At this point in history, broadcasters are definitely aware that the scope and boundaries of radio have vastly shifted. With radio stations not only being broadcast in analog and digital, but also through internet streaming, broadcasters are acknowledging the power of the internet, at least on a basic level.
In fact, in the commercial sector, the Australian Commercial Radio Awards, held by Commercial Radio Australia, have two categories that directly recognise the importance of these emerging trends. The Best Digital Radio Format Award is designed to reward stations that distribute digital-only content and that make full use of the features of DAB+ technology, including scrolling text and slideshow, while the Best Multimedia Execution awards looks at "the development of new and integrated delivery platforms...that are designed to enrich and extend a radio programme, event or brand beyond the on air experience", rewarding not only websites but podcasts, mobile apps or technology, electronic media and social networking sites.
However, beyond these award categories it is important to analyse different approaches radio stations are currently undertaking in gaining and keeping an Australian youth audience, in order to evaluate the effectiveness and importance of various techniques.
In fact, in the commercial sector, the Australian Commercial Radio Awards, held by Commercial Radio Australia, have two categories that directly recognise the importance of these emerging trends. The Best Digital Radio Format Award is designed to reward stations that distribute digital-only content and that make full use of the features of DAB+ technology, including scrolling text and slideshow, while the Best Multimedia Execution awards looks at "the development of new and integrated delivery platforms...that are designed to enrich and extend a radio programme, event or brand beyond the on air experience", rewarding not only websites but podcasts, mobile apps or technology, electronic media and social networking sites.
However, beyond these award categories it is important to analyse different approaches radio stations are currently undertaking in gaining and keeping an Australian youth audience, in order to evaluate the effectiveness and importance of various techniques.
The Key To Great Radio
The digital age has lead to a lot of important debate about whether the future of radio is viable, given advances in music distribution that allow users to listen to individual tracks, albums and playlists online and even download them for offline use. Although this means that radio may no longer be the primary source of music for most young people, the sustained importance of broadcasting in contemporary Australian society draws attention many roles radio can still play in our lives.
A theme that is often repeated in discussions about the future of radio is whether broadcasters should invest more time in content creation or sustaining power in distribution channels in an internet focused age. In the blog ‘The Production Room’, radio programmer and broadcaster John Quimby states that “in a market where global distribution is free, attracting an audience is a matter of search engine traffic and content has more value than distribution” (Quimby, 2009), a point of view that is echoed by Mark Ramsey, radio and media production consultant, who argues that a focus on distribution at the expense of compelling content simply leads to making radio “more vanilla and redundant”. (Ramsey, 2011)
Through analysing the distribution channels and content of local youth-focused radio stations it is clear that in order to draw in the participatory audiences needed for the station to flourish, broadcasters have the dual responsibility of adapting to the latest technologies and opportunities that digital radio and third-party internet sites bring while at the same time investing in high-quality content that listeners can engage with. Without unique content that cannot be found elsewhere, radio stations will lose the sense of loyalty and community that they need to survive. However, if radio stations do not evolve and adapt with changing distribution trends they can also lose listeners to more readily accessible forms of media. In short, it is a combination of content and distribution that leads to user engagement and therefore the importance of radio broadcasters, be they commercial, community or government-owned.
A theme that is often repeated in discussions about the future of radio is whether broadcasters should invest more time in content creation or sustaining power in distribution channels in an internet focused age. In the blog ‘The Production Room’, radio programmer and broadcaster John Quimby states that “in a market where global distribution is free, attracting an audience is a matter of search engine traffic and content has more value than distribution” (Quimby, 2009), a point of view that is echoed by Mark Ramsey, radio and media production consultant, who argues that a focus on distribution at the expense of compelling content simply leads to making radio “more vanilla and redundant”. (Ramsey, 2011)
Through analysing the distribution channels and content of local youth-focused radio stations it is clear that in order to draw in the participatory audiences needed for the station to flourish, broadcasters have the dual responsibility of adapting to the latest technologies and opportunities that digital radio and third-party internet sites bring while at the same time investing in high-quality content that listeners can engage with. Without unique content that cannot be found elsewhere, radio stations will lose the sense of loyalty and community that they need to survive. However, if radio stations do not evolve and adapt with changing distribution trends they can also lose listeners to more readily accessible forms of media. In short, it is a combination of content and distribution that leads to user engagement and therefore the importance of radio broadcasters, be they commercial, community or government-owned.
