Puisque le MWC n'est pas réservé aux entreprises grandement connues, l'équipe d'AEV! s'est rendue au pavillon français pour rencontrer la société AwoX.
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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
Most brands are running simple audio ads on Spotify that are no different from the radio commercials of yore. But some are getting a bit more creative.
With Spotify locked in a cage fight of its own against streaming audio rival Pandora, it’s knockout creative campaigns like these that will be crucial in helping it land advertising dollars from major brands. If nothing else, they serve as examples of the power music has to help brands create meaningful experiences for their audiences.
Via Christian Menez
Video didn’t kill the radio star, but Sirius XM and streaming services like Pandora are taking it apart piece by piece.
Terrestrial radio, after years of maintaining its vise-like grip as the dominant in-car entertainment provider, will soon see thousands of motorists turn it off, a Wall Street report on Wednesday forecasted.
While terrestrial radio still owns an 80 percent share of car listenership, it will start to lose up to 1.5 percentage points a year of that market share as streamers like Pandora enter the market, the report said.
Connected cars — meaning those equipped with 4G wireless broadband technology — are expected to account for 39 percent of US vehicles shipped this fall.
But they’ll account for 60 percent by 2018.
Internet radio has the potential to be the most ubiquitous form of media ever. More commanding of your attention than film, television, or books. This is because listening to music can be enjoyed while doing other activities. Before I go further, let me make an important distinction: there are two types of listeners, lean back and lean forward. Lean back listeners hear music programming via a playlist or radio station (think “set it and forget it”), whereas lean forward listeners actively select individual songs. The majority of people prefer a lean back experience.
In 2014, one third of Americans used their phones to stream music. Young adults (18-24) listened to internet radio more than terrestrial. Two of the top five most popular apps in America (Pandora and Youtube) are used for streaming music. With Americans now spending more time on their phones than watching television, there has never been a more opportune time to maximize internet radio experiences.
La régie IP France (groupe RTL) s'associe à Mobile Network Group, régie exclusive de Shazam en France, pour développer l'interactivité des spots radio via la technologie de reconnaissance sonore de Shazam. Elle propose donc désormais un nouveau dispositif publicitaire baptisé "Shazam for Radio". Se voulant entièrement « clé en main pour les annonceurs », l’offre permet à IP France de prendre en charge la production du spot radio et « la gestion de la relation avec MNG et Shazam pour l'encodage des spots et le développement du mini site de redirection », souligne la régie.
Via Pedro Taveira
Apple is extending Workbench, its automated mobile-ad platform for iAd, to its streaming service iTunes Radio.
Starting on Thursday, Apple is extending its mobile advertising network to iTunes Radio, its web streaming service that competes with Pandora, through programmatic ad buying. Previously, advertisers had to buy through Apple's lean iAd sales staff. The new feature also comes with updated targeting capabilities, using customer phone numbers and email addresses that can be cross-referenced anonymously against marketers' data.
Pandora is looking to add a paid day pass to its service later this year, company executives revealed during Pandora’s investor day Thursday. The day pass will give users a way to listen without advertising interruptions, and they won’t have to subscribe to the company’s Pandora One subscription plan.
Pandora Chief Product Officer Chris Phillips told investors Thursday that this could make Pandora a good source of music for a summer BBQ party, where users don’t want to annoy their guests with ad breaks. He showed off a slide that featured a sign-up page for a 24-hour plan for $0.99, but added that the company will be testing the price as well as the question whether the day pass should be for one or three days.
1. Minority Voices Will Increase
2. Sports Updates Will Be In Danger
3. Say Hello To Social Media Reporters/Video Content Generators
4. Digital Media & NTR Sales Will Increase
5. Play by Play Radio Rights Deals Will Decrease
6. An Extension of Our Format Will Be Created
7. On-Demand Content Will Become a Bigger Focus
8. Digital Bonus Incentives
9. Major Markets Will Go More Local
10. Weekly Guest Deals Will Become More Complex
An Amazon Prime executive recently said that when commissioning shows he didn’t want hits that 80% of his audience quite liked, he wanted shows that 30% of his audience loved. That is what discovery is all about. Not being content most of the time, but being blown away some of the time. Zane Lowe is not going to solve Apple’s discovery problem all by himself, but the hire shows that Apple is putting its money on moments of human magic being the nitrous oxide in its music discovery engine.
Despite the rise in podcast usage there are still a ton of people who don't know what podcasts are and couldn't care less. Why?
Podcasting was born as media by and for geeks. The content was primarily tech-oriented. To access that content you needed to know what an “RSS feed” was, you needed to have a “podcatcher” of some kind, and it helped if you owned the platform’s namesake, an iPod. And then, if you were either technically facile or really motivated, you got to experience the joys of podcast consumption, such as they were at the time.
In fact, when metrics for podcasting are as robust as they are for online and traditional radio, the dollars will flow into podcasting not because podcasting is different from these other platforms but because it is now fundamentally the same.
So a big problem with podcasting in my view is that, as a category, it seeks to set itself apart.
Plus de surprise, nous connaissons l’état actuel de l’industrie musicale. L’arrivée du numérique et d’internet a changé les comportements de consommation. La musique connaît les mêmes problèmes que l’industrie audiovisuelle : une augmentation du piratage, de plus en plus de concurrence et une tendance à zapper rapidement.
