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NPR CEO Gary Knell: We need to “smash together the digital and so-called audio journalists”

NPR CEO Gary Knell: We need to “smash together the digital and so-called audio journalists” | Radio 2.0 (En & Fr) | Scoop.it

NPR CEO Gary Knell: We need to “smash together the digital and so-called audio journalists

In a visit to the Nieman Foundation, the NPR boss discusses digital transformation, his earlier work at Sesame Workshop, and political perceptions of Big Bird.

 

After stepping into the big chair at NPR almost a year ago, Gary Knell says one of his first priorities was to “smash together the digital and so-called audio journalists.” That’s less of a violent collision and more of vision statement about NPR’s future. Speaking at the Nieman Foundation last week, the NPR CEO said “we should eliminate these distinctions. Because, really, the audience doesn’t view news that way anymore.”

...Staying competitive in the broader radio and news landscape is how NPR will ensure its sustainability...

...In the last year NPR has been active in developing new tools such as the Infinite Player, worked with Ford on an NPR app for Internet-connected cars, and invested in a news apps team.

Knell said they’re also trying to expand their audience on the local and national level. NPR is currently filling out its team to cover race and ethnicity, which was made possible by a $1.5 million grant from the Corporation for Public Broadcasting. They’re also focusing on supporting member stations whose roles are changing as other media decline within their community...

 


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Radio 2.0 (En & Fr)
IV Rencontres Radio 2.0 Paris le 13 octobre 2014 à Radio France. Consultez toutes les archives sur www.rr20.fr et suivez l'actualité sur ce Scoopit (Francais + English) #Multiplaform #Personnal #Interactive #Contextual #Social #Local #Mobile #Hybrid
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New record of participation for Radio 2.0 Paris with +2.800 specialists On&Off - Replay Videos / Check Archives

New record of participation for Radio 2.0 Paris with +2.800 specialists On&Off - Replay Videos / Check Archives | Radio 2.0 (En & Fr) | Scoop.it

The 4th edition of Radio 2.0 Paris conferences tooks place at Radio France last 13th of September. 
It explored 'the new frontiers of Radio 2.0', beating records of participation with : 

2.423 unique listeners of the live stream 

350 professionnals present over the day at the Radio House

- 2.423 unique listeners of the live stream 

350 professionnals present over the day at the Radio House

Great level of participation

▪ 2nd Trendic Topic of the day on Twitter #TT

▪ 1.849 online votes for the Radio 2.0 Awards

▪ Few thousands of visits on the website

▪ 10 hours of online radio in binaural sound and Visual Radio

An extraordinary media coverage with more than 15 millions of impacts

▪ 7 media parters

▪ 67 journalists on place

▪ 66 mentions and articles

Exploring the new frontiers of Radio 2.04 main topics have been discussed:

▪ New Radio's skills and talents

▪ Latest innovation in audio distribution and listening

▪ Music prescription: Man vs Machine

▪ Latest innovation in online audioadvertising

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Instagramers , youtubers ou viners : et la radio dans tout ça ?

Instagramers , youtubers ou viners : et la radio dans tout ça ? | Radio 2.0 (En & Fr) | Scoop.it

YouTube a ses influenceurs aux millions de vues, Instagram ses icones, Vine ses communautés d’accrocs, mais quid de la radio sur le web ? La plate-forme de streaming australienne Guvera veut la redéfinir avec son application musicale sociale.

Son audit de genèse est simple : YouTube et Vine glorifient leurs stars millionnaires inconnues du grand public et entretiennent un star system social véritable attraction pour les annonceurs. Pourquoi donc les talents radiophoniques ne seraient-ils pas eux aussi mis en valeur sur la Toile ? Pourquoi ne pas aussi offrir la possibilité aux artistes d’interagir directement avec les fans et laisser des amis partager la même expérience musicale ? Avec FradioGuvera veut en quelque sorte remettre au goût du jour les frissons des premières heures de la radio libre, quand ceux qui voulaient en être envoyaient leurs démos sur des cassettes.

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2 Ways in Which a WebRTC P2P CDN can Assist Internet Radio Stations - BlogGeek.me

Radio is an interesting use case for WebRTC P2P CDN. It can benefit from longer sessions and enhanced capacity by utilizing WebRTC.

