Rescue Manual for Small and Medium-Sized FM Stations
- Ricardo Gurgel
- 6 de ago.
- 20 min de leitura
My name is Ricardo Gurgel. I have worked intensively with data analysis for some of the largest FM stations in Natal, RN, and I can definitively say: working with data isn’t just about crunching numbers—it's about transforming them into clear, strategic action. From gathering metrics to interpreting audience behavior patterns, the process requires attentive listening, almost obsessive observation, and a relentless curiosity about how radio affects people—and how they respond to it.
When I began focusing on medium-sized cities that lacked such close monitoring, I noticed that behavioral patterns recur with alarming frequency across different stations—often with no connection between them. It’s as if there's an invisible banana peel on the road of FM stations, and all of them slip on it through inertia, routine, or lack of strategic vision.
In this context, my work—often technical—also became preventive in nature: identifying the recurring error patterns and, from there, outlining paths to success. In many cases, simply avoiding chronic pitfalls was enough to see improvements in the numbers and, more importantly, in the audience’s perception.
This manual is born of that experience. It distills practical lessons, common mistakes, and actionable solutions—rooted in real on-the-ground knowledge from the booth, studio, tower room, and audience monitoring systems. It’s aimed especially at those who need to reinvigorate a radio station in crisis or prevent decline before it begins.
The text is presented in the context of radio stations in Brazil, but in many aspects, the issues discussed may reflect common situations in other parts of the world. Not everything is exclusive to a specific city, state, or country—oftentimes, mistakes are remarkably effective at replicating themselves in distant places.
What You’ll Find in This Manual
This practical guide offers clear, implementable guidance for reviving a stagnant local FM station with faltering audience or revenue. The material is structured into nine stages:
Stage 1 — Diagnosis
How to determine whether your station is in crisis and which areas need immediate intervention.
Stage 2 — Structural Reorganization
How to (re)assign core leadership roles—General, Artistic, Technical, Commercial—even with limited team size.
Stage 3 — Artistic Repositioning
How to define the station’s identity, choose its profile, and fine-tune programming.
Stage 4 — Technical Quality
How to fix technical issues and significantly improve broadcast sound using affordable resources.
Stage 5 — Communication Team
How to evaluate, train, and guide broadcasters so they genuinely connect with listeners.
Stage 6 — Sustainable Commercial Strategy
How to price airtime correctly, attract advertisers, and organize the sales department intelligently.
Stage 7 — Local and Digital Marketing
How to remain top-of-mind in your city and build a social media presence.
Stage 8 — Continuous Monitoring
How to use online audience data as a compass for quick and informed decisions.
Stage 9 — Culture & Vision for the Future
How to build a purposeful station with clear goals and a spirit of ongoing evolution.
Refoundation
To refound a radio station is not just to put it back on air—it is a structured process of diagnosis, reorientation, and action. Stations in crisis typically present repeating symptoms: audience loss, market disinterest, inconsistent programming, and technical failure. This manual provides a hands-on roadmap to rebuild your FM IP with renewed identity, relevance, and sustainability.
Stage 1: Diagnosis
1.1 Assess Crisis Symptoms
Has audience dropped recently?
Have advertisers withdrawn?
Does the station feel stuck in time?
Are hosts disengaged or improvising?
Is listener feedback silent—either negative or entirely absent?
