1. RADIO, 2015
Job title: RADIO MASTERCODER position
Listen to and classify radio commercials (determining whether to map incoming audio file to
one already coded and in OMNIS database or re-cut another version noting differences or
enter a new code). Create brief written synopses of commercials to add to database as
Mastercode (MC). Make a digital audio file, (steps may involve editing, splicing and saving
in different formats, using AUDACITY computer program). Continuously monitor status of
automated processing systems.
Need ability to work independently, with strong concentration and attention to detail. Must
be highly organized. Type minimum of 35 wpm. Solid knowledge of spelling and grammar.
Computer literate. Proven ability to classify ads a plus, requiring excellent ability to
proofread, and have a knowledge base of global business institutions and their products.
Radio Mastercoding Procedures:
Always have on hand a pencil and paper. (A Free Composition book can be requested from
Accounting; or, GO GREEN, help yourself to free scrap paper near copiers).
Among the many tools available to you as a Mastercoder, I believe the most important one to
be access to the internet; it's there that you can look up a company and its products and
much, much more.
Maintain an up to the moment BOOKMARK MENU (especially include Automobile Makers
and Cell Phone service providers, among others) that will serve you for the entire tenure of
your career at Competitrack. (If ever you change work station and need to gain access to your
BOOKMARK MENU, just ask IT to export a copy to your new work station).
Get to know the different folders and their placement on the computer, the different drives,
like the C and the W. (The C drive is located on the local tower on your desk; the W drive is
located on the Central Server in an area apart, ICONS FOR EACH APPEAR ON YOUR
MACHINE UNDER “COMPUTER”).
Note that audio files (RCS Codes#) come in as extension .WAV files and are processed by you
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and become .MP3 files in a separate program called AUDACITY. Your job will entail going
back and forth from OMNIS (where all Mastercoding is done) to AUDACITY (where all
audio editing is performed). All those basic word processing shortcuts you've previously
become accustomed to apply in both programs (copy, paste, delete, go to end, go to
beginning, save, etc).
Organization of information is of paramount importance; and, ease of access to this
information must go hand in hand with this TREE structure that you will be in the process of
continually pruning, growing, by updating and maintenance of the database. Note how and
where files go, the procedures and processes involved in assigning RCS Code#s to
INSTITUTION (INST) code names and the like; it is your job to be caretakers of the database;
if anything looks out of order or if you have any questions, DO NOT HESITATE TO ASK.
We're ALL in this enterprise together; and, we appreciate your contributions.
Start of Day, Launch of New Library, Checking Pronto e-mail:
Note that when you first double click to open an audio RCS CODE# file in OMNIS database
queue, the program called AUDACITY is launched, allowing you to LISTEN to the recording.
If the first sound you hear is the actual ad, more than likely you have what is known as a
clipped ad. And, in that case, you would follow the procedure outlined for REPLACEMENT
OF AUDIO FILES.
TAKE/DO NOT TAKE, refer to current DNT (Do Not Take) list, NEW, RE-CUT, or MAP
are the options available to you for classifying the audio file.
Most often than not, the first sounds you hear will be the tail end of another commercial
before you distinguish the actual entry into the relevant ad, which is known as the LEAD
AUDIO (L/A) and is used to determine whether audio file you are listening to already exists
in the database, in which case you would map the audio file to the MC in database (after
having listened to database entry and determining that offers are identical in both).
To find out what INSTITUTON CODE (INST) to use when creating a new MC, press CTRL
key and numeral 2; at the look up window, type name of INSTITUTION (company name)
and press ENTER. Select option by highlighting and press ENTER again. The words TAKE
ALL next to an entry (INST CODE) indicates that is the default INST CODE to use for a
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particular company, examples: DSYPLE, for any DISNEY theme park ride and events,
DSNYHT for any package tour including rates for nights at any Disney resort or hotel
AND/or DISNCS for any Disney cruise package. HILTHT is for ads specifically for HILTON
HOTEL; HILGHT is for ads specifically for HILTON GARDEN INN; HILFHT is for ads
specifically for HILTON FAMILY (the ad mentions/contains more than one hotel which is
under the Hilton Family). On occasion you may only have a PRODUCT and not know which
INSTITUION makes/promotes it. In these rare cases, use CTRL and numeral 3 for PRODUCT
LOOKUP SCREEN or check the internet.
