

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5 E.
Figure 3: Front page of www.impact89fm.org showing advertisement for
listener survey

 

x' .12 A.Lll.‘i'x'xl;

 

Therewere145acceptablesunreys.Fifiyflueewerefianhmalesandninety
twowerefiornmales.1herewere23suweysthathadtobethrownout
becausetheywerenotfully completed. In Spring 2001,Arbitronreportedthat
WDBMhad5200P1listemrsaweek. Duetotheoverallsmallresponse
rate,thiswebsurveyshouldbetreatedthesameasafocusgroup. ltis
melyaninmntoryofpossiblereaclionstoWDBManditsprogramning
amongaselectedgroupofP1 listeners. Thesepercentagesareonlyfor
lIlIDBM“swerfans’thatparticipatedinthembsunrey. Thepercentagesare
theretoshowtherelativemagnitudeofthissmallsample.

1. WintflrneofdaydoyoulistenteThelmpactthemost?
(In order from most to least)
Afternoons: 42 people (29%)
Mornings: 35 people (24.1%)
Midday 30 people (20.7%)
Evenings: 24 people (16.6%)
Overnight: 12 people (8.28%)
-Weekends: 2 people (1.4%)
Table8:TmeSuwyRespondentsSaid1heyTunedintheMost

 

What time of day do you listen to The Impact
the most?

35%
3096
2596
2096
1 S96
1096

596

096

 

 

 

Afternoons Mornings Midday Evenings Overnight Weekends

 

 

 

Figure 4: Time Survey Respondents Said They Tuned in the Most

These numbers did not come as a surprise. Aflemoons and mornings
are the times of the day that people in general listen to the radio the most. At
these times, people are driving to and from work and the radio Is usually on in

their car. In addition, midday listening is when non-student WDBM listeners

101

tune in at work. Evenings are the time of day in which WDBM airs genre-
specific programming. These shows are more narrowly targeted, so it is
natural that the survey showed that there are fewer listeners in the evening.
Finally, it is very natural that overnight and weekend listening is said to be
listened to the least. Most people are asleep overnight, and most people are
busier on the weekend and may not be able to tune in at regular times, like
they might do during the week. Most people work on weekdays. Those who
do not work on the weekend may not “schedule” radio listening in, because
the routine of the weekend is generally less structured than during the week.
However, these numbers are not the same as the data compiled by
Arbitron. After analyzing the information from Arbitron, the above numbers
are really only accurate for P1 listeners. Arbitron surveys a statistically
significant sample of the entire population of the Lansing/East Lansing radio
market, and therefore has a sample of P1, P2, P3 and even P4 listeners. The
Spring 2001 Arbitron survey period lasted from March 29 through June 20.
According to the Arbitron numbers for Spring 2001, WDBM had the highest
Shares for people 12 and older from 7 pm. to midnight, Monday through
Friday. So WDBM had the most Spring 2001 listeners during the time that
genre based programs aired. Even Saturdays from 7 pm. to midnight,
followed by Saturdays from 3-7 pm. had a larger Share than any of the
weekday time slots between 6 am. and 7 pm. As mentioned, Arbitron data
can clear up assumptions program directors often make. Before listing many

percentages for WDBM, it is worthwhile to note the population estimates for

102

 

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tor
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meWDBMtargetaudbnceinmeLansmgIEastLansmgui-countHEaton,
lngham,andClinton)area:

Men, 18—24: 30,200
-Women, 18-24: 31,700

 

(In order from highest to smallest):
Monday-Friday, 7 p. m. midnight 2. 9%
Saturday, 7 p.m.-midnight: 2.8%

Saturday, 3-7 p.m.: 2.3%

Monday-Friday, 1-5 a.m.: 1.3%

-Sunday, 3-7 p.m.: 1.2%

Monday-Friday, 3—7 p.m.: 1.1%
Monday-Friday, 10 a.m.-3 p.m.: 1%
Monday-Friday, 6-10 a.m.z .7%
Table9:ArbitrenSpring2001 Sharesfor12+

 

Spring 2001 Shares: Persons 12+

3.596
3.096
2.596
2.096
1.596
1.096
0.596
0.096

 

 

 

F Sun., M-F, M-F, M-F,
-Sa 3-7p 3-7p 103-3p 6-10a

M-F, Sat., Sat., M-
7p-mid 7p-mid 3-7p 1

 

 

 

Figure 5: Arbitron Spring 2001 Shares for 12+

Right off the bat, these numbers look extremely low. But, these
numbers are for all people ages 12+ in the market. Like most radio stations
today, WDBM does not target the entire market. It has a much more narrow

target market of Michigan State University students, ages 18-24. The closest

103

 

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ind

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mmm’onmemmedwaspeopleages18-34.The8haresfor
thatdemogrmhicwereslightlyhigher.

 

(In order of highest to lowest)

Saturday, 7 p. rn. midnight 6. 4%

Saturday, 3-7 p.m.: 6.3%

—Monday-Friday, 7 p.m.midnight 3.5%
Sunday, 3-7 p.m.: 2.8%

Monday-Friday, 10 a.m.-3 p.m.: 2.3%

Sunday, 6-10 a.m.: 1.9%

Monday-Friday, 6-10 a.m.: 1.8%
-Monday-Friday, 3—7 p.m.: 1.8%

Table 10:ArbitrenSpIingZOO1 Sharesfor18-34

 

Spring 2001 Shares: Persons 18-34

7.096
6.096
5.096 ’
4.096
3.096
2.096
1.096
0.096

 

 

 

Sat., 7p- Sat., 3- M-F, 7p— Sun., 3- III-F, M-F, 6- M-F, 3-
mid 7p mid 7p 1 0a-3p lOa 7p

 

 

 

 

 

Figure 6: Arbitron Spring 2001 Shares for 18-34

It is also valuable to look at a radio station hour by hour. This kind of
data may illustrate weak and strong times during a typical day. It tracks
individual hour performance and can also show if an audience is gaining,
remaining steady or is declining throughout the day. Arbitron supplies data
for Average Quarter Hour persons, Share and market Average Quarter Hour

persons. It is also helpful to compare this data with prior ratings books. Here

104

is the data for WDBM Average Quarter Hour (AQH) persons 12+ hour by hour
for Spring 2000 and Spring 2001.

Monday-Friday A H Persons S ri 2000 Spring 2001

12M-1 A 1 00 400
1-2A 100 200
2-3A 0 0
3-4A 100 0
4-5A 100 0
5—6A 0 0
6—7A 600 0
7-8A 1200 500
8-9A 1400 900
9-1 0A 1 500 700
10-11A 1600 700
11A-12N 1500 500
12N-1 P 1900 800
1-2P 2100 800
2-3P 2300 600
3-4P 2600 500
4-5P 2400 600
5_-6P 1600 800
6-7P 500 700
7-8P 300 600
8-9P 500 1000
9-1 OF 500 600
10-1 1 P 500 900
1 1 P-1 2M 400 800

Table 1 1: Average Quarter Hour Comparison for Monday-Pride y

105

 

Saturday AQH Persons, Spripg 2000 Spring 2001

12M-1A 0 800
1-2A 0 800
2-3A 0 400
3-4A 0 400
4-5A 0 0
5—6A 0 100
6—7A 0 200
7-8A 0 0
8-9A 600 300
9-10A 400 0
10—1 1A 500 0

1 1A-12N 700 300
12N-1 P 800 1100
1—2P 700 400
2-3P 700 400
3-4P 1000 900
4-5P 1000 1 300
5—6P 500 1400
6-7P 400 800
7-8P 0 1200
8-9P 400 1200
9—1 OF 900 1 1 00
10-1 1 P 700 300
1 1 P-12M 300 300

Table 12: Average Quarter Hour Comparison for Saturda y

106

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i

 

 

Sunday AQH Persons for Spring 2000 Spring 2001

12M-1A 700 800
1-2A 700 800
2-3A 0 0
3-4A 0 0
4-5A 0 0
5-6A 0 0
6-7A 0 0
7-8A 100 0
BSA 100 0
9—10A 400 400
10-11A 400 400
11A-12N 1000 0
12N-1 P 1400 0
1-2P 700 0
2-3P 1800 400
3-4P 300 400
4-5P 1 00 400
5—6P 200 700
6-7P 0 200
7—8P 200 0
8-9P 300 100
9—10P 0 0
10—1 1 P 0 200
1 1 P-12M 0 0

Table 13: Average Quarter Hour Comparison for Sunday

In most cases, the numbers went down in Spring 2001. Instead of
getting discouraged, the program director at WDBM can simply look at the
times that have the highest numbers and schedule the strongest disc jockeys
in those time slots.

2. What time of day do you listen least?

(In order from least to most)

-Overnight: 78 people (53.8%)

-Mornings: 24 people (16.6%)

-Midday: 16 people (11%)

~Weekends: 13 people (8.9%)

-Evenings: 11 people (7.6%)

-Aftemoons: 3 people (2%)

Table 14: Trme Survey Respondents Said They Tuned in the Least

107

 

 
 

Fig

an
39
we
for
her
Bu
ovr

llsr.

"to!

0w

 

When do you listen least?

 

60.096

 

 

50.096

 

 

40.096

 

 

 

 

30.096 _ ””“m'w “W

 

 

20.096

 

 

 

 

1 0.096 *‘j kfl-‘J [“M‘“
r Y r l I V l . J-—-L

 

 

 

 

0.0%
Overnight Mornings Midday Weekends Evenings Afternoons

 

 

 

Figure 7: Time Survey Respondents said they tuned in the least

Again, it is no surprise that WDBM listeners said they tune in the least
amount of time overnight. Though Arbitron showed that the Share of listeners
ages 12+ who listened to WDBM in Spring 2001 is higher overnight than it
was during some of the daytime dayparts, the Average Quarter Hour estimate
for overnight hours was only 100 people. The Share was higher simply
because overall there are fewer people overall listening to the radio overnight.
But since the Arbitron data said WDBM did actually garner a larger Share
overnight than during the day in Spring 2001, it can be assumed that those
listeners only tune in at night, and were not the P1 listeners who took the web
survey.

Next, manyP1 IistenerssaidthattheydonottuneintoWDBM inthe
momma. Thiscwlds'unplyshwthattheyarenotawakeyettolisbnorit
could rrreanfltatmostlistemrsarechoosinganotherradiostationinthe
morning. BoththeArbItronSharesforages 12+ and 18—34 arelowfor
mornings. Finally, many MSU Mt: are in class during midday hours, so

108

 

 

tl'latismostlikelywhyafewparticipantssaidtheyIistentheleastatthattime.
Andagain,nostudentwholivesoncarnpuscouldbesurveyedbecause
Arbitron does notsend diaries to anyone in any kind ofcommunal housing
suchesdormitories. HerearethenumbersforthelowestSharesin Spring
2001 forpersons18—34.

 

Am.- 4U mam: Lu 5 -
Saturday, 6-10 a.m.: 1.1%
Sunday, 10 a.m.-3 p.m.: 1.7%
Sunday, 7 p.m.-midnight: 1.7%
Monday—Friday, 6-10 a.m.: 1.8%
Monday-Friday, 3-7 p.m.: 1.8%
Sunday,6-10 a.m.: 1.9%

Table 15: Lowest Arbitron Shares

 

 

 

 

 

 

 

 

 

Spring 2001 Shares: Persons 18-34
(LOW Shares)
2.0%
1.5%
1.096 1
l

0.596" ‘
0.0% , , , 7

Sat., 6- Sun., 10a- Sun., 7- M-F, 6- M-F, 3-7p Sun., 6-

10a 3p Mid 10a 10a

 

Figure 8: Lowest Arbitron Shares

3. On an average day, how much time do you listen to The Impact?
(In order of most common response)

-1 to 2 hours a day: 51 people (35.2%)

-2 to 4 hours a day: 47 people (32.4%)

-6 or more hours a day: 17 people (11.7%)

-4 to 6 hours a day: 15 people (10.3%)

-Less than an hour a day: 14 people (9.7%)

-(1 person did not respond)

Table 16: Amount of Time Survey Respondents Said They Listened

 

On an average day, how much time do
you listen to The Impact?

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

 

1-2 2-4 6+ Hrs/Day 4-6 >1 l-lr/Day
Hrs/ Day Hrs/ Day Hrs/ Day

 

 

 

Figure 9: Amount of Time Survey Respondents Said They Listened
According to this group of people, WDBM has listeners with high time
spent listening. The combined total of listeners who said they listen from 1 to
4 hours a day is 67.6%. That means that most of the people who took this
survey are loyal P1 listeners. The combined total of those who said they
listen between 4 to 6 or more hours a day is 22%. The Arbitron numbers are
in agreement that WDBM listeners are loyal and their time spent listening
(T SL) is very high.

A art..- : 111.: 9.0.: 1 l : ii 0. ' 0 5 fr 91:10 9 L; + l‘ Srin H1
(in order from most to least)

Monday-Sunday, 6 a.m.-midnight: 5.1

Monday-Friday, 10 a.m.- 3 p.m.: 3.4

Monday-Friday, 7 p.m.-midnight: 2.9

Saturday, 7 p.m.-midnight: 2.9

Monday-Friday, 6-10 a.m.: 2.2

Monday-Friday, 3-7 p.m.: 2

Sunday, 3—7 p.m.: 2

Saturday, 3—7 p.m.: 1.8

Sunday, 10 am.-3 p.m.: 1.3

Saturday, 10 a.m.-3 p.m.: 1

Table 1 7: Arbitron Average Time Spent Listening for 12+

110

 

Spring 2001 Average TSL for Persons
12+

 

liars
O-INwaUIO)

M-S, M-F, M-F, Sat., M-F, M-F, Sun., Sat., Sun., Sat.,
6a- 10a- 7p- 7p- 6- 3-7p 3-7p 3-7p 10a- 10a-
mid 3p mid mid 1 0a 3p 3p

 

 

 

Figure 10: Arbitron Average “lime Spent Listening for 12+

.Jllfil' - vnt infrmatin fr A1.” . . '1 i ' -. ~ or . 2:. m-
6 pm. tp mrg' n'ght, Spring 2091

-P1 Time Spent Listening: 10 hours
-P1 Cume: 5200 people

-P1 Average Quarter Hours: 400
Table 18: P1 Listener Vital Signs

4. Where do you listen to The Impact? Check all that apply.

(In order from most common place to least)

-In the car: 65 people (44.8%)

-At work: 47 people (32.4%)

-At home: 30 people (20.7%)

-Walkinglbiking to class: 2 people (1 .4%)

-At the gym: 1 person (less than 1%)

Table 19: Places Survey Respondents Said They Listened

111

 

 

Where do you listen to The Impact?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

50.0%
40.096
30.0% --—-———V
20.096 [
10.0% P—j r
0.0% . a . 4 ‘ .
In The Car Work At Home Walking/Biking At the Gym
To Class

 

Figure 1 1: Places Survey Respondents Said They Listened

Like the first few survey questions, the responses here did not come as
a surprise. People listen to WDBM in the car. This is good news for radio in
general, in light of how many people have CD players in their cars today. It
also suggests that at work listeners are a significant part of the daily
audience. It does, however, suggest that WDBM must work harder to get
listeners to tune on the way to class.

Arbitron supplied listening locations as a percentage of Average
Quarter Hours. These numbers for Spring 2001 for persons 12+ were
different from what the survey participants said. The number also varied from
weekdays to weekends.

' :r~.: o.fAv 12.0: t. _:1‘ . s 1&3" ; i 9 tone. .. hr 2 n s. .
_ am. 39 mignight

-In the home: 44%

-At work: 35%

-In the car. 21%

Table 20: Listening Locations broken up by Average Quarter Hours (Monday-
Sunday)

112

 

 

Spring 2001 Percent of AQH Spent
Listening

Monday-Sunday, Persons 12+

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5096

4096 ‘_ “-4

30% __—--~

20% * ---~

1096 +— ——J_—[~—4
0% 1 . a ~ ~

 

At Home At Work In the Car

 

 

 

Figure 12: Listening Locations Broken Up by Average Quarter Hours
(Monday-Sande y)

PI’zrr; f ‘V:t=.,-: 9-11:1. ; "in ' z '9 Once 1l‘9 -01 F '2 3
am. to midnight

-At work: 43%

-At home: 34%

-In the car. 23%

Table 21: Listening Locations Broken Up by Average Quarter Hours (Monday-
Friday)

 

Spring 2001 Percent of AQH Spent
Listening

Monday-Friday, Persons 12+

5096
4096
3096
2096
1 096

096

 

 

At Work At Home In the Car

 

 

 

Figure 13: Listening Locations broken up by Average Quarter Hours
(Monda y-Sunda y)

113

Again,thisih1sbatesthedifleringsamplesgatheredbythewebsuwey
andbyArbitron. ltisbeultoknowthedifferencebetweenm listenersand
otherlisbners. ltalsonnkessensetoseemoreatworklisteningduringthe
Mandmoreathomelisteningontheweekend.

5. Hewdoyoutuneianhelmpact? Checkallthatapply.
(In order from most common to least)

-On the radio at 88.9 FM: 121 people (83.4%)

-On the web via RealAudIo streaming: 21 people (14.5%)

-On the web via Quicktime streaming: 3 people (2%)

«On Channel 12 on AT&T Cable: (none)
Table22'l-lowSurveyRespondentsSaidThey Tunedln

 

How do you tune in to The Impact?

90.096
80.096
70.096
60.096
50.096
40.096
30.096
20.096
1 0.096

0.096

 

 

 

 

On the radio RealAudio Quicktime

 

 

 

Figure 14: How Survey Respondents Said They Tuned In

This Is what was assumed. Most of the WDBM audience is local.
lntemetuserssheamwiflrRealAudiomoremanQuickfimebecausefiisa
morereliabletechnology. RealAudioIsmuchmoreexpensivetopurchase
dmgh,andnmchfewerpeoplecanlistenatonefimetoWDBMusingthat
platform. Quidttirneislessexpertsiveandmorepeoplecanttrneinatonce,
bluitistlielesspopularandgerierallylessreliableoption.

