Podcasts about folder media

Matt Deegan is the co-founder of the award-winning Fun Kids, a digital radio station for families and children, which has just won the bronze award in the Radio Academy's UK Station of the Year category. Given that the gold award went to BBC Asian Network and the silver to Talksport, this is a considerable achievement for a small independent network. Matt is also the co-founder of Folder Media and the British Podcast Awards and is one of the most respected commentators on all things audio.In this episode, we discuss the lack of BBC radio content for children, the BBC's podcast advertising plans and their impact on the commercial industry, the latest radio listening figures, and the future of BBC radio and podcast growth.“The BBC already gets £5.7 billion of income from a variety of sources. It does not need £1 million a year out of the podcast business.  I could go in and find seven managers to fire, and I could save a million pounds.”To support our journalism and receive a weekly blog sign up now for £1.99 per month: www.patreon.com/BeebWatch/membership Or if you'd rather make a one off payment please use our crowdfunding page: https://www.crowdfunder.co.uk/p/roger-boltons-beeb-watch-podcast @BeebRogerInstagram: rogerboltonsbeebwatchLinkedIn: Roger Bolton's Beeb Watchemail: roger@rogerboltonsbeebwatch.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Is the BBC getting climate change right? Andrea Catherwood is joined by the BBC's Climate Editor Justin Rowlatt to answer your comments. Radio 3's Katie Derham takes Andrea on a backstage tour of the Royal Albert Hall and hears what listeners have to say about this year's Proms. The latest listening figures came out this week and it's not good news for the BBC. Matt Deegan, Creative Director of Radio Consultancy firm Folder Media, unpicks the statistics. Presented by Andrea Catherwood Produced by Gill Davies A Whistledown Scotland production for BBC Radio 4

Andrea Catherwood is back with a new series of the programme that holds the BBC to account on behalf of the radio audience. Matt Deegan, Creative Director at Folder Media, gives the lowdown on Ken Bruce's departure from Radio 2. And Feedback Special Correspondent Rob Crossan takes a look at how Ken's parting shots compare with DJs of the past. Simon Webb, BBC Head of Orchestras and Choirs, responds to listeners' comments on plans to scrap the BBC Singers and reduce staff posts with English orchestras. Presented by Andrea Catherwood Produced by Gill Davies A Whistledown Scotland production for BBC Radio 4

What are the tech giants of this world intending to do with Audio? Over the last 12 months we have seen many attempts by leaders in the social media and technology space to leverage the audio-boom, with verying levels of sucesss. In recent weeks te big changes have been around Facebook and YouTube with the former quickly reversing out of the space and the latter making a fair bit of noise when it comes to podcasting. To discuss this latest news, Jim Salveson is joined by Founder of Folder Media and audio/podcasting expert Matt Deegan to get his view on recent events and what the future might hold. LINKS:  Matts Audio News and Views Website: http://www.mattdeegan.com Folder Media: http://www.foldermedia.co.uk Fun Kids: https://www.funkidslive.com Matt talking about Amazon's "AMP" Product on Sound Business: https://pod.fo/e/11ccd9 For help with your audio strategy come and talk to us at Voiceworks via www.voiceworks.ai  Learn more about your ad choices. Visit podcastchoices.com/adchoices

