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A two-dimensional approach to the study of podcasting in Spanish talk radio stations
Abstract
Over the last decade, technology has transformed traditional radio broadcasting, not only as a mass medium but also as a cultural industry. Podcasting has been adopted by broadcasters as a useful tool for radio on demand. For broadcasters, it also offers the opportunity to explore new
formats and new radio content and the possibility of reaching listeners in new ways. This article discusses the use of podcasting by the main radio networks in Spain. It is based on a quantitative study amongst broadcasters, focused on those chains that have adopted podcasting to offer some
of their conventional broadcast programmes. The aim of the present study is to establish which elements of programming and business strategies are motivating the use of podcasts by these radio stations. In addition, this article also provides a first approach to the main genres and programmes
supplied in this format.
... En el caso de España, la Cadena SER comenzó a utilizar el podcast el 10 de abril de 2005, seguida apenas unas semanas después por COPE, que apostó inmediatamente por el procesado de sus programas (Sellas, 2012). A partir de ese momento, fue generalizándose su empleo. ...
... De hecho, en 2009 todas las emisoras generalistas habían desarrollado significativamente esta vía de distribución, actualizando regularmente sus noticias online, subiendo su último boletín horario o incorporando vídeo (Moreno-Moreno; Martínez-Costa; Amoedo-Casais, 2009). En 2010, RNE generaba en torno a medio centenar de podcast diarios y COPE rondaba los 30, una tendencia que iría in crescendo dos temporadas después (2012-2013), sobre todo en lo que se refiere al procesado de los magacines de la mañana (Sellas, 2012). Se puede afirmar que para entonces el podcasting era una práctica común para distribuir en diferido los contenidos ya emitidos Hay que señalar que, por entonces, conforme a las ya mencionadas etapas de desarrollo del podcasting, esa modalidad de escucha, aun siendo prometedora, todavía no estaba consolidada ni en las webs ni en las apps (Videla-Rodríguez; Piñeiro-Otero, 2013; 2017). ...
... Ya se ha señalado que a lo largo de la última década y gracias al podcast, las emisoras generalistas han ido incorporando los programas a sus webs para posibilitar su escucha en diferido. Hay que señalar que si bien la Cadena SER dio inicio a esta práctica en 2005 (Sellas, 2012) En cuanto a la denominación de esta vía de distribución, en la temporada 2021-22 sigue sin haber consenso entre las emisoras, como se desprende de las entrevistas en profundidad y como también se puede apreciar en el siguiente epígrafe, centrado en el análisis de la oferta. Tanto la Cadena SER como COPE sustituyen el concepto "a la carta" por "horas completas" y "podcast", según el nivel de procesado. ...
In recent decades, speech-based radio stations in Spain, whose programmes have been aimed at the general public, have transformed their on-demand content broadcasting strategy by incorporating audio processes in the form of podcasts, followed by transmission through websites, aggregators and applications. The overall objective of this article is to provide a detailed account of the evolution and scope of the podcast as an on-demand distribution channel for speech-based Spanish radio broadcasters, and to reveal how this format is changing the approaches taken by the most prominent national radio stations [Cadena SER, COPE, Onda Cero, and Radio Nacional de España (RNE)], with special emphasis on prime-time morning shows. The methodology employed combines quantitative and qualitative techniques along with an analysis of the content uploaded to the website of these morning programmes, which are part of the weekly programming cycle, together with semi-structured interviews using closed-ended questions that have been given to the main heads of programming and digital areas of the broadcasters under study. The results show that radio stations have incorporated podcast distribution into their usual routine in order to give new life to the content emitted, with the aim of serving both traditional users as well as new generations of digitised native listeners. In addition, they process daily content in an increasingly systematic way, on the basis of a model of mixed management coordination between programmes and digital areas. Similarly, broadcasters have made considerable progress in the measurement and analysis of the time-shifted audience, as well as in broadcast multiplication techniques using push notifications, social media, and monetisation.
... Por una parte, las fórmulas de distribución de contenidos on demand han permitido personalizar la escucha así como el momento, lugar y dispositivo de consumo. Tecnologías como el podcasting o la difusión en streaming han permitido flexibilizar la escucha para una experiencia personal y móvil (Gallego, 2012, Sellas, 2012Cordeiro, 2012) e incluso ir más allá, desligando el consumo de contenidos del medio. ...
... La transposición del medio sonoro a la Red y su impacto en las cadenas de radio convencional constituye una de las líneas con mayor proyección dentro de los radio studies en España (Piñeiro Otero, 2015b). La mediamorfosis radiofónica ha sido abordada desde diversas perspectivas como la transformación del paradigma comunicativo (Bonet, 2007;Cebrián Herreros, 2008ay 2008cSellas, 2011Sellas, y 2012Martínez Costa, Moreno y Amoedo, 2014), el nuevo concepto de distribución de contenidos (Sellas, 2006;De Velasco, 2008;Amoedo, Martínez Costa y Moreno, 2008;González y Salgado, 2009;Martínez Costa Moreno y Amoedo, 2012;Peña, 2012), su adaptación a la radio móvil (Videla-Rodríguez y Piñeiro -Otero, 2012-Otero, y 2013Piñeiro Otero, 2015;Herrera Damas y Ferreras, 2015) o los modelos de negocio (Martí, Monclús, Gutiérrez y Ribes, 2015), entre otros. ...