114

6. Who Is your favorite artist on The Impact?

-“Don’t have one/none listed”: 16 people

-“Most artists”: 1 person

-“Never know the names”: 1 person

-“Too many to list”: 2 people

-“Various”: 1 person

-“Any Brit Pop or indie pop”: 1 person

-“Anything local especially The Verve Pipe and 19 Wheels”: 1 person

-Other answers (In alphabetical order): 19 Wheels (x2), Air, Amory, Tori
Amos, Angie Aparo (x2), Fiona Apple, Richard Ashcroft, Barenaked Ladies
(x2), Ben Folds Five (x2), Bjork, BT, Jeff Buckley (x2), David Byme, Caviar,
Coalesce, Coldplay, Nikka Costa, The Cure, Dandy Warhols (x2), Alana
Davis, Howie Day, Dead Kennedys, Depeche Mode Ani DiFranco (x5),
Domestic Problems (x2), Eels, Five For Fighting (x3), Flaming Lips (x2),
David Gray (x2), Gomez, Guided By Voices, Guster (x2), Half Looking, Ben
Harper (x5), PJ Harvey, Hooverphonic, James, Jurassic 5, Limp Bizkit, Dave
Matthews Band (x2), Mellow, Moby (x3), Mono, Morrissey, Nirvana,
Pavement, Glen Phillips, Wally Pleasant (x2), Portishead, Primal Scream,
The Push Kings, Radiohead (x8), R.E.M. (x2), Red House Painters, The
Samples, The Sea and Cake, Self (x2), Bob Schneider, Duncan Sheik, lan
Simmons, Solid Frog, Soul Coughing, Teddy Thompson, Tool, The Tragically
Hip, Travis (x2), Turin Breaks, The Twilight Singers, The Verve Pipe (x3), U2
(x4), Weezer (x6), Dar Williams.

Table 23: Favorite Artists of Survey Respondents

Obviously none of these answers hold much weight, even the ones
with multiple responses. It may however provide a snapshot of what artists

could be considered core artists at WDBM.

115

7. Who is your least favorite?

“all that folky fern rock”: 1 person

“Any hip hop": 1 person

“Any rapper”: 1 person

“Anything popular“: 1 person

“Anything whiney“: 1 person

“Bands you see on MTV (mainstream crap)”: 1 person
“Bitch rock”: 1 person

“head banger types who make noise”: 1 person
“I like em all”: 1 person

“None-you guys are great at picking music”: 1

-Other answers: 19 Wheels, Bjork, Caviar (x4), Depeche Mode, Ani
DiFranco (x6), Everclear (x2), Ben Harper, Garbage (x2), Gomez,
Grasshopper Takeover, Head On 5, Hootie and the Blowfish, Indigo Girls,
Jane’s Addiction, Limp Bizkit, Dave Matthews Band (x4), No Doubt, Our Lady
Peace, Outkast, Papa Roach, Pat McGee Band, Placebo, Poe, R.E.M,
Radiohead (x3).

Table 24: Least Favorite Artists of Survey Respondents

This list of artists and bands was much shorter. This could mean that
WDBM is on track with what its P1 listeners want to hear. Again it is hard to

tell with so many different responses.

116

8. Everyevenlnthelmmctairsavarlatyofgenr'ebasedshows.
Plaaaamarkonasealafrom1t05hewoftanyoutuneintothe

blowing shows. (1m, 3-eornatimea, 5-efbn).

 

(NoanswerswereacceptedforTheReggaeSunsplash Therewasaweb
WOW)

fishnpact Flashback 2.65

-54people(12.3%)answeredwitha 1.

-11 people (7.6%)answeredwitha2.
-33people(22.8%)answeredwitha3.

-26 people (17.9%) answered with a4.

-21 people(14.9%) answered with a 5.

-The mode (most answered) is “sometimes.“
-'l'hecombinedtotalof1sand2s(never)is 19.9%
-The combined total of 4s and 5s (always) is 32.8%.
Table 25: Impact Flashback

 

Impact Flashback

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

25.096
20.0% -
1 5.096
10.0% r
0.0% , w ~ r .
I (Never) 2 3 4 S (Often)
(Sometimes)

How often you listen

 

 

 

Figure 15: Impact Flashback

117

Worm: 2.5

-51 mople(35%)answeredwitha 1.
-17 people (11.7%) answered with a 2.
46 people (31.7%) answered with a 3.
-16 people (11%) answered with a4.
-15 people (10.3%) amered with a 5.

-The mode (rnoet answered) is “never.“
-Thecombined total 1s and 23 (never) Is46.7%.
-The combined total of4s and 5s (always) is 21.3%.
Table26:SitorSp'n

 

Sit or Spin

4096
3596
3096
2596
2096
1 596
1096

596

096

 

I (Never) 2 3 ' 4 5 (Often)
(Sometimes)

How often you listen

 

 

 

Figure 16: Sit or Spin

118

”-The Baaennnt: 2.37

-63 people (43%) answered with a 1.
-19 people (13.1%) answered with a 2.
«28 people (19.3%) answered with a 3.
-16 people (11%) answered with a 4.
-19 people (13.1%) answered with a 5.

-The made (most answered) is “never.“

-The combined total of 1s and 23 (never) Is 56.1%.
~The combined total of4s and 5s (always) is 24.1%.
Table 27: TheBasement

 

The Basement

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

50%
40% l
30%
20% w
WWffi
0% . . T .
I (Never) 2 3 4
(Sometimes)

How often you listen

 

 

 

Figure 1 7: The Basement

119

"-TheAcclderrtal Blues: 2.36
-58pe0ple(40%)answeredwitha1.
-24 people (16.6%) ansmred with a 2.
-33 people (22%) answered with a 3.
-16 people (11%) answered with a 4.
-16 people (11%) armed with a 5.

-The mode (most answered) is “never.“

-‘Ihe combined total of 1s and 2s (never) is 56.6%.
-The combined totalof4s and 5s(always) is22%.
Table 28:1'heAccidentalBlues

 

The Accidental Blues

4596
4096
3596
3096
2596
2096
1 596
1 096

596

096

 

I (Never) 2 3 4 S (Often)
(Sometimes)

How often you listen

 

 

 

Figure 18: The Accidental Blues

120

tar-Specs Odyssey: 2.18

~74 people (51%) answered with a 1.
~17 people (11.7%) answered with a 2
~24 people (16.6%) answered with a 3.
~15 people (10.3%) answered with a 4.
~16pe0ple (11%) answeredwitha 5.

~The mode (most answered) is “never.“
~The combined total of 13 and 23 (never) is 62.7%.
~The combined total of 43 and 53 (always) Is 21.3%.

Table 29: Space Odyssey

 

Space Odyssey

6096
5096
4096
3096
2096
1 096

096

 

I (Never) 2 3 4 S (Often)
(Sometimes)

How often you listen

 

 

 

Figure 19: Space Odyssey

121

Torch and Twang: 2.11
~72 people (49.7%) answered with a 1.
~26 people (17.9%) answered with a 2.
~21 people (14.5%) answered with a 3.
~11 people (7.6%) answered with a 4.
~15 people 10.3%) armored with a 5.

~The mode (most armed) is “never.”
~Thecombined total of 1s and 23 (never) 867.6%.
~The combined total of 4s and 5s (always) is 17.9%.

Table30:ProgessiveTorchandTwang

 

Progressive Torch and Twang

60.096
50.096
40.096
30.096
20.096
10.096

0.096

I (Never) 2 3 4
(Sometimes)

How often you listen

 

 

5 (Often)

 

Figure 20: Progressive Torch and Twang

122

 

"-TheJanSpectrum: 2.10

~70 people (48.2%) answeredwith a 1.
~26 mople (17.9%) answered with a 2.
~31 people(9%)answeredwitha3.

~7 people (4.8%) answered with a 4.
~11 people(7.6%)answeredwitha5.

~The mode (most answered) is “never.“

~The combined total 13 and 23 (never) is 66.1%.
~The combined total of 4s and 53 (always) is 12.4%.
Table 31: The Jazz Spectrum

 

The Jazz Spectrum

60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

I (Never) 2 3 4 5 (Often)
(Sornetlmes)

How often you listen

 

 

 

Figure 21: The Jazz Spectrum

123

anactExpoeurs: 1.92

~84 people(57.9%) answeredwitha 1.
~15 people (10.3%) answrered with a 2.
~28 people (19.3%) answered with a 3.
~10 people (7%) answeredwith a4.

-8 people (5.5%) answered with a 5.

~The mode (most awed) is “never.“
~The combined total of 1s and 23 (never) Is 68.2%.
~The combined total of 43 and 53 (always) is 12.5%.

Table 32' Impact Exposure

 

Impact Exposure

70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

1 (Never) 2 3 4 5 (Ohm)
(Sometimes)

How often you listen

 

 

 

Figure 22: Impact Exposure

124

fl-lschanical Pubs: 1.82
~81 people (56%) answeredwitha 1.

~23 people (15.9%) answered with a 2.
~22 people (15.1%) answered with a 3.

~9 people (6.2%) answered with a 4.
~9 people (6.2%) answered with a 5.

(1 person did not answer this queston.)

~The mode (most answered) is “never.“
~The combined total of 1s and 23 (never) I3 71.9%.
~The combined total of43 and 53 (always) is 12.4%.

Table 23: Mechanical Pulse

 

6096
5096
4096
3096
2096
1 096

096

I (Never) 2

 

Mechanical Pulse

 

3 4 5 (Often)

(Sometimes)
How much you listen

 

Figure 23: Mechanical Pulse

125

 

#1ka 1.79

~89 people (61.4%) answered with a1.
~19 people (13.1%) answered with a 2.
~22 people (15.2%) answered with a 3.
~9 people (6.2%) answered with a4.
-6people(4.1%)answeredwitha5.

~The mode (most answered) is “never.“

~The oornbined total of 1s and 23 (never) Is 74.5%.
~The combined total of 4s and 53 (always) is 10.3%.
Tabb 34: Sneak Preview

 

Sneak Preview

70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

1 (Never) 2 3
(Sometimes)

How much you listen

 

4

 

5 (Often)

 

Figure 24: Sneak Preview

126

 

811- The Cultural Vibe: 1.77

~92 people (63.4%) answered with a 1.
~19 people (13.1%) answered with a 2.
~18 people (12.4%) answered with a 3.
-8 people (5.5%) answered with a 4.
-8 people (5.5%) answered with a 5.

~The mode (most answered) is “never.“

~The combined total of1s and 23 (never) is 76.5%.
~The combined total of43 and 53 (always) is 11%.
Tabb 35: The Cultural Vibe

 

The Cultural Vibe

70.096
60.096
50.096
40.096
30.096
20.096
1 0.096

0.096

 

1 (Never) 2 3 4 5 (Often)
(Sometimes)

How much you listen

 

 

 

Figure 25: The Cultural Vibe

127

flit-Global Sounds: 1.76

~69 people (61.3%) answered with a 1.
-21 people (14.5%) answered with a 2.
-23 people (16%) answered with a 3.
-5 people (3.4%) answered with a 4.
'7 900918 (4.8%) answered with a 5.

~The mode (most answered) is “never.“

~The combined total of 13 and 23 (never) is 75.8%.
~The combined total of 43 and 53 (always) is 8.2%.
Table 36: Global Sounds

 

Global Sounds

70.096

 

60.096
50.096
40.096
30.096
20.096
10.096

0.096

I (Never) 2 3
(Sometimes)

How much you listen

 

4

 

S (Often)

 

Figure 26: Global Sounds

128

 

#13-Two Tone Beet 1.61 (THIS SHOW WAS CANCELLED IN MARCH
2001.)

~93 people (64.1%) answered with a 1.

~27 people (18.6%) answered with a 2.

~19 people (13.1%) answered with a 3. (12 out ofthe 19 people answered
beforetheshowwascencelled.)

~Therewere no4’s answered.

-6people(4.1%)answeredwitha5. (50utofthe6an3weredbeforetheshow
wascancelled.)

~The mode (most answered) is “never.“

~The combined total of 1s and 23 (never) Is 82.7%.
~The combined total cf4s and 53 (always) is 4.1%.
Tabb 37: Two Tone Beat

 

Two Tone Beat

70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

 

 

1 (Never) 2 3 4 S (Often)
(Sometimes)

How much you listen

 

 

 

Figure 27: Two Tone Beat

129

814-1'hee Hour: 0 Power. 1.48

~112 people (77.2%) answered with a 1.
~15 people (10.3%) answered with a 2.
~6 people (4.1%) answered with a 3.

-6 people (4.1%) answered with a 4.

-6 people (4.1%) answered with a 5.

~The mode (most answered) is “never.“

~The combined total of 1s and 23 (never) Is 87.5%.
~The combined total of 43 and 53 (always) is 8.2%.
Tabb 38: Thee Hourz 0 Power

l

 

Thee Hourz 0 Power

90.096
80.096
70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

I (Never) 2 3 4 S (Often)
(Sometimes)

How much you listen

 

 

 

Figure 28: Thee Hourz 0 Power
All shows were very close in their average score. Therefore, it is much

more important to look at how many people answered with each number. For

example, shows with many 3’s may not have a very loyal audience. Shows
with many 1’s and 2’s may need to be evaluated by the WDBM Director Staff.
Those with many 4’s and 5’s seem to have loyal listeners and seem to be
offering good radio programming. It is interesting that WDBM listeners tune in
t0 “Impact Flashback“ the most. Radio research says over and over that

”Steners enjoy familiar music. “Impact Flashback“ Is all familiar songs from

130

the 70’s and 8033 It seems even more interesting, though, that the survey
said that “Sit or Spin” is the 2"" most listened to show. Almost all of the music
is unfamiliar, which is assumed to be a turnoff for listeners. This show is only
a few years old. It just moved from one hour to two hours about a year before
the survey was posted online. The idea of “Sit or Spin” is to put the
programming decisions of some music on WDBM in the hands of listeners.
However, the Arbitron data shows that only P1 listeners must have tuned in to
Sit or Spin in Spring 2001 because its Rating and Share are very low.

It is also interesting to see “The Basement“ at #3. This is the local
music program on WDBM. Again, local content is what makes a radio station
unique. The show is just two hours a week, but this survey shows that some
listeners make a point to tune in for a show they cannot find anywhere else.

On the other hand, the scores for “The Cultural \fibe” should not be
worried about too much. This is 3 Hip Hop and Rap show on WDBM. This
show has been around for almost 12 years. The current hosts received the
highest scores for all WDBM specialty programs from the WDBM Director
Staff. The show is consistent and original. Its audience is mainly African
American. There is a much smaller percentage of African Americans online
than Caucasians. This may account for the lower score for “The Cultural
Vibe.“ The Arbitron data shows that many people who normally do not tune in
on weekdays tune in on Saturdays for this show, because the Share was

significantly higher in that time slot than others in Spring 2001.

131

A show to be concerned about is “T he Hourz O Power,” rated lowest
out of survey participants. This is a metal music program on WDBM. In the
past few years, there has been a resurgence in the popularity of harder-
edged rock and metal bands in the US. This show should be a success.
The show is another one that has been on WDBM for many years, and had
many good hosts. Again, the Arbitron data shows that there was a larger
Share in the evening than during the daytime on weekdays, but P1 listeners
are cleariy not satisfied. Knowing that, it may be hard to increase the Share
for this show. However, this show may have many listeners who are not daily
WDBM listeners, just like The Cultural Vibe. Both shows are very different
from daily programming, and may bring in people who do not like the style of

the daytime programming, but do listen to metal or rap.

132

The responses to Questions 9 through 11 have been summarized here. The
entire list of responses can be found in the Appendix.

For the shows you listen to,
9. a) What do you like about them?

~Variety of music.

-New music on Sit or Spin.

~Hearing music that no other radio stations play.
~lmpact Flashback is fun to listen to on Friday nights.
~Evening programming and its uniqueness.

~No commercials.

~Progressive Torch and Twang exposes new artists.
~Local music heard nowhere else.

~Educational.

~Knowledgeable disc jockeys.

~Request3 get played.

~Genuine nature of the disc jockeys and WDBM in general.
9. b) What do you dislike, and why?

~Disc jockeys that mispronounce words.

~Negative disc jockeys.

~Disc jockeys who ramble.

-Not hearing song and artist names.

-Too much talking sometimes.

133

10. As a listener, what things keep you listening?
~Exposure to music not heard anywhere else on the radio.
~Variety of music.

Source for new music.

~Disc jockeys listeners can relate to.

~No overplayed music.

~No commercials.

~Requests get played.

-Programs for many genres of music.

Source for local music.

11. What things cause you to tune out?

This list is very interesting, because it really hones in on how WDBM listeners

mrceive the station. There are some factual errors in their responses, but
their perception is the station’s reality. See word for word responses in the

Appendix.

~Repetitive “indie-rock.”

~Repetitive “middle of the road rock.”

~When songs get played over and over.

~Too much talk from disc jockeys.

~Disc jockeys that play too many of their own favorite songs.
~N0t hearing the song and artist information.

-Boring talk shows.

Sunday programming.

134

When thinking of listeners” perceptions, it is worthwhile to mention how
diarykeepers identified WDBM. Here are all the way listeners identified the
station in their diary in Spring 2001:

~88.9

~WDBM

~WDBM 88.9

~89.1 The Impact

~W|BM

~The Impact 88.9

~88.9 Impact

~88.9 WDBM

~88.9 Campus Radio Impact
~The Fix.org WDBM?

Table 39: WDBM Diary Recall

This shows that WDBM has a bit of an identity problem. Since it is
nicknamed “89 FM The Impact“ and its dial position is 88.9, this has obviously
confused some listeners. Others did not know the call letters. This list alone
is proof that WDBM needs to stick with one phrase and use it often. “89 FM”

may even be outdated, since the majority of radio tuners are digital today.

135

12. If you could program The Impact for a day, what would you change?
Check all that apply:

W:

~Add more unfamiliar music: 54 people (37.2%)

~Have more information on music: 53 people (36.6%)

~Emphasize information about the Mid-Michigan area, in addition to Michigan
State University: 23 people (16%)

~Add more familiar music: 21 people (14.5%)

~Have less talk from the DJs: 13 people (9%)

~Have more news and sports throughoutthe day. 7 people (4.8%)

~No one made any of their own suggestions.

