Se muestran los artículos pertenecientes a Junio de 2007.
«O YouTube assinou um acordo com a Apple disponibilizando, a partir de Junho, todo o catálogo do site no Apple TV set-up box. Os proprietários da Apple TV poderão, assim, navegar pela oferta do YouTube e guardar os seus vídeos favoritos, usando a hard drive imbuída no sistema, avança a edição online da Variety.
fonte: «YouTube e Apple firmam acordo», Meios e Publicidade, Ana Marcela 1 de Junho de 2007
diz a Business Week:
«Five years after winning FCC approval, HD (hybrid digital) Radio is still a mystery to most consumers. Pricey HD receivers, most of which cost upward of 0, have caused many potential listeners to tune out—despite the support of major broadcasters including Clear Channel Communications (CCU), who have boosted the quality of existing stations by using analog-digital transmitters and created hundreds of HD subchannels. In a survey released May 23, radio researcher Bridge Data estimates there are only 450,000 weekly listeners of HD Radio—compared with 15 million satellite subscribers and 57 million Internet radio listeners. (About 93.5% of all Americans tune into traditional radio every week.) "A majority of Americans are now aware of the term HD Radio. But fewer than 5% of them understand what it is, what is the benefit," says Dave Van Dyke, CEO of Bridge Data. Still, 40% of respondents expect to listen to HD Radio more frequently in a year.» (fonte: «Trying to Figure Out HD Radio», Douglas Macmillan, 29/5/07, Business Week)
«No final de 2006, os analistas de media previam um crescimento de investimento dos anunciantes no meio rádio para 2007.
De qualquer forma não parece ser isso que dizem os números da própria Media Capital; Vejam-se as contas do primeiro trimestre, com uma quebra nas receitas publicitárias de 14% face ao ano anterior.
«Radio should hire an entirely different sales staff solely compensated by commission to sell Internet and podcast opportunities. The pricing would differ from radio ad sales. And because the sales team is a different group of people, there would be no added-value giveaway opportunity. It would be treated as another business and not tied directly to the radio station’s ad sales team. This would allow stations to grow additional business from podcasts, HD channels and Internet sites that are linked to the local community.The cost will be low, and the potential revenue gains can be almost unlimited. We are amazing promoters and marketers, but we must turn our attention to new growth technologies. Broadcast companies must recruit creative people who can develop new revenue streams, then empower them to make it happen. If radio companies hire and support these “drivers,” they will deliver the goods on entirely new levels of business and generate a strong future beyond what radio used to be.» (Lloyd G. Ford,PodcastingFor Profit, 29/09/06)
«According to a recent comScore study, podcast listening (as measured by who downloads what from iTunes) is dominated by Men. And 18-24's are twice as likely to download a podcast as anyone else.
Here are some summary stats:
fonte: Mark Ramsey, «Who listens to Podcasts?», Hear2.0
«Radio's got a problem. Although some 200 million people tune in each week to hear their favorite overcaffeinated DJ or catch those crucial rush-hour traffic updates, it's getting tougher to hold listeners' attention. Facing flat revenues and competition ranging from iPods to music phones, the 87-year-old industry is scrambling to reinvent itself. But not even satellite radio or the new HD format addresses this analog medium's fundamental flaw: it doesn't give people any say in which songs they hear. If you don't like a track or a DJ, your only option is to turn the dial--or turn it off.
That could change if the pioneers behind personalized radio continue to win over music lovers who are burned out on regular radio but can't be bothered to constantly refresh their iPods with 99¢ iTunes. On websites such as Last.fm, Pandora.com and the new Slacker.com personalized radio lets you train it to understand your tastes. You can, of course, just listen to the music passively as it plays on your computer. But it's even better when you make it your own, by marking each song as a favorite, skipping past it or banishing it from the station's playlist altogether. (See chart below for more details on how personalized radio works.) And despite growing concern about how proposed new royalty fees for Internet radio stations could hamper the industry's growth, on May 23 Sprint became the first wireless carrier to offer personalized radio on its phones.»
fonte: «Learning to Love Radio Again», By Anita Hamilton, Time Magazine, 29/05/07
«Even old-school DJs see the appeal of personalized radio. Elvis Duran, who hosts a popular morning show on New York City's Z100, says he could imagine a future in which listeners wake up to some comedy and conversation from the show followed by three songs tailored to their tastes. But he doesn't expect live DJs to become obsolete: "When people wake up in the morning, it's good to hear some people who are talking about interesting topics and who let you know, hey, the world's still spinning and I can go out there." Good idea. No wonder Apple never built a radio tuner in the iPod: it's scared of the competition» (fonte: «Learning to Love Radio Again», By Anita Hamilton, Time Magazine, 29/05/07)
«(...) asking online radio listeners where they uncover new music. The question used was a fill-in: "Lately, I've been finding new music on..." The survey respondents were given the choice of broadcast radio, internet radio, satellite radio, file swapping, legal music service, and other.
A funny thing happens when you crunch these numbers. It shows that a substantial number of the internet radio audience give internet radio the nod as their key "new music" source - 77.1% to be exact. Only 7.7% say that, of late, they've been finding new music on broadcast radio.
This same question was asked of RRadio Network's online radio station audiences in 2005. In April of that year, 24.8% said that broadcast radio was leading them to new music. And, of these online radio station listeners - two years ago - 54.1% reported internet radio was where they found "new music." All other choices (satellite radio, file swapping, legal music service, and other) also dropped in the percentage of people using them to find new music between 2005 and 2007.