El desarrollo de la radio online ha dado lugar a un contexto de consumo híbrido de cohabitación de la emisión tradicional con otras formas de distribución de contenidos. En este contexto los oyentes-usuarios diseñan sus propias estrategias de consumo radiofónico seleccionando y/o combinando contenidos, plataformas y dispositivos de recepción. El presente trabajo ha tenido por objeto conocer las tendencias de consumo, las preferencias en el acceso y disfrute de contenidos radiofónicos on y offline, así como el grado de apropiación de dichas plataformas desde la perspectiva de los propios usuarios. A partir de una encuesta se ha podido constatar la persistencia de una escucha tradicional del medio, también en el ámbito online, si bien la incipiente presencia de usuarios intensivos y sus motivaciones adelantan una transformación de dicho consumo
... Öte yandan Bottomley (2015, s. 186), podcastin karakteristik bir özelliği olarak görülen yayıncı ve dinleyici arasında oluşan samimiyet duygusunun da yine podcaste özgü ve "yeni bir tarz" olmadığını savunur. Sellas (2012) ve Madsen de (2009Madsen de ( , s. 1191, podcasti konuşan radyo (talk radio) olarak da bilinen geleneksel bir yayın formatına benzetir ve onun bir uzantısı olarak ele alır. Podcastler müzik ve anlatının birbirinden koparıldığı bir tür içeriğe ev sahipliği yapar ve bu bakımdan topluluk radyosu ve konuşan radyo gibi formatlarla benzerlik gösterir. ...
Medyadaki değişim, medya araştırmaları alanında her zaman önemli bir tema olmuştur. Zira medyada yaşanan değişimler, toplumsal değişimlerin hem nedeni hem de sonucu olmasıyla toplumun ayrılmaz bir parçasıdır. Medyayı anlamak, mikro düzeyde toplumu ve daha sonra dünyayı anlamayı sağlar ve toplum/dünya medya aracılığıyla anlamlandırılır. Bu çalışmanın derdi de yükselen bir mecra olarak podcasti anlamaktır. Türkiye’de henüz serpilmeye başlayan podcast mecrası, küresel medya ekosisteminde neredeyse olgunluk dönemine ulaşmış olsa da onun netliğine yönelik sorular hala sorulmaya devam edilmektedir. Bunların en başında ise ‘podcast radyonun bir versiyonu mudur, yoksa dört başı mamur, kendine has yeni bir mecra mıdır?’ sorusu gelmektedir. Podcast bu bakımdan göze ilk bakışta bir ara form gibi görünmesiyle problematiktir. O, sesli bir mecra olmasıyla radyo gibidir fakat üretim pratikleri bakımından radyonun kurumsal yapısına meydan okur. Atası olarak görülen radyo geleneksel bir mecra iken, podcast internetin çocuğudur. Tek bir duyuya seslenen, tek yönlü bir mecra gibi görünse de dinleyici ile ilişki kurma kapasitesine sahiptir. Podcast mecrası bu nitelikleriyle medya değişiminde tarihsel ilerleme anlayışı açısından süreksizlikler yaratır. Bu çalışmada yükselen bir mecra olarak podcastler, karakteristik özellikleri ve sesli medyaya getirdiği teknolojik yeniliklerin yanında, diğer medya ile ilişkileri bakımından irdelenmektedir. Bu doğrultuda podcast mecrası öncelikle radyo üzerinden okunmuş, medyadaki değişim kuramsal düzeyde “iyileştirme” yaklaşımı çerçevesinde ele alınmıştır. Benimsediği bu yaklaşım bakımından çalışma, podcast mecrasını medyalararasılık düzeyinde tartışmaya açmaktadır.
... Accordingly, it will not be as extensively discussed as the other traditions I characterize in this paper (examples for what I view as a 'broad' technological perspective in podcasting theory will be introduced in the concluding discussion). This tradition is reflected in definitions that encapsulate podcasting as 'a technology used to distribute, receive, and listen, on-demand, to sound content' (Bonini, 2015, p. 21); 'media content delivered automatically to a subscriber via the Internet' (Berry, 2006, p. 144); 'a means of distributing digitized audio files to subscribing audiences' (Murray, 2009, p. 198); 'a vehicle for serialized content' (Salvati, 2015, p. 235); and 'a system for the automated distribution and reception of audio content' (Sellas, 2012). ...
This article explores how the notion of podcast studies came about and questions its future among well-established media fields. Through a close reading of various definitions given to the term podcast in the formative years of its academic institutionalization, a first-time classification of the central traditions in podcast studies is proposed and critically discussed. This theoretical typology – whereby ‘podcast’ is understood as a technological, socio-cultural, or formalistic concept – draws attention to the complexities and limitations in justifying the very idea of studying podcasting as an autonomous media field. The critical meta-review leads to six research avenues that can make podcasting uniquely meaningful and innovative in wider contexts of media theory, such as sound studies, digital archiving, and everyday studies.
... En un entorno digital frenético de estímulos, alertas y avisos en todo tipo de dispositivos, y frente a una cierta homogeneización en las parrillas de radio (Pedrero-Esteban, Marín-Lladó y Martínez-Otón, 2022), los podcasts aportan foco y contexto sin dependencia de la emisión en directo que siempre ha caracterizado al relato informativo hertziano, y con las ventajas del acceso y consumo personalizable del audio bajo demanda (Sellas, 2012;Gallego-Pérez, 2010): el directo responde a la pregunta "qué está pasando"; la radio, a la carta responde a "qué me he perdido"; el podcast, a "qué puedo aprender" (Ganyet, 2021). (2019) c) Análisis en profundidad: se desarrolla una noticia o tema de actualidad con detalle, aportando perspectiva y contexto con una duración mayor (The Daily). ...
