Quality of Radio Advertising in Spain: The Impact of Professional
Proles and Work Dynamics
Calidad de la publicidad radiofónica en España: el impacto de los perles
profesionales y las dinámicas laborales
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| 493
January-June of 2025
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Fitó-Carreras, M.; Vidal-Mestre, M. and Freire-Sánchez, A. (2025). Quality of Radio Advertising in Spain: e Impact of Professional Proles and
Work Dynamics.
Doxa Comunicación
, 40, pp. 493-512.
https://doi.org/10.31921/doxacom.n40a2654
María Fitó-Carreras.
Lecturer and researcher at the Faculty of Communication Sciences at the International University
of Catalonia (UIC). PhD in Communication. Graduate in Law from the Autonomous University of Barcelona (UAB).
Her line of research is the study of advertising in the audio medium. Advertising producer specializing in radio and
podcasting. Member of the Consolidated Research Group (2021 SGR 01243) AINA (Analysis of Audio-visual-textual
Narrative Identity).
International University of Catalonia, Spain
m
[email protected]
ORCID:
0000-0002-0500-4006
Montserrat Vidal-Mestre.
PhD in Communication Sciences, Master’s in Corporate and Institutional Communication
Management, Master’s in Audiovisual Postproduction and Graduate in Political and Administrative Sciences. Lecturer
at the International University of Catalonia, the Open University of Catalonia and the University of Barcelona. Vice-Dean
of the Faculty of Communication Sciences at UIC Barcelona. Her line of research focuses on audiovisual, corporate and
brand communication and narrative.
International University of Catalonia, Spain
[email protected]
ORCID:
0000-0001-6144-5386
Alfonso Freire-Sánchez.
PhD in Communication Sciences (UAO CEU). Award for Best Scientic Article at the 2
nd
FlixOlé-URJC Awards for Spanish Film Research. Ángel Herrera Award for Best Teaching Work (2013-2014). Senior
Lecturer in Communication. He was a member of the research team (2018-2022) of the R&D&I Project Visibilizando el
dolor: narrativas visuales de la enfermedad y storytelling transmedia [Making Pain Visible: visual narratives of disease
and transmedia storytelling] (VISIBILIZÁNDOLO). He is currently the Director of Advertising and PR Studies at the Abat
Oliba CEU University. e results of his research have been published in SJR, JCR and SPI. e main thematic lines are
mental health narratives in the creative industry; audiovisual imaginaries and narratology.
Abat Oliba CEU University, Spain
[email protected]
ORCID:
0000-0003-2082-1212
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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1. Introduction
In 2024, the year of the centenary of radio, the medium is immersed in a context marked by digitalization and a decline in
the eectiveness of conventional advertising (Baraybar-Fernández et al., 2017; Núñez-Gómez et al., 2022). However, the
traditional radio spot remains the predominant advertising format for transmitting a brand’s message (Pedreño-Santos and
García-Madariaga, 2022). Radio, “historically used as a lever for the creation of the sound identity of brands” (Fitó-Carreras
et al., 2024, p. 83), has undergone intense changes in the processes and roles in its production, which at times have been
blurred and kept hidden from academia. Despite the sector’s transformation, the spot remains the main asset, as it has been
since the mid-20
th
century. Specically, in 1946, in the Radio Barcelona taris, the general word-based advertisement –the
origin of the current spot– became the star format of radio advertising (Balsebre, 2002). It currently accounts for 93.5% of
the programming, followed by the mention with 5.6% and the microspace with 1% (Asociación Española de Radiodifusión
Comercial [Spanish Association of Commercial Broadcasting], AERC, 2023).
However, references to the lack of creativity in radio advertising messages and the absence of innovation are a constant
theme that has been repeated for decades, both in the professional and academic sectors (Rodero, 2008; Barbeito-Veloso
and Perona-Páez, 2008; Piñeiro-Otero, 2010; Espinosa and Vico, 2016; Fajula-Payet et al., 2021; Pedreño-Santos and
Recibido: 26/04/2024 - Aceptado: 24/09/2024 - En edición: 16/10/2024 - Publicado: 01/01/2025
Resumen:
Hace décadas que el sector profesional y el académico cuestionan la cali
-
dad de la publicidad radiofónica, sin que exista comunión respecto a los
elementos que la motivan. Esta consideración no ha tenido en cuenta la
fuente de producción de la publicidad, que puede ser externa o del propio
medio. A estos efectos, este estudio propone por primera vez confrontar las
diferentes teorías sobre el deterioro de la publicidad radiofónica desde la
perspectiva del medio, con el objetivo de unicar la pluralidad de causas.