Study the chart and consider that online radio has, in just two short years, run away with the perception that it's delivering new artists (to people who listen to internet radio).
fonte: «Trends for Internet Radio Industry», Audiographics, 11/05/07
- most Europeans would have digital terrestrial radio. The DRACE report says DAB will be a strong option in the UK and Denmark, but supplemented with Digital Radio Mondiale (DRM) and DMB; DAB is “an expensive and uneconomic system.”; Nevertheless, by 2015, Finns are likely to be using the DVB-H technology developed by Nokia, while Canadians will have IBOC, DAB and satellite radio
- TV-style digital switchover for radio is very unlikely. They also predict that given existing market penetration, FM radio will continue to play a significant role in both Europe and Canada.
- most respondents predict there will be distinct national solutions. Differences in national regulation and frequency administration will fragment the digital radio landscape.
- there will be an increase in personalized and on-demand radio, with more listener sovereignty, personalization options and the gradual disappearance of schedules. Radio will be available when and where listeners want it.
- traditional broadcast radio will continue to play an important role in people’s lives. This is attributed to the strengths of linear radio, including mobility, ease of access and localism, as well as powerful journalistic and artistic content.
(excertos deste texto: «DRC07: radio in 2015», Multimedia meets radio, Mike Mullane on 04 June 2007)
Mark Ramsey: «the mobile phone of today will, in some meaningful sense, be the portable radio of tomorrow»
«Parece que a moda pegou. Depois do SpiralFrog e do Qtrax é agora a vez de Peter Gabriel lançar o We7, outro serviço de música online baseado em publicidade que oferece downloads gratuitos de ficheiros MP3 sem DRM (via The Register). Cada faixa irá incluir no início um anúncio com a duração de 10 ou menos segundos, sendo o lucro gerado distribuído entre os artistas. As músicas deverão ter um bit rate de 192 Kbps. Os anunciantes deverão pagar entre 0,30 a 0,60 libras (44 a 88 cêntimos de euro, respectivamente) e o utilizador pode ver-se livre do anúncio depois de entre três a cinco audições - se bem que no site apenas se mencione que existe a possibilidade de remover a mensagem publicitária quatro semanas depois de se ter escutado a faixa pela primeira vez; não se sabe é se se terá que pagar alguma coisa em troca…»
fonte: «We7 de Peter Gabriel oferece música com publicidade », Remixtures.com, 01/05/07
«The RadioCentre Player features 12 preset stations, including the national services, Classic, Virgin and TalkSport; other big stations such as Heart and Capital, and a few smaller regionals from Channel 103 FM to Lincs FM. The selection of the preset list is not based on audience or any other consumer measure but on who sits around the RadioCentre board table, hence the bizarre mix.
Putting such political nonsense to one side, the player gives access to every single station in the UK, either in an alphabetical format or by group ownership basis. This means that you can listen live, in real time, for free, to any station in Britain. Whether you are a record plugger wanting to assess a music format (or, more importantly, find out whether a station really is playing your artist's song), or a media buyer checking out the target audience, this is a brilliant tool. It is quick - almost every station buffers and streams live in less than 10 seconds - and there are fewer clicks than going on to the BBC website to "listen again".
This brings me to the BBC, and where some commercial radio executives start to get uneasy. The player features a "search" button, which brings up all of the BBC's national, regional and local stations (http://www.bbc.co.uk/imp/). So imagine if you are tuned to Magic, and the breakfast presenter Neil Fox promotes the RadioCentre Player URL. Listeners are instantly transported to a place where not only can they hear all of Magic's commercial rivals, but the BBC as well. Chris Moyles is just three clicks away.» (http://media.guardian.co.uk/mediaguardian/story/0,,2094429,00.html)
É da Creative (linha Zen), custa metade do preço de um iPod Shuffle e baseia-se na ideia da «escolha aleatória»
«Creative Zen Stone é o que poderíamos chamar de iPod shuffle reprodutor MP3 e WMA sem tela. Segundo palavras da própria Creative "deixe-se surpreender pela canção que virá depois" com o seu modo aleatório.
«CUPERTINO, California—April 2, 2007—Apple® today announced that EMI Music’s entire digital catalog of music will be available for purchase DRM-free (without digital rights management) from the iTunes® Store (www.itunes.com) worldwide in May. DRM-free tracks from EMI will be offered at higher quality 256 kbps AAC encoding, resulting in audio quality indistinguishable from the original recording, for just .29 per song. In addition, iTunes customers will be able to easily upgrade their entire library of all previously purchased EMI content to the higher quality DRM-free versions for just 30 cents a song. iTunes will continue to offer its entire catalog, currently over five million songs, in the same versions as today—128 kbps AAC encoding with DRM—at the same price of 99 cents per song, alongside DRM-free higher quality versions when available. ler mais em http://www.apple.com/pr/library/2007/04/02itunes.html»
A Internet não precisa de ser legitimada cientificamente, dirão, porque todos nós sabemos que a usamos.