A few weeks back, and with much fanfare, Amazon launched their attempt at cracking the "social audio" nut with AMP. AMP is a new Amazon App-based product that allows users to combine speech, listener interaction and Amazon's music library to create radio-like programmes available via the Amazon AMP platform. It has been billed by some to be not only a competitor to but also a successor to traditional radio and that is the topic of this episode of Sound Business. On this show, Jim Salveson speaks to two guests on either side of the Atlantic and both with contrasting views as to what the potential could be for this new product. First Jeremy Goldman from Insider Intelligence gives his views on what the future may hold for the App, its chances of success and Amazon's future intentions. Then we'll hear from director of Folder Media (and Radio/Audio/Digital exper) Matt Deegan on why, whilst interesting, AMP is not a genuine threat to the way we consume radio. You can find more from Jeremy on the emarketer/Insider Intelligence website https://www.emarketer.com/analysts/jeremy-goldman and find him on Twitter via https://twitter.com/jeremarketer  Whilst you can hear and read more from Matt via his website and newsletter https://onaudio.mattdeegan.com and find him on Twitter via https://twitter.com/Matt If you want to find out more about the world Voiceworks, working with brands, councils and communities to deliver this type of super-targeted audio content then please check out the "Our Word" section of the Voiceworks website: https://voiceworks.ai/our-work/ You can follow Voiceworks on Twitter @Voiceworksai, find Jim via @Mr_Jimbob and if you want to learn more about sound or find out how Voiceworks can help you unlock the power of audio at www.voiceworks.ai Learn more about your ad choices. Visit podcastchoices.com/adchoices

Whether you create podcasts, videos, blogs, social media posts…your content is fighting for your audience's attention. So how do you win the battle? Matt Deegan, Creative Director at Folder Media, joins me in this episode to share his multi-platform content approach developed from years of experience in the media industry. We discuss how to align content with your audience to capture them at the right moment, why you need to consider repurposing as part of a tactical content storyline, Matt's tips for creating better content, and much more. Find out: How to stay front of mind with a multi-platform approach Matt's end-to-end content creation, repurposing, and distribution process The benefits of creating diverse companion content Important Links & Mentions Matt on Twitter: https://twitter.com/matt (https://twitter.com/matt) Matt's website: http://www.mattdeegan.com/ (http://www.mattdeegan.com/) My book: https://www.content10x.com/book (Content 10x: More Content, Less Time, Maximum Results) Join hundreds of business owners, content creators and marketers and get content repurposing tips and advice delivered straight to your inbox every week https://www.content10x.com/newsletter (https://www.content10x.com/newsletter)

This has been a nervy week in the media world, as radio stations finally found out what happened to listening habits. Audience data was suspended during the pandemic and has only just returned. So what did the RAJARS (Radio Joint Audience Research) reveal about audiences? Who were the big winners and losers? And can broadcast radio stand up against the giants of Silicon Valley with their well funded podcast plans? Guests: Dick Stone, Chief Content Officer at Jack Media; Miranda Sawyer, Radio Critic at The Observer; Ashley Carman, Senior Reporter at The Verge and lead writer at Hot Pod; Matt Deegan, Creative Director at Folder Media. Studio engineer: Duncan Hannant Producer: Hannah Sander Presenter: Datshiane Navanayagam

Amazon-owned Wondery are launching their first British podcast, while Apple and Spotify are moving some of their most popular podcasts behind a subscription paywall. What impact will this have on the world of podcasts - and should British podcasters worry about the dominance of a few US players? Guests: Declan Moore, Head of International at Wondery, part of Amazon; Caroline Crampton, journalist and host of Shedunnit; Imriel Morgan, Chief Executive of Content is Queen; Matt Deegan, Creative Director at Folder Media. Studio engineer: Giles Aspen Producer: Hannah Sander

