DOCSLIB.ORG

UK Radio and the UK Radioplayer James Cridland Radioplayer Worldwide UK Radio Industry Overview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UK Radio and the UK Radioplayer James Cridland Radioplayer Worldwide UK Radio Industry Overview UK Radio and the UK Radioplayer James Cridland Radioplayer Worldwide UK radio industry overview BBC ● 53.4% share of listening ● Entirely funded by TV licence fee of €175 per year ● Carries no advertising (on radio or TV) Private Radio - “Commercial Radio” ● 43.9% share of listening Stations BBC ● 10 national radio stations (5 on analogue) ● 40 local or regional radio stations Private radio ● ~15 national radio stations (3 on analogue) ● growing national brands and programming on 300 local or regional radio stations Two main private radio companies Global Radio ● 47% of all commercial radio listening ● ...forced to sell some radio stations they have recently bought Bauer Media Group ● 27% of all commercial radio listening ● ...recently bought Absolute Radio and Planet Rock Advertising market in 2012 Local sales £153.1m €183.6m National sales £285.2m €341.6m Brand integration £114.3m €137.2m Total: £552.7m €662.7m Public and private radio work together RAJAR - radio audience research Digital Radio UK Radio Academy Radioplayer + RadioCentre and RAB (commercial only) UK radio is going multi-platform AM/FM 59.6% DAB 23% DTV 5.2% Online 5.7% What is Radioplayer? On the desktop ● a simple, consistent, player ● find it by hitting “listen live” from a radio station’s website ● or use an app for Windows, Mac or Chrome browser ● entire experience controlled and hosted by the radio station What is Radioplayer? On mobile phones ● one player for all UK radio ● designed to help listeners discover new radio stations ● designed to promote own station apps if required ● listening experience controlled by the radio station ● on iPhone and Android What is Radioplayer? On tablets ● designed to help listeners discover new radio stations ● listening experience controlled by the radio station ● on iPad and Android Why we need Radioplayer ● Radio stations can compete on content, and collaborate on technology: ensuring that radio stations and their digital teams focus on content for their website, not re-inventing an inconsistent player ● On average, listeners choose more than one radio station per week. Radioplayer helps make their online experience consistent and simple, whatever station, so they listen longer ● Online is an increasingly important part of radio listening. Radioplayer is owned and run by the radio industry, so we remain in control of our future: unlike TuneIn, radio.de and others Why we need Radioplayer (2) ● Radioplayer keeps listeners coming to your radio station website. You are in control of the main plugin area within the player: and you host your own player, too, for maximum flexibility and accountability ● With one contact point to add radio, the radio industry benefits from simple and straightforward integration into other devices like cars, tablets and laptops. Radioplayer has already been pre-installed in laptops available from some of the UK's biggest retailers ● One contact point and one player technology opens opportunities for simple and enhanced advertising across all commercial radio stations. Who is in Radioplayer? ● In the UK, we have decided to only list radio stations with an offical Ofcom licence. This gives us a quality guarantee as well as keeps the choice of stations within a clear editorial boundary. ● There are around 350 stations in Radioplayer on desktop, including BBC, Global Radio, Bauer Media, and more How does Radioplayer work? ● Radioplayer is a not-for-profit organisation, joint- owned by the radio industry: including the BBC, Global Radio, Absolute Radio and RadioCentre ● Radio stations are charged for carriage within Radioplayer, based on their size and structure ● Radioplayer uses revenues to run the service and work on R&D opportunities for the industry DE Radioplayer? ● The technology behind Radioplayer is proven and robust and available for licence on a territorial basis. Licencees include Norway, and advanced discussions are going on with four other territories. James Cridland Radioplayer Worldwide [email protected].
Load more

Recommended publications
  • Download Valuing Radio
    Valuing Radio How commercial radio contributes to the UK A report by the All-Party Parliamentary Group on Commercial Radio The data within Valuing Radio is largely drawn from a 2018 survey of Radiocentre members. It is supplemented by additional research which is sourced individually. Contents 01 Introduction 03 Overview and recommendations 05 The public value of commercial radio • News and information • Economic value • Charity and community 21 Commercial radio people 27 Future of radio Introduction The APPG on Commercial Radio helps provide this important industry with a voice in parliament. With record audiences and more ways to listen than ever before, the impact of the industry should not be underestimated. While the challenges facing the sector have changed over the years, the steadfast commitment of stations to provide public value content every day remains. This new report, the first of its kind produced by the APPG, showcases the rich public value content that commercial radio provides to listeners for free. Valuing Radio explores the impact made by stations up and down the country, over and above the music and entertainment output that audiences expect. It looks particularly at radio’s role in providing news and information, the sector’s significant support for both charitable fundraising and education, in addition to work to improve diversity within the industry. Alongside this important public value content is a significant economic contribution to local economies across the UK. For the first time we have analysis on the impact of local advertising and the return on investment (ROI) that this generates for particular nations and regions of the UK.
