In the articles you read there's no discussion of the difficulty in getting a media buyer's attention, then presenting them with data that quantifies what the podcaster or station is selling - its audience. (More)
Too often today what is found at your online station web site is far more than is required. Conversely, what's in the stream contains less than consumers want.
Basic needs are the creation of an image for what a station represents, maintaining elements within the audio (or site graphics) not easily found elsewhere, and sustaining a schedule an audience member can rely on (updated and/or deleted to maintain credibility). (More)
We are at an impasse on a couple of major issues that affect each other. Item 1 is the indie artist payment issue; including not just the falling sales of music but how much the music industry believes new artists should be paid. (It's important to focus on that "new artists" portion of the statement.) Item 2 revolves around the radio industry, online and off. Those in control seem to believe growth in competition has no affect on how it prices radio's product - advertising; including not only the dollar pricing, but the mechanics of how ad pricing is constructed. (More)
What's with music services tripping over themselves to claim being a "discovery source" for new artists? Online and broadcast radio has been stuck in a rotation system that relies on playing the hits, while digital music services are moving the industry deeper into "new music" turf. (More)
Radio station, podcast, or indie artist - the intent is similar: create audio that gives someone joy, information, or companionship. ... Without a relationship between you and them, how is an audience member going to know that you are worthy of their time prior to hearing your work?(More)
Programmatic ad buying is another word picked up by those in radio, in hopes of connecting with young ad buyers. While just beginning to get its legs in the digital ad world, for radio, programmatic ad buying will be as successful as HD Radio, Less is More, and the Radio Creative Resource Group. (More)
...the one unanswered question is at what point will we see artists realize it's not just music distribution companies that need to alter their view on music's worth. Performance royalty payments reflecting what an artist feels they're worth won't work. If all artists make the same, every time their music is played, more exposure will be enjoyed by fewer artists - which you already hear from broadcast radio. (More)
Maybe it's just me, but over the past year have you seen an explosion of articles and "experts" commenting on how to get the most from being online? Go through any trade publication - for artists or radio - and your head spins from the options - all wonderful opportunities that are positioned as easy to implement and built to help you succeed. (More)
How commercials are made hasn't changed in over fifty years, and that needs to change. More time for creative, to develop the concept. Scripts need rewrites to lose the "conveniently located at," "You hear right," and oh so many more trite lines that add nothing. Then, there a need for more production time, to finesse the sound and/or appearance. (More)
My records show 69 companies offering these types of services. Each promises to help artists succeed - just send money.
With all the change in music distribution over the last 20 years the one unchanged element is the non-stop work required by a musician to stabilize and grow their career. There is no "easy" in anything today - especially music. (More)
We are in a day when the audience can leave to seek info on the music you play, what's happening around town, or to chat with friends on social media - these are symptomatic of our digital age. Something needs to be done to make Time Spent Listening grow. Yet we hear no chatter on this topic, from any source.(More)
Although the world for internet radio and indie artists has changed, both groups appear to plod along using yesterday's expectations. I'm not seeing people letting their minds wander, trying new things. (More)
While broadcasters are busy ignoring internet radio, the online radio community should be creating new forms of programming and delivering ad campaign ROI metrics. Feed audience and advertisers technology-based solutions that broadcast ignores. Improve commercials and tracking methodologies. (More)
This concept is more complex than it appears. What do you call someone who runs an online station like a person who plays golf weekly? It's the person who will spend a few thousand dollars a year on their internet station - via Live 365, Radionomy, Blog Talk Radio, or any one of dozens of companies now providing the stream backbone. (More)
You have an unprecedented ability to place yourself in front of people who are looking for your service or product. (This concept is way past the "open-the-phonebook-and-call" your local dry cleaners to advertise on the station, or play a gig and have 50 groupies in the crowd.) (More)
"One hit wonders" abound. Little in content draws people back like a magnet attracts steel.