El éxito del podcast informativo diario The Daily, un formato de audio inédito nacido en un periódico tradicional y producido sobre bases narrativas y estéticas diferentes a las del relato radiofónico de actualidad, ha propiciado la aparición de réplicas en cabeceras de prensa de papel y digital en todo el mundo. Este trabajo describe la aparición y desarrollo de las diferentes variantes de los daily news podcasts en España y propone un análisis comparativo entre los tres títulos más competitivos entre sí: El Mundo al día, del diario El Mundo; Un tema Al Día, de elDiario; y Hoy en EL PAÍS,
... · Independent podcasting has grown and has built and strengthened a community (García-Marín and Aparici, 2018). · Podcasting has become established within the radio industry not only as a distribution tool (Gallego, 2012;Sellas, 2012), but also as a means of production of digital native content (Bonet and Sellas, 2019;Pérez-Alaejos et al., 2018;Ribes-Guàrdia et al., 2019). · Podium Podcast, the first digital native podcast network within the radio industry, was launched by Grupo PRISA in 2016. ...
This article analyses the main Spanish independent podcast networks. It is a two-phase qualitative study based on direct observation of the networks, a number of secondary sources and, especially, on semi-structured in-depth interviews with the coordinators or managers of these networks. From the political economy of cultural industries, the main objectives are to determine the motivation, perspective, and dynamics of these networks, as well as to explore their financial model. As podcasting implies cultural practices and meanings, we want to analyse whether independent podcast networks are basically a grassroots cultural production that maintain their amateur philosophy, or whether, in contrast, they are evolving towards an institutionalization that moves them closer to cultural industries and their practices, and the study of Spanish independent podcast networks is a useful starting point for putting mainstream and historical definitions to the test. This study sets forth how the progressive formalisation of podcast networks has generated tensions in the grassroots-industrialization balance. Spanish independent podcasters are pro-ams entering the production process of an industry in which other industrialized actors have already been established.
... In Spain, meanwhile, broadcasters used the format exclusively as an on-demand radio service (Sellas, 2012) but did not exploit it commercially (Gallego-Pérez, 2012). While in the United States podcasting had reached maturity in 2014, with the widespread diffusion of podcasts such as Serial (Berry, 2015;2016), in Spain the beginning of consolidation had to wait until mid-2016, with the creation of Podium Podcast by Prisa Group (García-Marín, 2019; Sellas; Solà, 2019). ...
After an initial period characterized by experimentation, amateurism, small audiences, technological difficulties, and scarce funding, podcasting is now fully consolidated. The aim of this paper is to analyze the characteristics of the Spanish podcast sphere: its structural, personal, thematic, formal, economic, and dissemination aspects. To this end, a content analysis of 21 variables was applied to the 206 programs that attained the highest popularity in the general rankings of Spotify, Apple Podcasts, and iVoox during the first quarter of 2021. Along the structural dimension, the results reveal the preponderance of digital-native podcasts in comparison with previously broadcast podcasts, and of podcasts promoted by radio stations or those associated with networks over independent ones. Regarding the personnel involved, programs produced by professionals from the media or other cultural industries are more popular than those produced by amateurs, while those presented by men are more popular than those presented by women. Regarding their themes, content related to mystery and/or crime, history, entertainment, and emotional well-being predominates. In the formal sphere, the majority of programs are exclusively audio programs, produced weekly and in Spanish, with a limited presence of the other co-official languages in Spain. In terms of funding, the most common situation is production by media groups or podcast networks, followed by monetization on YouTube and offering additional services. Based on all this, the main conclusion of this study is that podcasting in Spain has abandoned the democratizing potential attributed to it by some theorists and researchers in its beginnings to become embedded in a largely commercial logic.
... Por tanto, el despertar del reportaje sonoro en España no se está produciendo de la mano de las cadenas radiofónicas, que -como se ha señalado-, en términos generales, utilizan el pódcast como radio a la carta con el fin de amortizar más eficazmente los contenidos ya emitidos (Gallego, 2012;Sellas, 2012;Fernández-Sande, Rodríguez-Barba, y Rodríguez-Pallares, 2013; Pérez-Alaejos, Pedrero y Leoz, 2018; Legorburu, García-González y Dorado, 2019; Moreno y Román, 2020). Por el contrario, al igual que en el caso de experiencias pioneras y exitosas como 'Serial' (Linares y Neira, 2017) o 'Radio Ambulante' (Fernández-Sande, 2014), el reportaje ha recuperado presencia en nuestro país, a partir de la actividad de plataformas de pódcast nativo como la red global Podium Podcast, con una significativa producción exclusiva para este formato de audio (Moreno, 2017 y Sellas y Solà, 2019); la comunidad Cuonda, con un catálogo más limitado, pero en el que destaca 'Las tres muertes de mi padre', galardonado con los Premios Apple y Ondas 2018; y, más recientemente, Spotify, con su primera propuesta, 'XRey', producida por The Story Lab (Premio Ondas 2020). ...
Durante las últimas tres décadas, el reportaje, uno de los géneros periodísticos más ricos y mejor adaptados al mundo sonoro, ha ido quedando orillado en las parrillas de programación de las radios generalistas españolas por muy diversas razones. Sin embargo, el rápido desarrollo del podcasting podría suponer el final de este aletargamiento. Justamente, la propuesta periodística de Podium Podcast, la red global de pódcast nativo en español promovida por la división de radio del Grupo PRISA, estaría desempeñando un papel destacado en este cambio de tendencia. Así, en este trabajo se estudia hasta qué punto la emergencia de este nuevo formato de audio estaría influyendo en la recuperación del reportaje sonoro, a la vez que evalúa la oferta de esta plataforma en lo que a este género se refiere. Para ello, se ha empleado una metodología mixta, cuantitativa-cualitativa, con un extenso análisis de la propuesta de reportajes de Podium Podcast y una entrevista en profundidad con su principal responsable. Fruto de esa investigación se han obtenido resultados de interés, tanto en lo que se refiere a la recuperación de este género periodístico, como a su renovación, puesto que estaría mutando, al incorporar técnicas y características propias de la ficción sonora o del ámbito audiovisual (cine y televisión). Además, también se ha conseguido información de interés acerca de las técnicas de distribución y las vías de monetización más frecuentes en este tipo de producciones.
