The transition to digital radio has been slow, but no one should have any doubt about its inevitability. One of the greatest challenges in ushering digital radio into the market, aside from differing standards (in Europe) and analog radio shut off issues, is the user interface. Digital radio opens up a new world of location-relevant information including both data and content all of which means opportunity for system designers to compete and differentiate. Digital radio is forcing designers to change the way they think about broadcast content and how consumers will access and “discover” new sources and types of content – from traffic and weather information to podcasts and enhancements such as slideshow functionality and conditional access. While the fundamentals of frequencies (in the U.S.) and station names (Europe) remain unchanged, the ability to search for specific content or location information is transforming the radio experience. Digital radio is ideally suited to the emerging cloud-based content and service delivery world confronting the automotive industry. This convergence of radio and the cloud is manifested most obviously in so-called hybrid radio (promoted by RadioDNS www.radiodns.org) which brings together broadcast signals with online content enhancements such as album art. Of course, hybrid radio is still just an idea today, although broadcasters and content providers are building the necessary databases to support the technology. (Strategy Analytics data shows FM radio technology forecasted to be available on 60% of handsets sold in the U.S. by 2014.) Meanwhile, electronic programming guides – such as RadioTime – have already made search and location relevance a reality. The unspoken facilitating technology is the smartphone. The growing popularity of smartphones and the corresponding rise of automotive smartphone connectivity and application stores have facilitated the introduction of Internet radio and music services into cars. The integration of this access with on-board systems will add yet another layer of added value for the consumer. Even more significant is the emergence of interactivity and conditional access to radio content. The proliferation of music services is turning music consumption into a thumbs-up/thumbs-down proposition allowing consumers to customize their experience..Among the music services enabling this customized experience are Pandora (streaming), Slacker (cached), Mog, Rhapsody and Thumbplay. But unlike digital radio, none of these services are completely free for a commercial-free experience. Digital radio stands alone as a ubiquitous, free-over-the-air offering increasingly built into OEM and aftermarket solutions. Of greatest importance, from a user interface perspective, is the fact that the OEM can control, leverage or drive the digital radio experience, unlike Internet radio, which is connectivity based. The march toward digital radio was manifest at last week’s WorldDMB conference in the form of software defined radios capable of supporting DAB, DAB+, DMB and HD Radio systems. Companies showing such solutions included ST Microelectronics, Maxim and EtherWaves. Frontier Silicon laid claim to market leadership in digital radio implementations in its comments at the event. Frontier made a distinction between higher cost software defined radio solutions that provide for flexibility and upgradability and hardware radios that are lower cost and less flexible, while offering a third path of hybrid radio (not to be confused with the RadioDNS technology) offering an optimal mix of lower cost and flexibility. Panasonic Electronic Devices also showed multiple-format modules at the conference. The overall tenor of the WorldDMB gathering was oriented toward overcoming transition issues for the implementation of digital radio throughout Europe. Of course, the industry can only progress as quickly as the systems can reach the market. Hardware and software companies are still scrambling to bring all of the capabilities of digital radio into being. This is most clear from the progress of iBiquity Digital in the U.S., key sponsor of HD Radio technology. This week the company reported that 18% of aftermarket systems sold in the U.S. this year came with HD Radio. The company also reports steady progress in recruiting OEMs to implement HD Radio, which is increasingly standard. But none of the implementations currently on the market are able to take advantage of the complete range of available digital radio applications. So, the content is available in the form of hundreds of broadcasters and the receivers are in place in line-fit and aftermarket solutions, but complete technology deployment is still in progress at the silicon level. Nevertheless, governmental authorities are aggressively pursuing awareness campaigns and contests intended to drive digital radio adoption. The numbers are still modest, typically in the hundreds of thousands of units, but at least these representatives recognize that digital radio will require active efforts to stimulate consumer interest. At the same time, new capabilities will mean new business models and new user interfaces. One of the essential reasons for the introduction of digital radio is to open up congested airwaves to more broadcasters and more broadcast content. This will stimulate additional advertising and revenue opportunities and confusion. But these are early days for digital radio. The inevitability of digital radio was clear at the WorldDMB conference where country rollout status reports were shared including some hard digital switchover dates, such as the U.K.’s 2015 deadline. (France was notable by its absence at the event - due to logistical issues. But France’s mandate for DMB leaves no room for doubt regarding its transition to digital radio.) Whether or not digital radio replaces analog radio over the long run, the automotive industry is in the forefront of the movement and stands to reap the greatest rewards. It remains to be seen which OEMs or suppliers will lead the way but the race is on to deliver a new level of value to consumers. Further insight: http://bit.ly/8Z8HZh - Automotive Connectivity: Beyond Bluetooth Solutions - Automtive Multimedia Communications - Mark Fitzgerald http://bit.ly/b5W8ZS - Nokia and RIM Push Into Automotive as 'Apps' Competition Mounts - Automotive Multimedia & Communications - Joanne Blight http://bit.ly/blAHUC - Handset Sales by Type: Smartphone, Feature Phone and Basic Phone - Wireless Device Strategies - Alex Spektor http://bit.ly/9jANwu - Global Smartphone Sales Forecast by Country Western Europe and North America - Wireless Smartphone Strategies - Thomas Kang