WebRTC in this use case, brings with it some interesting benefits/features:

1. Longer streaming sessions2. Increased audience size for the same hardware
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The Subject Was Storytelling. Itw of Valerie Geller @ New Media Expo

The Subject Was Storytelling. Itw of Valerie Geller @ New Media Expo | Radio 2.0 (En & Fr) | Scoop.it
Valerie and Susanne talked about the craft of storytelling and the responsibilities of citizen journalists, as well as how to take online content to the next level and “never be boring”.
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Grooveshark is dead - and finally says sorry to the music industry - Music Business Worldwide

Grooveshark is dead - and finally says sorry to the music industry - Music Business Worldwide | Radio 2.0 (En & Fr) | Scoop.it

The free US-based platform, which was founded in 2007, has been battling Universal Music in a damages trial this week, and now the verdict is in: in a settlement with all three major labels, Grooveshark owner Escape Media has agreed to close down operations with immediate effect.

Escape has escaped any huge damages payout, but has effectively agreed to hand over all of its assets to the majors, and delete any material from Grooveshark’s servers.

It’s going to happen, too: after being found guilty of copyright infringement and choosing to accept a settlement, Grooveshark founders Josh Greenberg and Sam Tarantino (pictured) have acknowledged they will pay around $75m in damages if they infringe the majors’ music again.

As such, Grooveshark no longer exists. A message on its homepage (see below) reads: “Dear music fans. Today we are shutting down Grooveshark.

“We started out nearly ten years ago with the goal of helping fans share and discover music. But despite best of intentions, we made very serious mistakes.

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Quels sont les centres d'intérêts des auditeurs de France Inter ? Les RFP/LaLettrePro

Quels sont les centres d'intérêts des auditeurs de France Inter ? Les RFP/LaLettrePro | Radio 2.0 (En & Fr) | Scoop.it
Le magazine mensuel "Micro 4" publié par Les Radios Publiques Francophones propose ce mois-ci un focus sur les centres d'intérêt des auditeurs de Radio France. La politique arrive en tête dans toutes les catégories d'âge. Une étude signée Kantar Media.
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Which social media sites are most important to my listeners?

Which social media sites are most important to my listeners? | Radio 2.0 (En & Fr) | Scoop.it

And that’s why in the social media sphere, I continue to see signs of progress.  But I also see a lot of time and energy being expended in the pursuit of aggregating “likes” and followers, rather than in truly connecting with consumers on their preferred platforms.

Since hiring Lori Lewis over four years ago, we’ve learned a lot about the evolving social space. Back then, it was really just about Facebook and a fledgling Twitter. Today, it’s complicated.  That’s because there’s a huge array of different social outlets, and it’s left to programmers to try to determine the best platforms in which to connect with their target audiences.  Given that everyone is time-crunched, having thee answer to the question, “Which social media sites are most important to my listeners?” is the first step in solving the puzzle.

In that context, everyone agrees you have to be very present on Facebook. After all, they’re the big dog. And our research bears that out. Not only are more than 90% of those with a social profile signed up on Mark Zuckerberg’s site (on the left below), but three-fourths of them use Facebook every day (on the right).

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Le streaming recompose l’industrie musicale

Le streaming recompose l’industrie musicale | Radio 2.0 (En & Fr) | Scoop.it

C'est une première : les revenus de la musique enregistrée proviennent désormais à parts égales des ventes numériques (46 %) et des ventes de disques (46 %).


Via Christophe Peckeu, Vincent Castaignet
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Amandine Viale's curator insight, April 22, 3:21 AM

Les revenus de la musique enregistrée proviennent désormais à parts égales des ventes numériques (46 %) et des ventes de disques (46 %).

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Sorry SoundCloud: It's Not Us. It's You.

Sorry SoundCloud: It's Not Us. It's You. | Radio 2.0 (En & Fr) | Scoop.it
So your SoundCloud mixes and SoundCloud tracks are being taken down. Where's the next party at? Here are six SoundCloud alternatives reviewed from the good to the bad and the (very) ugly.
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Deezer: « Notre équipe dédiée aux données a triplé de taille »

Deezer: « Notre équipe dédiée aux données a triplé de taille » | Radio 2.0 (En & Fr) | Scoop.it

Durant toute la semaine, FrenchWeb met l'accent sur la thématique RH dans le cadre de la "Semaine de l'emploi dans le numérique". Ce mardi, entretien avec Anna Kowalska, vice-présidente des ressou


Via Christophe Peckeu, Vincent Castaignet
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snep's curator insight, April 15, 9:42 AM

Gestion des données et développement mobile, telles sont les deux tendances-clés chez Deezer.