... So far, that can only be possible with the "scattering" of programming schedule already broadcast traditionally and, henceforth, all decisions taken should spin around what programs should be uploaded to the Net, whether to post them at their full-length or just in pieces (Sellas, 2012a). ...
Beyond the undoubted revival of the podcast, its presence in the offer of some Spanish radio stations deserves a detailed analysis. This study presents the analysis of this offer, as well as an approach to the challenges and questions behind the production of native podcasts, exclusively for web consumption. Those ultimately responsible for radio programming have to deal with traditional broadcast program scheduling, and now additionally have to undertake podcast catalogue management. Quantitative analysis is combined with qualitative analysis through interviews with some of those content managers responsible for deciding how these two complementary radio offers should coexist. Results show that, so far, podcasts could be defined as a cultural product rather than a product of the cultural industry.
Link: http://profesionaldelainformacion.com/contenidos/2019/ene/11_en.pdf
... Es cierto que la forma de acceder a ellos, aunque se centraliza en todos los casos a través del menú de la página principal y es cómoda (entre 2 y 4 clics), presenta diferencias acusadas, sin que todavía haya uniformidad entre las cadenas, como sí hay, por ejemplo, con sus parrillas. Se puede afirmar que, en este ámbito, se han producido avances desde 2010, cuando únicamente RNE guardaba cierto orden (Sellas, 2012). ...
La digitalización está transformando la radio, al igual que al resto de medios de comunicación. Independientemente de las innovaciones que está introduciendo en las rutinas productivas o en la calidad de sonido, uno de los cambios más significativos radica en la posibilidad de escuchar a la carta cualquier contenido puesto en antena, rompiendo una dinámica de emisión en línea de casi un siglo. Esta modalidad de pódcast se ha convertido en una nueva vía de difusión para las cadenas generalistas españolas y, en especial, para sus contenidos de mayor audiencia, los magacines de la mañana del ciclo de programación semanal. El artículo aborda esta cuestión, mediante técnicas cualitativas y cuantitativas, con el fin de identificar las estrategias aplicadas en unas webs que, en apenas una década, se han ido convirtiendo en repositorios abiertos. Los resultados evidencian que los operadores consideran imprescindible esta forma de distribución para atender a una audiencia en transformación y para atraer a una nueva generación de oyentes que acceden al audio con su teléfono móvil. De este modo, se aprecian progresos significativos en el procesado de los contenidos, así como en el empleo de las redes sociales y las alertas para multiplicar su escucha.
... However, these low barriers to entry have not led to the dominance of amateur podcasters. Instead, many of the most popular and most listened-to programmes are created by existing radio and audio content producers, namely public radio programmers seeking to distribute content to audiences not reached by terrestrial radio (Crofts et al. 2005;Sellas 2012). ...
... Sin embargo, las estrategias aplicadas y las decisiones tomadas empezaron a cambiar el día en que el flujo programático pudo convertirse en producto cultural de stock y empezar a configurar un catálogo. De momento fue posible solamente con el "despiece" de la parrilla programática ya emitida en antena y, por consiguiente, las decisiones debían girar alrededor de qué programas se subían a la Red, si se subían enteros o troceados, etc. (Sellas, 2012a). ...
Más allá del indudable resurgir del podcast, su presencia en la oferta de algunas emisoras españolas merece un análisis detallado. Este estudio presenta el estudio de dicha oferta, así como una aproximación a los retos e interrogantes que hay tras la producción de podcasts nativos, de consumo exclusivo vía web. Los últimos responsables de la programación radiofónica deben lidiar con la tradicional parrilla de programas en flujo y añadir ahora la gestión de un catálogo de podcasts. El análisis cuantitativo se combina con el cualitativo a través de entrevistas a algunos de los máximos responsables de decidir cómo deben convivir estas dos ofertas radiofónicas complementarias. Los resultados muestran que de
momento el podcast podría quedar definido como un producto cultural más que como un producto de una industria cultural.
http://www.elprofesionaldelainformacion.com/contenidos/2019/ene/11.pdf
... -Trabajos que evalúan el consumo de radio y audio online como clave para interesar a los públicos nativos de la red (Gutiérrez; Ribes; Monclús, 2011; Perona-Páez; Barbei- to-Veloso; Fajula-Payet, 2014; López-Vidales; Gómez-Ru- bio; Redondo-García, 2014; Alonso-González, 2015; Mo- reno; Amoedo; Martínez-Costa, 2017). Especialmente, desde el valor creado a través del podcasting (Gallego-Pé- rez, 2010;Sellas, 2012). Además, algunos autores han reconsiderado el modelo publicitario de la radio en internet (Bonet, 2007;Cebrián-Herreros, 2008). ...
Pionera en dar los primeros pasos en el entorno digital, la radio ha irrumpido en la Red reforzando su identidad sonora. El objetivo de esta investigación es identificar y caracterizar el mapa de la radio online en España. Para ello, se ha elaborado una base de datos de cibermedios en la que se identifican el número de emisoras online, las plataformas, el alcance territorial, la titularidad, los contenidos, el uso de redes sociales, las vías de financiación y las lenguas utilizadas. El estudio evidencia que la radio online en España se consolida, y que lo hace sobre todo en el ámbito local y con contenido generalista, mientras el modelo de financiación sigue siendo una asignatura pendiente.
... The group of broadcasters within Catalunya Ràdio has both cases: online stations (iCat and its specialised channels; CatClàssica) and exclusively online programmes (Els spin doctors, MeteoMauri, Delicatessen and El celobert, among others). RAC1 was chosen partly because prior studies had highlighted its leadership on the internet and its strategic capacity to exploit this medium (Sellas 2012a(Sellas , 2013. Secondly, we also studied those projects set up directly on the internet without any connection with established radio broadcasters. ...
