Noice's Long Way to Lead Audio Content in Their Own Country

To this day, the competition map for entertainment applications in Indonesia, be it social media or streaming video/audio, is dominated by global players. The opportunity for local platforms is actually still there, but it requires striking differentiation and according to the preferences of Indonesians in order to acquire new users.

The formula was successfully applied video and Mola TV which survives because of its strategy of broadcasting sports content exclusively, amidst the onslaught of platforms video streaming global. According to research Nielsen Sportsin 2017, Indonesia (77%) ranked 2nd globally after Nigeria (83%) as a country that has a high interest in football.

That “exclusivity” formula does not apply to applications streaming audio. No local platform that dominates in this entertainment vertical. The opportunity has finally emerged since podcasts have mushroomed in Indonesia. DailySocial once reviewed how big the chances of local players to become kings in their own country through this voice-based content. Noice is one who is trying to pursue this position.

In a joint interview DailySocial, CEO of Noice Rado Ardian said, the podcast and non-music audio industry continues to grow, but platforms providing quality non-music audio content are still very limited. As a result, Indonesia is still in a significant asymmetry in support for digital-based entertainment content.

In Noice's research, at least 24 hours, Indonesians consume visual content within 12 hours or so on screen, then four hours off screen which is the audio platform opportunity, and the remaining eight hours are for downtime.

Moment off screen, or Noice calls it screenless moments, are moments where users listen to audio content providing convenience for those who are multitasking and productive activities without looking at the screen, such as studying, riding, driving or sports, but still want to enjoy quality entertainment content.

This validation is proven by Noice's annual achievements. Noice users increased by 144% in the last year or reached almost 1 million users. The average daily active listener spends more than 60 minutes on the Noice platform each day. Generally users listen to content at night before going to bed.

These users come from the age range of 18-34 years with various work backgrounds, including students, fresh graduates, employees, workers and housewives. There are more than 100 original contents that have been produced by Noice creators, and the number continues to increase. Favorite genres that many people listen to are comedy, horror and hobbies.

"When Show What [we created] turned out to be more and more people listening, this is validation that Indonesians need it screenless moments. "We want to provide moments that videos don't provide," said Rado.

accounts hyperlocal

The differentiation that Noice always emphasizes compared to similar players is strategy hyperlocal as part of a hypothetical company that wants to be the home of audio content in Indonesia. Rado explained accounts hyperlocal This really prioritizes aspects of Indonesian and regional languages ​​with topics that are relevant in each region.

In further translating this strategy, Noice has made many developments tools in order to increase growth from the supply and demand side. In increasing supply, the company will collaborate with local communities to find quality creators who can work through Noice.

From Noice's monitoring, there are many local creators with quality content, but in visual form. For this reason, a variety of educational processes are needed webinar so that creators can create quality audio content. The reason is, the process of creating audio content is not haphazard because it plays on elements of the brain's imagination with a series of words.

“Because creating audio content is different from visual content because you have to play it theater of mind, must know how tocaptureit is in audio format. So it's not random convert from visual to audio content, because the target audience is different," added Noice Chief Business Officer Niken Sasmaya.

According to him, the process of creating audio content is much simpler than visual because there is no need to include supporting images. What is needed is to arrange the flow of discussion and speaking style so that it can capture the listener's imagination, so that the experience when tapping is much more different.

Niken continued, the Noice team provides full support with studio facilities, a special production and marketing team for creators who want to create original and exclusive content on Noice. “There are producers and programmer which will help us think about the concept we want to create according to the listeners' interests, from there we look for suitable talent. Vice versa also the process [if talent comes to Noice]. So there we are brainstorming with talent, what topics he likes to discuss.”

Assisted by the Mahaka Group, which is Noice's parent company, the search for local talent will be easier because its network in the radio industry is already extensive throughout Indonesia. Niken said that Mahaka's support in increasing Noice's penetration was also intense, both deep content partnerships as well as collaborating with radio broadcasters.

“In Mahaka there are many radio influencers famous, we want to collaborate these two worlds. We are currently working on a plan regarding this."

Apart from finding and increasing talent capabilities, Noice also opens a platform so that more local creators can distribute their work via RSS feeds. Thus, the content supply at Noice is not only original and exclusive works.

According to Niken, if there is content that has the potential to grow well in the future from this feature, it is possible that they will be invited to collaborate more deeply with Noice to become an exclusive partner.

Currently, there are a number of local creators who have been recruited by Noice in their respective regions in the form of Noice Original and Exclusive, including Lambemu (Surabaya), Capila (Sulawesi), Balik Bandoeng (Bandung), and Stories of Hometown (Yogyakarta).

The presence of these local creators is able to increase the distribution of Noice users. Although the majority are still in Jakarta (18,05%), there are interesting contributions from listeners in Surabaya (16,45%), Depok (8,24%), Makassar (5,29%), and Bandung (5,28%). %).

Noice Live

Meanwhile to improve the side demand, Noice has developed many features that have the objective of increasing two-way interaction between creators and their listeners. The feature that so far represents this objective is Noice Live, which the company recently launched and will be a big feature in Noice.

Noice Live is actually not much different from Clubhouse because it allows creators to interact with their listeners directly real-time. The topics raised are varied, ranging from light chat, comedy, music, business, to current issues.

However, according to Rado, there are several differentiations that make Noice Live distinctive with an Indonesian feel. Namely, it allows listeners to directly provide comments inside room in a manner live. This feature is here because Indonesians like to be directly involved with their favorite creators.

Listeners who have registered an account simply open the Noice application and click room whose content you want to listen to. Apart from that, verified creators who want to create content on room Noice Live can also invite listeners to become speakers/guest in that room.

“We want to create a new experience in improving engagement between creators and listeners in two directions. From the collaboration that we have done with creators, engagementit's good, live sessionsthere are lots of them stay until the end because listeners are happy with the content. "This is a new color for us, in the future Noice Live will be able to be used in other formats."

Noice Live is more selective in opening up opportunities for creators who want to create room, only those who have been verified. So not just anyone can open it room. This is to maintain the quality of the content presented by Noice.

“Not everyone wants to be speaker, there are those who just want to be behind the scenes. That's why we do it room it's just for selective creator. But there is a possibility that we will open it to more people, like public figure or celebgram, so that the content can be of higher quality and more engagement happen."

Other features that complement Noice's ambitions as a home for audio content are audiobook, named NoiceBook. It is said that currently there are 70 titles audiobook which has been published, the plan is to reach 150 titles by the end of this year.

Become a sustainable company

Rado explained Noice's various efforts as explained above to show that his party wants to create benchmarking in the industry, how to create quality audio content, considering that the audio content industry is still relatively new in Indonesia. “We want to participate in the industry with Benchmark sets so that you can inspire podcasts others who want to create audio content.”

Apart from that, the company has also made a number of monetization plans that Noice will carry out in the future so that it becomes a sustainable company. Niken explained in general in the audio content industry There are many ways of monetization, for example advertising adlibs which opens revenue sharing between companies and creators, as is done in the radio industry today.

The company will use this method this year. The monetization strategy that Noice has implemented is for original content produced in collaboration with creators who are appointed as talents. There is value given to them.

The company has also made it virtual gifts on Noice Live that users give to their favorite creators and can be cashed out. YouTube has done this via Super Chat.

"In the future, we will start opening monetization beyond exclusive and original content, there will be several monetization features that we will try. "We want to enable these creators to make Noice their livelihood," concluded Niken.