Tabb 40: Programming Preferences of Sunrey Respondents

 

If you could program the Impact for a
day...

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

More More Info Mid-Ml More Fam. Less Talk More
Unfam. Info News

 

 

 

Figure 29: Programming Preferences of Survey Respondents

It is interesting to see that that most radio stations shy away from is
what WDBM listeners want: less familiar music. Of course, there are listeners
who want more familiar music. It is always difficult to find the perfect balance.
Again, this survey is merely a snapshot of the WDBM audience. Arbitron
says that WDBM listenership has decreased and also says many 18 to 24
year olds reported listening to VWVDX and WHZZ, which play familiar music.

136

WDBMmaywanttoincreasedreamountoffamiliarmusicfiomcorearfistskr
anattsrnpttogamermoreandnewlisteners.

13. Wouldyouliketoheermorewsllknownartistsorgenre-specifc
progemmhgonflrelmpect? Orlsthebelanceapproprlats?

~Thebalanceisappropriate:119 people (82%)

~WDBM needsrnoregenre-specificprograms: 16people(11%)
~WDBM needs rnorewell known artists: 10 people (7%)
Tabb41: WWArtr’sts vs. Gerue-SpecilicPiograrmning

 

Would you like to hear more well known
artists or genre-specific programming
on The Impact? Or is the balance
appropriate?

1 0096
8096
6096
4096
2096

096

 

 

 

 

 

Appropriate More genre More well-known

 

 

 

Figure 30: Well Known Artists vs. Genre-Specific Programming

The overwhelming majority of people think WDBM is on track.
However, later comments do state that some listeners want to hear weekday
programming on Sundays. This is probably because “The Global Sounds“
and “The Reggae Sunsplash“ (two shows that air through most of Sunday)

appeal to a very small audience.

137

14. Please rah the folowlng statements:
(1-str';)ngly disagree, 2-dlsagree, sane oplnlon, 4=agree, 5-str'ongly
agree

Thefirstaveragethatwascalculatedwasfromtheentiregroupof
respondents. Sornestatementshavetwoaverages. Thesecondaverage
wasfromasmallergroup. Anyrespondentwhoansweredthesameto
opposingstatementswasthrmnout. Noteveryquestionhadacomplete

oppwite,sonotallresponseswillhavetwoaverages.

a)TheImpecthasawidevarletyofmusic(‘l’herslsnoexactopposlb
stabment).

~The overall average is 4.6.

W:

Strongly disagree: 2 people (1 .4%)
~Disagree: 4 people (2.8%)

~No opinion: 4 people (2.8%)
~Agree: 30 people (20.7%)

Strongly agree: 105 people (72.4%)

~The mode (most answered) was “strongly agree.“

~The combined total of “strongly disagree“ and “disagree“ is: 4.2%.
~The combined total of “strongly agree“ and “agree“ is: 93.1%.
Tabb 42: The lmpactHasa Wide VarietyofMusic.

 

The Impact has a wide variety of music.

80.096
70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

 

 

Strongly Disagree No Opinion Agree Strongly
L Disagree Agree

 

 

 

Figure 31: The Impact Has a Wrde Variety of Music.

138

b)TheImpectcouIddoabetbrjobcommunIcatIngteflchIgenStab
University.

~Theoverallaveragei32.4.
~86peopbcorrecuyscoredthisdreoppositeofl),anddeiraverageisz.35.

WM

Strongly disagree: 22 people (25.6%)
~Disagree: 16 people (18.6%)

~No opinion: 44 people (51 2%)
~Agree: 3 people (3.5%)

Strongly agree: 1 person (1.2%)

~The mode (most answered) is “no opinion.“

~The combined total of “strongly disagree“ and “disagree“ is: 44.2%.

~The combined total of “strongly agree“ and “agree“ is: 4.7%.

Table 43: The lmpactCouldDoA BetterJob CommunicafirgtoMichigan
State University.

 

The Impact could do a better job
communicating to Michigan State
University.

60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 32: The Impact Could Do A Better Job Communicating to Michigan
State University.

139

c)ThehnpectlsconslshntlyenjoysbIehllstsnbthroughoutdredsy.
~Theoverallaverageis4.

~96peopbcorrecflyscoredthisflreoppositeofk)andtheiraverageis4.2.

W

Strongly disagree: 4 people (4.2%)
~Disagree: 3 people (3.1%)

-No opinion: 5 people (5.2%)
~Agree: 41 people (42.7%)
Strongly agree: 43 peeple (44.8%)

~The mode (most answered) is “strongly agree.“

~The combined total of “strongly disagree“ and “disagree“ is: 7.3%.

~The combined total of “strongly agree“ and “agree“ is: 87.5%.

Table44: ThelmpactlsWEnjoyabbtothento TTrroughoutthe
Day.

 

The Impact is consistently enjoyable to
listen to throughout the day.

 

50.096
40.096
30.096
20.096
10.096

0.096

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

nmeI'l

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

 

Figure 33: The Impact is Consistently Enjoyabb to Listen to Throughout the
Day.

140

d)11relmpectleconslsbntlyenjoyabletollsbntothroughoutthe
evening.

~The overall average is 3.38.

~81 peoplocorrectlyscoredfliismeoppositeofm)andtheiraveragois3.32.

W

Strongly disagree: 3 people (3.7%)
~Agroe: 19 people (23.5%)

~No opinion: 19 people (23.5%)
~Agree: 29 people (35.8%)
Strongly agree: 11 people (13.6%)

~Themode(most answered)i3“agree.“

~Thecombinedtotalof “stronglydisagree' and“disagree“ is. 27.2%.
~Thecombined totalof “strongly agree“ and“ agree“ Is: 49 ..4%
Table45:17nlmpactisCmsistarflyEry’oyabbtoListentoTTwouyrom0b
Evowing.

 

The Impact is consistently enjoyable to
listen to throughout the evening.

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 34: The Impact is Consistently Enjoyable to Listen to Throughout the
Evening.

141

e)Thelmpactdoeonotcabrtoallmuslctashs.
-Theoverellaverageisz.3.
-98peopleconectlyscoreddristheoppositeofr)andtheiaverageisl

W

«Strongly disagree: 45 people (45.9%)
Disagree: 26 people (26.5%)

-No opinion: 9 people (9.2%)

~Agree: 13 people (13.3%)

-Strongly agree: 5 people (5.1%)

-The mode (most answered) is 'strongly disagree.”

-The combined total of 'strongly disagree” and “disagree” is: 72.4%.
-The combined total of "strengly agree” and 'agree' is: 16.4%.
Table 46: The lmpactDoesNotCatertoMMusic Tastes.

 

The Impact does not cater to all music

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

tastes.
50.0% .
40.096
30.096
20.0% -
10.096 WWTL
0.0% , .Jl..ll

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 35: The Impact Does Not Cater to All Music Tastes.

142

”Thelmpacthashighqualitywnre-epeciflcshowsmmlsnoexact
oppoelbstatement).

-Theoverallaverageis4.1.

W:

-Strong|y disagree: 4 people (2.8%)
-Disagree: 4 people (2.8%)

-No opinion: 24 people (16.6%)
Agree: 55 peeple (37.9%)
-Strongly agree: 58 people (40%)

-The mode (moot answered) was ”strongly agree.”

-The combined total of ”strongly disagree” and ”disagree” is: 5.6%.
-The combined total of ”strongly agree” and ”agree” is: 77.9%.
Table47: The lmpactHasHigh QualityGenre-Specr’ficShon

 

The Impact has high quality genre-
specifc shows.

45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 36: The Impact Has High Quality Genre-Specific Shows.

143

g)Thelrnpectcouldbelterinlonnlishnereaboutnewmusic(Thereis
noexactoppoeibstatement).

-The overall average is 2.8.

W:

-Strongly disagree: 25 people (17.2%)
-Disagree: 38 people (26.2%)

-No opinion: 27 people (18.6%)
-Agree: 45 people (31%)

Strongly agree: 10 people (6.9%)

-The mode (most answered) was ”agree.”

-The combined total of ”strongly disagree” and ”disagree” is: 43.4%.
-The combined total of ”strongly agree” and ”agree” is: 37.9%.
Table48:17relmpactCouIdBetterln!ormLLstenersAboutNewMusic.

 

The Impact could better inform listeners
about new music.

80.096
70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 37: The Impact Could Better Inform Listeners About New Music.

144

h)ThelrnpacthaeDJeflratareworeethanDJsonollnrradiostations.
-Theoverallaverageis1.88.
-98peoplecurectlyscueddrismeoppositeoln)andmeiraverageis1.74.

W

-Strongly disagree: 59 people (60%)
Disagree: 16 people (16.3%)

-No opinion: 14 people (14.3%)
Agree: 7 people (7.1%)

Strongly agree: 2 people (2%)

-The mode (most answered) is ”strongly disagree.”

-The combined total of ”strongly disagree” and ”disagree” is: 76.3%.

-The combined total of ”strongly agree” and ”agree” is: 9.1%.

Table 49: The ImpactHas DJs ThatAre Wee Than DJson OtherRado
Stations.

 

The Impact has DJs that are worse than
DJs on other radio stations.

70%
60%
50%
4096
3096
2096
1 O96

O96

 

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 38: The Impact Has DJs That Are Worse Than DJs on Other Radio
Stations.

145

nursinpactlrasmusicforever'ytaste.
-TheoveraIIaverageis3.7.
-98peoplecorredlyscoredflrismeoppositeote)andflreiraverageis3.8.

W

-Strongly disagree: 5 people (5.1%)
Disagree: 15 people (15.3%)

-No opinion: 9 people (9.2%)
Agree: 33 people (30.6%)
-Strongly agree: 36 people (36.7%)

-The mode (most enmered) is ”agree.”

-The combined total of ”strongly disagree” and ”disagree” is: 20.4%.
-The combined total of ”strongly agree” and ”agree” is: 67.3%.
Table 50: The Impact Has Music ForEvery Taste.

 

The Impact has music for every taste.

40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 39: The Impact Has Music For Every Taste.

146

”Thelrnpectplayammicthatmenyotherradiostationsplayflherels
noexactoppoeibstatement).

-The overall average is 2.2.

W:

-Strongly disagree: 46 people (31 .7%)
Disagree: 64 people (44.1%)

-No opinion: 8 people (5.5%)

-Agree: 10 people (6.9%)

-Strongly agree: 17 people (11.7%)

-The mode (most anmed) is ”disagree.”

-The combined total of ”strongly disagree” and ”disagree” is: 75.8%.
-The combined total of ”strongly agree” and ”agree” is: 18.6%.

Table 51: The lmpactPlays Music TlratMarryOflrerRado Stations Play.

 

The Impact plays music that many other
radio stations play.

50.096
40.096
30.096
20.096
10.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 40: The Impact Plays Music That Many Other Radio Stations Play.

147

k)ThehnpectienotconsisbnteoundingwhenIebningduringtheday.
-Theoverelaverageiszz.
-96peoplecorrectlyscoredflrisflreoppositeotc)andflreiraverageis1.8.

W

-Strongly disagme: 44 people (45.8%)
Disagree: 37 people (38.5%)

-No opinion: 7 people (7.3%)

Agree: 4 people (4.2%)

-Strongly agree: 4 people (4.2%)

-The mode (most answered) is ”strongly disagree.”

-The combined total of ”strongly disagree” and ”disagree” is: 84.3%.

-The combined total of ”strongly agree” and ”agree” is: 8.4%.

Table52: ThelmpactisNotConsiatentSoerg WrenusteningDuringthe
Day.

 

The Impact is not consistent sounding
when listening during the day.

 

50.096

 

 

40.096
30.096
20.096
10.096

0.096

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

gflYr—LTr—r

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

 

Figure 41: The Impact is Not Consistent Sounding When Listening During the
Day.

148

”ThehnpactaddreeeeetheneedsottheflchiganSt-teUniverefly
community.

-Theoverallaverageis3.4.
-86peoplecorrecflyscoreddrisflreoppositeotb)andflreiraverageis3.6.

mums

Strongly disagree: 0 people
Disagree: 4 people (4.7%)

—No opinion: 44 people (512%)
Agree: 22 people (25.6%)
Strongly agree: 16 people (18.6%)

-The mode (most anmed) is ”no opinion.”

-The combined total of ”strongly disagree” and ”disagree” is: 4.7%.

-The combined total of ”strongly agree” and ”agree” is: 44.2%.
Table53:1helnpactAd¢essesmeNeedsofmeMichigm&eteUrfiversity
Cormmmr’ty.

The Impact addresses the needs of the
Michigan State University community.

 

6096
5096
4096
3096
2096
1 096

096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 42: The Impact Addresses the Needs of the Michigan State University
Community.

149

ijhelmpectienotalwaysenjoyabletolbtentointheevenhrg.
-Theoverallaverageisz.9.

-81peopIecormctIyscoredtheoppositeotd)andtlwiraverageisZ.6.

W

-Strongly disagree: 16 people (19.8%)
Disagree: 23 people (28.4%)

-No opinion: 19 people (23.5%)
Agree: 20 people (24.7%)

Stormy agree: 3 people (3.7%)

~The mode (most answered) is ”disagree.”

-The combined total of ”sbongly disagree” and ”disagree” is: 48.2%.

-The combined total of ”strongly agree” and ”agree” is: 28.4%.

Table54: 1helmpactisNotAMaysEnioyabletoLBtentointheEvening.

 

The Impact is not always enjoyable to
listen to in the evening.

30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 43: The Impact is Not Always Enjoyable to Listen to in the Evening.

150

n)1helmpacthasDJsthatarebetbrthanDJsonotherradioetations.
-Theoverallaveregeis3.7.

-98peoplecorrectlyscoredtheoppositeoth)andtheiraverageis4.

WW

-Strongly disagme: 1 person (1%)
Disagree: 8 people (8.2%)

-No opinion: 14 people (14.3%)
Agree: 38 people (38.8%)
—Strongly agree: 37 people (37.8%)

-The mode (most answered) is ”agree.”

-The combined total of ”strongly disagree” and ”disagree” is: 9.2%.

-The combined total of ”strongly agree” and ”agree” is: 76.6%.

Table55: ThelmpacthasDJs ThatAreBetterThanDJsonOtherRadio
Stations.

 

The Impact has DJs that are better than
DJs on other radio stations.

45%
4096
3 596
3096
2596
2096
1 596
1 096

5%

096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Table 44: The Impact has DJs That Are Better Than DJs on Other Radio
Stations.

151

o)Thehnpactcouldirnproveitsgenre-epecilicshowe(Thereisnoexact
oppoeibetsbment).

-Theoverall average is 2.7.

mm:

-Strongly disagree: 24 people (16.6%)
Disagree: 30 people (20.7%)

-No opinion: 60 people (41.4%)
Agree: 25 people (17.2%)

-Strongly agree: 6 people (4.1%)

-The mode (most answered) was ”no opinion.”

-The combined total of ”strongly disagme” and ”disagree” is: 37.3%.
-The combined total of ”strongly agree” and ”agree” is: 21 .3%.
Table56: ThelmpactCouIdImproveitsGenre—SpecfiicShows.

 

The Impact could improve its genre-
specific shows.

45.096
40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 45: The Impact Could Improve its Genre-Specific Shows.

152

p)Thelnpacthashelpedmeleernalotaboutnewnnrsic(Therelsno
enctoppoeiteetatement).

-Theoveralaverageis4.1.

WI

Strongly disagree: 8 people (5.5%)
Disagree: 5 people (3.4%)

-No opinion: 14 people (9.7%)
Agree: 52 people (35.9%)
Strongly agree: 66 people (45.5%)

-The mode (most answered) was ”strongly agree.”

-The combined total of ”strongly disagree” and ”disagree” is: 8.9%.
-The combined total of ”strongly agree” and ”agree” is: 81.4%.

Table 57: The ImpactHas HelpedMeLearnA LotAboutNewMusic.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Impact has helped me learn a lot
about new music.

50.0%

40.0%

30.096

20.096

10.0% J

0.0% J l , J L . . .
Strongly Disagree No Opinion Agree Strongly
Disagree Agree

 

 

 

Figure 46: The Impact Has Helped Me Learn A Lot About New Music.

Most of the responses to Question 14 were what WDBM had expected.
However, it seems that WDBM may not be effectively communicating with
Michigan State University. In both statements about MSU, the most
responses were ”no opinion.” That could mean that participants either did not
know or did not care. WDBM is Michigan State University’s student radio
station. If it was doing a sufficient job informing and talking with MSU

153

 

students, the two statements would have had more ”agree” or ”strongly
agree” responses. Additionally, WDBM may not be informing listeners about
new music. The most common answer to 14 g) is “strongly agree.” Though
WDBM plays a large amount of new music, it may not inform listeners
sufficiently about the new music heard on the station. Finally, WDBM may
not garner many P1 listeners during genre-specific programs. The most
common response to 14 0) was ”no opinion.” Survey respondents probably

do not listen to those programs on a regular basis, if at all.

154

15. ReviewtheiollowlnglistsofartietsyoucanhearonThelmpect.
Rabthernfrommostlavoritetoleastfavorits. (1-Iove,5-hate)

Average=2.5.

-49 people (33.8%) answeredwith a 1.
-29 people (20%) answered with a 2.
~34 people (23.4%) answemd with a 3.
-13 people (9%) answered with a 4.
-20 people (13.8%) answered with a 5.

-The mode (most answered) is ”love.”

-The combined total of 1’s and 2s is: 53.8%.
-The combined total of 4’s and 5's is: 22.8%
Table 58: Dave Matthews Band

 

Dave Matthews Band

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

I (love) 2 3 4 5 (hate)

 

 

 

Figure 47: Dave Matthews Band

155

 

Average= 2.5

-52 people (35.9%) armedwith a 1.
-24 people (16.6%) answered with a 2.
—37 people (25.5%) answered with a 3.
-14 people (9.7%) answered with a 4.
-18 people (12.4%) answered with a 5.

~The mode (most answered) is ”love.”

-The combined total of 1’s and 2s is: 52.5%.
-The combined total of 4’s and 5’s is: 22.1%.
Table 59: Ani DiFranco

 

 

Ani DiFranco

40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 48: Ani DiFranco

156

Travis

Average-=26

~34 people (23.4%) answered with a 1.
~26 people (17.9%) answered with a 2.
~63 people (43.4%) answered with a 3.
~10 people (7%) answered with a 4.
~12 people (8.3%) answered with a 5.