La triangulación metodológica mixta, a través de una revisión bibliográ
-
ca y de entrevistas en profundidad a los equipos de producción publici
-
taria de cuatro grupos de radio (bside Media, Atresmedia, Grupo Godó
y Prisa), que se completan con una encuesta, permite identicar cómo se
integran los perles profesionales que intervienen, la dinámica de trabajo
y las causas de esta crisis creativa en la estructura organizativa empresa
-
rial. Entre los principales hallazgos que inciden en la calidad de las pro
-
ducciones publicitarias, destacamos la escasez de recursos humanos en
los equipos de producción publicitaria y el bajo respaldo que reciben, la
ausencia de datos consignados en los briengs creativos o el sistema de
grabaciones online con locutores.
Palabras clave:
Publicidad radiofónica; creatividad publicitaria; profesionales de la ra
-
dio; calidad publicitaria; cuña.
Received: 26/04/2024 - Accepted: 24/09/2024 - Early access: 16/10/2024 - Published: 01/01/2025
Abstract:
For decades, the professional and academic sectors have questioned
the quality of radio advertising, with no consensus on the elements
that drive it. is consideration has not taken into account the source
of advertising production, which can be external or in-house. To this
end, this study attempts for the rst time to compare the dierent
theories regarding the deterioration of radio advertising from the
perspective of the medium, with the aim of unifying the causes. e
mixed methodological triangulation by means of a literature review,
in-depth interviews with the advertising production teams of four
radio groups (Ábside Media, Atresmedia, Grupo Godó and Prisa)
and a survey allowed us to identify how the professional proles
involved, the work dynamics and the causes of this creative crisis
are integrated into the business organizational structure. Among
the main ndings that aect the quality of advertising productions,
we highlight the lack of sucient human resources in advertising
production teams and the low support they receive, the absence
of information in the creative briengs and the system of online
recordings with voice-over artists.
Keywords
Radio advertising; advertising creativity; radio professionals;
advertising quality; spot.
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García-Madariaga, 2022; among others). is perception starts with the overestimation of other media compared to radio
by advertisers and planning agencies (Vázquez-Gestal, 2001). With the arrival of television in homes in the 1950s, radio
became known as “the Cinderella media” (Rodero, 2009, p. 99) or the media’s poor relation (Morillas and Martín, 2008), and
brands started to invest only their surplus budget or a negligible amount in relation to their total advertising investment
(Balsebre et al., 2006). Regarding the limited quality of radio advertising messages, academia has pointed over time to a wide
range of causes, including the lack of university training of professionals in audio advertising production or the inadequate
adaptation of advertisements to the radio language (Rodero et al., 2011).
A review of the literature on the phenomenon shows that most academic research is oriented towards conclusions that
remove from the equation the origin of production of radio advertising, which can be produced by creative agencies or by
the media outlet itself through specialized advertising production teams. erefore, there is a need to understand in depth
the deterioration in the quality of radio advertising from the production perspective of the medium in order to compare the
main causes highlighted by academia with the reality of its professionals and systematize them. To address this issue, we
turned to the advertising production teams of four private radio corporations in Spain. Although their work includes the
production of various advertising formats such as spots, mentions and microspaces among others, this study focuses mainly
on the radio spot due to its representativeness. is methodological design also makes it possible to identify the proles that
make up the advertising production machinery in the radio company and their work routine, providing answers to an area
that to date has been scarcely explored in the academic eld. is is a novel approach that lacks precedents, which is why
this study presented a challenge.
2. Radio advertising
e role of radio throughout its hundred years of life as a means of information and entertainment (Arribas et al., 2018;
Rodero and Blanco, 2020), as well as its strategic value for the creation of the sound identity of brands, is undeniable. Along
with television, it is one of the traditional media that enjoys the most credibility (Montaña-Blasco et al., 2020; Pedreño-
Santos and García-Madariaga, 2022; Harliantara et al., 2023). For Barrio-Fraile et al. (2022), this consideration is closely
related to the fact that radio has weathered economic crises better than other media. However, since 2012, radio’s audience
gures have fallen, with a loss of 14% of listeners (AIMC, 2023) and its revenues falling by 40% (Infoadex, 2023). is is
taking place in a context of digital media convergence in which traditional radio coexists with new media and spoken audio
consumption channels such as audio streaming platforms, the most prominent of which is the podcast. Faced with this
diverse oer, radio must position itself to maintain its identity and the ability to compete with other media and platforms
(Moreno-Felices et al., 2021).
With regards to radio as an advertising medium, only 27% of brands choose radio as their advertising medium, which
represents 9% of their total investment (AERC, 2023). At a strategic level, according to the IFI Radio report on the awareness
of radio advertising based on frequency, it is the most eective medium for generating short-term responses (Neuromedia,
2023). It is also a more cost-eective medium both in terms of planning campaigns and producing advertising formats.
At the production level, radio advertisements can have a dual source of production. On the one hand, those created by
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advertising agencies and, on the other, those created by the media itself through specialized teams, the latter being the focus
of this research. Regardless of the source of production, advertising messages on the radio generate the most credibility
among audiences (Rodríguez de Mier and Martín-García, 2019) and are perceived as more relatable and less intrusive
(AERC, 2023).
