«¿podemos hablar con precisión de radio en Internet? Una respuesta más inmediata sería afirmativa: sólo cabe teclear, por ejemplo, las direcciones de cualquiera de las cadenas radiofónicas españolas[1] y comprobar cómo efectivamente están presentes en la red. Pero si observamos con atención las páginas que nos ofrecen, probablemente cambiemos de opinión: estamos en Internet, sí, pero ¿esto es radio? Los datos y las imágenes que acompañan a los sonidos nos obligan a dudar. No, no es radio en sentido tradicional, es más que radio, es sonido contextualizado con imagen e información escrita, además de la emisión estricta de la programación convencional que oferta cada una de las cadenas radiofónicas en Onda Media o Frecuencia Modulada. Por eso, en Internet descubrimos dos tipos de prestaciones sonoras: la radio en sentido estricto, tal y como la conocemos, con una emisión continuada y una programación estructurada sujeta a una temporalidad y, por otro lado, una serie de informaciones escritas sobre diversos contenidos, apoyadas por imágenes y enriquecidas con material sonoro. Esto es fácil de comprobar en la práctica. Cualquier dirección que tecleemos puede ofrecer sonido y colgar de su página lo que hasta ahora concebimos como productos radiofónicos de la misma manera que ofrece imagen y de la misma forma que la acompaña de información escrita. (...) Concluimos entonces que el producto que ofrece la red no sólo es radio sino mucho más que eso y, por esta razón, no podemos reducir la concepción sonora radiofónica a las transmisiones de aquellas direcciones de Internet que estrictamente se denominan emisoras de radio. El sonido informativo se extiende por toda la red y no es dominio exclusivo de las cadenas radiofónicas, sean del tipo que sean. (...) debido a la juventud de esta nueva plataforma se ha extrapolado a Internet la clasificación convencional de medios de comunicación. Sin duda, para todos nosotros hablar del periódico, de la radio o de la televisión en Internet resulta no sólo más fácil sino más cómodo. Pero no podemos olvidar que nos situamos ante una realidad diferente. Internet cambia esta concepción tradicional puesto que en su seno se produce una convergencia mediática que impide referirnos estrictamente a los medios de comunicación tradicionales como canales independientes (...)»

fonte: RODERO ANTÓN, La radio en Internet», Tercero Congreso de Periodismo Digital, 2002

http://cuarto.congresoperiodismo.com/comunicaciones/rodero_comunica.doc

«Internet impone unos nuevos hábitos de consumo que ahora comienzan a diferenciarse de los que conocemos para la radio. En primer lugar, se detecta una multiplicación de canales que tratan de responder a la demanda de una mayor audiencia con variedad de intereses frente a la definición más acentuada de los oyentes de radio. Y así la audiencia radiofónica se limita a un determinado territorio y, por tanto, es siempre más reducida frente la audiencia de la red que tiene vocación universal con la única barrera del idioma; es decir, mientras las emisiones radiofónicas satisfacen necesidades comunes, Internet es capaz de resolver inquietudes personales, gracias a sus mayores prestaciones, en especial, al acceso a una gran cantidad de información más diversa que la de la radio.»

fonte: RODERO ANTÓN, La radio en Internet», Tercero Congreso de Periodismo Digital, 2002, pag 2

«La red ofrece cabida a usuarios con intereses más diferenciados que la audiencia radiofónica y así, por ejemplo, mientras las emisoras españolas convencionales hace mucho tiempo que han perdido la batalla en la incorporación como oyentes de los niños y los más jóvenes, Internet logra convertirlos en usuarios con una mayor facilidad[1]. Algunos sectores de población, como los más jóvenes, alejados de la radio tradicional se incorporan ahora a la oferta de la red, lo cual provoca esta multiplicación de direcciones sobre las temáticas más variadas; en definitiva, genera una necesidad de ofertar nuevos contenidos.»

fonte: fonte: RODERO ANTÓN, Ema La radio en Internet», Tercero Congreso de Periodismo Digital, 2002, pag 2

«Internet se convierte así en una plataforma ideal para la oferta de contenidos personalizados o contenidos a la carta que podrían ser incluso abonados en lo que se alzaría como una nueva modalidad de pago por visión, en este caso, pago por audición. Entonces es evidente que si este nuevo tipo de usuario en la red puede exigir un determinado contenido o, es más, tiene que pagar por el producto, será más exigente en cuanto a su calidad. Se impone así una renovación en el lenguaje radiofónico a la búsqueda de una mayor expresividad y, sobre todo, de una mayor explotación radiofónica de las posibilidades sonoras que ofrece Internet.»

fonte: RODERO ANTÓN, Ema, La radio en Internet», Tercero Congreso de Periodismo Digital, 2002, pag 3

Diz Tim Westergren, fundador do Pandora: «Pandora is an Internet radio service that listeners enjoy on their personal computers, through home entertainment products and on mobile phones».
Curioso como o serviço que mais simboliza o corte com a rádio clássica se assume como um serviço de rádio...

fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on ’The Future of Radio’, 24/10/07

Perguntei depois a Mark Ramsey se concorda com a ideia; ele respondeu que sim, que aceita que o Pandora seja um internet radio service.

Neste texto, sobre a relação da industria publicitária com a expressão web3.0 encontrei uma explicação: «“Web 2.0 is a goal that we haven’t even come close to reaching yet,” says Richard Townsend, digital media strategist for Circus Street Communications in London. “For marketers to start to think about Web 3.0 would be misleading.”». Ou seja, a industria não quer evoluir para novos conceitos, que não sabe o que são, preferindo manter-se ligada a um anterior, que tem rendibilidade

«El usuario de Internet busca, frente al oyente de radio que sólo recibe»

 fonte: RODERO ANTÓN, Ema, La radio en Internet», Tercero Congreso de Periodismo Digital, 2002, pag 4

«La nueva comunicación radiofónica por Internet incorpora los elementos originales de ésta: interactividad, hipervínculos y navegación. Son conceptos enriquecedores y que suponen un cambio tan importante como el que en su
momento fue la introducción de la estereofonía, la FM, los transistores. La grabación en cinta de aquella época hoy está vinculada a la grabación digital en disquetes o en discos duros de cualquier mensaje musical, oral sonidos de
ambiente. Son los elementos definidores de la nueva modalidad radiofónica»

fonte: Cebrian Herreros, Radio en Internet
http://www.nebrija.com/eventos/dca/ciberperiodismo/Ponen_Cebrian_12-03-03.pdf

Mark Ramsey:

«Here are some amazing facts that tell you everything you need to know about radio's future directions (from eMarketer): Today, three-quarters of Americans use the Internet. Two-thirds of all US homes have a broadband connection, making the country the world’s largest broadband market.

Did you know e-commerce accounts for of every spent across all retail channels in the US? Did you know two-thirds of American Internet users shop online? Did you know online advertising is a billion business in the States?»

fonte: «Internet facts you may not know...», Hear2.0, 1/11/07

Excertos do texto: «Coming at you, and real soon, Web 3.0», MediaLife Mgazine, By Heidi Dawley Nov 1, 2007

Contexto: «Web 2.0, an idea dating back to 2004, meant and means an internet of zippy connections where surfers can actually interact with one another, the epitome being, of course, YouTube or MySpace.
That’s opposed to what came before, Web 1.0, if you will, though no one calls it that, in which folks were happy to read content and send emails.
Now comes Web. 3. 0. It’s a term heard more and more these days as the new, different thing, a huge advance on 2.0»

A web3.0: «Web 3.0 is everything the internet will become once it achieves Web 2.0. Describing Web 3.0 is like describing the house of the future or the car of the future. It’s whatever the speaker wants it to be. (...) there is a growing consensus of what Web 3.0 will be, and perhaps the best way to describe it is as an intelligent internet universe. Think of it as a seamless network of databases that interact with great fluidity and have the capacity to not just crunch data but to interpret it.
Imagine databases that can learn, computers that can read web pages and understand them.
It’s what folks are calling the semantic web (from the Greek sémantikós, to have meaning).