1.2 Initial Checklist
Identify bottlenecks in:
Team & Communication
Programming & Content
Sound Identity
Technical and Transmission
Commercial & Marketing
Digital Presence
"Common Causes of Low Audience and Revenue in FM Stations” a. Improvised Selection of Broadcasters The rush to get voices on the air often ends up damaging the audience. Common mistakes include:
b. Insertion of “Imported” Programs These are generic programs produced for multiple FM stations, often used as fillers, and they hurt the station’s local identity:
Even short news clips or random program inserts cause a loss of character. A station must either embrace a network identity or fully commit to being local. Hybrid formats only drive audiences away. Network listeners already follow strong national brands. Generic inserts, without a clear identity, don’t hold an audience. c. Musical Programming Left to the Hosts (This is a Serious Problem) When hosts choose what to play on air, the station’s identity changes with every shift. This usually stems from poorly configured software that gives too much freedom to the broadcaster. d. Lack of Method in Musical Programming Even with a single person managing the music, if there is no method or quantitative criteria, the result will be inconsistent and unappealing. e. Mixing Conflicting Genres Playing Sabrina Carpenter right after Luiz Gonzaga can be highly irritating to a loyal forró listener.And it certainly won’t attract a teenage pop fan, who didn’t stick around after “Carolina” to hear “Espresso.” The same goes for mixing popular and religious music. Even if some gospel tracks are trending, their inclusion requires sensitivity and coherence—otherwise, you risk alienating both audiences. f. Outsourced Programs Outside Artistic Control These are deals that help pay the bills, but the station relinquishes all control over the content. That means it can’t correct mistakes or adjust formats. This reinforces the same issues caused by the previously mentioned “imported” programs. g. Generic Audio Branding with No Sound Philosophy Randomly inserted free jingles, mismatched audio clips, and the absence of a coherent sound identity only reinforce the station’s amateurish image. The lack of transition jingles between songs and the absence of personalized audio pieces prevents the listener... |
STAGE 2: STRUCTURAL REORGANIZATION
2.1 Structure the Management Roles — Even in Simplified Form
You need to organize the house:
General Management: Centralizes decision-making and aligns all areas.
Artistic Direction: Defines the station's identity, editorial line, voice tone, jingles, style, and target audience.
Technical Direction: Oversees the on-air sound, from the transmission tower to the studio. Ensures quality and consistency.
Commercial Direction: Generates revenue, sets pricing policies, sales targets, and promotional strategies.
Even if you don't have staff to fill each role individually, delegate responsibilities. The most common mistake is to concentrate everything on one person without clear criteria.
"General, Artistic, Commercial, and Technical" Artistic Direction The artistic direction is responsible for defining the station's positioning based on the audience it seeks to reach. From this, the editorial line is established: popular, adult, youth-oriented, etc. This role sets the filters for the music programming and is in charge of selecting and guiding the on-air hosts—not just to “go live,” but to fully understand the station’s philosophy and communication style. It is also the artistic director’s job to approve the station’s sonic branding: jingles, background tracks, and all the audio elements that form the “face” of the station—both on-air and in public presence. This includes overseeing third-party agencies and producers responsible for the station's visual and promotional identity. It is a daily task that requires constant consumption of audience data, listener feedback, and close monitoring of the competition. There is no room for complacency. Technical Direction This director is in charge of the station’s entire technical infrastructure—from the initial licensing project (or any amendments) to equipment modernization. It covers everything from acquiring small components to heavy investments, such as an audio processor, which is essential to elevate the sound quality and create a unique sonic identity. The technical director doesn't need to personally operate every piece of equipment, but must be capable of identifying the right professionals to handle tower maintenance, antennas, processors, studios, transmitters, and more. They are also responsible for spotting technical shortcomings, planning remote broadcasts, maintaining preventive routines, and staying up to date with market innovations and competitor strategies. Commercial Direction This area ensures the station’s financial survival. It