Blogia

Transistor kills the radio star?

A rádio foi a primeira rede social

«Terrestrial radio has done a lot of things wrong in recent years but a way for them to get back in the game and re-establish their relevance is to make sure this is not an opportunity lost. Radio ain’t dead, but it’s broken. It’s critical for radio to re-engage listeners in new (and old!) ways. And the whole ‘social thing’ is a big opportunity to re-engage. Back in the day, the great state of New Jersey had an advertising campaign designed to promote tourism (and if there was any U.S. State that needed a campaign to promote tourism, it was New Jersey – Bruce Springsteen and the Jersey Shore not withstanding). The tagline of the campaign was New Jersey and You – Perfect Together! Taking creative license from the Garden State, I propose a slogan which applies to the topic at hand: Radio and Social Networks – Perfect Together! So let’s get right to it – why are they perfect together? The fact is, at their core radio stations are and have always been social networks. In fact, they are the oldest mass-media social networks. (I’m sure the cavemen had their own version of a social network, but it probably involved cave drawings or something and sure wasn’t powered by technology!). Bound by music, lifestyle or point of view, a good radio station identifies, captures, becomes a source of entertainment and information for, and provides a voice and identity for specific communities of people. They do this by providing these communities of people with content that is important to them. Content that is relevant, interesting and exciting. Listeners to a great radio station feel like they are part of something – something bigger than themselves. They feel like they are part of a larger community of people who like what they like, who feel what they feel and who have similar experiences as they do. They feel connected

fonte: «May 16, 2008 Radio + Social Networks = Perfect Together Billy Sabatini (via NetFM)

60 sites de música grátis

  1. iMesh

  2. Pandora

  3. Last.fm

  4. IMEEM

  5. Songza

  6. thesixtyone

  7. Grooveshark

  8. SpiralFrog

  9. Mp3eq

  10. Ruckus

  11. Jamendo

  12. Live Music Archive

  13. Songerize

  14. Free Music Zilla

  15. DEEZER

  16. SeeqPod

  17. MOG

  18. MACIDOL

  19. Slacker

  20. Jango

  21. OurStage

  22. Allmusic

  23. Sideload

  24. MyBloop

  25. Mininova

  26. Unsigned Band Web

  27. Soundflavor

  28. Live365

  29. iLike

  30. Dizzler

  31. finetune

  32. Digitally Imported

  33. Tagoo

  34. purevolume

  35. The Hype Machine

  36. GarageBand

  37. musicovery

  38. MP34U

  39. Fairtilizer

  40. Music

  41. Jamwave

  42. Opsound

  43. Artist Direct

  44. MySongCast

  45. Magnatune

  46. liveplasma

  47. Project Playlist

  48. itBreaks

  49. Newgrounds

  50. Anywhere.FM

  51. WeenRadio

  52. Mashuptown

  53. thetastates

  54. SkreemR

  55. GO Video [Codes]

  56. Blastro

  57. SpinJay

  58. Yallwire

  59. Roxwel

  60. Muxtape

  61. (em italico os que conheço; esta lista de 60 não inclui todos os sites que existem: não está aqui o we7, o Accutunes ou o Launchcast; quanto mais sites destes, mais dimensão critica, e mais opção se tornarão) fonte

O futuro da rádio

«The future of radio is about increasing listeners through “Internet and mobile, and building a strong online community around music tastes,” said Vineet Jain, managing director of Bennett, Coleman, in an e-mailed response to questions.»

fonte: «Indian Media Giant Buys Virgin Radio From Scottish Firm», By HEATHER TIMMONS NYT June 2, 2008

Fazer uma rádio pessoal a partir de casa (ou melhor, música)

«iRadeo is a free streaming radio platform that allows anyone to stream their MP3 or WAV files. Once installed, iRadeo will automatically detect and stream any supported file format that has been uploaded to a specified directory.

You download the iRadio files, open the config.php file to update your settings and preferences, then upload all the files and folders to your own web server. Then, you simply insert the iRadeo player code into any webpage and visitors can stream your playlist. The amount of maximum listeners is only limited by your web hosting limitations.» (Corey Deitz

OBERCOM (2008), «Blogues e Blogosfera.pt», Março 2008

«Blogues e Blogosfera.pt», coordenação editorial Rita Espanha, Obercom Março 2008

Sempre EUA, a não ser que haja referência em contrário ou diferente

O áudio será sempre secundário? (intr)

Não há nem haverá um YouTube para o áudio.

