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On August 1, Calgary Top 40 station AMP Radio became the first station in the world to switch to the new QuickHitz format. Developed by Vancouver-based SpakNet Communications, QuickHitz whittles songs down to half their length, so twice as many can be crammed into an hour.
So far, listener and artist response has been brutal, but survey results may prove different. What do you think? Is shortening songs a legitimate programming tool? If so, by what method, by how much and in what circumstance would you do it (i.e. what target market and format)?

Following the results of Survey One 2014, 2GB, both Alan Jones and Ray Hadley complained about the media coverage of Survey One in Sydney and, to some extent, Melbourne. They complained that the average person could have been forgiven for thinking that the number one station in Sydney was KIIS and the number one breakfast show was Kyle and Jackie O – no mention of Alan Jones on 2GB

In Melbourne, it was Eddie McGuire on Triple M touted as number one with most media ignoring Ross and John of 3AW.

In both cities the first station on the FM band is actually the third ranked station in the market. Should listeners, as Alan Jones said, ‘"be told the truth?"

You can listen to what they said here:’s-number-one

What is your considered opinion of Kyle and Jackie O moving to 106.5 in Sydney and the station's (likely) change of name to KiiS?

How, in your opinion, is it likely to affect the Sydney breakfast market?

Every year or so music entrepreneur Michael Chugg gives radio a spray for not playing enough Australian content. He recently told the BIGSOUND Conference, “The quota’s far too low and they take advantage of late night… running tracks from midnight to dawn. They’ll deny it, but it’s true.” Adding, “It’s bullshit, and it’s holding the industry back.” Is he right?

Ever since in car entertainment systems allowed drivers the choice of listening to radio or their own music, pundits have forecast radio's demise. Yet radio has survived as it seems that for most people there's a time to listen to radio and a time to listen to their own music. My question is what makes these new cloud based music "stations" so different? With the three main FM commercial networks all partnering with one these online music servers, where does that leave triple j?

There's no question that digital radio is the future but what does this mean for announcers. Do you envisage a need for more annoucners with a greater variety of content needed to offer to niche markets or less announcers with more content shared such as the content that was sourced for comedy station "Barry"? Is my job as announcer future-proof and what can I do to be ahead of the pack as we head into a new era of radio?

Many years ago, a legendary U.S. program consultant, George Burns, confided in me that half his clients research everything to the enth degree and half don’t. Of those that do, half of them are very successful and half aren’t. And of those that don’t, half are very successful and half aren’t.

So, what’s your approach research? Can too much research stifle creativity? Should more stations take more risks?

Given that most on air jobs in capital cities go to stand up comics or people who are already celebrities in their own right, is there really a need for Radio Schools like AFTRS to provide an announcers’ course?

With more and more radio advertisers wanting integration and new forms of ‘product placement,’ what is the future of the humble 30 second commercial? Will commercial radio need to find a new business model? If so, what is it likely to look like?

If television can have Logies Awards that include both commercial and ABC networks, what’s wrong with holding similar awards for Radio?


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