is the commercial director’s responsibility to avoid one of the gravest errors in broadcasting: incorrect pricing. Many stations charge rates below sustainable levels and, once the market adapts to those prices, they struggle to shift to a new reality. This role oversees the entire sales strategy of the station, defines promotional event planning, supervises the sales team, and constantly analyzes the station’s financial performance. Interdependence Among Departments The artistic, technical, and commercial directions must not operate in silos. Coordination and information exchange are essential. For example, artistic direction must align promotional strategies with the commercial team, and both need to operate within the limitations and capabilities defined by the technical team. This interdependence reinforces the need for a General Direction, which can be held by one of these departments (usually the commercial or artistic), or by the station owner in the absence of a designated role. Either way, this central leadership is critical for the station’s proper functioning and growth. Expanding with a Broader Vision a. Content and Innovation Direction (optional but strategic) In stations that have reached a certain level of maturity—even small ones, if well structured—it’s worth considering a function, or at least a mindset, focused on cross-platform content curation. Contemporary radio goes beyond live broadcasting: podcasts, social media streams, on-demand content, and audience interactivity are essential. This function may fall under artistic direction but deserves its own spotlight for stations aiming to expand their digital presence. b. Production Coordination While not always labeled as a “direction,” the production coordinator plays a crucial technical-artistic role, especially in stations with live or news programming. This professional organizes daily agendas, ensures sound elements are ready, and often acts as direct support for on-air hosts. In small stations, this role may be filled by the audio operator or a multitasking producer. c. The Importance of Organizational Culture It is important to reinforce that no direction will work properly unless the station has a clear internal culture: vision, mission, values, and goals that are well defined and clearly communicated to the team. A lack of internal alignment often leads to communication breakdowns, contradictory decisions, and low productivity. d. Continuous Training It is worth noting that the general direction should also encourage ongoing education—even through simple means such as internal workshops, experience exchanges with partner stations, technical visits, or online courses. This is especially true for the commercial and artistic areas, which deal with ever-evolving audiences. e. Performance Evaluation and Goal Setting Finally, it's important to emphasize goal-oriented management. Each department—even in small stations—can and should define realistic objectives: increasing revenue, reducing technical response time, boosting listenership at specific hours, improving brand recall, etc. Without clear goals, the station risks operating on autopilot. What Do We Have Here? Regardless of the station's size, clarity in defining roles and responsibilities is what separates a professional operation from one that merely functions. The general, artistic, technical, and commercial directions must not act as isolated departments but rather as interdependent gears within the same machine—the station’s success. Even if it’s not feasible to formally create all these roles, it is perfectly possible to assign these responsibilities in a smart, strategic way that respects your financial and operational reality. The difference between stagnation and growth often lies in this very organization. The more aligned these departments are, the more cohesive the station’s identity will be, the more efficient its operations, and the stronger its presence with both listeners and advertisers. A well-run radio station is more than just a signal on the air. It is a living brand—with purpose, a unique voice, and the power to stand out. |
STAGE 3: ARTISTIC REPOSITIONING
3.1 Choose the Station’s Profile
Don’t try to please everyone. Be one of the following:
Popular
Youth-oriented
Adult contemporary
Sertanejo (Brazilian country)
Regional
Religious
Avoid mixing everything. That drives everyone away.
3.2 Restructure the Programming
Standardize the musical programming. A listener needs to know what to expect—always.
Eliminate full freedom for hosts to choose songs. Use properly configured scheduling software.
3.3 Improve the Sonic Identity
Produce custom station IDs with professional voiceovers.
Use background tracks consistent with the station’s style.
Strengthen your station’s “audio signature” between songs. The listener needs to know exactly which station they’re tuned in to.