Digitalisation has transformed cultural industries in recent years. The radio industry is also being affected by these changes, although in Spain it's still largely based on an analogue transmission model. On the internet, radio broadcasters can diversify the range of content they deliver to the audience. At the same time, other audio projects are set up directly on the internet, being far removed from those of traditional broadcasters. This study of online radio and indigenous online projects allows us to examine and compare the strategies
used to tackle the internet, a platform that challenges the traditional value chain of broadcasters. Based on a review of the literature and documents, a description of the sample and in-depth interviews, this paper explains how broadcasters see the dynamics of the internet and how this results in a certain kind of content and its impact on the value chain. Some trends in the radio market and related difficulties are also pointed out.
... El grupo de emisoras de Catalunya Ràdio cuenta con los dos casos: emisoras en línea (iCat y sus canales especializados; CatClàssica) y programas exclusivos web (Els spin doctors, MeteoMauri, Delicatessen o El celobert, entre otros). En cuanto a RAC1, se toma en consideración que investigaciones previas han puesto de manifiesto su liderazgo en Internet y la capacidad estratégica para explotar esta vía de difusión (Sellas 2012a(Sellas , 2013. En segundo lugar, se estudian también los proyectos nacidos directamente en Internet y que no tienen ningún vínculo con los radiodifusores establecidos. ...
Resumen En los últimos años, la digitalización ha ido transformando las industrias culturales. La radiofónica, pese a que en España sigue siendo de transmisión principalmente analógica, no es ajena a los cambios. En Internet, la radio puede diversificar la oferta más allá de los contenidos que difunde en la antena. Pero, paralelamente, se desarrollan otras propuestas de audio nacidas en la red al margen de los radiodifusores tradicionales. El estudio de la radio en línea y los proyectos nativos nos permite ver y comparar cómo afrontan estratégicamente Internet, un espacio que plantea nuevos retos para la cadena de valor tradicional de la empresa radiofónica. A partir de la revisión bibliográfica y documental, la descripción de la muestra y las entrevistas en profundidad, se pone de manifiesto el nivel de comprensión de las dinámicas de Internet, cómo ello se traduce en una determinada oferta de contenidos y cómo se flexibiliza la cadena de valor. Asimismo, se apuntan tendencias de evolución del mercado radiofónico y las dificultades que influyen en el mismo. Palabras clave Industrias culturales, radio, Internet, audio, cadena de valor. Abstract Digitalisation has transformed cultural industries in recent years. The radio industry is also being affected by these changes, although in Spain it's still largely based on an analogue transmission model. On the internet, radio broadcasters can diversify the range of content they deliver to the audience. At the same time, other audio projects are set up directly on the internet, being far removed from those of traditional broadcasters. This study of online radio and indigenous online projects allows us to examine and compare the strategies used to tackle the internet, a platform that challenges the traditional value chain of broadcasters. Based on a review of the literature and documents, a description of the sample and in-depth interviews, this paper explains how broadcasters see the dynamics of the internet and how this results in a certain kind of content and its impact on the value chain. Some trends in the radio market and related difficulties are also pointed out. (159-168) Artículo recibido el 28/11/16 y aceptado el 12/04/17 1. Introducción Las industrias culturales han vivido en los últimos años un proceso de transformación como consecuencia del impacto de la digitalización. El paso del analógico al digital ha modificado los hábitos de consumo, pero al mismo tiempo también ha generado cambios en los modelos de producción, distribución y venta. Aunque se trata de una evolución tecnológica, incluye también una dimensión cultural y social. La radio, como industria cultural, también vive este proceso, aunque en Cataluña y en España ha tenido una evolución singular que la convierte en una "isla analógica en medio de un océano digital" (Bonet 2012, p.176). La industria radiofónica española inició la digitalización hace años en las áreas de la producción, la administración y la documentación, pero no se ha acabado de completar en la distribución. La parálisis de la radio digital terrestre mantiene la transmisión analógica hertziana como la principal
... Existe un consenso en la literatura académica sobre el cambio de paradigma que introduce Internet en la distribución de los contenidos sonoros y radiofónicos (Ribes, 2002;López, 2006;Cebrián, 2007Cebrián, , 2008Bonet, 2007;Sobrino, 2012;Sellas, 2011Sellas, , 2012Piñeiro-Otero & Videla, 2013;Martínez & Martínez, 2013). En la ciberradio se modifican las pautas tradicionales de consumo, distribución y programación (Rodero, 2002;Amoedo, Costa y Moreno, 2008;Martínez, Moreno y Amoedo, 2012;Moreno, Martínez y Amoedo, 2009;Cea, 2013). ...
The model of online distribution involves a deep transformation of the audio medium. The goal of this article is to propose a theoretical framework that gathers the main changes occurring in radio on Internet and verify the degree of implementation of those novelties in the ten stations with the most audience in four European countries (Spain, France, the United Kingdom and Germany). In accordance with this double goal, following the elaboration of the theoretical framework, an empirical study is proposed through application of a file that gathers a series of indicators, grouped on three levels: a) transformations driven by technological changes; b) changes in narrative treatment; and c) mutations in the relation between station and audience (interactivity). The results show the high degree of use of the potentialities offered by the online medium for the distribution of audio and radiophonic content, although the degree of adoption varies depending on the type of indicator.
... Bonini traces the development of podcasting over a decade 'as a cultural practice of producing and consuming digital sound content' (2015: 1) and points to the dearth of scholarly research on podcasting. Of fourteen papers he locates, some focus on podcasting's links to radio and public broadcasting (Madsen 2009;Murray 2009;Sellas 2012) and digital media potential (Berry 2006;Dubber 2013). ...
