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En juillet par rapport au même mois l'an dernier, les recettes publicitaires brutes ont progressé à la radio (+8,1 %), à la télévision (+7,1 %) et dans la presse quotidienne (+12 %), selon Kantar Media.
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Te deseo unas felices fiestas y un prospero año nuevoI wish you happy holidays and a prosperous new yearJe te souhaite de joyeuses fêtes et une nouvelle année fructueuseand Best [big media] Wishes to all for 2014 !!Nicolas Moulard - Actuonda
L’objectif du projet était de réaliser cette expérience de radio-visuelle de la manière la plus automatisée possible c’est-à-dire sans personnel technique supplémentaire à celui habituellement dévolu à la réalisation d’une émission radio. Il fallait que le projet permette aux internautes de visualiser ce qui se passait en studio mais également de leur offrir une expérience nouvelle en terme de contenu, le tout mis en image de la façon la plus dynamique possible.
En couplant une réalisation automatique de 6 caméras installées en studio dont les commutations sont basées sur les interventions micros des animateurs, une analyse permanente des différents types de sons (musique, jingle, publicité, …) envoyés sur les diffuseurs radio, des métadonnées de diverses natures (nom de l’émission, nom animateurs, nom de l’artiste, titre chanson, météo, actualités, …..), des règles précises d’assemblage et de diffusion, l’expérience PureVision a été rendue possible.
But now, I believe, we’re entering a new phase.
Increasingly, as I’ve written here before, people are watching TV on PCs, smartphones, and tablets. Or they can watch on “smart TVs,” which can be either a feature built into the TV itself (i.e., upgradable software and a WiFi connection), or as simple as the consumer connecting an Xbox or Playstation 3 or a Apple TV ($99) or a Roku ($49) or a Chromecast stick ($35) .
And, for them, the big three networks. (i.e., sources of TV programming) are increasingly Netflix, Hulu Plus, and Amazon Prime.
Each of the three is taking a different approach to its content line-up and its business model:
(1) Netflix allows commercial-free viewing of movies and of TV series as they come out on DVD (or, in some cases, a few months later). At the moment, it’s a straight $7.99 per month for their commercial-free product — one of the best entertainment values in history.
(2) Hulu Plus focuses on current TV shows, adding them shortly after they air and includes most shows for most major networks (except CBS, which is not a part-owner like the others area), and is starting to offer a large handful movies, too. Its business model is a hybrid of subscription and ad-supported — a smaller monthly subscription plus relatively brief commercial pods (typically about one minute long) during shows’ standard commercial breaks.
(3) Amazon Prime Instant Video offers a smaller line-up of movies and shows than either of the other two services (but with some exclusives). But the neat thing about it is that for we loyal Amazon customers (i.e., those of us who pay $79/year for free two-day shipping), it’s a value-added feature — in other words, we perceive it as free. (Plus which, it lacks Hulu Plus’s annoying commercial breaks.)
In the final article in my highlights from MIDEM series, I talk to Elisabeth Racine of Cap Digital, the French non-profit business cluster for digital content and services, about their work with some of France’s biggest up-and-coming music startups. This year, Cap Digital in conjunction with La French Tech big presence at the renowned music conference, showcasing many of their music focused members.
As it is always important to learn from experience and we’d advize to companies we work with to :
1. Build a great team
2. Be organized, rigorous and a bit crazy
3. Do something simple and test it
4. Think international
5. Match the market
7. Have a clear sales strategy
8. Don’t underestimate money needs
9. Enjoy what you are doing
The UK’s first digital network dedicated to broadcasting “uncensored” talk radio and provocative comedy has been launched, after signing up star names including Richard Herring.
Jamie Moore, Fubar head of marketing, said: “We’re a radio station that doesn’t stifle the creativity of our presenters, allowing them to take risks and do things they couldn’t on any other station. And we give listeners the chance to hear brilliant new content and engage with presenters through the app in a way they couldn’t anywhere else.”
"We want to enable straight playback from Spotify on other services", CEO Daniel Ek tells me. It's part of why his company just acquired The Echo Nest, the..
Culturebox propose une première Mondiale. Grâce à la prise de son spatialisée en 3D, vous allez vivre en direct la diffusion de ce concert avec la même restitution que si vous étiez à la Chapelle Royale de Versailles.
The cars of today, and especially tomorrow, generate rivers of data that will change everything from how meteorologists understand the weather, to how towns identify their most egregious potholes, to — our favorite — how people will listen to music in the car.
