Here is a short video of the day and the immense media coverage it received from Commercial Radio Australia.

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This fits very well with UK and French targets for digital broadcasting with both countries having key digital dates around 2015.

Up to now car manufacturers have been reluctant to install DAB radios due to conflicting standards across Europe. However, now the WorldDAB standard has been established, a single €10 chipset can handle all these different types of signal. This means a digital radio set will work equally well in the UK, France, Germany or anywhere else right across Europe. This allows car makers to finally install a standard DAB radio fit for a pan-European market.

This will have a crucial effect on accelerating Irelands adoption of DAB+.

Stuart Harris of Vauxhall was most enthusiastic saying their Astra and Insignia ranges already have an option for DAB and that this will be rolled across their entire range by 2013. Adrian van Klaveren of BBC 5 Live welcomed the move pointing out the fact that over 20% of UK listening takes place in the car so this is a most welcome move.

Among the motor and radio chiefs at the meeting in London were Vauxhall, Ford, a representative of the Society of Motor Manufacturers and Traders (SMMT), the BBC and Travis Baxter, MD of the Bauer Radio Group.

You can read more on this development in the London Times.

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The following is an article from Le Monde in France written by Pierre Bellanger of commercial radio group Skyrock and Sylvian Anichini for MD of Radio France (Public Radio). The translation is taken from Grant Goddard’s Digital Radio Blog.

The powers that be are asking themselves a question about the transition to digital radio – if digital terrestrial television is a success, why would the transition to digital terrestrial radio not be a similar success?

In reply, experts have suggested there are differences between digital television and digital radio. Digital television is nationally operated and is being introduced nationally, whereas digital radio is being planned region-by-region with no certainty for radio operators who must apply for digital spectrum. Digital television offers three times as many free channels as analogue, whereas digital radio offers only a marginal increase over the wide choice available on analogue. Digital television was launched with a new generation of TV receivers – flat screens and high definition – and with adaptors for existing equipment. This is not the case for digital radio – digital radio receivers are as sexy as bricks and 140 million analogue radios will have to be thrown away.

Furthermore, digital television launched just when the medium was exploiting new sources of advertising revenues – once the preserve of radio – and when purchasing power was growing in line with the economy. Whereas, the transition to digital radio is being implemented just as the radio industry is reeling from the 2008 financial crisis and household spending is in decline. Finally, the television sector received significant financial help to fund its digital switchover. For digital radio, the subject of funding has been mentioned, and even said to be desirable, but there has been no promise to date. Public funding is not there to support the public will.

These facts have not stopped the powers that be, who have promised to overcome these obstacles. Driven by legislation, they have proceeded towards the launch of digital radio by involving key radio industry players in their strategy to select both a digital radio transmission standard and the most appropriate waveband to use. Applications have been submitted by radio opertaors for the first digital radio areas and there will be a selection process, just as for analogue radio, with licences awarded to the candidates of choice.

This process involves a substantial number of declarations of intent as to the magic of ‘digital’ in a concept synonymous with modernity. Perhaps we are forgetting somewhat that the CD, also digital, belongs more to the past than to the future ….

We are where we are. At the moment of truth when ‘poetry’ must give way to numbers and it seems that national digital radio transmission will cost at least 3 million Euros per annum, adding up to a total 50 million Euros per annum for the main radio groups. Additional transmitters are likely to need to be added to alleviate pockets of poor reception. And the absence of real competition between transmission providers offers little hope of reducing these costs. Finally, no new tangible sources of radio advertising are anticipated, and broadcasting will begin without a significant body of digital radio receivers in the market …

This kind of investment – more than 250 million Euros over seven years – might be justified if it could be amortised over two future decades that offered technological and economic stability. But we presently live in the midst of a complete revolution: the emergence of mobile internet access. This offers consumers the ability to connect anytime, anywhere, without interruption, to the internet via the airwaves.

The logic of the mobile internet is redefining the physical distribution of information and is disrupting traditional media and telecoms. The fixed internet has already changed our present, and the mobile internet is opening up the future. Radio is fully participating in this mutation, with radio distribution adapting to the internet protocol with ‘IP radio’.