Mas há dados que mostram que a Internet não é como ver televisão ou ouvir rádio. «Num estudo efectuado em 2002/ a Datamonitor, uma multinacional especializada em estudos de mercado e líder na disponibilização de informação onine, apurou que a Internet demorou menos de dez anos até ser utilizada por cinquena milhões de indivíduos, enquanto a televisão precisou de aproximadamente quinze anos e o rádio cerca de quarenta». (Chaves et al., 2007: 29)
«Music remains one of the seminal influences in the lives of young people, though we also discovered that less than one out of flve teens lits that music impacts their thinking or behavior. The » (Barna, 2001: 104)
«If analysts are taken aback by the rapid growth of Internet usage among, adults, that incidence pales in comparison to the proportion of teenagers who use the Net- currently some 91 percent! Teenagers also go online more frequently than do adults, and tend to stay online for longer periods of time. If the Net is just becoming a comfortable addendum to the adult media world, it has already become an indispensable focal point of the teenagers' world of communications. It is relied Upon for self-expression, information and entertainment» (Barna, 2001: 32)
«The jury may be out on Google's attempt to sell radio advertising, but that didn't stop eBay from joining the business last week, through a pact with Bid4Spots. The company sells last-minute radio inventory through weekly online auctions for about 2,300 radio stations.
«O eBay, maior site de leilões virtuais dos Estados Unidos, está ingressando no mercado de anúncios para rádio, tornando-se negociador de inserções comerciais no meio e um competidor do Google, qua já provê um serviço similar.
A propósito das funções/capacidades do iPhone, escreve Mark Ramsey:
«While the new iPhone does not literally contain a radio, it functions like an iPod (among many other things) and can thus fulfill that part of you that wants your tunes in a groovy cross-category package, albeit one with a 0 entry fee. Just as we are seeing more music consumers choose the singles they want (digitally) rather than the ones they don't want (by buying CD's), we will increasingly see those same consumers demand control over their passive music environment (i.e., radio) as well. Not by seeking out more choices but by controlling the nitty gritty of the choices they have. Actively or passively, listeners will gradually become their own programmers.When it comes to music, future radio will have to be much more responsive to the individual than to the collective. Closer to an iPod than a theyPod.»
diz Fred Jacobs:
«The video revolution is underway, led in large part by YouTube. While most people focus on its sale to Google for .65 billion, consider this: YouTube didn't even exist until February 2005. This reinforces the amazing potential of web-based business concepts, as well as the meteoric rise of streaming video. This year's version of the Jacobs Media Tech Poll reinforces the video phenomenon among Rock Radio listeners. (Consider that we didn't even ask about video streaming until this year's poll.)The data shows the rising tide for video streaming, as over half our respondents download/stream video on a frequent or occasional basis. Of them, nearly three-fourths visit YouTube.
Of course, this has implications for radio, a world in which pictures have traditionally not existed. But today, listeners expect to see video. Video is everywhere, from flat-screen TVs to phones to iPods to elevators. Radio's ability to turn that corner and provide cool video of a morning show stunt, the "Rock Girl" competition, the backstage scene from concerts, or as a way to recap a great event are all new applications that can breathe life into terrestrial radio, its personalities and its communities. But most stations don't have a webcam, can't post simple video to their websites, and often lack a person in the building with rudimentary editing skills. (After watching my 15 year-old son and his friend edit a 5-minute video on iMovie the other night, it dawned on me that these are not skills that require a high level of tech knowledge.)» (fonte: «Video Helped The Radio Star», Jacobs Media, 7/06/07)
Video isn't a threat to radio - it's an opportunity.
«Ipod owners in the UK will soon be able to tune in to digital and analog broadcasts, thanks to a new plug-in accessory developed through a joint effort by Frontier Silicon and Roberts Radio.
The first of-its-kind device, measuring 52.4mm x 32.0mm x 8.1mm, Frontier Silicon's Kino 2 DAB IC connects directly to a users Ipod, enabling users to listen to DAB or analog FM radio. It also offers remote control functionality to play, pause, fast-forward or rewind stored music files. Roberts plans to launch the product in October 2007 at an MSRP of about 0 US.»
«Internet listening to AM/FM radio stations grew substantially in the last reporting period from Arbitron, going from 4,684 quarter hours in the spring of 2006 to 20,331 quarter hours in the fall of 2006.
The increase in quarter hours coincides with the implementation of new diary instructions, effective in the fall of 2006, that identify internet and satellite radio as sources of listening for respondents to note in their diaries in addition to AM/FM radio, according to Arbitron.
Despite the growth in internet listening, listening to AM/FM radio stations online still accounts for less than 1 percent of un-weighted quarter-hours overall in the 30 analyzed markets (from 0.11 percent in spring 2006 to 0.47 percent in fall 2006).»
fonte: Internet Listening to AM/FM Radio Stations Soars in Fall 2006 Media buyer planner, 11/06/07
«(...) Confronted by a slow erosion of listeners who are turning to iPods, podcasts and other sources for entertainment, the radio corporations are trying to merge their over-the-air music and D.J. chatter with the Web, adding online streams of their broadcasts and features already found on many independent Web-based stations. These include live chat rooms, blogs and MySpace-style social networking features.
Late last month, CBS said it had paid 0 million to acquire Last FM (last.fm), a popular Web radio service where listeners can customize stations based on their personal taste, and also explore other users’ playlists. And Clear Channel, the biggest radio corporation, with a stable of more than 800 stations, has built miniature social networks into the Web sites of Hot 99.5 (hot995.com) and 7 other pop-music stations in major markets in the latest step in an ambitious digital initiative (...).
Broadcast radio still commands a massive audience: An estimated 230 million people tune in each week. The trick for the big radio corporations, though, is that pursuing listeners online may mean developing a wholly different approach to programming. Many Internet-based stations say their medium allows them to offer an abundance of genres far outside the boundaries of traditional over-the-air music stations, often with playlists that can be tailored to the taste of the individual listener. Pandora (pandora.com), one of the most popular Internet radio services with roughly seven million users, creates personalized stations based on the characteristics of users’ favorite songs. Live 365 (live365.com), which says it has four million listeners a month, is a searchable portal to thousands of tiny stations playing genres ranging from neo-soul to Christian blues. Given the proliferation of wireless Internet access, many of the fledgling radio services hope that fans will soon be able to flip on an online radio stream while driving to work instead of tuning into the local morning radio D.J. “It’s just a matter of time before you can get Internet streams wherever you are,” said Tim Westergren, a co-founder of Pandora.
