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Part 3 of a five-part series:
Headline: Internet radio's next frontier: Real, significant spot schedules!
BY KURT HANSON
So far this week in RAIN (here
and here), I've presented my thesis that Internet radio's midday audience size is currently roughly the equivalent of the 15th largest radio market in the U.S.

Figuring that such
an audience size should be big enough to be of interest to some national radio advertisers, we then took a look at several of the benefits that Internet-delivered radio could theoretically offer national and network radio advertisers, and we discussed some of the reasons that advertisers have not yet begun to seriously embrace Internet radio.

Those benefits for advertisers include
(1) a high-qualitative-profile audience (as virtually all Internet radio listeners seem to be listening on a broadband-enabled PC at work), (2) a low spot load (meaning a high attention level for commercials), and (3) the ability to display an advertiser's logo (or any 468x60-pixel piece of creative) and offer an immediate link to the advertiser's website.

What's gotten in the way of acceptance has, I believe, included (1) until now, relatively small audience sizes (compared to what national and network radio buyers are used to), (2) Internet radio salespeople operating without a lot of experience in the field or existing relationships with buyers, (3) our medium falling "between the cracks" in the organizational structure of an ad agency, and (4) the post-9/11 advertising recession.

Yesterday, I promised some proposed solutions today. Unfortunately, I have to pull the old disk jockey trick of saying "Coming up right after this..." and then delaying a bit longer; I've realized I need one more day of set-up.


Additional problem: AFTRA talent fees
Several alert RAIN readers pointed out to me yesterday (see RAIN Reader Feedback below) that I missed a key problem in getting significant spot schedules from national advertisers onto Internet radio: The AFTRA contract signed in early 2001 between ad agencies and voice talent, calling for increased talent fees if rights to use a spot on the Internet are purchased after the fact.

Apparently this clause of the contract
is being wildly misinterpreted in some major advertising agencies — e.g., "It'll cost 300 times more to buy rights to the spot!"

That's wildly wrong.
In fact, the increase in fees is not 300 times the talent fees, it's simply 3 times the "session fee" (which as I understand it is kind of the base minimum for talent showing up and only a small portion of the typical total talent costs). I believe it's a total one-time payment of $660.

Furthermore, as I understand it, even the $660 wouldn't apply if the agency would simply rewrite their talent contracts on a going-forward basis to include Internet rights! (They've had two years now to make this simple contract change. Have many made it? I'll bet not.)

At any rate, the perception of huge rights fees is clearly an impediment to progress.


So...how big is the medium?
Before the week is over, I'm going to propose a solution that I think might help get some national and network radio advertisers interested in buying significant spot schedules on Internet radio.

But first, I want to circle back to the question of the size of the available audience. I've argued previously this week that I believe that Internet radio's AQH audience size in the middle of the workday is about 500,000 listeners, which would be a genuinely meaningful audience size even to the largest advertisers.

The chart below shows my math.
(Again, please see Reader Feedback below.) I've taken recent audience size estimates from Arbitron Internet Broadcast Ratings (rounded slightly for easier reading), folded in some major webcasters who do not report to Arbitron (including, major stations that stream through Shoutcast, which reports live audience estimates), and tried to include very rough estimates for some other significant webcasters.

I've tried to avoid double-counting by not including both a broadcaster (e.g., Cox) and the firm (content delivery network, or "CDN") which streams their stations (e.g., ChainCast); thus, audience sizes for CDNs are lower than you see in the Arbitron press releases.

Realize that my estimates for individual webcasters are very rough! To address that point, RAIN will publish a revised list of estimated audience sizes tomorrow based on your feedback. Please use the feedback form that immediately follows this article to help us correct any imprecise estimates we may have made in this first draft of the chart (or e-mail me at kurt@kurthanson.com).

At any rate, even if individual webcaster estimates may be off significantly (some too high, some too low), I believe that the industry total is probably not that far off the mark:

Total Internet radio audience size estimate (DRAFT)
Rank
Webcaster
Monthly TTSL
Share
Source
1
AOL Radio@ Network
21,000,000
10.7%
Arbitron
2
LAUNCHcast
13,500,000
6.9%
Arbitron
3
Shoutcast (not elsewhere on this list)
12,000,000
6.1%
Shoutcast
4
Live365.com (not elsewhere on this list)
8,000,000
4.1%
Arbitron
5
Clear Channel Worldwide
6,000,000
3.1%
Arbitron (old)
6
MUSICMATCH
5,500,000
2.8%
Arbitron
7
Digitally Imported
5,000,000
2.5%
Shoutcast
8
MSN Music
5,000,000
2.5%
Estimate
9
BBC Radio
5,000,000
2.5%
Estimate
10
MTVi (incl. MTV, VH1, CMT)
4,000,000
2.0%
Estimate
11
Cox Radio
3,500,000
1.8%
Estimate
12
Susquehanna Radio
3,000,000
1.5%
Estimate
13
NPR.org
3,000,000
1.5%
Estimate
14
AccuRadio
2,700,000
1.4%
Self-reported
15
RadioStorm
2,500,000
1.3%
Shoutcast
16
Warp Radio (not elsewhere on this list)
2,400,000
1.2%
Arbitron
17
The Iceberg
2,300,000
1.2%
Estimate
18
Moontaxi
2,300,000
1.2%
Arbitron
19
SOMA FM
2,100,000
1.1%
Self-reported
20
Bonneville
2,000,000
1.0%
Estimate
21
Corus
2,000,000
1.0%
Estimate
22
Radioio
2,000,000
1.0%
Arbitron (old)
23
Virgin Radio (UK)
1,600,000
0.8%
Arbitron
24
ABC Radio Network
1,500,000
0.8%
Arbitron
25
WOLF FM
1,500,000
0.8%
Shoutcast
26
Standard Radio
1,500,000
0.8%
Arbitron
27
RealOne RadioPass premium stations
1,500,000
0.8%
Estimate
28
EMF (incl. K-Love)
1,500,000
0.8%
Estimate
29
Salem
1,500,000
0.8%
Estimate
30
Hispanic Broadcasting Co.
1,500,000
0.8%
Estimate
31
Adsertion (not elsewhere on this list)
1,500,000
0.8%
Estimate
32
SmoothJazz
1,400,000
0.7%
Shoutcast
33
Radio Free Virgin
1,400,000
0.7%
Arbitron (old)
34
Internet Radio, Inc.
1,200,000
0.6%
Estimate
35
RadioParadise
1,200,000
0.6%
Self-reported
36
Village Voice Radio
1,000,000
0.5%
Estimate
37
Batanga
1,000,000
0.5%
Estimate
38
WQXR
970,000
0.5%
Arbitron
39
Club 977
800,000
0.4%
Shoutcast
40
Jazz FM
790,000
0.4%
Arbitron
41
Beethoven.com
630,000
0.3%
Arbitron
42
StreamGuys  (not elsewhere on this list)
600,000
0.3%
Arbitron
43
SurferNetwork (not elsewhere on this list)
550,000
0.3%
Arbitron
44
KPLU
530,000
0.3%
Arbitron
45
KillerOldies
500,000
0.3%
Arbitron
46
Chaincast/StreamAudio (not elsewhere...)
500,000
0.3%
Arbitron
47
Radio.Wazee
500,000
0.3%
Estimate
48
BoomerRadio
400,000
0.2%
Estimate
49
KING/Seattle
380,000
0.2%
Arbitron
50
BluegrassCountry.org
370,000
0.2%
Arbitron
51
Onion River Radio
300,000
0.2%
Estimate
52
Joe Rock USA
300,000
0.2%
Arbitron
53
WARX.com
300,000
0.2%
Estimate
54
Radio Margaritaville
300,000
0.2%
Estimate
55
WXPN/Philadelphia
290,000
0.1%
Arbitron
56
80s Retro
280,000
0.1%
Arbitron
57
KNAC
270,000
0.1%
Arbitron
58
Country Bear
255,000
0.1%
Arbitron
59
3WK
240,000
0.1%
Arbitron
60
Hot Hits Atlanta WAVA
235,000
0.1%
Arbitron
61
MVY Radio
200,000
0.1%
Arbitron (old)
62
Ultimate 80s
190,000
0.1%
Estimate
63
HardRadio
180,000
0.1%
Estimate
         
All others
50,000,000
25.4%
Estimate
         
Total
196,460,000
100.0%
Calculation
Hours per calendar month
732
Calculation
Industry AQH (Mon-Sun 6A-6A)
268,387
Calculation
Ratio of midday peak AQH to full-week AQH
2:1
Estimate
Industry peak AQH (weekday afternoons):
           536,775
Calculation

I should explain the final piece of math: Most webcasters who get audience size data (from either Arbitron or their CDNs) know that if their full week (Mon-Sun 6A-6A) audience size is, say, 1,000 listeners, their Thursday 2PM audience size is probably going to be about double that — i.e., about 2,000 listeners). That's the general pattern of Internet radio listening — simply a reflection of the fact that Internet radio is currently a Mon-Fri 9A-5P at-work medium.

Tomorrow in RAIN
First, we'll publish a revised and corrected version of the above chart, based on the feedback we receive from webcasters today.

Then, more importantly, we'll get down to brass tacks. The question is, "What could our medium do to attract attention from national and network radio buyers — that could eventually lead to purchases of significant spot schedules on Internet radio?"

Some suggestions will appear here tomorrow.

TO BE CONTINUED...

 


Have an opinion? Drop us a note! (Or, to use your own e-mail software, click here.)

  Your e-mail address:
  Your name (if not obvious from your e-mail address):
    Kurt and Paul, this is deep background -- don't quote me!

        Thanks!

 
Headline: Hobbyists hope to reopen royalty talks with threat of RIAA lawsuit
From today's Washington Post: "Small Internet radio stations, angered over what they say is the recording industry's effort to wield royalty rates as a weapon to drive them out of business, say they are preparing to file an antitrust suit against the Recording Industry Association of America.