This article explores the impact of the post-2014 podcast resurgence on non-fictional audio storytelling formats. The empirical study comprises themed commentary by five significant US, European and Australian editors who commission and produce audio documentaries and features for broadcast and/or podcast. The article provides insights into the changing role played by public broadcasters, the growth of independent podcast networks and the perceived differences between radio and podcasting as a mode of delivering and receiving audio content. Of particular significance is the belief of senior commissioning editors that podcasting is fomenting a new, more informal, genre of audio narrative feature centred on a strong relationship between host and listener, with content that is ‘talkier’ and less crafted. The US audio storytelling podcast sector is growing fast, and much of it has links to a public media ethos, but how to resource it without compromising its editorial independence remains unresolved.
... Però mentrestant, la digitalització dels continguts ha permès a les emissores distribuir la seva oferta en noves plataformes com internet, el satèl·lit o la telefonia mòbil. La ràdio catalana ha estat pionera a la xarxa i a l'hora de desenvolupar altres opcions d'escolta que afavoreixen la mobilitat i el consum sota demanda (Fernández-Quijada i Bonet, 2008;Sellas, 2012a), al mateix temps que els llocs web de les emissores han anat incorporant continguts que no es limiten a l'àudio. L'evolució de la ràdio obliga a reflexionar sobre la seva naturalesa com a mitjà (Bonet, 2007;Hendy, 2000) i a considerar, més enllà de l'oferta convencional, les seves "extensions radiogèniques" (Taachi, 2000: 292). ...
Introduction. While the model of public service television that focuses on audiences has been traditionally criticised for being more akin to the commercial television model than to the public service broadcasting model, contemporary literature points out that in the age of digitisation and convergence audience participation is precisely a key element of public television (Castro, 2012; Doyle, 2010; Kjus, 2009; Bardoel, 2007). This article examines audience participation in Spanish regional public service television and, particularly, tries to determine two questions: 1) whether the variety of participation channels provided by crossmedia productions – a TV show‟s website, discussion forums and Twitter and Facebook accounts – increases effective audience participation; and 2) whether this participation can be said to contribute to the fulfilment of the mission of public service television, especially proximity television. Method. The study first provides a review of the literature on audience participation and the forms of participation promoted by European, national and regional policies. The TV show La noche de…, broadcast by the Spanish network ETB 2, is subsequently analysed based on the results of the literature review. Results: The increasing attention paid to audience participation in the European and Spanish literature and legislations is not proportionally reflected on the reality of public service television, and particularly of regional public service television corporations.
... At the moment, there is talk in Spain of the failure or stand-by of digital radio, and there is a major lack of receivers or specific programmes (Bonet et al., 2009). In this article, we shall mainly be focusing on radio in the most traditional sense, using the Hertzian system, which is the most consolidated type and the one with the longest history, even though new platforms are clearly serving as the basis for their expansion (Fernández-Quijada & Bonet, 2008;Bonet, Fernández-Quijada & Ribes, 2011;Sellas, 2012). ...
This paper offers a first exploratory approach to the comparative study of radio systems in Catalonia and Wales. Within the framework of comparative media systems studies, this paper uses the concept of subsidiarity as its central axis for analysing two cases. It represents one of the first comparative analyses of the structure of radio systems as well as a first approach to the reality of media systems in statelessnations, areas usually ignored in literature about this subject. In doing so, it compares five core dimensions of any radio system using a variety of secondary and comparable sources: ownership, programming, language, funding and regulation. The results illustrate the asymmetry of the two radio systems, which have different degrees of development. Regulation and language emerge as cornerstones for designing media systems in stateless nations. At the same time, the level of subsidiarity of these systems to state media systems also plays a central role in structuring these systems.
... McHugh (2012) claimed that podcasting has reinvigorated long-form radio narratives. Gallego Perez (2012) and Sellas (2012) showed how podcasting had a great yet undeveloped potential for Spanish radio stations. Gallego Perez also underlined "a certain scepticism towards podcasting and, even if during the first two years it received a lot of attention in the media, later its importance faded within the context of contemporary technology" (2012: 25). ...
... En internet la radio perdió la fugacidad que la caracterizaba con la aparición de nuevas fórmulas de distribución on demand que permiten personalizar la escucha, así como el momento, lugar y dispositivo de consumo. Si bien el podcasting flexibilizó el medio para una experiencia personal y móvil, también en entornos offline (Gallego 2012;Sellas 2012), el desarrollo de la banda ancha y la conectividad de los dispositivos portátiles han situado el streaming como motor de la radiofonía online (Cordeiro 2012). (35)(36)(37)(38)(39)(40)(41)(42)(43)(44)(45) Las emisoras combinan tecnologías y plataformas de distribución para ampliar su alcance y repercusión, tanto desde la perspectiva de servicio público como de sus beneficios económicos (Bonet y Quijada 2011). ...
El presente artículo trata la expansión de la radio de proximidad en internet desde la perspectiva de la Eurorregión Galicia –Norte de Portugal. A partir de las dos vertientes de la radio local, contenidos de proximidad y medio comunitario-participativo, se ha efectuado un análisis de contenido de los sitios web de 65
emisoras convencionales, 37 gallegas y 28 portuguesas. Este estudio nos ha permitido constatar la limitada adaptación de la radio local a la red en lo que respecta a la multimedialidad e interactividad de sus contenidos, así como a las posibilidades de interacción de sus oyentes-usuarios.