Spelling of institution name should match what is shown in RADIO SESSIONS TO
MASTERCODE screen, example: T-Mobile, Wal-Mart, entering that hyphen is critical when a
search is made for lead audio, AT&T, same for that ampersand, APOSTROPHE 's (as in
MACY's, LOWE's, McDONALD's) or s' or just ending in s alone (as in MENARDS,
POPEYES), etc. A Trademarked special spelling of a company's name takes priority over all
other forms, and coders should use it in L/A and info box, throughout (any doubts should be
settled by checking official homepage on the internet, example: Frappuccino is a trademarked
line of blended coffee beverages sold by Starbucks. It consists of coffee blended with ice and
various other ingredients, usually topped with whipped cream. Frappuccinos are also sold as
bottled coffee beverages in stores and from vending machines).
BE AWARE that exceptions to the rules always exist, for example, HEB Food stores is listed in
our LOOKUP INSTITUTION screen as such, yet someone followed RCS lead, creating H-E-B
as INST on the RADIO SESSIONS TO MASTERCODE screen and also as a PRODUCT name;
I don't see an instance of H-E-B used in L/A in the database. Another example, the correctly
spelled trademark name CENTURYLINK, we have it as two words in our database,
CENTURY LINK and must search for same in order to find INST, CEYLTL. A third example,
RACETRAC is in our database, but you must search for RACE TRAC (2 words) to find it.
Also, two products appear in database under each spelling. This supports argument for
PRINT's control of INST creation, to avoid more of the same occurring in future.
RCS suggests institutions for each code, but remember you are the final arbiter, you
choose which institution to assign a code and therefore the onus is on you; if you go along
with every suggestion RCS makes, you will be assigned error points for any wrong
institution assignment they may make.
There are some institutions (such as Safeway, SAFWRT) which serve as “umbrella”
institution for its subsidiaries (Vons, Ralphs, etc.); not only do you assign codes to these
when SAFEWAY stores are mentioned but also when Vons or another subsidiary are
mentioned in the same ad. (If Vons or another subsidiary alone are mentioned in ad, then
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these ads get assigned to individual subsidiary institution codes, such as VONSRT for
VONS or RALPRT for RALPHS. Offhand I can think of CHRYSLER as umbrella
institution for DODGE, JEEP; and, same rule applies, the mention of any two gets assigned
to CHRYAU, the inst code for CHRYSLER, whereas Jeep alone has JEEPAU and Dodge
alone has DODGAU).
Numbers should be spelled out in the lead, but with regard to certain proprietary terms), for
instance “4G” and “3G” should remain as is trademarked. This applies also to the names of
products such as cell phones and anything or ANY institution with a trademarked name,
“7Up” and “7Eleven” and “Dr Pepper” (note there is no period after DR in product name).
Type whatever is heard into the field marked lead audio on the RADIO MASTERCODE
screen in OMNIS. If the ad consists of one continuous musical interlude, with lyrics, enter
(MUSIC) followed by the lyrics as lead audio. Be proactive, AVOID redundancies in info box,
anything that would impair the client's ability to satisfactorily complete a search. Discourage
the use of non-standard or special characters in info box, or at least limit usage to identify a
trademark product or institution name. [Never use punctuation, numerals, or special
symbols in the LEAD AUDIO; that said, look out when initiating a search for LEAD
AUDIO, this rule may have been broken by another coder.] Then, continue typing the offer
into info box and give your new Mastercode entry a title before saving, (don't forget to
answer prompts, select tag line and fill in co-op/competitors fields, if appropriate).
Usually, RCS Code# audio files come in with extra padding at the beginning and at the end of
the relevant recorded portion. This extra padding gets edited by you in AUDACITY, leaving
only the relevant portion, which is then saved with .mp3 extension file name onto the C:
drive's RADIO MP3 folder, thus becoming associated with the Mastercode you've just
created.