~Thernode(mostanswered)is”inthemiddle.”
~The combined total of 1’s and 23 is: 41.3%.
~The combined w of 4’s and 5's is: 15.3%.
Table 60: Travis

 

Travis

50.096
45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

 

I (love) . Z 3 4 5 (hate)

 

 

Figure 49: Travis

157

SarahIcLachlan

Average=2.5

-43 people (29.7%) answered with a 1.
~35 people (24.1%) answered with a 2.
~35 mople (24.1%) answered with a 3.
~19people (13.1%) answedwith a4.
-13people(9%)answeredwitha5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 2s is: 53.8%.
~The cornbirredtotalof4’sarrd5’s is 22.1%
Table 61: Sarah McLachIan

 

Sarah McLachIan

 

35.096

 

 

30.096

 

 

25.096 __

 

 

 

 

 

20.096

 

 

 

 

15.0%
10.0%
5.096 . ‘ }

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

H1

 

0.0% . ,
I (love) 2 3

 

4

5 (hate)

 

Figure 50: Sarah McLachIan

158

 

 

 

 

Troll For Trout

Average=2.8

~21 people (14.5%) answered with a 1.
~18 people (12.4%) answered with a 2.
~77 people (53.1%) answered with a 3.
~21 people (14.5%) answered with a 4.
-8 people (5.5%) answered with a 5.

~Thernode(mostanswered)is”inthemiddle.”
~The combined total of 1’s and 2s is: 26.9%.
~The combined total ot4’s and 5’s is: 20%.
Table 62' Tron For Trout

 

Troll For Trout

 

60.096

 

 

50.096

 

 

40.096

 

 

30.096

 

20.096

 

 

 

 

 

10.096 “*1 fl Y r’ '"‘ ’——1 7 it n

 

 

0.0%
I (love) 2 3 4 5 (hate)

 

 

 

Figure 51: Troll For Trout

159

Billy Bliss

Average=2.7

~28 people (19.3%) answered with a 1.
~31 people (21.4%) answered with a 2.
~59 people (40.7%) answered with a 3.
~17 people (11.7%) answered with a 4.
~10 people (6.9%) answered with a 5.

~1hernode(mostarm~ered)is”irthemiddle.”
~The combined total of 1’s and 2s is: 40.7%.
~The combined total at 4’s and 5’s is 18.6%.

Table63:BinBmgg

 

Billy Bragg

45.096
40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3

 

4

 

5 (hate)

 

Figure 52: Billy Bragg

160

 

Barenaked Ladies

Average=2.6

-42 people (29%) answeredwiflr a 1.
~35 people (24.1%) answered with a 2.
~25 people (17.2%) answered with a 3.
~18 people (12.4%) answered with a 4.
'25 9009.8 (17.2%) answered with a 5.

~The mode (most mod) is ”love.”

~The combined total of 1’s and 23 is: 53.1%.
~The combined total of 4’s and 5’s is: 29.6%.
Tabb 64: Barenaked Ladies

 

Barenaked Ladies

3596
3096
2596
2096
1596
1096

596

096

 

1 (love) 2 3

4

 

5 (hate)

 

Figure 53: Barenaked Ladies

161

 

Wilco

Average=2.5
-43people(29.7%)answeredwitha 1.
~28 people (19.3%) answered with a 2.
-49 people (33.8%) answered with a 3.
~13 people (9%) answered with a 4.
~12 people (8.3%) armed with a 5.

~11remode(mostanwered)is"mthemiddle.”
~The combined total of 1’s and 23 is: 49%.
~The combined total of 4’s and 5's is: 17.3%.
Table 65' Wilco

 

Wilco

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 54: Wilco

162

Average=2.3

~53 people (36.6%) ansvnred with a 1.
~36 people (24.8%) answered with a 2.
~28 people (19.3%) answered with a 3.
~17 people (11.7%) answered with a 4.
~11 people (7.6%) answeredwith a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 28 is: 61.4%.
~The combined total at 4’s and 5’s is: 19.3%.
Tabb 66: 19 Meals

 

I 9 Wheels

40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

1 (love) 2 3

 

4

 

5 (hate)

 

 

Figure 55: 19 Wheels

163

Average=2.6
~33pe0ple(22.8%)answeredwitha 1.

~25 people (17.2%) answered with a 2.
~65 people (44.8%) answered with a 3.
~17 people (11.7%) answered with a 4.
~5 people (3.4%) answered with a 5.

~The mode (most answered) is ”in the middle.”
~The combined total of 1’s and 2s is: 40%.
~The combined ml of4’s and 5's is: 15.1%.
Table 67: Old 973

 

Old 975

50.096
45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

I (love) 2 3

 

4

 

5 (hate)

 

Figure 56: Old 973

164

 

The Verve

Average=2.7

~50 people (34.7%) answeredwith a1.
~41 people (28.5%) answered with a 2.
~28 people (19.3%) answered with a 3.
~17 people (9.7%) answered with a 4.
-8 people (5.6%) answered with a 5.

(1 persondid notscoreTheVerve.)

~The mode (most answered) is ”love.”

~The combined total of 1's and 23 is: 63.2%.
~The combined total of 4’s and 5’s is: 15.3%.
Table 68: The Verve

 

The Verve

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

I (love) 2 3 4 5 (hate)

 

 

 

Figure 5 7: The Verve

165

lndgo Girls

Average=2.7

~39 people (26.9%) answeredwith a 1.
~29people(20%)answeredwitha2.
~35 people (24.1%) answered with a 3.
~22 people (152%) answered with a 4.
~20 people (13.8%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 28 is: 46.9%.
~The combined total of 4’s and 5’s is: 29%.
Tabb 69: Incigo Girls

 

Indigo Girls

 

30.096

 

 

25.096

 

 

 

 

20.096

 

 

 

 

15.096

 

 

 

 

 

 

 

10.096

 

 

 

 

 

 

5.096

 

 

 

 

 

 

 

 

 

 

 

 

 

0.0% 1 . , . .
1 (love) 2 3 4 5 (hate)

 

 

 

Figure 58: Indigo Girls

166

Oasis

Average=2.7

~38 people (26.2) answeredwith a 1.
<30 people (20.7%) answered with a 2.
~33 people (22.8%) answered with a 3.
~21 people (14.5%) answered with a 4.
~23 people (15.9%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 2s is: 46.9%.
~The combined total of 4’s and 5’s is: 30.4%.
Tabb 70: Oasis

 

Oasis

30.096
25.096
20.096
15.096
10.096

5.096

 

0.096

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 59: Oasis

167

We Problems

Average=2.3

-48 people (33.1%) answered with a 1.
~35 people (24.1%) answered with a 2.
40 people (27.6%) answered with a 3.
~12 people (8.3%) answered with a 4.
~10 people (6.9%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 2s is: 57.2%.
~The combined total of 4's and 5’s is: 152%.
Tabb 71: Domestic Problems

 

Domestic Problems

35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 60: Domestic Problems

168

Average=2.6

~31 people (21.4%) answered with a 1.
~24 people (16.6%) answered with a 2.
-66 people (45.5%) answered with a 3.
~17 people (11.7%) answered with a 4.
~7 people (4.8%) answered with a 5.

~Themode(mostanswered) is”intherniddle.”
~The combined total of 1’s and 2s is: 38%.
~The combined total of 4's and 5’s is: 16.5%.
Tabb 72' The Waterboys

 

The Waterboys

50.096
45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

1 (love) 2 3

 

4

 

5 (hate)

 

Figure 61: The Waterboys

169

 

Pavement

Average=2.4

~41 people (28.3%) answered with a 1.
~34 people (23.4%) answered with a 2.
~51 people (35.2%) answered with a 3.
~10 people (6.9%) answered with a 4.
-8 people (5.5%) answered with a 5.

~Themode(mostanswered) is”inthemiddle.”
~The combined total of 1’s and 23 is: 51.7%.
~The combined total of 4'3 and 5’3 is: 12.4%.
Tabb 73: Pavement

 

Pavement

40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 62: Pavement

170

M09 UP.

Average=2.4

~40 people (27.6%) answered with a 1.
~37 people (25.5%) answered with a 2.
~43 people (29.7%) answered with a 3.
~17 people (11.7%) answered with a 4.
~8 people (5.5%) answered with a 5.

~Themode(moetanswered) is”inthemiddle.”
~The combined total of 1’3 and 23 is: 53.1%.
~The combined total at 4’3 and 5’3 is: 172%.

Table 74: Fleming ups

 

Flaming Lips

35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

1 (love) 2 3

 

4

 

5 (hate)

 

Figure 63: Flaming Lips

171

 

Knee Deep Shag

Average=2.3

-42 people (29%) arrsvnredwith a 1.
~42people(29%)answeredwitha2.
-41 people (28.3%) answered with a 3.
~12 people (8.3%) amred with a 4.
~8 people (5.5%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 23 is: 58%.
~The combined total of 4’3 and 5’3 is: 13.8%.
Table 75: Knee Deep Shag

 

Knee Deep Shag

3596
3096
2596
2096
1596
1096

596

096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 64: Knee Deep Shag

172

Our Lady Peace

Average=2.5

~47 people (32.4%) answered with a 1.
~26 people (17.9%) answered with a 2.
~34 people (23.4%) answered with a 3.
~23 people (15.9%) answered with a 4.
~15 people (10.3%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 23 is: 50.3%.
~The combined total of 4’s and 5’s is: 26.2%.
Table 76: OurLady Peace

 

Our Lady Peace

35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

 

1 (love) 2 3 4 5 (hate)

 

Figure 65: Our Lady Peace

173

 

Dinoesur Jr.

Average=2.5

~38 people (26.2%) answered with a 1.
~33 people (22.8%) answered with a 2.
~46 people (31.7%) answered with a 3.
~20 people (13.8%) answered with a 4.
-8 people (5.5%) amered with a 5.

~Themode(mostanmed)is”inthemiddle.”
~The combined total of 1's and 23 is: 49%.
~The combined total of 4's and 5’3 is: 19.3%.
Tabb 77: Dinosaur Jr.

 

Dinosaur Jr.

35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

1 (love) 2 3 4 5 (hate)

 

 

Figure 66: Dinosaur Jr.

174

Anal. Aparo

Average=2.4

~52 people (36%) answered with a 1.
~21 people (14.5%) answered with a 2.
~46 people (31.7%) answered with a 3.
~18 people (12.4%) answered with a 4.
-8 people (5.5%) answered with a 5.

~The mode (most anmed) is ”love.”
~The combined total of 1’s and 23 is: 50.5%.
~The combined total at 4'3 and 5's is: 17.9%.

Tabb 73: Angie Aparo

 

Angie Aparo

4096
3596
3096
2596
2096
1 596
1096

596

096

I (love) 2 3

 

4

 

5 (hate)

 

Figure 67: Angie Aparo

175

 

 

Blur

Average-2.1
~53people(36.6%)answeredwitha 1.
~43 people (29.7%) answered with a 2.
~31 people (21 .4%) answered with a 3.
~7 people (4.8%) answered with a 4.
~11 people (7.6%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1's and 23 is: 66.3%.
~The combined total of 4’s and 5’s is: 12.4%.
Tabb 79: Blur

 

Blur

40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 68: Blur

176

Average=2.3

~46 people (31.7%) answered with a1.
«38 people (26.2%) answered with a 2.
~44 people (30.3%) answered with a 3.
~12 people (8.3%) answered with a 4.
5 people (3.4%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 23 is: 57.9%.
~The combined total of 4’s and 5’s is: 11.7%.
Tabb 80: Echo and the Bunnymen

 

Echo and the Bunnymen

35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 69: Echo and the Bunnymen

177

Average=2.5

-40 people (27.6%) answered with a 1.
~33 people (22.8%) answered with a 2.
~44 people (30.3%) answered with a 3.
~18 people (12.4%) answered with a 4.
~10 people (6.9%) answered with a 5.

~1hemode(mostanswered)is”inthemiddle.”
~The combined total of 1’s and 23 is: 50.4%.
~The combined total of 4’s and 5’s is: 19.3%.
Tabb 81: Reverend Horton Heat

 

Reverend Horton Heat

35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

1 (love) 2 3

 

4

 

5 (hate)

 

Figure 70: Reverend Horton Heat

178

 

Average=2.2

~54 people (37.2%) answeredth a 1.
~37 people (25.5%) answered with a 2.
~29 people (20%) answered with a 3.
~16 people (11%) ansvered with a 4.
~9people(62%)answeredwitha5.

~The mode (most answered) is ”love.”

~The combined total of 1’3 and 23 is: 62.7%.
~The combined total of 4’s and 5’s is: 17.2%.
Table 62: Peter Gabriel

 

Peter Gabriel

40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

 

1 (love) 2 3 4 5 (hate)

 

Figure 71: Peter Gabriel

179

 

Tori Amos

Average=2.4

~59 people (40.7%) answered with a 1.
~25 people (17.2%) answered with a 2.
~24 people (16.6%) answered with a 3.
~18 people (12.4%) answered with a 4.
~19 people (13.1%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 23 is: 57.9%.
~The combined total of 4’s and 5’3 is: 25.5%.
Tabb 83: Tori Amos

 

Tori Amos

45.096
40.096
35.096
30.096
25.096
20.096
1 5.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 72: Tori Amos

180

The Atomic Numbers

Average=2.5

~34 people (23.4%) answered with a 1.
~31 people (21.4%) answered with a 2.
~60 people (41 .4%) answered with a 3.
~15 people (10.3%) answered with a 4.
~5 people (3.4%) answered with a 5.

~Themode(mostanswered)is”inthemiddle.”
~The combined total of 1’s and 23 is: 44.8%.
~The combined total of 4’3 and 5’s is: 13.7%.
Tabb 84: The Atomic Numbers

 

The Atomic Numbers

45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 73: The Atomic Numbers

181

Ben Harper

Average=2.0

~76 people (52.4%) answered with a 1.
~24 people (16.6%) answered with a 2.
~21 people (14.5%) answered with a 3.
~11 people (7.6%) answered with a4.
~13people(9%)answeredwitha5.

~The mode (most armored) is ”love.”

~The combined total of 1's and 23 is: 69%.
~The combined total of 4’s and 5’s is: 16.6%.
Tabb 85: BenHarper

 

Ben Harper ,

 

60.096

 

 

50.096

 

 

40.096

 

 

30.096

 

 

20.096

W W -- ,fl“

 

 

 

 

 

 

 

 

 

0.096
1 (love) 2 3 4 5 (hate)

 

 

 

Figure 74: Ben Harper

182

Liz Phair

Average=22

~58 maple (40%) answered with a 1.
~25 people (17.2%) answered with a 2.
~39 people (26.9%) answered with a 3.
~17 people (11.7%) answered with a4.
-6 people (4.1%) answered with a 5.

~The mode (most answered) is ”love.”

~The combined total of 1’s and 23 is: 57.2%.
~The combined total of4’s and 5’s is: 15.8%.
Tabb 86: Liz Phar'r

 

Liz Phair

4596
4096
3596
3096
2596
2096
1 596
1096

596

096

 

I (love) 2 3 4 5 (hate)

 

 

 

Figure 75: Liz Phair

183

R.E.M.

Average=2.3

~56 people (38.6%) answeredwith a 1.
~35 people (24.1%) answered with a 2.
~24 people (16.6%) answered with a 3.
~12 people (8.3%) answered with a 4.
~18 people 12.4%) answered with a 5.

~Themode(mostanswered)is ”."Iove
~Thecombinedtotalof1’sand23is: 62.7%
~The combinedmtalof4’s and 5'sis: 20.7%.
Tabb87: R..EM.

 

R.E.M.

45.096
40.096
35.096
30.096
25.096
20.096
15.096
10.096

5.096

0.096

 

1 (love) 2 3 4 5 (hate)

 

 

 

Figure 76: R. E. M.

These artists were chosen as a representative sample of each type of
music played on WDBM that are broadly recognizable among the target
audience. Since 1=love, all these artists did extremely well. This means the
choice of artists played on WDBM is generally what P1 listeners want to hear.
Because all the artists had such incredibly close scores, it is important to look
at which ones had many 1’s and 5's as well as 3’s. Any artist/band with many

1’s and 5’s provokes strong emotions from listeners. Any artist/band that

184

received many 3’s did so because listeners do not care one way or the other
about, or the artist/bands not very well known yet.

Each artist/band was given a code so each category could also be
examined. The codes are as follows:

Familiar

Dave Matthews Band
Barenaked Ladies
Peter Gabriel

R.E.M.

Our Lady Peace

Familiar average=2.42
Table 88: Familiar Artists and Their Average Score

Female

Ani DiFranco
Sarah McLachIan
Indigo Girls

Tori Amos

Liz Phair

Female average=2.46
Table 89: Female Artists and Their Average Score

Britlgh
Travis

Oasis

Blur

Echo and the Bunnymen
The Verve

British average=2.48
Table 90: British Artists and Their Average Score

185

Local

19 Wheels

Domestic Problems
Knee Deep Shag
The Atomic Numbers
Troll For Trout

Local average=2.44
Table 91: Local Artists and Their Average Score

Amgricana

Billy Bragg

Wilco

Old 973

The Waterboys
Reverend Horton Heat

Americana average=2.58
Table 92: Americana Artists and Their Average Score

Collgge
Pavement

Flaming Lips
Dinosaur Jr.
Angie Aparo
Ben Harper

College average=2.34
Table 93: College Artists and Their Average Score

Again, because scores were so close, it is important to at least look at
the order of listener preference, from most liked to least:

1-coIlege

2-familiar

3-Iocal

4~female

5~British

6-Americana

Table 94: Category Scores

186

 

 

 

Category Scores

2.6
2.55
2.5
2.45
2.4
2.35
2.3
2.25
2.2

 

 

 

College Familiar Local Female British Americana

 

 

 

Figure 77: Category Scores

As WDBM is a college radio station, it seems appropriate to see that
”colbge” artists are rated the highest among survey respondents. It is even
appropriate to see that familiar artists, often heard on other radio stations, are
still well liked. Though a good chunk of survey respondents said they want to
hear unknown artists, a good chunk of people like familiar ones as well.

