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The 4th edition of Radio 2.0 Paris conferences tooks place at Radio France last 13th of September.
- 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 HouseGreat 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 RadioAn extraordinary media coverage with more than 15 millions of impacts
▪ 7 media parters
▪ 67 journalists on place
▪ 66 mentions and articlesExploring 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
Si certains titres de presse arrivent, non sans difficultés, à générer des revenus issus d'abonnements payants (comme Mediapart par exemple avec plus de 100'000 abonnés payants) posons-nous la question pour le média radio.
Quel auditeur serait prêt à payer pour quel programme ? Les services quotidiens rendus par les radios sont pourtant nombreux : infos locales, nationales ou internationales, reportages en direct, interviewes, sketches humoristiques, info météo, info trafic, marchés financiers, libres-antennes, débats...
La tendance est au "Earned Media".
- Le Earned Media désigne l'exposition dont bénéficie gratuitement la marque sur des supports personnels ou professionnels qu'elle ne contrôle pas. Il s'agit essentiellement des mentions sur les réseaux sociaux (Facebook, Twitter, etc,), sur les espaces de commentaires (avis consommateurs, commentaires articles presse) et des diffusions virales de vidéos. Les retombées presse peuvent également être considérées comme du earned media.
Figures obtained by media.info suggests that UK teens still listen mainly to radio, across platforms
The highly respected Edison Research released new "Share of Ear" figuresrecently, based on research from Autumn 2014.
In it, they show US teens are spending more time with streaming audio services, like Pandora or Spotify, than they do with broadcast radio (including both over-the-air and the online streams of AM/FM stations).
"While AM/FM Radio listening leads by a significant margin among all other age groups, much of teens’ listening time has shifted to pureplay Internet audio services like Pandora and Spotify and others," said Larry Rosin, President of Edison Research. "This could be a lens into the future of audio usage."
Figures obtained by media.info from RAJAR, the UK's radio research body - above - give a different picture for the UK. Jerry Hill, CEO of RAJAR, points to the strong presence of the BBC and Radioplayer, as well as a lack of a strong Pandora-like service in the UK.
Le Conseil supérieur de l’audiovisuel (CSA) a publié son rapport sur «l’évolution des modes de diffusion de la radio : quel rôle pour la Radio numérique terrestre ?». Ce rapport, qui a été remis au Parlement et au Gouvernement, vise à livrer une analyse et des orientations actualisées sur cette question. Il s’articule en trois parties principales : l’état des lieux des modes de diffusion de la radio, la place du numérique dans l’évolution du média radio, et les champs d’actions pour les pouvoirs publics pour contribuer au développer de la RNT.
Téléchargez le rapport complet du CSA ici : http://www.csa.fr/Etudes-et-publications/Les-autres-rapports/Evolution-des-modes-de-diffusion-de-la-radio-quel-role-pour-la-radio-numerique-terrestre
Deezer, the Paris-based streaming service which entered the U.S. market in September with its audiophile-targeted Deezer Elite product, has acquired Muve, the music streaming service owned by Cricket, an AT&T subsidiary that provides prepaid mobile service.
The streaming music service has a ‘taste profile’ for every user, so what kind of data is it building up, and how can it be used?
As interesting as the data above was, it doesn’t yet tell the full story about my music listening – or, at least, my historical music listening.
Spotify doesn’t know that the teenage me’s musical awakening came in the mid-1990s to Britpop; it doesn’t know about my subsequent journey through phases of big beat, pale young men with acoustic guitars, and hairy southern rawk.
It doesn’t know that I love the Black Crowes, the Chemical Brothers, the Charlatans, Primal Scream or the Super Furry Animals – my five touchstone bands but, it turns out, all artists I mainly play on CDs in the car nowadays, rather than through Spotify in other contexts.
(As a sidenote: I’ve been “scrobbling” to Last.fm from Spotify for a few years too, and my ‘most played artists’ page on that service has more of my listening from 2012, which brings some artists bubbling back to the top.)
Spotify doesn’t know that I really enjoyed Taylor Swift’s 1989 album in 2014, because having bought it – the album isn’t on Spotify – I mainly played it using the main Music app on iPhone. The same for Thom Yorke’s Tomorrow’s Modern Boxes, which through repeated (non-Spotify) listens became one of my favourite albums of the year.
These aren’t faults, as such: they just show why streaming taste profiles are still developing, and why there are likely to be a fair few gaps in their knowledge. And perhaps, also, a reminder that we don’t necessarily listen to the bands we “love” as much as we’d think.