... A internet la ràdio va perdre la fugacitat que la caracteritzava amb l'aparició de noves fórmules de distribució a demanda que permeten personalitzar l'escolta, així com el moment, lloc i dispositiu de consum. Si bé el podcàsting va flexibilitzar el mitjà per a una experiència personal i mòbil, també en entorns fora de línia (Gallego 2012;Sellas 2012), el desenvolupament de la banda ampla i la connectivitat dels dispositius portàtils han situat l'streaming com a motor de la radiofonia en línia (Cordeiro 2012). (33)(34)(35)(36)(37)(38)(39)(40)(41)(42)(43) Les emissores combinen tecnologies i plataformes de distribució per ampliar el seu abast i repercussió, tant des de la perspectiva de servei públic com dels seus beneficis econòmics (Bonet i Quijada 2011). ...
Aquest article tracta l’expansió de la ràdio de proximitat a internet des de la perspectiva de l’Euroregió Galícia – Nord de Portugal. A partir de les dues vessants de la ràdio local, continguts de proximitat i mitjà comunitari-participatiu, s’ha realitzat una anàlisi de contingut dels llocs web de 65 emissores convencionals, 37 de gallegues i 28 de portugueses. Un estudi que ens ha permès constatar la limitada adaptació de la ràdio local a la xarxa pel que fa a la multimedialitat i la interactivitat dels seus continguts, així com a les possibilitats
d’interacció dels seus oïdors-usuaris
... On the internet radio has lost the ephemeral quality that once characterised it through the emergence of new on-demand distribution formulas which mean the listening experience can be personalised, as well as the time, place and device on which its products are consumed. Although podcasting made the medium flexible for a personal and mobile experience in offline settings too (Gallego 2012;Sellas 2012), the development of broadband and connectivity of portable devices have made streaming the dynamic core of online radio (Cordeiro 2012). ...
This article focuses on the expansion of proximity radio to the internet from the perspective of the Galicia-Northern Portugal Euro-Region. Starting from both sides of local radio, namely local content and a medium for community participation, a content analysis was carried out of the websites of 65 traditional radio stations, 37 of them Galician and 28 Portuguese. This study has verified the limited adaptation of local radio to the internet in terms of multimedia and interactivity of its content, as well as the possibilities for its listeners-users to interact.
... No obstante hasta la normalización de las redes 3G el verdadero motor de la radio online móvil fue el podcasting (Sellas, 2014). La tecnología de sindicación de audio, incorporada en 2004, conllevó la flexibilización del medio para una experiencia personalizada y la ampliación del universo de la radiofonía online a los dispositivos portátiles (Gallego-Pérez, 2012; Sellas, 2012 ). En la actualidad los smartphones y sus aplicaciones constituyen las principales plataformas de expansión de la radio móvil, por delante de otros dispositivos como las tablets (Piñeiro-Otero, 2014). ...
El consumo de la radio en los teléfonos inteligentes ha ampliado sus posibilidades comunicativas gracias a las características de esta plataforma de difusión. La concepción de los smartphones como pantallas donde convergen contenidos y comunicación, brinda a las radios la oportunidad de enriquecer su mensaje multimedia, apostar por nuevas fórmulas de distribución y avanzar en la personalización del medio. La conectividad de dichos terminales y su tecnología de geolocalización los dota de gran potencial para la información local, posibilitando una experiencia de consumo contextual. Se analizan las apps de
las emisoras generalistas de España y Portugal, tanto desde la perspectiva de los contenidos como de las posibilidades para personalizar su acceso y consumo.
The shift of radio listeners from radios to smartphones has expanded the communicative potential of the broadcasters due to the characteristics of this new distribution platform. The convergence of content and communication on the smartphone screen gives radio stations the opportunity to enrich their multimedia messages, explore new ways of distribution and achieve advances in customization of the medium. The connectivity of these devices and location technologies also multiply the potential for local information, enabling a contextualized experience. This paper aims to analyse the adaptation of talk radio stations in Spain and Portugal to the radioapps from a content perspective and also to assess the possibilities of customizing access and consumption.
... Las emisoras de radio tienen un papel muy importante para el futuro de los podcasts, que es convencer a los anunciantes y medios de comunicación de que es un formato demandado y con atracción para los consumidores. La suma de nichos de oyentes formarían un grupo con suficiente potencial para pensar en nuevos métodos de publicidad, ya que el podcasting es una herramienta que todavía no ha logrado consolidar su modelo de negocio (Sellas, 2012). ...
La aparición de nuevos medios de comunicación
asociados a internet ha supuesto
un cambio en el fenómeno de la
comunicación, tanto en soportes como
en los contenidos, lo que ha dado lugar
a una oferta de formatos a través de los
cuales el usuario puede recibir e intercambiar
información, con la posibilidad
de ser el creador de estos contenidos.
Desde la aparición de los podcasts,
las investigaciones realizadas aportan
datos de un aumento en su creación,
y además afirman que su consumo no
ha crecido en el número previsto, a la
vez que estos estudios no han proporcionado
datos en los países de habla
hispana. Para conocer cuál ha sido la
evolución del conocimiento y uso de estos
archivos en estos países, se han realizado
dos investigaciones de campo, en
los años 2008 y 2011, que han permitido
analizar estos factores de manera
global y en cada uno de los países de
estudio así como su evolución temporal.
Este artigo busca analisar a história do podcasting como uma prática cultural de produção e consumo de conteúdo sonoro digital. Após uma revisão de estudos prévios sobre esta tecnologia, propõe-se que o podcasting entrou numa nova fase de sua evolução, em que começa a gerar um mercado que não é mais simplesmente complementar ao rádio, mas alternativo; um mercado que se move em direção à profissionalização da produção e à normalização do consumo. Esta fase, que chamarei de “segunda era do podcasting” se distingue pela transformação do podcasting numa prática produtiva comercial e num meio de consumo massivo e começa nos EUA em 2012, com o lançamento dos primeiros modelos de negócios capazes de apoiar a produção independente e o consumo de conteúdo sonoro distribuído através do podcasting.
