(Published in Broadcaster Magazine)

When it comes to broadcasting in Canada, most of us (broadcasters, advertisers and the music industry) play by the numbers in one way or another…..audience reach and hours tuned, ad expenditures and target demos, chart positions, playlist adds, etc. They key is understanding the interrelationship of all of these disparate factors. The following is a preliminary examination of these elements with an attempt to gain some understanding of how dramatically they impact on one another.

Goal:
In this paper, we seek to examine Canadian radio formats and the forces at work in determining their profiles. This includes audience analysis for all measured formats, an examination of radio advertising by target demos, plus the nature and number of playlist adds by format across the country. We seek to identify format holes……. significant formats receiving little or no airplay. Lastly, we detail the amount of airplay for new Canadian music as well as focusing on the amount of attention paid to independent Canadian releases.

Background:
We began by looking at the 427 stations for which we have BBM audience tuning figures based on an 8 week survey in Fall 2004. This includes all major stations in the country.

From there, we broke out the total audience reach, % reach, total hours tuned and percentage share of all hours tuned to each format nationally for various demographics.

Next, we examined playlist adds to commercial stations for 8 random weeks between Aug. 2004 and January 2005.  We used a sampling of stations from each category to determine the average number of weekly playlist adds, the average number of weekly CANCON playlist adds and the number of playlist adds which were independent releases. We defined “independent” as those releases without major label distribution. We used only stations which were covered by BBM audience surveys and for which we could get consistent playlist reports. This involved a detailed examination of the weekly playlist adds as reported by Canadian Music Network.

Lastly, we looked at the percentage of all radio buys for target demos across Canada. The rationale for this is the fact that potential ad revenue has a major impact when determining format profiles from a programming perspective. We also looked at the anomalies when these percentages were compared to the make up of the Canadian population.

The Findings:

Weekly Tuning by Format

The attached chart breaks out the total national weekly audience and hours tuned for each format. This is translated into the % of defined target groups each format reaches in addition to the percentage share of total hours tuned to each format for each demographic. This chart also details the number of stations for each of 18 formats. These are:

• News/ Talk           
• Adult Contemporary       
• Country           
• Hot Adult Contemporary   
• Classic Rock           
• Gold/ Oldies           
• Classical Fine Art       
• Mainstream Top 40/ Contemporary Hit Radio                Classic Hits            Adult Standards        Sports               
• AOR/ Mainstream Rock   
• Jazz               
• Religion           
• Urban           
• Modern/Alternative Rock    
• Multi/ Variety/ Specialty   
• Ethnic/Multicultural

From a cultural standpoint it should be noted that there is currently little or airplay on any of these measured commercial stations for the following formats:

• Folk       
• Electronica   
• Comedy   
• Roots       
• Aboriginal   
• Techno   
• Heavy Metal   
• Opera       
• Triple A   
• Alt. Country   
• Blues
• Unsigned Bands

Playlist Adds:
We analyzed the average number of weekly playlist adds by format. Given the different natures of these formats, the averages can differ substantially. Below is a summary by format:

Country:
Average # weekly adds per station:            1.98
Average # weekly CANCON adds per station:     0.97
Average # weekly Independent adds per station:    0.31
Average # yearly adds per station:            102.74
Average # yearly CANCON adds per station:     50.19
Average # yearly Independent adds per station:    16.25

Adult Contemporary:
Average # weekly adds per station:            1.30
Average # weekly CANCON adds per station:     0.61
Average # weekly Independent adds per station:    0.09
Average # yearly adds per station:            67.83
Average # yearly CANCON adds per station:     31.93
Average # yearly Independent adds per station:    4.52

Mainstream Top 40/CHR:
Average # weekly adds per station:            3.25
Average # weekly CANCON adds per station:     1.22
Average # weekly Independent adds per station:    0.37
Average # yearly adds per station:            169.0
Average # yearly CANCON adds per station:     63.34
Average # yearly Independent adds per station:    19.09

Hot Adult Contemporary:
Average # weekly adds per station:            2.35
Average # weekly CANCON adds per station:     0.86
Average # weekly Independent adds per station:    0.09
Average # yearly adds per station:            122.15
Average # yearly CANCON adds per station:     44.96
Average # yearly Independent adds per station:    4.60

AOR/ Mainstream Rock/ Classic Rock:
Average # weekly adds per station:            1.56
Average # weekly CANCON adds per station:     0.59
Average # weekly Independent adds per station:    0.01
Average # yearly adds per station:            80.99
Average # yearly CANCON adds per station:     30.92
Average # yearly Independent adds per station:    0.70

It should be noted that no opportunities for new music exist on a number of formats. These formats consume significant shares of all radio tuning. Examples are: 

• News/Talk   
• Sports        
• Gold/Oldies

With certain other formats, there are extremely limited opportunities for new music. These include:

• Classic Hits   
• Adult Standards

Opportunities for independent recording artists are best with CHR and Country, but extremely limited for all other formats. Even with CHR (19.09 adds per year per stations) and Country (16.25 adds per year per station), the prospects remain very limited. This is especially true when one look at the number of new CD releases each year.