When is Internet radio not Internet radio? When it’s a music service or programming guide. That’s one of many problems with Internet radio, nobody seems to understand what it is, which means marketing messages are confused and confusing. But the market leaders are finding success in spite of themselves with music service Pandora boasting a subscriber base of 45M; competing service provider Slacker claiming 15M; and programming guide supplier RadioTime reporting 40M listening sessions/month and rising. Pandora has captured the imagination of car makers and the creators of automotive infotainment systems. Both Ford and QNX have announced plans to bring Pandora to in-vehicle solutions. Nearly everyone in the automotive industry considers Pandora to be so-called Internet radio. Even Pandora calls itself Internet radio, but, in fact, it is a music service, not unlike Napster and Rhapsody or even iTunes. Note that no one would normally refer to Napster, Rhapsody or iTunes as Internet radio services – yet they perform many of the same functions of Pandora. The point is important to understand because there is a battle for the ears of listeners “trapped” in their cars. Today, these ears have more choices than ever before including traditional AM and FM, satellite radio, digital radio, recorded content (disc-based and digital) and streaming content from music services, podcasts, and, yes, Internet radio. And Internet radio is presenting an emerging challenge to music service providers. With vehicle connectivity being enabled via broadband and narrowband technology embedded or carried-in, consumers have access to virtually the entire conceivable spectrum of live and recorded content. The newest arrival, following Pandora’s debut, is RadioTime, an Internet radio programming guide. RadioTime arrives on the scene just as engineers and programmers are facing the monumental challenge to enable access to these services and their content. The objective is to organize and manage that content in an intuitive manner that can be easily and attractively communicated to consumers. The challenges are formidable. Slacker, a music service that competes with Pandora, claims millions of songs for a library 5x the size of Pandora’s and based on direct relationships with the “labels” responsible for the music. Slacker’s content is packaged in 120 genre stations and 10,000 artist stations. Both Slacker and Pandora have their own strategies for packaging their music offerings, with Pandora’s based on the increasingly ubiquitous thumbs up/down approach in contrast to Slacker's stations. And neither of these companies possess the licenses necessary to operate outside the United States and Canada - even Pandora is not available in Canada. This is where RadioTime comes in. RadioTime, the Internet radio programming guide selected by BMW for its Mini integration, provides access to 65K Internet radio stations from around the world. And the access to those stations is global, which helps to explain BMW/Mini’s choice. For in-vehicle delivery of these new music experiences the first steps are apparent in the latest iterations of Microsoft Auto which provide for song look up by voice regardless of source. QNX has also shown Internet radio integrations though generally focusing on Pandora – a lead that has been followed by Tier One suppliers (and QNX customers) such as Visteon, Continental and Denso, all showing their Pandora solutions at recent trade events. The importance of BMW/Mini’s RadioTime announcement revolves around the fact that RadioTime is a programming guide for Internet radio and is NOT a music service. RadioTime offers one of the first radio programming guides, focused as it is on Internet radio, yet it also includes non-Internet radio sources such as traditional FM and digital radio. RadioTime’s competitors include Reciva and vTuner, which have comparable offerings on a much smaller scale and lack regular FM or digital broadcast content. The only element missing from the RadioTime proposition is the personalization capability that distinguishes Pandora, Stitcher and others (ie. the thumbs up/down aspect). But RadioTime does uniquely offer localized content with local stations broadcasting audio and text in the local language. It is still early days in the Internet radio and music service business as far as automotive and mobile app implementations are concerned but there are already dozens of mobile applications available for nearly every mobile platform. For music services the business model revolves around subscriptions, paid downloads and advertising. The business models range from free (often with advertising) to paid (without advertising) and include sales of music and other access privileges such as caching or "skipping" songs. The major music services are Slacker, Pandora, Rhapsody, Spotify, iTunes and Napster. The major programming guides are RadioTimes, Reciva, vTuner and Radio Locator. The available Internet radio stations include: iHeartradio, RadioParadise and a host of individual and bundled stations ultimately encompassing the entire 65K stations available worldwide. Mobile radio apps include Flycast, Stitcher, Radiolicious, and WunderRadio amidst a long and growing list. Most listeners enjoy these services over their personal computers or televisions but a growing population are accessing content via mobile devices and, soon, will be plugging into Internet music sources via embedded systems. For now, though, car makers are preferring to maintain an arms-length relationship with these services by enabling access via a customer’s own phone and data plan. To achieve this requires either streaming Bluetooth connectivity via A2DP access or a hardwired connection. Slacker stands out in this crowd as offering a third path of storing content for later play instead of streaming, not unlike some of the portable satellite radio devices currently available. Slacker can be streamed or cached, giving it a unique advantage in the market. Despite this unique position, though, Slacker has yet to garner any visible design wins in the automotive market, though it is available on most popular smartphones. Ultimately, the market will favor low-cost Internet radio and music service solutions. This means that the battle today is between content aggregators such as RadioTime, Flycast, Stitcher, vTuner and Reciva and their ability to compete or co-exist with music service providers. Whatever the outcome, drivers with smartphone applications stand to benefit handsomely. For additional insight see: CES 2010: The Arrival of Converged Automotive Multimedia Products - John Canali -  http://bit.ly/9gq4yo Automotive Bluetooth: Profile Strategy Key to Infotainment Success - Mark Fitzgerald - http://bit.ly/9qEXbU Internet Radio: Ready for Prime Time - Mark Fitzgerald - http://bit.ly/ZBXzd