O áudio não tem competências suficientes para ser - por si só - um conteúdo primário.

O áudio tenderá a ser sempre (ou quase sempre), como hoje acontece com a rádio e genericamente com a música, um conteúdo secundário, de acompanhamento, de acumulação.

Por isso quando se fala em consumo activo não se está a comparar áudio com o vídeo (a pôr no mesmo plano), está a querer dizer-se duas outras coisas:

- que mesmo sendo apenas áudio, e resultado da vontade do público de intervir, o consumo será MAIS activo do que acontece hoje (que não nos limitaremos a ligar e a desligar e a escolher as estações, mas também a seleccionar conteúdos, a criar perfis, a actualizar programações em funções de gostos);

- que ao áudio, podem juntar-se outros conteúdos, esses sim mais primários, que permitem uma participação mais activa.

Ou seja,o consumo pode ser activo e secundário, globalmente. É secundário em resultado duma intervenção activa.

Brecht, o autor mais citado

Fundamentalmente esta nueva radio desarrollará nuevos formatos especializados con una gran sinergia e interactividad de contenidos y servicios entre los diferentes soportes digitales. De lo contrario ocurrirá lo que ya presagió Bertolt Brech en su Teoría de la radio en 1932, que teniendo todos los canales disponibles, no tengamos nada que contar: "[la radio] tiene la posibilidad de decirlo todo a todos, pero, bien mirado, [hay que tener] algo que decir". O aún peor, que lo que la radio cuente, no interese a los oyentes de la era digital (Martínez Costa 2004:11).

Brecht é provavelmente o autor mais citado da história da rádio, porque junta - fundamentalmente - duas qualidades; o seu pioneirismo histórico e uma perspectiva disruptiva face à rádio do momento, que foi alias a rádio durante muitas décadas. Isso fê-lo manter actual sem que nada do que disse alguma vez tivesse acontecido (!). finalmente, faz sentido cita-lo, porque aquilo que disse há 80 anos está a acontecer. Brecht sem ser um académico (?) foi sobretudo um visionário que desenhou um projecto de interactividade para a rádio que basicamente se mostrou impossivel durante 80 anos (de rádio) (ou 50 desde que escreveu). O tempo na rádio pode ser medido antes e depois de Brecht. Com uma particularidade: depois de brecht não é depois de brecht ter escrito sobre a interactividade em rádio, é depois de ter acontecido o que Brecht escreveu...

Isto significa que tudo o que Brecht disse é hoje actual ou, mesmo, válido? Claro que não: «A utopia de Brecht, de que todo o receptor de rádio deveria ser um potencial emissor, depara-se, desde logo, com um limite: saber quem vai ouvir tamanha cacofonia.
De resto, algumas das posições de Brecht sobre a rádio merecem ser sujeitas a uma análise crítica como o fez, por exemplo, Nicholas Garnham: “Brecht argued (demonstrating his technological ignorance) that it was a mere capitalist conspiracy that radio sets were not designed and marketed as transmitting as well as receiving devices, without realizing that he was talking about the telephone, which already existed on the market”
Garnham, N. (2000: 6 8) Emancipation, the media and modernity».

Concordo em parte, no que respeita à análise técnica de Brecht, pois aquilo que o autor também refere, não respeita ao público apenas enquanto emissor, mas essencialmente enquanto produtor de comunicação, o qual estaria sujeito à mediação profissional. Ou seja, colocar nas mãos do ouvinte a possibilidade de produzir conteúdos para a rádio representa uma abertura que o meio só aparentemente tem tido. Ainda que estes sejam depois submetidos à apreciação e selecção dos gatekeepers na rádio, na actualidade, o potencial multimédia e as plataformas de difusão digitais permitem gerir a cacofonia a que o Vitor se refere, e deixar nas mãos do ouvinte-utilizador, a escolha da cacofonia que pretende escutar…
Mas sim, a análise de Brecht é compreensivelmente limitada. Afinal, estavamos ainda na década de 1930 e meios como a rádio, eram ainda uma novidade. Tanto técnica, do ponto do vista da emissão e da recepção, como especialmente, um meio de comunicação social. Além de que, pespectivas posteriores, com maior ou menor influência de um pensamento economicista ou crítico, analisaram este incontornável contributo à sua maneira, tal como cada um de nós, tendencialmente faz.» (fonte: 2 respostas para “Play.it (continuação/update)” NetFM, 7/05/08

