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Lagardère Publicité lance Europe 1 Check, la 1ère application Radio de second écran | RadioActu

Lagardère Publicité lance Europe 1 Check, la 1ère application Radio de second écran | RadioActu | Radio 2.0 (En & Fr) | Scoop.it
Lagardère Publicité vient de lancer Europe 1 Check, la 1ère application Radio de second écran. L'écoute de la radio est désormais enrichie, avec la possibilité pour les auditeurs d'Europe 1 d'accéder à des offres et des contenus exclusifs en rapport avec certains programmes diffusés à l'antenne. Lagardère Publicité vient de lancer Europe 1 Check, la 1ère application Radio de second écran.
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Radio 2.0 (En & Fr)
Fresh news about Radio 2.0  worldwide in preparation of coming webinars and conferences (English and French). Program and archives on www.rr20.fr #Multiplatform #Personnal #Interactive #Contextual #Social #Local #Mobile #Hybrid
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New Radio 2 0 Webinar Series 2016. Coming Next #DigitalAudioAd #ConnectedCar #Programming #Brands... Stay Tuned !

Radio 2.0 regenerates and expands in 2016 lauching the Webinar Series
Those regular online 'rendez-vous' (in French, English or Spanish) give the opportunity to discuss, learn and debate from a specific, through keynotes, discussions, workshops, presentation of studies / infographics, startups pitch...

Should you be interested to benefit from those thematic workshops to reinforce your visibility or promote your solutions to Radio 2.0 executives, different formulas are proposed, in partnership with La Lettre Pro de la Radio, Glowbl and INA.

The VI Rencontres Radio 2.0 will be organized over a full day, as entire part of the ‘Salon de la Radio/European Radio Show’ on Monday, January 30th, 2017 at the Grande Halle de la Villette in Paris.


More info : http://www.rr20.fr/

- Organisateurs Webinar Series :
Actuonda
Les Editions de l'Octet
Ina

- Partenaires Webinar Series :
Mediametrie
Deezer

Spotify

- Partenaires Livestage :
Glowbl

- Partenaires Média :

GESTE

La Lettre Pro
PRP
Minds
Media+

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The Audio-On-Demand Evolution is Gaining Momentum

The Audio-On-Demand Evolution is Gaining Momentum | Radio 2.0 (En & Fr) | Scoop.it
Fifty seven million people listened to a podcast in the past month, and Edison Research reports that this figure represents a 24 percent increase over 2015, the highest increase in almost 10 years.
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BBC+ & the Mobile Application Framework

BBC+ & the Mobile Application Framework | Radio 2.0 (En & Fr) | Scoop.it
Native apps have become an increasingly popular way of accessing the BBC’s content – the likes of the BBC News, Weather, Sport as well as BBC iPlayer apps have proved to be loved and used widely by audiences. However, there is also a wide range of content from across the organisation that audiences were unlikely to know about or get the chance to see in an app format.

Our team of editorial staff working on the Homepage were already identifying highlights of a broad range of diverse content across the BBC, and with the recent and on-going work around personalising the Homepage using myBBC services, creating the BBC+ app fitted naturally into this existing workflow.

Of course, identifying a suitable workflow and actually integrating with it are two very different things and provoke many questions, but one of the key points we needed to address – which I will address in this blog – was what would be the most time-efficient and cost-effective means of developing an app for two mobile platforms at the same time.

It became apparent that many aspects of what we wanted to develop included features and functionality that had been developed at the BBC previously. Trying to unpick codebases of existing products might go some way to providing the functionality we required, but it was clear that a unified app development strategy would make it easier for all products to create apps in the future. This thinking led the Platform division of Design & Engineering devising the Mobile Application Framework (MAF), and BBC+ is one of the very first apps to be built using this framework.
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BBC ups personalisation focus with BBC+ app » Digital TV Europe

BBC ups personalisation focus with BBC+ app » Digital TV Europe | Radio 2.0 (En & Fr) | Scoop.it
The BBC has launched the BBC+ mobile app in the UK, as part of its strategy to deliver a more personal experience to viewers and listeners.
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Radio Companies Collaborate On Audience Measurement Solution | AdExchanger

Radio Companies Collaborate On Audience Measurement Solution | AdExchanger | Radio 2.0 (En & Fr) | Scoop.it
Several major radio companies – iHeartMedia, Cumulus, Entercom, Cox and Sun Broadcast Group – said Thursday that they were collaborating with audio-recognition app Shazam to create an “audio audience measurement solution” that “will deliver market- and station-level audience metrics” across digital and terrestrial radio.