For authors such as Critchlow et al. (2022) and Misra and Dwivedi (2022), the inherent characteristics of radio are highly
eective in inuencing passive consumers. Firstly, radio is the only medium that allows listeners to comfortably perform
parallel tasks while listening to it in the background, making it unavoidable to listen to advertising formats involuntarily
(Harliantara et al., 2023). And secondly, it is the medium that oers a greater feeling of intimacy between the broadcaster
and the listener, becoming “a very personal medium that speaks directly to you” (Rodero, 2020, p. 4). Moreover, the AERC’s
media advertising eectiveness study (2023) revealed that radio generates the greatest spontaneous and highest quality
advertising recall. ese characteristics play an important role in the eectiveness of radio advertising. However, the key is
to create attractive messages that attract the audience’s attention (Pedreño-Santos and García-Madariaga, 2022).
As mentioned above, the spot is the main advertising format in the radio medium. In general terms, it is a short, pre-recorded
message (Ortiz and Marchamalo, 1994), independent of the programme content (Betés-Rodríguez, 2004) and constructed
using elements of audio language such as words, music, sound eects and silence (Pereyra et al., 2019). Its main objective is
to convey the brand’s message in order to persuade listeners to consider purchasing or contracting the products or services
it advertises (Perelló-Oliver and Muela-Molina, 2013). Despite its short duration –currently the most common is between
20 and 30 seconds– and the apparent simplicity of the message constructed solely through sound, the creation of the spot
requires the involvement of professionals with multidisciplinary proles, such as advertising copywriters, scriptwriters,
linguists, voice-over artists and sound technicians. Traditionally, Spanish radio stations incorporate these proles in their
sta (Vidales and Sobrino, 2011). For Balsebre et al. (2006), the challenge of the copywriter is to “build in the collective
imagination of the radio audience a certain aesthetic value through sound rather than the meaning of the word” (p. 110).
However, these same authors consider that the voice-over artist “constructs in the collective imagination of the radio
listeners a certain aesthetic value through the sound of the word” (p. 110) by reading the script written by the advertising
scriptwriter. e quality of the nal product and, consequently, the persuasive eectiveness of the format could depend on
the correct execution of each phase of the production process carried out by media professionals, from creative conception
and scripting to recording and editing.
Radio spots are perceived as monotonous and uniform because they follow static narrative schemes and very simple
structures (Muela-Molina, 2008) and lack creativity, since they are more informative than creative and are “practically
reduced to the name of the product or establishment, its address, telephone number and some other relevant aspect that
probably already appears in another previous or subsequent message” (Vázquez-Gestal, 2001, p. 1). ese assertions are
complemented by a wide variety of issues that have been highlighted by academia over the last decades (see Table 1).
For Fajula-Payet et al. (2021), the stagnation of radio advertising is a reection of the stagnation of generalist broadcasters’
programming. e authors add that, despite the fact that we are living through a boom in sound and experimentation with
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new formulas of interaction between brands and audiences, the spot has reinforced its dominant position as the main
advertising format.
Table 1. Issues highlighted by academia regarding the quality of radio advertising
Perception of radio
Undervaluation of the medium. Brands only invest surplus budget.
Vázquez-Gestal (2001)
Rodero (2009)
Advertising agencies treat radio as a subsidiary medium.Balsebre et al
.
(2006)
Morillas and Martín (2008)
Structure and professional proles
Lack of training of professionals at the university level.Rodero et al. (2011)
Most local radio stations do not have a marketing or creative department in their organization.Vives Radio in Espinosa-Mirabet
and Vico-Blanco (2016)
Restrictive sta cuts experienced by many broadcasters.Espinosa-Mirabet and Vico-
Blanco (2016)
Copywriters do not know radio because they do not even listen to it.Claudio Martínez in Morillas and
Martín (2008)
Advertising producers do not take into account the very characteristics that make radio a medium
with a high power of suggestion and persuasion.
Vázquez-Gestal (2001)
e time spent creating advertising texts for radio is minimal and almost non-existent. Morillas and Martín (2008)
e message
Lack of creativity.Rodero (2008)
Perona-Páez and Barbeito-Veloso
(2008)
Piñeiro-Otero (2010)
Espinosa and Vico (2016)
Fajula-Payet et al. (2021)
e messages are not adapted to the uniqueness of radio language.Rodero et al. (2011)
ey only focus on words.Alonso et al. (2004)
e music only serves an ornamental, background function.
Use of pre-existing music over the original music, which is more expensive.
Vázquez-Gestal (2001)
Espinosa Mirabet and Vico-
Blanco (2016)
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Recording with the same voices.Muela-Molina (2008)
Sound eects are rarely ever used.
Similar duration for most of the spots (predictable rhythm).
More informative than creative.