With regard to CANCON adds, the playlisted cuts are, for the most part, uniform across all stations in the format with some very rare exceptions for regional artists. The majority of CANCON spots are taken up by a narrow list of high profile artists Sum 41, Shania Twain, Simple Plan, Avril Lavigne, etc. Critically acclaimed artists (e.g. Bruce Cockburn, Susan Aglukark, Kathleen Edwards, etc.) that did not fit format constraints go virtually without airplay.

I should stress that all of this is in no way is a condemnation of the programming of the major stations analysed. In fact, the majority of stations have researched their core audiences extremely well and answered their audience’s needs. This is evidenced by the fact that weekly per capita hours tuned remain consistently high for these core audiences right across the nation. Make no mistake, the Canadian radio industry remains healthy from both a financial perspective–its 2003 ad revenues were $1.187 billion, up 8.2% from 2002 (2004 figures, not yet available, appear to be very positive)–and in terms of audience tuning, with a 94.2% national weekly reach and 21.8 hours tuned weekly per listener (A18+, BBM Fall 2004). The key is, the programmers were given a job to do and they have done it well. The job they were given to do is in large part dictated by the need to generate audience tuning which is attractive to advertisers. Theirs is not a cultural mandate, but a pragmatic one. Which leads to our next topic…

Radio Advertising Spending by Target Demos

The chart below details the estimated percentage of all 2004 radio buys nationally directed toward each target demo. (While a number of local buys lack a defined target, there is good reason to believe that these figures are roughly indicative of overall radio advertising activity.)  The impact on radio format for commercial stations is quite simple and direct. Potential ad revenue is dependent on the target group delivered by a station. This, in turn, is tied to the format. Maximizing both reach and hours tuned is critical in order to generate the best possible average quarter hour audiences on which rates are based. This why so many stations seek be “on all the time” in stores and offices. From a programming perspective, the goal is often to avoid anything unfamiliar or jarring that might invite tuneout. For the most part, stations strive to avoid niche status, catering to as broad a spectrum as possible. This negates any opportunity for music that falls into the niche categories. There are few or no cultural considerations when determining the financial viability of a format.




An examination of spending by target group reveals that ad spending does not directly correlate the size of a demographic within the population. Below is a national population breakout:

Demo        Pop.            % of Total A12+
All 12+:    27,553,673        100%
A12-17    2,535,419        9.2%
A18-24    2,909,069        10.56%
A25-34    4,483,899        16.27%
A35-54    10,005,490        36.31%
A55+        7,619,796        27.65%


It quickly becomes apparent that, with commercial radio, certain demographics command attention disproportionate to their size.

For example, despite comprising 27.65% of the population, the A55+ group command less than 1% of radio ad spending.
Despite comprising 9.2% of the population, A12-17 command well under 1% of radio ad spending.

As such, commercial broadcasters devote little of their attention to these groups. Formats are programmed to generate tuning with “money demos”.  From a cultural perspective these other demos are often being overlooked. A recent example is the move away from CHR stations (with strong appeal to 12-24) to Classic Hits such as JACK, DAVE, BOB, etc. (appealing to 25-54).  As a factor of this trend, average hours tuned per capita for teens has declined dramatically over the last five years. Again, this is in no way a criticism of existing broadcasters who have done their job well. It is simply an attempt to understand the mandate which they have been given.

Conclusions:

In the final analysis, different sectors (broadcasters, mainstream and niche format listeners, advertisers and the music industry) are confronted with different mandates. As such, the perfect solution for one, doesn’t always add up for another. The music industry would like to see more new music played. New and especially independent artists have an almost impossible job in attempting to garner airplay critical to their careers. Audience segments favouring niche formats search for a more fragmented formatic landscape, more reminiscent of the specialty channel universe now being offered up in television. Yet, until the advent of satellite/subscription radio, these things will often be at odds with the needs of the advertisers who rely on broad mainstream reach. Moreover, sizeable demographic groups (e.g. teens and A55+) are under-serviced due to those target groups’ limited ad appeal. This, in turn, is frustrating to broadcasters who deliver these audience segments, convinced of their purchasing power and frustrated by the lack of recognition.

We all play by the numbers. This is just a preliminary attempt to examine their interrelationship. As to where we go from here, you’ll have to consult your local oddsmaker.

 
Sources:   
BBM, Fall 2005
RTS
Canadian Music Network
Canadian Broadcast Sales
CHUM Radio Sales

(Published in KW Record)

If I were a sports reporter, I might call it a home run for satellite radio. But since this is the entertainment section, I’ll just give you the highlights of the recent CRTC decision, one which marks a significant moment in the history of radio in Canada. With their approval of three subscription (pay radio) licenses, the CRTC issued an emphatic yes to new technologies which Chairman Charles Dalfen declared “will help to give Canadian talent exposure to listeners across Canada and indeed, North America-both through new Canadian channels and airplay on U.S. channels.”