Haverá uma web3.0? «“Masses of people, including vendors, technology proponents, analysts, bloggers and authors, are trying to use the Web 3.0 term to suit their needs and visions,” observes the Gartner Group, the consulting outfit. So far, it counts at least five different ideas out there. More are expected.
“The name Web 3.0 is just a holding page for the technologies to come,” says Jean-Paul Edwards, head of media futures at OMD UK Group. “We will never get to Web 3.0 because when the development comes, we will call them something else.”»

 

Tópicos da intervenção que o Vice President of Digital Content, da Pollack Media Group’s Senior, Pat Welsh, fará no NAB Europe Conference em Barcelona, dia 5/11/07 (com este tópico: How radio should use new technologies and platforms to create new content, new communities and extend the brand):

«Video: Putting the visual element into radio means more than posting photos of the air personalities and some promotions on your website or adding a studio web cam. Radio stations need to take advantage of dynamic content in an on-demand and “always on” world. New technologies give radio an amazing opportunity to do just that.
Communities and Social Networking: Wherever people gather you have a community, and what we are seeing is the online evolution of this very basic human fact. While large-scale communities like MySpace and Bebo are getting all the press, the reality is that people also define their relationships in much more intimate terms. This is where radio plays an important role.
For radio today, the principal of creating an online home for a community should be a major priority. This can be as specific as creating a community around fans of a popular radio host or as broad as creating your city’s home on the Internet, with the ultimate goal of making the website even bigger than your station itself.
Mobile: In many ways the future of the Internet is the future of mobile, and you can generalize from this to the future of broadcasting, as well. Streaming, interacting, and selling to consumers on their cell phones should be on every radio station group’s radar.
One of the biggest current hurdles for radio has been streaming via a cell phone. Luckily, as so often happens, technology has come to the rescue and there are newer, cheaper, and simpler ways of implementing mobile streaming. This is important because radio needs to recapture its primary role as the most portable and intimate medium; it can only so this by crossing over into mobile. (...)

Interactivity: Interactivity is no longer about simply answering the request lines. In fact, it’s no longer about receiving and sending SMS messages or emails, either. Interactivity today is about communication—between the station and its listeners but also between the listeners and each other. Pat will discuss how to make chat and instant messaging part of your interactive initiatives.
Gaming: The fastest growing entertainment medium of the past ten years has been electronic gaming, and part of being a multimedia brand is recognizing and embracing these trends. There are many ways that radio can become involved in gaming beyond just placing a couple of games on the station home page. This session will show you how you can establish contests and gaming leagues to extend your brand.
Radio has a big advantage with its large reach, so it already has the power to draw large numbers of people to its own websites. Electronic measurement in the US is showing that the reach of a top 5 radio station is comparable to a successful prime time television show or a major daily newspaper. We can and should be leveraging this kind of reach to build a multi-media brand that goes beyond just being a radio station.»

fonte: Pollack Media Group at NAB Europe

Conclusões essenciais do estudo Broadcast Architecture, da Broadcast Architecture, apresentado no NAB Europe 2006:

1) In a sample of close to 5000 people, 36.3% of adults aged 15 to 60 own an Ipod or MP3 player. - 39.6% Male / 32.6% Female; - 47.9% of 15 to 29-year-olds; - 44.9% of 15 to 34-year-olds;

2) Since acquiring an Ipod or MP3 player, 18.8% (total), 26.6% (15-29), and 23.3% (15-34) indicated that they are listening less to music on the radio now.

3) Deveria o iPod ter rádio? «One thing I don’t like about my Ipod and/or MP3 player is that it doesn’t provide me with local news and information: DISAGREE 46.9% 45.8% 46.6%, AGREE 51.8% 53.5% 52.6% TOTAL 15-29 15-34»

4) O maior problema do iPod é não musica nova? «One thing I don’t like about my Ipod and/or MP3 player is that it doesn’t expose me to new music: DISAGREE 55.0% 53.5% 54.9% AGREE 44.2% 46.3% 44.7% TOTAL 15-29 15-34»

Tudo e o resto aqui: http://www.nab.org/AM/europe/2006/presentations/GettingYouthInt.pdf

Etiquetas: ipod, mp3

«It’s disconcerting to see that a majority of time spent listening to recorded music is to mediums other than radio.  Yet, the bottom has not fallen out. 73% of respondents say a majority of their music listening time is spent listening to music on sources other than radio (CDs, MP3s, iPods, streaming, satellite radio, etc).  Graph 1 The next finding is a bit surprising to me having moderated Paragon Media Strategies focus groups for last year’s NAB.  A very respectable 41% of the time 14 to 24 year olds spend listening to recorded music is to radio. Graph 2 The key concern is that we may be nurturing a generation who find radio nearly irrelevant.  Listening to music on sources other than radio is pronounced among younger and male respondents. Graph 3 For now, radio retains its position as the medium of convenience.  Yet radio needs to be sure to offer formats that resonate with younger listeners; no mean feat as owners pursue the 25-54 “money demo.”  It also needs to capitalize on its unique selling propositions: exposing new music, variety (between and within formats), and providing a human bond.  There needs to be a discernable human intelligence behind what’s being presented to younger listeners; not jukebox programmed by rote.» fonte: «The Floor Is Still There», Paragon Media Strategies, 1/11/07

"Tudo parece estar a movimentar-se para os telefones móveis e nós queremos ser uma parte disso", afirma, por seu turno, Bartek Hojka. "Há duas coisas que as pessoas trazem sempre consigo: a carteira e o telemóvel. Aplicações de pagamento estão a ser criadas para colocar a minha carteira no meu telemóvel. Se minha carteira está lá, também quero que a minha estação esteja lá", sintetiza o responsável do Agora Radio Group»; fonte: NAB: Colocar a rádio onde está a carteira, Meios e Publicidade, 6 de Novembro de 2007, por Ana Marcela

«Fazer com que os ouvintes "se envolvam" e interactividade são as questões que a responsável considera fundamentais neste novo cenário, onde mais do que a tecnologia, diz, "é a experiência do utilizador" que determina o sucesso dos projectos»  

fonte: NAB: Colocar a rádio onde está a carteira, Meios e Publicidade, 6 de Novembro de 2007, por Ana Marcela

«September was “much uglier than expected”, So says Wachovia analyst Marci Ryvicker on radio’s 7% revenue decline»

«Citing what it calls "a challenging radio industry environment," Radio One Inc. reported a 40.2 percent decline in third-quarter earnings.»

«Just 38 percent of Radiohead fans paid for the latest album, according to data recently supplied by comScore.  The band began allowed fans to name their price for the downloadable release, In Rainbows, a closely-watched experiment.  But most fans grabbed the album for nothing, and a significant percentage paid next to nothing.  According to the data, 17 percent paid an average of for the album, while 12 percent paid between and .»

Radiohead Numbers Emerge, 62 Percent Paid Nothing, DigitalMusicNews, 5/11/07

 O assunto tem sido acompanhado aqui.