Adaptations of television spots.Vázquez-Gestal (2001)
Huge similarities between advertisements of dierent brands belonging to the same sector.Perelló-Oliver and Muela-Molina
(2013)
Repetition of messages decreases audience interest.Harliantara et al. (2023)
Source: prepared by authors
3. Method
e main objective of this work is to compare and group the theoretical causes behind the low creativity of radio advertising
highlighted by academia over the last decades. Specically, it focuses on the production of spots produced by the medium
itself through its own teams, thereby distinguishing between materials produced by external advertising agencies that are
independent of the radio company’s machinery. e other advertising formats produced by the medium are also discriminated
against, such as mentions or microspaces, since the spot is the format most marketed by radio. e methodology will also make
it possible to identify the professional proles involved in the radio advertising production process and its dynamics.
To address the main objective, a quantitative and qualitative methodological triangulation is proposed that includes a literature
review, in-depth interviews and a number of surveys of active radio advertising production professionals. e literature
review allowed us to gather the reasons why academia considers that radio advertising shows quality levels below the creative
possibilities of the medium (see Table 1).
Individual in-depth interviews were carried out with the heads of the advertising production teams of four private radio groups
in Spain: Grupo Cope (Ábside Media), Atresmedia Radio (Atresmedia), Prisa Radio (Grupo Prisa) and Godó Strategies (Grupo
Godó). is professional category was used because they have a broad perspective of the work carried out by the team in
each stage of the production process and the results obtained. e radio groups, which are included in the General Media
Study (EGM), were selected on the basis of their positioning in the audience and advertising market (Robert-Agell and Bonet,
2023) and for being the most attentive in terms of strategies for maintaining their position (Fernández-Sande and Gallego,
2018). ese groups have regional stations to serve the advertising needs of the local market. Due to the multiple locations
in which the advertising production teams operate, the interviews were conducted in their oce headquarters: Grupo Cope,
Atresmedia Radio and Prisa Radio, in Madrid; and Godó Strategies, in Barcelona. As regards to the provision of advertising
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production services for the selected radio stations, Grupo Cope, Atresmedia Radio and Prisa Radio serve advertisers in the
Community of Madrid, while Godó Strategies does so in Catalonia.
We consider semi-structured in-depth interviews to be the most appropriate method for delving into a phenomenon
that cannot be observed directly. e participating interviewees describe what is happening in the eld of interest, “their
meanings, perspectives and denitions; the way they see, classify and experience the world” (Taylor and Bogdan, 2008, p.
204). Furthermore, the method is based on the richness of the word, is structured around an in-depth concept and is of
an explanatory nature (Martínez-Rodríguez, 2000), aspects that are key to achieving the research objective. e interviews
were conducted based on a script of questions based on a prior literature review. Specically, it was divided into 4 blocks: 1)
Advertising production team, to address integration in the organization, the professional proles and the assigned tasks; 2)
Production process, where the phases, times and collaboration between the dierent departments are analysed; 3) Perception
of the quality of the team’s advertising production, to determine the level of satisfaction with the results obtained and the
eectiveness of the work as a whole; 4) Proposals for improvement, aimed at identifying possible changes or adjustments
that optimize the process and the nal quality of the product. In order to respond to the nature of the method, the interviews
were carried out “under conditions of exibility and freedom to order the questions and develop new ones that arise from
the verbal content of the interviewee as well as from the interview situation itself, as well as giving the interviewee freedom to
answer them in their own terms” (Gaínza, 2006, p. 230). Interviews were conducted between February and March 2024, with
an average duration of 30 minutes, and were recorded for subsequent transcription and coding.
Finally, a survey, created using the Google Forms platform, was sent to the rest of the professionals who formed part of the
production teams in the selected communication groups, totalling 12 participants (6 copywriters, 6 sound technicians),
including the team heads, who had been previously interviewed. All participants submitted their responses within the
established deadline, providing qualitative and quantitative data that allowed us to carry out an exhaustive analysis of the
phenomenon under investigation. For Abundis-Espinosa, this method is suitable for those studies that require “people’s
opinion or perception, either to simply identify and explain the causes of a problem or to make decisions in order to solve it”
(2016, p. 184). Moreover, information can be quantied, graphed and interpreted.
e survey consisted of a total of 13 closed and open questions, organized into the following blocks: 1) Demographic data; 2)
Professional prole: task/s in the team, years of experience and training; 3) Radio consumption habits; 4) Perception of the
quality of their work; 5) Production process, and 6) Proposals for improvement. In relation to the question on the perception
of the quality of radio advertising, a Likert-type rating scale was used (Osinski and Bruno, 1998), which oered the following
response options: very satised, satised and dissatised.
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4. Results
e analysis of the results obtained through interviews and surveys allowed us to identify a series of particularities in the
four radio groups that require prior attention in order to understand the results related to the main objective of the research.
ese particularities focus on the way in which advertising production teams are integrated into the company’s organizational
structure, the tasks performed by the professional proles participating in the process, which vary from one group to another,
and the production process itself.
4.1. Integration of advertising production teams into the business organization
Advertising production teams are integrated into specialized companies that manage advertising of the groups’ radio stations.