The first step took place last November with the CRTC hearings in Ottawa/Hull at which 3 satellite/subscription applications were presented. These included the XM/Canadian Satellite Radio (which triggered the process) and Sirius/CBC/Standard satellite proposals along with the CHUM Ltd. terrestrial/DAB offering. I was there testifying in support of the concept of approving all three licenses. In the room was a who’s who of Radio in Canada. The lobbying for intervention support leading up to all of this was intense. So much hand shaking and arm twisting took place that few people in the radio or music industries were left with shoulder sockets in tact. After that came the hand wringing as everyone awaited the decision which was over 7 months in coming.

Here are some of the key facts.

Canadian Satellite Radio (XM)/ Sirius

1. Each of the satellite licensees must offer at least eight original channels. A maximum of nine foreign channels may be offered for each Canadian channel.
2. At least 85% of the content on those 8 Canadian channels must be CANCON
3. At least 25% of the 8 Canadian channels must be in the French language
4. At least 25% of the music on the 8 Canadian channels must be new Canadian music
5. A further 25% of the music must be by emerging Canadian artists
6. Each satellite service will feature a total of 80+ stations broadcasting to all of North America in digital sound. This will include a wide variety of music, multilingual, talk and comedy formats.
7. Subscription rates have not yet been announced, but expect something in the $13 per month range.
8. 6 minutes per hour of national (no local) advertising will be permitted

Auto manufacturers are chomping at the bit for satellite in Canada. Michael Grimaldi, president of GM Canada immediately issued a statement saying “without doubt, satellite radio is the biggest advancement in mobile audio technology in the last 60 years and we plan to present it (Canadian Satellite Radio) in our upcoming models.”

In addition to being factory installed in new vehicles, satellite radio is now widely available at audio retail in the US and will soon be in Canada. Receivers by Polk and Yamaha allow for integration into your home stereo. It is also available through numerous manufacturers such as Sony, Alpine, Pioneer, and Panasonic, for dashboard install to rejuvenate your car stereo. Perhaps the most vibrant sector of Satellite Radio equipment is in the portable and plug and play category. These devices can interface with your car stereo through wireless FM modulators, they can hook up to your home stereo unit through a hardwired cradle and some simply plug into a boombox for true portability. These devices are currently manufactured by Delphi, Audiovox, Pioneer, and Tao.

The artists/musicians/comedians with whom I have recently spoken are equally enthralled about the satellite broadcasters' commitment to new talent and niche formats as well as the opportunity to reach the U.S. market.
The subscription radio applicants don’t see themselves itself as being in competition with conventional radio, but rather as a compliment to it. One that offers cutting edge niche programming that mass appeal stations can’t afford to deliver. The presumption here is that rather than cannibalize tuning to existing traditional stations, satellite will help to revitalize listeners and increase overall tuning to the medium, weaning attention away from video games, MP3/CD players, etc.

CHUM/Astral

• The CHUM/Astral subscription radio application involves a progressive rollout of urban centres that would initially deliver 50 commercial-free satellite digital channels, produced entirely in Canada consisting of at least 20% in the French language.
• All channels would adhere to current CANCON minimum required by Commission regulations.
• The primary difference with this initiative is the fact that it wouldn’t be national as such, but rather would involve a series of terrestrially based stations in larger markets across the country sharing programming.
• Auto manufacturers have said that they won’t support the CHUM platform, leaving them to concentrate on the portable/home market alone.

CHUM representatives have repeatedly said that they would not launch if all three applications were approved. Most industry pundits agree that it would be economically impractical for CHUM to attempt to launch given the cost of producing 50+ channels and the formidable satellite competition.

The number of satellite subscribers in the U.S. is over 5 1/2 million and growing rapidly. This has the added benefit of revitalizing the radio receiver industry at retail. Expect the same to be true of the Canadian experience

Listeners and artists alike have been demanding change and they are, in all likelihood, about to get it. The radio industry (and it would appear the CRTC) is listening to them. Stay tuned.

Last Friday, the Canadian Radio-television and Telecommunications Commission announced the results of its commercial radio policy review. The process began with four intense days of hearings held this past May in Gatineau, Quebec. Since then, members of the broadcast, music and advertising industries have been anxiously waiting for the word to come down. The surprising payoff? The regulations were not altered.

One portion of the decision that did not attract much attention, but perhaps should have, was L-band licensees - which "will be free to develop whatever broadcast services they believe will be of the greatest interest to the listening public." Remember that DAB stagnated largely because stations were limited to replication of existing AM/FM programming, with the exception of 14 hours per week. Consumers weren't willing to buy new receivers unless they could get alternative programming. Bottom Line: Look for innovative, niche and multicultural broadcasters to exploit this in a big way.

Let's take a look at the highlights, and most importantly, the ramifications of the decision. The CRTC made mention of the stiff competition the medium faces from new regulated and unregulated technologies for the distribution of music (MP3 players, iPods, Internet radio, podcasting, downloading, satellite radio and cellphone radio). "The key challenge facing the radio industry is to remain relevant" in the face of such new technologies, said CRTC chairman Charles Dalfen.