    [Show full text]
  • The Bbc Trust Report: On-Screen and On-Air Talent Including an Independent Assessment and Report by Oliver & Ohlbaum Associates
    THE BBC TRUST REPORT: ON-SCREEN AND ON-AIR TALENT INCLUDING AN INDEPENDENT ASSESSMENT AND REPORT BY OLIVER & OHLBAUM ASSOCIATES MAY 2008 2 BBC TRUST CONCLUSIONS The issue of talent costs The BBC Trust operates to protect the interests of licence fee payers who pay for and own the BBC. As part of this we seek to ensure quality and value for money for licence fee payers and to challenge BBC management to use everything at their disposal to deliver both. An area where this is particularly complex is the salaries paid to on-screen and on-air talent. During the course of 2006, press reports about presenters’ salaries aroused industry and public concern and led some people to question the BBC’s approach to the talent it employs. This debate was still live when the Trust was established as the BBC’s governing body in January 2007. It was and has remained a topic raised by the public with Trustees during our appearances on radio phone-ins and at public meetings in all parts of the UK. Against this background the Trust commissioned an independent review, conducted by Oliver and Ohlbaum Associates Ltd (O&O), to provide an in depth examination of the BBC’s use of on air and on screen talent. We posed O&O three specific questions: • How do the size and structure of the BBC's reward packages for talent compare with the rest of the market? • What has been the impact of the BBC's policy on the talent market, particularly in relation to cost inflation? • To what extent do the BBC's policy and processes in relation to investment in, and reward of, talent support value for money? We are publishing O&O’s report which seeks to answer these questions, the BBC management’s response to the points it raises and our own judgements informed by this evidence.
    [Show full text]
  • The Future of Public Service Broadcasting
    House of Commons Digital, Culture, Media and Sport Committee The future of public service broadcasting Sixth Report of Session 2019–21 Report, together with formal minutes relating to the Report Ordered by the House of Commons to be printed 17 March 2021 HC 156 Published on 25 March 2021 by authority of the House of Commons The Digital, Culture, Media and Sport Committee The Digital, Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Digital, Culture, Media and Sport and its associated public bodies. Current membership Julian Knight MP (Conservative, Solihull) (Chair) Kevin Brennan MP (Labour, Cardiff West) Steve Brine MP (Conservative, Winchester) Alex Davies-Jones MP (Labour, Pontypridd) Clive Efford MP (Labour, Eltham) Julie Elliott MP (Labour, Sunderland Central) Rt Hon Damian Green MP (Conservative, Ashford) Rt Hon Damian Hinds MP (Conservative, East Hampshire) John Nicolson MP (Scottish National Party, Ochil and South Perthshire) Giles Watling MP (Conservative, Clacton) Heather Wheeler MP (Conservative, South Derbyshire) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No. 152. These are available on the internet via www.parliament.uk. Publication © Parliamentary Copyright House of Commons 2021. This publication may be reproduced under the terms of the Open Parliament Licence, which is published at www.parliament.uk/site-information/copyright-parliament/. Committee Reports are published on the Committee’s website at www.parliament.uk/dcmscom and in print by Order of the House.
    [Show full text]
  • Using for Good
    love islanders cheat sheet to declaring ads on social media You don’t have to graft to get to grips with the key advertising rules in life after the villa. We don’t want to get all Factor 50 on you, so we’ve written an ABC cheat sheet to help celebs and influencers stay loyal to their followers. AUTHENTICITY BRANDS We know authenticity is key to engaging When a brand pays you to promote their with your followers. Part of that is letting products or services (either with money them know when you’re advertising or with gifted stuff) you’re advertising, Using them something. and your post needs to make that clear. DISCOUNT CONTROL CODES If you’re paid for a post or you’re posting about a gift you received you must make These count too. If you’re clear it’s an ad. If you don’t the ASA will being rewarded for sales take action where a brand has controlled from a discount code or your message. affiliate link in a post you need to say this is an ad. If only some of the links or content relate to the promoted product you need to make clear which parts TECHNOLOGY of the post are an ad. ENFORCEMENT We and the CMA are active in ensuring transparency. If it’s covered by the ASA, other rules apply to things like alcohol, gambling, slimming products or any items offering health benefits. FOLLOWERS For example, you’re not allowed to Don’t just assume your advertise slimming products to followers know when you’re under-18s.