Of the four radio groups studied, the exception is Grupo Godó, whose production team forms part of Godó Strategies, the
advertising marketer for all of the group’s media, including press. At a second level, within the company’s organization, the
teams depend organically on the sales, programs or marketing department, depending on the group. e teams also have
dierent designations.
e main function of advertising production teams is to create advertising formats to be broadcast on radio stations managed
by the companies to which they belong. e production includes campaigns planned both at a national network level and at a
regional level, in the territories where their headquarters are located (Madrid and Barcelona).
Table 2. Integration into the organization and title
Communication
group
Ábside
MediaAtresmedia Grupo GodóPrisa
Company
Grupo COPEAtresmedia Radio Godó StrategiesPrisa Radio
Number of
stations
4
(Cope, Rock FM,
Megastar and
Cadena 100)
3
(Europa FM, Melodía
FM and Onda Cero)
2
(RAC1 and RAC105)
7
(Cadena SER, Los 40,
Dial, Los 40 Classic,
Dance, Urban and
Radio Olé)
Territory
covered
Community of
Madrid
Community of
Madrid
Catalonia
Community of Madrid
Departmental
dependency
Sales
Programs
Sales
Special actions
Marketing and
Creativity
Denomination
Creativity
Advertising
production
Creativity and
advertising production
Marketing and
Creativity
Source: prepared by authors
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4.2. Professional proles and task performed
In all groups, two distinctive professional proles can be observed in the context of the advertising production process. Firstly,
the copywriter or creative advertising editor and, secondly, the sound technician or director. Regarding the rst prole, its
main function lies in the creative conception of the campaign and the subsequent writing of the script. However, it is evident
that their dedication goes beyond the mere advertising creation process, as they also take on administrative tasks inherent to
the activity, such as the management of music reproduction licenses, preparation of reports for the General Society of Authors
(SGAE), maintenance of recording databases, invoicing and also the supervision of the department’s budget and expenses.
Typically, the position of copywriter is not usually combined with other tasks within a company. In contrast, multitasking
is a common characteristic of a sound technician. In addition to being in charge of studio recordings with the voice-over
artists and editing the materials, and in some cases advertising scheduling and other administrative tasks related to music
licenses and planning the contracting of voice-over artists, 60% combine these responsibilities with the technical control of
live programmes or recordings of programme contents for the stations, among other functions.
In terms of demographics, 67% of advertising production team professionals are over 50 years old, the average being 48.23, with
an average experience of 20 years. 58.3% are men and 41.7% are women. In terms of academic education, 67% have specialized
studies in advertising. Of these, 80% consider that the knowledge acquired in the academic eld has been applicable in the
performance of their occupational activity, but where they have learned the most is in the professional eld through their
mentors and teammates. Regarding radio consumption habits, 66.7% of the advertising production professionals surveyed
listen to the radio daily, 22.2% occasionally, and 11.1% never listen to it.
Table 3. Professional prole and roles
Company
Grupo COPEAtresmedia Radio Godó StrategiesPrisa Radio
Proles
Copywriters 2
Technicians 2
Copywriter 1
Technician 1
Copywriter 1
Technician 1 (external)
Copywriters 2
Technicians 2
Roles
Copywriter
- Creative proposals for
commercials
- Copywriting,
conventional
advertising and special
tasks
- Production of
recordings
- Direction of
recordings
- Administrative
management
- Creative proposals for
commercials
- Copywriting,
conventional
advertising and special
tasks
- Production of
recordings
- Not covered
- Administrative
management
- Creative proposals for
commercials
- Copywriting,
conventional
advertising and special
tasks
- Production of
recordings
- Not covered
- Administrative
management
- Creative proposals for
commercials
- Copywriting,
conventional
advertising and special
tasks
- Production of
recordings
- Direction of
recordings
- Administrative
management
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Sound
technician
- Recording
- Searching for sound
resources
- Editing
- Administrative
management
- Scheduling
- Recording
- Searching for sound
resources
- Editing
- Not covered
-No covered
-Not covered
- Searching for sound
resources
- Editing
- Administrative
management
- Scheduling
- Recording
- Searching for sound
resources
- Editing
- Administrative
management
-Not covered
Source: prepared by authors
4.3. e production process
In general terms, the dynamics of the production process is homogeneous in its execution in all the communication groups
analysed (Figure 1). However, specic peculiarities were observed in some of the four phases into which the production
process can be divided:
a) Information gathering:
When advertisers require advertising production services, the sales representative responsible for the sale provides a
creative brieng to the copywriter based on information collected directly from the client or through their agency. For
all the radio groups, this document constitutes the fundamental guide for carrying out the production. Generally, the
brieng includes two categories of data: on the one hand, the format contracted by the advertiser and the deadlines
for delivery of the material and, on the other, the campaign objective, the characteristics of the product or service to be
advertised, the mandatory elements of the communication (the mandatories) and, in the best of cases, an analysis of
the advertiser’s competition, among other relevant aspects.
b)
Creativity:
Based on the information provided in the brieng, the advertising copywriter produces an initial draft. In certain cases,
the text of the spot is provided directly by the advertiser. In these cases, the advertising copywriter merely reviews the
content and suggests improvements to the client.
c)
Recording:
Once the text has been written and the advertiser’s approval has been obtained, the spot is recorded with the voice
considered most appropriate for the project in terms of gender, age, tone and style. In all groups, the voice-over artists
do not form an organic part of the advertising production teams. Specically, in Grupo Cope and Atresmedia Radio,
they form part of the radio sta and for them the recording of advertising is a complement to their main activity. Prisa
Radio combines recordings with voice-over artists from the station and external freelance voice-over artists, while
Godó Strategies only works with external ones.