If you find that L/A exists in the database, but the offer is different, then, you have what is
known as a Re-Cut. With L/A of appropriate MC entry in database highlighted, press RE-
CUT button, which launches screen where you can enter new terms or whatever differences
exist in comparing the database entry to the incoming audio file into the re-cut box area.
Delete whatever may not apply to the present offer from the database entry's info box and
add a new title next to the old title (set between parenthesis). You can also mark this entry as NEW
by deleting R and RECUT MC, substituting N and blank space in appropriate fields; all information
should then appear in info box only and there's no need to change the title, though you can if you so
wish for legibility's sake; remember, make it easy on the client as well as on your fellow workers,
eventually comes back, making it easy for yourself, too.
Database search limits: [you can “Clear Max” first and enter # to display at prompt]
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? in front of the INST CODE for the last 36 MC#s default, [example, ?ATTTL]
> in front of the INST CODE for the last 100 MC#s default, [example, >ATTTL]
? without an INST CODE will retrieve the last 36 codes created as default .
> without an INST CODE will retrieve the last 100 codes created as default.
: in front of the INST CODE for the last YOU ENTER NUMBER AT PROMPT MC#s
CTRL-B, only allows viewing of a record. Does not help though when you have to do an
edit, (in that case, use CTRL-E instead).
How do you tell the difference between a Live Read and a regular ad?
Use “LR:” solely as an expedient means to map subsequent readings of same
ad offer (that was the original purpose of the LR: designation). Never re-cut
off a database entry designated as LR: .
Radio does not create institutions (INST) nor does it complete Mastercodes (choose
products); Print Dept does that. That said, on very rare occasions, ex. IF A RUSH CLIENT
REQUEST COMES IN AFTER 2 PM, when most personnel from Print Dept have left for the
day, you may be called upon to perform these Mastercode completion functions, and
therefore it is of value to you and the company that you familiarize yourself with the steps
involved. The majority of Mastercodes you will create as TBD (To Be Determined), the
product to be determined and assigned by Print Dept.
UNCLASSIFIED ADS:
To reveal UNCLASSIFED ADS in the OMNIS Radio database, go to RADIO MASTERCODE
LOOKUP SCREEN and highlight button marked INCLUDE UNCLASSIFIED, enter INST
CODE in appropriate field and press ENTER. You will recognize UNCLASSIFIED ads
because they'll be listed as such under LEAD AUDIO and PRODUCT fields.
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In the case of those entries marked UNCLASSIFIED ADS in the OMNIS Radio database, you
will be expected when asked to complete these ads by ENTERING OFFER into info box,
ADDING A TITLE and EDITING THE AUDIO TRACK assigned to each of these
Mastercodes, using AUDACITY program. (You may sometimes SELECT PRODUCT,
especially if it's a rush client order).
Highlight the Mastercode in question; then, press PLAY SOUND on the RADIO Mastercode
LOOKUP SCREEN in OMNIS.
PLAY SOUND usually is set to open audio files as .mp3 file in WINDOWS MEDIA PLAYER;
but, in order to bypass this and edit this same audio file, change the settings by opening
DON'T BACK UP folder on your C: drive; go to OS (C:), click through until you find DON'T
BACK UP folder and double click open; right click on MP3 icon, change
PROPERTIES/GENERAL tab to AUDACITY, and save by clicking OK. (If you need help re-
setting AUDACITY, contact IT and they will help you.)
The PLAY SOUND button will now open audio files in AUDACITY and allow you to edit
and save these newly edited files to the W: drive only (with the OMNIS generated database
code name, consisting of INST code and a number automatically generated by the system);
don't forget to point AUDACITY to RADIO MP3 folder when finished editing ALL AUDIOS
in request. (NOTE: copy and paste the original RCS code#, renaming the OMNIS MC# name,
then save this to the C: drive folder marked RADIO MP3. In this way, your continued work
will be saved next time to the proper location).