Não há, no espaço da música, um site de referência

A LAst.fm é provavelmente a melhor colocada para ocupar na musica o espaço que a Google ocupa relativamente aos motores de busca, o YouTube no video, a amazon e a ebay nas compras ou a wikipedia no conhecimento. Mas não há um lider claro. A Last.fm vai à frente.

A rádio pode chegar ao um-para-um?

«There are opportunities for radio to begin to close this gap. Technology offers us the opportunity to evolve our relationship from one to many to one to one. There are several companies out there that offer radio-centric applications that allow you to engage your audience one listener at a time. The best ones allow you to track that engagement across different platforms like text and streaming. Every radio station needs to have a direct relationship with as much of its audience as it possibly can. Permission is the asset of the future and radio’s unique relationship with the audience, if respected, can be utilized to build a tighter, more relevant, one to one bond. Eventually, this bond and the engagement created by it will yield more advertising revenue than running spots», AGOVINO, mike, Thoughts On Radio’s Reinvention—Part II, rbr.com 29/05/08

Ouvintes com formação superior ouvem menos rádio

«In the Spring of 2007, if one aggregates all of Arbitron's diary markets (essentially the whole country except for Philadelphia and Houston), the weekly listening was as follows:

Not a College Grad: 18 hours 45 minutes
College Grad: 15 hours 45 minutes

Incredibly, I've never seen this talked about before, despite the fact that it has been possible to find this data all along. But this finding actually understates the difference. That's because the 'non-college-grad' group includes all the teenagers, who have always given significantly less Time Spent Listening (TSL) to radio. So look at the numbers if we look at listening among 25-54 year olds:

Not a College Grad: 21 Hours 15 minutes
College Grad: 15 hours 45 minutes

Wow. As you can see in Figure 1, below, college grads listen to five and one-half fewer hours of radio per week, on average, than those who have not attained a college education.

Figure 1

college1.png

 

 

Is it that the programming available from commercial radio is just not appealing enough to college graduates? Has our programming simply chased college grads away from the dial? Or is it that college graduates just have less time available for radio listening and more income to buy replacements like iPods and Satellite Radio, and it is not a function of the programming?» fonte: «Has Radio Lost the College Grads?, Edison Media Research, Larry Rosin, Maio (30?) 2008

 

 

A rádio convencional tem futuro se...

«My view is that terrestrial radio is now a destination entertainment medium for available listeners – older members of Gen X and the baby boomers (...) Beyond that – radio has little future as of this moment. That is, if radio is defined only as a 24/7 terrestrial signal. On the other hand if radio content providers, marketers and sales people can embrace alternative ways to entertain Gen Y – not as easy as it sounds – terrestrial radio operators could be the fortunate drivers of mobile, Internet and WiFi entertainment for a youth generation that rivals baby boomers in population. (...) The future of broadcasting without the next generation -- options, strategies, challenges. There is no better content provider on planet earth than radio talent for producing content. But there is no need to produce 24/7 programming online. I am not saying that there won’t be streaming stations on the Internet to replace radio for Gen Y – there will. But the radio station of the future may only provide three hours of programming a day – that’s right, a day – and deliver it on a cell phone or mobile device. And, yes, there will be ancillary ways to monetize this concept.»

