Year: 2015

Streaming Gains On Broadcast in 2015

By David Alpern More and more we are seeing in rankers from Ipsos MediaCT’s TV Dailies service, which includes viewing to streaming video, that services like Netflix and YouTube are beating the major broadcast and cable networks among the 18-34 demographic, and beating nearly all the cable (but not broadcast) networks among the 35-49 demographic. TV Dailies is a syndicated service that tracks awareness and interest in upcoming new and returning TV shows weekly among a representative sample of 3,300 TV viewers ages 13-64. Netflix is having a quantifiable impact on linear television. Alliance Bernstein reported early 2015 18-49 cable and broadcast prime TV ratings are down 10.5% YOY and kids’ cable networks (2-11 total day) are down 17.7% YOY. How does Pandora’s daily reach compare to AM/FM Radio? AM/FM’s daily reach (74%) dominates Pandora’s daily reach according to Edison Research’s 2015 Share of Ear study. Percentage of Americans Who Listen Daily Why isn’t Pandora having the same impact on radio as Netflix is on television? Pandora does not create the abundance of original content, as Netflix does. Rather, the music service seems to be replacing time spent with consumer’s own recorded music. Netflix has a handful of competitors (Amazon Instant Video and Hulu), but Pandora has a significantly larger collection of competitors (including one’s own music library).]]>

5 Keys to a High Converting Landing Page

By David Alpern Crafting an effective landing page is not as simple as one might think. There are many elements to address, being mindful of the psychology lurking beneath the surface as it relates to what the prospect ultimately wants and expects, and there is no practical and universal step-by-step guide that is applicable across industries. Keep in mind that at the end of the day your company’s landing page is unique so you need to understand your target audience in the context of the 5 keys presented below. Yet, some things do remain constant across high-converting landing pages: Key #1: Powerful and Compelling Headline The headline is the magnet. That is true in any environment, in print, in an email subject line, as well as on a landing page. It needs to grab the reader’s attention with a short, punchy message that informs the reader what the product or service is all about. If you feel too limited in accomplishing this with just a headline, it is okay to also include a persuasive sub-headline. If the headline makes one look, the sub-headline should be designed to lure them to stay and go into slightly more depth. Key #2: Pictures Not just for the design enhancement of balancing the written content on your landing page, the brain actually processes images 60,000 times faster than text. The reader will be affected by the image(s) immediately. Best practices include using high-quality large pictures, have them be relevant (so using a cute baby, if irrelevant to your product or service is not effective), and making sure the image is not subtle. It needs to drive attention and stimulate. Key #3: Explain the Value Proposition Provide a straightforward explanation about your product or service. Interestingly, the explanation need not be integrated with your headline but should have some relation to your picture. An explanation should be benefit-oriented in a user oriented functional manner. For example, in place of “We make advertisements” go with the more compelling, value-oriented: “Get advertising that makes you money.” This addresses the important “What’s in it for me?” question. Another good way to convey the value proposition is through a list of benefits that are clearly focused on the user, rather than talking about yourself as a company. Ultimately, end with the CTA (call to action) with nearby testimonials, if available. CTA placement is a critical component and is okay to place the CTA in multiple locations on a single landing page, typically positioned at the end of various sections on the landing page. Key #4: Pain & Pleasure The fear of loss is a much more powerful motivator than the prospect of gain. Humans are wired to avoid pain, so if your landing page can cause the user to think about their pain, that can motivate them subconsciously to seek relief and thereby be more likely to convert. Pain can be communicated by discussing what will be lost as opposed to what will be gained. Pain references can appear in the testimonials as well as in the copy. Be sure to explain how your product or service can relieve the pain, as well as how it provides pleasure. Pleasure is often the by-product of what you are selling. For example, software performs tasks more efficiently, so it in effect is offering freedom, relief, and joy. Clothing is selling not just fabric but respect, trendiness, security, vibrancy, and fulfillment. A successful landing page identifies how to inspire and convey a sense of wonder and surprise. Key #5: CTA Lead Generation Form + Contact Information The CTA button is the most significant copy element on your entire landing page. It’s more than a “submit” button, so use a bold color that separates it from the rest of the content on the page. The CTA should be physically big on the page, powerful in value, compelling, and attractive. Yet, some people will want to bypass the CTA and contact you. Make sure you have multiple methods of contacts — phone, address, email, chat feature, as well as that cherished contact form. These help eliminate any friction in the conversion funnel and the physical address and phone help assure that you are a real company.]]>

