1. paul dwyer internet radio emma

673 views

Published on

Presentation about the RadioConnected TSB Research and Development project

Published in: Entertainment & Humor
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
673
On SlideShare
0
From Embeds
0
Number of Embeds
4
Actions
Shares
0
Downloads
4
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

1. paul dwyer internet radio emma

  1. 1. Internet Radio“Radio Connected” ResearchProjectPaul DwyerCAMRI, University of Westminster
  2. 2. Internet & Radio Being the gatekeeper was the most profitable place to be, but now we‟re in a world half without gates. Digital distribution gives everyone worldwide, instant access to music. And filters are replacing gatekeepers Courtney Love (2000) “radio in the digital era will produce new forms, battles over gateways and increased interactivity on the part of listeners … rather than a fundamental reorientation: a limited increase in choice for the listener, and greater industry concentration among producers” David Hendy (2000)
  3. 3. • substitution mass audiences/advertis ers switched from radio to TV as main medium• Radio delivers a continuous linear stream of live (real- time) or pre- recorded music audio• differentiation Costs of operation enables tailoring services to niche audiences/advertis ers
  4. 4. Audience Research Advertiser sRecord Selection Playlist Niche (format CallCompany Audience(Catalogue) ) Music Knowledg Music e Sales Data
  5. 5. Problem: Playlist Selection Music Knowledge - Recommendation1. personal taste/musicology – genre experts search and recommend new/quality music2. „professional‟ – search & recommend on tastes of „typical listener‟ Ahlkvist (2001)
  6. 6. Problem: Standard Formats economies of scale (share marketing, audience research and advertising sales) and scope (developing standardized music formats and playlists (for stations in different markets) favour networks over stations Target most profitable demographic groups networks succeed vs independents/small groups standard formats succeed vs diverse or niche content. Many case studies Canada (Berland, 1990, 1993; Grenier, 1993), Sweden (Wallis and Maim, 1993), Britain (Bamard, 1989), France (Miller, 1992), and Australia (Tumer,1993)
  7. 7. Playlist (chart) Established music selection was responsibility of network management music selection based on audience research/advertising sales not music knowledge DJs/presenters (at best) responsible for the non-music elements reduce diversity by reducing the number of different songs played Select songs with big sales (hits) or airplay or industry promotion Tendency for playlists to become shorterand more similar to other stations/the charts (Alkhvist and Fisher 2000)
  8. 8. Internet & Digitisation Reduce economies of scale and scope technical and on air staff costs are low, presenter costs can be nil cost efficient to serve very small niche musical tastes Server logs provide instant, free 100% accurate audience research is (e.g. songs/playlists with biggest audience ) enables the listener to interactwith music databases to select their own playlist reduces radio networks power as gatekeepers between record companies, advertisers and audiences
  9. 9. Niche Audience Music MetaRecord Advertiser dataCompany Pull Pull Playlist Audience(Catalogue) Data Music Listenin g Data Music Knowledge
  10. 10. Long Tail and Internet Radio From selecting ‘hit’ songsfor playlists to making all music available for listeners to create customized continuous music playlists of almost unlimited diversity A niche of one – last.fm internet radio stations compete on: ‘findability’/discovery control/customisation cost (amount of ads/subscriptions) size of songs database
  11. 11. Findability& Customisation Music metadata (e.g. pandora 400 music genes – find „genetically similar‟ songs) Fan metadata (e.g. folksonomies “love/ban”) Audience metadata (e.g. last.fm‟saudioscrobbler which tracks your music habits across devices – PC, ipod etc.)
  12. 12. Supplier Power Big Four record companies want new royalty stream but don‟t want „radio‟ to compete with „music download‟ Only cooperate with internet stations which mimic functionality of radio – live streaming not free „on demand‟ Limits to skip and pause functions
  13. 13. • Live radio providescommunicationand companywhich music streamcannot•entertainment, comfort,security•Moodmanagement– Getting you up orcalming you down• Information – esp.musicOfcom (2004) iPodgeneration
  14. 14. DJ Chat (Monologue) Twitter1. “fun atmosphere” (mood 1. “playful self” management) 2. daily chatter2. “what I‟m doing now” (company, communication) 3. reporting news – leaders and followers3. comments on topical issues, pop music, sex and relationships (information) 4. Conversations (peer to peer)4. Phone-ins (interact with celebs)5. Dave says hi to Maggie (peer to peer) Brand &Scannell (1992)  Java et al. (2007)  Ferguson & Greer (2011)

×