A detailed analysis of the commissioning of independent radio programme productions by BBC network radio stations in the UK, written by Grant Goddard in June 2010 for the BBC Trust [submitted to BBC Trust].
2. CONTENTS
1. EXECUTIVE SUMMARY
2. THE REGULATORY FRAMEWORK
3. THE RADIO BROADCASTING MARKET
4. THE INDEPENDENT RADIO PRODUCTION SECTOR
5. THE PRESENT BBC SYSTEMS FOR THE COMMISSIONING OF INDEPENDENT RADIO
PRODUCTIONS
6. THE RANGE OF COSTS WITHIN BBC INDEPENDENT RADIO COMMISSIONS
7. THE RANGE OF PROGRAMMES WITHIN BBC INDEPENDENT RADIO COMMISSIONS
8. THE DIVERSITY OF PROGRAMMES WITHIN BBC INDEPENDENT RADIO
COMMISSIONS
9. OPINIONS FROM THE INDEPENDENT RADIO PRODUCTION SECTOR
10. THE BBC EXECUTIVE PROPOSALS
11. CONCLUSION
APPENDIX A CONTRIBUTORS
APPENDIX B OTHER INDEPENDENT RADIO PRODUCTIONS COMMISSIONED BY THE BBC
APPENDIX C SURVEY OF INDEPENDENT RADIO PRODUCERS
APPENDIX D DIVERSITY IN RADIO BROADCASTING
APPENDIX E INDEPENDENT RADIO PRODUCTIONS AND THE BBC
APPENDIX E ABOUT THE AUTHOR
2
6. 2. THE REGULATORY FRAMEWORK
Under the terms of the 2006 BBC Charter and Agreement, it is the responsibility of the BBC
Trust to ensure that the BBC commissions a suitable proportion, range and diversity of radio
programmes from external producers.
This responsibility derives from Clause 58 of the BBC Agreement, which states:
Production of radio programmes and material for online services1
(1) The Trust must impose on the Executive Board the requirements it considers
appropriate for securing—
(a) that what appears to the Trust to be a suitable proportion of—
(i) the programmes included in those radio services (taken together)
which are UK Public Services, and
(ii) the material available to members of the public as part of those
online services (taken together) which are UK Public Services,
consists of programmes or, as the case may be, material made by producers
external to the BBC; and
(b) that what appears to the Trust to be a suitable range and diversity of such
programmes and material is made by such persons.
(2) In determining for the purposes of paragraph (1) what is a suitable proportion of
programmes or material, and what is a suitable range and diversity of
programmes or material, the Trust must have regard (in particular) to the desirability
(in the interests of listeners and users of the BBC’s online services) of both—
(a) encouraging an appropriate degree of competition in the provision of radio
programmes and of material to be included in online services; and
(b) maintaining within the BBC in‐house capacity for making such programmes
and material on a substantial scale.
(3) In this clause, “range”, in relation to programmes or material, means a range of
programmes or (as the case may be) material in terms of cost of acquisition as well
as in terms of the types of programmes or material involved.
In its initial submission to the government’s most recent Charter Review, the BBC had noted:
“In radio, the BBC is the only broadcaster in Europe to commission a significant amount of
output from independents. Within the UK, the BBC has had a voluntary agreement in place
1
Department For Culture, Media & Sport, Broadcasting: An Agreement Between Her Majesty’s Secretary of State for Culture,
Media and Sport and the British Broadcasting Corporation, Cm 6872, July 2006, p.30
6
10. 3. THE RADIO BROADCASTING MARKET
The BBC has the greatest share of the United Kingdom radio marketplace, in terms of both
listening and expenditure. Commercial radio has existed since 1973, most significantly in
local markets where it has proven popular. Compared to some traditional media, radio’s
performance in maintaining its audience in recent years has remained relatively robust,
though the economic model for commercial radio is presently under stress from both
structural and cyclical economic factors.