Those categories lower on the list (though still well liked) are the kind
of artists that are not in the mainstream in the US Local music popularity will
vary from place to place, but female, British and Americana artists seem to
garner cult followings. Each one has certainly seen more popularity in the
past few years. They are generally just well known overall, and that can

account for their ranking.

18’7

16. WintgenderofdeejayedoyoupretertolietentoonThelmpactfllf
nopreferencenkiptolfl.)

~92 people chose male. (63.4%)

~53peoplechoselernale.(36.6%)

Table95:GenderPreference

 

Gender Preference

70.096
60.096
50.096
40.096
30.096
20.096
10.096

0.096

 

Male DJs Female DJs

 

 

 

Figure 78: Gender Preference

According to Arbitron, WDBM has many more male listeners than
female. An assumption sometimes made by WDBM staff is that playing more
female artists than other radio stations will alienate male listeners. Obviously,
it has not. Both the web survey and Arbitron say WDBM has many more
male listeners than female. The malelfemale ratio of WDBM listeners in
Spring2001was62%lZB%. PerhapsthisiswhylismrersprefermaleDJs.

188

17. Why do you prefer one gender over the other?

Male:

There were only a few responses to this question. They follow.

~A mans voice is more pleasant to listen to.

~l hate to go against my sex, but the guys seem to be more entertaining
usually. There are a few girls I like, but most of them come across as whiny,
really.

~lnteresting ~ I already addressed this. It is definitely more noticeable and
disagreeable to my ears when female deejays have an annoying voice or
make mistakes. The oxymoron in all of this is that Lindsay is one of my all
time favorite deejays, as is Larry Marasco, a male who has a heavy nasal
New York accent.

-It doesn’t matter as long as their voice isn’t annoying.

~Probably just because I'm a girl and I like guys. Also, Marasco has the
greatest voice this side of Barry White, if you know what I mean.

~The girl DJ's always seem to be a bit ditzy, have trouble pronouncing band
names and such. The guy DJ’s I hear seem to be more well informed on new
artists.

~Voices don't sound whining-like.

Female:
This list was short as well. All the responses follow.

~Because I can tell a female DJ I will love her if she plays a song for me.
~Because I’m male and it just is more enjoyable to listen to a woman.
-Female voices are generally soothing. Male voices tend to be abrasive.

-I don‘t prefer one that much, but it seems women play more female artists.
~lmpact female DJs talk a little more than males and they do it well.

My favorite Impact DJ‘s have been women (played my favorite music). I
enjoy the sound of a young woman’s voice (without all the EQ'ing of

commercial stations).

~Nicer sounding voices.

189

Female, continued
~They seem more knowledgeable about music.

~Soft spoken (usually)

The responses to Questions 18 and 19 have been summarized here. The
entire list of responses can be found in the Appendix.

18. What would you like to see on this web site?
More content.

~Less clutter.
~More band information.
~Playlists.

Descriptions of each genre-specific program, as well as a page for each
program detailing weekly happenings.

~More community news.

~Opinion polls.

-CD release information.

Ability to download music.

~Llst of concerts on sale every week.
More local concert information.

19. Please write any other comments on The Impact here.
~The music selection is not pleasant to listen to on the radio.

~l would like to be better informed of artist and song information.
~The Impact is the best station around.

~The professionalism of disc jockeys can be improved.
~Genre~specific programs are worthwhile because they cannot be found

anywhere else.

~Like the wide variety.

~More familiar music might help more people listen.

190

20. What is your age?
1: 15—year old

1: 16-year old

3: 17~year olds

5: 18—year olds

9: 19~year olds

5: 20-year olds

26: 21-year olds

7: 22~year olds

14: 23~year olds

7: 24~year olds

9: 25—year olds

4: 26~year olds

5: 27-year olds
7: 28~year olds
8: 29—year olds
2: 30-year olds
3: 31-year olds
4: 32-year olds
3: 33-year olds
2: 34~year olds
1: 36-year old
1: 37-year old

6: 38~year olds

1: 39-year old

3: 41~year olds

1: 42-year old

1: 43-year old

1: 47-year old

2: 48-year old

1: 50-year old

1: 53-year old

1: no answer for age

Average age=26 years old

~Median (middle) age=24 years old

~Mode (most often occurring) age=21 years old
Table 96: Age of Survey Respondents

Remember that it is necessary to always use Arbitron data in
conjunction with other station research, if possible. Arbitron always supplies

age information.

191

~Teens: 1%

~18-24: 62%

~25-34: 12%

~35-44: 2%

~45~54z 23%

~55 8. up: 0%

~Largest group oflisteners:19~28years old
Tabb 97: Arbitron Age Information for VIDBM

 

WDBM Spring 2001 Age Composition

 

70%
6096
50% -—- _-_..-________-_-__, ._._.__,-,,__m__w_,_, _ mw,.____.__,
40% ~-~—_———__m__-
30% -———--—-—m-—_

 

 

 

 

 

 

 

20% +-—~-—~—-—-—-- ] i

'2: , ,ll,....1,Jl

Teens 18-24 25-34 35-44 45-54 55 Gr Up

 

 

 

 

 

 

 

 

 

 

 

Figure 79: Arbitron Age Information for WDBM

ltisalso'rnportanttolookatradiostationsinthemarketdratprobably
havesomeoftheWDBMtargetaudience.

~Teens: 28%

~18-244796

~25-34: 1696

~35-44: 1496

~45-54: 3%

~55-64: 196

~65 8. up: 096

~Largest group of listeners 16-25 years old
Tabb 98: Arbitron Age Information for WHZZ

192

 

WHZZ Spring 2001 Age Composition

4096
3596
3096
2596
2096
1596
1096

596

096

 

 

 

Teens 18-24 25-34 35-44 45-54 55-64

 

 

 

Figure 80: Arbitron Age Information for WHZZ

1:
~Teens: 25%
~18-24: 41%
~25-34: 19%
~35-44: 12%
~45-54: 3%
~55-64: 1%
~65 8r up: 0%
~Largest group of listeners: 13-22 years old
Table 99: Arbitron Age Information for WWDX

 

WWDX Spring 2001 Age Composition

4596
4096
3596
3096
2596
2096
1596
1096

596

096

 

 

 

 

Teens 18-24 25-34 35-44 45-54 55-64

 

 

 

Figure 81: Arbitron Age Information for WWDX

193

Perhapsthemostinterestingdataaboutageisintheagecell
compositionsuppliedbyArbitron. l-lereisthecomparisonbetweenage
compositionofWDBM in Fall 2000and$pring 2001.

Elm mam
Teens 8% 1%
18—24 23% 62%
25-34 29% 12%
35-44 33% 2%
45-54 5% 23%

Table 100: Arbitron Age Composition Comparison for WDBM

 

WDBM Age Composition Comparison

7096
6096
5096
4096
3096
2096
1 096

096

 

Teens 18-24 25-34 35-44 45-54

 

EFaEE’flWgfifl

Figure 82: Arbitron Age Composition Comparison for WDBM

 

These numbers basically show WDBM excelled in targeting its 18-24
year old listeners. Unfortunately, Arbitron does not give a reason for the
change. Only guesses can be made as to why there was a shift in age cell
composition.

When considering the competition, it is also useful for a program
director to know about station preferences among listeners. Arbitron also

gives data on P1 vs. P2 listening.

194

lnSpring2001...
~W'renWDBMisP1,thepr2isVllWDX.with23%ofthediaries.
~ThepercentageoflistenerswhosayonlylistenedtoWDBMwasonly8%.

~WrenWDBMisP2,drerearetwotopP1stations:W-IZZandWKAR,bodr
with33960fthedianes.

Additionally,Arbibonsuppliesinfonnabononwherelistenersgowlen
theyleaveaparticularstation. Thisisespecidlyhebfulinexaminingthe

 

~WJXQ: 3100
~WKAR: 2900
Table 101: WrenListenersLeaveWDBM, MereDo TheyGo?

 

When listeners leave WDBM they go to:

9000
8000
7000
6000
5000
4000
3000
2000
1 000

0

 

lube-r ef Listeners

 

WWDX WHZZ WJXQ WKAR

 

 

 

Figure 83: When Listeners Leave WDBM, Where Do They Go?

This is the kind of Arbitron data that helps clear up any misconceptions
a radio station may have. For a long time, WDBM assumed that WWDX was
their main competition. The above data shows that more than one station is

equally a threat to WDBM.

195

WDBMisanon-commercialradiostation. ltisimportarrttoalsolookat
odrernon-camnercidradiostafionsindeLansthEastLansimmarket
becausethosestafionsmaysharesomeoftlbsamelistenersasWDBM.
TheFolowingissomeoftheArbibondataiornon—comrnercrd’ stationsin

LansinglEast Lansing for Spring 2001.
m AQH 9mm ISL
WDBM 1.1% 600 14,900 5 hours
WKARAM 2.3% 1200 14,900 7 hours
WKAR-FM 4.2% 2200 39,600 7 hours
WLNZ 1 .5% 800 13,200 7 hours, 45 minutes

Tabb 102: Non-Commercial Station Comparisons lbrShare, AQH, Cume and
TSL

 

Non-Commercial Comparison: SHARE

4.596
4.096
3.596
3.096
2.596
2.096
1.596
1.096
0.596
0.096

 

WDBM WKAR-AM WKAR-FM WLNZ

 

 

 

Figure 84: Non-Commercial Station Comparison for Share

196

 

Non-Commercial Station Comparion: AQH

9000
8000
7000

 

 

 

5000

 

 

3000
2000
1000

 

WDBM WKAR-AM WKAR-FM WLNZ

 

 

 

Figure 85: Non-Commercial Station Comparison for AQH

 

Non-Commercial Station Comparison:
CUME

45,000
40,000
35,000
30,000
25,000
20,000
1 5,000
10,000

5,000

 

WDBM WKAR-AM WKAR-FM WLNZ

 

 

Figure 86: Non~CommerciaI Station Comparison for Game

197

 

 

Non-Commercial Station Comparison:
TIME SPENT LISTENING

 

 

He's
OdeAmmem

WDBM WKAR-AM WKAR-FM WLNZ

 

 

 

Figure 87: Non-Commercial Station Comparison for TSL
21. What Is your gender?

~92: male (63%)

~53: female (37%)

Arbitron supplies gender information for every station in a market.
WDBM should be evenly divided between males and females, like WWDX. In
the past, WDBM was heavily male-skewed and eventually evened out. It is
back to where it was when it began in 1989. As mentioned, WHZZ probably
has many of the females that WDBM tries to target. Here are the ratios.

2191110 1: a? 01 02.05101 1° 1101'; 1.2:. 3 =...11 0 11cm! 1 01 9

2&1:

WDBM WHZZ W
~Male: 62% 22% 49%
~Female: 38% 78% 51%

Table 103: Arbitron Gender Composition Comparison for WDBM, WHZZ and
WWDX

198

Gender Composition Comparison

 

 

WDBM WHZZ WWDX

l Male El Female

Figure 88: Arbitron Gender Composition Comparison for WDBM, WHZZ and
WWDX

 

 

 

22. What is your occupation? (If you are a student, please write what
school, college or university you attend.)
~2 Administrative Assistants
~advertising

Air Traffic Controller

~Attomey at law

~Audio engineer

~Bartender

~BMG Entertainment

~bum

~Civil Engineer (MSU - BS '91
~Civil Servant

~CMU Student

~Computer graphics/web designer
~Computer Programmer
~Constructionlmusician
~Contractor

~Crawford Door Co. sales
~Customer Service Specialist
~Customer Service/Office

-data entry

Davenport University

Debit Card Product Manager
Dentist

Departmental Specialist
~disabled

~2 Engineers
~Engineerinngcientist ~ The Boeing Company - Mesa, AZ.
~Environmental Engineer
~Executive Assistant

~2 Facilities Directors

~General East Lansing Groupie
~General Motors Electrician
~General Motors employee

~GM team member

~Grad Student, Depaul University
~Graphic Designer

~Hair Salon Manager/Musician
~health care

~in high school

~High School Librarian

~Hospital Administrator

~l drive the Kinkos van.

-2 Jackson Community College Students
~KSU student

~Lab Technician

200

22. Continued

~5 Lansing Community College Students
~Legal Secretary

Marketing Professional

~2 Mason High School students

Michigan State University employee

~36 Michigan State University students

-4 Michigan State University graduate students
-4 not listed

~Network Admin in Detroit

~Network System Administrator

-2 Okemos High School Students
~Organizer for nonprofit group

~Owner, consulting company

~Production Manager, HOM-TV
~ProofreaderlCopyed itor

~Purdue University

~Record store manager

~Research Associate (MSU grad)
~Research Tech

~Resident Director for Univ. Alabama Huntsville
~Retail Coordinator

~Retail Sales and student, LCC

~sales

~Sales Executive

~Sales Manager for Page Com

~Sales Representative

~sales, student next year
~Sales/Estimating Coordinator/LOO, Ferris
~high school

~Self employed

~Staff Director for local non-profit

~Student (LCC, MSU, U of M) Computer Salesman
~Teacher

~Tech Supervisor

~Texas A&M graduate student

~Traflic Coordinator

~Transportation Planner

~unemployed MSU grad

~University of Applied Sciences in Worms, Germany
-3 University of Michigan students

~Urban Forester

~US Air Force

~Vennont Law School

-Wayne State University (MSU ALUM)
-Web Developer

201

22. Continued
~Welder/ student LCC
~work for the state of Michigan

As mentioned, Arbitron supplies demographic information. In addition
to Ratings and Shares broken down by age and gender, Arbitron goes further
to break down Ratings and Shares by education level, income, whether or not
listeners have children and household size. Here is the data Arbitron
supplied for Lansing/East Lansing in Spring 2001.

Shares for Persons 18-24
Education

High school graduate: 0%
Some college: 3.5%
College graduate: 2.4%

Income
<$25,000: 2.8%
$25-50,000: 1%
$50-75,000: 2.2%
575,000+: 4.4%

Children

No: 3.6%

Yes: 1.5%

Household Size

One: 1%

Two: 4.2%

Three: 0%

Four-I-z 3.1 %

Table 1 O4: Pertinent Lansing/East Lansing Demographic Information
Another useful piece of information Arbitron provides is the workplace

and home zip codes of diarykeepers. This is useful to a program director as

well as a promotions director. Together, these two people can work to target

those areas that did not show up on the list.

202

Workplace Zip Codfi, Spring 2001
(from most often occurring to least)

-48823-East Lansing
~48825-MSU Campus
~4891 7-Lansing

~4891 1-Lansing
~48864~Okemos
~48910-Lansing
-48909~Lansing
~48912-Lansing
~48824-MSU Campus
~48854—Mason
~48842~Holt

~4891 9~Lansing

Table 105: Workplace Zip Codes

23. Do you live on or off campus?

130: off (89.7%)

15: on (10.3%)

Table 106: Where Survey Respondents Live

Res' ential Zi odes S ri 2001
(from most often occurring to least)
48823-East Lansing

~48842~Holt

~48917~Lansing

~48912-Lansing

~48910-Lansing

~48864-Okemos

48825-East Lansing

~4891 1-Lansing

~48840-Haslett

~48906-Lansing

~48854~Mason

~48820~Dewitt

48808-Bath

Table 107: Residential Zip Codes

203

 

 

 

CHAPTER 10
PROGRAMMING SUGGESTIONS FOR WDBM

According to Arbitron, 8 am. had the highest Average Quarter Hour
persons of the daytime hours (6 a.m.-7 pm.) in Spring 2001. Clearly, the best
disc jockeys on WDBM must be on the air at that time. It is always a challenge to
get college students to get up at 5 am. to work in a morning shift, but WDBM is
now armed with the knowledge that mornings are the most listened to time of the
day. The prior assumption was that afternoons had the highest Shares. Disc
jockeys often think the amount of phone calls correlates with the number of
people listening, but it really does not. There are much fewer calls in to WDBM
in the morning, but more listeners tune to WDBM in the morning than other times
of the day when the request line rings more often. Afternoon drive time remains
an important time to have good disc jockeys on the air as well. The highest
number of potential listeners have the possibility of checking out WDBM when
they are in their car on the way home from work as well as on the way to work.

Based on the Arbitron numbers, WDBM also had a good amount of
listeners on Saturday altemoons and evenings. An assumption prior to this
research was that there was not a significant amount of weekend listeners. If the
trend continues, the program director at WDBM will be smart to schedule
stronger DJs on Saturdays than in the past.

Over 67 percent of survey participants said that they listen to WDBM
batWeen one and four hours a day. Arbitron also showed high time spent
listening. Regardless of satisfactory Time Spent Listening, disc jockeys do not
pr Offlote all aspects of WDBM to the extent they should. All disc jockeys are

204

learning the trade, and a common mistake is that they forget that many things go
on at the station after they finish their shift. The program director can incorporate
more ways to promote all station happenings directly on the music log. This
could help turn evening listeners into daytime listeners, and vice versa.

Additionally, the overall sound of WDBM can be improved by illustrating
the importance of disc jockeys being enthusiastic on the air. Though many are
nervous because they are new at their trade, there is nothing more important
than having fun with listeners. Even just smiling while speaking can improve the
sound of a disc jockey’s voice. Even though many people have the radio on for
background noise, they listen to the radio to generally lift their spirits.
Unenthusiastic disc jockeys are doing a disservice to WDBM and its listeners. It
is ultimately the responsibility of the WDBM director staff to constantly critique
disc jockeys’ on air performance, to help improve their presentation as quickly as
possible.

The most common survey response to where listeners tuned in to WDBM
is in the car. The most common Arbitron diarykeeper response was at home
when measuring the entire week, and at work when measuring weekday
listening. So it can be assumed that P1 listeners tune in to WDBM the most in
their car and, in general listeners tune in at work during the week and at home
during the weekend. To prevent tuneout by P1 listeners, traffic reports may be
very helpful in the morning and afternoon. WDBM used to give traffic reports in
the morning. This is probably a good pubic service to bring back, even though

the Lansing area does not have as long or congested a commute as a larger city

205

like Detroit It may even be beneficial to hire more staff members to announce
traffic reports. This could be a great place for person with little radio experience
to start.