Radio Continues to Show Strong ROI

By , Executive Vice President and Chief Revenue Officer Radio delivered a stunning 17-to-1 return on investment for four department store chains during the third quarter of 2014, according to new research from Nielsen. The new hot-off-the-presses study, previewed Wednesday at the NAB-RAB Radio Show in Atlanta, also showed the radio campaigns drove a 10% increase in overall store sales for the four retail brands. The study, which compared consumer spending at the department stores in Q3 of 2014 to the same period in 2013, showed exposure to the radio campaigns drove a 10% lift in overall store sales with radio bringing in more shoppers who also spent more often each time they shopped. The study credits the radio campaigns with a 3% increase in the total number of buyers and a 6% increase in dollars spent per buyer. Sizing up the total impact of the campaigns, Carol Edwards, senior VP, Nielsen Media Analytics, said they delivered incremental spending of $356 million from customers exposed to the messaging. Factoring in the $20 million the brands spent on the radio buy results in the 17-to-1 ROI metric, meaning that $17 in incremental store sales was generated for every dollar spent on radio. The latest in a series of radio ROI studies from Nielsen, the research cross-referenced time-stamped PPM listening data with Media Monitors spot tracking data to determine which listeners were exposed to the ads. Nielsen tapped its credit and debit card expenditure data to track the participants’ department store purchases and calculated the brands’ radio ad spend with SQAD data

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Google steps up to podcasting…

                                                    MPW Logo_Cropped GoogleMThe Download on Podcasts: Google steps up to podcasting, but not enough Posted on October 28, 2015 by Brad Hill   The announcement from Google that it would add podcasts to its Play Music interactive music service shines a light into the gloomy and under-competitive realm of podcast discovery in Android devices. But it’s a relatively dim ray of light compared to the bold discovery paths that Apple provides to its audio users. Most podcast listening is mobile. Most podcast discovery, downloading, and streaming occurs via the podcast category in iTunes, which is carved out in the Podcasts app which appears on all iOS mobile desktops. Apple’s gigantic first-mover advantage with podcasts has widened its lead in the mobile era. This column has complained before of Android’s gaping lack in this department. Android is, by far, the global leading mobile operating system, and offers no built-in acknowledgment or discovery of podcasts. Existing third-part apps like Pocket Casts and Podcast Addict provide solutions, but users must seek them out, download and install them — in other words, they are already podcast fans with some fluency in how discovery and acquisition work. While the podcast category has grown dramatically, with 33% of the 12+ U.S. population having listened to a podcast at least once, and 10% listening weekly, according to Edison Research, consumption is dramatically skewed to Apple products. Back to Google’s announcement, posted by Elias Roman, who headed Songza when it was acquired by Google, and now is Product Manager of Google Play Music. Adding podcasts to Google’s music subscription product is a smart move, roughly in parallel with Deezer’s acquisition of Stitcher, Spotify’s intent to add podcasts, and Rivet Radio’s recently announced build-out of podcast shows. Elias Roman’s unique selling point is that Google Play Music will leverage (Songza’s) content discovery algorithms to recommend podcasts based on user habits. This is all good for Google Play Music subscribers, but is not the solution that the immense population of Android users needs. The competitive thrust is aimed at other music services, not at Apple. It is the Android operating system which needs a podcast solution, not a Google app within the operating system. So, while we’re eager to see how Google Play Music’s podcast library develops (and happily, loading in a podcast is much easier for podcast owners compared to Apple’s daunting set of requirements), we’re doubling down on our memo to Google: Make a podcast portal, and bolt it into Android. Help bring podcasts into the mainstream.]]>

Pandora gets exclusive streaming distribution for Serial’s 2nd season

MPW Logo_Cropped     Pandora gets exclusive streaming distribution for Serial’s second season Posted on November 2, 2015 by Brad Hill Pandora announced today that it will be the “exclusive streaming partner” for the second season of hit podcast Serial. In 2016 the agreement will extend to This American Life, the public radio program which distributes its shows as on-demand podcasts, and which is the creator of Serial. This initiative is a new programming dimension for Pandora, and a potential source of new audience for Serial. “Pandora reaches millions of people who never listen to public radio or download podcasts,” said Ira Glass, host of This American Life. “This’ll get our shows to them.” Because long-form narrative podcasting is so different from the normal song library of Pandora tracks, the service will carve each Serial episode into five-minute bites. Pandora calls this “chapterized” content, and promises it will make it easier to listen in portions, and return to a previous leave-off point. The chapters will play continuously for those who want whole episodes. The launch date for the second season of Serial is undisclosed in this announcement. Season One will likewise be poured into Pandora on November 24, for binge listening over the Thanksgiving holiday. Serial will still be downloadable from iTunes and other podcast aggregators, while Pandora enjoys the exclusive pure-streaming rights. Without question, the partnership has unique value for all stakeholders. Pandora jumps on the podcast train. Serial gets exposed to an audience of 78-million monthly users, some of whom have probably heard of Serial but have never figured out how listen to a podcast. And those users get the benefit of easy discovery and playback in an environment they know and love. Interestingly, this agreement also gives Pandora a block of interactive content that can be accessed and heard on demand, unlike its entire non-interactive music library. Users just add the “Serial” station, and can listen to as much as they want. When users create station based on a music brand, the first track is usually that artist or brand, and then the Music Genome kicks in with a playlist of which the user has limited control. Spoken-word podcasting is free of music licensing restrictions, and can be thoroughly interactive and on-demand.]]>