Figure 1: shares of radio listening (% of total adult hours listened)
1993 Q4 1995 Q4 1997 Q4 1999 Q4 2001 Q4 2003 Q4 2005 Q4 2007 Q4 2009 Q4
BBC Radio 54.9 47.2 47.9 51.3 53.4 52.9 55.1 55.4 55.2
BBC Network Radio 44.0 37.1 38.3 40.5 42.0 42.0 44.0 45.4 46.7
analogue stations 44.0 37.1 38.3 40.5 42.0 41.0 42.4 43.6 44.4
digital stations 1.0 1.6 1.8 2
BBC Local/Regional 10.9 10.1 9.6 10.8 11.3 10.9 11.1 10.0 8.5
Commercial Radio 42.6 49.7 49.5 46.7 44.6 45.3 42.8 42.4 42.6
National Commercial 8.0 10.7 10.0 8.3 7.8 9.6 10.1 11.3 10.4
analogue stations 8.0 10.7 10.0 8.3 7.8 7.2 7.7 7.7 6.7
digital stations 2.4 2.4 3.6 3
Local Commercial 34.7 39.1 39.5 38.4 36.8 35.7 32.7 31.1 32.2
Other 2.5 3.1 2.6 2.0 2.1 1.9 2.1 2.2 2.2
.3
.7
source: RAJAR
11
In terms of audiences, the BBC presently accounts for 55% of all radio listening, of which the
greater part is attributed to the BBC’s five analogue national Networks (44% of all radio
listening). Commercial radio accounts for 43% of all radio listening, of which local radio is the
most significant part (32% of all radio listening).12
Consequently, the BBC has the greatest
share of listening to national radio stations, whilst commercial radio has the greatest share
of listening to local radio stations.
Figure 2: radio industry funding (£m per annum)
year 2003 2004 2005 2006 2007 2008
BBC radio expenditure (£m) 585 607 626 614 653 643
Commercial radio revenues (£m) 543 551 530 512 522 505
TOTAL (£m) 1,128 1,158 1,156 1,126 1,175 1,148
source: Ofcom
13
In 2008, the BBC accounted for 56% of UK radio industry funding, a proportion that has
increased steadily as a result of the decline in commercial radio sector revenues from a peak
in 2004.14
In 2009, commercial radio revenues fell by 10% year‐on‐year, which is likely to
have further widened the difference in funding between the two sectors.15
Although the revenues of the BBC and commercial radio sectors are relatively balanced,
their operational structures are very different, resulting in very different flows of funds. The
BBC dominates the market in national radio with its five analogue Networks, whereas
commercial radio dominates the local radio market with more than 300 locally licensed
stations. The cost structures of radio broadcasting stations comprise mostly ‘fixed costs’
11
RAJAR
12
RAJAR, Q4 2009
13
Ofcom, The Communications Market 2009, August 2009, p.149, para. 3.1.1
14
ibid.
15
Radio Advertising Bureau
10
11. (which vary little by audience size or market size), resulting in very different expenditure
allocations as a result of commercial radio’s considerably larger number of station
operations compared to the BBC.
Figure 3: key flows of radio sector value (£m in 2007/8)
BBC radio
commercial
radio
production (£m) 405 98
transmission (£m) 47 61
general & administrative (£m) 91 190
rights (£m) ? 46
sales & marketing (£m) ? 114
EBITDA (£m) 0 42
source: Value Partners
16
In 2007/8, the greatest proportion (68%) of the BBC’s funding for radio was allocated to
programme production, whereas the greatest proportion of the commercial sector’s
revenues (55%) was allocated to administrative, marketing and sales costs.17
As a result, the
BBC’s total expenditure on radio production was four times greater than that of the
commercial sector, despite commercial radio being required by the terms of its licenses to
produce approximately seven times more hours of output than BBC radio.18
Figure 4: average costs of radio programme production (2007/8)
BBC radio
commercial
radio
programme costs (£m per annum) 405 75
number of radio stations 54 315
total hours output per annum 369,189 2,759,400
production costs per hour (£) 1,097 27
source: Grant Goddard [commercial radio hours output are estimated]
19
Of commercial radio’s £97.5m per annum expenditure on production, £22.9m was allocated
to the production of radio advertisements, leaving the remaining £74.6m per annum
estimated as commercial radio’s expenditure on programmes.20
BBC expenditure on
programmes was estimated to be £405m, demonstrating the significant difference that
exists between the BBC and commercial radio sectors in terms of programme production
budgets. On an average hourly basis, it was estimated that the BBC spent 40 times more
(£1,097 per hour) than commercial radio (£27 per hour) on programme production in
2007/8.
This substantial gap between the average radio production costs per hour of the BBC and
commercial radio helps explain their markedly differing approaches to programme
production. Much of commercial radio output comprises music recordings interspersed with
live talk from a presenter, whereas much of the BBC’s output (particularly on its national
Networks) consists of pre‐recorded, crafted programmes produced by a production team
over a period of days or weeks.
