Elements of Radio Servicing by W. Marcus, A. Levy

By W. Marcus, A. Levy

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We get 200 or more calls for these programmes,’ says Fazal. ’ And the community’s involvement with the station grows each year with elderly people in their 70s staffing the reception to take calls and see to studio guests, and younger people enthusiastic to make programmes. ‘Some of them are so keen they want to make it their career – we’ve even got one volunteer who’s taking 15 days off work to give us technical back-up,’ says Fazal. ’ However, running the station has its problems. The RSL costs almost £2,500 a year because the station transmits on the highest power available in order to reach as much of the city as possible.

For us a brand is about much more than the mix of music we play – or the contests we run. ’1 In other words, giving a radio station an identifiable brand encourages listener loyalty: we want to be associated with a particular station because it has an image we like. This chapter looks at the way radio stations achieve their brand identity, but before doing so it considers something all stations work around – the radio day. The radio day Radio output is not just a random selection of programmes or segments but a carefully considered blend of audio designed with a particular audience in mind in a way that will meet the audience’s basic requirement for information and entertainment without them switching off.

The station is also negotiating with the Radio Authority to change the position of its transmitter, currently on top of the tower of Loughborough University, to a site that will make its signal stronger in its core area. Although small, the 16 people who work at Oak FM are all genuinely enthusiastic about the station and its potential, but that does not detract from what Sheldon James sees as the bottom line. ‘It’s important that we serve the community,’ he says, ‘but it’s crucially important that we never forget that this is a business and we have to make money.

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