Broadcast radio still commands a massive audience: An estimated 230 million people tune in each week. The trick for the big radio corporations, though, is that pursuing listeners online may mean developing a wholly different approach to programming.
Many Internet-based stations say their medium allows them to offer an abundance of genres far outside the boundaries of traditional over-the-air music stations, often with playlists that can be tailored to the taste of the individual listener. Pandora (pandora.com), one of the most popular Internet radio services with roughly seven million users, creates personalized stations based on the characteristics of users’ favorite songs. Live 365 (live365.com), which says it has four million listeners a month, is a searchable portal to thousands of tiny stations playing genres ranging from neo-soul to Christian blues.
Given the proliferation of wireless Internet access, many of the fledgling radio services hope that fans will soon be able to flip on an online radio stream while driving to work instead of tuning into the local morning radio D.J. “It’s just a matter of time before you can get Internet streams wherever you are,” said Tim Westergren, a co-founder of Pandora»
fonte: «Big Radio Makes a Grab for Internet Listeners»; The New York Times, JEFF LEEDS, Published: June 12, 2007
«Another group has formed to represent the rights of artists in the digital music rights fight to get music royalties compensation from radio. A partnership of artists and music industry organizations launched musicFIRST, for “Fairness in Radio Starting Today.” This coalition is asking that performers - aspiring and local artists, background singers and stars - be compensated when their music is broadcast over the air. Some 100 recording artists, including Martha Reeves, Jimmy Buffett, Celine Dion, The Doors, Earth, Wind & Fire, Patti LaBelle and Mary Wilson, have signed on as founding members. Radio does pay royalties to ASCAP, BMI and SESAC, groups that distribute compensation to artists, but music labels have been fighting for higher rates from radio. The RIAA and SoundExchange are among 11 music industry organizations that belong to the new coalition. “Of all the ways we listen to music, ‘Corporate Radio’ is the only medium that refuses to pay performers even a fraction of a penny for their voice and creativity,” stated Mark Kadesh, executive director of musicFIRST. “This campaign is about making sure everyone, from up-and-coming artists to our favorites from years-ago, is guaranteed fair treatment when their music is played.” The new group is lobbying Congress, along with the RIAA, to support legislation to levy digital performance rights royalties on radio. NAB calls it a performance tax. NAB, CEA, other interested parties and the RIAA have been in talks to try to develop a non-legislated solution. In hearings on the digital performance rights issue, lawmakers have said they prefer that industry solve the issue without government intervention»
fonte. «New Group Formed by Artists, Labels; Bashes ‘Corporate Radio’ », 15/06/07, RWOnline
A industria já respondeu:
«In response to the formation of the advocacy group musicFIRST Coalition, NAB said it will continue to aggressively fight the RIAA’s proposed performance “tax” on local radio stations. “Congress has long recognized that radio airplay of music generates millions of dollars in revenue for record labels and artists,” said NAB Executive Vice President Dennis Wharton in a statement. “Were it not for radio’s free promotional airplay of music on stations all over America, most successful recording artists would still be playing in a garage.” Additionally, NAB referenced a radio commercial that aired in 2005 as part of an NAB campaign promoting radio. In it, John Legend, then an up-and-coming new artist, praised and thanked a radio station in Chicago for giving him his big break.»
fonte: «NAB to musicFirst: ‘If It Weren’t for Radio, You’d Still Be in the Garage.’ RWOnline, 15/06/07
«According to research from The Diffusion Group, 11 percent of adult broadband users, or approximately 12 million U.S. consumers, listen to podcasts at least once per month. TDG’s report on new media predicts that by 2012 that number will grow to 24 percent of broadband users or 38.5 million people. It says that while podcasting continues to expand, two factors are keeping a lid on usage: podcasting is perceived as too complex for average consumers to use; and so they remain unaware of the quantity and quality of content available for consumption. Dale Gilliam III, director of primary research and author of the report, says this lack of understanding is due to the many ways in which pundits and marketers have used the term “podcast.”
Other findings: * Among those who listen to podcasts at least once a month, 68 percent use a portable device while 49 percent listen on a PC; * On average, users listen to 5.4 podcasts per month on a portable device and 4.7 on a PC; * On average, those who subscribe to podcast services are signed up for 4.1 different feeds; and 70 percent of users rely on iTunes to access podcasts.»
fonte: «TDG: Podcasting Audience Growing, Medium Poorly Defined by Marketers », RWOnline, 15/06/07
«Let's face it -- radio stinks. It's 40 minutes of commercials, 10 minutes of annoying DJs looking to offend, and maybe 10 minutes of music. And in that 10 minutes, you're bound to hear the same five artists multiple times, and the music will generally be the most inoffensive pablum imaginable. DJs are corrupted by payola and stations are driven by the profit motive to turn as much time over to advertising as possible. This sorry state of affairs comes just as listeners have a broad array of new options -- satellite broadcasting, the iPod-driven culture of user-created playlists, and Internet radio stations like Pandora and Last.FM, raising real doubts about whether broadcast radio will be able to pull out of its slump and find its creative spark. (...)»
fonte: «Notes From The Future Of Radio», Martin H. Bosworth, ConsumerAffairs.Com, 15/06/07
«If you had a choice - if you had to live with just one device or technology - what would it be? Would you choose the Internet? Or TV? Or your iPod? Or FM Radio? That was the hypothetical question we posed to 25,000+ Rockers in this year's Technology Poll, and the winner may surprise you. Television came out on top - despite all the hype about new technology and how everything's changing. It's a real tribute to how the TV networks (not to mention HBO, Showtime, etc.) have produced compelling, habit-forming programming.