16
Value Partners, UK Radio – Flow of Funds, 4 March 2009, pp.8‐9 [although BBC radio ‘cost of content’ was cited as £351m for
2007/8 in: National Audit Office, The Efficiency Of Radio Production At The BBC, 13 January 2009, p.12, Figure 3]
17
ibid.
18
Ofcom issues licenses for the commercial radio sector that mandate each station’s broadcast hours (most require 24 hours a
day)
19
Data sources: Value Partners, BBC Annual Report, Ofcom [The £405m BBC production cost figure used here was cited by
Value Partners, although the BBC Annual Report 2007/8 cited £459.9m]
20
Value Partners, UK Radio – Flow of Funds, 4 March 2009, p.73
11
12. Figure 5: number of analogue commercial radio stations and total commercial radio sector
revenues (£m at 2009 prices)
106
107
122
126
143
172
177
205
226
242
248
255
261
268
272
288
310
315
317
300
231
271
326
388
432
480
548
600
746
677 682
712 734
683
628 619
557
506
206 218
0
50
100
150
200
250
300
350
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
0
250
500
750
1,000
number of analogue local commercial radio stations [left axis]
commercial radio revenues (£m @ 2009 prices) [right axis]
source: Ofcom, Radio Advertising Bureau
21
During the last decade, the gap in the funds available for expenditure on programme
content between the BBC and the commercial radio sector has been widened. This was the
result of continuing expansion in the number of operational commercial radio stations,
combined with a decline in aggregate sector revenues since 2004 in real terms. Although
some local commercial stations have closed as a result of financial difficulties, the sector as a
whole remains relatively large and is dependent upon diminishing revenues.
Figure 6: number of analogue local commercial radio stations and commercial radio
volume of radio listening (million adult hours per annum) by year
9
16
19
19
19
19
26
33
38
42
48
49
49
50
60
76
106
107
122
126
143
172
177
205
226
242
248
255
261
268
272
288
310
315
317
300
0
50
100
150
200
250
300
350
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
0
10,000
20,000
30,000
40,000
50,000
number of analogue local commercial radio stations [left axis]
volume of listening to commercial radio (million hrs/annum) [right axis]
source: JICRAR/RAJAR, Ofcom
22
In commercial radio, there exists an almost direct relationship between the volume of
listening a station attracts and the amount of revenues generated. Even before the current
advertising downturn impacted the sector, commercial radio’s listening had already
demonstrated slow decline for almost a decade. Consequently, it was inevitable that
revenues would also decline.
21
John Myers, An Independent Review of the Rules Governing Local Content on Commercial Radio, April 2009, p.23, Figure 4
[updated, 2009 number of stations estimated]
22
Ofcom & JICRAR/RAJAR [2009 number of stations estimated]
12
14.
Figure 8: weekly reach of all radio by age group (% of age group)
92.0
90.7
90.3
91.3
87.0
84.1
92.0
90.7
93.4
93.1
90.3
86.0
91.6
92.6
92.5
91.3
85.8
88.8
90.6
91.2
92.6
91.3
86.2
87.9
89.5
91.9
91.2
90.9
85.2
86.5
89.8
91.4
92.6
92.4
86.2
91.7
80
85
90
95
15-24 25-34 35-44 45-54 55-64 65+
Q4 1999 Q4 2001 Q4 2003 Q4 2005 Q4 2007 Q4 2009
source: RAJAR
28
Audience data demonstrate that the weekly reach of the radio medium is declining
significantly amongst the 15‐24 year old age group, and that two age groups – 15‐24 and 25‐
34 year olds – have fallen below 90% during the last decade.
Figure 9: average hours listened to all radio per listener by age group (hours per week
within age group)
20.6
22.0
22.3
25.3
25.6
25.7
21.8
22.5
23.7
26.0
27.5
26.9
21.7
23.9
25.7
27.2
26.9
19.6
21.7
23.2
25.5
26.6
26.1
18.3
20.0
22.5
23.8
25.8
25.2
16.1
18.2
20.9
23.1
25.0
24.9
21.5
15
20
25
30
15-24 25-34 35-44 45-54 55-64 65+
Q4 1999 Q4 2001 Q4 2003 Q4 2005 Q4 2007 Q4 2009
source: RAJAR
29
Audience data also show that, within all adult age groups, the time spent listening to radio
has been in decline, most noticeably in the 15‐24 and 25‐34 year old age groups.
