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Transistor kills the radio star?

3.0.2 O consumo passivo

O tal formato que é uma espécie de iPod...

«“Nearly three years after the debut of Adult Hits, most radio stations that have adopted radio’s newest format are still showing audience gains over what their previous programming delivered.” That’s the word from Arbitron and Edison Media Research.  “At least of half of Adult Hits stations have also defied the conventional wisdom that the audience for any oldies-based format has nowhere to go but down after any initial peak in audience.”  The study is called “Adult Hits 2006: Keeping Track Of Jack, Bob and Pals” and looked at 38 stations that have been with the format for at least three quarterly Arbitron ratings reports, including one that switched to the format in late 2003. “In terms of station performance since embracing the Adult Hits format, 15 were up among 25-54 year olds in the winter ’06 ratings, 22 were down and one was flat,” Arbitron stated. “Of the 38 stations examined, 36 were measured against their previous format (two were launched on brand new frequencies). Of those 36, 28 had higher ratings among 25-54s in winter ’06 than in that station’s last book before changing format.”  Of the 38 stations examined, at least half have rebounded from at least one decline in audience during a quarterly survey period, a number “that is only likely to increase as stations stay with the format during additional Arbitron surveys.” More than 80 percent of listeners to Adult Hits stations are adults, age 25–54. Only three stations – Bonneville's KPKX (the Peak) Phoenix and WARH (the Arch) St. Louis and Citadel’s KBBD (Bob FM) Spokane, Wash. – were ranked number one in average quarter hour ratings for adults, age 25-54, during the Winter 2006. An Edison exeuctive said in the announcement, “This study suggests that well-programmed, well-executed Adult Hits stations can be durable.”»

Rádio ganha com novas ofertas digitais

(diz mais um estudo da Bridger Ratings...):

«“We saw in this study that traditional radio listening benefits from some digital media alternatives,” explained Bridge Ratings President Dave Van Dyke. “Peer-to-peer file trading, podcasting and MP3 player use can cause increased time spent listening to traditional radio depending on format, while satellite radio and Internet radio can cause reduced listening to conventional radio.”

“What’s most interesting,“ Van Dyke continued, “is that traditional radio can benefit from some of these competitive media. However, some individual formats are hurt more than others.”»

fonte: «Bridge Ratings: Digital Media's Impact Varies By Format», 28/6/06, Radio Ink 

Itunes e operador de rádio dos EUA aliam-se

«On Friday, the Indianapolis radio-station operator said it is working with Apple Computer to integrate iTunes into its radio stations' Web sites. It's an unusual partnership headed for a national rollout.

With a few clicks of a mouse, listeners can buy songs played on Emmis stations from the iTunes Music Store, then load those songs onto their iPod players.
Emmis will get a cut of the sales made from listeners clicking through to iTunes. And that's saying a lot considering Apple has a stranglehold on the digital music market, with more than 2 million iPods and 1 billion songs sold worldwide»
fonte: «A sweet partnership», Indianapolis Star, Erika D. Smith, June 3, 2006 

(5.2) Criatividade

Walt Mossberg, o especialista em tecnologia do Wall Street Journal, esteve na convenção NAB 06 e falou sobre (o futuro d)a rádio. O texto merece ser lido na íntegra, ou pelo nos extractos divulgados pelo site RAIN, mas aqui ficam algumas ideias:

«There are now 50 million iPods out there,” Mossberg said. “What you have to do to confront the iPod and the Internet isto be better at what you do. “My music tastes don’t fit into the little boxes that Clear Channel in my market has decided I need to fit into,” he said, arguing that broadcasters need to use streaming, podcasts, HD-2 channels, and other tools to beat that iPod“You’re in the business of producing audio programming, and you should be  using all the technology at your disposal.” (...) “Your job is not just to string together a bunch of songs in a row, but to put on exciting new programming to attract new listeners and beat the iPod.” »

 

Quatro interrogações sobre o futuro da rádio

«There used to be four Great Remaining Questions about future radio. With portability now with us, there are now three GRQs:

Can we make this two-way radio? Can I upload my stuff as well as download yours?

Can we integrate national with local? The FCC has discouraged XM and Sirius from competing with local stations (though this stricture may soon crumble). Yet most listeners still want a local component to whatever radio they use. How do you do that and still be national?