SIMPLIFICAR  A FORMA DE ACESSO/RECEPÇÃO: De acordo, com a experiência trazida por Henrik Heide, que viu os downloads das sinfonias de Mozart subirem de 400 mil downloads para mais de 1,5 milhões quando o buzz nos sites comunitários começou a criar apetência pelo conteúdo o viral marketing parece ser uma ferramenta eficaz. É ainda necessário, no sentido de potenciar a utilização de podcasts, dar especial atenção ao utilizador menos familiarizado com a tecnologia. Na Dinamarca, por exemplo, é dada a oportunidade de ouvir o podcast através de um e-mail que é enviado com o link para efectuar o download.

MUDAR O NOME: Trevor Dan, por seu turno, considera mesmo contraproducente a palavra podcast - diz afasta potenciais utilizadores - porque não falar apenas em download grátis?»

fonte: «NAB: Como fazer um podcast de sucesso», Meios & Publicidade, 7 de Novembro de 2007, por Ana Marcela

«Veículo das indústrias culturais, a rádio é hoje meio e instrumento, sem que, na generalidade dos casos, se consigam definir as tradicionais funções de formação, informação e entretenimento que caracterizam a comunicação radiofónica. Como nos restantes sectores da comunicação social, estabeleceu-se uma relação mútua de dependência entre as indústrias culturais, destacando-se a ligação entre a música e a rádio» (Paula Cordeiro, tese de doutoramento, pág. 51)

Embora escasseie a produção cientifica de analise teórica sobre a rádio, nomeadamente a rádio contemporânea, a verdade é que a rádio tem capacidade para gerar perspectivas diversas, em função dos objectivos que se venham a adoptar a partir da relação - global - do meio com a sociedade. A perspectiva estética (da valorização artística), onde a linguagem ocupa papel de destaque (e que poderemos incluir nas tecnicas e processos de construção da mensagem), é uma delas; outra - completamente diferente - é a da criação de audiências para viabilização de uma indústria ou mercado (provavelmente numa perspectiva crítica), que incluiríamos na linha que estuda o consumo (e recepção) da rádio. Outra perspectiva possível de análise é a dos sistemas de difusão.

A partir do momento em que o objecto deste trabalho é sistematizar aquelas que se apresentam como as tendências que marcarão a rádio do futuro, a partir dos usos que (sobretudo) novas gerações lhes estão a dar (ou não), há uma perspectiva que parece imediata: perspectivar uma rádio de futuro só faz sentido se se perceber o que era a rádio do passado (esta, que ainda hoje ouvimos); há, pois, a necessidade de lhe dar fundamentação teórica (não ignorando a abordagem sócio-política, na medida em que se a rádio não tem hoje uma vertente acentuadamente política, teve-a no passado; e essa vertente influenciou a leitura que a história e a teoria dela fizeram).

A produção de uma mercadoria cultural, chamada rádio (ou grelha de programas) não é determinante, na medida em que não haverá atenção a conteúdos em concreto, nem preocupações de análise cultural. Neste contexto, não é importante a preocupação com a rádio que produz cultura; claro que estaão mal os ouvintes que não encontrem quem lhe diga algo (Brecht) mas o conteúdo não determinará por si só, como hoje; é preciso juntar formas - tecnológicas - de permitir ao ouvinte controlar (o que significa organizar, personalizar e seleccionar) os conteúdos, para que o ouvinte deixe de ser um mero receptor e passe a ser alguem que controla.

Outra perspectiva importante, tanto quando se pode sistematizar hoje: se a evolução é tecnológica, se a nova rádio é condicionada por contributos e agressões tecnológicas, numa tecnologia que se chama informática, então esses fundamentos também devem ser convocados.

Tudo isto significa ignorar a globalidade do fenómeno comunicacional e do meio técnico de difusão chamado rádio? de maneira nenhuma. Ele é uma realidade, só que (mais uma vezs em função dos objectivos) não temos de o convocar neste contexto.

A perspectiva mais importante, em termos de futuro, será a da acção dos ouvintes (e das suas formas de participação)

Se se fala de um novo modelo de negócio para a nova rádio estaremos a pensar numa alternativa à receita publicitária (que pode, também ela, vir a sofrer alterações significativas face ao paradigma actual de spots avulsos ou patrocinios).

Actualmente as rádios hertzianas dependem unica e exclusivamente da publicidade (devendo excluir os modelos de serviço público), mas pode pensar-se  em modelos de subscrição pontual ou periódicos por serviços «praemium», por exemplo, conjugados ou não com publicidade.

Assim, em vez de viver unica e exclusivamente da publicidade, a rádio do futuro poderia encontrar uma nova forma de receita: pagar para ouvir (algo que, só por si estabelece um novo paradigma face ao que se conhece da rádio hertziana, novo paradigma esse já estreado pelo serviço satélite dos EUA)

A internet pode tambem potenciar novas formas de receitas de conteudos hertzianos, como sejam arquivos ou mesmo podcasts, se estes mostrarem essa capacidade de atracção (entraremos então no modelo do pay per listen, equivalente à ideia de radio/audio on demand)

... e de transição porque se abandonou o paradigma anterior, o da emissão hertziana, pensada de um para muitos, para um momento de coabitação entre várias plataformas e vários modelos de emissão/recepção: o hertziano ainda está presente, mas junta-se-lhe o DAB, o satélite, o HD e sobretudo a Internet. O momento é de transição porque de acumulação (com o hertziano ainda dominante, mas cada vez menos); é de expectativa, mas tambem de ligação ao passado (como falava McLuhan), à espera de uma clarificação, da superação de uma plataforma em detrimento de outras, uma vez que ninguém se atreve a decretar (o proprio switch off do analogico ainda está distante).

«Rafaeli (1988) discorreu sobre o conceito de interactividade e a sua relação com a interacção e comunicação humana, no quadro do interaccionismo simbólico. Analisou as dimensões subjacentes ao conceito, como, entre outras, a bidireccionalidade, rápida resposta, largura de banda, controlo, actividade do utilizador em relação ao meio, ou o retorno (Rafaeli, 1988: 115), explicando que a interactividade não se poderá reduzir a cada uma das suas dimensões. O autor concebeu uma definição de interactividade a três níveis, que compreendem a comunicação em dois sentidos, a comunicação reactiva e a comunicação interactiva. O fluxo bilateral de mensagens corresponde à comunicação em dois sentidos, a reacção respeita a um processo em que as mensagens têm relação entre si e, finalmente, a interactividade incorpora o conteúdo, natureza, forma da referência anterior (1988: 119). Para Rafaeli (1988), a interactividade corresponde à sequência entre a relação de resposta e o contexto em que a mesma se processa, de transacções que reflectem estádios anteriores do processo de troca de mensagens. Como expôs o autor, a interactividade não pode confundir-se com o processo de comunicação que a mediação do computador veio introduzir, baseada na bidireccionalidade das trocas, na rapidez e no aumento do fluxo de dados que a banda larga permite. Posteriormente, Rafaeli e Sudweeks (1997) explicaram que a interactividade é um processo de construção da comunicação, no qual as mensagens se relacionam numa sequência, afastando-se de uma concepção meramente tecnológica de interactividade.» (106/107) (citações a partir da tese de Paula Cordeiro)

En una conferencia ofrecida en la apertura del Foro Univ 2008 en la Universidad de Navarra, este experto desmitificó la idea de que los jóvenes son los que más televisión ven y señaló que su consumo no llega a las dos horas y media «porque la opción televisiva no 'cabe', ya que tienen que estudiar, estar con sus amigos o hacer deporte, y además cuentan con otros medios como Internet, el mp3, los teléfonos móviles o los vídeojuegos».»

fonte: «El consumo de radio y televisión por persona y día en España es de 5,5 horas»,La voz de la galicia/ efe, 8/11/2007

«A noncommercial, eclectic, former college radio station in New Jersey claims to be the first station to stream live radio to the iPhone and iPod Touch.