Always refer to AUDACITY for the actual length of an ad, do not rely on any other
indicator for the true length of an ad; many RCS Code#s come in mismarked for length (60
seconds for 30 seconds, etc). and slip through even into the OMNIS database with this false
reading for length. These RCS Code# audio files also get assigned to the wrong
INSTITUTION, always be on guard for these occurrences and enter correct values.
When you come across an ad that is not set to one of the preset ad lengths in OMNIS, please
choose the next highest increment. Choosing the ad length below it would incorrectly affect
costing for that ad. In the case of gray area ads where the length is 1 or 2 seconds over (32 sec
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ad), it is OK to choose 30 secs, but if the ad is long by more than a couple of seconds (2) then
please use the next highest increment. Do not include dead space as part of the ad length.
The preset lengths are: 10, 15, 20, 30, 45, 60, 90, 120, 300 and 1800 seconds MAX.
Audio files that come in of poor quality should be replaced before coding same as “G” or “D”
quality ads; a replacement may be available at that moment, but may be too old to retrieve by
the time a client asks for the ad. Use “G” or “D” codes very sparingly, always seek to replace
with an “N” code entry, with a complete ad.
REPLACEMENT OF AUDIO FILES:
In OMNIS, double click RCS Code# named audio file in question and watch the same
numbered entry appear in the lower right hand corner of the NEW RADIO RCS CODES
screen (an area marked PR to CPTK MC); highlight and copy (CTRL-C) RCS Code# that
appears there.
Go to RCS MAINTENANCE screen – paste (CTRL-V) RCS Code# into space marked ENTER
RCS CODE on PR MAINTENANCE screen (making sure button next to it is highlighted) and
press FIND MAPPINGS.
Highlight the machine's response and then press VIEW AIRINGS; again the machine
responds with a list of airings for the commercial in question. Run the slider down to the
bottom of this list and highlight the last entry there, which should be marked with a numeral
“3” in SUITABILITY column.
You now have the option of adding extra padding at the beginning and at the end of the
relevant portion of this ad's airing; by pressing MAX PADDING (once only) you can get an
extra 15 seconds in front of and after the portion at hand. If you then press REQUEST
IMMEDIATE AUDIO REPLACEMENT, a copy of the audio file is launched onto your screen
by AUDACITY program, where you can then listen to the ad and determine if the entire ad is
there or not, edit and, etc.
In AUDACITY, go to FILE/(from the pull down menu) and click EXPORT AS MP3/Radio
mp3 folder appears/(from the pull down menu) and Save to Desktop this portion of ad as
mp3 file.
Click on the end of audio file, [finger pointing to hairline]/go to PROJECT/ IMPORT
AUDIO/and Radio mp3 folder appears/(from the pull down menu); at Desktop, you should
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now see at least two mp3 files, representing beginning, middle [and perhaps an additional
mp3 file may need to provide end of ad.]
Open RCS code# that represents beginning of ad, click on end of audio [finger pointing to
hairline] and go to PROJECT/ IMPORT AUDIO.
To match audio – MUTE top segment of audio file; at beginning of bottom segment, press
SHIFT-END to highlight entire segment/ CTRL-C to copy/ CTRL-X to delete/ CLOSE this
segment.
Go to top segment, release MUTE/ go to end of top segment, click on end of audio segment
[finger pointing to hairline]/ CTRL-V to paste.
Go to EFFECTS/ change SPEED – pull lever all the way to right, to adjust speed/ go to
VIEW/ FIT IN WINDOW/ highlight entire segment, press SHIFT-END/ PREVIEW/ press
OK.
FILE/ EXPORT as mp3 to Desktop – delete the other audio file(s) there/ CLOSE window.
Again, go to FILE/ Export as mp3 on desktop/ SAVE, this time.
With open ad saved to Desktop, go to START, NOTEPAD, fill in LEAD AUDIO, INFO BOX
DETAILS, etc. onto open page file.
CLOSE fully spliced ad at Desktop.
In OMNIS, go back into the queue, open and Mastercode the original clipped ad, refer to
notepad open page file, highlight and paste info from there to appropriate fields in OMNIS.