Over half of all music listening takes place in the car, according to Pandora senior vice president of strategic solutions Heidi Browning, speaking at Friday’s jam-packed “Internet of Cars” panel at SXSW. Those cars are starting to generate as much as 25MB per hour, according to Team Detroit executive creative director Scott Lange, who described the car as “the biggest wearable,” adding that it “leaves a trail of ones and zeros behind it.”
Some of this data — like whether the windshield wipers are running or not — can be used on a massive, aggregated level to understand where it’s raining with more real-time granularity than has ever been possible. Likewise, windshield wiper activation could inform which music your car plays for you, picking genres or tilting playback one way or another within your artist stations.
“If you’re in the fast lane, let’s say, we could play you some hardcore rock ‘n roll — or maybe some country music to slow you down a little bit,” said Pandora’s Browning, adding that while the possibilities are fairly limitless in terms of the sort of data-driven features that can be added to car music, consumers will decide whether they’re actually worthwhile. The two most requested features from the connected car, according to a study conducted by the company, are navigation and internet radio — so the demand is definitely there, even if it’s less clear which of these more ambitious features will stick.
As another example, cars might select music based on where the driver’s seat is located (as a way of determining which family member is driving), according to Sefi Grossman, vice president technology director for Team Detroit. He thinks drivers might subscribe to their own car settings, allowing them to turn any car (a zip car, a rental car, a borrowed car, etc.) into their “own” car, at least where the listening and other preferences are concerned.
Bop.fm allows users of subscription music services to share songs and playlists with users of other services. The startup just added Beats Music to the mix.
Warner Music Group a révélé avoir établi un partenariat avec Shazam, démontrant une volonté louable de moderniser ses pratiques. (...) Une maison de disque "Shazam" devrait être créée pour signer les révélations les plus prometteuses.
Spotify wants to keep the Echo Nest open for third parties, but Rdio’s CEO says that he doesn’t want to share his company’s data with a competitor.
The Echo Nest has been responsible for the music intelligence behind Rdio’s personalized stations, which the company launched as an answer to Pandora last summer. However, Rdio is also working with Rovi, which could possibly replace the Echo Nest. Another company trying to make bigger waves in the personalized radio market is Gracenote, which released a white-label Pandora-like offering in January.
In this world, there are parallels and differences here for radio to pay attention to:
Original post : http://rainnews.com/the-new-three-major-networks-part-2-2/
Have you heard of Chordify? Amazingly, I hadn’t heard of it until today. The service takes music from YouTube, SoundCloud, Deezer, or a track...
Internet radio (a.k.a. “Web radio” or “online radio”) is growing in popularity. According to a joint study by Arbitron and Edison Research, 120 million Americans listened to “online radio” at least once a month in 2013; that’s 45 percent of the total United States population aged 12 years and up. Ten years ago, only 17 percent tuned in. Thirty-three percent of those surveyed reported tuning in during the last week, compared to just 8 percent in 2003. Average weekly online listening time also rose from just over six hours (6:13) in 2008 to just under 12 hours (11:56) in 2013. This same research shows growing listener awareness of and listening to Pandora.com, and a small percentage of people (18 percent) who listen exclusively to Internet radio (i.e. no AM/FM). The study, entitled “The Infinite Dial,” can be seen atwww.edisonresearch.com. These are U.S. figures, of course. However, since audience research is relatively difficult to find for Internet radio globally, it is a useful starting point for evaluating the state of Internet radio as a whole.
Sony Music Unlimited isn’t just another music subscription, in part because it lets you choose the music that plays in PlayStation 4 videogames, which, alone, will be worth the price of admission ($5/ or $10/month) to some gamers, especially because all of that music can play on computers, phones, and/or tablets, just like any other on-demand music subscription.
Culturebox vous propose de suivre dimanche à 18 heures, en live, et en son binaural, les « Vêpres Solennelles de la Vierge » de Monteverdi. Muni d’un casque, vous pourrez entendre pleinement la « spatialisation » sonore typique de la Renaissance. L’œuvre qui résonne particulièrement dans la Chapelle Royale de Versailles, est présentée par Sir John Eliot Gardiner dirigeant son Monteverdi Choir.
Spotify is starting to see nine-digit play counts for some of its songs — but YouTube still drives far bigger audiences.
Of course, comparing YouTube and Spotify is a bit like comparing apples and oranges. Not only is one of them all about audio and the other one all about video, Spotify also has a notably smaller footprint, being available in 55 countries, whereas YouTube is pretty much available all over the world.
