BBC journalists have been using AudioBoo since shortly after its launch in 2009 and the Radio 4 Today programme has providing catch-up audio for some time, getting around 20,000 listens to the 24 “boos” it posts each week, the FT states.
According to the article, the deal will “result in a series of branded BBC channels using AudioBoo, which the BBC hopes will broaden its audience reach worldwide”.
The FT states:
The decision to back such a small home-grown technology company is also a big step for the BBC, which has until now limited its official media partnerships to larger companies, such as Facebook and Twitter.
AudioBoo allows users to record and share up to three minutes of audio using the iPhone app or website. It also offers paid subscriptions for those who want to record and share longer interviews and sounds.
After launching in 2009, London-based AudioBoo gathered a loyal following of journalists and well-known personalities such as Stephen Fry who gave the platform an early boost.
AudioBoo founder and CEO Mark Rock told the FT that the BBC deal “took 18 months and 38 meetings to complete, because it was the first time a large media outlet had given official sanction to his business”.
Mark Rock, CEO of Audioboo. Photo by Kate Arkless Gray.
Since it launched in 2009, Audioboo has become widely used by journalists and so-called citizen reporters. You can add a picture and geolocate your Audioboos and simply engage with the community or use it as a audio player in a blog post.
Stephen Fry’s love of the audio recording and sharing platform, as well as the committed community of users have helped to cement it as a popular tool for journalists, and app on the reporter’s phone.
The Guardian listed the top 10 most-listened-to Audioboos back in June. We have been finding out about the latest developments by speaking to Mark Rock, CEO and founder, about Storify, the riots, Libya, its API and his thoughts on “friendly competitor” SoundCloud.
How has Audioboo developed, particularly now Audioboos can be added to Storify stories?
Part of the reason behind Audioboo is that the spoken word has been a really neglected area on the internet. All the innovation has been around music when it comes to audio, and the spoken word is a really evocative and emotional medium for reporting stories. If you just look at the Audioboo trending lists today probably several of the most listened to clips are from Libya.
What we set out to do was to make it as easy as possible for people to report or tell the stories or share an experience. Part of the deal with Storify is to be able to integrate that in a journalistic medium for not only reporting a story but also retaining it for future reference and use.
How was Audioboo used during the riots?
The riots were really interesting in that most of the journalistic output, so the Guardian, the Telegraph, Sky News, were using Audioboo to rebroadcast stuff they had already done.
I think where it really came into its own was people on the ground, with their mobile phones actually recording their experiences and some of the recordings are quite incredible in terms of what you can hear in the background: the riots, the sirens and fires blazing.
It’s a technological experience that even five years ago was not possible. And the audio was uploaded in two, three, four, five minutes of the recording being made and traditionally that would be a day or two days later.
We’ve seen the same in Libya. There are stories there which would probably would not get into a traditional radio broadcast. Very powerful stories, a lot of them done by non-journalists.
There’s a fantastic blogger called Libya17 who phones people up from America, phones people up in Tripoli and throughout Libya, and gets them to recount their stories live and then puts them up to Audioboo [you can hear the Audioboos from feb17voices here]. It’s a fantastic social record, I think.
You’ve opened your API. What are you hoping will come of that?
Even though we have mobile apps and a website, we really see ourselves as a platform to be used and abused.
Part of the Storify use was them accessing our API and just making it very easy for people to drag Audioboos into a Storify story.
We have a public API which does everything that we do so you can pull down clips, search, record, playback. All of that is out there now.
What we have done recently is a couple of things on the mobile front. There is an iPhone plugin. We have taken all our code for recording and playback and put it into a library for iPhone, which if you are an iPhone developer takes you about 20 minutes to integrate into an existing app. That’s been used by about four or five news outfits in Germany and Absolute Radio in the UK has incorporated it into three of its apps. It’s essentially a new way of citizen reporting or radio phone-in but with metadata and photos with location and tags.
What we also did recently is we open-sourced the code for our Android app. Android is a really difficult platform to support when you are a small company because a HTC works differently than a Motorola etc. We’ve actually stuck the entire codebase at github.com so that other developers can continue working on it.
Where do you see Audioboo in relation to SoundCloud?
SoundCloud has actually been going a year longer than us and I know [founders] Alex [Ljung] and Eric [Wahlforss] really well so we are friendly competitors.
SoundCloud is a fantastic system, a lovely website, lovely embed tools but it is 99 per cent music. Alex is a sound guy, loves that, and that shows in the product.
Where Audioboo works is in the spoken word. We’ve always been primarily about that.
Hopefully they can coexist. I know SoundCloud is looking to push much more into other areas of audio. But I think where we excel is on the stories that audio allows people to tell. Up until now that’s been news stories so we’ve been known as a news platform. We’re rapidly going to push out into other areas, whether its musicians talking about their music or sports people talking about their training, and we should see the result of that fairly soon.
Have you any plans to change the price and accounts structure?