WFMU(FM), Jersey City, N.J., says its stream plays through QuickTime and is made possible by TVersity, a software company that claims to be the first enabler of streaming live radio for the iPhone.

On its Web site, the station says: “Point your iPhone browser at iphone.wfmu.org to experience the world’s first live radio stream for iPhones.”

Listener-funded WFMU, broadcasting on 91.1 MHz, also has a relay station, WXHD, broadcasting on 90.1 MHz to the Hudson Valley, Lower Catskills, Western New Jersey and Eastern Pennsylvania.»

fonte: «WFMU Streaming Live Radio to iPhone, iPod», Radio World, 11.09.2007

"O consumo de rádio no carro não é tão dominante como as pessoas o percepcionam", sintetiza o vice-presidente da Coleman. É junto dos jovens que o abandono da emissão quando surgem os anúncios é maior, mas mesmo no cenário menos positivo, um volume de 80,6% deste target mantém-se, "o que é um número bem melhor do que a maioria pensaria".»

fonte: «NAB: Onde estão as audiências de rádio durante a publicidade?», 7/11/07 Meios & Publicidade,

What does the increase in media multi-tasking mean for marketers?
 
It means that marketers need to think about the multiple places their ads appear and synchronizing those ads to maximize the brand impression they are trying to create. That does not mean showing the same ad in both places, but optimizing the message for the individual medium and for the potential crossover with creative, activities, and calls to action that are most relevant in each area.    

(...) Many respondents, especially those 18-24, indicate they watched less TV now than they did a year ago. What's contributing to that decline, and do you see it reversing?
 
The decline can be due to the quality of entertainment, the growing use of mobile, and greater broadband penetration. But I don’t think it is merely one of those trends that dominates.»

fonte: «Reaching the new media supertaskers», Media Life Magazine, By Diego Vasquez Nov 8, 2007
 

«(...) But how smart would it be for a radio station to get extra exposure for its top personalities by providing a TV outlet a live video feed of its programs for the digital subchannels?
"You're definitely onto something," said John Gallagher, who's in charge of Citadel Broadcasting's WLS-AM 890 and WZZN-FM 94.7.
"I've had discussions with some of the TV stations around town about doing that because they are looking for content for those slots. They don't really have anything to fill it, and if they were to create something to fill it themselves, they wouldn't be able to recoup their costs [because of low viewership]. ... But put some quality programming on your side channels and maybe people will come looking for it. Television hasn't figured that out quite yet, and we're trying to tweak that."
(...) It's a given that more and more stations are going to start putting video of their programs on the Internet in addition to their audio. "We've talked about that, especially streaming the video," said Rod Zimmerman, who oversees Chicago's seven CBS radio stations. "There's a certain amount of expense that we just haven't gone to, but it's certainly something you're going to see in the not-too-distant future."
(...) "In the near future, every radio station will have the ability to become a TV station," CBS Radio chief Dan Mason said in an interview with Jack Myers' Media Business Report. "There's no reason we can't have our own Webcast shows with talent [like Don Imus' old MSNBC simulcast]. Radios will soon be developed with TV screens. The terrestrial radio medium will evolve and occupy more share of the digital space." (...) "It's kind of expensive, but it would be worth it on our end from a marketing and promotional aspect," he said, adding there was incentive for TV stations to develop their multichannel capabilities. "It's a lot less expensive than doing nothing."»

fonte: «Video may bring back the radio star», Chicago Tribune, Phil Rosenthal | Media November 7, 2007

«No último mês, a cada vez mais fragilizada indústria discográfica sofreu três abalos devastadores (para não dizer mortais). Primeiro foi Prince quem decidiu distribuir gratuitamente o seu novo disco, PLanet Earth, com o suplemento dominical de um jornal britânico. Alguns dias depois, Madonna deixou a Warner e assinou contra com uma produtora de espectáculos ao vivo. Mias o golpe de misericórdia foi desferido pelos Radiohead que colocaram o seu novo disco na Internet, prescindindo de editora. Num golpe de génio, a banda propôs o «download» pelo preço que cada um quisesse dar. (...) O que parecia uma estratégia suicida revelou-se, portanto, um excelente negócio. Nos Estados Unidos, como no resto do Mundo, o negócio do disco vai de mal a pior. Desde 2002 que as vendas não param de cair e os números mais recentes são catastróficos. Vendem-se hoje, grosso modo, metade dos discos que se vendiam há cinco anos. E a tendência é para as coisas piorarem (...) Se é verdade que se vendem cada vez menos discos, não é menos certo que se ouve cada vez mais música. O negócio dos concertos está em plena expansão (nos EUA as receitas de venda de bilhetes duplicaram nos últimos cinco anos) e as multinacionais do disco compreenderam-no finalmente. Em França, editoras como a Universal e a BMG até já compram salas de espectáculo para aí apresentar os seus artistas. Os mais pessimistas alertam, contudo, para novos riscos, também neste domínio. No mundo actual, as galinhas que põem ovos de ouro têm a vida cada vez mais curta. Um dos perigos que se correm é precisamente o da gratuitidade. Há cada vez mais Câmaras Municipais e grandes instituições privadas a promover eventos com entrada livre. Começa também a haver algum excesso de oferta. (...) No ano em que comemora 25 anos, o CD (o Compact Disc foi lançado em 1982, fruto de uma colaboração entre a Philips e a Sony) está, pois, elas ruas da amargura.»

fonte: «O fim da era do CD», Jorge LIma ALves, EXpresso/Actual, 3/11/07, págs 11-13  

Via Mark Ramsey:

«1. What the "One" rule is, and how to use it
2. How direct mail REALLY works
3. What happens when you correlate all TV expenditures with all PPM ratings results - does TV work or not?
4. Whether or not recall really matters
5. Whether or not marketing really matters
6. Whether Friday is "the new Thursday" in Arbitron (hint: It’s not)
7. What works - and what doesn’t - based on REAL data, not opinions or guesswork»

de um artigo de Skip Pizzi no Radio World:

«There is also a natural reluctance to jump into new services when they first launch — particularly if there is a cost involved (for hardware and/or service). The typical predilection — even among relatively open-minded early adopters — is to “give it some time” to stabilize, mature, work out the kinks, etc., by which time many such new offerings have already given up the ghost.
(...) Next up is wide deployment of wireless broadband (WiMax, etc.), which brings substantial portability and otherwise increased availability (i.e., higher Convenience) to Internet radio. It is unlikely that wireless Internet radio will ever match local radio’s user friendliness, however, particularly in terms of one-button, instant access.

Yet wireless Internet radio’s proliferation of portable, narrow music formats may actually hurt satellite radio more than it does local radio. Is the enemy of my enemy my friend?»

fonte: «Will Radio’s Inertia Be Its Savior?», Radio World, by Skip Pizzi, 11.07.2007

«Consider how the industry is currently moving towards deprecation of subscription music services, or tossing out DRM-protected music downloads. Even satellite radio’s future hangs in the balance, as lawsuits, increased music royalty rates and possible rejection of a proposed merger all loom on its horizon.