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Regarding the frequency of the recordings, they are usually daily and in person (Table 4). In this regard, Prisa Radio and
Godó Strategies are unique. In the former, the recordings with voice-over artists are hybrid, combining in-person and online
recording sessions, while in the latter case, they are exclusively online. When recordings are carried out remotely, the voice-
over artists receive the text by email and proceed to record it autonomously, following the instructions provided in the text.
ey make the recordings in their own home studios, which are mainly equipped with a computer, an external sound card and
a microphone, in the voice-over artist’s home environment. In the case of in-person recordings, the sound technician usually
directs them, following the instructions given by the copywriter in the text, providing the voice-over artists with instructions
about tone, style, speed, rhythm, emphasis and intonations or pronunciations, among other things.
Table 4. Advertising production frequency, mode and average
Ábside
Media
Grupo COPE
Atresmedia
Atresmedia Radio
Grupo Godó
Godó Strategies
Prisa
Prisa Radio
Daily recordings
YesNoYesNo
Mode
In-personIn-personOnlineHybrid
Daily average spots
15-200-510-1520-25
Average high demand
50-705-1030-4050-70
Source: prepared by authors
d)
Editing:
Once the recording with the voice-over artists has been completed, either in person or online, the sound technician
edits the spots. is task includes locating the necessary resources for editing, such as music or sound eects, and
proceeds to delete unwanted parts, combine the audio tracks (mix), master the nal result and register the material.
ey then send it to the salesperson, who forwards it to the advertiser for nal approval.
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Figure 1. Infographic of the radio advertising production process
Source: prepared by authors
4.4. Perception of the quality of advertising productions
When asked about the perception of the quality of the spots produced by the production teams, of the three options oered
by the rating scale –very satised, satised and dissatised– 44.4% of the respondents were very satised (highest rating),
44.4% were satised (medium rating), and 11.1% were dissatised (lowest rating). ose who said they were satised attribute
this to correct management and execution, highlighting the professionalism of the human team. In contrast, those who are
dissatised attribute it to the lack of creativity in the script due to the client’s conservatism, understood as the fear of taking
risks with more innovative proposals. Regarding the creative result, 11.1% consider that they never produced creative spots;
77.8%, almost never, and 3%, always.
However, a cause was identied in the participants’ comments that extends throughout the entire production process, which
according to the professionals is the main issue that hinders them from obtaining better produced products. Specically, they
attribute this to the low budget invested in production teams. On the one hand, the lack of sta prevents them from qualitatively
coping with the volume of work they are subjected to. In this respect, the cases of Godó Strategies and Atresmedia Radio stand
out, both of whose teams consist of just a single person. In the case of Godó Strategies, this individual is responsible for the
production of network advertising at the regional level and production at the provincial level, the latter from ve regional
commercial delegations (Barcelonès, Girona, Tarragona, Catalunya Central and Ponent). However, in the case of Atresmedia
Radio, the copywriter occasionally takes on the production of network advertising and usually regional production, which
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corresponds to the Community of Madrid. e same dynamic applies to the cases of Grupo Cope and Prisa Radio, although in
these groups the team has two copywriters.
e lack of productive force means that 60% of copywriters spend less than fteen minutes writing the script, and technicians
spend an average of fteen minutes editing the advertising message (75%). e production teams of all the radio groups in
the sample alluded to the burden of the administrative tasks inherent to the activity, which take up part of their working day
and prevent them from dedicating sucient time to productions to ensure the required quality. Moreover, the lack of budget
prevents them from accessing more qualied voice-over artists. In this regard, one of the participants stated that “we can have
good voices, but not all voice-over artists have the ability to dramatize, which detracts from the brilliance of the production”.
is perception, shared by half of the production teams, prevents them from diligently meeting production needs and they are
forced to record with the available voice-over artists.
ere are also obstacles that come from the advertisers and agencies themselves. In the case of the former, “it seems that
clients are afraid of creativity. ey don’t take advice, they reject great work and we end up producing mediocre spots”, as one
of the copywriters pointed out. Along the same lines, “the advertiser does not take any advice at all, for example, on the benet
of having a jingle, which is especially important for the awareness and recall of campaigns, or on the tendency towards excess
information”. Regarding the role of agencies, one of the interviewees said that “they have very little knowledge of radio in terms
of creativity and production, not so much because of their ability, but because radio production yields little economic return”.