In looking at the current approaches taken by youth-focused radio broadcasters in Melbourne, one can see a clear recognition of the importance of content promotion through newer distribution channels, which will later be discussed. Through analysing these initially separate (although intrinsically connected) issues of content and distribution one can see how essential each part is in maintaining connection with youth audiences. It would be unfair to directly compare the initiatives taken by each radio station, as commercial, government and community stations all have completely different aims (and budgets). A more effective approach would be to offer suggested focal points for broadcasters, which allows stations to highlight areas where they wish to focus their attention while affirming their success in other areas. To do so, we will first look at the importance of engaging content, looking at the Huffington Post formula of success and its practical application to radio, and then analyse some of the current approaches taken by selected local broadcasters in establishing their station as viable in the digital age.
Case study: The Huffington Post, and the reinvention of online content.
It might be considered a bit strange to be analysing The Huffington Post, an online predominately written newspaper, in a context relating to new technologies associated with radio. However, one of the most important features of the 'digital age' is the high level of convergence in the way audiences receive and interact with media. The connection between the elements of such an influential blog and that of radio production was highlighted by Mark Ramsey in his article Radio Lessons from the Huffington Post. Arrianna Huffington, founder of The Huffington Post, attributes this formula to her website's success (as summarised by Ramsey):
There's no doubt that the Huffington Post, and sites like it, have created a new way for media to be consumed. (Their Pulitzer Prize win is a testament to that.) But how can we apply these findings in a radio context? Rather than attempting to translate each ingredient of this formula into a radio-applicable ‘foolproof’ method, it’s more important to look at the results brought about by the inclusion of each aspect.
For the Huffington Post, having original reporting while also collating the ‘best of the web’ means that they can be seen as a gateway to other information while still remaining a valuable resource with their own merit. ‘Original reporting’ in a radio context can also relate to the views of the presenters, a reason why many stations hire comedians – their witty but often unique interpretations of events help establish the show or the station as a place to find content (including opinions) that may not be readily available elsewhere. In a Global Radio Conference held in America last year, Fred Jacobs highlighted the emotional attachment many individuals held towards radio – and it was not just the music but a sense of emotional community that drew people in. Dan Mason, from CBS, echoed this, by stating that it was connection to the presenters – with interesting, unique, eyeopening or amusing opinions – that really builds the backbone of a radio station and community.
For the Huffington Post, having original reporting while also collating the ‘best of the web’ means that they can be seen as a gateway to other information while still remaining a valuable resource with their own merit. ‘Original reporting’ in a radio context can also relate to the views of the presenters, a reason why many stations hire comedians – their witty but often unique interpretations of events help establish the show or the station as a place to find content (including opinions) that may not be readily available elsewhere. In a Global Radio Conference held in America last year, Fred Jacobs highlighted the emotional attachment many individuals held towards radio – and it was not just the music but a sense of emotional community that drew people in. Dan Mason, from CBS, echoed this, by stating that it was connection to the presenters – with interesting, unique, eyeopening or amusing opinions – that really builds the backbone of a radio station and community.
The strength of the large fleet of independent bloggers lies in the way that local issues are also covered and given a platform by people who truly understand them, and this clearly comes across. This feature has been used by Ramsey as an important illustration of why radio content should be kept local rather than standardised nationally or globally, as although it may be more cost-effective for stations to have a single show produced and then distributed ‘everywhere’, it is the local attachment to radio that often gives it an edge over other media forms. As seen in the above video, people tend to trust and build connections with radio presenters, especially if they actually belong to their own community.
One of the biggest considerations in the formation of content production, however, is the place each individual station has in doing what no one else does – their own little niche. Jaime Chaux, the Digital Content Producer of Radar Radio, owned by Austereo, links Radar’s success to filling an essential gap between the overly-played commercial tracks played on stations like Fox and Nova and the ‘too indie’ tracks played by Triple J and certain community broadcasters. (Fossati, 2011) This is why the emphasis on the construction of new content, while always looking towards fresh and innovative ideas, should also be on remaining true to the station’s core values and ‘niche’ market, as this is where the most loyal listeners lie.
Distribution channels
When it comes to the distribution side of the equation, one can clearly see from analysis of current user behaviors as well as a looking at new convergence technologies that it is no longer enough to be simply broadcasting without any other form of media presence or station accessibility. With digital frequencies now being an expected component of radio broadcasting, a comprehensive presence through many different online contact points is now becoming the norm.
Through an interview with Andy Lynch, the Online Manager for SYN, Melbourne’s completely youth-run radio station, it became clear that online technologies were seen as an exciting but also essential step, hampered only by limited resources and a lack of funding. (The full interview is available here). With new technologies, programs, applications and trends emerging constantly, it is almost impossible to get a complete grasp on all the online and mobile components considered ‘essential’ to the effective distribution of a station’s media at any one time. However, the following points can be seen to be a checklist of technologies and resources certain stations are currently utilising, in order to highlight the many different components of distribution in the digital age.
In terms of examples, we have gained the following 'bare minimum' by looking at the sites of four stations - Fox, SYN, Triple R and Triple J.