From this evidence, one might conclude that the radio medium is beginning to lose traction
amongst the younger adult age groups. However, it should be noted that the RAJAR data
cited here exclude:
‘Listen again’ on‐demand usage delivered via IP
Time‐shifted listening accessed by ‘podcast’ download
Listening to non‐broadcast ‘radio’ services such as Last.fm and Spotify.
28
RAJAR
29
RAJAR
14
15. Figure 10: total audio consumption by platform and age group (% of total audio consumed)
55
60
76
81 82 85 82
38
34
20
16 14 12
11
6 5 4 2 4 3 7
0
25
50
75
100
15-18 15-24 25-34 35-44 45-54 55-64 65+
live radio non-radio catch-up radio podcasts unclassified radio
source: BBC Audio & Music
30
The 15‐24 and 25‐34 year old demographics are the most likely sections of the adult
population to be consuming traditional radio in non‐linear ways, and to be consuming non‐
broadcast ‘radio’ services via the internet. This was confirmed by BBC research which took a
wider definition than RAJAR of ‘radio listening’. It found that, amongst 15‐18 year olds,
traditional live radio now accounts for only 55% of their total audio consumption, whilst 38%
of listening is sourced from ‘non‐radio.’31
However, podcasts and ‘listen again’ (or ‘catch‐up’)
consumption remain only a very small proportion of total audio usage across all age groups.
Figure 11: total audio consumption by age group and gender (average hours consumed per
day per head)
3.8
4.0
3.6 3.6 3.7
4.0
3.8
3.6
4.1
3.7 3.7 3.7
4.1 4.2
3.9
4.4
3.9
3.5 3.7 3.8
3.4 3.3
3.8
3.6
0
1
2
3
4
5
Total
Men
Women
15-18
15-24
25-34
35-44
45-54
55-64
65+
Male15-18
Male15-24
Male25-34
Male35-44
Male45-54
Male55-64
Male65+
Female15-18
Female15-24
Female25-34
Female35-44
Female45-54
Female55-64
Female65+
source: BBC Audio & Music
32
Once all sources of audio consumption are measured, as opposed to only traditional live
broadcast radio (as in the RAJAR survey), it is evident that the time spent listening to all
‘audio’ remains robust and the volumes are remarkably similar between adult age groups
and genders.
30
Margo Swadley, BBC Audio & Music, Is radio dead? Share of Ear Research, April 2009, p.18
31
ibid., p.18
32
ibid., p.11
15
21. The majority of businesses generated revenues of less than £500,000 per annum
83% of radio programme sales derived from the BBC
BBC Radio 4 alone generated 45% of commissioning revenues.47
The second survey by the Radio Independents Group focused more on qualitative responses
to questions about the commissioning processes and it found, amongst other things, that:
9 out of 10 members had pitched programme ideas to BBC Radio 4, the majority in every
commissioning round
Around a quarter of members had pitched ideas regularly to commercial radio.48
In 2008, a report commissioned by the BBC from PriceWaterhouse Coopers concluded that:
In the absence of BBC commissioning, the size of the independent radio production
sector would be negligible
There is little commissioning by commercial radio stations from the independent radio
production sector
Expenditure by the BBC on independent radio productions accrues an economic benefit
to these producers.49
The dependence of independent radio producers upon the BBC for commissions is starkly
different from the situation in the television medium, where the BBC generates only about
20% of the independent television production sector’s revenues.50
In 2007, an expansion in the demand for independent radio productions had been
anticipated, following the award by Ofcom of the licence for a second national digital radio
multiplex to 4 Digital Group, whose majority shareholder was Channel 4 television. The
group’s plans included the launch of eight new national radio stations, and its prospectus
stated:
“Channel 4's biggest ambition is to do for radio what it has done for TV. If the commissioning
structure of radio can be changed in line with these ambitions, then the radio audience will
grow as new talent and creativity is encouraged in the medium.”51
The 4 Digital Group licence application promised:
"Currently, commercial radio offers few opportunities for independents; producers must rely
on the BBC as the sole commissioner for many genres. Channel 4 Radio Limited intends to
change that by commissioning independents to produce many of the distinctive elements
within key day‐parts and built‐programmes across its three new services. Over 25 years,
Channel 4 Television has built a remarkable relationship with the independent television
production sector – nurturing and developing companies in every region and nation of the UK
and providing a platform for a genuine diversity of voices. That approach and experience will
inform Channel 4 Radio Limited’s relationship with independent radio producers. Channel 4
Radio Limited’s presence in the independent commissioning market will be at least as great
as the BBC’s, creating a more open, competitive and creative environment for producers."52
47
Radio Independents Group, RIG Membership Survey: Analysis & Report, January 2009
48
Radio Independents Group, Survey of Radio Commissioning Procedures, 2008
49
PriceWaterhouse Coopers, The Economic Impact Of The BBC On The UK Creative Economy, Main Report, July 2008, p.116,
para 11.3.2
50
Deloitte, The Economic Impact Of The BBC: 2008/09, 2010, p.58, para. 6.3
51
http://www.channel4.com/culture/microsites/W/wtc4/scheduling/4radio.html
52
ibid.
