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The Market Evolution of Audio Services and its Implications on the French-language Radio Market
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So why a site over an app? There has clearly been a proliferation of dating apps for gay and straight singletons alike over the past few years; this has totally changed how we interact and date. However, we still like to be a little old-school and there are tons of unsung benefits of using one of the best gay dating sites. First and foremost, dating sites place far less emphasis on physical appearance than apps do, so you stand a better chance of finding someone to forge a meaningful connection with.
Although not specifically designed for LGBT users, EliteSingles is a popular site in the UK for professional singles looking for a serious relationship. This is a pretty unusual focus among gay dating sites and they do it well. One of the defining features of EliteSingles is the purpose-built personality test that helps match members. Connected-FM, still nascent in its development, is a new software-level supplement to terrestrial radio. Connected-FM would also enable other interactive enhanced features such as text information linked to the radio station, as well as alternative advertising opportunities for the radio station, and more accurate data-collection concerning audiences.
Online radio can better access the home through portable connected devices that can be docked to a station which connects the device to the sound system in the home. Online radio is also starting to enter cars through auxiliary-audio jacks or Bluetooth systems that connect Internet-ready devices to the car stereo system.
Satellite radio, originally confined to branded satellite radio receivers, can now reach audiences through connected devices with its online offering. These changes in consumer electronics, combined with trends in increasing connectivity will continue blurring the lines. Developments in city-wide Wi-Fi, along with improving access-point technology which will enable seamless handoffs at speeds that will allow for audio streaming during daily commutes, will render online listening more economical than relying on mobile data plans. While there are still some clear competitive advantages for certain service delivery models within certain domains, the boundaries are becoming less clear as device prices fall and their capabilities improve.
What this implies is that audio services need to carve out their target audience and create a loyal listener base. This is done at many levels. Commercial radio stations have always competed amongst themselves via differentiation of content. Radio stations differentiate themselves from their neighbouring stations on the dial by targeting different segments of the market by focusing on specific demographic and by adopting a certain format that will appeal to that targeted demographic. On-air contests, radio personalities and other station-specific initiatives provide further product differentiation by building a relationship with the listener, and enhancing listener-loyalty.
By targeting a certain demographic group, radio stations are better able to attract advertising dollars as they can reach a targeted segment of consumers. Online audio services — not tied to commercial terrestrial radio services — have limited local news, weather, sports, or traffic updates. A limited number of these online audio services employ on-air personalities to build relationships with listeners and hence offer a different level of interaction with the listener. For the moment, this is one distinguishing feature of commercial radio which may help it to maintain its segment of listeners.
Online audio services, however, are quickly integrating other features such as socializing via Twitter and Facebook; and links to information pages such as Wikipedia; to increase their level of relevance to the user and to increase the level of interaction. This, however, can also be offered by commercial broadcasters through their online service offering should they wish to introduce those ancillary services. A new generation of connected, audio-enabled, devices is facilitating the substitutability of online alternatives for commercial radio. By making devices easily accessible through strategic partnerships, service providers have attempted to gain market advantage over their competitors.
Each audio-service provider needs to strive to make their service available to consumers on every platform and device that they want to listen to music on. Audio service providers also need to ensure that these devices are practical and do not represent a substantial investment for the consumer. While investment in a platform may retain customers and prevent them from migrating to another service once they have bought into it, it could potentially hinder new customers from buying into the ecosystem.
This particular consumption decision has been diverted, in some ways, by strategic partnerships which pre-determine the outcome for consumers. Automotive partnerships are coveted in the radio industry as in-car listening represents approximately one-third of radio listening Footnote Having a certain service available in-car, particularly if it has been factory pre-installed, facilitates consumer adoption. Satellite radio and HD radio have negotiated such partnerships and have thus given themselves a competitive edge.
The competition for automotive partnerships, and in-car listening, will get even more intense with the introduction of internet-ready cars.
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Brands such as Pandora Footnote 18 , which has already negotiated 23 automotive partnerships Footnote 19 , are vying to pre-install branded internet-ready stereos in cars. Adding broadband connectivity to cars, via SIM cards, will add another layer of complexity, and technical capability, to automobiles. In time, listeners will likely have the option of listening to some, or all, of these options in the car without any additional investment in devices.