ese third-party derived obstacles are complemented by those originating from within the company itself, specically
from sales representatives. In this case, there is a perceived lack of support from sales teams when it comes to defending the
creativity of productions, as they accept all the clients’ suggestions to the detriment of the nal product: “salespeople only
think about reaching the budget, we think about the quality of our work”, said one copywriter. Furthermore, one of them
added that “the creative briengs provided by the sales department sometimes do not contain the necessary information to
carry out the production from the material, which is insucient. is forces us to search for information on our own, which
results in a considerable waste of time”. ese considerations lead to unnecessary repetitions of productions. Moreover, 66.6%
of sound technicians question the creations they receive for recording: “Every day we come across texts that are too long and
do not t the contracted duration. In these cases, you have to cut the text and often you don’t know where to start […]. I get
the feeling that I put together the same spots every day, they are one hundred percent informative and zero creative”. Another
technician stated: “I constantly nd errors in copies: incorrect information, spelling mistakes […]. I understand that we are all
overwhelmed, but if we paid more attention before deeming a text acceptable and sending it to be recorded, we would avoid
repetitions that waste a lot of time”.
With regards to the process, both copywriters and sound technicians believe that outsourcing recordings, which means that
voice-over artists work remotely without real-time supervision, aects the quality of productions. is situation makes it
impossible to adequately provide the necessary instructions on the tone, purposefulness and rhythm of the speech, as well
as ensuring the correct pronunciation of certain terms, among other issues. One of the technicians explained that when the
recording is done remotely and more than one voice-over artist is involved in the spot, “no matter how much the track levels are
equalized and instructions are provided in the copy, it ends up being noticeable that the voice-over artists have not recorded it
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together in the studio, since the intonation is completely dierent”. All the radio groups were forced to record online during the
COVID-19 lockdown period and the voice-over artists were forced to set up their own recording equipment at home. With the
exception of Prisa Radio and Godó Strategies, the radio groups resumed recording advertising in person in their professional
studios. 82% believe that being in person facilitates communication with the voice-over artist and, therefore, improves the
quality of the nal result.
Finally, when asked what aspects could contribute to improving the quality of radio spots, they indicated the need for more
human resources and a bigger budget to access a more versatile and higher quality portfolio of voice-over artists to respond to
the specic needs of the productions.
5. Discussion and conclusions
Despite the peculiarities observed in the production dynamics of each of the communication groups examined, there is
consensus regarding the causes behind the poor quality of radio advertising. e following table shows the veried issues,
those not observed and those ruled out, the latter being only three out of the twenty.
Table 5. Verication of the issues highlighted by academia
Issues
Result
Perception of radio
Undervaluation of radio. Brands only invest surplus budget.Not observed
Advertising agencies treat radio as a subsidiary medium.Not observed
Structure and professional proles
Lack of training of professionals at the university level.
Most local radio stations do not have a marketing or creative department in their structure.Not observed
Restrictive sta cuts experienced by many broadcasters.
Copywriters do not know radio because they do not even listen to it.
e time spent creating advertising texts for radio is minimal and almost non-existent.
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Advertising producers do not take into account the very characteristics that make radio a medium with a
high power of suggestion and persuasion.
e message
Lack of creativity.
e messages are not adapted to the uniqueness of radio language.
ey only focus on words.
e music only serves an ornamental, background function.Not observed
Use of pre-existing music over the original music, which is more expensive.Not observed
Recording with the same voices.
Sound eects are rarely ever used.
Similar duration for most of the spots (predictable rhythm).
More informative than creative.
Adaptations of television spots.Not observed
Huge similarities between advertisements of dierent brands belonging to the same sector.
Repetition of messages decreases audience interest.Not observed
Source: prepared by authors
One of the factors that most inuences the low quality of advertising production on the radio is the scarcity of human
resources required to carry out daily tasks, an issue already highlighted by the media planning agency Vives Radio (Espinosa-
Mirabet and Vico-Blanco, 2016). e restrictive sta cuts at many radio stations, referred to by Espinosa-Mirabet and Vico-
Blanco (2016), have yet to be reversed, leaving positions unlled in the production teams of the radio groups in the sample.
e lack of sta results in overburdened teams that do not have the necessary time to develop more creative, elaborate
products. Creative copywriting, the basis on which the eectiveness of productions is based, is scarcely worked on (Morillas
and Martín, 2008), as is the time invested in editing the spots, which is minimized. is task, carried out by the sound
technician, is limited because this prole is versatile and multifunctional, which coincides with the observations of Vidales
and Sobrino (2011) in their study on the new professional proles of radio.
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Regarding the lack of training, it was observed that the majority of professionals have specialised studies in advertising,
marketing, communication and sound, and recognise that the knowledge acquired in their academic education is useful
in carrying out their activity. us, the lack of training of professionals at the university level, highlighted by Rodero et al.