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A Digital Audio Buyer’s Guide [pdf] by IAB. Overview and resource for planning and buying digital audio advertising

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Comment Europe 1 gère sa présence sur les réseaux sociaux

Comment Europe 1 gère sa présence sur les réseaux sociaux | Radio 2.0 (En & Fr) | Scoop.it
A 60 ans, Europe 1 fait figure de leader parmi les radios présentes sur les réseaux sociaux. Rencontre avec Jean-Noël Buisson, social media manager d'Europe 1.
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Mediatwits #154: Podcasts are Hot, Hot, Hot, But Are They Sustainable? | Mediashift | PBS

Mediatwits #154: Podcasts are Hot, Hot, Hot, But Are They Sustainable? | Mediashift | PBS | Radio 2.0 (En & Fr) | Scoop.it

Audio is having a moment right now. And it’s no longer just about public radio. Media companies such as the New York Times and Buzzfeed have their own podcasts, too. While podcasting has been around for more than a decade, it’s already had a first boom, bust and now boom again. Podcast networks such as The Nerdist, Maximum Fun, Panoply and Earwolf have made it easier for listeners to find new shows. This new sense of maturity has gotten the attention of advertiserswho are hoping to reach the 27 million Americans that listen to podcasts regularly. Those advertisers are paying top dollar to reach listeners. But the success of Radiotopia’s Kickstarter campaigns suggests that podcasts don’t have to rely on advertisers. Slate’s Panoply network not only includes podcasts from other publishers, but it takes a cut in revenues by offering production, distribution and sales support. On this week’s podcast we’ll dive into the new growth of podcasts with Andy Bowers, executive producer of Slate’s Podcasts; Jenna Weiss-Berman, director of audio at Buzzfeed; Aaron Burcell, former VP of marketing at PodShow/Mevio and current VP of growth and product marketing at Vevo; and Andrew Lih at American University. PBS MediaShift’s Mark Glaser will host and Jefferson Yen will be producing.

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Tidal lance Discovery, un service destiné à la découverte et la promotion d'artistes non-signés - MyBandNews

Tidal lance Discovery, un service destiné à la découverte et la promotion d'artistes non-signés - MyBandNews | Radio 2.0 (En & Fr) | Scoop.it
La plateforme de streaming Tidal se lance dans la découverte et la promotion d'artistes non-signés.
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We are focused on making our company as advertiser-friendly and data-driven as the major Internet-only players.” –Rich Bressler, President, iHeartMedia– RAIN News

We are focused on making our company as advertiser-friendly and data-driven as the major Internet-only players.” –Rich Bressler, President, iHeartMedia– RAIN News | Radio 2.0 (En & Fr) | Scoop.it

This week’s earnings report from iHeartMedia encompassed financial results and strategic updates ranging across the many dimensions of a media conglomerate. Within that scope, Richard Bressler (President, COO, and CFO) landed on topics of particular pertinence to online audio.

A brief metrics update for iHeartRadio is included in the report slides which are publicly available (PDF here). The listening app has surpassed 63-million registered users. Total listening hours were up 17% in Q1 — 62% of which happened through mobile devices.

Bressler defined iHeartMedia’s overall strategy like this: “Our business model is simple: Create deep relationships with consumers, then rent the use of those relationships to advertisers.”

“We are focused on making our company as advertiser-friendly and data-driven as the major Internet-only players.” –Rich Bressler, President, iHeartMedia

Programmatic advertising, and the value of data to advertisers and the company strategy, took a large block of time at the opening of Richard Bressler’s remarks. iHeart’s recently announced programmatic effort is clearly top-of-mind in the company’s outlook, and Bressler made sure analysts heard about it up front:

“We are sitting on a significant amount of data, and need to make ad space on radio easy to buy, and the return easy to measure, as advertisers shift their focus to ROI. We recently announced a programmatic buying platform on iHeartMedia and iHeart Radio; the first of its kind in the industry. Programmatic is an important and expected method of ad-buying in the digital space. Our platform brings radio into that world at scale, and we believe no other audio provider can offer this. This programmatic solution will also allow us to apply our data and insights to the planning process to enable unique forms of target. These include music-based psychographic groups, weather and traffic patterns, purchase behavior, and other environmental, population, and consumer trends. Driving the best ROI for the advertiser is critical to our new programmatic platform. And, as we add pricing algorithms we will not focus on the cheapest price — instead, as Google pioneered, we will focus on delivering the best value.”