Go back to Desktop for the complete audio file there, open in AUDACITY (by double click)
and save to RADIO MP3 FOLDER and W: drive, save with new Mastercode name/ save
again to RADIO MP3 FOLDER, (file will automatically revert there to original RCS Code# file
name).
A Couple Of Issues When Making Audio Replacements:
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Q: There are times when after hitting ''Max Padding'' and then ''request immediate audio
replacement'' that we get an error message telling us to make sure the file is not open by
AUDACITY.
ANSWER: Basically this stems from OMNIS failing in it's attempt to delete the preexisting
version of the ad. One reason a deletion would fail is if the file is still open by another
program, either by AUDACITY or even by OMNIS itself (via the built-in Quicktime player).
Close any launch windows (on RCS MAINTENANCE screen).
Q: Sometimes after hitting ''Max Padding'' and then ''request immediate audio replacement,''
I continue to get a message asking me if I would like to wait some more to get the audio file.
ANSWER: When this occurs, it most likely means that the audio for that particular airing is
no longer available for download. My recommendation would be to never hit the button to
wait longer more than once. If audio hasn't been found after 40 seconds, more time will not
help. In that case, try downloading a different airing and, when you're ready to give up,
mark it as P7 and also request a batch replacement. When the replacement has been found,
the ad will be returned to the queue as a P1.
If the 'Max Padding' doesn't give you the full ad, you can use the 'Download Prior' and
'Download Next' buttons to retrieve audio for the ads that aired on either side of the one
you're coding. In other words, you'll be downloading audio of the ad that you would have
heard on the radio just ahead of (or after) the one you're coding. The two files can then be
spliced together using AUDACITY.
If you've listened to a few of the airings and there's clearly not a full ad available, mark it as a
'No Take', i.e., a P5, by choosing this option.
Also, during the course of regular coding make sure everyone is aware to use the Max
Padding option when requesting replacement audio and before marking these ads as P7s.
Q: If there is a different lead audio, does that make for a new ad?
ANSWER: Not necessarily; if a new ad offers the same as a LIVE READ ad in the database
already, we should map to the one in the database; if there's a notable difference to the offer,
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make a New MC# entry to the database (whether live read or not). Do Not Re-cut to MC#
marked as a live read; the incoming ad should be coded as a new MC#.
Any change in offer could also be a re-cut IF the lead is the same AND all the particular terms
are also the same, in order of precedence (YEAR, holiday, season or event, model of cell
phone -exception: event takes precedence in car industry over YEAR of- model car or whatever,
price and expiration date, and change in regional area, tag line or local# as opposed to non-
toll#). If an add refers to this New Year, yet is identical or similar in offer to one in system
(except for this mention), then, that ad should be considered as NEW. NEW can be a live
read
or not. In a live read situation, the fact that a man, woman or pet or other is reading the lines
DOES NOT WARRANT a new entry in database; but, the exception, in this case, would be IF
a CELEBRITY or WELL KNOWN CHARACTER or CARTOON is reading the lines, this fact
then WOULD warrant a new live read entry in database.
Especially for insurance ads, a change in STATE (not City or Town), should warrant a new
entry (again, whether live read or re-cut or new). [Exceptions abound, a fast food restaurant
chain or retailer or some such, may want to have their ads further broken down by a
particular agency or franchise in a particular city or town; when in doubt, ask your supervisor
or lead coder.]
[Enter discussion of MERGE/DELETE, DEDUPE of Mastercodes], CTRL-S,
PRODUCTIVITY/BONUS (pph):
CTRL-Z, let's you know how you're doing, how many Mastercodes you've processed (up to
this moment) and also let's you know of any problems with .mp3 files (associated with select
Mastercodes); these problems should be cleared. Use similar procedure as REPLACEMENT
OF AUDIO FILES (listed above).
Check your progress often by pressing CTRL-Z; no problems, then press on to the next
project.
You are the responsible ultimate arbiter, you have the last say as competent caretakers of the
database. If you assign an ad to the wrong institution, you will be charged an error that will
directly impact your bonus in the next paycheck.
Once the first clipped ad is saved to desktop with original RCS Code#, I have found it
helpful to name any other parts of ad as “1” or “beginning” or “end”; always keep in mind
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that the original RCS Code# is the airing you're working on.