The future is already in our hands: it is the iPhone. This revolutionary handheld device has allowed the internet to break into the mobile environment via existing communications networks. It provides access to thousands of radio stations, personalised music choices, and the user’s own media library.

Access is either through telecoms networks or through free Wi-Fi available at home or from millions of free wireless terminals. The multi-standard chip lets us forget about having to make a choice between network connections. We click and listen to our favourite radio station, that is all there is to do. ‘IP radio’ offers every radio station that is available via a conventional transistor radio.

The internet handset is connected to the car radio, the home hi-fi, the radio alarm clock, and chips that connect us to the internet on the move will be everywhere.

Already one and a half million iPhones have been sold in France. An entire industry, in less than two years, has caught up with touchscreen technology and IP handsets. It is true that the bandwidth, like the handsets, remain expensive, and telecoms networks must gear themselves towards new demands, but the trend is there: prices will fall. Besides, on the horizon is a converged pricing structure combining fixed broadband and mobile internet access in a package that offers unlimited usage. Therefore, how can we possibly build a viable market for digital radio receivers when the replacement cycle for radios is ten years, whilst that for (subsidised) mobile handsets is 18 months?

Unlike digital terrestrial radio, there is a business model for radio delivered by IP – it allows listeners to demand and receive advertisements specifically tailored to specific audience needs. This is internet audio. Listening is measured in real time and advertising space is traded in virtual marketplaces. IP-delivered radio has produced an unprecedented explosion of creative initiatives, supported by new economic models suited to micro-enterprises – look at the success of Radio Paradise.

What had once been little but a visionary thought is now beginning to make headway as a global standard – mobile internet is the new deal. It is the antithesis of the existing strata of broadcast networks specific to each medium (radio, television). In the future fragile economic landscape, where the concerns of preserving energy and the environment are becoming priorities, can we continue as if nothing has happened?

Careful thought by the powers that be should lead them to take account of these facts and to re-focus their administrative processes which risk becoming bogged down without public subsidy. Why not consider better use of digital networks that already exist? Digital terrestrial television which already allows radio, for example? And, whatever the case with radio, promote mobile internet access in the broader context of migration to a ‘digital’ France.

The planned migration to digital terrestrial radio was not a mistake, but a ‘future of delays’ overtaken by a technological revolution which has surprised entire industries. Recognising this does not take anything away from those who have defended their point of view. A change of course is never a mistake when it allows you to avoid hitting the reefs.

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The report recommends a Digital Radio Forum be established to conduct more research to present in a White Paper for further consultation. The BCI itself welcomed the report saying it “will play a key part in assisting and informing the policy development process”.

So if you’re waiting for the formal adoption of DAB in this country, you can wait.

However, wait is the key word, as the report was generally supportive and positive about digital radio and there is very much the feeling that digital is the future and it will happen.

Many of the reports contributors agree digital will be an integral, though not exclusive, part of the future of Irish broadcasting with most seeing FM as continuing in service for at least another 15 to 20 years.  As to which flavour of DAB Ireland will eventually adopt, it’s almost universally agreed that DAB+ will be the platform of choice. In addition multimedia services such as Slideshow are considered key to the success of the platform. Additional new services are also welcomed though not so much from the commercial sector.

The report also shows agreement among all radio operators that the development of digital broadcasting should follow a coordinated policy agreed by all parties and led by the BAI. Some frustration was expressed that this hasn’t been put in place already. Kevin O’Brien, Principal Officer (Broadcasting) at the Department of Communications said “We put in place a framework, ComReg have provided a licence to RTE, RTE have gone ahead with that … the BCI haven’t done so. To be straight, our expectation would have been that they would have done it by now”.

We share his frustration. However as we wait for the nessessary policies to be formed by the BCI, our company intend to take a central and active part in the process. One of our contributions will be a broadcasting trial of DAB+ which will include Slideshow, Tagging, Broadcast Web Site, Filecasting and more.