We have a five-minute limit for free accounts. Hopefully soon we are launching a 30-minute account to appeal to podcasters. We think we can convert a good proportion of users to a paid service and that is going to be £50-a-year and with that you get additional stuff like a better iTunes listing and the ability to post to Facebook pages.
And we have our professional service which is used by BBC London, Absolute and Oxfam, which is much more about the curation and moderation of other people’s content.
Audioboo and SoundCloud have some differences when it comes to the player. Are you planning any developments to yours in the near future?
The commenting on the [SoundCloud] audio player is nice and I think it works for music and I would question as to whether it works that well for news. If I had a bigger team I’d love to have it. SoundCloud is 60 people, we’re five. We have a list of stuff we can do.
Any plans to cope with the problems of iOS native apps (such as the Journalism.co.uk iPhone app) which does not display the Flash Audioboo player in blog posts and news stories?
We currently have a player which, if you have Flash installed, will play in Flash. If you’re on an iPhone or an iPad, it will plays back in HTML5. That’s all in place for the site but where we haven’t got that at the moment is in the embedable player, where you can take the code from the site and put it in your own blog. It’s on a list at the moment. Stay tuned, is all I can say.
Any other developments in the pipeline at Audioboo that we should know about?
We’re continuing to improve the paid product. One of the things we’re doing is bringing back Phone Boo, which allows you to telephone call into the Audioboo website. If you haven’t got a smartphone and you haven’t got access to the web you can just make a telephone call and we record that and put it up on the web. We have partnered with an HD voice telephone provider so if you have an HD enabled phone it will record in infinitely better quality than a telephone call and it also means it integrates quite nicely with Skype.
We launched Boo Mail a couple of weeks ago. That’s the ability to send in a file by email, a bit like Posterous.
And for our Pro users we’re launching pre and post rolls. That is the ability to specify a sting or an ad or whatever you want at the beginning or the end of an Audioboo and that automatically gets stitched on.
Audioboo Pro will be the version used by ITV tomorrow, ‘which will contain a series of web tools which make it easy for companies, particularly media companies, to manage content coming from their audiences’.
Key to these tools are ‘magic tags’ – a private tag that the account use can apply to any Audioboo content creating a specific feed for use in a player on their site. ITV are using this system to help moderate the ‘boos’ left by fans.
The use of Audioboo by ITV marks a focus by the broadcaster on capturing the online buzz about the match alongside the roar of the crowd within Wembley Stadium. As such, the site will use Twitter aggregator Twitterfall to stream relevant updates to the microblogging site.
In addition, using a tool developed by thruSITES:
“The players’ names and faces will appear alongside bars which will move up and down to reflect the buzz around players during the game. The tool will be available after the match so that fans can scrub along a timeline to see which players caused a buzz at crucial moments.”
“Although the big clubs are well catered for of an afternoon with live commentary we felt that the smaller clubs weren’t really in a position to service the information requirements of their fans who can’t make it along for whatever reason or those ex-pats who are keen to find out what’s happening from afar on a Saturday afternoon,” explains MacDonald.
“We pick up the information via feeds from Boo which automatically populate the appropriate section of our site.”
P&B has tried updating web pages using email to text gateways and experimented with SMS updates, but these were time consuming and failed to convey the mood of fans at the game, he adds.
“It’s early days but we feel this could be a really neat, low cost way, of getting information back from around the grounds to those unable to attend. We’ll continue to grow the trial and get a few users on it and see how it goes from there,” says MacDonald.
London SE1 Community Website
James Hatts, editor of community website London SE1, published by Banksidepress said the site is also experimenting with Audioboo and has uploaded newsworthy clips, such as updates on a local fire.
“I think AudioBoo has great potential for local reporting – it’s just so easy. No waiting to get back to the office, no transcribing endless recordings, no editing, no waiting for YouTube (for example) to process your video,” says Hatts.
According to Hatts, the ‘idiot-proof brilliance’ of the app is comparable to using a Flip camera and could make it an important part of a modern reporter’s kit.
However, using it in a way that makes economic sense is a key consideration for Bankside:
“It’s early days for Audioboo but at the moment there’s no way to drive traffic to our own site from a boo page, for instance,” explains Hatts.
“There are interesting future possibilities for using voice recognition software to display contextual adverts around the audio player (or even to insert relevant audio adverts).
“At the moment it’s great for novelty value and building an audience and building a brand, but even an operation like ours which is run on a shoestring needs to be able to derive some revenue from our content.”
Our Man Inside
Rock said Audioboo should be used to augment other reporting and that audio was an emotive medium – both ideas that seem to have been taken on board by ‘social media mongrel’ Christian Payne in his use of the app.
“[W]hile i experiment, I have fallen back in love with audio. It makes you think more about how you describe your surroundings. It makes me want my surroundings to explain themselves. Either by getting close to a person and their opinion or close to environmental sounds,” he writes in a blog post.
“Combined with a photo attached to act as a catalyst for the imagination, the listener is not being force fed the story. They have to take a moment to let their imagination get involved in the media.”