Can we randomize? Radio - especially radio news - does something no other media do as well, not even the Web. It preserves the random. It gives us things we didn’t know we’d like. National Public Radio is a fine example. You’re not going to like everything - but you’re going to learn something and probably like it.

It’s really important for radio to preserve the sweet random. The day someone figures out how to give me what I choose along with what I haven’t chosen but still might like - and make money doing it - that’s when radio will have changed forever.»

fonte: Philadelphia Inquirer, In radio, satellite is gaining ground, John Timpane,  Mar. 05, 2006)

 

Características da convergência na rádio

«a) La convergencia digital nos lleva hacia un nuevo modo de comunicación.

b) Implica un diferente concepto de radio del que puede derivarse una mayor diversidad en la especialización radiofónica.

c) Se dispone de un número mayor de soportes para distribuir la programación radiofónica.

d) Las tres consideraciones mencionadas con anterioridad implican cabios en la concepción, producción y realización del mensaje radiofónico así como en la recepción del oyente.

Este nuevo modo de comunicación permite que exista una mayor interactividad entre el programador y el oyente. Una relación que se torna más estrecha. El oyente adquiere mayor protagonismo al decidir en cada momento qué quiere escuchar, sea un contenido que esté en ese momento "en la antena" tradicional o a su disposición porque el programador lo ofrece a través de otros soportes de distribución».

Elsa Moreno Moreno, Martinéz-Costa, 2001: 201 

«Hablar de un nuevo sonido para nuevos tiempos significa recoger el sonido que ofrece la radio a través de los diferentes soportes de producción y distribución que convergen en la actualidad. Un sonido que se complementa con la información visual -gráfica y escrita- que la radio puede ofrecer a través de los diferentes canales digitales».

idem, 202 

Os três

«La radio del futuro es una radio de mayor creatividad y de fabricación de nuevos mitos musicales para poder aplicar y exprimir esas enormes posibilidades que da la tecnología y los nuevos soportes. Todo se puede resumir en las tres "c": convivencia, compatibilidad y convergencia»

Javier POns in Martinéz-Costa, 2001: 118

A programação local como resposta (???)

Uma das mais fortes correntes de opinião nos EUA reconhece que o satélite ganhará cada vez mais ouvintes/assinantes, até estabilizar numa percentagem de população interessada em receber -pagando - rádio sem publicidade.

Mas essa mesma corrente - em vez de se preocupar em combater a rádio via satélite - percebe que há uma área em que nunca serão concorrentes: a programação local. Seja por uma questão de limite tecnológico seja porque não faz mesmo sentido, haverá milhares de rádios nos EUA (onde todas são locais) que nunca irão para o satélite ou que nunca terão uma oferta semelhante no satélite. 

A programação local poderá continuar a dar aos habitantes de uma pequena ou grande cidade aquilo que só a rádio - por agora - pode dar: informação na hora, o tratamento de temas específicos, abordagens (em phone ins, por exemplo) muito localizadas.

A programação local, aproveitando as potencialidades de difusão da internet e do HD, pode continuar a seduzir muitos ouvintes. Mesmo que deixe o éter (não previsto nos EUA) - o que significa que o futuro da rádio (desta rádio) passa muito mais pela palavra do que pela música.

«Con la explosión de otras opciones de radiodifusión que vienen de lugares muy distantes y lejanos a través de Internet y por satélite, conseguir que el formato de una emisora sea lo más local posible parece ser la mejor estrategia que pueden desarrollar los canales de radio para seguir satisfaciendo sus nóminas y sus proyecciones de ganancias. Según un reciente informe publicado en Broadcasting & Cable, una de las revistas más importanres de esta industria, "los oyentes siguen valorando por encima de todo el carácter local de las noticias y de la información (...) Mark Edwards escribió en la revista profesional Gavin: "como emisoras debemos trabajar cada día para hacer que el lazo de unión con nuestros oyentes sea más fuerte. Lo que hagamos entre canciones será lo que distinga a nuestra emisora del resto de las emisoras, de las emisoras en Internet y de las emisoras por sarélite. Sin un elemento local, habrá poco que nos distinga. Si hay una emisara local (independientemente de dónde esté ubicada en el mundo) que no sea local y tópica, acabará fracasando". . " (Keith, Michael C. La radio en mercado global, apud Martinéz-Costa, 2001: 104/105).