According to a release, the metric uses these companies’ propriety data to measure broadcast and digital audio. And it will use information from“specific geographic markets” and “tens of millions of devices” to produce “cross-platform audience metrics.”

“Our goal is to measure all of audio and radio consumption, whether it's delivered through a smartphone radio, a car radio, a clock radio or something else, because from a consumer point of view, it's one experience,” said Radha Subramanyam, iHeartMedia’s president of insights, research and data analytics. “So the aim is to have a solution across all of the ways in which radio is consumed.”
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NRJ Group crée NRJ Digital Ventures

NRJ Group crée NRJ Digital Ventures | Radio 2.0 (En & Fr) | Scoop.it
La création de NRJ Digital Ventures répond à cet enjeu du digital. Ce nouveau département interne est dédié à l’examen d’investissements ou de prises de participation dans de jeunes sociétés de l’écosystème digital dont l’activité
est annexe ou connexe aux activités du groupe : Radio, TV, web, production de contenus, promotion des audiences radio/télévision, marketing, programmatique et datas.
Ces prises de participation dans des startups pourront être majoritaires ou minoritaires en cash ou sous la forme de media for equity (investissements en espaces publicitaires permettant d'offrir de la visibilité à de jeunes entreprises en échange de capital), dès lors que le domaine d’activité visé présente un intérêt direct ou indirect pour NRJ Group.
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Music Biz/LOOP Study: Millennials Turn from Radio to Embrace Streaming - Music Business Association

Music Biz/LOOP Study: Millennials Turn from Radio to Embrace Streaming - Music Business Association | Radio 2.0 (En & Fr) | Scoop.it
The Music Business Association (Music Biz) and data partner LOOP (Lots of Online People) will unveil “Music & Millennials,” the first in-depth report from the member-exclusive Music Biz Consumer Insights portal, today at 2 p.m. ET during the “Music Biz Consumer Insights Powered by LOOP” webinar. Based on a study conducted by LOOP in May 2016 with 3,014 U.S. respondents, the report breaks down a variety of music consumption patterns by age, providing unique insight into the habits of the millennial generation.

The report shows that 15-to-19 year olds have embraced on-demand streaming as their format of choice, accounting for 51% of their total listening time on a typical day (more than double the overall average of 24%, which includes all age groups). This comes at the expense of more traditional formats, most notably AM/FM radio. While broadcast radio still accounts for the highest listening share among the general population at 35%, 15-to-19 year olds reported that they spend only 12% of their time with the format despite a weekly reach of 65% (on par with the overall average of 78%). This indicates that even though millennials are being exposed to radio, they are not engaging with it, and on-demand streaming is making up the difference.

This is further reflected in millennials’ device usage. AM/FM radio receivers again topped the overall tally, accounting for 33% of the general population’s listening time. However, 15-to-19 year olds bucked the trend once more, saying the device only accounts for 11% of their time. Instead, they rely heavily on connected devices like smartphones, which accounted for 41% of their listening time, more than double the overall average of 18%. This also explains why 15-to-19 year olds are far more likely than the general population to upgrade to a premium streaming account because they want to access the service on their mobile phone. According to the report, 40% of this group cited mobile access as a major factor in the decision to upgrade, compared to only 29% of the general population.

In addition, the report shows that, for the first time, YouTube has overtaken broadcast radio for music discovery among the general population. When asked how they typically discover new music, 34% of all respondents cited YouTube, while only 32% cited AM/FM radio. This was even more prevalent among 15-to-19 year olds, 56% of whom cited YouTube and 23% of whom cited AM/FM radio. However, recommendations from friends remain the #1 source for music discovery, cited by 46% of the general population. Among 15-to-19 year olds, it is neck and neck with YouTube at 56%.
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LG et Volkswagen vont connecter maison et voiture | Prepa Webinar #AutoRadioConnecté le 7 oct

LG et Volkswagen vont connecter maison et voiture | Prepa Webinar #AutoRadioConnecté le 7 oct | Radio 2.0 (En & Fr) | Scoop.it
Le géant coréen et le géant allemand travaillent main dans la main pour créer une nouvelle génération de voiture connectée.

