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THE MADIA JUNE 2018

ONLINE RADIO ADVERTISING Integrated adv ertising packages Aside from selling traditional radio advertising formats, including the 30-second ad spot, all the online stations spoken to are creating integrated advertising packages, offering more than just the online radio space in a bid to boost the attractiveness to agencies and brands. “We’re still selling traditional radio advertising, while we’re setting up our digital streams and getting the statistics on the digital side,” explains Tony Mallam of Massiv Metro. “Ultimately we want to be a digital radio station with a very large electronic database, but right now we are going the traditional radio advertising methods, coupled with an integrated approach, tucking it into the rest of Massiv Media as well,” he adds. This includes the out of home and digital television assets that Massiv Media owns. “Online radio is still a hard sell,” says Mallam, “But we’ve managed to bring on seven or eight mainstream advertisers … The biggest problem is media buyers, strategists and planners are using Telmar, and if you’re not on Telmar, you’re not even on their radar. You’ve got to sell yourself and be a lot more visible and make a huge amount of noise to get their attention; you’re not an automatic buy”. The end game for Massiv Metro down the line is to get to programmatic buying, with a hybrid of that and traditional radio advertising. For CliffCentral, advertising options include podverts and podvertorials (words the station’s coined to include live elements, interviews, and branded content made in an authentic, conversational style and distributed as podcasts), amplified by social media and live events. TransAfrica Radio offers paid for interviews, along with outside broadcasts and activations, and amplification on its social media channels and website. It has also introduced a ‘cost per listen’ revenue model as opposed to a broad cost. Real engagement audiences vs. mass reach One of the major selling points of online radio is the niche, targeted audience that stations serve, with Ntuli commenting that online radio guarantees listener numbers, while traditional radio works on estimates. “Brands are slow adopters for things that are cutting edge and The Eye is edgy as hell! We are playing in the content and culture space in a way that a lot of traditional brands would never dare to,” Savage explains. “Our business proposition is focused on real engagement audiences and genuine numbers – we try not to deal in ‘reach’ because we feel that the term is too unspecific. You can buy reach but you can’t buy engagement ... Our whole goal at The Eye is to show that 30 000 genuinely engaged fans is a hundred times more powerful than a 3 000 000 reach.” CliffCentral founder Gareth Cliff has a strong message for brands and agencies: “More than ever before, business is driven by constant, relentless change, and if advertisers don’t embrace that change they will get stuck and become irrelevant. CliffCentral isn’t a platform for the future anymore; it’s the platform of the moment.” Take notice everyone, online radio is here. It will only become more prevalent as time goes by, and it looks like it will increasingly eat more and more of brand ad spend. • Streaming radio on DStv Another non-traditional way of listening to radio, although this is for traditional radio stations, is through the DStv audio platform. There are currently 58 radio channels and 36 audio DMX channels on this platform. They are offered as a value-add to DStv’s customers and the media group does not sell airtime on them. The costs involved in delivering the channel to the DStv platform are negotiated with the radio stations involved. While DStv refused to give a breakdown of listener numbers, the group in a statement said, “The DMX audio channels are the most popular among our DStv Premium customers, whereas the radio channels are more popular with our customers on the other DStv packages.” Asked how audio channels are chosen to appear on their audio platform, DStv replied, “We look at the listenership and audience for the channel, and whether our customers are interested in getting the channel. As this is very much driven by our customers for our customers, the process is usually kicked off by the radio channel themselves. There is a cost involved to the channel to deliver their feed to us, but a reward in that their listenership is not limited by geography and they become accessible to all DStv customers in South Africa. Our DMX audio channels come from a single supplier that curates the playlists for each channel based on the music rights available in South Africa.” www.awakeonline.co.za EST. 2000


THE MADIA JUNE 2018
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