Weather reports are also very important to all listeners. Weather reports
are given twice an hour in the morning and once an hour throughout the rest of
the day. Often, disc jockeys think weather is not important (or interesting)
information to have to mention on the air. The weather is never predictable in
Michigan. If listeners do not hear about the weather on WDBM, they will go
elsewhere to find out about it. Every radio station has to promote what they do
beyond the music. Radio stations that provide all useful pieces of information will
have more satisfied listeners than those who do not. Some Arbitron
diarykeepers mentioned in the Spring 2001 diaries that they do not enjoy much
talk on the radio in the morning. If WDBM provides pertinent information such as
traffic and weather on a regular basis in the morning and even in the afternoon,
those people may choose WDBM over the talk stations they are dissatisfied with.

In addition to traffic and weather, there is also a great importance in
announcing station events like the Top 5 at 5, Impact Exposure, genre based
programs and giveaways. Reminders should be made as often as possible
because these ”benchmarks” are great reminders for listeners to tune in several
times in a day. These reminders might pique the interest of someone who is
tuning up and down the dial who has never tuned in to a genre based program or
the Top 5 at 5. Updating promotional spots for these benchmarks with new,

creative, attention grabbing announcements may also aid in garnering more

206

listeners. Creating spots about daytime programming to be played in the evening
may turn evening listeners into daytime listeners as well. Simply announcing
upcoming songs is not enough to keep listeners tuned in.

At work listening was evident for both the WDBM survey respondents and
the Arbitron diarykeepers. This is a time of the day that many radio stations in
the US. are capitalizing on with promotions and giveaways to increase time
spent listening. Using some of those stations as an example, WDBM can
reward its listeners for tuning in all day long. This suggests that WDBM may
benefit from offering more giveaways during the day. The program director
should come up times of the day that he or she deems appropriate for
giveaways. Currently WDBM only does about one giveaway during the day. To
properly communicate with at work listeners, rewarding them every other hour
with giveaways might keep them tuned in longer. These giveaways do not have
to all be different, and could be as small as a CD.

Not every listener cares about winning prizes from radio stations, and time
spent listening to WDBM is clearly very high. A different way to communicate to
at work listeners is with actually thank businesses for tuning in. This is also often
heard on commercial radio and sounds very professional. It also makes WDBM
look good, and might help turn more listeners into P1 listeners. This can only be
effective if a long list of different names is used, so it actually shows that many
different people listen at work. This list could be compiled in several ways. One

easy way is to ask those who call the station where they work and if WDBM can

207

mention the name on the air. Another way is to write down all the places the
station is heard in the community and announce those places often.

Barely any listeners said they listen to WDBM on the way to class. The
commute around Michigan State University can be as long as 25 minutes. Disc
jockeys can capitalize on this by giving reminders to students to bring along their
Walkman players with them on the walk, bus or bike ride to class. They could
also remind them to make requests before they leave for class and hear them on
their commute. There are many creative ways to get in better touch with
students. The key here is training disc jockeys to get into the mind of an MSU
student. They are all students themselves, so this should not be a hard task.

Perhaps this is why later survey responses show that ”The Impact
Flashback” has so many faithful listeners. The main slogan for the show is that it
”gets you in the mood to go out.” Listeners hear that and remember to tune in on
Friday evenings. This is the perfect example of WDBM getting into the mind of
its listeners. By understanding that most people (MSU students or not) like to go
out on Friday nights, the station successfully capitalized on communicating a
valid reason to tune in at a time that many people are available to listen to the
radio.

Coming up with catchy statements like the above-mentioned ”Impact
Flashback” slogan to use throughout regular daytime programming and for all of
genre based programs on WDBM might help the station as a whole become

more memorable. Then the statements can be incorporated into promotional

208

cards read for all \MDBM programs and into program logs and placed on
clipboards in front of them in the studio.

It has often been the assumption of WDBM staff members that the station
would have more MSU students listening if there was more outside promotion of
the station. It is important to take a step back to think about how students found
out about any station in the area when they came to college. Most likely, they
turned on their radio and tuned up and down to find a song they liked. WDBM
had an equal chance of being chosen. Certainly sponsoring campus concerts
and being at college bookstores at the beginning of each semester is important in
reminding students to listen to WDBM. But what will keep students tuning in is
the programming. If they are not hearing the music they like, they will not listen.
Considering that WHZZ and WWDX have many college aged listeners, clearly
college age listeners enjoy hearing more familiar music on the radio. WHZZ is a
Contemporary Hit formatted station, so every song played is familiar. WWDX is
an Alternative formatted station and the majority of its programming is familiar
songs as well. It is important for WDBM to play a variety of music, but the
majority probably should come from its strongest artists: the core artists that have
many familiar songs to choose from for airplay.

The vast majority of survey respondents listen to WDBM on their radio.
The importance of bringing listeners to the station web site has already been
stressed many times. Something WDBM already does should be continued
though. Public service announcements are written up near university holidays

when students often leave campus. The announcements typically tell listeners

209

 

 

 

that they can take the station with them wherever they go over the holidays by
tuning in on their computer. These initiatives should continue. They should in
fact be incorporated into programming every day. Radio stations should get their
listeners to their web site, and their web site should bring their listeners back to
their station.

The list of favorite and least favorite artists played on WDBM was
inconclusive. There were no more than a few common answers to each
question. Each answer must be taken with a grain of salt. The only significant
fact is that the list of favorite artists is much longer than the list of least favorite
artists. No changes need to be made in musical selections. It is smart however,
to look at what artists the WDBM listening audience feels strongly about. These
could be the kinds of artists to highlight more often and possibly create station
promotions around. It is also possible to look at what type of artists come up
often, such as local, familiar, less familiar, female, male, etc. Additionally, it is
interesting that one respondent put “don’t know their names.” This is a valid
point for all disc jockeys. It illustrates the importance in recalling all the songs
and artists played each hour.

The WDBM Board of Directors evaluates its genre based programming
every year. The latest evaluations should be compared to how listeners rated
the shows. Both sets of scores should be shown to the program hosts. The
more the program director informs the hosts, the more the hosts can do to make
the shows the best they can be. The program director should sit down with each

host individually. They should discuss what is strong and weak about the

210

 

program and figure out immediate and long-term goals for the program. This is
especially important now that the Arbitron figures showed that evening programs
garner a larger Share than the daytime programming.

Also, there were many worthwhile comments made on these shows that
the hosts can benefit from seeing, especially the negative ones. Often hosts are
so close to the show that they do not know that they may not be properly serving
their audience. The comments on ”Impact Exposure” are probably the best ones
to pass on to the hosts of that show. “Impact Exposure” is a talk-fonnatted
program open to any Michigan State University student group. Many times,
these groups are very immature and unprofessional. Since they are very new to
hosting a radio program, they do not always take their role as a host as seriously
enough. Every show can benefit from a summary of survey respondents
comments.

By taking the pessimistic approach for a moment, it should be noted that

only the “Impact Flashback” show had a mode (most occurring response) of

 

“sometimes” and it was the highest scored show with only a 2.65 out of 5. Not
one program had a mode of ”always” and all the other shows had a mode of
”never.” So P1 listeners seem to mainly tune in during daytime programming and
other listeners tune in for genre based programs. WDBM has the task of trying to
get both types of listener to tune in during the day and in the evening. This can
be attempted by imaging. Proper promotion of daytime programming during the
evening, as well as evening programming during the day, is a good start. Urging

evening listeners to ”try us on during the day” or a different catchy slogan

211

throughout evening hours might increase the station’s Ratings and Shares
between 6 am. and 7 pm. daily.

All the open ended questions about what listeners like about WDBM
(genre based shows, what keeps listeners tuned in and what causes them to
tune out) should be summarized by the program director and shown to the staff
of disc jockeys at their next staff meeting. Hearing these things straight from the
listeners’ mouths may have a bigger impact than their boss telling them the ”do’s”
and “don’ts.” There are many things that listeners said that the WDBM board of
directors has continually tried to remind disc jockeys. The list should show all the
positive responses first to show DJs what they are doing well. Then all the
constructive criticism should be shown, in the hope that it will stick in their heads.

In regard to how listeners would program WDBM for a day, answers
varied quite a bit. Many listeners want unfamiliar music and some want more
familiar music. WDBM plays both. Either way, Arbitron data shows there is a
very small percentage of people in the Lansing/East Lansing market tuning in. It
has already been stated that more music from core artists is a good place to start
to gain more listeners. Another good strategy is imaging. Incorporating more
production for disc jockeys to play each hour can better describe the different
things WDBM does best and what makes it unique. Imaging such as “music you
will can't find anywhere else,” “commercial free music,” “an Impact classic,” “an
album deep cut” or new, creative slogans should be played in front of almost

every song so listeners get an idea of what makes WDBM unique and special.

212

 

 

 

Choosing the correct music is important for a program director, but presenting it
to the audience in an exciting, coherent way is vital.

Almost 37 percent of survey participants want more information on music.
WDBM can become its listeners” primary source for music news. The Board of
Directors can provide more information and make sure disc jockeys know that
listeners want to hear relevant information, not mindless rambling. Providing

more information on music is really easy. It is getting disc jockeys to take the

 

initiative to do so that is the hard part. Instead of relying on disc jockeys,
instructions on when and where to share the information provided by the
Directors is also necessary. In addition, training disc jockeys to use the
Associate Press wire available to them can also be advantageous to WDBM.
More talk is not necessarily bad if all of the information given over the air is
worthwhile to listeners.

In regard to question 14, the program director at WDBM should think
about ways to better communicate to Michigan State University and better ways

to inform listeners about new music. This will require the entire Board of

 

Directors. A suggestion on communicating to Michigan State University is to
consistently have news and sports in the mornings (and possibly in the
afternoons as well). This will require more cooperation from students in the
School of Journalism at Michigan State University. Reminding listeners about
the station’s web site can better inform listeners about new music. There is a
complete concert calendar and music news updated weekly at the web site.

Additionally, a promotional announcement entitled ”The Concert Condom” that

213

keeps listeners “covered” can be promoted more consistently throughout the
week. It airs every Thursday and Friday. In addition, every Tuesday, a new
edition of “Music News” airs all day. Again it just requires permanent promotion
by disc jockeys. Listeners are constantly doing other things while they listen. It

takes a good amount of repetition for any message to settle in their minds. A

 

common mistake made by disc jockeys is assuming listeners pay as much

attention as they do. A typical radio listener is not nearly as close to radio as

 

those who work in the industry.

The program director at WDBM will benefit from spending some time
evaluating the scores for individual artists. Those that have a mode of “3” should
be examined. Those artists are either not well known or listeners just do not care
about them either way. The program director can then decide whether their
airplay should increase or decrease. Additionally, the program director should

keep in mind how each category fared. The highest rated category was college

 

artists. This is the style of music not heard on commercial radio stations. These
artists are very important to the unique sound of the station. Also important is a
good mix of familiar artists. The other four categories are not well represented
on commercial radio either, so these artists are also important to WDBM.
Respondents preferred male disc jockeys by a landslide. This landslide of
votes for men means that female disc jockeys can get better by spending more
time with the Training Director learning and getting critiqued. Male disc jockeys

should not be ignored, but since survey respondents stated some valid

214

suggestions, those should be passed on to the female disc jockeys. Spending a
little more time on females might help get them up to par.

Finally, there have been many ways already discussed on how to improve
a radio station’s web site. WDBM can benefit from adding a program schedule
that details each program and what genre it plays. This is a great index for any
listener that does not have the schedule memorized. Next, having a linked web
page for every genre based program could help WDBM. The pages might
include what the show will feature every week, what new artists will be played,
what giveaways will be offered and any guests that will visit the shows. This is
certainly a bit more work for everyone, but is a possible way to increase overall
listener interest, time spent listening, Cume, Ratings and Shares. If people have
a reason to listen, they have a higher chance of remembering to listen.

More local information could be on the web site also. Examples of local
information include local concerts, community news and opinion polls on local
issues. Listeners also want to be able to make song requests online. Finally,
listeners want to see more song and artist names than are already present.

The bottom line from the Arbitron data is that WDBM should work on
garnering many more new and younger listeners. An assumption made prior to
this research was that WDBM had a much larger audience than it really does.
Creative ”out of the box” ideas will have to be made to find ways to capture the
18- to 24-year olds that told Arbitron they tuned to VWVDX and WHZZ. WDBM
has shown to have loyal listeners, based on time spent listening. Once the

station grabs a listener, that listener tends to stay for a while. The target

215

 

 

audience for WDBM is 18-24 year olds, but the largest percentage of the current
audience is 19-28 year olds. WDBM will have to come up with ways to capture a
younger audience without losing current listeners.

The WDBM web survey is essentially analogous to a focus group. The
responses cannot be generalized for the entire audience, but the open ended
questions do provide listeners’ responses in their own words. Also, this web
survey is a good source of preliminary data. This survey can be used to form a
follow up survey.

Since Arbitron does not survey on campus housing, WDBM may benefit
from surveying a random sample of on campus students with a survey to find out
information such as what radio stations they listen to and what they look for in a
radio station. Additionally, the station may benefit from outside promotion of the
station with billboards and TV commercials. But higher Shares and Ratings may

possibly be achieved by playing more familiar music from core artists.

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CHAPTER 11
SUGGESTIONS FOR FUTURE WDBM SURVEYS AND OTHER WEB BASED
RESEARCH

WW

To get a larger number of completed surveys, future surveys should be
shorter in length. Obviously the first time around there were a large number of
questions that WDBM wanted answered. As WDBM learns more about its
audience, questions can become more specific to get to know them even better.
Future surveys should be about half as long as this survey. It should only take
between a maximum of 5 and 10 minutes to complete. The shorter it is, the more
people will probably complete the entire survey. Many surveys had to be thrown
out because they were only partially completed.

Next, e-mail requests to participate in the survey should be sent out to a
sample of Michigan State University students. Perhaps asking them to
participate could increase the number of participants and therefore survey
responses could be generalized to the WDBM target audience of 18 to 24 year
olds. By requesting their participation by e-mail, one can predict a fairly high
response rate of 60 to 70 percent for several reasons. First, there is 100 percent
lntemet penetration among Michigan State University students. Second, e-mail
is a good way to request participation in a web survey because students are
already at a computer at the time they are being asked to take the survey. A
follow-up e~mail could also be sent as a reminder to students who did not

respond to the first email.

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Additionally, several different surveys could be produced for the web site
in the future. Each one could of course be much shorter than this first one and
each one could target a different type of listener. One could be for listeners who
mainly tune in to WDBM in the evening for genre based programs. One could be
for daytime listeners. It will be easier to generalize responses when surveys are
targeted at a more specific population. Those who take it will remain random and
anonymous but will have more in common. This will allow WDBM to find out the
unique needs of both types of listeners.

No matter the kind of survey written, several members on staff should
read it before making a final draft. Only two people read this survey before it was
posted on the lntemet. Question 9 was not answered correctly by many
respondents. Instead of respondents commenting on the specialty programs on
WDBM, many offered their opinions on the station in general. This proves that
questions must be stated in a more obvious way. Instead of asking, “For the
shows you listen to, what do you like about them?” the question should have
been phrased, ”What do you like about the genre based shows you listen to on
Impact 89 F M?” The second part of question 9 (”What do you dislike...") should
have been phrased the same way. What is obvious to the person writing the
survey is NOT necessarily obvious to the people taking the survey. Concise
questions should produce concise answers.

To ensure that the web survey works on the web site, someone on staff
must complete the survey first before actually making it available for listeners.

This will ensure that there are no problems in the design of the web site and is

218

yet another way to uncover any unclear questions. The survey had one error
and because of that error no responses were received about a question on “The
Reggae Sunsplash,” one of the genre based programs on WDBM.

The questions that asked participants to rate WDBM artists were
troublesome. A wider range of 1 to 10 might be more effective in getting a better
idea of how listeners really feel. Like auditorium and call-out music tests, there
should have been an additional choice for ”don’t know” when rating the artists.

The questions that asked participants to tell how often they tune into genre
based programs could have easily been adjusted with a better Lickert scale.
Instead of the options “never,” “sometimes” and always,” the options could have
been more specific. Options of ”never,” “less than once a month,” ”once a
month,” “twice a month” and ”every week” would have given exact answers that
do not require any interpretation.

Another problem that can be avoided next time is writing opposing
statements that are true opposites. Instead of trying to be creative, the survey
creator should just write exact negating sentences. The idea of writing an
opposing statement is to make sure respondents are paying attention to the
question. Out of all sub-questions in Question 14, there were three pairs that

ended up not being exactly the opposite of each other. They follow.

219

-”The Impact has a wide variety of music” and ”The Impact plays music that
many other radio stations play.”

~”The Impact has high-quality genre-specific shows” and ”The Impact could
improve its genre-specific shows.”

~“The Impact could better inform listeners about new music” and ”The Impact has
helped me learn a lot about new music.”

This just means that more different questions were answered (instead of

 

just the opposite of an earlier question), but does not ensure that respondents

were paying attention. The best thing to do is write more questions if there are

 

more to ask, and then write exactly the opposite of those questions. This is a
sure-fire way of finding invalid surveys.

Finally, future surveys may not need so many open ended questions.
Those questions serve exactly the same purpose of a focus group. They will
help form other questions for future studies.

Spgggtipns for you; own web based research

The hardest hurdle to get over in the online world of research is getting a

significant group of respondents when they all are volunteers. Most radio station

web site visitors are the station’s P1 listeners. Paying close attention to what

 

these people want will help a radio station the most. They are the ones who like
the station the most and listen the most. But although it creates more work, it is
a good idea to ask all types of listeners to take a radio station survey, and even
recruit people over email, the phone or in the campus newspaper. This should
be done in an attempt to get an even amount of males and females, a good

variance of ages of respondents and more than only P1 listeners. P2 (2"

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preference) and P3 (3rd preference) are also important to learn about because
just knowing a little about them might be a way to turn them into P1 listeners.