 

En effet, d’après le communiqué officiel, Volkswagen et LG viennent de signer un partenariaten matière de recherche et de développement d’une plateforme de services dédiés à la prochaine génération de véhicules connectés.

Et leur ambition est de créer la prochaine génération de véhicules connectés qui mettront à la disposition du conducteur une large intégration de services pour la maison intelligente ainsi que pour l’internet des objets.

En d’autres termes, LG et Volkswagen s’associent pour mettre en œuvre un pont numérique qui unira domicile et véhicule et qui permettra au particulier de contrôler sa maison depuis sa voiture et vice versa.

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Audio has surpassed video as the leading streaming format in 2016 | Nielsen U.S. Music Mid-Year Report

Audio has surpassed video as the leading streaming format in 2016 | Nielsen U.S. Music Mid-Year Report | Radio 2.0 (En & Fr) | Scoop.it

Audio has surpassed video as the leading streaming format in 2016, three albums have sold over 1 million units to date, digital purchasing has seen the largest decline of all formats and vinyl continues to surge.


Via Christophe Peckeu, Jean-Luc Biaulet
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Two months in: Four things NPR has learned using Facebook Live

Two months in: Four things NPR has learned using Facebook Live | Radio 2.0 (En & Fr) | Scoop.it
At the end of the day, it’s all about engagement.
Of course, publishing video on social platforms is done with the promise of large viewership, which Facebook can offer in droves. And while NPR’s videos can get hundreds of thousands of views, it’s more focused on fostering engagement and loyalty. “For NPR, finding new ways to deepen the loyalty of our audience is truly part of our economic model,” said Montgomery. “People are so appreciative of the work that we do that they are willing to pay us even though they don’t have to. That’s the appeal for us.”
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Is podcasting finally becoming a movement ?

Is podcasting finally becoming a movement ? | Radio 2.0 (En & Fr) | Scoop.it
Podcasting is becoming more mass appeal, opening the door to opportunity. But now more than every, it's about quality. That's why radio should embrace it.
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62% des Français en déplacement écoutent de la musique, la radio ou un podcast via CBNews | Prepa webinar #AutoRadioConnecté le 7 oct

62% des Français en déplacement écoutent de la musique, la radio ou un podcast via CBNews | Prepa webinar #AutoRadioConnecté le 7 oct | Radio 2.0 (En & Fr) | Scoop.it

Lorsqu’ils se déplacent (en voiture, en transport en commun, à pied, etc.)  62% Français indiquent qu’ils écoutent de la musique, la radio ou un podcast, loin devant la lecture (26%), surfer sur internet (15%), se reposer (17%) ou encore à travailler (7%), selon l’étude « SoundToMove » réalisée par Occurrence pour  Mediameeting, spécialiste de la radio d’entreprises et spécialiste de l’Info-mobilité. 84% en profitent ainsi pour s’informer pendant que 90% pensent qu’écouter de la musique, la radio ou un podcast est l’activité la plus facile à faire lors d’un déplacement. Dans ce contexte, la radio et la musique personnelle sont les principaux sons écoutés, respectivement à 84% et à 69%, loin devant l’info trafic et l’info voyageur (19%) et les podcasts d’émission de radios (19%). Pour autant, relève l’étude, l’info-trafic et l’info-voyageur passent à 25% lorsqu’il s’agit de déplacements dans le cadre des vacances et sont attendues par 38% des répondants lorsqu’un trajet souffre de perturbations imprévues.

En situation de déplacement, l’écran (33%) et le son (32%) sont les moyens d’informations favoris sur l’itinéraire. En cas de perturbation prévue, les annonces sonores arrivent en tête (29%) devant les SMS/MMS (28%) et les écrans (20%). A l’inverse, en cas de perturbation imprévue, les annonces sonores arrivent plus largement devant encore avec 38% des Français qui les privilégient devant les SMS/MMS (24%) et l’écran (17%). Le poste de radio reste le support le plus utilisé (57%), devançant ainsi nettement le téléphone portable (39%) et l’ordinateur (35%).

 

http://www.cbnews.fr/etudes/62-des-francais-en-deplacement-ecoutent-de-la-musique-la-radio-ou-un-podcast-a1029506

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Young Americans actually pay for music a lot more often than older people

Young Americans actually pay for music a lot more often than older people | Radio 2.0 (En & Fr) | Scoop.it
There is a dominant narrative around music that has prevailed since the Napster days: young people don't pay for music.