In order to splice a clipped ad, IF AD IS CLIPPED AT BEGINNING, (delete all audio files
on desktop before exporting file you are working on), then call up RCS Code# as is (or with
padding of 15 sec at beginning and end); EXPORT as .mp3 to the desktop then, call up PRIOR
ad and export as .mp3 to the desktop, (make sure to delete this same file afterward from
PRIOR FOLDER, to avoid confusion next time you need to search for another PRIOR ad).
IF AD IS CLIPPED AT END, this would require calling up NEXT ad; export to the desktop,
AGAIN making sure to delete same afterward from NEXT FOLDER, to avoid confusion next
time you need to search for another NEXT audio file.
At the desktop, open .mp3 containing actual beginning of ad and IMPORT other audio tracks
into it; audio speed may need to be adjusted on an imported audio segment (make sure that
the entire imported audio segment is selected when adjusting speed); then, edit entire ad for
continuity.
Use NOTEPAD to type lead and info box data; play RCS Code # that's in queue (the clipped
ad), cut & paste info into OMNIS to create MC#; save MC#, without editing & saving clipped
RCS code (just close it).
Go to desktop and open spliced .mp3 and save to C: drive (completed .mp3s folder) AND
save as well to W: drive (with new MC# name); then, save again by re-writing to C: drive, so
that next MC# completed will be saved to the right folder on that drive.
NOTE: If at the Desktop you find previously saved files there unrelated to audio file you are
presently working on, first delete these files (clear the desktop) and then go ahead and save
the new audio files you are working on to the desktop, in order to avoid confusion. Be
careful, every RCS code# is unique; saving it to another institution or MC# causes ERRORS
and needless headaches down the line. Be MORE conscious of what you do when splicing
codes. Pay special attention to changing 30 to 60 (or whatever) in length of ad field on
Master Coding screen, to reflect actual length of newly spliced ad.
NEW FORMAT for SPLIT ads: A split ad is always considered a NEW Ad. And, another
mastercode can never be a re-cut of a split ad
Split (length of ad, usually 30, 60, 90, 120, 1800 MAX): (colon 5 spaces "MC#," comma space
"MC#" new line) *
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2nd L/A: (colon 5 spaces ALL CAPS) CRAIG CULVER ON WHY, (comma new line)
1st info: (colon 5 spaces) Culver's fresh, never frozen 100% Midwest raised beef, come on for
the Culver's Deluxe. (period new line)
2nd info: (colon 5 spaces) Frozen Custard is better than plain old Ice Cream, only Culver's
makes the fresh Frozen Custard in small batches daily, Raspberry Cheesecake Concrete
Mixer, Vanilla Fresh Frozen Custard. (period new line)
NEW, as of 4/23/2014, * If one or both halves of the SPLIT ad already exist in database, you
would quote MC# on the first line, example:
Split 60: (colon 5 spaces) CULVRT-0001,(comma space)CULVRT-0002
Add a new title next to the old title, separating old title from new title by forward slash
mark (“/”) in the appropriate title field.
A tagline usually marks the end of a section of a Split-ad; an ad can be of any length up to
1800 sec and split in as many sections as an advertiser wishes, but they are usually split in
two sections.
The best Advertising copywriters are creatively attempting to sell a product; be as creative,
build from these basic blocks of information and your experience.
If CLIENT SERVICES asks RADIO for an ad for a product from an institution presently not
tracked by RADIO, refer them to DATAISSUES; they can check to see what the take count is
set to (a fancy insiders way of saying let's start tracking these ads). DATAISSUES can also
send codes blocked by the take count into the RADIO queue for mastercoding.
If an audio file is sent to you (say, via e-mail) in another format other than .wav file, request
the sender to convert it into a .wav file. Copy audio file onto your desktop, open it in
AUDACITY and gather the info needed to create a mastercode in a basic word processing
program like NOTEPAD; and (if the file never makes it to the queue... why delay further?),
enter dummy airing info in appropriate fields on mastercoding screen in OMNIS, cut and
paste to create mastercode; request DATAISSUES by e-mail to update airing info afterward
or, if you have RCS#, you can highlight it and look up instances of same through RADIO
MAINTENANCE screen in OMNIS and update the airing yourself.