21
28. Some programmes may be commissioned through an invitation to tender to a number of
suppliers selected by objective criteria
The aim is always to find the most efficient, effective and fair way to identify and
commission the best ideas
Encouraging producers to devise and submit more proposals than can be reasonably
considered is a waste of time and money, both for them and the BBC
It is also pointless to invite proposals from individuals or organisations unable to
demonstrate the ability to deliver what the BBC requires.”75
Categories of Commissions:
“Universal or ‘Open’ slots: … open to all and enable the commissioner to seek proposals
from the widest range of potential producers
Open to External Suppliers Only: … in‐house departments are excluded. In addition, some
stations may limit these slots to suppliers on a registered supplier list or to selected
suppliers (where appropriate due to the specific needs/experience of a production)
Limited to Selected Suppliers: … it may be desirable to limit bids to suppliers who have
experience of a particular genre, access to key talent and/or other specialist skills.
Proposals will then be invited from a suitable range of producers who meet the
requirements
Topical Commissions: Networks involved in current affairs programming routinely leave
some slots unfilled until close to transmission, against the need to transmit topical
programmes at short notice. … Networks may approach suppliers with a known capacity
or expertise in order to meet programme requirements which arise at short notice.”76
The commissioning procedures for each Network are summarised in turn:
Radio 4
According to the BBC, “Radio 4 is the network with the most pre‐recorded ‘built’
programmes and provides a significant opportunity for the development of creativity and
best value through competition.”77
Radio 4 only commissions programmes from independent producers that are included on its
‘Registered Supplier List’. The four‐page application form to be considered for inclusion on
this List explains:
“Please note that only companies with significant experience in production at network level
can be considered for registration.”78
In fact, the List is not a single list, but a set of seven Lists delineated by programme genre:
‘general features’, ‘documentaries’, ‘science and natural history’, ‘drama’, ‘comedy’, ‘single
voice readings’ and ‘political talks.’ The application form advises:
“Within the supplier list, we also operate an eligibility list, restricting specialist genres to
suppliers with relevant expertise.”79
75
ibid., pp.3‐4
76
ibid., pp.4‐5
77
ibid., p.5
78
BBC Radio 4, Application Form For The Radio 4 Supplier List, 22 February 2010, p.1
79
ibid.
28
29. As a result, an independent radio producer can be eligible for inclusion on one Radio 4
Supplier List, but not on another, dependent upon whether Radio 4 considers that, within a
specific genre, an independent producer has demonstrated:
“Relevant expertise
Significant experience in production at network level.”80
Furthermore, acceptance of a supplier onto a specific List is time limited:
“If a supplier fails to win a commission in 3 successive rounds, Radio 4 reserves the right to
drop them from the list.”81
According to Radio 4, existing suppliers and new applicants are assessed against the
following set of criteria that have been agreed with the Office of Fair Trading:
“Our editorial and schedule requirements
Our editorial judgement on quality
Proven ability to deliver the desired genre
A degree of innovation
A company’s ability to meet the BBC’s regulations, such as on Rights and Health and
Safety
Risk appraisal
Track record in budget management and meeting delivery deadlines
The appeal of talent.”82
It is understood that the involvement of the Office of Fair Trading derived from a supplier
complaint during the 1990s. However, it is self‐evident that the criteria and the ability to be
accepted onto and to remain on a Supplier List continue to be based upon considerably
subjective criteria, exemplified by the use of phrases such as ‘relevant expertise’, ‘significant
experience’, ‘proven ability’, a ‘track record’ and, most notably, ‘our editorial judgement on
quality’.
Furthermore, the requirement that an applicant must have “significant experience of
production at network [radio] level” could appear akin to a ‘Catch 22’ condition. As long as
Radio 4 continues to be the only BBC Network broadcasting some programme genres, how
would it be possible for a new independent supplier to offer previous production experience
in that genre at Network Radio level … unless they have experience as a former Radio 4
producer?