One thing satellite radio has done right in this analysis is to make itself a relatively simple consumer proposition — in fact, it attempts to model the familiar operation of local radio as much as possible. In this respect satellite radio differentiates itself quite well from Internet radio, but its service availability and robustness still lag a bit behind local radio, and of course its cost is significantly higher. So on balance, even satellite radio has an uncertain future in this analysis.

Next up is wide deployment of wireless broadband (WiMax, etc.), which brings substantial portability and otherwise increased availability (i.e., higher Convenience) to Internet radio. It is unlikely that wireless Internet radio will ever match local radio’s user friendliness, however, particularly in terms of one-button, instant access.

Yet wireless Internet radio’s proliferation of portable, narrow music formats may actually hurt satellite radio more than it does local radio. Is the enemy of my enemy my friend?

Ultimately, the fragmentation and complexity of the new media marketplace could become local radio’s strongest unintentional allies. Being old school isn’t necessarily bad here. This is not to say that radio should not explore and embrace change where it makes sense, but while doing so it should always remember the fundamental values of simplicity and stability that put it where it is today»

fonte: «Will Radio’s Inertia Be Its Savior?», Radio World, by Skip Pizzi, 11.07.2007

«Uma das principais apostas da Câmara de S. João da Madeira prende-se com a intensificação da rede de acessibilidades especialmente no sentido tecnológico - melhorando o relacionamento entre a autarquia e os cidadãos pela via digital.
Nesse sentido a Câmara Municipal de S. João da Madeira assinou em Maio de 2007 um protocolo com a Broadmedia, com o objectivo de lançar um projecto piloto Wimax no município com pelo menos uma Estação Base, promover as suas funcionalidades às empresas e entidades do Município e desenvolver novas aplicações que utilizem extensivamente a Banda Larga.
Em resultado desse protocolo foi decidido inaugurar a 11 de Outubro, no dia do Município, o projecto-piloto Wimax que dará ao município uma infra-estrutura wireless de Banda Larga de nível elevado de qualidade permitindo ao cidadão acesso à Internet em qualquer local da Cidade.
Este projecto, pioneiro na Europa, colocará São João da Madeira como uma cidade de referência pela cobertura wireless alcançada em resultado da instalação de uma rede de antenas colocadas estrategicamente em edifícios de referência pela sua localização e altitude permitindo uma total mobilidade de acesso à Internet»

Segundo o Mediascope Europe, 82% dos jovens entre os 16 e os 24 anos acedem à internet entre cinco a sete dias por semana, enquanto que apenas 77% vê televisão com a mesma regularidade (números que indiciam uma quebra de 5% face ao ano passado). Este segmento regista ainda um consumo de internet 10% acima do consumo de televisão e, cerca de metade (48%) admite que o consumo de televisão desceu em resultado directo do seu consumo de internet. Se no caso dos jovens, o consumo de televisão, ao que os dados sugerem, está a diminuir a mesma tendência não se está a verificar noutras faixas etárias com tanta prevalência. De acordo com os dados recolhidos pelo Mediascope, o consumo de televisão tem-se mantido estável nos 86%. Todavia, 75% dos inquiridos utilizam com frequência (entre cinco a sete dias por semana) a internet.

Dos 169 milhões de europeus online, oito em cada dez acede através de uma ligação em banda larga, o que talvez explique a crescente popularidade dos serviços de vídeo online e de televisão. Trinta por cento dos inquiridos elegem ver filmes, televisão ou vídeo clips como a sua actividade favorita online, 20% fazer downloads dos mesmos, 31% ouvir rádio e, igualmente 31% fazer downloads de música.»

fonte: «Jovens europeus trocam televisão pela internet», Meios & Publicidade, 13 de Novembro de 2007 , por Ana Marcela

Mark Ramsey diz que sim:

«The purpose of this interview is not to pitch HipCricket but to explain to you why Text Messaging as a category of revenue matters for your station and your group. And, as a category, I absolutely think it does.

Radio is no longer about selling ads. It's about leveraging our audience relationships so as to connect listeners with clients profitably. No matter how that's done.

You owe it to yourself to investigate text messaging»

«El proyecto europeo de radio por satélite ONDAS Media, liderado por un grupo de directivos españoles, está buscando espectro para comenzar a lanzar su oferta de contenidos de radio de pago en movilidad. Concretamente, la compañía busca espectro en la banda 1467-1492 MHz (conocida como BSS). Pero la legislación europea en materia de telecomunicaciones (como en el caso del operador Worldspace) no tiene prioridad en el acceso a dicho espectro. El caso es que ONDAS quiere tener prioridad para su proyecto satelital de Alta Orbita Elíptica. Pero parece que la autoridad mundial en la materia, la WRC, postpondrá cualquier decisión en este sentido hastat 2011, con lo que el proyecto de ONDAS Media quedará relegado unos años (sus responsables inicialmente deseaban lanzar su primer satélite a finales de este año).»

fonte: El proyecto de radio europea por satélite se demorará por motivos legales, 12/11/07

Mel Karmazin, presidente da Sirius: «Arbitron says that XM and Sirius together represent 4 percent of the radio listening market. It's bizarre for me to think that anybody could think that in this whole area of audio entertainment there isn't plenty of competition, and new competition coming every day. Not only do we compete with all of the radio stations that exist, we also compete with all of the other alternatives that have come along since we've gotten our license. We currently compete with free [radio].

You're listening to this boring AM and FM radio that's around. And one day, you want satellite radio, or you buy a car that has satellite radio, and after a trial period you decide you don't want to have satellite radio, and then you go back to free. So when we compete with free, we're more apt to get a subscriber at .99 than at .95. So when you're a company that has lost all of this money, and we are continuing to lose money, the ability to reduce prices -- which is what we would like to do -- doesn't happen.»

fonte: «A conversation with Mel Karmazin, CEO of Sirius Satellite Radio», Chicago Tribune, November 9, 2007

Ad revenue for Net radio will top million this year, according to JPMorgan. That doesn't include traditional radio broadcasters who also webcast. Net radio's future, which looked dismal earlier in the year after new copyright royalties were instituted, is apparently back on track. The proposed fees were so high many stations said they would be forced to go out of business. But Hansen says stations and record labels have been negotiating a settlement and are close to coming to terms.Pandora, one of the Net broadcasters that said it couldn't continue under the new rules, is still at it, pumping out music based on a listener's taste. "We believe it's going to be fixed," founder Tim Westergren says of the royalty dispute.

Pandora attracted 3.3 million Internet listeners in October, according to measurement service ComScore Media Metrix. It expanded to Sprint phones in the spring with a low-key offering that is barely mentioned on Sprint's website. AT&T is offering the same low-key approach, with little marketing on the Web but instead an offer on the phone itself to sign up. Westergren says the carriers are treading cautiously to make sure the phones work well with Pandora.

"When you get personalized radio wherever you are, that's when we're able to redefine radio," Westergren says.