Over the coming week or two I shall try to post some more detail on the three key areas the report covered namely a survey on digital with existing broadcasters, strategic interviews with key players and research on what Irish listeners want from digital radio.

In the meantime, you can download the entire report here.

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Our comments are below;

Today sees the publication of a report into the future of digital radio, but does it have a future at all with the twin forces of recession and the internet biting at its heels, asks JASON WALSH

AS THE movie and music industries know all too well, the primary platform for content distribution these days is digital. The internet, digital TV and mobile phones dominate our lives, but should we spare a thought for the poor old wireless?

Perhaps not. Radio has its own digital potential. The only question is whether the broadcasters – and listeners – will buy into it.

The apparent promise of digital radio mirrors that of the internet: more choice and higher quality audio, but three competing standards and questions over audio fidelity have muddied the already murky waters of standardisation.

The system currently used in Ireland is digital audio broadcasting (DAB). Pioneered by the BBC, which has been running five national digital stations since 2002, DAB is a “multiplexed” system that compresses multiple audio streams into a single frequency, much in the same way that digital terrestrial television (DTT) allows several stations to share the same location on the radio spectrum.

In effect, each frequency will contain a number of stations, and instead of tuning, listeners can select stations by name using a programme guide on the radio’s display. This allows for an exponential increase in the number of stations, but it comes at a cost in terms of audio fidelity.Each multiplex has a limited bandwidth available which must be shared. As a result, most DAB stations stream at 128 kilobits per second (kbps).

While the use of modern audio formats such as AAC (as used by Apple’s iTunes) allows for quality sound at this bit rate, DAB is lumbered with the less efficient MP2 standard. A 2003 research paper published by the BBC suggested that bit rates lower than 224kbps should not be used with MP2.

Using such a high bit rate, however, would dramatically reduce the number of stations capable of sharing a multiplex.

The BBC currently broadcasts its highbrow arts station, Radio Three, at 192kbps as a result of audiophile criticism of the sound quality at 128kbps. Similarly, RTÉ’s classical music service, Lyric FM, broadcasts at 160kbps.

Despite the format problems, RTÉ is pushing ahead with DAB. It is already transmitting all its national services in digital in Dublin, Cork and Limerick using DAB. In addition, it broadcasts six digital-only services including RTÉ Kids, alternative music and dance stations 2XM and Pulse, and a compilation of international talk radio, RTÉ Choice.

JP Coakley, RTÉ’s head of radio operations, says its services are a way of dealing with audience fragmentation in a positive manner, as well as providing an inducement for listeners to go digital. “We recognise that there is a process of widening out our ecosystem,” he says. “As part of that, we look at [things like] kids’ radio and bring in the best of world radio.”

Coakley hopes the report will strongly favour Ireland moving towards digital radio. “I would suggest the time has come for Ireland Inc to engage with digital radio. This needs to be the entire industry.”

He dismisses concerns about poor audio, claiming listener experience is better with digital radio. “In real terms, people perceive DAB to be superior to FM,” he says. “Having said that, we’re conscious of the need to reach DAB+. Our ambition is to work toward [the improved fidelity offered by the upgraded standard] DAB+.”

Independent broadcasters, however, have not shown the same enthusiasm. Willie O’Reilly, the chief executive of Today FM and chairman of the Independent Broadcasters of Ireland (IBI), says that while he supports an eventual switch to digital, the receivers need to be in cars, Hi-Fis, mobile phones and iPods before it would be commercially viable.

“The only people buying radio receivers now are radio anoraks and others primarily interested in the technology.”

He expects the BCI report to be supportive of DAB, but not to signal the start of a radio revolution. “They can’t be negative to new technology. My view is that they’ll say it’s an ‘emerging technology’, and that it’s important that Ireland not be seen to be in the rearguard.”

O’Reilly’s scepticism may prove well-founded. While digital radio is potentially an exciting new technology, it does pose some problems, particularly for commercial broadcasters.