But research from Cowen's John Blackledge and Tim Arcuri shows the actual picture is a bit more complicated than that. The analysts found that 46% of US respondents ages 18-24 had paid for music in the past month, significantly higher than 45-54 (26%) and 65+ (12%). The data shows that, at every stage of adult life, as people get older, they are less likely to pay for music.
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Deutsche Telekom and BMW edge towards the truly connected car | Prepa Webinar #rr20auto 7oct

Deutsche Telekom and BMW edge towards the truly connected car | Prepa Webinar #rr20auto 7oct | Radio 2.0 (En & Fr) | Scoop.it
BMW partners with Deutsche Telekom for in-car WiFi hotspots
Car-fitted LTE small cells being introduced
Vehicular CrowdCells being tested by BMW
Deutsche Telekom now putting the eSIM into series production
The connected, autonomous vehicle sector is perhaps the most exciting example of the convergence of telecoms technology with other vertical industries, and has already been identified as the number one use case for 5G. How long it will take for us to achieve true mass-market autonomous driving depends on who you talk to – the car industry is looking at 2030 before we achieve so-called “level 5” complete driverless autonomy, but the tech industry is far more aggressive with its thinking, with some VCs looking at a mere couple of years (see this interview with Chris Dixon of Andreessen Horowitz, who, aside from the rather optimistic timescale, has a lot of spot-on observations and comments).

Whichever timescale you choose to believe, we will be seeing a lot of incremental steps in the journey to the driverless vehicle – and some car manufacturers will be more proactive in this area than others.
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A Closer Look At The Future Of Radio by Stacey Lynn Schulman @RadioInk [Prepa Webinar #Prog 14oct]

A Closer Look At The Future Of Radio by Stacey Lynn Schulman @RadioInk [Prepa Webinar #Prog 14oct] | Radio 2.0 (En & Fr) | Scoop.it

Which brings me to my final point – the power of programming. The better part of this new century has been spent extolling the new “consumer in control” – getting what they want, when and where they want it. But herein lies the rub, as Barry Schwartz (The Paradox of Choice) has warned us. Yes, consumers want both choice and control – but choice is a double-edged sword that can have the opposite intended effect, paralyzing listeners with the task of selecting among too many options. The key is in providing right-sized customization. Radio is truly best positioned for this future because it has always been the ultimate “programmer” – directing listeners to both discover new music or points of view, and ease the burden of building our own personal listener experiences. We know how to do this. We telegraph to listeners what they can expect from us with our formatted stations. Radio DJs are trusted guides who cultivate our audio palate while allowing us to collectively consume content within a living and breathing, live community. While the world waxes poetic on the virtues of digital life, radio offers a powerful antidote to the emptiness of virtual existence and the constant pressure of selection that comes with infinite choice.

On the digital side of our business we will continue to grow as we learn more about our audiences and their behaviors through new measurement. AM/FM radio has already begun rising to the occasion, making its content available on any and all platforms in both long-form and snack-able varieties, in live and time-shifted/podcasting modes. This will continue to serve our industry well – particularly as Nielsen rolls out its Digital Audio Ratings product and begins dimensioning the degree to which all that digital time spent is actually engagement with our very own radio content.

And the future of America’s largest medium? Our industry would be wise to take a clue from Nielsen’s latest Total Audience Report and spend time innovating around the consumer’s media multi-tasking experience. The most successful audio programmers will find ways to marry the best of what analog radio offers with the portability and personalization of the digital environment. Recommendation engines that layer DJs as digital guides on top of smart content algorithms may be a welcome, human interface for choice-weary listeners. However we iterate, experimentation is the key. The multi-platform data has begun rolling in, and radio is poised to only get bigger in the media landscape.

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myBBC – the most personal summer of live events from across the BBC

myBBC – the most personal summer of live events from across the BBC | Radio 2.0 (En & Fr) | Scoop.it
If you’re anything like me and a massive sports fan, this summer has the perfect line up.  With Andy Murray winning Wimbledon along with Wales’ triumph at the Euros (I grew up there – so not just riding the glory wave) it’s got off to a great start.  And, with the Olympics starting in just under two week’s time, it’s about to kick off all over again. 

Our goal is to make this year’s summer of sport and live events the best ever, by making it more personal and relevant to you. 