Olly Mann is joined by journalist, broadcaster and one half of Fortunately…, Jane Garvey and the managing director of Folder Media and co-founder of the British Podcast Awards, Matt Deegan.This week: The BBC announces plans to shift programmes and networks around the UK but will audiences see and hear a difference? As Facebook ends its feud with the Australian government and news providers, what does it mean for British publications?Also: Where and when might Piers Morgan appear next, and who should replace him behind Good Morning Britain's newsdesk?The Society of Editors' loses its executive director in the aftermath of Harry and Meghan's interview with Oprah. And, in the Media Podcast Quiz, we drive through a chicane of news... in celebration of F1's most famous voice.A PPM / Rethink Audio Production, produced by Peter Price and Matt Hill. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Olly Mann presents news, analysis and gossip from the creative media industries, with magazine journalist and blogger Elizabeth Carr-Ellis, creative director of Folder Media, Matt Deegan and editor of Newsweek International, Alex Hudson.This week: Times Radio takes to the air; hundreds of media jobs are lost; millions of dollars are poured into the podcast market; And Facebook is facing a boycott from a third of big brands.Plus in our final Media Podcast Quiz of the season we celebrate the productions that have been Made In Dagenham.The Media Podcast is a PPM Production. Produced by Rebecca Grisedale-Sherry. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Trevor Dann is joined by Matt Deegan (Fun Kids & Folder Media ), radio production and technology consultant Ann Charles (Radio TechCon) and Simon Crosse (Shooting Shark Productions) for the RadioToday Virtual Roundtable for May 2020. Plus David Lloyd’s RadioMoments. Processing by Ian Deeley. Voiceover by Hannah Patterson. Original music by Mcasso. Listening recommendation links: The Coronavirus Newscast https://www.bbc.co.uk/programmes/p05299nl Will Manning on Capital FM https://www.capitalfm.com/radio/shows-presenters/will-manning/ The Socially Distant Sports Bar http://distantpod.buzzsprout.com/ Wilosophy https://www.tofop.com/wilosophy1 Hamish and Andy Podcast https://www.hamishandandy.com/podcast/ The Rewatchables https://www.theringer.com/the-rewatchables

Jim Waterson (media editor, the Guardian), Rebecca Messina (digital editor, Immediate Media) and Matt Deegan (creative director, Folder Media) join Olly Mann to reflect on the media's response to the global Coronavirus pandemic.Including details of how broadcasters are changing their output to meet new demand; how the government's relationship with the media has changed since the outbreak; how news of the pandemic reached Germany's Big Brother house and the precariousness of being a freelancer in uncertain times.Plus, in the Media Podcast Quiz, top tips for effectively working from home courtesy of the world's most celebrated writers.The Media Podcast is a PPM Production. Produced by Rebecca Grisedale-Sherry. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Matt Deegan is the creative director of Folder Media and the station manager at Fun Kids Radio.Since starting in student radio at the Royal Holloway, University of London, Matt’s expertise have grown exponentially; now living a double life managing presenters and staff at Fun Kids Radio, whilst pioneering content for Folder Media.Fun Kids is the UK’s biggest children’s radio station, and Folder Media is an audio and radio content creation agency. Most notably, Folder pioneered the Love Island podcast for ITV, but have also worked with the BBC, DTS and Bauer Media.Topics include: Matt’s beginnings, what he looks for in a team, product development, and young people’s media landscape.This is Matt Deegan’s Rocket Fuel.———————Follow Rocket @WeAreRocketHQ (twitter.com/wearerockethq)Follow James @JamesErskine (twitter.com/jameserskine)Follow Matt Deegan @matt (twitter.com/matt)Follow Matt on LinkedIn (uk.linkedin.com/in/mattdeegan)mattdeegan.com See acast.com/privacy for privacy and opt-out information.

Olly Mann presents insight, analysis and gossip from the creative media industries - this week with guests Paul Robinson (director of Creative Media Partners) and Matt Deegan (managing director, Folder Media).This week, as the ink dries on the BBC's biggest deal in history to take control of Dave and his sisters Gold and Eden, will a licensing agreement with Discovery be enough to fund a looming gap in the licence fee?Also, who should archive user-generated content - and does it matter if it disappears into the ether? Reality TV stars ask for more support from producers, and we preview the first slate of shows you (may) be watching on Apple TV+.Plus, as always, the Media Podcast quiz.Please consider taking out a voluntary subscription to help fund and support the show: themediapodcast.com/donateA PPM Production, produced by Rebecca Grisedale-Sherry. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

The world of radio has changed, but consumption of this medium has never been higher. Director of Folder Media and founder of the British Podcast Awards Matt Deegan tells Jane and Andrew what is changing, why it’s changing, how radio stations are ‘brandifying’… and what brands can do to take advantage of the channel and reach the huge numbers of people listening to radio, whether through traditional or more modern means. Hosted by Andrew Stephen, L'Oreal Professor of Marketing at Saïd Business School (Oxford University) and Jane Ostler, Global Head of Media, Insights Division at Kantar. 