COLLIANO, Jerry del, «The Next Generation of Radio – On-air, Online, on Mobile Devices  29/05/08

 

A dificuldade de saber o que eles querem

«But today, "media r us." Media are people. People aggregating and collaborating and interacting and discovering and discussing - wherever they want, wherever they can. Media are no longer radio and TV and print. When the audience, not the broadcast-industrial complex, is the media, then where does radio fit in? What is our role in this new math?It is not simply to add the Internet to our solutions and call it a day. It is to fundamentally reconsider the world from the perspective of the consumer, the listener - not from the perspective of the broadcaster. In other words, it’s not about what you want, it’s about what they want. And it’s about what you have that uniquely fits into what they want. I have yet to see any major radio organization consider the world from this perspective. But that’s going to have to change.»

fonte: RAMSEY, Mark «Media r Us» Hear2.0, 28/5/08

A ligação do Pandora à Clear Channel

«What are you doing with Clear Channel and why?
It's a trial that we'll be running on some of their Web sites this summer, where they'll be offering personalized Pandora playlists. Companies like us are always wise to look at new distribution partners. If we can get Pandora in front of more people, that's nothing but good. I would be surprised if Pandora's future doesn't have a fair number of distribution partners like this.
CBS Radio is offering a similar personalized DJ service. Any concern about terrestrial radio companies offering more interactive features on their Web sites?
All the terrestrial broadcasters are very actively beginning to implement or planning online extensions. That's all competition for listeners. We pay attention to that and need to react to it. The Clear Channel implementation is run by them-they pay the licensing, they handle the economics of it. The only reason it works is because it's not their main business-they don't pay royalties on over 90% of what they broadcast. So all this leads to a discussion of royalty payments.»

Six Questions With Pandora Founder Tim Westergren Billboard May 27, 2008 - Digital and Mobile By Antony Bruno, Denver

Sobre o lançamento de canais on line pela industria

Ideias a partir do artigo MORAIS, Maria João, «As novas faces da rádio», Meios & Publicidade, 23/05/08, pags 30-31:

-  «diversificar a oferta, segmentar os ouvintes, e alargar o alcance do meio são alguns dos motivos que os players ouvidos pelo M&P destacam»;

- transferência dos ouvintes provenientes dos suportes tradicionais para a Internet (Jorge Alexandre Lopes, RDP/RTP)

- a internet permite que as rádios não estejam reféns do formato que possuem na antena; ir ao encontro de nichos de interesse musical; a internet alarga a oferta e tambem o espectro de ouvintes»; canais temáticos são encarados sobretudo como um 'complemento da estação' (Pedro Ribeiro, Comercial) [PORQUÊ, porque é que não podem ser independentes, marcas novas?]; canais da Comercial sem spots; consumidor estará receptivo a mensagens de teor publicitário? [alguma forma de publicidade terá de haver]

- grupo Renascença aposta em 'canais temáticos musicais, montados a partir de marcas muito conhecidas e emblemáticas do grupo renascença' (JLRPinheiro)

- Cotonete: desde 2001 380 canais temáticos, 60 mil rádios pessoais, um milhão de utilizadores unicos por mês, inclusão de conteúdos próprios, particularidade 'inovadora a nível mundial'; é um sucesso em termos comerciais; o portal tem apresentado diversas soluções ao mercado que não se cingem ao tradicional banner, mas englobam o video, audio e imagem (Carlos Marques, director geral)

- mais do que o lucro, nesta altura é o retorno da infuência; duvidas quanto à viabilidade tem atrasado lançamento;

10% dos ouvintes escuta a  rádio atraves da Internet (JAL); internet permite conhecver o perfil dos ouvintes, bom para os anunciantes (que podem focar-se nos alvos pretendidos)

- a fragmentação tenderá para o limite, que é o individual(...) os programas mais populares  serão aqueles que forem escolhidos individualmente por mais pessoas' pelo que o enfoque vai passar a estar em cada um dos conteudos' (JAL)

- apesar da existencia de canais feitos à medida de cada um, muitas pessoas vão continuar a precisar de um programador que faça a selecção do que ouvir' (CM)

 

A televisão para a nova geração é online

«Young people consider online video content more of a necessity than cable television. They love their Macs. Content piracy is not as prevalent as you may think. And digital video advertising is a necessary evil. (...) 48.2 percent of teens 15 to 17 say they occasionally or frequently watch television programs online (53.5 percent male, 42.9 percent female); 41.8 percent of adults 18 to 24 say they occasionally or frequently»

fonte: Young People on Digital Content Jack Myers 28/05/08

O que é o primetime? O online...

«“The days of the ‘lineup’ are numbered,” Mr. Wolf said. In other words, with fewer viewers watching linear over-the-air television, networks can’t assume that a heavyweight lead-in like “Dancing With the Stars” will keep viewers watching all the way to the late local news, a pattern that has helped networks introduce new shows.

