Ever wondered how the BIGGEST station in New York gets its music scheduled? I spoke to Brady (who also does nights on the hit music goliath) about scheduling the hits across the city.

Who are you and what do you do?

My name is Joe “Brady” Blum. I am the Late Night Show host (10pm-2am), as well as the Music Coordinator for iHeartmedia’s Z100 in NYC. I also voice track other shows for various iHeart stations across the U.S.

Tell us about Z100 – New York’s #1 Hit Music Station

Z100 IS New York’s home for hit music and pop culture. It’s more than just a brand, it’s a culture and a lifestyle that has part of New Yorker’s lives for 34 years.

We are the home to the nationally syndicated “Elvis Duran & The Morning Show” and “On-Air With Ryan Seacrest” as well as the home of some of radio’s best talent including Mo Bounce (Afternoons), Maxwell (Nights) and Shelley Rome (Overnights)…Somehow I’m in this mix too.

How did you get into a music scheduling role?

I originally learned scheduling music basics as the Music Director at WAZY in Indiana. I later became the Night Show Host for Power 93-3 in Seattle, Washington.

During that time I began diving deeper into G-Selector and scheduling, I became responsible for the moment to moment execution of the entire station.

Getting to Z100, I had the opportunity to further increase my intimate knowledge of the systems and scheduling philosophies.

In your opinion, what DOES a perfect log look like?

I’m not certain there is a perfect log.

There can be a near perfect one or a great quarter hour of music but there is always going to be conflicts that need to be massaged. In a one-quarter hour, a set of songs should represent everything the station stands for.

What does your routine look like when creating new logs?

Our weekly music meeting, we go over rotations, adds, and drops for that week. 

We look at EVERYTHING. From call-out research to consumption, to streaming numbers. Based on all of that data, we massage the rotations for the upcoming week, as well as our new adds for the week.

We have a fun longstanding tradition at Z100, where we call the record label representatives and make them sing the song to “officially” get the nod on Z. Not sure they love it, but it’s fun for us.

I then go through and schedule out the week and begin massaging logs. Making any adjustments that need to be made.

Running a complete analysis of the log and resolve any conflicts that we may have etc. After multiple run-throughs and triple checking a log, I export and it’s ready for air.

Are there any resources you use that you would recommend anyone check out to learn more?

Your PD or APD/MD or someone you respect is the go-to people in this business to learn.

Grow and soak up any information you gather In the past year, I can’t tell you how much I’ve learned from my PD Mark Medina.

From music scheduling to just programming in general… I do feel like just being in that programming environment will help shape you, too.

What’s more important, well spread music and perfect rotations, or a good music flow despite songs not spreading perfectly?

Both are the ideal answer, however, our philosophy is that the “short listen” happening right now is the most important.

Listeners don’t see our rotation grids in the software, they only hear what’s happening right now. The feel and flow of each 3 song set is the most important factor.

What advice do you give to somebody looking to get into music scheduling?

Bug the crap out of your PD and make sure they know this is what you want to do. Then soak it all in and get to work.

In one word, how would you sum up the music on Z100 and why?

HITS! – Self-explanatory.