Again, figuring out how to plug those gaps is one of the most interesting jobs in the digital music industry. One last thought, though: seeing my taste profile made me think about the distinctly un-rock’n’roll issue of data portability.
If, in 2015, I suddenly decided I wanted to jump ship to Beats Music, YouTube Music Key, Deezer or another streaming rival, could my taste profile go with me? Or would my new service be trying to learn my tastes all over again?
As more people realise the benefits of digital music services having a better understanding of our tastes, I suspect we’ll see more discussion about how (or even whether) we can export that data for use elsewhere.
Le nouveau format «Immersive» de Deezer est un interstitiel vidéo qui s'intègre entre deux titres d'une playlist, ou en cours de lecture du «Flow» (flux de recommandations musicales). «Nos utilisateurs gratuits sont nos futurs abonnés, précise Tristan Rachline, Directeur de la régie Deezer Media. Monétiser notre espace est crucial, mais cela ne peut pas se faire au détriment de l'audience. Le format Immersive développé en coopération avec Massmotionmedia combine une surface vidéo HD à une intégration quasi native au sein de notre site.»
Influencia - Prise dans la boucle des nouvelles technologies et de l'expérience digitale qu'en ont les consommateurs, l'industrie musicale compose actuellement une nouvelle partition économique. Marques et pubs sauront-elles s'y accorder ? Attention aux larsens pour certains.
La musique n’est pas faite pour être écoutée sur Internet ? Ce postulat anachronique, Coldplay,Radiohead et les Black Keys en font le socle de leur combat très médiatique contre le numérique.Télérama parle d’une « nage à contre-streaming », INfluencia userait plutôt de l’adjectif « rétrograde » pour définir cette bataille d’arrière-garde, mais compréhensible. Les chiffres sont là, narquois et chafouins. Gravée dans le marbre, la tendance qu’ils démontrent dessine le futur de la musique, une industrie en transition liée aux innovations et aux usages de demain.
Via Christian Menez
Depuis quelques mois, Médiamétrie ne publie plus les études qui calculent le nombre de podcasts téléchargés chaque mois. Comme elles ne veulent pas favoriser les podcasts par rapport au streaming, les "grandes radios" ne veulent plus que ces chiffres soient publiés. Mais cela n'empêche pas certaines stations de publier leurs résultats. Surtout si ces derniers sont bons...
Grimper sur le ring, ressentir les coups, vivre un K.O... Le journaliste Alexandre Mognol transporte l’auditeur au cœur d’un combat de boxe thaï, en interrogeant le champion Jean-Charles Skarbowsky à l’aide d’un micro binaural...
Passer trois minutes dans la tête d'un boxeur : c'est ce que propose Alexandre Mognol avec Dans les gants,un documentaire diffusé par Arte radio. Il y interroge le champion du monde de boxe thaï Jean-Charles Skarbowsky, lors de l'entrainement d'un de ses élèves. Une immersion sonore en relief avec une perception du réel rarement égalée grâce au son binaural. Accrochez-vous, Arte Radio vous fait monter sur le ring !
"We wanted to do it responsibly, working with the users who make Reddit special," cofounder Alexis Ohanian tells us.
As the ongoing Podcast Renaissance invigorates audio storytelling—you may have heard about a little program called Serial—social news site Reddit is grabbing a piece of the action to better share its most popular stories with a mobile audience.
The acquisition of Semetric gives Apple an edge in music analytics.
Musicmetric, launched in 2008, offers a one-stop-shop dashboard for music industry professionals to track data related to sales, BitTorrent downloads, YouTube views, Spotify streams, and social networking stats. Given that YouTube and Spotify represent business rivals to Apple in some ways, it’s unknown whether Musicmetric will continue to offer these stats.
Today, podcasting has put public radio—usually one of the sleepier corners of media—at the white-hot epicenter of pop culture. This is mostly thanks to one thing: Serial. The real-life murder mystery podcast produced by This American Life became a national obsession last year, amassing well above 20 million downloads in just a few months and along the way making podcasts one of the most exciting areas of emerging media. According to figures from the media analysts at Edison Research, more than 15% of Americans are now regular podcast listeners, a total of 40 million people, and interest in podcasts—and the potential money there—is growing fast.
If you listen to advertisers or their agency reps, programmatic ad buying is a big trend for categories such as digital display, events, online video and mobile. In those categories, “programmatic” has surged over the last three to five years.
Think of programmatic as an electronic methodology for accessing inventory and then pricing, selling and buying it.