However, that doesn’t mean that Spotify isn’t competing with YouTube when it comes to users who want to quickly, and possibly for free, access popular songs. And that competition could soon get a lot more fierce, as YouTube is rumored to launch its own music subscription offering in the coming months.
Gracenote has announced that it’s reeling in social analytics data fromMusicmetric to its Gracenote Rhythm platform.
Gracenote has established itself at the forefront of the media metadata industry and, back in January, we reported on the company’s new Rhythm API. The platform gives developers access to a new set of music suggestion algorithms, which can then be weaved into apps and services that offer radio stations, orinfinite playlists based on a specific artist, album, track or genre. It’s all about enabling music discovery and accurate recommendations in third-party services.Musicmetric, on the other hand, is a platform from UK-based startup Semetric, that delivers data about musicians’ popularity online, covering every cranny from Twitter to BitTorrent. This latest deal will see Gracenote take Musicmetric’s data to help it identify new and emerging artists before they hit the mainstream.
Gracenote has established itself at the forefront of the media metadata industry and, back in January, we reported on the company’s new Rhythm API. The platform gives developers access to a new set of music suggestion algorithms, which can then be weaved into apps and services that offer radio stations, orinfinite playlists based on a specific artist, album, track or genre. It’s all about enabling music discovery and accurate recommendations in third-party services.
Musicmetric, on the other hand, is a platform from UK-based startup Semetric, that delivers data about musicians’ popularity online, covering every cranny from Twitter to BitTorrent. This latest deal will see Gracenote take Musicmetric’s data to help it identify new and emerging artists before they hit the mainstream.
Back in January, we reported that Gracenote was also incorporating Next Big Sound’s real-time music consumption and trending data into its products. Similar to Musicmetric, Next Big Sound is an online analytics platform that measures the popularity of bands across the Web, covering music-streaming services, social networks and radio.
The elegance and simplicity of CarPlay is mouth-watering in its appeal. Who wouldn’t want their dashboard to work like this?
Not so obvious in this video is the answer to questions like “How do I find the radio?” or “What if I want to play a CD?”While the appetite for radio in its traditional form is not going to wither anytime soon, what you’re witnessing here is an attempt to meaningfully improve the dashboard experience so as to break old habits and form new ones. And nothing does that faster than transforming the frustrating and kludgy new car dashboard into an experience as familiar and comfortable and fulfilling as the one that lives on the iOS device in your pocket.When this scales, consumers will not be asking “where’s the radio?” They’ll be asking “WHY the radio?”And the answer will be: “Because there’s something there so unique and compelling you can’t find it anywhere else.”Or else it won’t be.What should be obvious to you is that the appeal of CarPlay is all “pull,” no “push.” It is the owner of the iPhone who will demand this platform in her new car. There will be no need fornationwide ad campaigns and hoity-toity alliances of industry leaders a la HD Radio. There will be no need to educate the consumer or sell them on a slate of presumed benefits. That’s because the benefits speak for themselves, and every consumer with an iOS device knows what they are.
Not so obvious in this video is the answer to questions like “How do I find the radio?” or “What if I want to play a CD?”
While the appetite for radio in its traditional form is not going to wither anytime soon, what you’re witnessing here is an attempt to meaningfully improve the dashboard experience so as to break old habits and form new ones. And nothing does that faster than transforming the frustrating and kludgy new car dashboard into an experience as familiar and comfortable and fulfilling as the one that lives on the iOS device in your pocket.
When this scales, consumers will not be asking “where’s the radio?” They’ll be asking “WHY the radio?”
And the answer will be: “Because there’s something there so unique and compelling you can’t find it anywhere else.”
Or else it won’t be.
What should be obvious to you is that the appeal of CarPlay is all “pull,” no “push.” It is the owner of the iPhone who will demand this platform in her new car. There will be no need fornationwide ad campaigns and hoity-toity alliances of industry leaders a la HD Radio. There will be no need to educate the consumer or sell them on a slate of presumed benefits. That’s because the benefits speak for themselves, and every consumer with an iOS device knows what they are.
This, more than anything, is the new world radio faces: A world where consumers hold all the cards. A world where habits intersect with technology and become fungible. A world where you either offer something people really, really want and can’t find anywhere else.
Kajon Cermac of NPR affiliate station KCRW Los Angeles reflects on her relationship with her listeners. On Air is part of the I Am Los Angelesdocumentary portrait series. The film is directed by Joris Debeij and features an original composition from Thomas Weidijk and Moreno Matulessy.