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In RADIO, traditionally, we use PRIORITY 6 as opposed to audio file# sent via e-mail in
CLIENT REQUESTS, the later requires SEVERAL ADDITIONAL STEPS. Bypassing Priority
6 is counter-productive, requiring more moves than necessary; for instance, how do you map
from a file in another format attached to an email without a conversion program installed on
your machine? (James has a conversion program installed on his machine; he can convert &
drop the audio file unto CENTRAL SERVER folder for you to gain access; but, it's easier,
faster, more efficient to insist on pushing audio files thru as PRIORITY 6; the gods of
mastercoding deemed that the proper procedure to follow ages ago! You can map or code
directly from PRIORITY 6 files without bothering anyone else or having to interrupt anyone
from what they're doing, in order to perform another task).
“Get GUI” is the name of the program that works in the background of RCS
MAINTENANCE button, retrieving audio files from the internet on request; if RCS
MAINTENANCE should fail to deliver these audio files upon request, then ask IT to check if
'Get GUI” is installed (requires additional technical info like ID# and FINGERPRINT or
THUMBPRINT code#, etc., which they can copy from another RADIO dedicated computer
station).
Please note, follow instructions, if a colon (:) or a forward slash (/) are called for, DO NOT
SUBSTITUTE ANY OTHER TYPOGRAPHICAL SYMBOL, otherwise the program you are
working in MAY NOT RECOGNIZE THIS SYMBOL and not issue programming command,
behind the scenes MACRO that produces whatever desired results in the version of our
database that the clients see.
Nothing I have written as instructions above is carved in stone; in RADIO it's helpful
sometimes to change the normal order of things by
Calling up INST CODE database first (you then have the option of limiting search results or
not on your next try)
Listening to Audiofile and listening again
Searching INFO field on RADIO MASTERCODE LOOKUP SCREEN for product quoted in ad
then, Checking results to see if PRODUCT and OFFER are already IN DATABASE and are
the same AS AUDIOFILE ad
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If YES, MAP to original in database or
If NO, CREATE either NEW entry or RE-CUT, entering Lead Audio, followed by info box
description of offer [and/or RE-CUT info, if appropriate], and SAVE.
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Training Areas To Be Covered
Introduction To Mastercoding and Mapping
___ Entering Omnis
___ Filter in Queue (Last Run/Creation/Months, Etc)
___ Radio Mastercode Look Up Screen and Procedures
___ Spoken Audio/Music
___ Lead Audio Rules (Numbers Spelled Out)
___ Live Read vs Regular Ad (The Basic Differences)
___ Retrieving Audio Files
Mastercoding
___ TBD's
___ Recuts, Format (Title Box, info box)
___ Thresholds and Omnis Prompts
___ Split Ads Format
[ ___ Creating Institutions, only PRINT coders should ]
___ Replacing Bad Quality Audio
___ Saving Files In Audacity (to Both Folders)
___ Taglines
___ Co-Ops and Competitors.
___ Bad Tape Codes (N Fine, G Clipped, D Bad Audio).
___ Utilizing CRTL+Z to Check Work done
Other
___ Accessing COMPETIWIKI, (log in, Username- rcoder, Password- radio)
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16. RADIO, 2015
Radio Map to Original (MTO) Rules:
Map to the Original (or MTO) is used when there are differences between two ads, but the differences are not
important enough that a New Ad or Recut needs to be made.
These are the 3 things to always look for to decide if a re-cut or new ad should be created:
1. Institution - always create a new ad
2. Lead Audio - re-cut or new ad
3. Product - re-cut or new ad
4.
When to MTO:
1. Multiple versions with URL/Phone # changes
2. Multiple versions with Store Locations or Regional changes
3. Multiple versions with Co-Op changes
4. Multiple versions with Price, Rate or promotion changes
5. Multiple versions with Date changes
6. Multiple versions with Minor changes
Rule #1 - Change/Addition/Removal of a URL or Phone #:
Exception:
For Auto ads, if a specific Region is mentioned in the URL (such as TriStateFord.com) it is considered a
Regional reference.