It is important to make sure that questions are clearly stated, all answers
will remain confidential and participants will remain anonymous. This is
particularly helpful in reducing the amount of ”socially acceptable” answers
people may provide instead of their real feelings (McDowell 20). The design of a
web survey itself allows participants to take it by themselves, but the more
comfortable they are made to feel, the more honest answers will come in.

Have at least three people on staff read the survey to ensure that all
questions are stated in a clear way. Additionally, make sure to have at least one
person take the survey online before making it available to listeners. This can
also clear up any improperly written questions as well as uncover any bugs on
the lntemet.

Alternating statements that participants rate from ”strongly agree” to
“strongly disagree” is also a great way to keep a participant’s concentration level
up. This was done with the WDBM online survey. It is an important tool to
validate a survey. If a respondent answers one answer one way and the next the
opposite, surveys that include mistakes can be thrown out. Just make sure that
the statements are truly exact opposites.

Also, keep in mind that sample size is not affected by market size. So a
small market does not mean a small sample. Sample size is correlated to the
amount of media choices in a market (McDowell 40). Sampling error must be

avoided at all costs. Sampling error is the difference between the results from a

221

 

 

 

sample survey and the result that would be obtained from a complete census
conducted in the same manner as the sample survey Audience Re rch
S_ou_rp§_pog_k, 188). To decrease sampling error by half, the sample size must
increase four times (47).

In an effort to get a large number of participants, Walter McDowell
suggests flattery, an explanation of why the research is relevant to an individual,
and of course, incentives (48).

There are ten tips the Audience Reéegggh Sourcebggk suggests for
writing questions (55-56). They are:
~Use simple words.

Avoid jargon,

~Keep questions short,

~Be specific, but not too specific,

Avoid questions beyond the respondent’s knowledge base,
Avoid negative questions,

Avoid double questions,

Avoid overlapping responses, and

~Exercise care when asking personal questions.

Certainly, until there is 100 percent lntemet user penetration, samples will
not be 100 percent reliable. But as it becomes more difficult to get people on the

phone, the lntemet will become a more acceptable form of audience research.

222

 

CONCLUSION

No radio station should charge one person with making decisions about
the sound of the station based on his or her own tastes. Nor should any radio
station completely alter their playlist to make it exactly fit the mold of one
auditorium or cell—out music test. Audience research puts the listeners first
before a programmer’s intuition. Almost 98 percent of a radio audience do not
call the request line, buy a CD or take part in a station promotion. Research is
designed to uncover and utilize the opinions of this ”silent majority” that will not
come forward uninvited (Kelly 47). It is necessary to examine both qualitative
and quantitative audience research. Both types of research offer data that is
equally important to a radio station. Looking at one or the other only tells part of
the story for a radio station.

Program directors often target too narrowly. Reflecting a specific locale
and what that local audience wants is one of the best ways to make a radio
station unforgettable. With the onslaught of radio ownership consolidation in the
US, audience research in every market may prevent a homogenized sound.
Radio stations that are unique from other stations, and also program according to
their Iisteners’ tastes, can be a success.

Tom Kelly said, ”Music is art, research is science. Finding the balance
leads to success” (29). It is true that using research alone to program a radio
station can lead to a boring radio station. But a radio station that conducts

audience research is much better off than one that does not. Examining

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quantitative and qualitative research allows program directors to make educated
decisions.

There is no doubt that radio audiences are challenging to study. And
every type of audience research has its strengths and weaknesses. Any radio
station, whether in the largest market or the 150‘", can benefit from examining as
many different research methods as is possible for the station. This way, the
most different questions can be posed and the most different opinions can be
heard. From lntemet radio, satellite radio and ownership consolidation, change
in the radio world is constant, and competition is rising. Program directors who
expect their station to be a success and keep up with what their listeners wanton
a very regular basis can satisfy those listeners and deliver the ratings needed to
make a profit.

Ongoing audience research is completely necessary. Kurt Hanson states
four reasons to keep research ongoing:
~To track listeners’ tastes in music (which change often),
~To monitor trends in perceptions (which also can change a lot),
~To head off competition, and
-To discover the unexpected (Audience Research Sourcebook, 153).

Susan Korbel suggests what type of general research to do, based on
what quarter of the year it is:

First Quarter

~Primary perceptual research on programming and formats: start the year with
this kind of research to prepare for a strong Spring ratings book.

Second Quarter

~Follow up the perceptual research with auditorium or other music testing (Call-
out research should happen all year long).

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Third Quarter

-This is the best time for sales and financial research. Since Korbel does not
have a suggestion for programming research, this would be an excellent time to
try out newer methods like the WDBM web survey.

Fourth Quarter

~This is the time to plan for next year’s image and promotion campaigns. Focus
groups are suggested to throw out promotional ideas and alternative marketing
ideas (Audience Research Sourcebook, 4-5).

As a suggestion, generally focus groups are a good place for a radio
station to start, if little or no research has ever been conducted, or if it has not
been conducted in a while. Perceptual tests can follow, by designing questions
that are follow ups to broad ideas discussed at focus groups. Then the
auditorium (or home) music tests can follow. Call-out research should be
constant. And new methods should be administered whenever time allows it.

Additionally, there are many great web sites that offer relevant information
for program directors. Arbitron is one example of a company that offers radio
studies on their web site that are free for anyone to download. Taking advantage
of these web sites is smart because there is no research to do on the
programmer’s end. Coleman Research and Edison Media Research are two
more examples of companies that offer free studies. All three of these
companies conduct research on a very regular basis as well, so the information
is always up to date.

The more a program director knows about his or her audience, the better
off his or her radio station can become. And the more hard data there is, the less

guesswork has to be made. Ratings alone are not enough proof to show how

well a radio station is performing. Other forms of research are not enough proof

225

 

either, if there is no Arbitron ratings data to back them up. The more a program
director is acquainted with his or her local audience through quantitative and
qualitative audience research methods, the more he or she can make the radio

station worthwhile to listen to by sounding unique from all other radio stations.

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APPENDIX

Responses to Question 9. a):
For the shows you listen to, what do you like about them?

~Sit or spin is a great idea and the show works as well as it should. Hearing
new music is awesome and the small discussion afterwards is nice too.

~I like the variety and different forms of music.

~The Impact Flashback is great to get you in the mood for going out!
~Variety of music.

~Not living in Michigan anymore, it keeps me up on the local music scene.
-I love hearing the new music and giving an opinion on it, via Sit or Spin.

~l like the fact that you can hear music that regular radio stations don't play.
And I think the people on exposure are pretty funny most of the time.

~New and unique music presented by well informed DJ's.

-I love the blues and jazz shows for the variety that they play and the
information given about the artist by the DJs.

~The Impact Flashback is just plain ”great” music for Friday nights.

~In general I like the evening programming. It adds some more variety to
lineup. I especially like sit or spin, but I don‘t get to hear it very often because
I can only tune in during the day.

Music I haven't heard before that I may like.

~Variety, and focus of the program to provide information on artist that I have
not heard of - but are in a style that I like.

~They are different from everything that’s out there, and there are no
commercials.

~The music.

~The wide variety of spectrums you offer. It opens me up to new artists and
their styles of music.

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~Progressive Torch &Twang ~ AWESOME!!! So nice to listen to alternative
country music. Nice 8 Fresh!

~l love hearing the different styles of music on a more in depth level. The
deejays that lead those shows know their stuff and are passionate about their
specific genres. It ends up being an educational listening experience as well
as an enjoyable one.

~New artists ~ exposure to new music, particularly in genres I enjoy, like
bluegrass and the blues.

~I enjoy Progressive Torch and Twang the best because it exposes me to the
most new (for me) music. The other shows I listen to for new artists
(especially The Basement).

~The type of music played. And Impact Exposure has some interesting topies.
~The diversity that the programs offer.

~lmpact Sneak Preview is a good way to see if I want to buy that particular CD
or not. It saves me from wasting money on an album that isn‘t worth it. I like
the Flashback simply because I‘m a child of the eighties, and I like to hear all
the old favorites once in a while.

~l like the special shows because they are a nice break from the normal
rotation.

~Mainly the music is why I’m listening. I listen to Sit or Spin also because I like
hearing people’s opinions and Lany and Clay are hilarious. Same with
Flashback. I enjoy lssac's commentary also. I listen to The Basement
because, where else am I going to hear local music?

~Love The Basement! Always great to hear the latest from the local artists.
~Global Sounds is refreshing, interesting. Marcus "eye" is so soothing as
weIlIl I think Sit or Spin is also interesting—you have a good mix of intelligible

people running the show. I love Flashback. Very fun, great for parties as
wellll

~The knowledge the DJ’s seem to have about the music they showcase and
the artists they play.

~The genre of music, the DJs, the exposure to new music.

New diverse and educational. I love the State News Live. It’s eye opening
and funny.

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~l like the ability to hear music ”new" music. I have discovered many bands
that I would never hear on commercial radio. Many of these bands and up
main stream a few years later (Barenaked Ladies come to mind) which is
great. Some don‘t but I still enjoy the variety.

~The variety of music played. Also the fact that there is some focus.
-I love the diversity on Thee Hourz 'O power-the different kinds of metal.

~I like the diversity...You can’t hear music like this anywhere else, as far as I
know.

~Their variety, and their accessibility. I like the idea of playing an entire new
album, like I‘ve heard in the sneak preview show and in the jazz show; I also
like the idea of voting on what makes it onto the airwaves like in 'Sit or Spin'.

-I like the realness of the radio station, I feel that everyone else is playing sort

of "assembly line” radio. I want to be a guest on sit or spin but I'm not an MSU
studentllll

~It's music no one also plays, and I know when certain types will be on.
-I enjoy hearing great music that no other station will play.

~Torch and Twang exposes me to music to which I want to hear, but know
nothing about.

~I LOVE Flashback and Cultural Vrbe is sweet because it's the only show in
town.

~The Vibe always has the newest shit around.

~They're so much more interesting than what other radio stations offer. It is
refreshing.

-I like that The Impact gives the DJ's the freedom to take their music to the
(reasonable) limit. They are able to get the best music out there and play it to
us poor music stewed fools.

-I like shows with an eclectic mix of music that commercial stations won't play.
I like to hear roots musicians and traditional and contemporary music from
around the world.

~The people that take the time to run them. I realize it takes valuable time
from their schedules, but it helps listeners such as myself expand their own
taste of music.

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~Lots of good music, theme based shows, few commercials, little talk, I know I
will like most of the music in the particular shows; Ras Marcus has the best
voice, he could just keep on talking...

-I like the specific genre to hear exactly what I'm in the mood for. I like that
they play your requests.

~Variety, from cutting edge to classics. Also, I like amateur DJs. DJ's don't
interrupt music with nonsense babbling and recorded phone calls.

~l feel the DJ’s have a good feel for the music and it helps to have an
informed DJ playing other than mainstream within a genre.

~l love the fact that I can turn on the radio and hear music that is worth
listening to. I like that you can hear good music from the last few years too.
At least once a day, I smile for nostalgic reasons.

~I like the music you play and the requests you give.

~The specialty shows really allow DJs to display their knowledge and passion
for music.

-I like to hear underrated music get airtime by people who seem genuinely
excited about the music, not just doing it for the buck.

~The local music shows are always a good way to find good bands. Plus
most of them play around here, so I get to check them out at the clubs. Also
some of the progressive music is much more appealing than the pop rock
crap.

~Cutting edge, you have the best blues program on the planet! Oldies are not
moldies.

~The variety and freshness that is displayed by the college radio station. I am
not a very avid fan of mainstream radio or its lack of variety, but I always find
something that is at least interesting on our college station. It is nice to be
able to tune in and hear something that I could never hear on the radio
anywhere else.

~Rare to find stations devoting time to non-mainstream music-in particular,
Jazz and Blues. Plus, these shows seem to be directed to my generation
(college students) more so than other similar shows.

-I like stuff that is not overdone like the new pop explosion.

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~Unrivaled diversity ~ cutting edge of new: no single source gives out so much
information on a genre of music.

~l love Mechanical Pulse because it is the best show on the radio playing the
techno that isn't played anywhere else. And I love Flashbacks because 80's
music is the best.

~Great variety...l rarely find myself getting burned out on any particular song.

~The variety~~ The Impact is the only station in the area to even attempt to
provide diversity to the listening experience. After that, your DJs are great-
personable and knowledgeable.

-I really like the fact that the impact plays non-commercial and weird stuff
overall, because no matter what genre, it's usually pretty good. Like how I
hate country, but I love Torch and Twang.

Most of the stuff, I have never heard before, I grew up when 'classic rock'
was brand new. I am so over the old stuff.

~They sound a little rough but sound more like a conversation between
friends. Also they play everything before mainstream radio gets its grubby
paws on it and plays the hell out of it.

Responses to 9. b):
What do you dislike and why?

~When DJ's tell exactly how many minutes they have left in the studio at every
break; The LL Cool Jay Peace Corps PSA with the disconnected phone
number; DJs who cannot pronounce ”Rock-a-billy" or "Tupelo."

-I listened to Sneak Preview once for a new Everclear album, and l was so
turned off by how much the DJ didn't like Everclear, and his comments were
much unappreciated (haven't listened since).

~Going too long without saying who the bands are. A chronic problem with all
radio stations (Impact is better than most, but still, this is something stations
need to work on).

Don't like when the Flashback DJ plays a continuous stream of 70's. I also
prefer the Flashback DJ's that are more informed on different types of 80's
music, rather than just Michael Jackson and Cyndi Lauper. There was a lot
more variety than that!

~No mention of song names.

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~The DJs sometimes ramble.
~Rambling DJ's.

~Just too much dreary indie music. It ends up wearing thin after a while. I am
not always in a sad mood.

Don't dislike much, but there's sometimes when I don’t know who is singing a
song or what it's called and it never seems to be said.

~Some DJ's aren't knowledgeable about what they are playing, sounds like
they're reading from a sheet at times.

~Reggae Sunsplash, because it's too repetitive.

-Too much talking/commentary.

~l don't like a lot of talking in any radio show.

~Should try to say the artist and song more often. It's really frustrating when
you hear a new song and have to wait twenty minutes before you find out who
it is.

~Overal| there is nothing I dislike, I feel the DJ's could always improve their
shows presentation and diversify so they don’t get stuck putting on the same
show week to week.

~l don't always agree with the people on Sit or Spin.

~Sometimes the hosts lose my attention.

Responses to Question 10.:
As a listener, what things keep you listening?

~l like the latest music that they play.
~Exposure to music and or artists not heard on commercial radio.

~l like the variety of music that is not played on traditional radio stations. It is
nice to hear the tunes from smaller bands also.

~l listen at the office. In one day I can hear an old song from Talking Heads, a
new song from Beth Orton, and everything in between. In my opinion, the
variety of good music that goes back as far as the early 80's and still
deserves to be played once in a while, obscure stuff that doesn't necessarily
make it on other radio stations, but is still good music, is the key to the

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success of the Impact. And you play the new stuff way before 92.1 and with a
lot less frequency.

~New music - not just the same crap you here on the mainstream stations.

~I live in New York City and this station still plays the best music anywhere!!!
The variety and style is great...

~Great music selection, variety, no commercials, you don't kill songs. In fact
usually is other radio stations have picked up a song like "Hash Pipe” you
seem to quit playing it as frequently. I'd still like to hear that song more often
because it rocks! And I don't want to switch stations!

~l really like the variety of music. I've Ieamed of quite a few artists that I really
enjoyll

~The new music, it is not the same mainstream song playlist everyday that
must come from a list of no more than 25 songs.

DJ’s I can relate to, music I can’t hear on other stations.
~The cutting edge tunes, the wide variety tool
A mix of familiar favorites and exciting new flavors.

~I enjoy listening to the station while driving and knowing that it's run by
students just like me.

~l enjoy listening to music that is out of the mainstream. The turnover of
music is great too. Nothing gets too played out.

~The alternative beat, that you just can't find anywhere else. And being
available on the web. (I now live in Albuquerque after 5 years in Lansing.)
Also, no commercials!

~Hope that I will be exposed to a new song or band that I wouldn't have heard
form other sources.

Incredible selection of music. More than just the singles are played. More
than just major label artists are played.

~Good songs, new and old, especially 'college' music (U2, Radiohead, Pulp,

Primal Scream, Afghan Whigs). Some of my favorite bands I discovered from
your station.

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~Better Music, no commercials. No screaming DJ's that think ”they” are the
entertainment and not the music!

-I hear a lot of the music I love that I can't hear on other radio stations - Pat
McGee, Ben Harper, Travis, samples, Granian...contests ALWAYS have
great giveaways that you're more likely to win than those of other stations...l
can request whatever I want and if you have it, you'll actually play it!

~The fact that I keep on finding new artists that I like. I never would have
heard of any of the following groups/artists: Ben Folds, Ani DiFranco, Jonatha
Brookes, Mishka, Shea Sager, Sheila Nichols, Travis, Tragically Hip, Belle
and Sebastian.

 

~The variety and the freshness of the music. New hits month after month, year
after year. I like the Top 5 at 5.

 

-I love that you play funky music that the other stations are too stuffy to play.
I also like that you don‘t hear the same songs over and over. Finally, I love
that they play your requestsl!

~Hearing new music I can't hear on any other station is my biggest reason for
listening to the impact. Also, Impact DJ’s talk a lot less than commercial
stations, 30 more music.

Superior programming and lack of commercials. Love the original local stuff.
Something different is just around the corner.

~The fact that you guys play music that no one else does and the fact that
everyone else plays music that sucks.

~VARIETY- I love that the shows represent almost all genres of music. It's
refreshing to have a station that doesn't limit itself to one category of popular
music. Since I started tuning in, I have found myself learning a lot about
different things that I wouldn't have heard otherwise. Even when I feel like I'm
listening to crap, at least it's usually crap I've never heard before (which is in
great contrast to most commercial stations that play the same crap all the
time).

 

~The variety and also it seems like you are reading my mind...very strange. I
grew up here, and I think my tastes have always been geared toward your
radio station.

~The music I want to hear and hearing new stuff before others.

234

~The newest freshest music. I have made several purchases after hearing a
song just once on your station.

~Cutting edge of what's new in many hard-to—find-out about music genres.

~There is no better station for such variety and quality of music! And if you're
hungry for new artists, you get them. It's NEVER boring or repetitive. And I
like the DJs....especially Marasco. Please put him on more often.