Still, little in the review beyond new approaches to Canadian content development directly addresses these issues. While it was widely expected that a bonus or quota system for new and emerging artists would be introduced, the minimum level of Cancon remains at 35% without further restrictions. Upping it to 40% was considered, but rejected due to the competitive climate in which radio finds itself.

Regulations were changed for classical (raised to 25% from 10%) and jazz and blues (up to 20% from 10%), but this will have an effect on relatively few stations. Bottom line: The CRTC essentially deferred to broadcasters by not imposing more taxing regulations while they are gearing up for the fight with outside influences.

Some important changes were made in the approach to Canadian content development (CCD) contributions. The basic contribution system would be based on a radio station's revenues, as opposed to the size of the market in which it operates. The CAB issued a release saying that "the increased burden that will result from tying these initiatives to broadcasters' revenues is of some concern." Bottom line: This is the way it always should have been - pay on the ability to do so. Smaller niche stations will be the grateful winners in this scenario.

Bottom line: I have a sense that the real review of radio will be conducted by the listeners who are being confronted with all of these choices. Stay tuned.

Some dilemmas require the wisdom of Job. Unfortunately, my name is David. When I took on my role as chair of the BBM Continuous/Extended Measurement Committee, I knew that this issue would prompt a vigorous discussion in all sectors of the radio and advertising communities. Little did I know that "extended" would come to refer to the lifespan of the committee as we sought a compromise position. After more than a year, a series of formal and informal meetings and various presentations, the moment has arrived. Now that we have finalized this matter, we can move on to something simpler like dividing up the Gaza strip.

We set out to come up with a determination amidst a flurry of position papers, press releases and significant amounts of lobbying on the most senior levels. The truth is that all of this activity says something very positive. Even though the topic may at first seem somewhat dry, it is clear that BBM audience measurement is the currency that is deemed vital by both buyers and sellers.

And the people at BBM are both conscientious and serious about their job. There was a consensus on all sides we do something positive for the industry and that we act in unison. Thus the need for a compromise. Most importantly, a genuine passion for radio was evident throughout the discussions. As we move toward an uncertain technological future, it is that passion which will allow the medium to survive and thrive.

BBM is jointly owned and controlled by broadcasters, advertisers and agencies. In fairness, it is important to point out that the broadcasters contribute the large majority of operational costs. It was clear from the outset that advertisers/agencies prefer continuous year-long measurement. Functionally, this would mean 48 weeks since weeks surrounding Christmas, for example, are impractical for enlisting diary keepers.

Among broadcasters, there are a wide variety of opinions concerning the optimal number of weeks and timing for surveys. Valid points were made on all sides. As part of the equation, the significant cost of an increased number of surveys (not to mention increased sample size) has to be factored in.

In the final analysis, the following is an overview of the extended measurement which will proceed in two phases over the next two fiscals. I should add that this is seen as the beginning, not the end. This is a transitional process by which we seek to establish an ever improving and more reliable approach to radio audience measurement.

Extending BBM Radio Measurement
4 Books: 28 Weeks 04/05

May 2-June 26, 2005	August 10	Toronto, Vancouver, Montreal
July 4-July 17, 2005	September 21	Top 9 Markets
Aug. 1-Aug. 14, 2005

Extending BBM Radio Measurement
4 Books: 30 Weeks 05/06

Survey Window	Publication	Notes
Sept. 5- Oct. 30, 2005	December 7	All Markets
Jan. 9-March 5, 2006	April 12	All 2 book + Top 9 Markets
May 1-June 25, 2006	July 28	Top 9 Markets
July 3-July 16, 2006	September 29	Top 9 Markets
July 31-Aug. 27, 2006

• This increase in the number of radio audience surveys and weeks of measurement in the Top 9 markets should be viewed in the context of other significant improvements that BBM has introduced in the past year. These include:
• 30% sample increase for 42 large and Metro markets.
• Special $5 incentive for respondent households with Male 18-24 resulting in significant improvement in survey return rate for this demo.
• Guaranteed measurement of all radio markets with a 12+ population of 60,000 or more.
• Member access to audience data for all significant Canadian stations i.e. greater than a 1.0% share in Top 9 markets, 5.0% share or greater in other markets.
• Introduction of Random Digit Dialing for respondent enumeration resulting in more representative samples.

Now that peace has returned to the kingdom, perhaps we can all pack up our position papers and leave lobbying to the full-time politicians. Or perhaps not. We are currently examining the other issues deemed to be of critical importance, among them...sample size. A few of the broadcasters feel strongly that they would like to increase sample size and thereby lessen any statistical bounce. This, of course, comes with a hefty price tag. It remains to be seen if those same broadcasters will dig deep and the funding will be forthcoming.

On the not-too-distant horizon are a few developments that could significantly affect survey methodology. With the almost certain advent of subscription/satellite radio, the number of stations to be measured will increase exponentially. While this will certainly generate listener excitement and a further revitalization of the medium, it presents some measurement challenges that we are currently studying.