Rule #2 - Changes to (but not Addition/Removal of) Store Locations or Regional References:
This means there should always be one National and one Regional version of an ad, and all Regional changes
should be mapped to the Regional version. Sports Teams are considered Regional References.
Exceptions:
1. Any change in the Company Name or Region shown in a Blue Cross Blue Shield ad should be a Recut
(ex. A change from BCBS of Wisconsin to BCBS of Virginia would be a Recut)
2. Regional Changes for Amusement Park ads should be a Recut.
Rule #3 – Change of co-op partner:
A. For ads that would not normally be taken but have a prominent financial or insurance co-op: changes to
minor co-op mentions can be mapped to the original, if the main financial or insurance co-op changes do
not MTO.
B. For all ads placed by an advertiser that is covered by our WWT rules, if the co-ops entered do not
change you should map to the original.
– Mattress is an exception. For mattress retailers any change in co-ops is not a map to the original.
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17. RADIO, 2015
Rule #4 - Change of Price, Rate or Promotion
Exceptions:
A. Telecom
B. Auto
C. Airlines
D. Mattress
E. Cruise Lines
F. Retail (includes department stores, hair salons, fast food, restaurants and convenience stores)
Rule #5 - Date Changes
This includes anything similar to “Offer good through January 31, 2015”, “3 Days Left” “Starts this Friday”, “Ends
Tomorrow”, etc.
Exceptions:
1. Any Holiday mention should be a Recut.
2. Airlines: All date changes should be Recuts.
3. Barber Shops/Salons: All date changes should be Recuts.
4. Optical Retailers: All date changes should be Recuts.
5. Addition/Removal of “Now Open Late”, “Open Til Midnight”, “Open 24 Hours” etc. should be Recuts.
6. Auto Ads: All date changes should be Recuts.
Rule #6 - Minor Changes
Minor changes are any change that does not affect the message of the ad, meaning what the ad is selling or
promoting.
- Live reads by different presenters are a minor change and can be mapped to the original, unless the read is
done by a celebrity (that requires a new ad).
Exceptions:
− Changes in Background Music should be a Recut.
− Addition/Removal of the words “New”, “Improved” or anything similar should be a Recut.
− Changes in the Voice-Over or the actors/actresses in the ad should be a Recut.
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18. RADIO, 2015
Event Rules
TV and Radio coders
Events (including concerts, plays, art shows, flea markets, etc.) are DO NOT TAKE unless they have a
financial or insurance co-op. Avon Walk for Breast Cancer is the only exception.
For all 'skip' ads, only take for co-op if the co-op is financial or insurance.
For coding event ads (assuming they have a financial or insurance coop):
1. All concerts should be taken under the promoter, period. This is regardless if there's a venue present
or not. If there is no promoter mentioned in the ad and none can be traced by doing a search on the
web, then take it under the venue.
2. All events, other than concerts, should be taken under the venue.
3. Ads may be taken under Madison Square Garden (MADSMS), when more than one of their venues
is mentioned within the ad.
4. EXCEPTION TO THE RULE: For those ads presented by financial/insurance institutions (ie. Chase
presents... , American Express Concert Series, Citibank Card Members presents... , etc.), if the url for
that financial/insurance institution is given at the end of the ad, you can take the ad under that
institution instead of promoter or venue.
5. EXCEPTION TO THE RULE: Take Ringling Bros. ads under RINGLE and Cirque du Soleil ads
under CIRQLE.
6. Ticketmaster is NOT considered a promoter, they are a retailer where you can purchase tickets for
these events, therefore, coders should not be coding any of these ads under TIMART.
7. How will you know who is the promoter for an ad? The promoter is usually an event company that
promotes the entire concert (or concert series). We do not have a list of promoters but some of the well-
known ones are Live Nation and AEG Live.
DNT ads that are coded without a financial or insurance co-op will be deleted and the points removed.
Ads coded under the wrong institution will be merged and an error assigned.
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