"The Las Vegas-based Webcaster Alliance will send a letter today to the RIAA, threatening to sue the group for violations of the Sherman Antitrust Act unless the RIAA agrees to reopen negotiations over the royalty rates webcasters must fork over to artists and record labels, Webcaster Alliance attorney Perry Narancic said.

"'We're trying to negotiate with these people, but with a big stick,' Narancic said...

"The RIAA has not seen the letter and as such had no comment about its contents, but spokesman Jonathan Lamy said the organization has negotiated in good faith with webcasters.

"'We have worked diligently to negotiate fair agreements that offer a broad and flexible array of rates and terms to large, small and non-commercial webcasters,' he said...

"In June, the RIAA announced that it had struck deals with all major classes of webcasters. But the Webcaster Alliance maintains that the RIAA and SoundExchange did not go far enough to craft royalty deals with small Internet radio stations and that its lawsuit would challenge the special royalty deals it has already struck, Narancic said...

"SoundExchange Executive Director John Simson [pictured at left] said that the recording industry has tried to accommodate webcasters of different sizes and business models. 'If people want very specialized deals, they've got to negotiate with the publishers themselves,' he said in June."

Read this story in today's Washington Post, or online here.
 
[an error occurred while processing this directive]

Reader Feedback
Here's feedback on our series on Internet radio and ad sales, from Monday and yesterday in RAIN (here) and (here)...

"Talent's union contract for Internet ads is prohibitively high..."


I feel like our thinking on this subject has exploded from the same brain. I agree with you on every thing you have written thus far... I would like to add an additional "block" that I used to hear more frequently than any other: the talent's union contract for Internet ads is prohibitively high compared to the audience delivery.

In addition, when the creative directors at agencies are negotiating talent fees for commercials, they are not instructed to get the Internet rights at the same time. Going back to talent ( or agents) for subsequent rights is not something agencies are likely to do. Sure, you can have your own talent voice spots, but when a client wants a branded campaign they need to use the original voice.

  Thanks as always for the great work,
Jane Steinberg



"Would I buy spots on a station that may be caught up in litigation?.."


Let me share with you what I believe one major negative stigma is, in regards to todayıs Internet radio realm. This MAJOR problem, I believe, is that Internet radio has always been viewed by the traditional corporate world as being "flighty," and in a constant state of flux -- almost as one would judge a "pirate radio" station as being "unreliable."

The one basic legal issue that continues to be brought up is the constant (semi-resolved) question in regards to any copyrighted content being legally webcast over the Internet.

Hey, BOTTOM LINE: if I were the CEO of "McDonaldıs Hamburger Joints, Inc.," would I commit to buying spots on a station that may be in caught up in some sort of litigation at any second? Probably not.

Is this "amateur" in the radio biz (author of this text) on track here? Hey, without radio, the musical group that I founded back in the '70s (along with my lovely wife, Toni Tennille) would be nonexistent... we'd still be workin' in local L.A. clubs. Today, with the corporate media giants like Clear Channel, etc., and the demise of what was once called "independent music directors," employed at (then, independent) radio stations,

Webcasting stations are today's, and future, musical groups'/artists' only salvation.

  Sincerely,
Daryl Dragon
"The Captain"
www.surferzrule.com



"Fair treatment for small business..."


I'm hoping you can help me out concerning the stat mentioned at the beginning of the e-mail announcing (Monday's) RAIN: "At any given moment during the Monday-Friday 9AM-5PM workday, there are roughly 500,000 upscale, adult Americans listening to Internet radio -- making Internet radio, for all intents and purposes, the 15th-largest radio market in America!"

What's the source of this info? I'm asking because I had a conversation with my Congressional rep's legislative director the other day during which he suggested that there is no market for what we're trying to do. His comment was something to the effect of "Well, I can't listen to music on my computer at work. What makes you think other people want to?" I would LOVE to have the above stat to throw in his face and be able to back it up. If you could help me out I would really appreciate it, and I'd be glad to return the favor however I may be able to do so.

My Congresswoman (Nancy Johnson, R/CT) is also under the impression, by the way, that perfect digital copies can be made of streamed audio. In fact, in a letter I received from her last week, she states that this "fact" represents the "distinct difference between webcasting and [terrestrial] radio" that justifies the performance royalty fee for webcasters. Either Capitol Hill is even more technically challenged than I originally thought, or they're just not interested fair treatment for small business.

As you know, I have consistently been advocating either DMCA amendment or new legislation that eliminates the performance fee. I have believed from day one that this is the only way our industry will even have a chance to reach its true potential.

  Regards,
John Schneider
Radiopoly.com

KH replies: "John -- It's today in RAIN! (The short answer: A combination of Arbitron data, Shoutcast data, and my estimates.)



"They're not up to speed..."


I think the reason we're seeing so little advertising on this medium is because of those footing the bill for the advertising. They're not up to speed on what the medium can do for them. A simple cost benefit analysis would show the low costs associated (especially when compared to comparable ad cost associated with website maintenance) and the high benefits associated with well placed ads on Internet radio. For a perfect example, see the Dilbert cartoon from July 7:


  C.W. Schatz
The University of Iowa College of Law
 

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