Pandora gets exclusive streaming distribution for Serial's 2nd season

MPW Logo_Cropped     Pandora gets exclusive streaming distribution for Serial’s second season Posted on November 2, 2015 by Brad Hill Pandora announced today that it will be the “exclusive streaming partner” for the second season of hit podcast Serial. In 2016 the agreement will extend to This American Life, the public radio program which distributes its shows as on-demand podcasts, and which is the creator of Serial. This initiative is a new programming dimension for Pandora, and a potential source of new audience for Serial. “Pandora reaches millions of people who never listen to public radio or download podcasts,” said Ira Glass, host of This American Life. “This’ll get our shows to them.” Because long-form narrative podcasting is so different from the normal song library of Pandora tracks, the service will carve each Serial episode into five-minute bites. Pandora calls this “chapterized” content, and promises it will make it easier to listen in portions, and return to a previous leave-off point. The chapters will play continuously for those who want whole episodes. The launch date for the second season of Serial is undisclosed in this announcement. Season One will likewise be poured into Pandora on November 24, for binge listening over the Thanksgiving holiday. Serial will still be downloadable from iTunes and other podcast aggregators, while Pandora enjoys the exclusive pure-streaming rights. Without question, the partnership has unique value for all stakeholders. Pandora jumps on the podcast train. Serial gets exposed to an audience of 78-million monthly users, some of whom have probably heard of Serial but have never figured out how listen to a podcast. And those users get the benefit of easy discovery and playback in an environment they know and love. Interestingly, this agreement also gives Pandora a block of interactive content that can be accessed and heard on demand, unlike its entire non-interactive music library. Users just add the “Serial” station, and can listen to as much as they want. When users create station based on a music brand, the first track is usually that artist or brand, and then the Music Genome kicks in with a playlist of which the user has limited control. Spoken-word podcasting is free of music licensing restrictions, and can be thoroughly interactive and on-demand.]]>

Infinite Dial Learnings

By David Alpern Earlier this year we posted about the Infinite Dial study about audio consumption, with the conclusion that streaming is goiThe Infinite Dialng wide, YouTube is mainstream, and podcasting is growing. Below is an article by Brad Hill, published earlier this year, that details the study. The 2015 edition of The Infinite Dial was unveiled in March 2015 by survey producers Edison Research and Triton Digital. In its 23rd edition, The Infinite Dial is one of the most significant and respected research projects in the streaming audio industry. A major headline came when John Rosso of Triton said that 53% of American adults listen to online radio at least monthly — an estimated 143-million individuals. (“One of the most significant findings of this year’s study,” said Rosso.) Holding to demographic tendencies of previous Infinite Dial editions, uptake of streaming radio is weighted to youth. The 12-24 demographic shows 77% listening to online radio each month. Weekly online radio listening continues its upward march in the 2015 results — 44% of Americans listen at least weekly. That is an estimated 119-million people. In the 2000 survey, two percent of Americans made the same claim. (There has not been a year-over-year decrease during that span.) Weekly listening also skews young, with 69% of the 12-24 group listening weekly. How about time spent? Edison found that the average weekly time spent listening to online radio was 12 hours and 53 minutes — a slight drop from last year (13:19). but with a large year-over-year jump in audience size (from 36% of Americans to 44%), the overall time spent with online radio is much higher. Where does the listening happen? Mobile dominates, and is growing — 73% use smartphones, increased from 66% last year. Computers are still in frequent use, but declining from 64% in 2014 to 61% this year. The presentation provided deep dives into several research topics:

  • Brands:Pandora is the best-known brand in the Internet audio business, followed by YouTube. Pandora, iTunes Radio, and Spotify all enjoyed substantial listening growth from last year’s survey. YouTube is used for music by 63% of the total population, and 90% of the 12-24 cohort.
  • Discovery:The Infinite Dial tracks music-discovery methods. The top resource in this year’s data is the Friends/Family response (70%), followed closely by AM/FM Radio (69%). YouTube is next at 61%.
  • Podcasting:The podcasting segment of today’s presentation showed overall listening at 33% of the population, or approximately 89-million people. Podcast listeners are characterized by the data as voracious, listening to an average six shows per week, and 15% listening to 11 or more shows each week. Interestingly, the podcast audience skews affluent (52% of listeners are in $100k+ households), a data point that all ad-repping networks will probably include in their sales decks.
  • Smartphone ownership:Jason Calacanis told last year’s RAIN Summit West audience: “Mobile is the only thing that matters.” Edison tells us that 71% of 12+ Americans own a smartphone.
  • Cars listening:In the car, as other studies have shown, AM/FM is the most-used audio source (81%). CD players and MP3 players fare well in this survey, and online radio comes in at 21% — higher than the 17% listenership to satellite radio. In-car online radio listening is the fastest-growing audio source by far, leaping 50% between last year’s survey and this one (from 14% to 21%).
Key takeaways provided by Edison and Triton:
  • Online audio is now a fully mainstream activity for people under 55.
  • AM/FM Radio continues to dominate in-car, but is losing its music discovery leadership.
  • Pandora remains the dominant online audio brand, though Spotify has grown, especially on the young end.
  • YouTube as a music channel is as mainstream as all of online audio put together.
  • Online radio in the car is growing—more than doubled in two years.
  • The Smartphone continues to drive online audio, and most users don’t care about data consumption.
  • Podcasting is increasingly mainstream, and carving out a segment of highly attractive advertising targets.
The Infinite Dial survey was in the field in January and February, questioning a sample of 2,002 people on landline and cell phones.]]>

Cultivated Streaming vs. Radio

tuneinBy David Alpern Rick Dees, The Real Don Steele, Don Imus, Cousin Brucie, Kevin & Bean, Scott Shannon….these are all larger than life personalities that busted through the radio over the years and became huge radio sensations and thus ratings monsters. Comparing that to the non-interrupted music flow that comes from Amazon Music, Rhapsody, Spotify, Songza, and others is not truly a fair comparison. One is full of life and the other is full of efficiency. Some services like Slacker try to inject pre-recorded announcers, which is a nice effort, but does not even begin to approach the presence that a “jock” brings to a station. That is why the re-emergence of cultivated content is a refreshing trend. As Wired Magazine reported last month in “Internet Radio Is Fixing to Make a Comeback”, several Internet streaming providers including Apple Music (with its impressive Beats1 radio station guided by Zane Lowe) and the new premium service from TuneIn are working to inject a personal touch into online music services. “TuneIn anchors a human at the other end of the broadcast,” says CEO John Donham. Nobody Killed the Radio Star Despite the recent proliferation of online streaming alternatives, rumors of radio’s decline have been greatly exaggerated. Due to its cultivated and personality driven heritage, it’s managed to hold its own. The reach of radio and the number of people listening to the radio have remained mostly constant over a long period of time. That is why stations like K-Earth 101 and KOST 103.5 tend to be heard all over town. While all those stores and food stalls and passing cars could choose to stream a personality free online alternative, the DJ driven presentation along with the program director cultivated playlist still conspire to produce a compelling listener experience and Internet Radio is certainly noticing and adjusting. South Korea . Game on!]]>

Radio Investing in Podcasting

By David Alpern With apologies to Samsung’s tag line, it looks like the “next big thing” may be Hubbardpodcasting. This week Hubbard Radio announced that it is taking a 30% stake in a Beverly Hills based podcast network. Legacy radio broadcasters are anxious to snap up the next evolution in audio media. Sources estimated Hubbard’s investment at $10 million. Just last month E.W. Scripps bought Hollywood podcasting network Midroll Media. PodcastOne is an advertising network for more than 200 podcasts, which deliver 400 online casino million impressions per month. Some of its celebrity podcasts are hosted by Shaquille O’Neal, Adam Carolla and Nicole ‘Snooki’ Polizzi as well as well-known public radio programs “Freakonomics” and “Radiolab.” Podcast audiences at this moment remain relatively small but are registering incremental annual growth. 17% of Americans listened to podcasts in January 2015, up two points year over year according to the Share of Ear study published by Edison Research in February, and reviewed previously here on the Media Partners Worldwide blog. Traditional radio broadcast companies are investing with the belief that the podcast industry is on the verge of explosive growth and point to the platform”s potential by citing the success of NPR’s mega-hit episodic podcast “Serial” that re-examined a young man’s murder conviction and has been downloaded over 80 million times since it debuted in 2014.]]>