Leveraging its TotalGuide interactive programming guide and Lasso and Connected Platform networking technology, Rovi is seeking to become master of all content.  The company wants to own the interface between the user of audio and video content and the process of discovering and acquiring that content regardless of source or device platform. At the CES show in January, the company was touting new content partnerships with Showtime Networks, ZillionTV and Rhapsody in the U.S. along with a list of European based firms.  Existing sources include CBS, Blockbuster, YouTube and Roxio CinemaNow.  Rovi’s technology is built upon, among other things, the growing metadata and user review databases of its own AllMediaGuide and partner Flixster, along with WideVine’s digital rights management solution.  The company claims more than 25 million U.S and 50 million worldwide households using its interactive programming guide which also serves as an advertising platform. While Rovi’s role in the automotive market is less obvious, the company is more than three years into a drive to resolve content and rights-related challenges to accessing media and content from multiple sources conveniently and legally on mobile devices and in cars as well as in homes. Rovi’s role in the automotive market is growing as in-vehicle device interfaces such as USB ports and Wi-Fi connections proliferate along with external connections via embedded modules or smartphones.  More content and media are being brought into cars and Rovi is coming along for the ride.  Current partners in the automotive segment include Kenwood and NXP. Rovi’s technology is also used by Apple’s iTunes store among many other online content sellers. Introduced late last year and currently available, Rovi’s automotive solution combines its Lasso and Connected Platformm technology for the automotive market and includes:

• Media Lookup: the ability to use Rovi's metadata library to identify, tag and manage digital content.
• Rich Entertainment Metadata: information on a variety of music and movies, supports multiple content types from CDs, digital files, DVD, Blu-ray Discs.
• Software Update: periodic updating of embedded databases via removable media or home network connectivity.
• Content Transfer: transfer of audio files and metadata to the vehicle from standards-based devices on a home network.
• Device Sharing: interoperability of portable devices via USB and standards-based connectivity.

To achieve the necessary connectivity, Rovi is supporting the Digital Living Network Alliance’s (DLNA) new guidelines for the service provider market that will enable consumers to play back and share commercial video and music across DLNA Certified devices. DLNA certified devices are proliferating in the PC (Windows 7), set-top box, TV, Blu-Ray, and mobile device markets, paving the way for smoother access to content from multiple sources. In the consumer electronics market, Rovi wants to become the default programming guide for the next generation of HDTVs, Blu-ray players and set-top boxes.  The importance of this effort is that the company is bringing together both in-home consumer electronics content access and mobile device access.  TotalGuide will integrate cable and broadband video content side-by-side, in a single unified interface in the home, but can be expected to deliver a similar solution in mobile environments. This means, Rovi will help enable the discovery and distribution of content, regardless of the delivery source or device platform.  And Rovi also has the user reviews and metadata from partners like Flixster to offer social recommendations for video viewing.  Competitors include Vudu, Boxee and TiVo, among others, but Rovi arguably has an edge with its unique combination of content, rights protection, metadata, and user reviews. And Rovi is the only player pursuing automotive opportunities.

Rovi’s rights protection technology comes from Widevine’s video optimization and DRM solutions.  Widevine is a provider of adaptive streaming, interactive DVD/Blu-ray and DRM technologies to Internet content services as well as cable, satellite and telecommunications companies.  Rovi says that by working with Widevine, consumers using its TotalGuide will be able to have access on their TVs to more content, such as movies and TV shows, from more providers.  At the CES show, Rovi showed its new Media Management content management solution.  Media Management helps manufacturers of PCs, set-top boxes, mobile handsets, and network-attached storage devices identify, tag and organize digital music, videos and photos by attaching descriptive metadata to the asset for easier filing and searching..