In terms of examples, we have gained the following 'bare minimum' by looking at the sites of four stations - Fox, SYN, Triple R and Triple J.
Website
In the digital age, a station's website stands as an integral distribution channel for broadcasters and provides a hub for the station's content online. While it can be a great place for commercial advertisers and station revenue, the interview with Andy Lynch displayed a website's non-commercial worth for community stations as well, with him describing syn.org.au as a place with 'almost limitless' possibilities in contrast to the tightly allocated timeframes of broadcast television and radio. Each station's website now hosts a variety of content - from the ability to stream live to new and engaging ways of interacting with the station itself.
Online streaming: An important component of each website is the ability to stream content live. For audience members who may not have a working radio or live outside the paramaters of a station's traditional broadcast, online streaming may be the only way they are able to listen to shows live. Also, since the youth of today spend more time online than any other demographic, some users may simply prefer to listen online. Having an online stream also means that internet users who come across the site can engage immediately, rather than have to leave their computers to find a radio.
Show information and radio grid: Another important component of a station's website is accessible information about regular show times. Having radio grids allow audiences to know what is on, and when, without having to have printed information sent out to them or forcing them to contact the station directly.
Individual show pages: Especially if linked to the radio grid, these show pages are an invaluable tool for the distribution of past content as well as sharing future information and advertising upcoming segments or events. Photos of the presenters help provide a human face to the voice being broadcast and allow listeners to form a greater connection with them, especially in a local context where they may be seen at different events. They can also host podcasts where users can download shows that they missed or re-listen to certain segments.
Triple R's Radio On Demand is a perfect amalgamation of all of the above elements, as not only is it in grid format - signalling which shows are on when - and does provide a 'listen live' stream, it also allows listeners to select any show aired recently and listen to it in its entirety. This creates a time shifted radio experience and allows listeners to hear both the music selected and the presenter's discussion, as opposed to only being able to download interviews and having a separate music playlist.
Moving away from an extension of content that is already available through radio broadcasting, the internet also provides the ability for stations to upload video and written articles. This harks back to the needed divergence of content as discussed earlier. In a generation where everyone is a 'media maker' or 'content producer', it is important for stations themselves to be uploading alternative content, whether it is written album or event reviews or videos of in studio guest performances or presenters experimenting with things they wouldn't be able to do on radio.
Competitions are also an important component of the website as station promotions can now be entered online rather than just calling in to the station directly. An important way for this information to be sent out to interested participants is through email newsletters, which host competition details as well as event and show information, and can be sent to those who sign up by becoming a member of the station's site.
Websites can also provide an arena for a station to establish an online community where users become active contributors instead of just passive listeners, and use the stations resources to further their own goals. Examples of this are Triple J's Unearthed station, fuelled by unsigned bands who upload their music in a bid to not only get airplay but also further their online fan base, as well as Fox FM's connection with the RSVP dating site.
Mobile
With new emphasis on mobile technologies, apps for iPhone and Android are becoming almost compulsory. Although all digital stations can be listened to through third party apps such as TuneIn Radio, a station-produced app allows greater potential for social media integration as well as greater loyalty from the user to each particular station, as it arguably takes more effort to swap apps than it does to swap channels on TuneIn. Also, it allows information about each song to be customised and a more interactive experience for the user.
For those who don't wish to download apps, it is also important to create websites that can be accessed from mobile devices (or a separate mobile-friendly site if possible). This is so show information can be accessed even if a person is not at their desktop computer.
For those who don't wish to download apps, it is also important to create websites that can be accessed from mobile devices (or a separate mobile-friendly site if possible). This is so show information can be accessed even if a person is not at their desktop computer.
Web 2.0 & Social Media
With the popularity of social media sites at an all-time high there are countless reasons where every media producer needs to be actively involved. However, from our analysis of these local stations as well as our discussion with Andy Lynch, it is clear that interactive social media participation is now an expected part of broadcasting. The SYN Social Media Guidelines highlight different aspects of Social Media use that producers should be aware of, and also the different layers of responsibility embedded in each. Also, the presence of radio stations on sites such as Facebook and Twitter show that not only can social media be a great way to promote content to listeners, it is also a great forum for listeners to interact with the station and share their own views and opinions.
While Facebook and Twitter have become almost basic methods of communication, it is with integration with other newer social media initiatives that broadcasters can really begin to gain an advantage and spread their influence. While some have interpreted music services such as Spotify as being indicative of the death of radio, Triple J has effectively evolved to thrive in this environment by being the Number #1 Spotify App used currently.
All this information serves to portray the importance of unique content as well as evolving distribution channels in order for radio to flourish in the digital age, and helps to form the basis for a set of criteria we believe all stations should consider when planning for the future.