A tempestade do segundo choque

"participants of last week’s "Reuters Media and Advertising Summit" think radio is at a "perfect storm." On demand audio programs, satellite radio, and overcommercialization of broadcast programming are the three storm cells that are converging. The advertising community views these problems, when conjoined, as devastating to radio as Katrina was to New Orleans.

Como é que rádio tradicional reage? "Why would you pay for something you get for free?"

Formulações para o segundo choque

"I greatly enjoy Ken Dardis’s Audio Graphics web site and frequently link to it here.  His site is approaching its tenth anniversary, and Ken is not too optimistic about the current state of terrestrial radio.

Terrestrial broadcasting is at a crossroads, and I’m not sure  people in the broadcasting business understand they have a problem or its causes (see some of the recent comments here; one person insists radio’s problems are the audience’s fault!).  But it’s possible for troubled companies and industries to reinvent themselves. Look at Apple and its turnaround since the return of Steve Jobs; it has gradually morphed from a struggling PC company (Apple only accounted for only 5% of all new PC sales in 2005) into a music/entertainment media company with terrific growth prospects. 

But will terrestrial broadcasting be able to adapt-----such as by offering their programming via mobile phones, the internet, wireless broadband, and/or (gawdforbid!!) satellite radio------or will it be like the U.S. auto industry and stubbornly pursue the same business practices that haven’t worked for years and which, in fact, have brought them to the edge of a financial apocalypse?

As they used to say on Top 40 radio in 1966: "Don’t touch that dial!!"

fonte: "Is It The End Of the Road For Radio?"

Convergência é (parte d)o futuro

"Entre las notas dominantes del nuevo paisaje de los medios digitales, Orihuela (2000: 47-S0) señala varias convergencias y transiciones que también pueden aplicarse al caso de la radio. Para el autor, la clave de la comunicación se ha desplazado desde la transmisión de información hacia la producción de contenidos y, en ese desplazamiento, «el público sedentario de los medios tradicionales se ha reconvertido en usuario activo, no se limita al consumo de medios interactivos, sino que también participa en la producción de contenidos». Por otra parte, «la distinción entre medios personales (como el teléfono o el correo) y medios colectivos (como la radio, la televisión o la prensa) se diluye en un entorno de confluencia bautizado por De Kerckhove como conectivo». Internet ha provocado la disolución de las fronteras que separaban a los medios en función de su soporte y de los formatos de la información. De esta manera, las redes de telecomunicaciones se fusionan con la radio y la televisión (broadcasting)"

María del Pilar Martinéz-Costa in MARTINÉZ-COSTA, María del Pilar e MORENO MORENO, Elsa, Programación Radiofónica, Ariel, Barcelona, 2004 , pág. 322 

"Encruzilhada tecnológica"

"Muchos son los autores que caracterizan el momento actual de los medios como una encrucijada que pone en conflicto, una vez más, la dimensión técnica con las concepciones y lógicas culturales y sociales. Para Wolton (2001: 207-223) este cambio tecnológico no impone por definición una nueva jerarquía entre los nuevos y los viejos medios. La tecnología digital , y más específicamente la internet, no reduce la la comunicación a la satisfacción de una demanda tecnológica, como no lo hizo antes ni la imprenta ni la aparición de la televisión. Por el contrario, situadas en una perspectiva histórica, las tecnologías de la comunicación digital pueden plantearse la superación de la lógica de la cantidad por la lógica de la calidad, aunque con unas nuevas normas de juego".

María del Pilar Martinéz-Costa in MARTINÉZ-COSTA, María del Pilar e MORENO MORENO, Elsa, Programación Radiofónica, Ariel, Barcelona, 2004 , 322

Jovens 12-24 anos preferem LAD e internet para ouvir música

Um estudo da Bridge Ratings mostra o que já se suspeitava: de um universo de 2000 inquiridos, entre os 12 e os 24 anos, 85% escolhem o seu leitor de mp3 à rádio tradicional.

"The study interviewed 2000 persons 12-24 years of age and was done on a national platform*. The project was part of a University of Southern California Media Lab analysis entitled "How to Make Music Radio Appealing to the Next Generation." »

outras notas: há diferenças entre os 12-17 e os 18-24;

- para ouvir musica, a internet é preferida do que a rádio tradicional: "When given a choice between listening to music over the Internet or traditional radio stations, 54% prefer the Internet while 30% prefer radio. This preference is more pronounced among 18-24 year olds."