The topic of podcasting has been analyzed from different perspectives in academic studies, mainly in developed countries such as the USA, UK, Australia, Canada, and some European countries. However, this is different for developing countries such as Serbia and Turkey. The reason for including these countries in this study is the limited number of academic studies on podcasting in countries like Serbia and Turkey. This study uses a quantitative approach and surveys Serbian and Turkish podcast listeners to examine their tendencies toward the podcast ecosystem. According to the data collected from 923 podcast listeners, podcasting in Serbia continues to be part of the visual culture on digital platforms, while in Turkey, podcast environments have been adopted by listeners. In addition, podcasts in Serbia are much longer than those in Turkey. However, Serbian listeners are more demographically diverse than Turkish listeners, and podcasting has been found to reach a wider audience in Serbia.
Purpose
The aim of this paper is to gain knowledge in podcast mining as an additional source for Web-based horizon scanning (HS). The paper presents theoretical insights on the potential of podcast mining by exploring topics, which may be relevant in the future, and by reflecting the results against a background of HS approaches. The study provides a preliminary overview by presenting an exemplary list of podcast shows for further research.
Design/methodology/approach
The paper uses an exploratory quantitative content analysis, which was conducted on the basis of 30 topics deemed to be relevant in the future and which were identified in the field of applied science. Based on these topics, podcasts and episodes were identified which address future-oriented topics and were discussed in terms of range of content.
Findings
The findings indicate that future-oriented topics are addressed in podcasts. However, differences in dynamics and range of content of the podcasts concerned highlight the necessity of identifying a list of suitable podcasts according to the specific scanning focus and the dynamics of each future-oriented topics.
Originality/value
While a growing number of podcast studies have already noted the importance of podcasts as a key medium, for example, educational processes and media sciences, no detailed explanation of podcast mining as a tool for the purposes of HS has been published. The review therefore makes an original contribution to this field, highlighting areas where future research is needed.
This chapter seeks to assert that podcasts are a distinct media form and that although they might exhibit a ‘radioness’, they should be treated as a medium in their own right. This distinctiveness has been achieved over time through a process in which podcasters have asserted their own media identity. The chapter maps this development process using business models and a survey of practising podcasters, concluding that a new lens of ‘podcast studies’ is required to fully appreciate the nuances of this medium.
In 2004, a new movement began. It was one that promised democratization of media production tools and the means to freely distribute work. Using domestic tools and open source software, the pioneers threatened to disrupt the top-down media ecosystem that we were used to. That movement was podcasting. In the 10 years that have passed since we first heard the word ‘podcast’ thousands of podcasts have started, audiences have grown steadily, technologies have evolved and the medium has become increasingly professionalized. By 2015, the medium had become a significant talking point through the success of podcasts such as Serial, Start-up and WTF, suggesting that podcasting may have reached maturity.
Introduction: Public and private talk radio stations use social media to find new forms of content exploitation that transform the value chain of their brand and allow them to develop a different business model. Objectives: To define the synergies between conventional radio broadcasting and social networks in Spanish talk radio based on the analysis of four primetime radio shows, which are the flagship programmes of their radio stations. Method: Quantitative content analysis is used to examine the roles played by talk radio broadcasters and audiences in social networks and conventional radio broadcasting. Conclusion: Despite the increasing forms of audience participation channels, this research study demonstrates an almost total lack of interaction; which demands the establishment of synergies between conventional radio broadcasting and social media as a strategy to exploit the potential of these virtual spaces.
This article will attempt to analyze the history of podcasting as a cultural practice of producing and consuming digital sound content. After a review of previous studies examining this technology, the case will be made that podcasting has entered a new phase of its evolution, one where it is beginning to generate a market that is no longer simply complementary to radio, but an alternative; one that is moving towards the professionalisation of production and the normalisation of consumption. This phase, which I will call “the second age of podcasting”, is distinguished by the transformation of podcasting into a commercial productive practice and a medium for mass consumption, and began in the United States in 2012, with the launch of the first business models that were able to support the independent production and consumption of sound content distributed through podcasting.
The Apple iPod has not only become a ‘must have’ style accessory for the ‘wirefree’ generation but has also revolutionized the way we consume music. At the time of writing, (November 2005) the revolution has already started in the audio world, and has been going for the last 18 months. ‘Podcasting’ allows anyone with a PC to create a ‘radio’ programme and distribute it freely, through the internet to the portable MP3 players of subscribers around the world. Podcasting not only removes global barriers to reception but, at a stroke, removes key factors impeding the growth of internet radio: its portability, its intimacy and its accessibility. This is a scenario where audiences are producers, where the technology we already have assumes new roles and where audiences, cut off from traditional media, rediscover their voices.
Recent industry research in the United States suggests younger audiences are leaving terrestrial radio for new technologies like MP3 players, Internet radio, and satellite radio. This paper presents findings from a survey of 430 undergraduate students regarding their uses and gratifications of these new technologies. The sample consisted entirely of young adults age 18–24, where the likelihood of new media use and adoption is expected to be high. The situation in the U.S. may describe similar patterns in other countries. The study discusses the theoretical and practical implications of the findings, and the potential impact on terrestrial radio.
Ownership of MP3 players, such as Apple's iPod, continues to grow at a steady pace in the US. College students are one age group that is active in the adoption of these devices. Based on a uses and gratifications framework, this study examined how college students are using this technology as compared to radio listening. Results showed that more than half of the respondents in a national random sample own some type of MP3 player. Motivations for using the players included boredom, stimulation, entertainment, relaxation/escape, and loneliness. An important finding was that the use of MP3 players appears to be serving as a substitute for listening to traditional radio for this age group. This manuscript was submitted to editor-elect Michael Brown, who supervised the blind review and made all editorial decisions.