THE MEDIA PODCAST QUIZ - LIVE! - TICKETS NOW AVAILABLEJoin Olly Mann and Media Podcast regulars for our biggest ever Media Quiz to celebrate our 100th episode.Thursday 19 July 2018, 7pm, Exmouth Market, London EC1R. Full details: http://themediapodcast.com/liveEpisode 99: Media industry news and gossip presented by Olly Mann with guests Rebecca Gillie, journalist at The Week.co.uk, and radio consultant Matt Deegan of Folder Media.On today's show: Instagram steps on YouTube's turf in the battle for millennial eyeballs; why it's the end of all-white shortlists for BBC management positions and will Question Time survive without Dimbleby at the helm?Plus, a first looks at the new BBC Sounds app, Google's foray into podcasting and why the Guardian has decided to jump into bed with the Telegraph.And it's all to play for in this week's missing words Media Podcast Quiz.A PPM Production, produced by Rebecca Grisedale-Sherry. To keep us on the air, why not consider taking out a voluntary subscription?THE MEDIA PODCAST QUIZ - LIVE! - TICKETS NOW AVAILABLEJoin Olly Mann and Media Podcast regulars for our biggest ever Media Quiz to celebrate our 100th episode.Thursday 19 July 2018, 7pm, Exmouth Market, London EC1R. Full details: http://themediapodcast.com/live Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Ofcom has taken over regulation of the BBC and has published proposals as to how the corporation's TV and radio channels should be distinct from the commercial sector. Mark Damazer, is a former Controller of Radio 4 and now Master of St Peter's College in Oxford. Andrea Catherwood asks him how distinctiveness should be defined. Bruno Brookes, Chief Executive of Immedia and Matt Deegan of Folder Media discuss what Ofcom's proposals might mean for Radio 2 which is now facing a quota for the amount of news broadcast at peak-time. Cricket's TV rights are due for auction and the ECB is facing calls to ensure that a free-to-air channel wins some of the coverage. Simon Hughes, editor of The Cricketer Magazine and former test cricketer Allan Lamb discuss whether Sky's monopoly has been good for the game. Producer: Richard Hooper.

Olly Mann is joined by media writer Maggie Brown and Folder Media's Matt Deegan to discuss the latest media news. Facebook and YouTube consider the problems of identifying satire on their platforms, whilst Private Eye gets its best circulation figures EVER. Plus the panel reveal the latest radio winners and losers, changes at Channel 4 comedy, bans for both the Daily Mail and The Sun and there's a European flavour to this week's Media Quiz. FURTHER READING: To take part in the Law Commission's consultation on the Espionage Act and what it means for journalists and the media, email them at pod@lawcommission.gsi.gov.uk. And if you're producing a podcast series in Great Britain, you may be eligible for Matt Deegan and producer Matt Hill's new venture, The British Podcast Awards. Deadline for entires is 6th March - full details at britishpodcastawards.com Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

The Law Commission has opened consultations on proposals to update the Official Secrets Act - something it says is necessary in the light of new technology and the internet. But civil society groups say they fear the suggested changes could deter whistleblowers from exposing wrongdoing, make it more difficult for journalists to do their jobs and undermine the transparency that keeps democracy healthy. We hear from former MP Rupert Allason who writes histories of the intelligence services under the name Nigel West. And from Bella Sankey, director of policy for the human rights organisation Liberty. Also - magazines that champion long form journalism are increasing their circulation, despite the long term decline in revenue hitting other print publications. We hear from Stig Abell, the new editor of the Times Literary Supplement, why he thinks the likes of his magazine and others like Private Eye, the Spectator, London Review of Books and the New Statesman are bucking the trend. And - we dip into the row over Bauer Radio's leaked style guide. These are the rules that radio presenters have to follow while speaking on air. They've been criticised as far too restrictive and described as "soulless" and "sucking the joy out of radio". But what's the science and psychology behind them, and do they make more sense than their critics allow? We hear from Talk Radio presenter Iain Lee and radio consultant Matt Deegan of Folder Media. Presenter: Julian Worricker Producer: Paul Waters.

