I’ve been working with a morning show recently that only has one “gear.”  The male partner is “Ron Radio,” talking to the listener like she’s 20 feet away (when, in reality, the listener is just a couple of feet away, in the car).  The female partner, who’s new to radio, has what I guess a lot of people would call a “bubbly” personality.  And, of course, she’s unnaturally loud, too – following his lead.

The problem here is that their too loud, “way too up” approach doesn’t quite sound real.  And if you’re ALWAYS “up,” then when something really bad happens that you need to comment on – another school or mall shooting, or God forbid, another plane flies into a building – chances are good that it’s going to sound either sort of bi-polar, or insincere.

I cringe when I hear a PD tell a talent to “have more energy” or to “smile” when they talk.  This inevitably results in an almost “terminally giddy” sound, and you’ve got nowhere to GO from there.

You need lots of vocal and emotional “gears” so you can make smooth, believable transitions between different types of subject matter.  The minute I hear someone who’s too loud or too “up,” we start working IMMEDIATELY on fleshing out vocal approaches that convey all sorts of different emotions.  We already have too many “announcers,” and at least one too many Kathy Lee Giffords.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.

This tip is team show-centric, but it actually applies to everyone on the air.

What Team Shows can Learn from “Curb Your Enthusiasm”:

In every great show, there’s a thin wire to walk between being spontaneous, but still being aware of how it “plays” to the ear.  Larry David’s HBO comedy “Curb Your Enthusiasm” is a great example of how ensemble shows should work.

Everyone in that cast knows what the circumstance (the scene) is, but it’s not scripted.  They may not even have a concrete idea of exactly how the scene will end, but what made that show so successful, to me, is that they’re sensitive to those “don’t try to do more” moments.  That’s how you get that perfect form of being Consistent, but NOT being Predictable.

“Curb” is something every team show could study, learn from, and get better as a result.  You might want to re-watch a few episodes.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.

The primary ingredients of any really good talent in a music format are Quips, Comments, and Stories.  A little more about each…

A quip:  My morning show partner years ago in Dallas, Rick “the Beamer” Robertson once came out of “Billie Jean” with “Well, what can you say about Michael Jackson… that hasn’t been operated on.”  (I don’t even know that this made sense, but it was just plain funny.)

A comment: a remark about something that may or may not be funny, but it is YOURS.  Comments can’t be in every single thing that you do, but there should be a healthy dose of them in each show.  Friendships are formed through the exchange of opinions.  If you don’t HAVE any, we can’t be friends.

A story:  I think of stories as “little plays” about “adventures” we have.  Note:  Please avoid the “Christmas newsletter” mentality.  Make sure that the listener CARES about the subject, or you’re just a car going as fast as it can toward an oak tree.

These three things, along with the more “plain vanilla” Content – promoting things, sponsor liners, whatever – are pretty much all you’re going to do, and they should be balanced.  And remember, there’s an art to making “plain vanilla” stuff stand out and be different from the last time you talked about it.

If you know what arrows you have in your quiver, you won’t waste your time trying to use something else.

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Tommy Kramer
Talent Coach
214-632-3090 (iPhone)
e-mail: coachtommykramer@gmail.com
Member, Texas Radio Hall of Fame
© 2017 by Tommy Kramer. All rights reserved.