Firstly, there are three competing technologies – DAB and the improved DAB+, with Digital Radio Mondiale (DRM) coming a distant third in terms of public awareness and popularity.

Secondly, the main proposition of digital radio is a vast expansion of programming, but there is clearly a limit to how many stations a small market such as Ireland can support, especially in a recession.

Former DJ Dusty Rhodes is one voice in the commercial sector vocally in favour of going digital. Rhodes, whose Digital Radio Ltd ran several test stations on DAB, including All 80s and the Irish-language Raidió Rí-Rá, says a move to digital is imperative. “It is going to increase the amount of radio available and improve the experience of radio for listeners.”

In particular, Rhodes is enthused by the possibility of multimedia services that push radio beyond a purely aural experience. “At the very least, you’ll see the name of the song that’s currently playing on a music station – the number one complaint is that DJs don’t give out song names.”

After 18 years in development, DAB now faces the possibility of stillbirth due to incompatibility and obsolescence. While Britain has settled on DAB, other European countries have moved to the superior DAB+ standard. DAB+’s use of more efficient AAC compression means higher quality audio can be broadcast at low bit rates.

Coakley says this is not a reason to ignore the existing DAB system. “Right beside us is the world’s biggest market for DAB, and we didn’t want a situation where a radio bought in Newry doesn’t work in Dundalk and vice versa,” he says.

Some standardisation is occurring, however, and future radios will feature a chipset that supports both DAB and DAB+.

Across the EU, the transition to digital radio has been uneven, to say the least. Britain has led the way, primarily through the BBC’s massive commitment to DAB, but other countries have been much less enthusiastic. Only Britain and Denmark have seen significant sales of DAB-capable receivers, meaning talk of higher standards is purely theoretical.

Germany, the first country to test the system, has seen DAB dropped altogether, although DAB+ trials will begin later this year. Other countries have seen the technology receive a lukewarm reception at best.

Speak the language

AS WITH most new technologies, digital radio brings with it a potentially confusing alphabet soup of incompatible standards.

DAB

Digital Audio Broadcasting (DAB) is a digital transmission system that is currently used in Ireland and Britain. Audio is compressed using the MP2 codec at a bit rate typically between 128 and 192kbps.

DAB+

This is an upgrade to the DAB standard which replaces the MP2 codec with AAC+. This allows for higher quality sound at lower bit rates. DAB+ radios can pick up DAB transmissions, but those DAB radios that are not software-upgradable are orphaned if broadcasts move to the newer standard.

DRM

A third standard, Digital Radio Mondiale (DRM), is also competing for the digital crown. Largely supported by public service broadcasters, DRM has the potential to deliver near-FM quality stereo, as well as multimedia services, on the AM bands.

Radio Luxembourg tested a commercial DRM service, and its owner RTL would likely relaunch the service if DRM became popular. DRM’s key advantages are the ability to cover vast areas and to bring life back to the increasingly empty AM bands.

DMB

Digital Media Broadcasting (DMB) is an auxiliary standard that sits alongside DAB, allowing for the transmission of graphics and text alongside audio. Currently on trial in France and Norway, it is likely to be included in most future DAB+ radio sets.

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Premiere Christian Radio begun broadcasting nationwide today joining a growing list of DAB exclusive stations including Planet Rock, BFBS and Amazing Radio.

Although probably not earth shattering news to most it is another green shoot in digital broadcasting after the ravages of the past eighteen months. Another is the continued adoption of “Slideshow” where broadcasters “now playing” information is displayed with graphics on a DAB receivers colour screen. It’s also encouraging to hear all of the new radios coming to the market are DAB+ compatible. This is in line with the agreed WorldDAB Profile 1 standard so digital radio will work across Europe regardless of the flavour of DAB,DAB+ or DMB used.

The introduction of the Digital Britain Report and it’s target to move all existing FM stations to DAB exclusively by 2015 has finally put focus on the market. Small steps forward like Premiere, Slideshow and DAB+ are all just getting the ball rolling once again for UK radio.