"Playing Everything Kills the Audience — and So Do the Unknowns: Other Deadly Sins in Radio” In community and small commercial stations, programming is often left entirely up to the host on duty—usually people much more immersed in the world of music than the general population. As a result, they know artists like Scorpions, A-ha, U2, Engenheiros do Hawaii, Bon Jovi, Adele, Dua Lipa… the so-called “good music.” Personally, I dislike the term “good music” because it simply makes no sense. Musical taste is subjective, and treating it as if there were a universal standard of quality is the same as saying: “my taste is better than yours.” Everyone has their own idea of good music, and that must be respected. For many people, “good music” is Calypso—and within the context of their emotions and life experiences, no one can say they’re wrong for liking it. Playing Everything Doesn’t Work Yes, most people enjoy a variety of genres. But the musical profile of a station is more important than a host’s attempt to “educate” listeners on what good music is. When I want to listen to forró and sertanejo—genres that go well together—I know I can find it on 82 FM. When I want pop and rock, I go straight to 84 FM. If I’m in the mood for MPB or romantic international songs, 86 FM serves me well. What doesn’t work is 82 FM trying to play a bit of everything. That alienates its main audience. I’m an exception for liking all those styles, but even I wouldn’t enjoy that kind of mix on 82 FM. I want to know what to expect when I tune in. If it turns into a mess, I no longer know when to listen. You can be sure: while 82 FM is playing Zezé Di Camargo, Dona Zefinha is tuned in. But if Britney Spears comes on right after, she’ll blurt out something like “what the hell is this,” switch stations, and probably never come back. The opposite is also true: someone who likes Britney hears Zezé and doesn't stick around. The station loses Dona Zefinha and fails to gain Kelly as a listener. Even if Kelly hears Britney by chance, she’ll know it was just luck—the programming is so random that it’s not worth waiting to hear something similar again. Playing “B-Sides” Doesn’t Work Either You choose track 8 from a well-known artist’s album… something only you know. You’ve picked the hardest path—the non-obvious one—and honestly, it doesn’t work. Radio is a place to relive musical emotions, not to dig up “old new stuff.” If a song from 2005 never became a hit, it’s because it didn’t connect with the public. Find the hit that people still request. And don’t be afraid of repetition. There are thousands of popular artists—you won’t be that repetitive. What inevitably happens (and can’t be avoided) is that people want to hear today’s hits. For community and small-town FM stations, the focus must be on the mainstream public, not a musical niche within an already small population. A Programming Showpiece, but an Audio Disaster Some low-cost things can’t be overlooked. Having an audio processor and delivering high-quality sound is essential. Today, your competition is YouTube, Spotify, and personal music libraries—all with flawless sound, no hiss, distortion, or overload. Personally, I wouldn’t advertise on a small-town station that doesn’t focus on mainstream programming and doesn’t offer good sound. For less than R$2,000, you can get an APEL-07X audio processor that performs much better than many R$5,000 models. It's a rare find, but many stations have one because they knew how to search and negotiate. With patience, it’s even possible to get it for less. Stop Complaining About the Advertiser The advertiser is your most critical listener. They notice—almost like a pro—when the audio is poor or the programming doesn’t connect with the audience. The moment they consider putting money into your station, they start listening differently: looking for flaws they didn’t notice before. Remember: the advertiser is the most demanding listener your station will ever have. Other Audience Killers a. Unmotivated or Amateurish Announcing Problem: Many programs are hosted by volunteers with no communication training—monotone voices, robotic reading, serious grammar mistakes, empty improvisation, overuse of verbal crutches (“like…”, “right?”, “you know?”). Solution: Invest in at least basic training in announcing and communication. You don’t need Globo-level professionals, but you do need enthusiasm, clarity, and listener empathy. A good announcer keeps the audience engaged—even with repeated music. b. Chaotic Programming Schedule Problem: The listener doesn’t know what to expect. A forró show is followed by a religious debate, then suddenly it’s electronic music. Solution: Define clear time blocks by genre and style, with fixed, recognizable programs. Even in community radio, predictability builds loyalty. The logic is: “I tune in at 9 a.m. because I know what’s on.” c. Lack of Regularity Problem: Programs vanish, change times without notice, or only air “when someone’s available.” Solution: Stick to the schedule with commitment and consistency. The audience gets used to the presence of the host and the show. If live broadcasting isn’t always possible, consider reruns or well-produced automation to avoid “disappearing.” d. Too Much Talk, Not Enough Music Problem: Hosts who talk too much, interrupt music constantly, or ramble on in off-topic internal chats. Solution: Train hosts to be brief, engaging, and focused on the listener. In music-driven stations, less is more. Let music be the star. If it’s a talk or content show, then the focus shifts—but that needs to be clear. e. Poorly Made Jingles and Weak Audio Identity Problem: Lack of well-made jingles, outdated tracks, or “raw” transitions between songs. Solution: A strong audio identity makes your station sound bigger, more professional, and gives the community something to be proud of. Well-produced jingles with pleasant voices and fitting background music greatly improve the listener experience. f. Ignoring the Audience on Social Media Problem: Today, radio blends with WhatsApp, Instagram, and Facebook. Ignoring that means losing touch with your audience. Solution: Keep a WhatsApp number open for participation. Post show highlights, behind-the-scenes content, polls. This strengthens your community and attracts even those not actively listening to the broadcast. g. Not Listening to the Listener Problem: Hosts who don’t read requests, ignore complaints, or play only what they like. Solution: Create real feedback channels. Take requests, thank participants on air, run polls about programming, give voice to the community. The audience must feel part of the station—not just a consumer. “Want your station to grow? Be predictable in your music format, consistent in your sound, and close to the people who listen to you. That’s how a community becomes an audience, and an audience becomes results.” |
STAGE 4: TECHNICAL QUALITY
4.1 Invest in the Basics
Acquire an efficient audio processor, even if it's a low-cost model.
Eliminate noise, hums, and distortions.
Perform regular maintenance on towers, transmitters, cabling, and studios.
Great content with poor audio drives listeners away. Sound quality is just as important as programming.
“Stations Without This Equipment Can’t Achieve Even Basic Sound Quality” There is one piece of equipment that, despite being essential for sound quality, is surprisingly rare in community radio stations. And here’s the most curious part: its price isn’t outrageous. It comes in various versions, including simpler models, yet it’s still little known in the community radio (Radcom) world. What often happens is that these stations invest in expensive gear—fancy mixing boards, high-end microphones—but without really understanding what they’re doing. The result? Purchases of items that have no real function in the transmission chain, are poorly configured, or aren’t even technically understood. The truth is simple: it’s no use having a state-of-the-art console or expensive microphones. Without this equipment, your sound literally goes to waste. The Equipment? The “Magic Boxes.” They’re responsible for something few understand technically—but everyone feels when listening: Distortion Eliminators
Sound Presence Enhancers
Practical Effects on Broadcasts
Simplified Traditional Transmission Chain Voices + Music + Commercials ➡️ Mixer Console ➡️ Stereo Generator ➡️ Transmitter ➡️ Antenna Ideal Transmission Chain with Audio Processor Voices + Music + Commercials ➡️ Mixer Console ➡️ Audio Processor (many already with stereo generator built-in) ➡️ Transmitter ➡️ Antenna And the Cost? Audio processors range from R$ 2,000 to R$ 70,000 or more. But here’s the secret: a well-chosen and well-configured basic model can deliver sound as good as a station that spent R$ 70,000. With the rise of software-based processors, the cost has dropped even further. With a good computer, a proper sound card, and solid configuration, you can achieve audio quality comparable to that of major stations—for a fraction of the cost. An Example in Action A processor running multiple songs in different styles, maintaining consistent volume, and delivering all the benefits mentioned above. The cheapest and most efficient processor I’ve ever seen was the AP-07X by Apel. It’s very hard to find now, as it’s unfortunately no longer manufactured. That’s a real shame—especially considering that many inferior processors with better marketing are still being made. Even after all these years, most of them can’t compete with what the AP-07X could do—yet they cost more! At the time, I could find an AP-07X for around R$ 700. Adjusted for today’s values, that’s about R$ 1,500—still unquestionably cheaper than other models designed for small stations. And the most impressive part: many of those more expensive competitors deliver worse results, which only reinforces how efficient and worthy of recognition the AP-07X was. Working Within Regulatory Limits Operating within modulation limits set by broadcast regulations not only avoids fines—it preserves your audience. An audio processor ensures that the station stays within technical standards, avoiding distortion and interference that could affect other broadcasters. The Cost of Quality In the past, achieving excellence in broadcast audio required investments of tens of thousands of reais. And even then, poor configuration often ruined the sound, making the broadcast unpleasant. Brands like Orban and Omnia dominated the market with high-performance gear, but today there are equally competitive options, including national models. Orban—comparable to Boeing in the audio processor market—now faces tough competition from Omnia, seen as the Airbus of this space. In the Brazilian market, Biquad (which I compare to Embraer) stands out with its DAP4 processor, which, when properly configured, delivers excellent sound quality. For smaller stations, Apel was an amazing solution with its AP-07X, an accessible and efficient model. Unfortunately, a lack of communication with small broadcasters made Apel lose a promising market. How to Achieve Competitive Audio at Low Cost Today, there are affordable audio processors that, when configured by experienced professionals, provide a unique sound signature for each station. |
STAGE 5: COMMUNICATION TEAM
5.1 Reevaluate Your On-Air Team
Does the host have strong speaking and writing skills?