La musique est aujourd’hui considérée comme un bien « gratuit », que l’on peut obtenir infiniment grâce à l’ascension de plateforme de streaming comme Spotify ou Youtube. Il faut changer ce que l’on souhaite vendre : oublier l’objet musical et vendre l’expérience musicale. Ce sont toutes les valeurs ajoutées autour de l’objet créatif.
How does having 30 million songs in our pocket affect how we listen to music? In this data-driven and demo-laden talk we’ll explore the behavior of today’s music listener. We’ll look at how today’s easy and ubiquitous access to nearly all of recorded music is changing how a listener organizes, discovers and experiences music. By exploring big music data being collected by organizations such as Spotify and The Echo Nest we can get a deeper and more nuanced view of how today’s listener really interacts with their music.
Des ponts entre TV et réseaux sociaux
Les réseaux sociaux, Twitter et Facebook, principalement, ont fait naître une nouvelle forme de relation entre les téléspectateurs et la télévision, basée sur le partage de séquences et le commentaire autour des programmes. Ce phénomène émergent, appelé Social TV, a besoin de nouveaux outils et services reliant les deux mondes que nous vous proposons de découvrir.
While it may come as a surprise, today's Twitter + Rhapsody deal makes sense. To attract and retain users, streaming music services are forming dozens of new partnerships; and social networks like Snapchat and LINE are increasingly turning to music.
Via Yvan Boudillet
If your radio station is in the doldrums, I suggest you apply Uber thinking to help you evolve. Traditional listeners are connected like never before. They now have so many choices for everything. Let’s use Radio Today as a sounding board for radio’s current problems and issues. Let’s be more aware of new approaches for our listeners. Be brave….think and be UBER. - See more at: http://radiotoday.com.au/guest-writers/programming/6499-are-you-ready-for-uber-radio.html#sthash.Q2t4hdyj.dpuf
It’s often said that success has many fathers. The problem is that it can make it a challenge to determine who was really responsible for a great innovation. That’s what makes this week’s RMI profile so rare; a major radio innovation that is clearly credited to one person. Emmis Communications Founder and CEO Jeff Smulyan is responsible for the first ever all-sports radio station, WFAN in New York. (The idea for the name actually came from the wife of its first PD, John Chanin.)
Today, there are hundreds of 24-hour sports radio stations throughout the U.S. and the world. But back on July 1, 1987, when WFAN signed on, the station’s success was very much in doubt, and the skeptics included many members of the Emmis team.
In this week’s edition of “Radio’s Most Innovative,” Jeff was kind enough to share the story of how the station came about, how it evolved, and why WFAN started a radio revolution with the launch of the first all-sports format.
The new look signals an identity shift: Were a music brand, not a tech company!
For a brand that fronts such a vast and eclectic array of music--a database of some 30 million songs, including the top tunes in Malta, Bulgaria, and Paraguay, among others--Spotify’s brand identity has always been surprisingly sedate: black, white, and an uninspiring green for colors; an off-the-shelf font; and a little stylized sound wave as a logo.
That made for a fairly dismal array of tools for communicating with the brand’s 60 million avid fans.
On Friday, at South by Southwest, all that will change. For the duration of the festival, Spotify House will be arrayed in a bold and explosively colorful new brand identity, which was the result of a year's worth of work, and many trips to the company’s Stockholm headquarters, by the New York design firm, Collins.
Via Yvan Boudillet
We will continue to get better at personalizing it, which was the whole idea behind NPR One. It’s going to become more finely tuned to individual listeners or users. To the extent that we can continually get better at that, the more successful we’ll be. There’s no question about mobile’s importance to our future.
The biggest barrier to innovation is the fear of making a mistake, which is appalling because innovation invariably involves various “mistakes” along the way. Two questions we’ve focused on during this initiative are 1) are we serving our audience needs? and 2) are we learning? The reason for the first is hopefully obvious. The intent of the second is to avoid paralytic fear by keeping us moving quickly, being disciplined, and able to learn from both our mistakes and victories. - See more at: http://jacobsmediablog.com/2015/02/20/radios-most-innovative-npr-one/#sthash.7ZNoxZLt.dpuf
For the first twelve years of my career I programmed music for broadcast media. Later I transitioned into internet radio, and as a consultant I’ve advised both broadcast and streaming clients. At radio stations I usually work alongside broadcasters and music programmers, in streaming those programmers tend to be of the ‘data scientist’ variety, and the difference between the two is marked.
Data scientists are incredibly smart people, they understand things like Python and Hadoop, collaborative filtering, matrix factorization, and canonical correlation analysis. Their great achievement using these tools has been to make the personal global and the global personal. But their huge brains have been less exercised, I think, by the universals of music flow such as mood, gender, texture and familiarity that engage the mainstream listener – that’s what radio programmers are great at. My hope is to bring the two types of programming closer together, with the aim of making internet radio more engaging, stickier and just better.
1. Familiarity trumps discovery at scale
2. Recurrents build audience and sell advertising
3. Presentation is everything
4. Think nationally, programme locally
5. Property scheduling gives you the edge