(2011), is in contrast with the results obtained in this study. e lack of creativity is not so much due to the lack of training or
creative abilities of the professionals, but to the lack of resources of the teams. While creative agencies have large teams and
can therefore invest more time in radio productions, in radio the time dedicated to each production is reduced to a minimum.
However, this does not necessarily mean that creative agencies’ productions are of a higher quality. e perception of radio as
a subsidiary medium (Balsebre et al., 2006) and, consequently, the low budget invested in it (Vázquez-Gestal, 2001; Rodero,
2009) directly aects the quality of agencies’ productions, which also have a lower budget compared to advertising campaigns
in other media, especially in the audiovisual media. Furthermore, we agree with Claudio Martínez’s statement in Morillas
and Martín (2008), which states that most agency copywriters do not have a deep knowledge of radio. In contrast, through
our analysis, it is conrmed that radio copywriters listen to it daily and experience it. is familiarity with the medium can
provide a more intimate, authentic understanding that is often not found in external agencies.
In the eld of advertising agencies, Alonso-González et al. (2004) highlight the need to provide the technical team that
nalizes the spots in the last phase of production with greater recognition and importance and with greater communication
with the copywriters in order to make the appropriate instructions with the aim of correctly executing the preconceived idea.
In radio, in most cases, copywriters do not have enough time to supervise the recording and subsequent editing of materials,
their instructions being limited to those they set down on paper. is issue is exacerbated when recordings with voice-over
artists are carried out online. However, this study, carried out in the same medium, allows us to conrm that, as happens in
the advertising agency environment, the eort invested in all stages of the production process is biased by “the intrusion of
the client in the development of the creative work, believing themselves to be experts in communication” (Roca, 2007, p. 179).
is is manifested in the imposition of their ideas on how the nal product should be or questioning the decisions taken by
the creative professionals.
Regarding the perception of advertising production team professionals with respect to the quality of advertising messages,
there is evidence of broad satisfaction with the work they do. is satisfaction is not based so much on creativity, but on the
belief that each production reects the joint eort of the team. However, this corporatist discourse is in contrast with the
internal criticisms expressed, some of which include claims that the salespeople do not adequately defend the production
team’s work to the client, or do not provide the necessary information in the brieng for the correct execution of the
production. Comments also arise from sound technicians regarding the work of copywriters with respect to the low creativity
of the texts, their vagueness and their excessive length.
As can be seen, the comparison of the theories on the deterioration of radio advertising in our study allows us to identify new
causes in the current advertising production process, which can be summarized as follows:
Online voice recordings prevent the direction of voice-over artists in real time. e lack of feedback directly aects the
interpretive and emphatic quality of the voices, as well as their homogeneity, when the narrative of the spots requires more
than one voice for its construction.
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1.
Creative briengs often omit essential information to achieve the production objective eciently.
2. Greater support is needed from the sales team to defend the work of the advertising production teams.
3. is research has allowed us to unify and update the range of issues that lead to the poor quality of radio advertising
produced by the medium itself through its specialized teams. Moreover, we have identied how the production teams
are integrated into the organizational structure of the radio groups, the professional proles involved in the production
process and the work dynamics.
However, this research is not without limitations, especially with regard to the subjectivity inherent in the analysis carried
out, which is based on the perception of the employees of the selected communication groups. Moreover, it was carried out
in the context of private radio and, as such, it would be interesting to extend it to regional public radio and local radio.
Despite the limitations mentioned, it is concluded that the lack of personnel and, consequently, the absence of quality time
to devote to productions mean that the elements of sound language are not being fully exploited, which prevents more
qualitative advertising from being obtained. In addition, we have noted that there is a perception in the four radio groups
that the company underestimates the advertising production teams. erefore, it is necessary to review these structures to
strengthen them, give them an identity within the organization and, especially, to value the work of a team that is shaping the
advertising campaigns, which are congured as one of the main sources of nancing for the medium.
6. Acknowledgements
is article has been translated into English by Charlotte Rose, whom we are grateful for her work.
7. Specic contributions of each author
Name and surname
Conception and design of the workMaria Fitó-Carreras
Methodology
Maria Fitó-Carreras, Montserrat Vidal-Mestre and
Alfonso Freire-Sánchez
Data collection and analysis
Maria Fitó-Carreras, Montserrat Vidal-Mestre and
Alfonso Freire-Sánchez
Discussion and conclusions
Maria Fitó-Carreras, Montserrat Vidal-Mestre and
Alfonso Freire-Sánchez
Drafting, formatting, version review and approval
Maria Fitó-Carreras, Montserrat Vidal-Mestre and
Alfonso Freire-Sánchez
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8. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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doxa.comunicación |
nº 40, pp. 493-512
January-June of 2025
María Fitó-Carreras, Montserrat Vidal-Mestre and Alfonso Freire-Sánchez
ISSN: 1696-019X / e-ISSN: 2386-3978
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