"Some ways make music radio more appealing to this Next Generation?

  • Add variety - more different types of music and different types of programming throughout each day.
  • Reduce repetition
  • Showcase much more New Music.
  • Hire relateable personalities who can expose this age group to new music.
  • Podcast your personalities, create blogs, eliminate the pre-recorded, imported automoton announcers.
  • Completely embrace all of the technology available as extensions of the radio station.
  • Re-think commercial loads, placement and production quality. For example, properly placed hour long sponsorships would enhance client brands and station image.
  • Provide what the MP3 player cannot.

Conclusion

While it appears that the next generation has responded negatively to traditional radio, the reasons are rooted in radio’s abandonment of the 12-24 year old over the last ten years.

This age group appears to want radio to step up, change for the better and challenge them with a new way of presenting radio that is customized for their lifestyles and tastes.

12-24 year olds believe that radio can offer unique programming that will attract them away from their MP3 players and Internet Radio. "

«How to Make Music Radio More Appealing to the Next Generation», Bridge Ratings, Dezembro 2005

[http://www.bridgeratings.com/press_120105-12-24%20Listening.htm]

Um comentário: "While it appears that the next generation has responded negatively to traditional radio, the reasons are rooted in radio’s abandonment of the 12-24 year old over the last 10 years. This age group appears to want radio to step up, change for the better and challenge them with a new way of presenting radio that is customized for their lifestyles and tastes.” And maybe that same age group is just as anxiously awaiting the rebirth of the abacus. The decline in radio listenership among today’s youth is part of a larger trend. It’s no secret, for example, that newspapers are increasingly ignored by this same demographic. And, in the case of newspapers, the same kind of recommendations have been made. “Grab young readers’ attention by creating stories relevant to their interests.”

O aluguer do espectro como negócio... além da rádio

Há quem veja a rádio - não, talvez, a rádio como a conhecemos hoje... - como uma plataforma para distribuir conteúdos. Para além da sua actividade central, beneficiando de canais paralelos de transmissão.

O presidente da iBiquity, que inventou e está a desenvolver a tecnologia HD nos EUA, tem feito várias declarações sobre as potencialidades da rádio do futuro. Esta declaração é uma delas: "if Microsoft is right, we’ll all be reading our New York Times on an e-tablet five years from now. Radio broadcasters will be one of the main distributors of that sort of content. Between 2:00 and 3:00 in the morning, when they’re not selling a lot of ads, they’ll be able to turn down their audio and blast out The New York Times to 100,000 e-tablets around Manhattan - and they’ll get paid for it. It’s spectrum rental. The Internet is a great way for distribution, but radio has great spectrum that’s so economically attractive compared with anything else out there - cell phones, WiFi etc.
We’re also excited about the concept of a “Buy” button. There’s no better place for an impulse purchase than when you’re sitting in traffic listening to ads. Radios will have a “Buy” button: If I like a song and want to download it, I press the “Buy” button, and that track gets downloaded in the format I want. Or, if I’m listening to an ad for 1-800-FLOWERS, I can press the “Buy” button. That stuff is very doable, and we think it’s pretty cool. Plus, the radio station gets a cut of the sale, because it occurred when that station was being listened to
." "If You Aren’t Thinking Digital, You’re Smokin’ Dope" (04/11/05)
By Reed Bunzel, Editor-in-Chief "Radio Ink"

Pode a rádio competir?

"Terrestrial radio is under fire. There are more and more outlets for the precise kind of music your listeners want to hear. These outlets and the technology needed to access them are becoming more mainstream by the day. If you think your market is so different that nothing more than the music you play will keep your listeners from seeking alternative modes of music delivery…you’re sitting right in the middle of the road and are about to get run over.

This, of course, isn’t the first time terrestrial radio listening has been threatened. There were people who felt certain the death knell of radio was the advent of the 8-track tape. 8-tracks didn’t kill radio, nor did cassettes or CDs, so why the big hoopla over satellite radio and iPods? Obviously, unlike 8-tracks and CDs, satellite radio and iPods offer a literally infinite combination of the EXACT songs your listeners want to hear. Satellite radio can provide some of that human touch missing from CDs and digitally delivered music, and in a commercial-free environment to boot. Terrestrial radio simply can’t compete with this."

