We’ve produced over 100,000 radio adverts since 1983. Even with such expertise, you’re very likely to pay less for commercial production by dealing directly with us.

We can virtually guarantee that you have already heard radio commercials we have made. Furthermore, we can also be pretty sure that a business within a stone’s-throw of you right now has already reaped the benefits of radio advertising produced by us.

We’ve been creating radio advertising campaigns for businesses, radio stations, and advertising agencies since 1983. During the past three and a half decades we’ve made more than 100,000 radio commercials.

Orange FM DAB Radio - Radio Advertising Costs

Average UK Radio Advertising Production Costs

  • £ 180
    AVERAGE COST EXCLUDING AIRTIME (ex VAT)
    BASIC LOCAL RADIO ADVERT
    PERFECT FIRST RADIO CAMPAIGN
    Concept and copywriting (if required)
    Single radio voiceover
    Music or radio sound effect
    12-month broadcast license
    Delivery to a single local FM station
  • £ 275
    AVERAGE COST EXCLUDING AIRTIME (ex VAT)
    COMPLEX LOCAL RADIO ADVERT
    COME ON, LET'S BE MORE ADVENTUROUS!
    Concept and copywriting (if required)
    Up to 3 voiceovers
    Music or radio sound effect
    12-month broadcast license
    Delivery to a single local FM station
  • £ POA
    AVERAGE COST EXCLUDING AIRTIME (ex VAT)
    NATIONAL / SPOTIFY ADVERT
    THE WORLD'S YOUR OYSTER, LET'S CHAT!
    Concept and copywriting (if required)
    Multiple voices, or perhaps a celebrity
    Commercial or bespoke music track
    12-month broadcast license
    Multiple FM / AM / DAB / Spotify deliveries
  • £ POA
    AVERAGE COST EXCLUDING AIRTIME (ex VAT)
    TAGGING & LARGE CAMPAIGNS
    GET IN TOUCH, WE'LL DISCUSS THE OPTIONS!
    Concept and copywriting (if required)
    Modification of existing campaign (if required)
    Unique advert made for each station
    Special licensing arrangements
    Multiple FM / AM / DAB / Spotify deliveries

What can you get for your money? Have a listen.

  • Chiquito
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    ‘New Menu’ radio promotion for the Chiquito chain of Mexican Bar and Grill restaurants.

  • King Balti
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    King Balti ‘The King’s Speech’ radio commercial, written and produced for Island FM, Guernsey.

  • Ripley's
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    ‘Halloween Week’ radio campaign for London’s famous Ripley’s Believe It Or Not attraction.

  • Primevil
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    ‘All Your Worst Fears’ Halloween radio campaign for Norfolk’s family attraction ‘Primevil’.

  • Boyden Tiles
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    Boyden Tiles, ‘Treat Your Home to a Little Style’ radio commercial for Radio Jackie.

  • Macmillan
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    ‘Miles for Macmillan’ promotional radio commercial Macmillan Cancer Support.

  • STA Travel
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    Spotify advertising campaign for STA Travel, produced for Accord Marketing.

  • Tops Pizza
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    Radio commercial for Tops Pizza London, written and produced for Radio Jackie.

  • Volkswagen
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    Volkswagen radio campaign, produced for Adam & Eve DDB and airing on Lincs FM.

  • Common Criminal
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    Neath Port Talbot Road Safety Team, ‘Common Criminal’ campaign produced for Bay Radio.

  • Party Britain
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    Party Britain fancy dress store, ‘Stag Night’ comic radio ad produced for Bridge FM.

  • Welsh Brew Tea
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    Welsh Brew Tea ‘Hits all The Right Notes’ – sung radio commercial for Nation Hits.

