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To Share or
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\ol to Share an Audience
Every program planning board of a sponsor or an advertising agency is faced with the problem of whether to compete for a share of the existing audience for the period during which it is scheduled or to endeavor to bring part of the potential audience that's not tuned in to tum on their receivers in order to hear the new show. The problem seems vital when figures for listening are compared with the available audience, i.e., men and women who are at home but whose sets are not turned on. Taking a midseason rating February 15, 1947) and using Hooper's average available homes, 81.4 per cent of the homes of America could have tuned a program during that average evening; yet the Hooper sets-in-use figures reveal that there were only 34.3 per cenl of the total American homes actually listening during that report period week oi February 1 7 inclusive). This might indicate that 47.1 pei cent of tin homes in America during that week didn't giv* .i darn about anything on the ind th.it this 47.1 pei < ent was an audience that might well be analyzed and sought alter by an advertiser. Like so
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many snap conclusions derived from research this is not true. This is because the 34.3 per cent average evening listening during the midseason week represents several times that number in actual homes that had their receivers tuned in at least part of an evening. The average does not take into consideration the turnover factor.
Hooper's type of survey (coincidental telephone checking) reveals only whether or not a home is listening at the specific time when called and then only whether it is listening at the specific minute during which it is called. How much of this audience for this program turned receivers on specifically to hear the program checked is not available from the Hooper reports, nor does Hooper endeavor to supply this type of information, except through his diary studies for individual station areas.* Two other research organizations, however, do have such information available: Industrial Surveys and A. C. Nielsen. The latter. due to his having an audimeter in even home he surveys, is able through this recording device to tell not only the
minute-by-minute audience but also where it comes from and where it goes. Sam Barton's Industrial Survey maintains a panel type of day-to-day study of radio listening and while he's not prepared at this time to release his findings generally, certain interesting facts have been made known to advertising agencies and networks.
What both Nielsen and Industrial Surveys indicate is that audience turnover for many programs during any one-year period is as high as 240 per cent (2.4). In other words a program with a Nielsen rating of 26 actually might be heard by 62 per cent of American homes at some time during any one year.
This does not mean that every program has a turnover of 240 per cent during a year but that many programs do. What it does mean is that the untouched audience during the midseason week used as a base for this analysis is not the difference between available homes (81.4 per cent' and the average sets-in-use figure for the period (,34.3 per cent), but actually a far smaller number. The actual notlistening figure for this base week no
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