The length of time needed for advanced in-car devices to achieve substantial market share, and hence to have the potential to substantially shift in-car listening, is hard to predict considering the average lifespan of a car is just over 13 years Footnote This implies that the automobile, and its audio device, will circulate within the automobile market for roughly 13 years. Commercial radio has always been ad-supported and free to the consumer. This will be difficult to change, so long as commercial radio is transmitted over-the-air. HD radio broadcasting has been introduced as a way for the commercial radio market to offer more stations and improved quality of service.
Since online audio services are not constrained by limited availability of frequencies, there are multiple service offerings using different delivery models and revenue models.
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Through various scans of the online audio services there were clear distinctions between: non-interactive and semi-interactive streaming models vs. Each model targets different user preferences. Non-interactive and semi-interactive streaming models imitate the commercial radio model whereby songs are played in continuum. Users can either select a pre-existing genre channel or they can fine-tune their own stations by entering the name of an artist they like.
They will then be provided with a radio stream that closely follows the genre of music of the artist they have selected.
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They cannot, however, play an entire album by the artist on-demand nor can they control the playlist in its entirety. Some online streaming services, such as Jango. Listeners can then specify whether they would like to hear the song or artist more often, or to exclude them from their personalized station. Some online semi-interactive streaming services, such as Slacker.
Non-interactive and semi-interactive streaming models target listeners who are looking for a radio-like experience whereby song selections are made for them; hence providing the possibility of discovering new music. Independent artists pay online distributors such as TuneCore an annual fee for the distribution of their content.
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Artists can specify the manner in which they wish to distribute their content. They can select, for example, online distribution via streaming services, digital sales, or ringtones etc. The distributor then partners with various online music streaming services and online music stores, such as iTunes, to ensure playtime and sales opportunities. Services such as Grooveshark Footnote 22 , Rara, and Deezer allow listeners to browse content libraries by artist, select albums or songs that they would like to listen to, and then, these songs or albums would be placed in a playlist for the listener.
Under this model, the listener is completely in control of their playlist.
Should the listener wish to discover new songs, they can select to listen to a playlist created by other listeners who share similar tastes in music. On-demand streaming models available in Canada currently follow the all-you-can-stream subscription model whereby, for a monthly fee, users gain access to the full repertoire of music available to the site.
Companies like Rdio are marketing their service in a way that encourages users to shift from paying to own content to paying for access to content Footnote Additional benefits are also often offered with upgraded subscription tiers. Some services follow a hybrid model whereby they offer users both semi-interactive streaming services as well as on-demand options.
Services like Slacker try to offer users the full experience. The advantage of having these different models available to the connected consumer is that it offers consumers more choice. More choice in the manner in which they consume their music, in the level of control over their listening experience, and how they would like to pay for this experience. Given all these choices available to consumers, if they choose to consume audio media online, the question then becomes can they find and access Canadian content?
The second discussion point is the level of Canadian content available online. This will help identify the challenges and opportunities facing the Canadian music industry. Thus, the following section will aim to study the predominance of French-Canadian content online. Currently, there is no industry-wide measurement or reporting mechanism for the quantity of Canadian programming content found, and consumed, online Footnote Consequently, to roughly illustrate the availability of French-Canadian content, and how this content was presented, staff at the CRTC undertook a quick scan of online offerings.
Staff completed a quick survey where respondents were asked to name 10 French-Canadian artists that immediately came to mind. This was intended to simulate possible Internet searches. From the aggregate list of artists, a test group of 50 randomly selected French-Canadian artists Footnote 25 was used to examine and compare the content offerings of various online audio services available to Canadians Footnote Both streaming services and digital download stores were studied. Researchers looked for:. Seven audio services available to Canadians were tested against the list of 50 French-Canadian artists.
Staff verified the number of artists whose works were available in the content library. This is why the results for AccuRadio and Iceberg Radio are identical. Three online digital music stores available to Canadians were tested against the same list of 50 French-Canadian artists. Here, staff verified the number of artists whose albums were available for download:.
For both streaming services and digital music stores, the available library of works by the artists varied from service to service. The legality of these some of these services, however, is under question.