Rethinking Radio

There has never been a more interesting time to be in the radio business. 20 years ago African radio was not much more than a string of state networks. Today radio pluralism is unstoppable. But there are still a few bumps along the information superhighway that bear thinking about.

With hindsight, you could argue it is amazing that radio has made it this far. The radio dial is the worst human interface ever invented. It started off by confusing the listener with the name of the transmitter site then later tried to lure listeners with funny wavelengths (48.23 metres) or jingles. But who can remember that WXYZ is on 101.7 FM? Most people stop using the dial when they find a favourite in case they lose it again. Radio still has no electronic programme guide, so you have no real idea of the current content being broadcast, nor what is coming up (attempts to do this in Europe with what's called Radio Data System have never exploited the full potential of the concept).

Radio Netherlands is Holland's external broadcasting service. Located in Hilversum - one of those great old dial positions - this public-financed operation has been on the air since 1947. Today we operate in 9 languages, 5 of them used through our own distribution network, the rest in co-productions only. Around 350 journalists are involved in original programme production, some in Holland, many in outposts around the world. So it may sound strange that at Radio Netherlands we've given up on radio, TV, print, Internet and even the telephone!

Actually, we've given up on radio, TV, Internet, print and telephone as discrete media. There are so many overlaps it is easier to think of ourselves as a content production house producing audio, visuals and text. We and our partners think of an idea, and then decide the best delivery platform get our message across. The choice depends on what you're trying to achieve and the best way to provide a RELEVANT message using RELEVANT technology. The mix of traditional and new media is going to be different if the target is Bhutan rather than Boston, especially given the increased interaction with our audience/partners.

THE GOOD NEWS

If you're a producer of challenging radio the good news is that technology is getting cheaper and lighter to help you do the job. With the death of the reel-to-reel machines and spare parts getting harder to come buy, a fully digital radio station seems to be the way to go from now on. Radio Netherlands African Bureau in Cotonou notes that computer dealers can be found in most cities, whereas trained audio engineers with spare parts are almost a thing of the past. A complete stand-alone digital editor (i.e. a computer plus the right software) now costs less than a professional studio tape recorder. We've been working with the European Broadcasting Union on the best technology for different regions around the world and if you're trying to shift audio from one place to another there are now several options.

Surprisingly, although on-screen editors are getting better and better, manufacturers do not seem interested in designing new field equipment for the roving reporter. The Sony Walkman Professional WDM-6 cassette machine is no longer made. The Sony Pro and other cassette machines are still around. But where is the MP-3 hand-held recorder? Why have professional Mini-Disc recorders come and gone so fast? There are some encouraging developments but we're facing the irony that a good quality hand-held TV camera doesn't cost much more than a professional cassette recorder. A fully digital tape recorder like an Easycorder is actually more expensive! At Radio Netherlands we're experimenting with recording directly onto a laptop in the field. Whilst this may be OK for some feature makers, such solutions are still too clumsy, fragile and expensive for the average news journalist.

AND DISTRIBUTION?

Having made a great programme, it would be nice if it sounded good when aired. Work is going on to make radio SOUND much better. For remote rural areas the solution may be to digitise the traditional medium and shortwaves. These broadcast transmission systems have a huge range (one transmitter covers hundreds of kilometres), but at the moment analogue AM sounds muffled at best and unintelligible at worst. The fidelity has become a problem when compared to even the cheapest CD player or Realaudio on the web. However, more than 66 organisations have now gotten together to form what's called "Digital Radio Mondiale". On air tests are currently underway that make mediumwave sound like FM stereo and shortwave as good as FM mono. We've had demos at Radio Netherlands and we've been truly astounded at the audio fidelity. Now the standard is going through the proper international bodies and we're optimistic that DRM receivers costing only 15-25% more than existing radios will be in the shops around 2003. Of course the change won't be overnight, but it is important that while TV and telephone are working on a digital future, radio not be left out in the cold.

WEBCASTING COMPLEMENTS RADIO

There is a lot of hype suggesting more and more people are turning away from over-the-air radio and to the web instead. It is important to remember that traditional radio and webcasting are VERY different from a distribution standpoint.

In traditional broadcasting, the cost of production and transmission need to be covered to reach one listener - the rest is a bonus. In the current webcasting model, the PRODUCER has to pay for any extra distribution streams. If your programme is popular, you can easily become a victim of your own success. It is a bit like the days when producers sent out CDs or tapes to radio stations overseas - the greater the demand the higher the distribution costs. On the other hand, streaming audio and traditional radio are the same from a production standpoint - once produced there are no extra costs per listener.

Rating the web audience is VERY hit and miss at the moment. Part of the problem is the way the technology works. People listening at work with a permanent connection can leave the player on, even after they've gone home. For every 100,000 listeners over the air, I guestimate there are only about 200 simultaneous listeners on the web to US and European radio stations. Most people still prefer the radio for LIVE programmes. The web really comes into its own as a provider of ON DEMAND audio, a programme that may have been missed because you're living in another time zone. The web, in this case, is radio's memory.

We're gradually adapting our production system to ensure that the shelf-life of a programme can be separated from the broadcast date. Traditionally we broadcast great programmes at times that WE selected. In between the transmissions the programme tape sits in a tape library and the public cannot access it. By putting it on line and sorting the programme by subject instead of date, we're actually making the material available to many more people.

REALISTIC FIGURES

At Radio Netherlands we're discovering the benefits of digital production, building a living catalogue of material rather than one printed on dead trees. It has meant regular reviews to determine "why we are here" and whether we continue to craft material that an audience. E-mail has swelled our postbag some eight-fold. But we have to remain aware that many people still don't have Internet and this will not change soon. Our biggest challenge is focusing our activities when, in theory, everything is possible.

As 2001 dawns, we plan to explore more web-radio combinations. You can easily put radio programmes and websites on a single CD-ROM. We call it CDossier (tm). We produced a series on AIDs in Zimbabwe. 2 - 30 minute programmes, plus the website were pressed onto the CD. In a standard CD player only the audio portions are heard. In a CD-ROM player on a computer, the audio can be heard plus you can access the web-based material using a standard browser. 95% of the material is on the CD-ROM so an Internet connection is not essential. But if this is available, then all the web links work allowing access to further sources of material.

We're a small player in the broadcast production world. But by working in a sharing rather than a shouting concept we've found some 5000 partners worldwide with whom we're currently co-producing. It's challenging, sometimes exhausting, but never boring. But we have to change to remain relevant. Radio Netherlands is always open to joint venture suggestions across the board. We're using 2001 to focus on productions with social impact, such as the rights of the child, aids awareness, and anti-corruption. The challenge is to make these vital issues sound fresh, without getting the stamp of the "Death and Disaster" club. Organizing HIV-HOP concerts with Bush Radio in Capetown back in March 2000 was a great experience in packaging a simple message about AIDS in a new way.