Do they have rhythm, clarity, and empathy?
Can they speak to the local audience without sounding egocentric or robotic?
Disinterest and amateurism are noticeable on the air. Prefer enthusiasm with preparation over a “nice voice” with no substance.
5.2 Basic Training
Organize the following:
Internal workshops
Online voice training classes
Program simulations with technical and artistic feedback
STAGE 6: SUSTAINABLE COMMERCIAL STRATEGY
6.1 Organize Your Pricing Policy
Create pricing tiers based on time slots
Offer promotional packages that do not devalue the station
Avoid long ad breaks with poorly produced spots—the station must reject low-quality productions
The biggest commercial mistake is charging too little and losing credibility, or setting disproportionate prices that drive advertisers away. Fix this with data and defined targets.
STAGE 7: LOCAL AND DIGITAL MARKETING
7.1 Strengthen Your Digital Presence
Keep your social media updated (Instagram, Facebook, WhatsApp)
Post show highlights, behind-the-scenes content, and polls
Use WhatsApp as a direct interaction channel
7.2 Get Back on the Streets
Run promotions with local businesses
Even small street actions generate visibility
Raffles, giveaways, and partnerships help cement the brand in the public’s memory
STAGE 8: CONTINUOUS MONITORING
8.1 Set Up an Online Audience Dashboard
Track peak and low listening times
Measure retention and drop-off points
Use this data to adjust and test content
8.2 Analyze Feedback
Take note of complaints and compliments
Run weekly polls
Create a WhatsApp or Telegram group with frequent listeners for engagement
Audience data and active listening must guide decisions. Radio can no longer be made in the dark.