~Got hooked as an undergrad ('91-'96), the station keeps me current with
developing artists, and I have yet to hear a better station, anywhere.

~lmpact has become my new music source...you also have some great
personalities on your air staff.

~New music! The Impact is the only station to play local or indie groups first.
Most of my CD colbction is built around artists I heard first on the Impact

~I love hearing new music before it gets popular and then shoving my finger in
the face of my friends and saying something like, "I told you so” or ”I heard
them first"

~You play the music I like, and if you get a good DJ like Clay—it makes long
drives go a lot faster. Plus you don't have commercials which is wonderful in
and of itself. Your DJ's, in general, are my favorite kind of DJ—calm,
informative, no gimmicks. Lany Marasco has just enough flavor to make it
interesting. None of your DJs are annoying, and that is huge.

~There is absolutely no other station, anywhere, who plays 30 many local and
"new” and ”othenrvise-never—heard" artists. No other station would devote so
much airplay to hours of jazz, folk, etc. I love itll In fact, I was infuriated when
attending the Ani DiFranco concert and Breslin and heard it was sponsored
by 92.1 the Edge. What the heck?? They never play Ani - and they pretend to
be this great station that plays local and "cutting edge" music. I could go on,
but... On the other hand, the Impact plays Angie Aparo - and then he's here at
Rick's ~ and I think that is so great.

~Great music, great variety. No annoying DJ's/commercials. I like the
gimmick-free nature of the whole station.

~The overwhelming amount of kick-ass new music you play. Always have a
pen and paper handy to write down a song after 89 plays it. Keep up the
extraordinary work! Long live the Impact!

~Constant Change.

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. .. 1111.11...“

 

 

 

~New music. Playing my requests. Concert announcements.
~The variety of new, old school, independent and original music.

~The Impact is true to the music, commercial free, and unlike anything I have
ever heard (and I've been around). Honestly, I have never heard of a better
radio station, and will go to any length to be loyal as they are loyal to us
listeners.

~The constant variety in styles in music. From David Gray to Outkast and
every thing in-between.

~Variety, lack of commercials, local stuff, hearing good music that other
stations won't play, getting info pertinent to East Lansing area/MSU.

~I am actually living in Indiana currently, but I feel that the Impact is far
superior to any other station in probably the entire country. (Yes I am
serious.) For one thing it is very comforting to hear the MSU students talk
about thing happening in the Mid-Michigan area. But when it comes down to
it, the playlist is heads and shoulders above anything else on the radio. Even
during the 90's when "Alternative" music had reached the height of its
popularity, the IMPACT still has the best playlist. Now that the alternative
phase is dying out or has been corruption by corporate band knock-offs, the
IMPACT is still there delivering the best music.

Responses to Question 11.:
What things cause you to tune out?

-I Never listen in the evenings.

~Hearing songs by artists such as Matchbox 20, Wallflowers, Goo Goo Dolls,
etc. already overplayed on commercial radio.

~When it isn't coming through on my computer.
~Too much REM...get over them already.

~Nothing in particular makes me change the station, maybe a song that I don’t
feel like listening to but otherwise nothing that the Impact does makes me

angry.

~Long sets filled with repetitive, uneventful middle of the road rock (Live, Our
Lady Peace, BN L, Blues Traveler, Incubus) and anemic sounding copy-cat
singer songwriters running out of things to whine about (Amy Correa, etc.) I
can tolerate them, but not all one after another. Mix it up!

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~Repetitive indie-rock.
~Lousy talk shows about lame MSU issues.

Dave Matthews Band and all the public service announcements that you play
over and over again.

~Commercials and babbling by DJ’s that is not imparting any newsfrnformation
to me.

Specialty shows that l have no interest in, or a song I don't like.

~The heavy music, or a major change in style. But we think it's cool that you
have it and would not ask you to change having music for everyone.

~When you all keep playing the same songs over and over again. Sometimes
if I try to listen during the day I can hear the same song played within an hour.

-Talk shows (although I'm not a student). Even too much talk by the DJ's. I
don't really care what the DJ thinks about the weather.

Dccasional annoying voice patterns from DJ at the time. DJ that plays a vast
collection of their own favorites (usually the same style), whiny chick
vocalists.

~Not finding out what song I just listened to.
DJs that talk too much and in a monotone voice.

~Jocks that talk too much and really have nothing to say. They are not adding
to the programming ~ just preventing me from hearing the next song NOW. I
understand that Impact is a student run program, but just getting the jocks to
think about "what's the most important thing that I can say about _," and
"what do the listeners want to know?" would improve every jocks show.

~The PSAs and often whatever happens to be going on during the 7pm hour.

~Too much indie music in a row that all ends up sounding like one long dreary
song.

Sometimes the DJ’s screw up or talk about inane things that I don’t' wanna
hear. Or when I just don't like a song you're playing.

~Only one thing~~ on the rare occasions I'm tuned in during the morning, the

DJs that mangle and mispronounce their way through the news! Good Lord-
either get DJs that can read the news, or discontinue it!

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~Commercials or excessive DJ chat.
~Boring exposure shows.

Adolescent jokes about pot smoking. Sorry, but it is totally inappropriate for
a quality, classy radio station (which I really think you are).

~Nasal female deejays who stumble over their words (The guys stumble, too,
but it doesn't seem to bother me as much. Because I'm a female??) and the
occasional "too hard & heavy for me" song.

~The only thing I really do not listen to is the Sunday programming.

~The Reggae or Cultural Vibe, just because it gets boring and annoying.

~Too much slow sad music, it can be upsetting on a day when you have test,
relationship problems or you miss home.

Did music that is played too often or stuff that 92.1 plays all the time. Also
the specialty shows aren't always my thing.
Sunday till Sit n Spin, Friday night and Saturday night could be better.

Music that I don't like or too much commentary shows. I hate that show that
Hillel does sometimes. Those people are annoying!

~Mostly songs I don't like (Indigo Girls, other flufl) and the genre shows I don't
care for. l tune out on Sunday until the evening because I want to listen to
Impact music on Sunday, not genre music.

~Not Sportswrap, but the news and sports updates are painful sometimes.

Again, sometimes the hosts lose my attention.

Responses to Question 18.:
What would you like to see on this web site?

-More community things. Also opinion polls and more stuff on the MSU/local
scene.

A list of music played in the hour, in order.

A page for each specialty show so I could e-mail the specific hosts about
questions, comments, and requests

238

 

 

 

Along with the top albums, the names of the songs you play off the albums
would be nice too. Besides, the top five, I mean.

~Band related info? Tour dates for local venues?

~Better updates, requests, to be able to vote for top 5

~Charts with track names

Deejay profiles...also more info on the songs in current rotation.
Download music

~Easier ways to see what’s going on in town - home page may show who's
playing tonight

~What show is on sale this week. Possibly a database of the playlist ~ so
listeners can look up an artist if they did not hear the jock mention the artist’s
name.

~First time visitor...Would like comprehensive concert calendar, new music
release dates...Artists playing on the weekly talk shows (day or night).

-I would like to be able to send requests via the web site.

-I would like to see a complete playlist. I would also like it if the song title and
artist for the song currently playing could be shown on your web site.

~l would like to see more information on the music currently being played on
the Impact.

~l'd like to see historical charts...what were your top spins 5 and 10 years
ago?

~lnfo about musicians, music, etc.
~lnfo on the bands you play.

~lntemet radio with the capability to see the artist that is being played, I‘ve
seen it on stations like 2cool4radio.com.

~It would be cool to see past/present history of your artists of the week.
~Less clutter, and a break down of the daily schedule.

~Links to local artists sites.

239

 

~List and description of shows.

Maybe more info on the bands you play. Also the list of bands and songs
from sit or spin, that would be great.

~More artist and music industry links.

More concert info. More artist info and maybe more impact related
promotions

More music news. News about DJ's and upcoming Impact events. I would
like to access interviews and live performances from the past. Fun stuff like
games and an Impact tour. Maybe a mailing list with impact news via email.

More web content like music news, and other interactive sites.

-Online Chat groups, more links to the genre web pages
(spaceodisyhomesteadblah. Why isn't this.msu.org?) A lot more devotion to
the genre web pages. Playlists from their shows.

~Photo's of all the DJ's. I've always wondered what Marcus looked like. And
maybe a history of the Impact, including information on how it started and
where the studio has been.

~Pictures of DJs to see who I'm listening to; also a requests.

~Playlists...check out www.kexp.org. It's great to see playlists as you're
listening. I live in Seattle (MSU grad) and prefer to listen to the FIX but
sometimes its nice to see the playlist and I will switch to University of
Washington’s station to see lists and see what they are playing. My biggest
turn off about the UW station is that it is too mixed. They play Travis and then
next play some unheard of eledronica then world music...just too
mixed...that's why I prefer the Fix. Its new stuff but not too obscure.

~Playlist schedules? Seems impossible, but it'd be nice.
~PLAYLISTSIIII from all shows for the past 6 weeks at least... possibly add
time played during the show or something indexable so I can go out and find

the song title on the list when the DJ doesn’t announce the titles except
between 10~song breaks, and ultimately BUY the recording.

240

 

 

 

Responses to Question 19.:
Please write any other comments on The Impact here.

-I think that Impact needs to improve their programming. Their music
selection doesn't make it pleasant to listen to the radio. Not that any other
station has anything good, I just believe the college station has a lot more
opportunity to put good music back on the radio. I see the impact lacking in
their power to spread good music.

Sometimes when I hear music, I wish I knew who it was. Since I hear so
much new music on the impact and I can’t keep up on everything, I would like
to know which songs are by who. DJs usually do a pretty good job of keeping
us informed, but not always.

-I am so glad this station exists. I have been introduced into so much new
great music that I would have never known about otherwise. I would also be
forced to listen to the edge, and I hate hearing the same 5 songs every hour
with 20 min of commercials.

~l love the Impact and would be lost without it. Although I do skip around the
dial ever so often, the Impact is almost always what is on my radio. And after
several months of fighting for control, I have finally convinced the guys at my
work that the Impact is cool and they will hear newer music sooner than when
they listen to 92.1, a station which I think is crap. I pointed out to them that
most of the songs on there I have already heard of months before thanks to
the Impact. Sony that that sounds so cheesy, but it's true!

~Hope Impact outlives me!

~The Impact may be the best station in the country, and I don't know what I
would do if it ever ceased to exist.

~The music is great and I have been listening since the Impact was first
founded. However, the professionalism of the DJs could be improved.

~Please consider other programming during the day on Sunday!
~You are the best station in Lansing. Keep up the good work!
-I love this station, it's pretty much the only one that I listen to!

~Just hope you stay on the air and keep doing a great job of providing a wide
variety of new/local music by knowledgeable DJ's.

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-I really like the Impact. The only suggestion I really have is that there should
be more hip- hop in the regular rotation. I do like the fact that they're playing
Outkast's 8.0.8.

-I really have no use for MSU news, as not only do I not attend this university,
but I do harbor a certain disdain for it. Despite this, I believe the impact and
NPR are the only good frequencies in the Mid-Michigan area.

~College radio in no way has to be RADIO FRIENDLY. That term should be
used by advertisers and record company wishing to push certain artists
(products). I find it entirely appalling that almost every artist played during
regular formatting has style derivative of Radiohead, Jeff Buckley or (GASP)
Creed. The first two have enough material to cover their particular market
segment. The impact not only has the responsibility, but also the grand
OPPURTUNI‘IY to really make an impact by playing obscure and
experimental music. Unpopular does not mean unworthy. I'm not trying to
push music so different that no will want to listen to it, but mixing music in that
people complain about, but is good will only help to enlighten our Dave
Matthews Band saturated sound environment. A great radio station to look at
as far freedom allowed the DJs is WFMU out of new jersey (www.wfmu.org).

Bands to consider playing:

Modest Mouse, Dismemberment Plan, White Stripes, Les Savy Fav, Home,
Papa M, Ganger, Magnetic Fields, SIeater-Kinney, Schellack, Smart Went
Crazy, Tortoise, Macha, Sea and Cake, Yo La Tengo, Jesus Lizard,
Spiritualized, Howe Gelb 8 Giant Sand, Beta Band, Smog, Mogwai, Blonde
Redhead, Enon, Juno, Low, Mercury Rev, Sigur Ros, Places, Super Furry
Animals, The Olivia Tremor Control, Velvet Underground, Summer Hymns,
DJ Shadow, Don Caballero.

Does this help?

~I have been a loyal impact listener for over 8 years. I only listen to other
stations when some of your less enjoyable programs come on.
~Love the work you're doing, I'd be lost without you.

-I really appreciate the theme shows, even the head banger ones, which
although I don’t appreciate, I feel the impact is the appropriate place to
provide this kind of music for the MSU audience. the blues, jazz, and world
music shows are most excellent, followed by the progressive T+T and the
flashback. most of the DJ's are very good, entertaining, right mix of talk and
music; some DJ’s try to be too cute with talk and, honestly, just don‘t sound
very good over the radio waves. overall, impact is my music station of choice
and I will continue to support the station.

242

~The Impact has been my favorite station since we moved to mid-Michigan
from Chicago in 1989. I wish the signal was stronger in St Johns where we
live.

-I love the Impact...even though I graduate next month, I plan to continue to
listen over the 'net, wherever I wind up working.

As someone who listens to radio station at work during the day I get very sick
of hearing the same songs over and over and over again. Please expand
your playlist. It seems like somedays I'II hear the same songs 5 or 6 time
during the day.

-Clean up your act during the day. Quit playing the same songs over and
over again. I would certainly listen to you more if it weren't for the redundancy
during the day.

~l'd like a little less mainstream, and more local bands, but this is my favorite
station in the area.

~Thank you for existing!!

~|N REGUARDS TO YOUR EARLIER ? OF GENDER I GO WITH THE ONES
THAT PLAY THE BEST MUSIC/MIX.

-l have been listening to the impact since I was a student at MSU. I love this
station. It is in essence the only station I really listen to. The deejays may not
be as slick and quick wilted as on other stations, but I'm looking to be
entertained by the music, not the deejays. And for the most music, and the
greatest variety, there is no other station to listen to.

-I love you guys. Keep up the good work. You know, there are people that
respect the underground still; you guys do a good job maintaining that.

-I would like an hour or two of older cutting edge bands like Iggy Pop, Talking
Heads, Lou Reed, etc...Perhaps more music less talk on the Basement show.

Some of the night shows are too long. It would be nice if I could listen to
general music at some point in the evenings. Impact is by far the best radio
station in the Mid-Michigan area, even if I do not like all of the music played at
least its different.

~The Impact is the best college radio station that l have heard. I have recently
moved out of Michigan and am glad that I can listen over the lntemet.

All in all, a great station. It should continue to serve the current students
taste's first...that's the point of student radio.

243

~The best radio station I've ever heard. Keep up the good work! Seriously.
Can this ass kissing get me a bumper sticker? bakenjason@yahoo.com.

~This is a great station!!! I'm a student now, but live in the area and have been
listening for a long time.

~Your station is way better than anything on the dial.

-I think all in all its a great station, I answered that it wasn‘t for all because if
your into a lot of the poppy crappy stuff, you wouldn't like it, but that is a
positive thing.

~I think your station is the greatest!! The best thing about this whole stinking
town! On 94.9 (classic rock) the number one classic album for the Lansing
area was not the Stones, the Beatles, Pink F loyd-it was PETER
FRAMPTON—does that speak volumes about what else this place has to
offer??? A man and his talking guitar??

Over all I think that you are doing a fantastic job! I've been listening to the
Impact since day one (or two?.
~damn good station.

~l really like the fact that you can listen to impact for many hours and get a
wide variety of artists. I think it is important too to allow students the chance
to do the work on the radio. So often college stations are taken over to be
done professionally since the airwaves can be such a competitive source of
dollars for the school. KEEP STUDENT RADIO!

~We Love you here in Chicago, well I do at least.

~I think the impact Is a great station with a wide diversified base of music and
people. I believe this is the impacts best asset. The people who work at the
station are not clones of each other and their different personality’s translate
over the air shift to shift.

Don't change a thing ~ it’s one of the best things in the Lansing Area.

~I've enjoyed listening to the Impact religiously for the past 6+ years. Keep up
the good work.

~The impact is the single greatest radio station ever conceived and I hope it
never changes.

~l have an idea that more people will listen. First, add more genres of music
and have some more well known artists. You should also add some MTV-

244

type music like N'sync, BSB, Disturbed, and others. Also, add the spin
college radio to your station.

-While the Impact plays more local music than anyone under the sun, I do feel
that they could add more local artists to the general playlists (if such a thing is
possible). Plus, more in studio deals with live artists. Those are cool. But
finally, I have been listening to the Impact since my freshman year in high
school, and I have never heard a better radio station. No matter where I am, I
will always be a loyal Impact listener for life (thanks to the lntemet. Impact for
Car Satellite Radio!) I have been so inspired by this station, I hope to start my
own radio station one day. Thank you Impact.

~l've listened to the Impact since it first started (I believe in 1989). I may not
be your typical listener, but I'm a loyal listener and I'll continue to listen. Keep
things fresh. Never play music because it's ”populaf‘. Keep up the good work.

-I graduated MSU in 96 and love the fact that I can get Impact online. The
music is great and I enjoy hearing about MSU. I cannot find a radio station
that I enjoy as much as I do the Impact.

~There is one DJ that tends to only tell you the name of the song...annoying
when you have no clue who the artist is! Play a little more Indie stuff.

~Vastly improved web site design-great job.
~Keep on keeping on.

~Good DJ's, better than most other stations (I cannot stand the DJ's on 92.1).
Play more Cure and Tori. Also, If you can, play some of the Lillywhite
sessions.

Doing a good job. Don't stop improving though.

~Pissed because I'm having trouble listening on the web (RealPIayer). Only
one speaker works with the fix.org.

~l thoroughly enjoy the Impact. I was very surprised when I moved to this
area about a year and a half ago and gave your station a listen. The Impact
reminds me of how 89X in Windsor was like when I went to college in '92.
Unfortunately, 89X went way too mainstream once they were bought out.
Hopefully, something like that will never happen to the Impact!

245

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