Over 7 million of you have signed into the BBC in just over a year – and over a third of you come back on a monthly basis to benefit from a more personal experiences.  And since the last time I blogged, we’ve seen huge numbers of people benefit from these signed-in experience.

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iHeartMedia, Cumulus, Entercom, Cox, Sun Broadcast Group and Shazam Collaborate on Groundbreaking New Audio Measurement Solution

New System Maximizes Companies’ Proprietary Data Assets to Advance Measurement Across Both Broadcast and Digital Audio
 
New York, NY – July 21, 2016 – Broadcast radio industry leaders iHeartMedia, Cumulus, Entercom, Cox and Sun Broadcast Group announced today a strategic alliance with Shazam for a groundbreaking audio audience measurement solution in the U.S. that will deliver market- and station-level audience metrics across all radio formats.
 
This new measurement solution for broadcast and digital audio brings together these companies’ proprietary data assets and measurement capabilities.  Utilizing the most innovative audio recognition technology available and information from specific geographic markets, it will leverage information collected from tens of millions of devices to produce the accurate, stable cross-platform audience metrics that the industry has been waiting for.
 
“We welcome this kind of innovation in the audio sector, particularly as more and more advertisers are turning to audio solutions to reach the hundreds of millions of audio consumers monthly,” said Bill Koenigsberg, President, CEO and Founder of Horizon Media.  “A solution that better measures audio is good for us, for our clients and for their brands.”

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Pop-up radio station for Pokemon Go appears

The Irish public service broadcaster RTE has launched what appears to be the first 24-hour radio station dedicated to Pokemon Go.
The station, running until Friday this week, operates 24 hours a day, and contains the latest Pokemon news and Pokemon tunes.
It's a brand-extension for 2fm, the national music station that has spent some time over the last few years repositioning itself for a younger audience.
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Brands and music: 'We know millennials are logo-averse...'

Brands and music: 'We know millennials are logo-averse...' | Radio 2.0 (En & Fr) | Scoop.it

“Brands are facing something: how can I engage? One, they need to create loyalty, and two, they need to drive new audiences. It happens that music has the biggest audience in the world.”

He gave the example of working with Turkish Airlines, where Universal found that on average, it’s eight weeks between someone booking a flight and travelling. Now, in that time, customers get an email inviting them to “get in the mood” with some tracks chosen from their destination. Then there will be more musical content once they get on the plane – and music listening on those flights has spiked as a result.

“Welcome to the four ‘e’s. Engagement, the second one is experience. The third one is exclusivity… and the fourth ‘e’ is emotion,” he said, describing a lesson he learned during his days in the advertising industry. “And I would add another one, which is an ‘i’ – intimacy – you have to create an intimate relationship [with the consumer].”

Robert-Murphy said that modern artists understand that working with brands can deepen their relationship with their existing fans, as well as reaching new audiences. “But it has to be relevant,” he warned.

Raso talked about how Tuned Global is working with brands in south east Asia. “That market is very much an emerging market. They’re as passionate about music as any other market in the world. They are undergoing a rate of change that the west has had in maybe five years, in one year,” he said. “We believe that music represents the opportunity for a brand. It doesn’t necessarily represent the end result for a brand.”

That opportunity is “all about engagement – it’s about understanding the user at a much deeper label, and being able to engage them with both the artist and the music, and as a brand with what we can offer them”.

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Economie de la Production Musicale - Edition 2016 - SNEP

Economie de la Production Musicale - Edition 2016 - SNEP | Radio 2.0 (En & Fr) | Scoop.it

L’édition 2016 de « l’économie de la production musicale » est disponible !

Découvrez la  synthèse des chiffres du marché de la musique enregistrée, en France et dans le monde, enrichie des données inédites sur la consommation et la distribution de musique physique et numérique, les meilleures ventes, les meilleures diffusions, les certifications.

 

Sommaire

Chapître 1 : Le marché français en 2015

Chapître 2 : La production francophone

Chapître 3 : Le marché mondial en 2015

Chapître 4 : La consommation de musique

Chapître 5 : Musique et médias

Chapître 6 : Les acteurs de la distribution de la musique

Chapître 7 : Les artistes qui ont marqué l’année 2015


Via Christian Menez
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Apple's Plan to Own the Entire Music Industry

Apple's Plan to Own the Entire Music Industry | Radio 2.0 (En & Fr) | Scoop.it

Apple's ambition in music continues to be misunderstood. Most of the focus remains on the battle between Apple Music and Spotify for paid music streaming subscribers. However, the much more interesting development relates to Apple's desire to grab music mind share. Apple is aiming to leverage its strong balance sheet to control the music narrative, and in the process, remove all of the oxygen from the music streaming industry. 