Moving personalized radio off the PC is in its early days. Beyond Pandora and Slacker, SanDisk's (SNDK) 9 Sansa Connect player offers Net radio from Yahoo, available anywhere there's a Wi-Fi connection. Slacker CEO Dennis Mudd didn't want to go the Wi-Fi route. Instead, a selection of songs from your favorite artists is transferred to the Slacker portable player from your PC. New songs are added every time the player is hooked up. They are stored on the player, so you don't need an Internet connection to listen. You have little control over what Slacker selects, beyond identifying what artists you like. That may not sound like true Net radio, but Mudd says consumers don't care. "Being connected to Wi-Fi isn't the way to go. There could be static, or you might lose the signal. This way the music is always there."The Slacker Portable has a 4-inch screen, larger than most iPod screens. You can personalize selections, to a degree, by clicking on "heart" and "ban" buttons that help Slacker figure out your tastes. An ad-supported version of the service is free; .95 monthly without ads. The device starts at 9.99 with 2 GB of storage (roughly 1,000 songs) and 15 stations, or 9.99 for 4 GB and 25 stations. The entry-level iPod Nano, by comparison, is 9 and has 4 GB of storage. Why spend the extra bucks? With the automatic refresh of new songs, "You get a far richer, deeper music experience," Mudd says. "Most people end up with the same old playlists to listen to, week after week, because they don't have the time to do research and get new music."

Newsletter editor Hanson says taking Slacker and Pandora away from the computer is a great idea, but, "The question is whether they can progress quickly and beat the tsunami of every device and webcaster that's headed in this direction. Because they won't be alone a year from now."»

fonte: «Now you can rock 'n' go with personalized Internet radio», USA Today, Jefferson Graham

Ramsey tem duvidas sobre a viabilidade futura do aparelho da Slacker. Mas não deixa de reflectir sobre o que significa: «(...) Note that the "free" version of the service includes commercials - just like radio. But they're commercials peppered between content customized BY you and FOR you. In the long run, will people buy a device to provide this service? Or will their mobile phones be "Slacker-powered," thus bringing the technology to the masses rather than the other way around. I'll give you one guess. Honestly, I don't know why Slacker is bothering with their own device as anything other than a proof of concept. When listeners can easily customize their radio experience and do it with a portable device - especially one that's ubiquitous, how do you think that will impact their listening to your station, which plays the music most people like most of the time, rather than the music I like right now? And - more importantly - what will it mean for what goes between your records?»

Etiquetas: Slacker

fonte: «Now you can rock 'n' go with personalized Internet radio», USA Today, Jefferson Graham

«Summer book Persons Using Radio (PUR) numbers declined to their lowest level since Arbitron began keeping statistics in Fall 1998. Radio usage dropped in every cell except 50-54s. Steepest declines continue to be among teenagers and young adults, as their attention is increasingly diverted to other media. That’s especially true among males, with Men 18-24 and 18-34 cells posting the biggest year-over-year declines. But the crowded media world is also taking a toll on the 25-54 money demo, which fell 15.1-14.9. There’s also a disturbing trend among female demos. In the Summer book not a single female cell saw an increase in listening. All but two (50-54 and 65+) declined. Compare that to male demos. While older women mirror the trend of listening less, the Summer book shows Men 45-64 were listening to the radio more» (Inside Radio, via Hear2.0)

E a reflexão de Mark Ramsey: «Listener who grow up with access to digital media are forever changed. They will not "grow into" us - we must "grow into" them. Or else the radio will eventually become your father's Oldsmobile». O texto total é este: «(...)the attitudes about radio and the usage of radio among persons under 35 - and especially under 25 - are dramatically different. Listener who grow up with access to digital media are forever changed. They will not "grow into" us - we must "grow into" them. The problem is this: It's easier to score 25-54 when a format scores 35-54 because it's easier to score 35-54 than younger. But if the entire radio industry begins to chase persons over 35 - as it is doing right now - then this is a one-way journey for us all. In a sense, radio is like smoking: If we don't create the habit when kids are young, we won't have the habit at all when they get older. And creating that habit is about more than targeting their music needs. We need to target the entire portfolio of their interests if we're to be viewed as relevant.This is one of those realities which will sneak up on us slowly until one day when we stand back and realize that but for one or two stations in any given market we no longer have a foot in the future.»

When a SelectRadio user hears a new song or artist they like, they can retrieve detailed information about the artist and albums containing the exact song with a single button. Users can see available song purchase options, listen to samples from the artist, and purchase directly from their smartphone. Users can also tag a newly discovered song and have the song information emailed to them.

According to the 2007 Arbitron “The Infinite Dial:Radio’s Digital Platforms” consumer survey, Internet radio listeners are 230 percent more likely to purchase digital music than the average consumer. (...)

SelectRadio software uses the Windows Mobile device network connection to provide audio access on the go, in the office, or at home. For easy access to popular broadcasters, SelectRadio software includes pre-set channels from top broadcasters, such as Internet radio pioneer radioio (symbol:iwdm.pk), AccuRadio; Sirius Internet Radio (Nasdaq:SIRI); XM Radio Online (Nasdaq:XMSR); and Shoutcast. Users can combine favorite channels and podcasts into custom groups for easy access and create a “virtual dashboard” showing what’s playing across multiple channels, with one-click access. With its patent-pending HyperScan™ technology, SelectRadio software automatically seeks favorite artists and can be set to skip specified artists.

SelectRadio software is now compatible with all popular Windows Mobile 5 and Windows Mobile 6 devices including smartphone models such as the Samsung Blackjack, HTC Excalibur, Motorola Q and touchscreen models such as the UTStarcom 6800 and Treo 700/750 series. SelectRadio software requires a network connection via either the handheld wireless carrier or WiFi connection. SelectRadio software is priced at for a device-specific license. Customers using licensed copies of SelectRadio v3.x can upgrade the same device to the new v4.0 for free. A free 10-day fully functional trial is available for evaluation prior to purchase at www.selectradio.com.»

fonte: «New SelectRadio^® Software Extends Music Discovery to Music Purchase and Personal Music Library Access for Windows Mobile Phone Users»

«Gerry Fabio defende que a e ’indústria da rádio está muito mal explorada", mas acredita que esta tem actualmente uma ’oportunidade fantáscica’, já que o ’mundo do marketing caminha para ela’. (...) O fundador e presidente da empresa norte-americana Creative Resources refere que actualmente a rádio é muito mais que uma estação, já que ’todas as ferramentas [como o vídeo e o online] estão disponíveis". "É necessário pensar mais largo do que a audiência, é preciso pensar em todas as maneiras de atingir os consumidores dos produtos que os clientes querem promover«, diz. E também considera que a rádio reúne todas as condições necessárias para impactar o consumidor moderno, com ’várias linguagens e tecnologias’ o que se for bem feito ’pode ter um efeito viral’» fonte: «REAL, Hugo, «’A rádio está muito mal explorada’», Diário Económico, 6/11/07, pág 47

É um estudo inovador, realizado por Mark Ramsey e apresentado no recente NAB Barcelona (realizado com base nos resultados do PPM).

Mark mostra que no momento em que o microfone se abre aumentam as probabilidades dos ouvintes desligarem:

«Listeners are almost 4x more likely to tune away from WBEN during an open mic than during a song» (imagem 79)

O que fazer? «Actions... • An open mic is a privilege, not a right; • Get to the point • Use that time wisely • Keep it tight • Plan, don’t Spam» (imagem 80); ou seja a solução não é calar os dj's/animadores

(tambem pode ser acedido a partir daqui)

«(...) en dos semanas más se lanzará el Mini Player, un nuevo producto que promete ganarse un espacio y quitarle protagonismo al iPod.