And that brings us to the next point. Portable people meters. These combined television/radio meters have been thoroughly tested by BBM in Quebec. They are currently being used for television measurement. The radio implications have yet to be fully fleshed out. Since the system is passive and picks up the encrypted station signals, reporting is very simple and reliable. No relying on a diary keeper's memory. Next, use of the meters certainly implies continuous measurement. Even more important is how the use of meters might have an effect on reported tuning. Early experience in tests show that while the average diary keeper reports listening to three stations, the meter reports show that same person listening to six stations. The use of panels involves far fewer respondents than the diary methodology (with an ever changing base of diary keepers), but monitors them much more comprehensively. This could produce significantly different results.

The next steps for the survey committee involve education. It is critical that buyers and sellers be equipped to take advantage of the significant resources afforded them by BBM. After all, research is only as good as the analysts using it. So break out the bugles. After that, perhaps the committee can take a holiday in the middle east.

(Published in "Media in Canada")






 

In the world of Canadian media research, the Unity Project has been one of the most ambitious endeavours in recent years, one that sparked considerable discussion and debate. As with anything of this import, opinions seem to be divided regarding implementation. Let's take a look at Unity from both sides.

The initiative has been spearheaded by the Canadian Media Directors' Council, more specifically by well-known media director Hugh Dow. Dow terms it "our attempt to bring some order to Canadian media audience and project usage data."

Audience measurement sources have to date consisted of separate research associations funded by and dedicated to serving their membership constituencies. These include BBM (RTS), PMB, Nadbank, Nielsen, etc. It is true that many of the data sources are not comparable and, in fact, sometimes produce contradictory information. Which represents the "standard" is a very subjective observation. Some planners swear by PMB, while others point to the superior sample size of RTS (currently 57,000 nationally). There can be no dispute that there is a significant triplication of product usage categories between RTS, NADbank and PMB, although the exact natures of the questions differ. Similarly, the measurement periods and length of time between releases are quite different.

The goal of the Unity Project was to standardize demographic breaks, create better data linkage and allow for better inter-media comparisons by media planners. In essence to create one industry accepted source for product usage data. Of course, a dilemma arises when we recognize that ad agencies aside; we have far more than one industry screaming to be heard. There are a number of different industries being represented (print, newspaper, radio, television), each with a different mandate and each seeking a return on their investment.

Unity would seek to eliminate duplication among the various product usage databases. Confusion arises because apparently similar questions yield different results from the various studies. The solution is not as straightforward as it may seem. Even if there was agreement between the competing companies and amongst all their subscribers that one approach was possible/desirable, one or more of the studies would lose all of its historical data and therefore much of its value. How would they be compensated in such an event and by whom?

When one discusses duplication, there is a larger and more fundamental issue. The wording of the questions is different by design because the studies themselves were developed to serve very different needs from very different constituencies. Without unified needs, how do we go about achieving unified methodology?

Certain other project objectives seem to have evolved somewhat from the original proposal. For example, one of the original objectives was a significant reduction in hard costs to each of the industries. This has gone by the wayside since the original estimates were somewhat inaccurate. For example, RTS revenues were estimated to be $5 million when they were actually $1 million. It is also possible that the Unity Project, if implemented, would require a third party to coordinate sales and distribution of the data. This might mean that the overall cost could be more, not less.
 

Before Unity, there was no consistency in terms of demo breaks among the principal database providers, making it difficult to do intermedia comparisons. This has been largely corrected under the auspices of Unity.

Unity would drop local/retail type questions from PMB and replace them with comparable questions/data imported from NADbank or RTS. They would similarly drop national type questions from RTS and replace them with comparable questions/data from PMB. They would also seek to attach PMB (national) or NADbank/RTS (local) to BBM and Nielsen TV panel questions. After much testing and analysis, the media committee concluded that the fusion approach best met the objective of the Unity project.

The Unity vision of one industry accepted source (PMB) effectively demands that in future radio and newspaper subscribers be content with "fused" data as opposed to the "single source" data they now use and an industry accepted source that they consider to be inferior in sample size and implementation. While the fusion tests have been encouraging at a national level, the data does start to deteriorate rapidly as the requirements become more granular. Radio broadcasters and newspapers may very well ask why a magazine-oriented study should be the national database to which all others are fused.

The appeal of Unity to media planners everywhere is quite clear. And there can be little question that it is, in theory, a worthwhile and noble cause. The other side of the issue is the fact that competing industries invest in this research to give each an exclusive and competitive advantage. Some of those entrenched in individual camps have declared opposition to any such initiative. For example, those intimately involved with RTS, an excellent piece of research, feel the required concession would be hugely detrimental to the study and to radio broadcasters in general. The same can be said of NADbank or, to a lesser extent, PMB. Take away the competitive advantage and the rationale for the investment quickly disappears. It is clear that there are two (or more) sides to unity. The biggest question that remains to be surveyed is whether there is any possibility of a unified vision.