Radio is still in the hunt, of course, powered mostly by its morning and personality-driven shows. But we have a long way to go in the content department if we're going to remain vital and competitive with new - and old - media.»
fonte: Jacobs Media, The One Thing, 12/06/07
Mas entre os 18/34 a questão é bem diferente: 28% para a Internet, 19% para a televisão
«Com apenas 8 meses de vida, o Palco Principal está rapidamente a conquistar o título de principal espaço de música portuguesa na Internet. Hoje já agrupa uma comunidade de mais de 15 mil utilizadores regulares (entre músicos e ouvintes). Só em Abril de 2007, acederam ao sítio Web (www.palcoprincipal.com) mais de 300 mil visitantes, ultrapassando as 3 milhões de «page views». Criado por iniciativa de João Carvalho, um jovem músico e engenheiro formado na Universidade do Porto, o Palco Principal aloja hoje mais de 3700 projectos musicais, agrupados em 16 estilos diferentes. E tem também à disposição mais de 10.000 bandas «mainstream», permitindo o acesso a alguns vídeos de concertos, «videoclips» ou entrevistas. Ao mesmo tempo, os internautas podem alojar músicas (para audição e «download»), colocar álbuns de fotografias ou inventar blogues. “O Palco Principal integra-se na corrente da chamada Web 2.0 ou Web social, que privilegia a Internet como espaço de encontro”, explica João Carvalho, adiantando que o objectivo do projecto é “mobilizar a comunidade que cria e partilha conteúdos e gera transacções”.»
fonte: RAMOS; João, «O palco musical da web», Expresso/EConomia, 02/06/07
De acordo com os dados da agência CARAT, citados pelo M&P, a rádio sofreu a maior queda no investimento publicitário, com uma queda de 7por cento (imprensa, diária ou não diária, e cinema cairam até dois por cento), isto a preços reais. Nesse mesmo artigo pode ler-se que o conjunto das estações representa 5,7 por cento do bolo total, o que não atinge os 10 milhões de euros. ´«O responsavel da Carat descreve o comportamento do meio como 'preocupante', já que a rádio tem vindo a cair quase de uma forma sucessiva»;
em contrapartida a Internet vale pouco mais de 3 milhões de euros, mas cresceu neste trimestre 107%
fonte: Meios e Publicidade, «Investimento real cresceu 1,6% no primeiro trimestre», Hugo Real, 18/05/07
«(...) o fim do modelo dos anúncios de 20 ou 30 segundos concentrados num bloco comercial. "Vamos entrar numa era em que os conteúdos publicitários diluídos na programação terão um peso superior ao dos spots". Para ilustrar esta perspectiva, Mark Story repetiu uma frase de um autor norte-americano segundo a qual, no futuro, "o negócio da rádio será como um icebergue, um terço estará à vista, enquanto dois terços estarão submersos".»
fonte: MARQUES, Rui O., A rádio tem futuro na era da internet e do iPod?, Meios e Publicidade, 18/06/07
«"A rádio tem de mudar se quiser sobreviver". Foi com estas palavras que Mark Story, responsável pela programação das 50 rádios que o grupo EMAP possui no Reino Unido e na Irlanda, abriu o seminário ‘Rádio na Era da Internet e do iPod' integrado no festival de publicidade de Cannes. Sublinhando os crescentes meios de difusão - mp3, iPod, telemóvel, televisão e satélite-, Story acredita que "não estamos perante tempos confusos. A rádio sempre soube reinventar-se ao longo das décadas". Sinal disso, explicou ontem, é a convicção de que a rádio "pode tornar-se ainda mais relevante. Devemos ter a preocupação, não com a rádio, mas com as pessoas que trabalham na rádio tradicional e que não percebem o desafio da rádio digital".A mudança na forma como a rádio é ouvida aponta para os caminhos que o meio deve trilhar. No Reino Unido, citou Story, 8,2% das pessoas maiores de 15 anos já ouve rádio através do telemóvel. (...) Ao mesmo tempo e olhando para uma cidade como Londres, onde um parte significativa das pessoas se desloca em transportes públicos, o programador da EMAP apontou para as oportunidades que os downloads e os podcasts representam. "A rádio e o iPod são parceiros perfeitos", considerou. Afinal, a rádio não pode fechar os olhos aos 18,4% de britânicos que possui mp3. Mark Story apresentou dois casos desenvolvidos pela sua empresa e pagos por patrocinadores para atingirem este público. Um dos conteúdos funcionava como um guia para caloiros com dicas para sobreviver ao primeiro ano de faculdade. Já o segundo exemplo consistia em explicações de um psicólogo e de um hipnotizador para que quem estivesse a deixar de fumar ouvisse argumentos para prosseguir a sua decisão»
fonte: MARQUES, Rui O., A rádio tem futuro na era da internet e do iPod?, Meios e Publicidade, 18/06/07
«"Internet radio, which can draw on vast troves of music from around the world and customize them to a listener's personal tastes, is growing. While ratings for traditional radio broadcasters have been lackluster, Internet radio listenership in the U.S. has risen to 29 million a week, up from 20 million three years ago, according to Arbitron Inc. and Edison Media Research. "Even so, the nascent industry has yet to capture the biggest prize — portability... Now, start-ups and giants are jockeying for position in mobile Internet radio, in a race that could rearrange the business model of music and broadcasting... "Last month,... Pandora Media Inc., one of the biggest players with seven million registered users, announced it is working with Sprint Nextel Corp. to make its service available on mobile phones. Pandora says it is also working on its own player as well. [previous RAIN coverage here.] "One of the field's newest aspirants, Slacker says its hand-held will be out by summer's end. Slacker is also pushing hard into automobiles. The company says it is close to introducing a car kit that will play Slacker-selected tunes in any vehicle. Chief Operating Officer Jim Cady says he is in early talks with unidentified auto makers about building Slacker technology into car dashboards... "...Internet radio 'will sweep into the car, and the traditional station is going to have to think about how they reprogram to compete,' says Jonathan Jacoby, an analyst at Banc of America Securities... ''We've had conversations with a huge number of car companies [and] car audio manufacturers that are all very eager to start making this more a part of the dashboard,' says [Pandora founder Tim] Westergren... "[Slacker's] planned car kit reflects a technical advantage. While most other Internet radio providers are reliant on WiFi, Slacker's portable devices will use both WiFi and satellite technology... "Slacker says the first hand-held devices, which will start at 9, will refresh automatically when they're in WiFi zones,... "Rather than paying statutory license fees, Slacker cut deals directly with record labels. Like satellite-radio broadcasters, Slacker will turn over an undisclosed percentage of revenue in royalties, rather than paying per song and per play."»
