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.
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.