(Published in "Media in Canada" Magazine.)

 

There are but a few defining moments in the history of any industry. The CRTC decision unveiled at 4pm yesterday maps out a future for radio that will undoubtedly energize listeners from coast to coast. With their approval of three subscription licenses, the CRTC issued an emphatic yes to new technologies which Chairman Charles Dalfen, in a crystal clear (you might say digital) fashion, declared "will help to give Canadian talent exposure to listeners across Canada and indeed, North America-both through new Canadian channels and airplay on U.S. channels." John Bitove, chairman CEO and founder of Canadian Satellite Radio, the firm that triggered this entire process, said "this is a tremendous opportunity for all Canadians and an evolutionary milestone in maintaining our country's leadership position within the global broadcasting industry." Kevin Shea, President & CEO of Sirius Canada remarked that "the commission has worked hard to give us a reasonable and creative framework within which we can move toward providing Canadians with an outstanding programming line-up."

The first critical step took place last November with the CRTC hearings in Ottawa/Hull at which three satellite/subscription applications were presented. These included the XM/Canadian Satellite Radio and Sirius/CBC/Standard satellite proposals along with the CHUM terrestrial/DAB offering. In the room was a who's who of Radio in Canada. The lobbying for intervention support leading up to all of this was intense. So much hand shaking and arm twisting took place that few people in the radio or music industries were left with shoulder sockets in tact. After that came the hand wringing as everyone awaited the decision which was over seven months in coming.

If I were a sports reporter I would call this a home run for satellite. Here are the need-to-know facts from the decision.

Canadian Satellite Radio (XM)/ Sirius

• * Each of the satellite licensees must offer at least eight original channels
• * At least 85% of the content on Canadian channels must be CANCON
• * At least 25% of the Canadian channels must be in the French language
• * At least 25% of the music on the Canadian channels must be new Canadian music
• * A further 25% of the music must be by emerging Canadian artists
• * Licensees much contribute at least 5 % of their gross annual revenues to Canadian talent development initiative such as FACTOR
• * Re-broadcasting of existing services in their entirety (such as the Sirius re-broadcast of CBC services) would not be permitted. "At least 50% of the programming on each of the 8 channels... (must be) original Canadian programming"
• * 6 minutes per hour of national (no local) advertising will be permitted
• * Satellite services will feature 100+ stations broadcasting to all of North America in digital sound

As we already know, auto manufacturers are chomping at the bit for satellite in Canada. Michael Grimaldi, president of GM Canada issued a statement saying "without doubt, satellite radio is the biggest advancement in mobile audio technology in the last 60 years and we plan to present it (Canadian Satellite Radio) in our upcoming models."

The artists/musicians/comedians with whom I have recently spoken are equally enthralled about the satellite broadcasters' commitment to new talent and niche formats as well as the opportunity to reach the U.S. market.

The subscription radio applicants don't see themselves as being in competition with conventional radio, but rather as a compliment to it. One that offers cutting edge niche programming that mass appeal stations can't afford to deliver. The presumption here is that rather than cannibalize tuning to existing traditional stations, satellite will help to revitalize listeners and increase overall tuning to the medium, weaning attention away from video games, MP3 players, etc.

CHUM/Astral

• * The CHUM/Astral subscription radio application involves a progressive rollout of urban centres that would initially deliver 50 commercial-free satellite digital channels, produced entirely in Canada consisting of at least 20% in the French language
• * All channels would adhere to current CANCON minimum required by Commission regulations
• * The CHUM/Astral initiative would feature subsidized digital receivers that would offer both traditional free access for conventional DAB stations as well as their subscription channels. The primary difference with this initiative is the fact that it wouldn't be national as such, but rather would involve a series of terrestrially based stations in larger markets across the country sharing programming
• * Auto manufacturers have said that they won't support the CHUM platform, leaving them to concentrate on the portable/home market alone

Paul Ski, Executive Vice-President: Radio, CHUM said "we are extremely disappointed with the Commission's decision.....It is unrealistic to expect that an all-Canadian service such as ours can compete with undertakings whose channels are 90% U.S. originated." CHUM representatives have repeatedly said that they would not launch if all three applications were approved. Most industry pundits agree that it would be economically impractical for CHUM to attempt to launch given the cost of producing 50+ channels and the formidable satellite competition.

The number of satellite subscribers in the U.S. is over 5 1/2 million and growing rapidly. This has the added benefit of revitalizing the radio receiver industry at retail. Expect the same to be true of the Canadian experience

Listeners and artists alike have been demanding change and they are, in all likelihood, about to get it. The radio industry (and it would appear the CRTC) is listening to them. You are about to hear the future. Stay tuned.

 

SHORE 104, Vancouver's newest radio station, has the offices open and studio construction is underway. It was a bold application from an independent group of radio and music experts that won the last available FM frequency in Vancouver granted in June by the Canadian Radio-television and Telecommunications Commission. In an industry dominated by corporate consolidation, insiders called this "a welcome win for the little guy". In all, there were 16 applications for the 104.1 frequency.