Top 10 ways to make your radio commercial wildly effective

What can you do in ten seconds? What can you do in twenty seconds? What can you do in thirty seconds? Well, rather a lot just so long as you don’t overstretch yourself. A commercial that tries to sell everything actually sells very little!
  • Less is more, be concise, be focussed!
  • Simple is always better.
  • One idea per commercial.
Want to target trade customers and domestic customers? Create two separate commercials. That way you can split the information and give a stronger emphasis than you’d be able to achieve in a single commercial. Rather than cram multiple messages into one commercial (and leaving very little room for creativity) surely it is better to split them into separate commercials that are better targeted at the correct audience? Be concise, don’t waffle. Be focused, don’t try to do too much.
Knowing your target market is key to creating a successful commercial; it dictates everything from music choice to voice-casting, to style and selection of language. Get these factors wrong and you may end up alienating the very people you wish to attract. Very few businesses can boast a broad, mass appeal. You might think you want to trade with everyone, but does everyone want to trade with you?
Let’s say you’re an independent jewellery shop catering for the high-end of the market; would you prefer 1000 people to visit your store, spending nothing, or 5 people to visit spending a grand each? That’s the difference between trying to target a large number of people, most of whom can’t afford your stock and so ignore your commercial entirely, and targeting those few specific customers who can afford and are very willing to spend big bucks with your business.
The right tone of voice can invite, excite, reassure the listener; it can enhance the attractiveness of your product or service. Striking the right tone is crucial.
There are the obvious ones; bright and enthusiastic tones for products aimed at children. Serious and direct tones to convey a drink-driving message. Warm and inviting tones to attract listeners to the good-old country pub. And then there are those products or services that need more thought. Take the funeral home; somber, solemn tones might spring to mind. But wouldn’t someone who has just lost a loved-one be better reached with a more positive, reassuring tone?
Many new radio advertisers want big, they want attention grabbing, they want… shouty! There’s a big difference between ‘the hard sell’ and ‘the desperate shout’. The hard sell uses a strong, urgent tone with stress on the words that will make the most impact – the shout just sounds annoying. You wouldn’t shout at a customer face to face; so don’t do it on the radio!
“I’m paying for a 30 second advertisement, I should make the most of my investment by including as many details as possible.”
No! Please don’t. We often encounter this view, but it happens to be completely counterproductive. If a voiceover isn’t given room to breathe and just has to gabble through the script, how on earth is the listener going to absorb it all?
Let’s be blunt, the listener doesn’t want to listen to a commercial, they are willing to hear to a commercial. If you’re talking to the listener in clear, concise, smoothly paced way then they will be more likely to take the message in and act upon it. Under-writing is the key to this. If you’ve bought a thirty second spot, write a twenty-five second script!

Too often an advertiser will want to cover all their bases by putting in multiple methods of contact. The result? Confused listeners!

If you want to make it clear to the listener how they should respond to the commercial, then you should just present them with one simple method of response. You want footfall? Focus on your location. You want people to find out more? Keep repeating your web address. You want phone enquiries? Just give your phone number.

You wouldn’t lie to your customers face to face, so why mislead in a commercial? As well as the creative side to radio production there is of course the legal side too. You don’t want something to be interpreted in the wrong way.

Depending on context, use of the words ‘biggest’, ‘exclusive’, ‘best’ will most likely require substantiation to ensure they are true. Make a conscious effort to represent yourself accurately in your commercial.

Advertisers have long used music to help set the tone of their commercials, and evoke the desired response from listeners. Advertising a sale? Then use music with a sense of urgency to excite and motivate your target audience. Advertising a spa? Include a slow, ambient backing track to create a sense of escapism and relaxation. Music can be used to enhance your message, but it can do much more than this. It can convey the things you don’t have time to say.

If you have something interesting to say then people will listen to it. A well-chosen sound effect used in the right way can add a layer of atmosphere, it can generate humour, underline a point or place characters in a scene (saving you precious time having to use the voices to establish the location or situation). Aside from that, a fuller ‘soundscape’ makes a radio commercial sound more engaging and professional to the listener, it suggests the advertiser is a little more sophisticated.

The key advantage of broadcast media is the ability to schedule a commercial at a specific time of day to ensure it is heard by the most suitable audience:
A Kitchen Company? Schedule the commercial during breakfast time when people are in the kitchen.
A Car Dealer? Schedule the commercial during drive-time when people are in their car.
A Family Attraction? Schedule it during the school run when all the family can take notice.
A Restaurant? Schedule it during the day when people are making plans!

Too often a radio campaign is a hurried affair, a last-minute dash to cram some selling points into a single radio commercial and hope for the best. Successful campaigns think long term.

If you are going to be a regular advertiser then you need to give yourself an on air identity. Build a brand. For continuity you could use the same announcer voice or music on each commercial. Create a strap-line. Use characters. Incorporate a jingle or sonic ident. There are many ways of turning a single commercial into a continuous campaign that continually builds recognition of your brand.

LISTEN: Why Choose Radio Advertising?

Find out more about radio advertising costs, or brief us on producing a radio commercial - fill in the form below and the radio team will get right back to you.

Or give the radio production team a call on 01603 811855.

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