Bressler noted that iHeart’s programmatic venture would free sales people from “administrative tasks.”

“The advertising industry is moving toward data to evaluate what they buy and how it performs. We are excited to bring this to radio.”

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NPR, IHeartMedia Are Pitching Podcasts To Advertisers, But Are They Ready?

NPR, IHeartMedia Are Pitching Podcasts To Advertisers, But Are They Ready? | Radio 2.0 (En & Fr) | Scoop.it
The country's biggest radio players pushed podcasts hard at big parties for advertisers this week. But technical issues could prevent them from tuning in.


The two titans of American radio broadcasting have spent this month pushing podcasts hard on their advertising partners. Up in their gleaming midtown Manhattan offices, iHeartMedia executives earlier this month told a group of assembled advertisers that podcasts should be an essential part of their strategy. On Thursday, executives and talent from NPR, WNYC and WBEZ extolled the power of podcasts at an event downtown, complete with appearances from public radio royalty like Ira Glass, Guy Raz and Glynn Washington. 

“Podcasting is kind of having a moment,” National Public Media General Manager Bryan Moffett told reporters. “It's time for everybody to take a look at it.”

There is no shortage of stats that companies like NPR, iHeartMedia or Podcast One can point to -- more than 42 million Americans have listened to one in the past month, according to Edison Research, or the 21 million hours of podcast content Americans listen to every day -- but there is an equally confounding number of statistics missing that will make podcasts a difficult sell to advertisers.

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Instagram Launches Dedicated Music Channel @Music | Buzzfeed

Instagram Launches Dedicated Music Channel @Music | Buzzfeed | Radio 2.0 (En & Fr) | Scoop.it
The Facebook-owned social network's first category-specific vertical will showcase popular and emerging artists.

In a first for Instagram, the photo-sharing social network will use its considerable resources to promote a specific kind of content on the platform: music. The Facebook-owned company has launched a new, internally operated account,@Music, that it will use to showcase musicians and music lovers in the Instagram community.

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La radio en la encrucijada tecnológica, jornada AETI | Panorama Audiovisual

Destacados profesionales del medio radiofónico debaten en una jornada sobre el impacto de la irrupción del IP en contribución, distribución y emisión, las nuevas formas de radio híbrida, los modelos de negocio y el impacto social de esta nueva radio.José Marino, jefe del área de ingeniería y espectro de la SETSI, ha centrado su ponencia en la mejora de la tramitación de los proyectos técnicos de radio introduciendo acceso telemático, nuevas herramientas para generar la documentación, y, en el futuro, un mayor soporte en el registro de solicitudes. Curiosamente, Marino no ha entrado a valorar el papel de la Administración en toda esta transformación ni si existe algún plan para ordenar un sector que, en medio de este tránsito al digital, sufre además el impacto de las emisiones pirata

Fernando Almarza, TLO de RTVE, ha expuesto las posibilidades que abre la radio híbrida. La radio híbrida se alimenta por broadcast y por servicios asociados accesibles desde el servidor de Internet DNS. En este contexto, “el RDS podría jugar un papel destacado en la radio híbrida” sostiene Almarza.

“Deberíamos aprovechar las desconexiones para ofrecer contenidos auxiliares en la trama RDS, enriqueciendo la emisión con contenidos IP”, ha comentado.

También se ha centrado en las desventajas de la radio sobre datos móviles. Almarza ha estimado que escuchar radio en redes móviles supone al usuario un consumo de 21,6 MB por hora.” Escuchar una hora diario en streaming costaría unos 15 euros al mes partiendo de la tarifa más barata en las operadores móviles. Algo difícilmente sostenible cuando se accede a la radio en movilidad”, ha destacado.

Su propuesta pasa por ” combinar los beneficios del broadcast y el broadband, logrando menores costes para usuario y broadcaster y la posibilidad de contar con la interactividad y medición de audiencias que aporta Internet. Debemos admitir la penetración de Internet, sin renunciar al gran activo de la radiodifusión convencional. Lo mejor sería una apuesta por la radio híbrida”.