    [Show full text]
  • Broadcasting in Wales
    House of Commons Welsh Affairs Committee Broadcasting in Wales First Report of Session 2016–17 HC 14 House of Commons Welsh Affairs Committee Broadcasting in Wales First Report of Session 2016–17 Report, together with formal minutes relating to the report Ordered by the House of Commons to be printed 13 June 2016 HC 14 Published on 16 June 2016 by authority of the House of Commons Welsh Affairs Committee The Welsh Affairs Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Office of the Secretary of State for Wales (including relations with the National assembly for Wales.) Current membership David T.C. Davies MP (Conservative, Monmouth) (Chair) Byron Davies MP (Conservative, Gower) Chris Davies MP (Labour, Brecon and Radnorshire) Glyn Davies MP (Conservative, Montgomeryshire) Dr James Davies MP (Conservative, Vale of Clwyd) Carolyn Harris MP (Labour, Swansea East) Gerald Jones MP (Labour, Merthyr Tydfil and Rhymney) Stephen Kinnock MP (Labour, Abervaon) Liz Saville Roberts MP (Plaid Cymru, Dwyfor Meirionnydd) Craig Williams MP (Conservative, Cardiff North) Mr Mark Williams MP (Liberal Democrat, Ceredigion) The following were also members of the Committee during this inquiry Christina Rees MP (Labour, Neath) and Antoinette Sandbach MP (Conservative, Eddisbury) Powers The committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the internet via www. parliament.uk. Publication Committee reports are published on the Committee’s website at www.parliament.uk/welshcom and in print by Order of the House.
    [Show full text]
  • Response to Bbc Trust Service Review of Bbc News and Current Affairs
    RADIOCENTRE RESPONSE TO BBC TRUST SERVICE REVIEW OF BBC NEWS AND CURRENT AFFAIRS Overview 1. BBC News and journalism arguably has a greater impact on its audiences than any other part of its output. It is estimated that the BBC is the source of around 70% of all news consumption via broadcast in the UK1, and continues in a digital age to be recognised as a high quality news provider to millions around the world. 2. Whilst the majority of BBC News output is exemplary, and at its best emblematic of public service broadcasting, the BBC must ensure that its services continue to be distinctive during a period of increased competition in journalism from a plethora of media providers, including commercial radio. 3. 35% of the population use radio as a source of news, and 15% of these people use both commercial and BBC stations2. RadioCentre believes that radio news in its entirety can be strengthened and become even more relevant to UK audiences in future, but to do that the BBC must offer a complementary service of quality and distinctiveness. 4. This response will therefore examine three areas of relevance to radio news, consistent with the broad responsibilities of each BBC station; value for money, content, and market impact. We use these broad themes to draw conclusions as to the appropriate strategic direction of BBC News on radio services as a whole, in order for them to continue to prioritise the highest quality news output in the future. 5. The key points in the response are: Overall BBC news and current affairs output is of a high standard and provides valuable content for listeners.
    [Show full text]
  • Ofcom Annual Report 2018/19
    The Office of Communications Annual Report & Accounts For the period 1 April 2018 to 31 March 2019 The Office of Communications Annual Report & Accounts For the period 1 April 2018 to 31 March 2019 Presented to Parliament pursuant to Paragraphs 11 and 12 of Schedule 1 of the Office of Communications Act 2002 Ordered by the House of Commons to be printed 10 July 2019 HC 2321 Ofcom is the UK regulator for the communications services that we use and rely on each day. Our vision is to make communications work for everyone. We regulate broadband and mobile telecoms, TV, radio, video-on-demand services, post, and the airwaves used by wireless devices. Our work benefits consumers and UK businesses to get the best from communications services. We ensure consumer fairness and protection from sharp practices and we actively support competition where appropriate to deliver good outcomes. Ofcom is an independent public authority, funded by fees paid to us by the companies we regulate. Our duties come from Parliament. © Ofcom Copyright 2019 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as Ofcom copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at [email protected] This publication is available at: www.gov.uk/government/publications Ofcom ARA 2018-2019 ISBN 978-1-5286-1216-6 CCS0419980080 Printed on paper containing 75% recycled fibre content minimum.
    [Show full text]
  • Celebrating 40 Years of Commercial Radio With
    01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22.
    [Show full text]
  • Media Nations 2020 UK Report
    Media Nations 2020 UK report Published 5 August 2020 Contents Section Overview 3 1. Covid-19 media trends: consumer behaviour 6 2. Covid-19 media trends: industry impact and response 44 3. Production trends 78 4. Advertising trends 90 2 Media Nations 2020 Overview This is Ofcom’s third annual Media Nations, a research report for industry, policy makers, academics and consumers. It reviews key trends in the TV and online video sectors, as well as radio and other audio sectors. Accompanying this report is an interactive report that includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. This year’s publication comes during a particularly eventful and challenging period for the UK media industry. The Covid-19 pandemic and the ensuing lockdown period has changed consumer behaviour significantly and caused disruption across broadcasting, production, advertising and other related sectors. Our report focuses in large part on these recent developments and their implications for the future. It sets them against the backdrop of longer-term trends, as laid out in our five-year review of public service broadcasting (PSB) published in February, part of our Small Screen: Big Debate review of public service media. Media Nations provides further evidence to inform this, as well as assessing the broader industry landscape. We have therefore dedicated two chapters of this report to analysis of Covid-19 media trends, and two chapters to wider market dynamics in key areas that are shaping the industry: • The consumer behaviour chapter examines the impact of the Covid-19 pandemic on media consumption trends across television and online video, and radio and online audio.