Music Is in Apple's DNA


Via Christophe Peckeu, Jean-Luc Biaulet
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The Playlist Professionals At Apple, Spotify, And Google | Buzzfeed

The Playlist Professionals At Apple, Spotify, And Google | Buzzfeed | Radio 2.0 (En & Fr) | Scoop.it
Like their early forebears in broadcast radio and the sampler album, playlists on streaming services have become one of precious few reliable avenues for breaking songs and artists in a chaotic media environment. With millions of followers, the most popular playlists offer a broader reach than even some radio stations in large markets, and they generate vastly more sophisticated and timely performance data. Predictably, the record labels have created a cottage industry out of promoting to these playlists as aggressively as possible, and some have pointed to their close relationship with the streaming services as the reincarnation of payola. But Frank, who was hired last summer in what was then a new role at Universal, strongly denies that anything unseemly is happening behind closed doors.
“UMG policies prohibit pay-to-play practices,” he says. “Including on playlists.”
For their part, many streaming service employees I spoke with compared their relationship with the labels to that of the music press, saying that while they receive a wide variety of regular promotional communications, there are strict policies in place to preserve editorial independence.
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Headphones Everywhere - The New Yorker

Headphones Everywhere - The New Yorker | Radio 2.0 (En & Fr) | Scoop.it
Amanda Petrusich on the sudden ubiquity of headphones, and how that might affect the way music gets made.

 

Anyone who has recently spent time in a public space—traversing the aisle of an airplane, say, lurching toward your seat adjacent to the toilet, trying to shift your backpack without thwapping a fellow traveller on the forehead—has likely noticed the sudden and extraordinary ubiquity of headphones. “Do people really like music this much?” I have wondered, incredulously, while tallying endless white earplugs. The outside world, once a shared auditory environment, has been effectively fractured. We now lilt about in our own bubbles of self-programmed sound.

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Radio : de l’avantage de la chronique sur le spot pub

Radio : de l’avantage de la chronique sur le spot pub | Radio 2.0 (En & Fr) | Scoop.it
A la radio, 87% des auditeurs disent se souvenir d’une marque lorsqu’elle est associée à une chronique alors que 66% disent se souvenir du spot de la marque seule, selon une étude réalisée par CSA Research pour le compte de A Radio Group, spécialiste et créateurs de contenus de marque à la Radio, à propos de sa chronique "On en parle". Dans le détail, 76% des sondés assurent que la chronique « donne des infos que l’on retient » (vs 62% pour un spot classique), 74% qu’elle « donne une bonne image de la marque » (vs 66% pour un spot classique), 65% qu’elle « donne des infos qu’on ne trouve pas ailleurs » (vs 54%). Enfin, lorsque le dispositif associe spot Radio ou TV et chronique, certaines intentions comme « effectuer un achat », « se renseigner » gagnent respectivement 8 et 14 points, assure les auteurs de l’étude.
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L’écoute de musique en ligne a progressé de plus de 97% en un an aux États-Unis

L’écoute de musique en ligne a progressé de plus de 97% en un an aux États-Unis | Radio 2.0 (En & Fr) | Scoop.it
Le streaming musical (audio et vidéo) a augmenté de 58,7% sur les six premiers mois de l’année outre-Atlantique, c’est ce qui ressort du rapport de l’observatoire Nielsen sur la musique aux États-Unis. Depuis janvier, 208,9 milliards de chansons ont été écoutées ou visionnées en ligne aux États-Unis contre 131,6 milliards à la même période l’an passé. L’essentiel du trafic en streaming provient de l’audio avec une progression de 97,4% par rapport à 2015.

La bonne du santé du streaming précipite le déclin des ventes d’albums. Sur la première moitié de l’année en cours, 100,3 millions d’exemplaires ont été achetés par les Américains. En 2015, ce chiffre atteignait 116,1 milliards d’unités. Cela représente une chute de 13,6% dans ce secteur. Si les CD (-11,6%) et les téléchargements (-18,4%) sont en berne, ce n’est pas le cas des vinyles qui ont la cote avec une progression de 11,5% sur les six premiers mois de l’année.
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