"Internal Audience Dashboard for FM Stations – Online Monitoring as a Management Strategy" Multiplatform Listener: From Frequency to Streaming It’s becoming increasingly common for listeners who tune into a radio station while driving to continue listening on their mobile phone once they get home. Without a traditional radio receiver nearby, they opt to listen via the internet—on a smartphone, computer, laptop, or virtual assistant. This behavior points to the consolidation of a new habit: listening as a routine, strengthened by familiarity with programming and the ability to take their favorite station anywhere in the world. This process of digital "domestication" of listeners is natural and desirable. And even with all the possibilities of tuning into international radio, the data reveals that the majority of online audience remains concentrated within the FM coverage area of the station. Data Analysis: A New Operational Perspective From these observations, I developed a monitoring system for a group of FM stations in Natal. The study, built over several years, involved the collection and analysis of metrics such as simultaneous connections, retention time, peak listening hours, and drop-off patterns—both for the group's stations and their competitors. What emerged was a consistent performance dashboard that provides valuable input for decision-making: which programs are performing well, which are losing audience, and at what moments the most significant drops occur. Quantification Is Essential There is no longer room for intuition-based strategies or decisions grounded solely in personal experience. A commercial plan without solid audience data is unlikely to be taken seriously. The market is accustomed to detailed reports from digital media—where metrics are precise, reliable, and auditable. For radio to remain competitive, it needs to speak the same language. Verbal promises of “lots of listeners” no longer convince anyone. You need to present the numbers. The Relationship Between Online and FM Audiences The correlation between online listeners and those on the FM dial is direct but not simple. High online listenership can indeed indicate strong FM audience. Likewise, low online numbers may raise red flags. One critical factor in this process is the quality of the audio transmitted over the internet: if it’s poor, it drives listeners away—and this alone is a sign of technical carelessness. Remember: stations with large audiences are usually well-run across the board. A poorly executed online stream may be a symptom that management is failing in other areas too. Consistency and Listening Patterns Continuous monitoring revealed stable audience patterns: from Monday to Friday, the graphs nearly repeat themselves. Weekends show variations, but within equally recognizable trends. This regularity provides reliability to the analyzed samples and allows for solid comparisons with other players in the market—especially when contrasting established FM stations with unstable and volatile web radios. Based on this data, it’s possible to build reports that measure growth, losses, the impact of programming changes, and other management variables. It’s a rich and essential data source for any contemporary radio strategy. The Proportion Between Online and FM Listeners The question, “If I have 1,000 simultaneous online listeners, how many do I have on FM?” has no single answer. It depends on many variables: whether the station has national or local reach, whether it's promoted by major portals, whether internet usage is high in the region, and whether the stream quality is high, among others. Therefore, extrapolating online data to estimate dial audience requires cross-referencing field research with digital analysis. When done methodically, this convergence becomes reliable—and internet data becomes a realistic and dynamic tool for quick decision-making. Radio Cannot Be Done in the Dark Making radio based only on instinct or tradition is, today, a blind flight. Radio is an art—but also a science, a discipline, and a management tool. Online data analysis does not replace formal audience surveys, but it provides a powerful instrument for real-time evaluation and correction. The online audience dashboard is, therefore, a continuous internal consultation tool. It’s not market research, but a daily reading of listener behavior, which allows you to detect changes, respond to issues quickly, and reinforce what’s working almost immediately. It is an indispensable compass for anyone seeking to stay relevant in today’s competitive radio broadcasting landscape. Key Takeaways
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STAGE 9: CULTURE AND VISION FOR THE FUTURE
Establish the station’s mission, vision, and core values
Define goals by department: more listeners, increased revenue, greater engagement
Foster a collaborative work environment and a culture of continuous learning
The Health of the Station
Radio isn’t dead—but it’s becoming more selective about who remains relevant. In an era when listeners can switch stations with a tap, stream music on demand, or scroll through short videos on social media, only those with clarity, identity, and purpose will endure.
Refounding a station is not a task for amateurs. It requires the courage to honestly examine one’s own mistakes, the humility to change course, and the consistency to apply solutions day after day. There is no magic formula—but there are proven paths. This manual brings together some of them, based on field observations, data analysis, and a firm commitment to transform dormant stations into living, dynamic, and meaningful media outlets with a voice of their own.
If, by the end of this reading, you’ve realized your station has more potential than it seems—great. But if you’ve realized there’s a lot of work ahead—even better. Because radio only reinvents itself when someone decides to restart with seriousness.
This isn’t about doing “radio like the old days,” nor about copying trends. It’s about knowing your city, understanding your audience, building a solid proposal, and executing it with discipline, creativity, and truth.
Radio remains one of the most powerful tools of local communication. And with the right tools, it can also be one of the most profitable, community-driven, and transformative.
I originally wrote this text in Portuguese at the beginning of July, and I’ve now decided to include it here as well, given the significant readership from various countries who have become regular visitors to our site. I thank all of you for the growing interest in the content of blogdoRG.
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