    [Show full text]
  • Ofcom Annual Report 2018/19
    The Office of Communications Annual Report & Accounts For the period 1 April 2018 to 31 March 2019 The Office of Communications Annual Report & Accounts For the period 1 April 2018 to 31 March 2019 Presented to Parliament pursuant to Paragraphs 11 and 12 of Schedule 1 of the Office of Communications Act 2002 Ordered by the House of Commons to be printed 10 July 2019 HC 2321 Ofcom is the UK regulator for the communications services that we use and rely on each day. Our vision is to make communications work for everyone. We regulate broadband and mobile telecoms, TV, radio, video-on-demand services, post, and the airwaves used by wireless devices. Our work benefits consumers and UK businesses to get the best from communications services. We ensure consumer fairness and protection from sharp practices and we actively support competition where appropriate to deliver good outcomes. Ofcom is an independent public authority, funded by fees paid to us by the companies we regulate. Our duties come from Parliament. © Ofcom Copyright 2019 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as Ofcom copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at [email protected] This publication is available at: www.gov.uk/government/publications Ofcom ARA 2018-2019 ISBN 978-1-5286-1216-6 CCS0419980080 Printed on paper containing 75% recycled fibre content minimum.
    [Show full text]
  • Broadcasting Committee
    Broadcasting Committee Alun Davies Chair Mid and West Wales Peter Black Paul Davies South Wales West Preseli Pembrokeshire Nerys Evans Mid and West Wales Contents Section Page Number Chair’s Foreword 1 Executive Summary 2 1 Introduction 3 2 Legislative Framework 4 3 Background 9 4 Key Issues 48 5 Recommendations 69 Annex 1 Schedule of Witnesses 74 Annex 2 Schedule of Committee Papers 77 Annex 3 Respondents to the Call for Written Evidence 78 Annex 4 Glossary 79 Chair’s Foreword The Committee was established in March 2008 and asked to report before the end of the summer term. I am very pleased with what we have achieved in the short time allowed. We have received evidence from all the key players in public service broadcasting in Wales and the United Kingdom. We have engaged in lively debate with senior executives from the world of television and radio. We have also held very constructive discussions with members of the Welsh Affairs Committee and the Scottish Broadcasting Commission. Broadcasting has a place in the Welsh political psyche that goes far beyond its relative importance. The place of the Welsh language and the role of the broadcast media in fostering and defining a sense of national identity in a country that lacks a national press and whose geography mitigates against easy communications leads to a political salience that is wholly different from any other part of the United Kingdom. Over the past five years, there has been a revolution in the way that we access broadcast media. The growth of digital television and the deeper penetration of broadband internet, together with developing mobile phone technology, has increased viewing and listening opportunities dramatically; not only in the range of content available but also in the choices of where, when and how we want to watch or listen.
    [Show full text]
  • The Output and Impact of Commercial Radio
    ACTION STATIONS THE OUTPUT AND IMPACT OF COMMERCIAL RADIO CONTENTS 1 OVERVIEW 2 FOREWORDS 7 INTRODUCTION 9 NEWS, WEATHER & TRAVEL 14 COMMUNITY & SOCIAL ACTION 27 MUSIC 33 NEW MEDIA 40 ECONOMIC VALUE OVERVIEW Despite the proliferation of new media available in the UK today, commercial radio has record audiences – reaching 66% of the population – and its stations are a valuable part of the media ecology. Local commercial stations continue to provide up to the minute news and event information, whilst regional brands now offer a valued mix of music and entertainment for listeners. 334 STATIONS £540M REVENUE PER ANNUM 3000 HOURS OF PUBLIC SERVICE CONTENT BROADCASTING OVER PER WEEK 450M HOURS PER WEEK 35 MILLION 4 MILLION EXTRA LISTENERS LISTENERS IN THE LAST 5 YEARS Last summer, RadioCentre surveyed commercial stations to get a full picture of the output provided across the industry, to understand the important role it still plays in the media, culture and communities of the UK. Alongside this work, Kantar Media were commissioned to conduct a major survey of commercial radio listeners, to gauge what the audience thinks of commercial radio output today; more than 40 years on from when it was first launched in late 1973. Results from these two pieces of research show that commercial radio has evolved to become an incredibly valuable medium for advertisers and millions of listeners. Its content is exceeding audience expectations across the board; with high levels of satisfaction in all the areas that commercial radio is known for – whether it is news and information, music and events or community involvement.
    [Show full text]