Content is not so much King as it is an Earl. There's only one King. Earls are a dime a dozen in an empire's hierarchy. The truth not spoken: There are tens-of-thousands of programs and songs which just exist, begging for an audience. These are the peasants. (More)
After decades in radio & TV, and 23 years working with computers and software, I started Audio Graphics in 1991 to make radio and television commercials.
Today marks 19 years of discussing (on this web site) how the internet affects broadcasting. Since the beginning I wrote thousands of articles instructing proper digital techniques embraced by my clients: companies heavily involved in SEO, search marketing, analytics, and data management. (More)
You've heard where you don't need to know how an engine works to drive a car? In digital, you need to understand how its engines work, how they intertwine, and what is wasted time.
The amount of knowledge that's been created - yet not absorbed by those in radio - is like an ocean. Vast, complex, with some disciplines going deep enough as to require years of hands on experience prior to understanding. (More)
The value of your audio is related to: 1) your ability to get other people talking about it; and 2) whether your song/programming is found.
Picture your kernel of contributed audio as it sits in its silo and bear this in mind: Because of the internet, your silo has no height limit; to advertiser and audience, there's a near limitless supply of audio content suppliers. (More)
The biggest hurdle for radio is that it's an industry of words; operating in a technological world where innovation means producing something and then talking about it.
Think of how many times we've seen technology companies improve what they are serving online. Tech goes through versions of platforms. Radio goes through throwing another idea out, talking it up, then throwing out another idea. (More)
Study the growing list of online audio competitors. Many are built on a concept of being "local." Their local, though, is not geographic; it's focused content. (All topics you are passionate about become local.) (More)
PAASRSS, the "Percentage of Average Active Sessions Resulting from Session Starts" is one statistic which places everyone in the Webcast Metrics report on equal footing; it shows how many people are finding the content worthy of sticking around.
The inference is that we have the biggest players in this game producing content that's not worth sticking around for. (More)
Advertisers, in greater numbers, are beginning to see how people who hold no interest in their product aren't worth paying to reach.
CPM is built for "broadcast"; CPA is there to use when you target a niche. But here's the importance for radio: Unless your name is Google (or a similarly-sized ad delivery system), there's not enough revenue in delivering CPM advertising online. (More)
To my knowledge, no radio group has slotted time for introducing indie artists.
Every now and then we hear about local radio stations claiming to play local artists - and I'm not doubting that they do. What you won't hear is how these local artists are getting aired at times which mean little, let's say when the station would be parting with commercials for a dollar a holler (or less). (More)
What I don't hear when going around the internet to find stations to add to RadioRow.com is "new." Nothing is being presented that breaks the mold of what was, and introduces what will be.
Relative to radio, online, there's not much variation in radio programming. Most every station sounds the same, with only the I.D. being different. The Jazz host may talk slower than the AC host; but when their mouths open, it's usually the same type of wording which falls out. (More)
There's nothing from yesterday that's going to stabilize or improve how an indie artist makes money. You must invent new.
Nearly every aspect of music has changed over the past 15 years: how indie artists get a gig; the technology to make recordings; publicity; distribution. Most important is the value of music has seen a dramatic drop as the public becomes more accustomed to hearing what it wants, when it wants - usually for free. (More)
Now that we have such a wide selection of stations online, this radio industry must avoid offering to clients what its broadcast cousins are failing so miserably at - advertising that doesn't work.
Anyone who believes that writing "compelling" copy is easy, or that it can be done in one draft over twenty minutes, should be removed from the writing process. My average time spent in writing an ad is 3-5 hours; that includes the research and 8-10 rewrites. (More)
Tuesday, May 27, 2014
"What in a radio ad is most likely to get your attention?"
Email is effective when used with the recipient's experience in mind.
How do you collect email addresses that can be used to send a short message (with a song link) to someone who cares about your music? The simplest, most effective, way is to have a laptop setup at any gig you do. (More)
No longer does a radio station compete against a handful of competitors fighting for a piece of the local market.
What do you hear when isolating a single station online? Paying attention to tempo, construction of IDs or playlist, does your station blend with others or offer a difference that listeners can identify? (More)