Luis del Amo, director técnico de la Cadena SER, ha expuesto el uso de tecnologías IP en contribución y distribución de programas.

Hasta la fecha, el satélite ha sido la fórmula más económica para la distribución de programas nacionales entre una red de emisoras. Para el segundo nivel, programas regionales y provinciales, solía emplearse hasta ahora la red terrestre. Sin embargo para contribución, el medio más habitual es el terrestre a día de hoy.

Antes de migrar a IP, la SER utilizaba circuitos punto a punto de 64 Kbps en su red permanente, uniendo un total de 162 sedes. Ahora con la migración a una red IP, desaparecen los circuitos punto a punto y los RDSI, abaratando considerablemente el coste con una mayor estabilidad y calidad (con posibilidad de monitorado web).

A la hora de contar con una red IP, del Amo considera que hay que considerar el tamaño de los paquetes (paquetes más grandes significan un menor ancho de banda, pero redundaría en un mayor efecto ante una pérdida), tamaño del buffer del jitter, tiempos de codificación/decodificación), la estabilidad y calidad de servicio y las calidad de audio final.
La Cadena SER optó para contribución por el algoritmo APT-X sobre una SLA (Macrolan/VPN-IP) con una macrolan en fibra a 100 Mbps en la sede central de Madrid, y de 10 Mbps en las 48 cabeceras regionales (con una frecuencia de muestreo de 32 kHz).

Cerrando esta mesa redonda, Nuria Domínguez, directora técnica en Onda Cero, ha compartido su experiencia del paso de líneas analógicas RDSI en contribución a un nuevo entorno en IP. Onda Cero ha optado por una codificación MPEG en contribución y distribución desde 2011, olvidando las líneas analógicas musicales. “Descartamos APT-X en ese momento, hoy quizás hubiéramos tomado otra decisión”, ha admitido Domínguez.

...

Xavi Redón, product manager marketing en Cellnex Telecom, ha expuesto la posición de los operadores ante la radio digital. Entre otras cuestiones ha destacado que “no todas las formas de radio digital son eficientes ya que el Tx Broadcast apenas cubre 30 Km de radio, en FM la batería de un smartphone dura siete veces más cuando el usuario escucha radio, y el broadband es poco eficaz en aglomeraciones”.

Para Redón, “la radio broadcats e IP tienen un futuro donde cada uno tendrá su papel. La radio híbrida y el DAB+ deben ayudar a mejorar la experiencia del usuario”.

Enrique Sánchez, subdirector técnico en COPE, ha subrayando que la radio por Internet sale cara para el broadcaster ya que “cuanto más oyentes tienes, más caro cuesta. Mientras que la Onda Media está recibiendo la extrema unción, la FM sigue viva y el DAB o DAB+ podría ser el sistema del futuro aunque está aún por ver al convivir con el despegue de la radio híbrida broadcast-IP”.

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BBC social media manager calls for brands to add value on social media | Campaign Mag

BBC social media manager calls for brands to add value on social media | Campaign Mag | Radio 2.0 (En & Fr) | Scoop.it

Speaking at a breakfast event hosted by Rainey Kelly Campbell Roalfe/Y&R in London today, Nathwani explained the BBC One social media strategy to engage with more young people.

He said the average audience for BBC One is aged over 55 and the broadcaster was keen to tap into a younger market through its Facebook and Twitter accounts, noting that adding value to social content was key.

Nathwani explained how presenting content in a different way, with funny captions, behind the scenes pictures, and off-the-wall messages, it was able to make that content "shareable".

He contrasted those examples with a less successful approach that simply promoted a new show, stressing that marketers must recognise how social media is part of a person's "personal space".

He said: "As much as you think about the content and trying to get things out, think about the context in which you are trying to speak to that young audience and make sure you’re abiding by the rules of that platform and how they are using it.

"It’s really important when you are producing content to be aware of that."