Automatic ad buying and selling has made big inroads in the digital display market that serves laptops, mobile phones, tablets and desktops. There, programmatic ad spending was expected to grow 137 percent to more than $10 billion in 2014, according to eMarketer, which would mean automated ads would account for nearly half of the U.S. digital display market. That dollar amount was expected to double by 2016.
Advertisers and their agencies have said they would like to enable programmatic trading across their entire media buys, representing as much as 50 percent of all media spending. Few of these dollars have come to radio yet, but supporters say automated buying and selling can return money to radio that has migrated to mobile advertising, which advertisers find easier to transact. U.S. commercial radio revenue in 2013 was $17.6 billion, according to the Radio Advertising Bureau.
One of the promoters of programmatic ad spending is San Mateo, Calif.-based Jelli, founded in 2008. It has raised some $16 million in venture funding from investors including Relay Ventures, Intel Capital and First Round Capital as well as several angel investors.
The company’s original focus was crowd-sourced radio; however for the past couple of years, Jelli has shifted its resources to programmatic and its RadioSpot platform.
When you offer your service for free, can you also get people to pay? Spotify can.
According to figures published today, Spotify added 10 million new users in the final two months of 2014, bringing it to a total of 60 million active users. This is likely due to a pre-Christmas promotion by the company, in which users were able to sign up for three months at $0.99, as opposed to the usual cost of $9.99 per month.
"We had an amazing 2014 at Spotify and owe it all to you, the music fans who listen, discover, share and celebrate music and artists with us every day of the year," the company wrote in an official blog post.
Even more impressive is Spotify's ability to translate free users into paid customers. The service now has 15 million paying subscribers—or a 25% conversion rate. When Spotify last published its stats, it had 12.5 million paid users, with an active base of 50 million. That indicates the ratio of paid-to-free users is holding steady as the company moves beyond early adopters.
Comparing Spotify to its rivals isn’t entirely straightforward, since different companies operate on different business models—while some refuse to disclose their number of subscribers, or their conversion rate. The Apple-owned Beats Music reportedly hadjust 250,000 users last year, despite the sky-high valuation Apple placed on it. Deeper, meanwhile, reportedly has 16 million users, with 6 million of these being paid subscribers. Subscription-only service Rhapsody supposedly has 2 million paying users.
Nonetheless, Spotify's achievement is an impressive one—and its ability to monetize arguably more so.
Via Yvan Boudillet
Les sites de musique en ligne affinent de plus en plus leurs systèmes de recommandation afin de harponner l’abonné.
Le fossé va-t-il commencer à se réduire entre la radio et les services de streaming, l’écoute musicale en ligne ? C’est en tout cas l’intention de ses deux principaux acteurs en France, Deezer et Spotify, qui déploient en ce moment des nouvelles technologies pour prendre par la main leurs utilisateurs les plus passifs en leur proposant un programme taillé sur mesure à coups d’algorithmes high-tech et de traçage de leurs habitudes.
Via Tilda HOEDTS, GilCasta
La musique passe de plus en plus par le streaming. En France, plus de 2 millions de personnes seraient ainsi abonnées à une offre audio. L'essor de ce marché, qui représentait 1,1 milliard de dollars au niveau mondial en 2013 (+ 51 %), a aussi fait naître des dizaines de start-up qui offrent des services complémentaires à ceux des grandes plates-formes, Deezer, Spotify, Napster, Beats Music ou encore Google Play Music. Parmi elles, Bop.fm, né à San Francisco en 2013 et créé par deux anciens salariés de Kayak, le moteur de recherche de voyages
talkSPORT becomes the official home of Liverpool FC matches in the Champions League.
Matthew Baxter, Chief Media Officer at Liverpool FC said: “Teaming up with a global sports radio station, like talkSPORT means that our fans get to follow all of our upcoming Champions League games in real time no matter where in the world they live. This season marks a big moment for the Club, as we return to the UEFA Champions League after a five year absence.”
talkSPORT is the world’s biggest sports radio station and is global audio partner of the Premier League. The station is an official broadcaster of the Barclays Premier League, FA Cup and the Capital One Cup. talkSPORT is available on 1089/1053AM, on digital radio, on mobile and online at talkSPORT.com
Satis 2014 - Broadcast-associés - CCI Hauts-de-Seine - Le Club des Entreprises du Numérique et de l'Image
BTLV, la seule radio LIBRE et sans pub consacrée à la parapsychologie, aux OVNIS, aux Pyramides, à la santé, aux secrets d’États...www.bob-toutelaverite.fr
Emmanuel Boutterin, le président du SNRL (Syndicat National des Radios Libres), l'un des deux syndicats qui regroupe les radios associatives en France, a annoncé la semaine dernière, lors de son congrès annuel, que les webradios pourraient désormais rejoindre le SNRL.