Este Mp4 es desarrollado por la compañía china Meizu, empresa creada el 2003 y que se ha hecho famosa por ofrecer productos extremadamente parecidos a los de Apple, aunque con la preocupación de tener mejoras en cuanto a las prestaciones, de ahí que varios de sus reproductores sean denominados "iPod killers" o "asesinos de iPods".
"No es 'otro' chino más" se apresura en explicar Gonzalo Quevedo, de "Intertek", los representantes de Meizu en el territorio nacional, México, Colombia, Perú y Argentina. Y sus palabras cobran sentido al analizar las características: soporte de formatos MP3, WMA, OGG, WAV, APE y FLAC, radio FM con 30 memorias, micrófono incorporado, ecualizador gráfico de 10 vías y la posibilidad de grabar lo que se escucha en la radio.
Además, tiene las ya clásicas características de un Mp4: reproduce video en una pantalla de 2,4'' a 320x240 pixeles, almacena fotos, tiene juegos, se controla con un touch pad y tres botones y su batería dura hasta 36 horas.
Pero Quevedo cree que además de las características, es importante el tema de la calidad de los productos, la que asegura es de primer nivel, ya que en su fabricación se emplean piezas de marcas como Samsung, LG, Phillips y General Electric, entre otras.
iPod touch y iPhone de Meizu
(...)Asimismo, estima que el M8, un celular sumamente parecido al iPhone, saldría a fin de año o a principios de enero de 2008 en el mercado chino, por lo que la apuesta es tenerlo en Chile dentro de los primeros meses del próximo año.»

fonte: «Llega a Chile el "iPod killer", con radio FM y micrófono incorporado», 31 de Octubre de 2007, Francisco Álvarez, El Mercurio Online

Curiosa definição: já não somos nós que ouvimos a rádio, é a rádio que nos ouve (Pandora...):

«Pandora: Web Radio That Listens to You»: «The magic of Pandora derives from a simple principle: a song listeners enjoy should lead to other songs they'll enjoy. Pandora is an Internet music service with an unusual twist: you merely select a song or artist you like and the system builds a playlist of additional songs based on those musical characteristics.»

Finally, the UK's DAB system is old and technically obsolete, and I think it will eventually have to be replaced with the new world standard, DAB+. That was the point of my original attack. At the time, I thought that switching to the much more efficient DAB+, which will allow more stations and higher quality at lower cost, was DAB's best hope. Now I wonder if even that will be enough.»

«Does the "social radio" market -- which features well-established players like Pandora and Last.fm -- need another entrant? The gang behind Jango seem to think so. The site, which has been in beta for the past few months, opened up for full access Monday, and says it has 70,000 users already. Co-founder and CEO Dan Kaufman is the former CEO of Dash, a mobile-shopping startup that flamed out in 2001 (not that we should hold that against him, of course). I have to say one thing about Jango.com: it's pretty simple to use. When you hit the site you get a search box and a list of "stations." You can choose a station, which is a pre-mixed selection of artists, or you can type in an artist's name  -- at which point you are taken to a user page, without even having to sign up (you can create an account from the user page by just typing in your email and a password). My page is here.  By choosing an artist's name, you effectively create a "station" based around them, which can be made up solely of that artist, or artists that are similar. Jango suggests musicians and bands that it thinks you might like based on your choice, and then you get to choose from Jango's list and add that artist to your station -- or you can type in your own choice and add that. And that's about it. You can click to buy a track through Amazon, and you can see who else is listening to a particular artist or station. The site doesn't have some things that Last.fm and Pandora do. It doesn't have a widget, for example (like the one I have in my sidebar), although the company said that's coming. But it is far easier to figure out and use than Last.fm, I think, which I find confusing and non-intuitive. And when it gets right down to it, one of the keys to such a site is the music recommendation part: in other words, how does it do in terms of suggesting related songs or artists you might want to listen to? (...) And when it comes to competing with Pandora at least, Jango has one killer feature: it's available to Canadians, whereas Pandora is not -- it cut off access to Canuck users earlier this year because it hadn't acquired the appropriate licenses.»

fonte: «Jango joins the "social radio" scene», Globe and mail, Mathew Ingram, November 13, 2007

«Sprint Nextel and Clearwire called off a plan to join forces to build a nationwide high-speed wireless network using WiMax technology. The companies said they could not come to agreement on terms of the deal, announced in July.
Sprint had positioned WiMax as a way to let customers surf the Web on laptops, cell phones and other portable devices at speeds up to some five times faster than cellular networks now offer. The company had intended to launch mobile broadband services in initial markets by year-end and planned a larger rollout encompassing 100 million customers by the end of 2008.
Sprint says this week it remains committed to developing WiMax and is on track for a soft launch this year in the Chicago and Baltimore/Washington markets, with commercial launch in 2008.
A source told The Washington Post one of the things the companies could not agree on was how many cell towers each company should build to support WiMax and the pace of that deployment. Now that Sprint is “hobbled” with WiMax, there’s a question as to how fast other companies, such as Intel and Motorola, can roll out the technology, analysts told the Post. One said the Sprint news “was not a death knell” for WiMax, but is certainly a sign that its rollout is further out than previously believed.»

fonte: «Sprint, Clearwire End WiMax Collaboration», Radioworld, 16/11/07

 

Tem origem em Israel, está em versão beta e chama-se Meemix. É apenas destinado a utilizadores dos EUA.

«Imagine a world of music - sorted by the songs you love. Imagine broadcasting the soundtrack of your life to an audience around the globe. Feel the magic and find your rhythm at MeeMix. Internet radio that gets you»

«As social networking destinations continue to explode, the rules are being rewritten on music promotion and discovery.  But questions continue to linger on the best ways - if any - to monetize the action. Most younger users are dialed into at least one social network, and music is usually threaded throughout the experience.  In fact, 39 percent of all social networkers embed music into their profiles, according to a recent UK-based survey by Entertainment Media Research.  Users of MySpace and Bebo have much higher rates, at 63 and 65 percent, respectively. Incidentally, Facebook lagged behind in its association with music, though the company is quickly beefing its music component.  Overall, surveyed users indicated that social networks are a primary source for music discovery, an unsurprising discovery.  But users also indicated a receptivity towards network-based purchasing, at least in the survey.  In total, 46 percent of respondents wished for an easier way to purchase music discovered on a network. That sounds encouraging, though an early-stage experiment involving MySpace and Snocap has been rocky.  Meanwhile, executives frequently question survey results related to music purchasing, especially from younger users.»

fonte: «Social Networking Surge Continues, Monetization Questions Remain», Digital Music News, 18/11/07

«In a way radio was an iPod long before Apple invented iPods.
After all, radios were portable analog music devices that allowed baby boomers to carry their music around with them 24 hours a day.
The iPod of today gives the listener total choice -- the music they want, when they want it and in whatever (or no) special order.
Back then, the predecessor to the Apple iPod was a transistor radio and an entire generation grew up with their radios to their ears -- just as today, ear plugs and all.
The forerunner to the "iPod" lacked the level of choice that today's Apple device has, but it had something even more valuable to young baby boomers -- air talent.»

fonte: Radio: the anchestor of the iPod 20/11/07

«The Demand for User-Generated Content: Content may be king, but industry-created content has got stiff competition. User-generated content is in tremdendous demand across the generations, with half of all consumers (51%) watching and/or reading content created by others. And, while Millennials are at the forefront of this trend, Xers, Boomers and Matures are also participating.• 51% of all consumers are watching/reading personal content created by others; the number jumps to 71% for Millennials.• 55% of Millennials and 42% of Xers read blogs, while 62% of Millennials and 41% of Xers watch YouTube or other video streaming sites.• 40% of all consumers are creating their own entertainment, such as editing movies, music and photos. Millennials may be the majority of the creators at 56%, but Matures are also participating – 25% of them report creating their own entertainment.»