After a few weeks of mostly telly talk, here's a special edition on the oldest broadcast medium: radio. Where are the current trends in radio and online audio leading? Where will radio be, and what might it sound (and look) like on its 2022 centenary and beyond? Some leading figures of UK radio broadcasting today, with very different perspectives, come together for a discussion on the Future of Radio. Podcaster and broadcaster Ruth Barnes chairs a panel featuring Matt Deegan (Creative Director of Folder Media and co-founder of the Next Radio conference), Helen Boaden (Director of BBC Radio), Femi Adeyemi (Founder of internet radio station NTS) and journalist and broadcaster Miranda Sawyer. Produced by Rosina Sound for the British Library - thanks to them for sharing this content with the Media Podcast. Our regular programme returns in two weeks. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Olly Mann is joined by Matt Deegan (Creative Director, Folder Media) and Kenton Allen (CEO, Big Talk Productions) to discuss the big media news of the week in the plush confines of the Hospital Club. Top Gear returns this weekend and Olly Mann sits down with presenter Rory Reid to talk about how he's fit in with the new line up - including the difficulties finding a black stunt driver. Plus, we discuss changes to Terms of Trade for UK indies, follow the trends at the LA Screenings, find out why Chris Moyles' first batch of audience data isn't as bad as is being reported, and shake our heads at the state of Fleet St, after the Daily Mail's parent company issues a profit warning. LISTENERS: support what we do. Support independent podcasting. Take out a voluntary subscription at themediapodcast.com/dedicate and receive an on-air shout-out. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. 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There's uncertainty in traditional media as The Independent closes its print edition at the end of March, the BBC breaks down the barriers between TV, radio and online; Olly Mann is joined by Matt Deegan (Creative Director, Folder Media) and Professor Lis Howell (Director of Broadcasting, City University London) to explain what will happen next. In better news for magazines, Private Eye and the Spectator see growth in circulation and it's a new day for the Daily Mirror, as it launches a cut price daily. Plus, we discuss health and safety on The Jump, the forthcoming BBC Worldwide showcase, and the Media Quiz reheats some old formats. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Olly Mann is joined by Folder Media's Matt Deegan and metro.co.uk's deputy editor Alex Hudson to discuss The Voice potential move to ITV and the press campaign for Freedom of Information (you have until the 20th Nov to submit your opinion here: https://consult.justice.gov.uk/foi-commission/call-for-evidence/consultation/intro/view). Also on the programme, the panel review the launch of the BBC Store, the latest circulation figures for the national press are analysed and why UTV's television sell-off could also lead the way to a buyout of their commercial radio stations. Plus, as the Christmas campaigns get underway, there's an advertising-themed edition of the Media Quiz. Supporting The Media Podcast couldn't be easier; just select a level of donation and get an episode of the show dedicated to you, with our eternal gratitude. If you like what we do on the pod, help keep us on the air... Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

The latest media news and unmediated opinion, recorded in the fine surroundings of the Hospital Club. This week Olly Mann is joined by journalist Susie Boniface (AKA Fleet St Fox) and Steve Ackerman, MD of content company Somethin' Else. The Sun has told staff that its online paywall policy will stop completely at the end of November - but with the rise of ad blocking software, what does the paper - and its competitors - need to do to keep making money from advertising? The panel debate the practicalities. Folder Media's Matt Deegan delves into the latest RAJARs for the radio industry and tells us why it's been a poor quarter for BBC Radio 1 - and theorises why the last results of XFM were the highest that station ever produced. Plus, there's more on changes to the Freedom of Information Act, Vice Media announces plans to create a free-to-air channel in the UK and the infamous Media Quiz looks at the vested interests in our media landscape. Thanks to everyone who donated cash since the last episode. If... Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

Pieces about DAB on BBC Radio 4 are always a little challenging. Despite many their listeners being some of the earliest investors in DAB technology and the appreciable proportion of listening on that very platform, interrogation on the issue, whether on You & Yours or on the Today programme, is always a tad sniffy. Luckily, the reluctant hosts are usually outwitted by guests who know their stuff. Relish this piece with Mat Deegan from Folder Media on 21st July 2015.