Today, a very different problem exists: There are too many great podcasts to keep up with. There's "Serial," the true-crime drama hosted by "This American Life" producer Sarah Koenig. There's "99% Invisible," a design-themed podcast hosted by Roman Mars that has run several mega-successful Kickstarter campaigns. There's "StartUp," another product of the public-radio diaspora, which tells the episodic story of NPR veteran Alex Blumberg's attempt to create a podcasting business. Then there are the celebrities: Ice T, Snooki from Jersey Shore, Stone Cold Steve Austin — podcasters all. According to Edison Research, 39 million people listened to a podcast in the last month, the highest number on record.
What's happening? And why now? The word podcast is roughly ten years old, after all, and the "pod" to which it refers has been discontinued. Still, the genre seems more alive than ever. I spoke to the people behind several popular shows, and they agreed: We're in a golden age of podcasting.
"What’s weird about this moment right now is that, broadly, you’ve got this huge audience of radio listeners," Blumberg, the host of the "StartUp" podcast, told me. "Now that audio has moved to on-demand," he added, "people are really jumping in."
Another reason that podcasts may be growing is that the economics are compelling. Producing an average podcast costs far less than producing a TV show or a radio show (all you really need is a microphone or two, a copy of Audacity or some other editing software, and a cheap hosting service for the audio files themselves). And the advertising rates on a successful podcast are big enough to pay for the costs many times over. Several top podcasters told me that their CPM (the cost to an advertiser per thousand impressions, a standard ad-industry unit) was between $20 and $45. Compare that to a typical radio CPM (roughly $1 to $18) or network TV ($5 to $20) or even a regular old web ad ($1 to $20), and the podcast wins. Podcasts can charge higher ad rates because of the personal nature of the single-host format — as an advertiser, it's far better to have "Serial"'s Sarah Koenig reading your copy out loud than to burst in with a prepackaged ad that nobody will pay attention to.
But as I talked to podcasters, they told me that the biggest reason for the podcast renaissance has nothing to do with the podcasts themselves, or the advertisers funding them.
The secret to radio's success has always been the drive-time commuter. An estimated 44 percent of all radio listening takes place in the car, and that's the way the radio industry likes it. Car-based listeners are captive, they tune in for long stretches at a time, and they're valuable to advertisers. And drivers' dedication to the AM/FM spectrum has made radio a remarkably stable medium — even in 2013, according to the Pew Research Center and Nielsen Audio, 91 percent of Americans over age 12 listened to the radio on a weekly basis.
Now, though, cars are going online. Both Google and Apple have rolled out connected-car platforms (Android Auto and Apple CarPlay, respectively), and most new cars sold in the U.S. these days come with the ability to play smartphone audio over the car's speakers, either through Bluetooth connectivity or through a USB or auxiliary plug. One industry group, GMSA, estimates that 50 percent of all cars sold in 2015 will be internet-connected, and 100 percent by 2025.
Connected cars are a boon for the entire streaming audio industry, but they're especially exciting for podcast makers, whose shows are perfectly suited to in-car listening. Just as TV watchers can now choose Netflix or Amazon streams over surfing channels, radio listeners will soon have a bevy of on-demand options at their disposal.
Podcasts have also gotten help from software makers. Apple, whose iTunes provided the launching pad for most early podcasts, gave podcasts their own, non-deletable app on the latest version of its mobile operating system. And several slick third-party apps — Stitcher, Overcast, and Castro among them — have popped up with more robust functionality.
"With iTunes it was always a matter of plugging in your phone and syncing it," Mars said. "There’s still probably a couple steps too many for it to really be widespread, like TiVo. But I think it’s improved."
Combined with the macro trends of on-demand audio and connected cars, these tools have made it possible for people like Roman Mars and Alex Blumberg (whose podcasting start-up has raised more than $1 million to date) to make a living doing podcasts. And the advertisers who aren't paying attention to long-form audio storytelling might soon be convinced to give the genre another look.
"Radio has been saved the disruption that has happened to other media. It’s been frozen in time for 50 years," Blumberg said. "Now that everyone is walking around with a radio in their pocket at all times, and now that all cars are going to be connected, the form can flourish again."
It's actually about cars.