fonte: «Are You Readyfor the Future of Media? Highlight’s from Deloitte’s 2007 State of the Media Democracy Survey» 25/06/2007

«(...) My second try was with the excellent Secure Tunnel solution which I use for some time now that allowed me to watch Hulu and download from NBC Direct as well. I activated Secure Tunnel in Opera and Pandora would load and play fine as if I was a user from the United States»

Sobre a Secure Tunnel solution

«When Audi showed off the Cross Cabriolet Quattro concept car at the Los Angeles Motor Show, one of the key features was a prototype of streaming internet radio direct to the car. It's a glimpse into a future that's not too far away - a future that could come sooner than you think Prototypes are one thing, but when will such a system see the light of day? The answer is 2010, according to the Center For Automotive Research (CAR). CAR conducted supplier interviews that indicate 2010 - which is just over 2 years away - to be when customized and/or on-demand content will be streamed to vehicles»

«(...) I heard a good example of this at a recent conference in Copenhagen. BBC Radio Five Live’s Brett Spencer told delegates how a rather large insect had gate crashed a commentary position during a test match in Australia. One of the commentators told listeners he had taken a picture of the creepy-crawly with his mobile phone and was uploading it onto a BBC blog. He invited budding entomologists to visit the blog and advise the commentary team whether or not they needed to worry about the six-legged intruder. Many people took up the invitation and posted comments on the blog while continuing to follow the cricket (the game, not the insect) on the radio. The match commentary was interspersed with remarks about the alarming entomological advice that was arriving on the weblog. That level of “sit up interactivity” would be more difficult to achieve on a TV show. I’m not saying it’s impossible, but it’s not really what the telly is about. (...)Blogs bring audiences closer to presenters, journalists and other programme-makers, which not only builds brand loyalty, but also makes public service broadcasters more accountable.»

fonte: «Blogging about the cricket», Multimedia meets radio, 22/11/07

Estes indivíduos visitaram perto de 35 milhões de páginas destes sites, tendo-lhes dedicado mais de 596 mil horas de navegação, uma média de 31 minutos por utilizador.

Nestes dez meses, Abril foi o mês com maior actividade nos sites de música, que receberam 385 mil utilizadores únicos.

(não acredito, mas...)

«A new study from Jupiter Research has found that, though digital music sales will continue to grow over the next five years, those sales won't be enough to offset the loss from declining CD sales. In five years digital will account for more than one-third of music sales, says Jupiter, with spending on digital music rising to .4 billion by 2012. But with CD sales continuing to fall, "That means digital music sales will not compensate for lost CD sales in five years," said Jupiter VP/Research Director David Card. "Nor will they return the overall industry to growth. But that's where the growth is."
Downloads will be replacing CD purchase for "many -- but not most -- music buyers," according to the report, while Napster- or Rhapsody-style subscription services "will appeal primarily to niche audiences."»

fonte: «Study: Digital Won't Replace Lost CD Sales Any Time Soon», Radio INk, 21/11/07

« (...)It's what happened back in the 1920s when the record industry first faced off against a new cutting-edge medium: Radio. "The music industry was very afraid of radio in the '20s," says Rob Bowman, Grammy-winning music historian and professor of ethnomusicology at Toronto's York University. "If you look at 78s from that period, they often have printed on the label, 'Not licensed for radio play.' Radio was an eminently superior medium, and the music industry thought radio was simply giving away their product -- 'Why would people ever buy 78s if they could hear them all day for free?' was the line of reasoning." It took nearly 20 years for the record industry to come around, he says. (...) Like a stuck 78, history has kept repeating for the record industry, which rarely responds well to technological change. "If you look back at the history of selling records, tapes and CDs from the 1890s to the present, you'll see waves of incredible expansion and then troughs of crisis." And of course, it's happening now as the music industry struggles to deal with the paradigm shift posed by the Internet.  "I look at the Internet now in the same way as radio in the '20s," Bowman says. "But (the record labels) are too afraid to turn, in some ways. You get people who are entrenched in a particular business model. So when there's a paradigm shift like we're seeing, and it means that dozens of your employees -- and maybe even you -- are going to become redundant, you're probably going to try and fight that. That's a natural instinct. "It's easy to say, 'What a bunch of idiots, they should have seen this coming and they should have done that.' And yes, all of that's probably true. "But it's not surprising. It's unfortunate, but not surprising." The record companies might do well to absorb at least one lesson from the days of 78s and radio. "A lot of those companies that were around back then don't exist anymore," Bowman says»

fonte: «Internet is the new radio»,London Free Press, Sun, November 25, 2007, By DARRYL STERDAN, SUN MEDIA

Eu tenho! «Meio fascinante» e «oásis»????

A frase é de Rui Camarinha, no Briefing: «A rádio em Portugal está a atravessar o deserto mas já tem o oásis à frente. Será miragem? Os números indicam que há uma série de estações de qualidade com fraca audiência e outras tantas que não se percebe por que são tão ouvidas. A verdade é que a rádio no seu todo perde ouvintes, tem menor notoriedade e regista pouco potencial para atrair investimento publicitário, pelo menos quando comparado com outros meios de comunicação, como a televisão e, principalmente, a internet. Numa frase, a rádio deixou de ser sexy.»

Needless to say, this reality has massive implications for the way you disseminate new radio technology into the marketplace.

When it comes to gadget "curb appeal," the sexy radios will be the items that aren't purchased because they're radios - and Internet radios (and, by the way, the sexiest Internet radios will not be bricks that sit on a desktop).»

«Among the different listening locations, car radio listening seems to be the last bastion against the Time Spent Listening (TSL) onslaught new media poses.  But how certain can we be that radio will maintain its in-car primacy? When asked whether they listened to radio more or less than they did 1 to 3 years ago, Respondents to Paragon Media Strategies’ Youth Radio Survey had a negative Net 3% momentum (More minus Less).  The negative trend is most pronounced at Home and Work: down a net of 9% each.  Graph 1  That makes sense given the intrusion iPods, streaming, and CDs pose in those locations. Only in the privacy of the car does radio post a net increase of 11%.  But before we break out the champaign, let’s look which mediums 14 to 24 year olds listen to most while in their cars.   Graph 2  While radio enjoys a plurality over other mediums people listen to most in their cars at 48%, CDs (27%) and the iPods (19%) compete for the primary in-car audio medium. During Paragon’s focus groups last year, we heard many respondents naturally referring to iPods as what they go to first while in their car.  This trend may accelerate with more common use of iPod car adapters.  Therefore, the advantage radio has had for people in their cars may not be as safe as once thought.  14-24 year olds think of consumer-generated new media as much as or more as they think of radio when deciding what to listen to in their cars.»

fonte: Car Radio Listening: The Last Bastion Against TSL Erosion? Paragon Media Strategies 29/11/07

So why shouldn't I have an iPod-like device that has a great-sounding built-in FM tuner?  In spite of the obvious decreases, we know that the top source for music discovery is still FM radio.  That's how many people still get turned onto the music they ultimately buy on iTunes.  So why would Steve Jobs allow me to move away from the iPod family?  And why would he allow Microsoft to get a leg up in a market where he owns the category killer? I don't know, but I'm tired of waiting.  I'm thinking Zune.», fonte: Dark Side of the Zune