fonte: McBRIDE, SArah, «Internet Radio Races To Break Free of the PC»,, WSJ, 18/06/07
O comentário de Kurt Hanson: «It surprises me — I guess pleasantly — that this is such a big story that it warrants being the lead story in the Wall Street Journal today. The thing is Internet radio is already mobile! Any consumer with a Palm OS device or a Windows Mobile device can download a music player than can handle the streaming MP3 format. Once they do, they've got access to thousands of Internet radio stations. And a adapter from RadioShack will feed the signal from your mobile device into your car stereo system. So, basically, mobile Internet radio is here already! From now on, it's just a matter of improving and fine-tuning the details. -- KH»
«O governo deve decidir até setembro o padrão de rádio digital que será utilizado no Brasil. O ministro das Comunicações, Hélio Costa, disse hoje que o país poderá adotar dois padrões: o norte-americano, reivindicado pelas emissoras de rádio, e o europeu, que permite melhor transmissão em ondas curtas. A idéia é usar esta última tecnologia para transmitir rádios educativas e públicas. A previsão é começar a utilizar a tecnologia digital no início de 2008 nas principais cidades do país. "Há uma tendência entre os radiodifusores que leva ao Iboc [padrão norte-americano]. Mas a indústria não faz objeção a um modelo híbrido para atender o sistema de ondas curtas", declarou Costa. Apesar de admitir que a transmissão por ondas curtas está "praticamente abandonada", Costa lembrou que a tecnologia é muito importante principalmente na região amazônica. Existem hoje cerca de 50 emissoras em ondas curtas no país. Segundo o ministro, a transmissão em ondas curtas pode substituir, em alguns casos, o satélite. "Com uma transmissão em Brasília, você chega a toda a América Latina. Reduz muito o custo", observou. Com os dois sistemas, porém, o ouvinte precisará de um aparelho para ouvir emissoras que transmitem em ondas curtas e outro para AM e FM, como já acontece hoje na maioria dos aparelhos»
fonte: «Brasil pode ter dois padrões para o rádio digital», 20/06/2007, Folha Online
«"A rádio vai morrer muito em breve e só a publicidade é que decidirá por quanto tempo é que ela se mantém". O vaticínio, pessimista, foi assumido quarta-feira ao final da tarde pelo jornalista Luís Filipe Costa durante um seminário na Sociedade Portuguesa de Autores sobre a sobrevivência da rádio, onde estiveram ainda presentes responsáveis como Luis Osório, Luís Montez e António Sala.
fonte: «"A rádio vai morrer muito em breve"», INÊS DAVID BASTOS, DN, 22/06/07
A resposta é uma incógnita absoluta, porque coexistem as mais diversas hipóteses.
- deixaremos de ouvir rádio hertzianamente ou a rádio hertziana, existindo, será apenas um complemento de um serviço global oferecido via internet?
- a rádio digitalizada conseguirá afirmar-se (DAB, HD ou outro sistema), mantendo a rádio como acto sincrónico (uma determinada programação pensada por alguém e destinada a muitos, sem possibilidade de alteração)?
- acabarão os receptores individualizados de rádio e ouviremos não atraves de receptores FM mas de telemoveis, consolas, mp3... emissões streaming?
As respostas são uma incógnita na medida em que, mesmo tentando não olhar o presente pelo retrovisor, poderão aparecer novos desenvolvimentos tecnológicos que - pela suas características - irão condicionar tudo o resto, porque há movimentos e fenómenos (das diversas indústrias envolvidas) que não se conseguem controlar/antecipar, além de que cinco ou dez anos poderão ser muito ou pouco.