It may also mean that matching up programs becomes less important, or at least less potentially damaging. Last fall’s powerhouse Thursday at 9 p.m. match-up — ABC’s “Grey’s Anatomy” versus CBS’s “CSI” versus NBC’s “The Office” — was a scheduling move influenced by time-shifting. All three shows are popular among the young, upscale viewers who record and stream shows most often.

“I think that scheduling decision would have been a lot harder to make in a non-DVR world,” said a senior network executive who spoke on the condition of anonymity in order to be candid about the issue. “It would have been more of a zero-sum game then.”»

New York Times, In the Age of TiVo and Web Video, What Is Prime Time? Brain Stelter, 12/05/08

 The Control-Variety-Choice architecture of TiVos/DVRs and the Internet, especially due to the growth of network television sites that offer shows like The Office and Lost whenever you want to see it.

We saw this in our Tech Poll IV in a new question that revealed that four of every ten Rockers now have a TiVo or DVR.  The implications of this are obvious if you're in the TV business.  But what if you're in radio?

Tech_poll_4_tivo_2

At what point will "morning drive" not hold its traditional lead over all other dayparts (aside from PPM)?  When will radio have a podcasting model that makes it convenient for fans of morning shows to be able to easily time-shift their listening?  (And keep in mind that if a PPM respondent listens to a podcast within 7 days of its original airdate, it "counts" in the ratings.)

38 sites de musica, gratis ou baratinhos...

38 free/cheap music sites — Welcome to the fray, Qbox!

- «No single strategy for listening to music online has come to dominate the market, as record labels, managers, artists, fans, Apple’s music offering, Internet radio and recommendation companies all jockey for position. But one thing is clear above all the din: Fans will not be denied their music — and most want it free.

- We tell you what the service does, what its business model looks like, and whether it lets users stream or download, among other things. The most useful categories may be 1) what we’ve termed “musicability,” or how easy can you find the song you want (this may be the best way to pick a potential favorite), and 2) “genre,” or how easy it is to search through a particular genre of music. Both are rated on a scale of 5.

-despite copyright restrictions, many of the sites manage to share music legally; others are dubious but are surviving anyway. We’ve most definitely missed several — we haven’t included most torrent or peer-to-peer (P2P) companies because there are simply too many of them and the majority operate illegally.

NOTAS essenciais:

- duas formas de difusão: streaming ou downloading (alguns tambem em telemoveis, iPhone

- Modelo de negócio: publicidade (audio ou banners), versões premium e vendas associadas (amazon, por exemplo

- A legalidade de alguns espaços é discutivel

A grande diversidade é na classificação destes sites: tanto são music search engines (ou search and discovery music engine ou jukebox/music search engine), como «music storage space», social music downloading, social music service, social music site, social network media site (ou social network service), music store, social media radio site, social music locker, social music blogging, online music locker, music storage locker, music radio, online music service

 

O podcast cresce mas não seduz os mais jovens

«Podcast audience is growing “tremendously.” That’s according to Edison Media Research, which found the number of Americans who downloaded and listened to an audio podcast grew from 13% to 18% in the past year. Edison Research VP Tom Webster says stations should create as much "podcast-able content" as they can. Report HERE.» Inside radio, 28/05/08

De acordo com o estudo: 12-17 anos 15%, 18-24: 13%; 25-34: 21%; 35-44: 21%: 4-54: 20% (slide 12)

Gravar música a partir do streaming (legal)

«Discover new tracks and build your music library with Radiotracker Platinum 4 from Avanquest Software
Avanquest Software, a leading developer and global publisher of best-selling personal and professional software, has launched the latest version of its award-winning* music finding software. Radiotracker Platinum 4 legally^ retrieves your favourite music from internet radio stations, downloading files directly to a PC in MP3 format for free.
Find your favourite music
Searching over 15,000 web radio stations, Radiotracker will identify, target and deliver music to create a collection tailored to the user’s preferences. The ‘MusicFinder’ wish list allows users to select their desired tracks from a self-updating catalogue of over 100,000 artists from 15,000 Internet radio stations. Radiotracker Platinum 4 will then target the stations that play the desired tracks and deliver them automatically to a PC.