Much of Canada's radio aristocracy came pouring into rainy Vancouver in the days immediately preceding the Feb. 25 CRTC hearing. Hunkered down in hotel boardrooms, some of the finest minds in the industry strategized each and every word and figure in their carefully crafted scripts designed to win the final FM frequency to be granted in Vancouver. In all, 17 applicants (in addition to interveners) were scheduled to begin presenting on Monday. A good mix of broadcast groups (Pattison, Astral, Evanov, Vista, Harvard, etc.) and experienced independents stood at the ready.

On Friday Dec. 15, the CRTC delivered its Christmas present, announcing the results of its commercial radio policy review. I suppose that makes Chairman Charles Dalfen Santa or Scrooge, depending on your point of view. The proximity to Christmas will serve to limit reaction time, but I'm sure all of the interested parties will be giving us their viewpoints on what they found in their stockings.

The story began with four gruelling days of hearings held this past May in Gatineau. Since then, members of the broadcast and music industries have been nervously waiting for word to come down. While there was nothing startling in the release, the most surprising elements were the regulations that were not altered. Let's take a look at the highlights, and most importantly, the ramifications of the decision.

The electronic media is standing at the crossroads.

But unlike the legend of Robert Johnson, we're not quite sure who to sell our souls to if we want to control the future. So many options, from digital, satellite and Internet radio to iPods, downloads, blogs and podcasting seem promising. But like disillusioned children clutching at an empty string, we have already watched in horror as our dot com bubbles burst. The path to the future is anything but straight. Just as soon as you think you have discerned a direction, a new tangent pops up and the public's tastes scurry down another road.

If life has taught me anything, it is that I know nothing at all. But since I can't end the article here, I'll go on.

When we speak of anniversaries, we generally refer either to happenings of historical significance or those of a more personally relevant nature. For many, the 50th anniversary of CHUM fulfils both criteria. For long time fans of radio and pop music, 1050 CHUM, launched by Allan Waters in December 1954, generates some serious sentimental currency in our memory banks.

There are but a few defining moments in the history of any industry. Today marks one of those moments for radio broadcasting in Canada. The CRTC decision unveiled at 4pm today maps out a future for radio which will undoubtedly energize listeners from coast to coast. With their approval of three subscription licenses, the CRTC issued an emphatic yes to new technologies which Chairman Charles Dalfen, in a crystal clear (you might say digital) fashion, declared "will help to give Canadian talent exposure to listeners across Canada and indeed, North America-both through new Canadian channels and airplay on U.S. channels." John Bitove, chairman CEO and founder of Canadian Satellite Radio, the firm that triggered this entire process, said "this is a tremendous opportunity for all Canadians and an evolutionary milestone in maintaining our country's leadership position within the global broadcasting industry." Kevin Shea, President & CEO of Sirius Canada remarked that "the commission has worked hard to give us a reasonable and creative framework within which we can move toward providing Canadians with an outstanding programming line-up."

Erin Davis will be returning home to CHFI-FM, back to the friends she made in her 15 years spent hosting that station's morning show. Most recently she had been co-hosting the morning show with Mike Cooper on EZRock 97.3. There (in the M-Fr. 6a-10a slot) she helped the station post a 12.4% share of hrs. tuned for Women 25-54 and a 7.6% share for A12+ (BBM Fall 2005). Erin signed off of EZRock for the last time this morning. She and Cooper will be joining forces in the jump to competitor CHFI.

MONTREAL - The National Campus and Community Radio Association has announced its endorsement of Independent Music Month (IMM), an initiative fostered by Indie Pool (Canada) Inc. and supported by Canadian Satellite Radio's national talent development commitment.

IMM is a music industry education seminar series travelling from St. John's to Victoria (and more than 25 points in between). This unprecedented regional outreach will bring the music industry to tens of thousands of independent musicians across the country, many of whom don't get to our music industry centres in Toronto or Montreal.

While there is a perfectly sound technical explanation for how programming created in a small studio emanates and somehow fills our radios right out of thin air, I prefer to think of it as magic. And nowhere was that magic more evident than in the early days of 1050 CHUM. On the occasion of the 50th anniversary of CHUM, I had the pleasure of reminiscing with the legendary Geets Romo and taking a behind the scenes look at how dramatically technology has evolved.

When CHUM was launched by Allan Waters in December 1954, its transmitter was a modest 250 watts and only broadcast dawn until dusk. Located on the Toronto Islands, its power was gradually increased to 10,000 watts transmitting around the clock. In the early sixties, a new tower was constructed in Clarkson, Ontario beaming out a blistering 50 Kilowatts. The tower remains there to this day, although a new Harris solid state version was installed last year which boasts 89% power efficiency. An important development since that end of the year power bill can be a killer for AM stations.

When we speak of anniversaries, we generally refer either to happenings of historical significance or those of a more personally relevant nature. For many, the 50th anniversary of CHUM fulfils both criteria. For long time fans of radio and pop music, 1050 CHUM, launched by Allan Waters in December 1954, generates some serious sentimental currency in our memory banks.

