RadioMusic.com integrates the most advance online marketing techniques with Digital Convergence to provide a platform for the music industry to effectively promote its products via the Internet. The ongoing convergence of the media industry is creating enormous and unprecedented opportunities for communication companies. Therefore, having success in these times depends on the ability to reach more customers and to offer them richer and more relevant experiences.
With these opportunities, however, increased competition and financial pressures are combining to make this one of the industry’s most challenging times. To be successful, one must design and implement solutions for marketing for today’s world. RadioMusic.com can help our clients in those fields by analyzing their customer base and improving customer acquisition and retention.
In addition, we help media firms properly target their communications by incorporating information from their customer base. We combine effective online strategies with traditional marketing to generate superior results.
By utilizing a unique combination of strategic thinking, creativity, marketing expertise, we are able to produce the most effective online strategies with the fundamental practices in conventional marketing to give our clients the best results for their respective needs.
The new buzz phrase in pureplay internet radio is “human curation.” In many ways it involves mining the broadcast radio programming playbook while still letting listeners personalize the content.
Both Slacker and music mogul Jimmy Iovine’s soon-to-launch Daisy streaming service are integrating old school radio fundamentals to make their service more than just a lifeless algorithm that endlessly spits out music. Programming vet Kevin Stapleford and other former broadcasters have brought traditional radio elements to Slacker, including low key hosts that talk about the music on its most popular pre-programmed channels. “We’d like to get to a point where a majority of our preprogrammed stations are hosted,” Slacker SVP of content programming and strategic development Jack Isquith says.
Even countdowns are getting a new interactive twist. Slacker used veteran rock radio personality Redbeard to host “The 101 Greatest Classic Rock Songs.” Listeners could skip and “heart” songs or even turn the DJ off. Pre-programmed stations organized by genre, mood or other characteristics are common across web radio. At Slacker they account for more than half of listening.
The combination of programming art and algorithm science is at play on iHeartRadio, too. Its custom channels incorporate “quite a bit of our programming intelligence” from broadcast radio, Clear Channel Digital president Brian Lakamp said at a conference last year.
Iovine and Dr. Dre’s forthcoming Daisy streaming service plans to lure an unspecified Clear Channel executive, according to the Hollywood Reporter, to supervise a board of tastemakers that make music programming decisions. Iovine says curation will be at the heart of the service, combining “math with emotion.”
From YouTube views and digital single sales, to callout and MScore, the abundance of music data programmers have at their disposal has never been greater. Add Slacker’s EQ score to the list. Harnessing data on how users interact with individual songs on its service, the web pureplay is now compiling lists of the 40 most engaging tracks across multiple genres. They’re ranked on an EQ score that ranges from 1-100 and reflects seven interaction metrics: song starts, completed listens, “hearts” or likes, shares, skips, how many times a song or artist is banned by a user and how many times it caused a user to change a station. The company isn’t disclosing how it weights the individual variables that go into the score. Isquith says existing music charts that track on-air and online airplay and sales “don’t tell the whole story,” while traditional radio research like callout delivers incomplete data. “This is a deeper representation of how engaged people are with a song as opposed to how often they’re hearing it or do they like it or not,” he says.
One eye opener is more than a third of the tracks on Slacker’s overall top 40 chart are from country acts. At a time when webcasters and broadcasters are trying to strengthen partnership with labels, Slacker hopes the info will help “drive the conversation in the industry” among labels and managers and be useful for brand marketers looking to license songs before they become big hits. Isquith says there are no plans to charge for the data.