Mas há algumas coisas que parecem «certas»; sinais estruturais de desenvolvimento (e numa fase de grande incógnita/encruzilhada são essas a que nos devemos agarrar):
- a digitalização mudou dois paradigmas em que assentava a rádio convencional e nesse aspecto são duas novas ameaças: criou novos canais de acesso à música, deixando de ser a rádio o canal privilegiado, em muitos casos (para os jovens sem poder de compra, ou mais isolados dos grandes centros) único, de acesso a nova música; possibilitou o aparecimento de verdadeiras alternativas de escuta em acumulação, que antes pura e simplesmente se reduziam à rádio: podemos conduzir, correr ou estudar e ouvir, ao mesmo tempo, milhares de músicas, sem publicidade e a gosto, nos leitores de mp3/iPod. Como consequência imediata, e até porque são os mais atentos às novas tecnologias digitais, os jovens começaram a afastar-se da rádio;
-a digitalização é resultado da Internet e a Internet desenvolveu-se em tantas frentes que, numa delas, se constituiu como meio de comunicação social (como suporte alternativo aos meios convencionais); para se viabilizar precisa de publicidade e a publicidade é um bolo que antes era repartido pelos tais suportes convencionais. A partir do momento em que se constata o crescimento de interesse pela Internet (menos de 10 anos para atingir 50 milhões de utilizadores, contra os 15 anos da televisão, por exemplo), e que o bolo a distribuir não cresce, há desvio de receitas para a Internet. A rádio, como meio mais desvalorizado - o único a cujas audiências não corresponde um valor proporcional de publicidade -, foi o primeiro a sofrer. Sem as receitas habituais, viverá como a rádio?
- A internet/digitalização também significa uma oportunidade para a rádio - mas para que essa oportunidade se afirme a rádio terá de evoluir de tal maneira que deixará... de ser rádio. Será outra coisa qualquer, que ainda não tem nome, mas não será mais uma programação, pensada por poucos, e destinada a muitos, sem possibilidade de a personalizar.
PS - a resposta à pergunta dos especialistas do DRACE diz-nos que «by 2015 most Europeans would have digital terrestrial radio» e que «FM radio will continue to play a significant role in both Europe and Canada», e isto porque « This is attributed to the strengths of linear radio, including mobility, ease of access and localism, as well as powerful journalistic and artistic content». Não penso que assim vá ser. Para mim será mais «an increase in personalized and on-demand radio, with more listener sovereignty, personalization options and the gradual disappearance of schedules. Radio will be available when and where listeners want it»
«A key interface repeatedly referred to throughout the conference was “the red button,” an established concept in television here. During programs with additional/interactive content, viewers can press a red button on their remote to access the content. Speakers outlined proposals for the use of the red button as a conduit for personalized content provision and additional revenue generation, some of which is due to become operational later this year».
fonte: Lawrie Hallett, «Digital Show Faces Realities», Radioworld, 2006
«Radio is not just becoming an interactive medium: it is also becoming increasingly visual and platform operators and supporters of DAB or DMB broadcasting must address the threat of Visual Radio on mobile phones, which uses ordinary FM signals into the handsets and synchronises them with WAP/GPRS connections via the mobile network to deliver enhanced data including colour images of artists, station logos or products that are being advertised. (...) Visual Radio - pioneered by Nokia, marketed by HP but only available on a handful of systems worldwide, represents a very limited radio market today. However, it combines the efficiency of FM over-the-air broadcasts with a two-way, one-to-one connection that makes true interactivity possible, including the ability to link to websites, send emails and download ringtones or other services that can be monetised. Visual Radio looks like a killer application, especially for those targeting youth markets. It is an example of the power of mobile phones as radio devices, the emergence of significant new players in the radio industry (like Nokia as a receiver manufacturer), and an indication of how radio is quickly evolving beyond audio-only. (...) How will the DAB-based marketplace respond to Visual Radio? DAB already contains the tools, in the form of MOT (Multimedia Object Transfer) Slide Shows, to deliver still images alongside audio. But where are the colour displays that will make free-to-air digital radio broadcasts as graphically rich and compelling as Visual Radio? Are digital radio platform operators interested in delivering still colour images and is there a business model to support it, bearing in mind that mobile phone operators can draw upon subscriptions or pay-per-use GPRS connection time to fund Visual Radio? Is there an advertising/sponsorship model that could make truly visual radio possible on free-to-air digital radio? The emergence of visual radio looks so compelling, from a consumer perspective, that it begs the question: will there be any other kind of radio 20 years from now? How should radio broadcasters, content creators and platform operators view this innovation in terms of their future businesses? Perhaps the biggest potential for radio-to-mobiles is in interactivity.
texto de apresentação do The Digital Radio Show 2007, 11 e 12 de Junho 2007, Londres
Já que «While it seems likely that radio broadcasters can have a profound impact on the success of individual sound recordings, it does not appear, as Sidak and Kronemyer have commented, that anyone has empirically examined this proposition» (pág. 4), Stan J. Liebowitz, da School of Management, University of Texas at Dallas, estudou e chegou à conclusão de que «The analysis above provides evidence that radio play is negatively related to the overall level of record sales and that the size of the negative impact is large. This implies that radio play is largely a displacement for the sales of sound recordings, a result that seems at odds with most conventional thinking» (33) e que «The negative impact of radio on record sales only exists for music broadcasts and not for talk radio, which is consistent with a view that listening to music on the radio is a close substitute for listening to music on sound recordings» (34), propondo «With a full property rights system in place, record companies could control how frequently their records were played and extract payments from radio broadcasters, or they might make payments to broadcasters as the case might be. A complete market solution would have a set of rights like the one between the television and movie industries. Record companies would be able to enter into whatever contracts they wished, including restricting the playing of songs to particular stations in particular localities» (35).