I'll begin by saying that I'm not an historian. Moreover, I can't pretend to do justice to the many people who played a role in CHUM's long and illustrious history. Instead, as someone who loves radio, Ill relate a few of the significant events I've witnessed along with a few of the telling tales that have been passed down to me.

The illustrious history of broadcasting in Canada all started in December of 1900 when
Reginald Fessenden of Quebec first transmitted the human voice. That makes radio older
than that fuzzy food item wrapped in tin foil in the bottom of my refrigerator.

SONGS IN SEARCH OF AN AUDIENCE will find one with subscription radio

The closest I'll ever come to the upper crust is the stale loaf in the back of my top cupboard. All you'll find in common between Bill Gates' bank account and mine are the zeros. Still, I consider myself very fortunate. I've had the opportunity to be exposed to a good deal of great music and work with some outstanding artists. Like many of those people who share my passion for radio, it all started with a love of music.

Money was never the motivator. Had Bill Gates concentrated on radio instead of computers, his bank account might more look like mine.

You might say satellite radio received a warm reception at the Sept. 8 bash held at
Toronto’s Mod Club. A star-studded crowd attended the early evening affair hosted by
two of the subscription radio applicants slated to appear at the CRTC hearing beginning
on November 1st. The Sirius/Standard/CBC team joined forces with the Canadian
Satellite Radio/XM group to espouse the benefits of satellite radio in Canada for listeners,
artists, and members of the retail and music industries. The prevailing sentiment appeared
to be “license us both and let listeners decide”.

WHERE DO I TURN? That may have been the refrain coming from many of Erin Davis' faithful listeners after she left CHFI-FM in the spring of 2003, but we now have an answer.

Starting on Tuesday Sept. 7, in what will surely be a perfect fit, she will be co-hosting the morning show with Mike Cooper on EZRock97.3. The Standard Radio-owned station recently asked listeners to phone or e-mail their choice for a substitute while regular host Christine Cardoso takes maternity leave.

A new wave is sweeping over Canada in what will become a defining moment for radio broadcasting. With their approval of three subscription licenses, the CRTC issued an emphatic yes to new technologies which Chairman Charles Dalfen, in a  crystal clear (you might say digital) fashion, declared “will help to give Canadian talent exposure to listeners across Canada and indeed, North America-both through new Canadian channels and airplay on U.S. channels.”

The first critical step took place last November with the CRTC hearings in Ottawa/Hull at which 3 satellite/subscription applications were presented. These included the XM/Canadian Satellite Radio and Sirius/CBC/Standard satellite proposals along with the CHUM Ltd./Astral terrestrial/DAB offering.  In the room was a who’s who of Radio in Canada. The lobbying for intervention support leading up to all of this was intense. So much hand shaking took place that few people in the radio or music industries were left with shoulder sockets in tact. After that came the hand wringing as everyone awaited the decision which was over 7 months in coming.

Delivered by David Bray

Staying Tuned: Feb. 23, 2004

I know most of you are accustomed to thinking that people involved with radio get ahead by trading on their good looks. I mean God knows how many women have told me I have a face for radio. I thank you for the compliment, but I think that those of us who love radio also have something more to offer……

"The first cut is the deepest ……" I will always be amazed at how profoundly we are affected by the first songs and stories we hear over the airwaves. How our first experiences continue to resonate year after year. Those who have, in some small way, been touched by radio find themselves reaching out to it when the whole world seems out of touch. Whether it’s just to hear a news story, a song that somehow moves us, or finding out about a traffic jam up ahead. Maybe it’s a joke of the day or light-hearted banter that makes the drive to work a little more bearable. Radio is something we take personally. I’m not talking earth-shaking influence. It’s power is more subtle, but equally pervasive.

(and the Evolution of Rogers Flagship Stations)

Shock waves were felt throughout the land. A prophet came down from the mountain clutching programming commandments written in stone (which looked peculiarly like BBM diaries). After a tasteful pause for a commercial message, he issued a proclamation from the radio gods. "Thou Shalt Have A New Format and its name shall be *****".

It seems that while everyone was in agreement on the nature of this new sound, the people at CHUM thought he said "BOB". After some brief reflection, the people at Rogers were pretty sure he said "JACK". Lastly, the people at Corus are certain he said "Dave". Thus was born the divisions among believers in the new format sweeping the country.

"IF YOU HAVEN'T HEARD about the new station in town, you don't know Jack". On September 10, Rogers Radio VIP's rolled out the red carpet at head office, inviting advertisers to a presentation on their new "Jack" format which has been making waves in Vancouver and Toronto.

As you might expect from a station named "Jack", the tone was tastefully irreverent and consistently playful. The crowd was treated to packages of Cracker Jack, a life sized poster of a Jack Ass, Jack-in –the-Box TV creative and a series of one liners from the programming team - all topped off by a look at some serious ratings results and projections.