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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
“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.
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).
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.
Research firm GlobalWebIndex has been tapping its global panel of teenagers to find out what they’re doing online and how they’re getting their digital entertainment.
The results make for interesting reading, with a number of points about this age group’s music consumption. It’s based on a sample size of 4,849 16-19 year-olds – so “late teenagers” would be a more accurate term to describe them – in 32 countries.
Music findings? Music came top of the chart of “top interests” for the respondents, with 70% saying they are strongly interested in music – ahead of films (around 65%), science and technology (60%) and games (55%).
When asked what they’d done online in the last month, 60% said they’d listened to a streaming music service – more than used an instant messaging app (57%) despite the buzz around that category.
Note, 21% of these teenagers said they’d bought a music download in the last month, so this is very much the streaming generation. Yet when asked what digital entertainment services they used last month, 30% said Google Play, 21% Netflix, 20% iTunes, 13% SoundCloud and 11% Spotify.
Spotify Ltd. has held talks with potential content partners to add podcasts to its music-streaming service, challenging Apple Inc. in a business it dominates, according to people briefed on the matter.
Spotify, which hosts some podcast-like audio such as Spanish lessons along with millions of songs, plans to add more non-music programming, according to the people, who weren’t authorized to speak publicly and asked not to be identified. While the discussions have occurred for several months, there is no firm plan or introduction date, one of the people said.
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.”
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 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.
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.
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.
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”.
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."
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.
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.
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.
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.
For listeners, the podcast boom presents both hope and frustration. The iTunes podcast app is the primary way listeners get their podcasts—it’s where more than half of all podcast downloads happen, with Stitcher and Soundcloud trailing behind. There are a lot of podcasts out there, but after listeners binge on one, iTunes doesn’t do a great job of directing them to what they might want to download next. It’s notoriously difficult to share audio on social media. It seems like this chaos would be an impediment to gaining listeners. But for podcasting networks like Gimlet, Panoply, Radiotopia, and Earwolf, this is an opportunity.
Networks are betting that an endorsement from a trusted host is a way to guarantee that the new podcasts they start will be successful. Earwolf, a network of mostly comedy podcasts, has between 300,000 and 400,000 listeners across its more than 50 shows. If it launches a new podcast hosted by someone who’s been a guest on one of its existing hits, it can expect 30,000 listeners for the show, right off the bat, says Diehn. Which means it’s already of interest to advertisers. The most extreme example is what several podcasters call “the Ira Glass bump.” In case you can’t guess, that means if your show is featured on This American Life you can expect a massive increase in listeners. Blumberg’s investors in Gimlet Media referred to his This American Life connection as his “unfair advantage.”
Right now, “it’s a lot easier to get someone to go from one podcast to another podcast than it is to get them to go from listening to no podcasts to listening to your podcast,” says Matt Lieber, Blumberg’s Gimlet cofounder. But presumably, the listening hours of existing podcast fans will be maxed out at a certain point. If the short-term question is how to get your podcast into the ears of someone who already likes podcasts, the long-term question is how to get podcasts into the ears of someone who doesn’t already listen to podcasts. More and more people arelistening in their cars. And it helped that iTunes recently created a separate app for podcast listening. But podcasts still tap only a fraction of the audience that other media reach.
This is why you can expect to see more established media companies dabbling in podcasting—not just those like The New York Times. BuzzFeed is set to launch its first podcasts this month, and audio director Jenna Weiss-Berman says the focus is on content first and not monetizing the shows. But the fact that podcast analytics are so murky could present a challenge to media outlets that are accustomed to showing advertisers exactly who has clicked on what and for how long. “For a place like BuzzFeed that’s really measurement obsessed, to not be able to really measure podcasts is obviously a big problem,” Weiss-Berman says.
Until all this is sorted out, it’s still the wild west. “It is naive and wrong to describe it as anything other than really, really early. The technology is still terrible. The distribution is pretty broken. And I don’t think anyone’s got it figured out yet,” Linsky says. “But the level of investment is about to be higher than it’s ever been. And someone, somewhere, is going to want to see a return on that.”
In January, months after “Serial” rocketed to the top of the iTunes podcasting charts and ignited a conversation about the “Golden Age of Audio,” NPR was preparing to answer with a hit of its own.
The show had spent more than a year in development. For its launch, staffers used every bit of experience they’d gained about how to engineer a popular program: They cross-promoted previews of the show on podcasting staples like “This American Life” and “Radiolab,” coordinated a media campaign, even set aside a modest sum — about $1,500 — to buy Facebook ads promoting the show.
It paid off.
Although advertisers have followed listeners to NPR’s podcasts, the shows won’t eclipse NPR’s larger streams of revenue anytime soon. While podcasting is among the network’s fastest-growing revenue sources, it is still nowhere close to the largest, Moffett said. He was reluctant to break down the dollar amounts specifically, but he did say that podcasting is currently a seven-figure business that the network is trying to grow into the mid-seven figures. Compared with NPR’s total corporate sponsorship revenue, which is a mid-eight figure business, that’s relatively small.
NPR is still interested in stoking advertiser interest, however. In late April, the network will hold a podcasting upfront in conjunction with WNYC and Chicago Public Media featuring the stars from their respective podcasts. The idea, Moffett says, is to pitch the larger advertising and marketing community on different podcasting offerings from public media outlets.
“When you look at the iTunes year recap for 2014 in podcasting, six of the top 10 most downloaded podcasts were from the three of us,” Moffett said. “I think that we at least feel that public radio, and particularly those three entities, have been a driving factor in podcasts for a very long time.”