Os detalhe na íntegra, aqui:

Volume 8, Number 5 -- January 31, 2005

A Few Numbers For You to Ponder
By Penny Mitchell, Operations Manager, U.S. Country, Jones Radio Networks

A rádio, os LDM e o «shuffle»

Um dos principais argumentos da rádio face aos aparelhos que reproduzem música é que esta permite uma grande variedade e diversidade na escuta. Por outras palavras, o ouvinte nunca sabe o que vem a seguir (mas com play lists tão reduzidas e repetitivas, quase pode adivinhar...). Em contrapartida, um leitor de CD reproduz os temas como estão alinhados no disco, sempre os mesmos, pela mesma ordem.

Esse argumento - teoricamente favorável à rádio - acaba com a presença nos LDM de um botão de busca aleatória, "shuffle", que vai buscar do universo de músicas guardadas em cada leitor uma qualquer, sem qualquer ordem prévia. Com a vantagem de evitar, ainda, os intervalos de publicidade.

"Some radio proponents point out that part of the excitement of radio is the unknown, and the fact that you never know what they’re going to play next. MP3 player owners, however, point to the little button on their devices labeled ’shuffle’ and point and laugh at the radio proponents, ceasing only to walk away and listen to the music they love while the radio proponents wait patiently through a 15-minute string of Buick commercials"

Por isso é que há quem, nos EUA, fale num novo formato radiofónico, chamado "Jack" como resposta ao iPod e ao fenómeno do "Shuffle": é um formato com uma play list muito larga e extensa, que pode surpreender a qualquer momento. 

Há quem diga que a rádio está a convergir

A Autoridade britânica Ofcom diz que sim:
De acordo com o relatório "The Communications Market 2005", pág 35:
"2.1.2 Radio moves into the hands of the listeners
Radio, as we noted in our June 2004 Communications Market report, has been at the forefront of convergence. Radio services are available across a variety of platforms from digital television, to mobile phones and the internet, as well as more traditional radio sets. Since last year’s report, GMG’s ejazz.com has entered the radio-on-demand arena, while the BBC significantly extended and enhanced its “radio player” – the pioneer in the UK market. On-demand services are also provided to a greater or lesser extent by other stations (e.g. Xfm provides listeners with the opportunity to listen to archived sections of some of their shows). In addition, “podcasting” has meant listeners are increasingly able to download and listen to radio on their MP3 players, where and when they want. The BBC, by extending its download trial recently, is getting increasingly involved in this area.
Multimedia and interactivity are increasingly becoming part of radio. Emap’s Channel Hopper, the BT Livetime service (due to launch later in 2005) and GWR’s “Hear it, buy it burn it” service are examples of new ways in which traditional radio and radio spectrum are being used to deliver listener benefits, and ultimately additional revenue.
However, although products such as the Reciva internet radio (which utilises WiFi and broadband connections) are coming onto the market they are not common, and most radio listening remains broadcast rather than internet based. DAB digital radio is the only widely available digital platform currently offered in the UK that allows portable reception (although DRM, broadcast from mainland Europe into the UK may launch later in 2005). Sales of DAB sets received a major boost during 2004 with total cumulative sales almost trebling from the 470,000 set sales at the end of 2003 to 1.4 million, raising household penetration of DAB sets to 5% (Figures to the end of March 2005 show total sales to date of 1.5 million sets. Source: DRDB).
Usage of all of these innovative services is growing. The BBC announced in February 2005 that 4.4 million hours of listening was to its on-demand services, while for commercial radio stations, 8.3% of all listening was to digital-only stations (1) by the end of 2004.
(1) Including digital listening to analogue stations outside their analogue areas (Source: Rajar)

Já nas páginas 40/41 encontramos mais informação sobre a capacidade da rádio integrar outras plataformas:
“Continuing the trend reported in last year’s Communications Market, the radio industry continues to be at the forefront of convergence in the communications sector. This is happening in a number of ways:
• Radio listening is increasing on digital platforms – digital TV, the internet and DAB digital radio
• There is a move away from live radio consumption through the use of “listen again” Internet services, such as the BBC’s Radio Player, “podcasting” and DAB receivers with built in pause, rewind and recording facilities (the first such receiver, “The Bug” was launched during 2004)
• Multimedia services which complement existing radio programming and enable new revenue streams are being developed and are due to launch this summer. These new services will develop against the backdrop of increasing DAB take up in the UK, the digitisation of the AM bands in mainland Europe, and industry initiatives to protect digital rights”. "

Características do...