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Spotify : les investisseurs de sa levée de fonds dévoilés - MyBandNews

Spotify : les investisseurs de sa levée de fonds dévoilés - MyBandNews | Radio 2.0 (En & Fr) | Scoop.it
Spotify est tout proche d'une levée de fond de 400 millions de dollars, la valorisant à un niveau historique pour une plateforme streaming.


la chaine d'information Sky News a dévoilé la liste complète des investisseurs pour cette nouvelle levée de fonds de Spotify. On compte notamment Goldman Sachs, un fond souverain d'Abu Dhabi et Technology Crossover Venture. Sur un autre tableau, Spotify négocie actuellement avec Universal Music Group pour une nouvelle aide financière tout en défendant son modèle "freemium" pour attirer de nouveaux utilisateurs. Modèle que UMG cherche à bannir de la plateforme.

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Remix This: SoundCloud Signs Deal to Place Ads on Uploads

Remix This: SoundCloud Signs Deal to Place Ads on Uploads | Radio 2.0 (En & Fr) | Scoop.it
A partnership with ZEFR suggests SoundCloud will begin placing ads on remixes, DJ mixes and tracks that fall afoul of copyright holders.


What does this mean for you? After you upload a remix of or a mixtape containing a D’Angelo song, say, ZEFR will scan the track. A positive result means ads may be placed (via SoundCloud’s “On SoundCloud” program) on your upload without your consent, enabling the copyright owner to claim a share of the revenue from it.

Theoretically, it may also mean fewer of the random “take downs” that artists on SoundCloud frequently suffer (including ones uploading their own content with no uncleared samples), albeit at the expense of having ads for British Petroleum or granola inserted into your track.

SoundCloud CEO Alexander Ljung claims the deal enables SoundCloud to continue becoming “a mature platform for labels and advertisers.” Note there’s no mention of “creators” in this statement. With their new streaming model, labels and advertisers are SoundCloud’s business partners.

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Spotify’s new playlist targeting means brands can tailor ads based on your mood

Spotify’s new playlist targeting means brands can tailor ads based on your mood | Radio 2.0 (En & Fr) | Scoop.it
Spotify announced today that it is launching a new form of ad targeting for brands which will allow them to use the context of what you’re doing while listening to music in order to target you with tailored ads.

Via Yvan Boudillet, Vincent Castaignet
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Watershed Moment for Radio and Programmatic. iHeartMedia reinvents radio ad with Jelli

Watershed Moment for Radio and Programmatic. iHeartMedia reinvents radio ad with Jelli | Radio 2.0 (En & Fr) | Scoop.it

Jelli has been chosen to be the platform for all programmatic initiatives of iHeartMedia for broadcast radio advertising.

...

This will mean the ad infrastructure is now in place to pursue advanced programmatic strategies, at an audience scale unrivaled by any other media type, digital and video included. This initiative will allow iHeartMedia to apply its rich data and insights to the sales process and will utilize data sets to enable unique forms of targeting, such as music-based psychographic groups, weather and traffic patterns, purchase behaviors and other environmental, population and consumer trends.

...

This is a watershed moment for radio, as radio can now be bought programmatically at scale for the first time, driving new ad dollars to the medium. This is a watershed moment for programmatic advertising as well, as radio is now added to the programmatic media mix.

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Podcasts Are Doing To Advertising What Uber Has Done To Transportation

Podcasts Are Doing To Advertising What Uber Has Done To Transportation | Radio 2.0 (En & Fr) | Scoop.it

Though even the biggest podcasts reach only a fraction of the people other mass market media forms, podcasts command the highest advertising rates, between $20 and $45 per thousand listeners, giving the most successful podcasts a higher peak CPM than the Super Bowl or The Academy Awards. Midroll Media is one of the biggest podcast advertising companies, matching clients like Marc Maron, Dan Savage, Kevin Smith, and The Longform Podcast series with advertisers while taking a commission on each sale. On its site, Midroll offers a simple calculator that estimates average revenue for using the company’s services. With the suggested figures of 25,000 downloads for a weekly podcast with five advertisements per episode, you could gross between $59,475 and $108,225 per year and roughlyfour times that sum for a show that cracks the iTunes top 100.

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NRJ Group associé au programme «voiture connectée» d’Orange - Offremedia

NRJ Group associé au programme «voiture connectée» d’Orange - Offremedia | Radio 2.0 (En & Fr) | Scoop.it
NRJ Group intègre ses 220 webradios à la plateforme «voiture connectée» d’Orange. NRJ Group s’associe en effet à Orange pour renforcer sa présence dans le domaine de la radio numérique, et plus particulièrement pour la radio dans les voitures connectées.
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