«Don’t Play it Again Sam: Radio Play, Record Sales, and Property Rights», Janeiro, 2007 (via NetFM)
Kurt Hanson explica porque é que vários grupos com responsabilidades nos EUA não aderem:
«First and foremost, some groups believe the death of Internet Radio is a blessing. They feel that the less Internet radio there is, the better off they will be. In fact, if all Internet radio stations disappeared tomorrow such that terrestrial stations could shut down their streaming efforts, I'm sure many would be glad to do so. (...) Radio will, in other words, be victimized by its lack of vision. Because not only will this rate hike, if it's approved, come back to haunt radio by setting a precedent for what "fair" compensation is, not only will it cause many broadcasters to abandon their streaming efforts (if they had any to begin with), it will also kill most small webcasters leaving room only for the folks with deep pockets and a long view of the future»
«OTTAWA -- A new study has found that Canadians -- especially teens and young adults -- devoted less time than ever listening to their radios for entertainment in 2006. Statistics Canada reports young people aged 12-24 appear to be switching to digital music players and online music services. On average, Canadians tuned in to their radios for 18.6 hours during "measurement week" in the fall of 2006, down from 19.1 hours a week in 2005 and about two hours less than in the fall of 1999, when radio listening peaked. Among young adult men, listening fell to 13.7 hours from 15.1. Among their female counterparts, it slipped to 14.6 hours from 15.4. Senior women continued to be the most ardent radio listeners, tuning in for 22.7 hours per week -- virtually unchanged from 2005 -- while listening by senior men edged down to 19.5 hours a week from 20.3»
fonte: «Radio listening dropping off», London Free Press, June 27, 2007, By CP
«El periodista y presentador de Noticias Cuatro Iñaki Gabilondo lamentó la "total pérdida de credibilidad" de la radio en España como consecuencia de un proceso de "enconamiento político" y de las "tertulias espectáculo" que han provocado "lo peor que le podía pasar a las radios", que han quedado "etiquetadas y marcadas políticamente". Gabilondo aseguró que la radio "es incapaz de gestionar la complejidad" del mundo. (...) "Para nunca más volver a la radio, porque no hay futuro, sólo hay pasado", dijo antes de repasar la historia reciente de la radio y los cambios ocurridos de la implantación de la democracia en España y la llegada de las tertulias radiofónicas. "Se lo debemos al gran olfato de Luis del Olmo, que venía de la radio espectáculo, de la tradición de los programas matinales, y hasta que él lo hizo, era inconcebible escuchar una entrevista a un líder sindical por la mañana", explicó.»
fonte: «Gabilondo: "La radio ha perdido la credibilidad por enconamiento político"», Madridpress.com, 28/06/07
«XM Satellite Radio has unveiled two new devices: the XpressR and XpressEZ. The XpressR is the first satellite radio with split screen display, and includes a 30-minute pause and replay. The XpressEZ is an entry-level radio. (Right: XpressR, Photo Credit: © XM Satellite Radio) »
(The following was contributed by piano-driven Americana artist Dave Turner of Asheville, NC.): «Traditional radio and satellite radio are losing marketshare to innovative services responding to market demand such as Pandora, which I subscribe to for per year. Pandora allows me to create radio stations based on their music genome project, which takes traits of music by certain artists and finds other artists with those traits. So, if I create the Elton John channel, it finds other artists appealing to Elton John fans. I create several channels named for my favorite artists, set the player to mix and it plays music I like all day with no commercials, and it introduces me to new artists and provides links for me to buy their music. (Now there’s money that really IS going to the artist in CD sales AND trackable listens.) Here’s the kicker: because of these kind of services, I NEVER listen to the radio except when I’m in my car, and then I only listen to public radio. I think that the big-monied traditional and satellite media companies would like to see internet radio stamped out. »
«A banda larga vai ser a pedra basilar da indústria de media. Será impossível que os 'players' controlem esta vaga e é garantido que deverão caminhar para no sentido de disponibilizarem na Internet todo o tipo de conteúdos que produzam, sejam eles de informação ou entretenimento» (Jonathan Taplin, in NOBRE, ADriano, «A banda larga vai ser a pedra basilar da indústria de media», Jornal de Negócios, 29/05/07).
Do mesmo professor norte-americano: «A era digital democratizou o panorama digital dos media. E graças a essa democratização foi possível retirar o controlo da distribuição de conteúdos da mão de um pequeno grupo de empresas (...)A partir do momento em que as pessas alteraram a percpeção do conceito de consumo de media e começaram a interagir com o objceto de consumo, tudo mudou».
Ideias retiradas do texto «Web Content Models Need Context», tvtechnology.com, Tony Ware, April 20, 2007 , e ditas por Shen Tong, presidente da VFinity («Business success on the Web is dependent on mastering not just content but context»):
- « the most challenging and important question for media business (...) refers to massive growing interactivity.»
- «everything — from the Amazon model of users reviewing products and users rating reviews to actual internal production — will become a network of harnessing context tools and tags»
- «Now the key is in the filters, he said. Customers desire a self-service, self-correcting mechanism more than a dictated product. Manufacturers need to take note, offering a context-centric strategy with flexible metadata. Customers will dictate valuable content. “Gatekeepers are dead,” Tong said, stressing people as an integration point of creativity, community and software. “It’s not about how you can protect content, it’s about how easy you can get content to the context aggregate system.”»
- «“The power of social networking is available to everyone; it is not a threat,” Tong said.
Transistor kills the radio star?
Um blogue de suporte a uma investigação sobre a rádio do futuro - ou o que quer que ela se venha a chamar...
Textos de referência