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The huge jump forward is that the Pure Sensia is a very visual radio. The large 5.7” colour screen displays a touch-screen user interface including “slideshow” images from broadcasters. Listeners will now see what’s playing in colour text and pictures as well as hearing it.

Many of the UK’s biggest broadcasters have signed up to make the most of this new display. They include Classic FM, Heart, Capital, Planet Rock, Absolute Radio, Fun Kids and more.

Better again the method employed to get pictures to the screen, RadioDNS, is a free open standard. Now that stations are actually broadcasting this visual information it can be used by any manufacturer in any receiver.

The Sensia goes much further and truly makes this a “radio for the Facebook generation” by including apps which allow your Facebook or Twitter accounts to be displayed on the screen also. Pure will open their SDK shortly to allow for a multitude of third-party apps similar to iPhone or Nokia.

This wi-fi enabled beast lets you listen to stations broadcasting on FM, DAB or online in addition to playing podcasts without a need for a PC. It also pumps out a very respectable 30w of thumping sound!

If you’d like to see it in action, here is a rough’n’ready phone video from Nick Piggott or a glossy studio video from Hi-Fi Magazine. There is also loads of information on the radios official website touchmyradio.com

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Pause/Rewind speaks for itself and is such a simple useful concept.

Tagging is a system where FM broadcasters transmit Apple iTunes Catalogue IDs in spare RDS ODA (Data) groups identifying the song playing. This then displays the Artist/Title information on screen and when the listener hits “tag” the information is stored. When the Nano is sync’s with the PC the song is offered for sale via iTunes.

It’s brilliantly simple yet its downfall lies in the fact it’s so Apple-centric. If the FM station hasn’t signed up to broadcast Apple tags the entire system dies. If the song being played is not for sale on iTunes the entire system dies. If the radio station is not making money from it, what’s the point, the system dies.

Tagging very much appears to be a customer acquisition tool for Apple with very little margin for the broadcaster. However, being able to see the name of the song playing will definitely be welcomed by the listener.

DAB has does this and more already. Pause/Rewind is available on high-end receivers and the now playing information is pretty much standard on all DAB sets. So why does it take a company like Apple to do pretty much the same thing and make the world go “wow”? Discuss!

Apple Video here.

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The argument of DAB v’s DAB+ is over.WorldDMB Receiver Profiles agreed last year by regulators, broadcasters and manufacturers mean all future digital radio receivers will be able to hear DAB and DAB+ and DMB.

The first of these has been launched by the No.1 supplier of DAB chips, Frontier Silicon, who supply mass production DAB chips to the most popular manufacturers including Pure, Revo, Roberts, Sony and many more.

This means, in the very near future, radios sold in Ireland will be compatible with DAB and DAB+. This is an important step as it appears Irish regulators and broadcasters are all looking towards DAB+ as the digital system to be adopted here.

It’s also significant for France, who have chosen DMB as their digital system and mandated that all new radio receivers, including car radios, must be digitally enabled by 2013. The French are running test transmissions in Paris, Lyon and Marseilles in advance of the official launch of digital radio later this year.

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The most important is establishing standards. As we speak there is no standard streaming method for online radio. It’s all a mix of mp3, ogg, aac, wma and so on. Worse, not everything will work on every computer, wi-fi radio or phone. The situation deteriorates when you try to list your station on a device with each manafacturer having it’s own seperate listing service.

The second reason is bandwidth. There just isn’t enough to handle broadcast size audiences. For example, 98 or 104 in Dublin would have 25,000 people listening at any given time. The infrastructure is not there to handle that kind of number. Worse, at an average 50 cent per listener per month, it would cost the station €150k a year to be “on air”. That is way over what it costs to run an FM or DAB transmitter.

In the States with bandwidth and iPhones a plenty, they’re running into serious problems with just regular daily use, never mind radio streaming. Read this article in the New York Times for more.

The internet is not the saviour of radio but it will play a key part. My vision of the future is that DAB will become the new FM, our current FM will become the new AM and the internet will be the LW or SW of the future.

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