Ao contrário do que aconteceu com o primeiro choque, a tecnologia que ameaça também pode ajudar. Isso pode ser um bom sinal (1) :permite novos meios de transporte do conteúdo radiofónico (usando LDM, telemóveis, computadores, consolas), se a rádio souber aproveitar a boleia; também cria novas formas de rádio (internet ou satélite). Mas a tecnologia não tem apenas um carácter amigável. Gera novos meios de consumo, concorrenciais, que retiram à rádio o seu papel exclusivo (até agora...): a capacidade de acumular, em movimento - com um telemóvel ou um LDM faço o mesmo que antes, verdadeiramente, só a rádio me dava... (2)

(1) E daí talvez não. Se pensarmos que a tecnologia do primeiro choque (a televisão) era apenas ameaçadora, e que a rádio conseguiu sobreviver, mais hipoteses terá com uma que lhe abre a porta, embora a empurre para fora...
(2) o walkman com cassetes ou CD nunca foi verdadeiramente uma alternativa. Limitava muito a capacidade de escolha (uma cassete de cada vez) e obrigava a mudanças. Até o CD no carro, mesmo que multiplicado por 10, é uma escolha redutora (que obriga a tirar a caixa, mudar os discos, voltar a colocar a caixa e ficar sujeito a essa oferta)

A rádio deve sair à procura

Uma nova ideia para os formatos actuais

“El diseño de los formatos es otra de las claves de la radio moderna que la digitalización nos presenta como desafío. Hoy tenemos que reconvertir nuestras radios en herramientas nuevas con formatos de programas que respondan a la manera como nos vemos y retratamos a la sociedad en la que vivimos. Debemos ser innovadores en la presentación de los mismos, utilizar los programas de edición que vuelven más amigables y fáciles la manera de estructuras programas y buscar captar nuevos talentos que hoy no se encuentran fácilmente en el mercado. Estamos en Radio Libre convocando a nuevos talentos de radio para que envíen en formatos wap o mp3 trabajos que han sido editados en cool edit desde sus casas y que nos presentan desafíos y fórmulas nuevos. Debemos salir del ambiente encasillado y rígido en el que vivimos durante mucho tiempo. La radio tiene que salir en busca de su audiencia, se acabó el tiempo en el que los oyentes venían y los gerentes y administradores así como los locutores disfrutaban del misterio que representaba una voz concentrada en un receptor. Hoy debemos buscar nuevos nichos imaginativos en oyentes nuevos y en espacios donde anteriormente no creíamos que fuera posible hallar quiénes nos fuercen a renovar.”

“Vivimos el siglo del conocimiento, el mismo ahora es portátil como la radio, cuya virtud de transportación fácil revolucionó el concepto de cercanía y desplazamiento de los medios.”

La radio en los tiempos de la globalización y la digitalización, Benjamín Fernández Bogado, Sala de Prensa, 81-82, Julio-Agosto 2005 Año VII, Vol. 3 (http://www.saladeprensa.org/art624.htm)

Saber o nome das músicas que estão a tocar

De acordo com o Obercom, a Music On Comand é uma nova tecnologia desenvolvida por uma empresa norte-americana que permite que os ouvintes de rádio tenham acesso às músicas e às notícias que passam na sua emissora favorita via e-mail.
"Gone are the days of recording favorite songs off the radio with a boom box. Thanks to Music On Command (http://www.musiconcommand.com) by technology development firm Baxter Technologies, Inc. (http://www.baxtech.com) and Nielsen Broadcasting BDS, radio listeners across the U.S. can now call a toll-free number while listening to a song, talk radio or news broadcast and have it sent directly to them via e-mail"

Nota: a quantos de nós já não aconteceu estar a ouvir uma determinada música e ficar à espera de saber o seu nome/autor, sem resultado? Seja porque esse anúncio foi feito no princípio e já não o apanhámos, seja porque pura e simplesmente não foi feito, seja - finalmente - porque prevalece o péssimo hábito de passar quatro ou cinco músicas seguidas (sem palavra) e quando se chega ao final já não há memória que aguente o anúncio inicial! Esta tecnologia é uma solução - um pouco mais do que fraca, penso - para esse problema. E fraca, sobretudo, porque os aparelhos de reprodução digital resolvem a coisa sem equívocos ou perdas.