Olly Mann discusses the future of Top Gear – including a rumoured deal with Netflix – with the help of Folder Media's creative director Matt Deegan and broadcaster and DJ Ed Adoo. The BBC have decided not to renew Jeremy Clarkson's contract. With his Top Gear co-presenters hinting at solidarity with their fallen comrade, what does it mean for the future of the corporation's cash cow? Also: Radio 1's decision to move the chart show to Friday drivetime and Facebook's proposal to host content on behalf of creators such as the New York Times. Plus Jake Kanter from Broadcast on the magazine's 2015 survey of independent production companies. A PPM Production, produced by Matt Hill. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

The government reveal a long-awaited tax break for the BBC and commercial productions - Olly Mann discusses the potential impact for the sector with Faraz Osman (Lemonade Money) and Matt Deegan (Funkids Radio, Folder Media). Also on the podcast: Vodafone raises prospects of a spending spree with a quad-play service involving Virgin Media and possibly Blinkbox. The culling of theatre critics at national papers has caused one professional reviewer to speak out, and the Times and Sunday Times make a profit for the first time since 2001 - is it a vindication of their paywall? Plus: there's a media quiz in which an infamous Chris Morris fable is stated as fact, but our producer doesn't have the heart to correct the panel. Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

The Met police were able to uncover a source for a Sun story using a RIPA request - how are we going to protect our sources in a digital age? Nick Wallis sits in for Olly Mann with guests Helen Zaltzman and creative director of Folder Media, Matt Deegan. Also on the programme, Rona Fairhead faces MPs before becoming the new chair of the BBC Trust - we discuss the highlights. Plus, a full report on the Next Radio Conference in London and the panel discuss the impact digital will make on in-car listening next year. All that plus the Media Quiz and details on our new, members-only website (not to be confused with the Guardian's new scheme). Support this show http://supporter.acast.com/themediapodcast. See acast.com/privacy for privacy and opt-out information.

SRA podcaster Sam Parker caught up with Matt Deegan, Creative Director of Folder Media and Programme Director for digital radio station Fun Kids, to hear what he had to say about the importance of social media in radio presentation. This interview was conducted in response to his session at the Radio Academy's Presenter Masterclass held at De Montfort University, Leicester.

In this week's show, Trevor Dann is joined by Brett Spencer (Head of Digital BBC Radio 2, 6 Music, Asian Network), Matt Deegan (Director at Folder Media) and James Cridland (Managing Director at Media UK) where they try to answer the question: "What is Radio?" This follows the announcement earlier this week regarding iTunes Radio. They also discuss Spotify, Pandora and how more conventional radio is dealing with the changes. The panel also share what they have been listening to this week and there is the regular news round up from Radio Today's managing editor, Roy Martin. The Radio Today Programme with AudioBoo is available every Wednesday. Recorded at USP - uspcontent.com Produced by Jamie Tayler A TDC Production for Radio Today - for more information, please visit trevordann.com Voiceover - emilychiswell.com Music - Euro Star from ostinatomusic.com - Toad by Cream #radio #itunesradio #mediauk #bbcradio

Linda Smith from the Radio Advertising Bureau is joined by a panel of guests to discuss the use of syndication to grow your audience and your revenue. Packed full of advice and anecdote, our guests share their experiences of what works when you're looking to make the most of your audio assets. The panellists are Karen Pearson from Folded Wing, Russell Williams of Yahoo and Matt Deegan from Folder Media. They are joined by BBC Radio 1 DJ Rob da Bank and John Quinn, chief executive of the Global Travel Network.