Some stakeholders in the independent radio production sector suggested, during the course
of consultations, that Radio 4’s use of Supplier Lists demonstrates that considerable effort is
exercised in this ‘gatekeeper’ role, which they believed could be more productively
redirected towards attracting the UK’s best and creative ideas for on‐air execution.
Inevitably, because the BBC is the only broadcaster of some radio programme genres, it is
not competing with other broadcasters to attract potential suppliers. As a result, it is
understandable that much effort could become focused on limiting the inflow of creative
ideas, rather than on the potential ‘opportunity cost’ of not having commissioned
programme ideas that, if they were not made for BBC radio, might be unlikely to be made at
all.
80
ibid.
81
ibid.
82
ibid.
29
31. Another part of the rationale was to reduce the costs of external commissions, at a time
when Radio 4 programme budgets are evidently being reduced year‐on‐year:
“Internal BBC pressure to maximise efficiency also requires us to ask whether our
commissioning process could not be getting better value for money from reduced
resources
It will save significant management time, making better use of limited resources
Less time filtering dross, more for refining gold
Better deals through bigger contracts.”90
Radio 4 was also keen to stress the advantages of ‘batch commissioning’ for suppliers:
“More mature independent [production] sector
More secure business planning
Ability to commit to staff and training
More constructive, creative editorial relationship with Radio 4
All editor‐supplier conversations will be focused and creative
Suppliers will save very substantial time currently spent in fruitless development.”91
Radio 4’s argument for ‘batch commissioning’ was supported by the citation of selected
data:
The growth of its approved supplier list from 71 companies in 2001/2 to 125 in 2008/9
The growth in independent commissioning from 10% of eligible hours in 2001/2 to 13%
on 2008/9.92
Figure 18: value of BBC Radio 4 commissions from independent producers (£ ‘000 per
annum) and number of companies on Radio 4 Supplier List by year
71
95
120
135
125
0
20
40
60
80
100
120
140
1999/
2000
2000/1
2001/2
2002/3
2003/4
2004/5
2005/6
2006/7
2007/8
2008/9
0
2,000
4,000
6,000
8,000
number of Radio 4 approved suppliers [left axis]
Radio 4 value of independent commissions (£ '000) [right axis]
source: BBC Audio & Music
93
Radio 4 argued that “this expansion [in supplier numbers] is disproportionate to the growth
in indie commissioning.”94
However, as demonstrated in Figure 18, it appears that the
annual value of Radio 4 independent commissions has increased roughly in line with the
number of suppliers on the Radio 4 Supplier Lists. There appears to be little evidence of a
disproportionate growth in supplier numbers.
90
ibid., p.1
91
ibid., pp.1 & 6
92
ibid., p.3
93
BBC Audio & Music, data supplied to the author
94
BBC Radio 4, Radio 4 batch commissioning plan, presentation for BBC Fair Trading, 13 March 2009, p.3
31
32. Additionally, Radio 4’s proposal document noted that a small number of companies had
received a significant proportion of its commissions in 2007/8:
“68 indies got 328 commissions = c. £7m
Top 10 by number = 48% of total value
48 got 5 or fewer
21 companies got just 1
10 got less than £10k.”95
Inevitably, the introduction of ‘batch commissioning’ will concentrate an even greater
proportion of these commissions in the hands of fewer suppliers, which seemed to be one of
the policy objectives.
The initial proposal was to apply ‘batch commissioning’ only to 14% of Radio 4’s
independent programme commissions by value (11% by hours).96
However, in future, if the
initiative were to be extended to a greater proportion of the Network’s output, it would be
likely to further reduce the number of external suppliers to Radio 4. At present, of the
National Networks, Radio 4 exhibits the greatest diversity of suppliers of independently
commissioned programmes.
Radio 3
Radio 3 operates two commissioning rounds annually, one for drama (plus the series ‘The
Wire’) and the other for its remaining genres. There is no Supplier List in operation, and
independent producers register to be sent commissioning round information and editorial
briefs.97
Radio 2
Radio 2 stated that:
“The majority of programmes – the core output – are long‐running strands which are
produced either by Radio 2 producers or a small group of Independent companies. When the
strands produced by Independents come up for renewal, they are put out for tender using the
process described below. Commissioning rounds take place twice a year to complement the
core output. It is within these rounds that ideas are sought for a wide range of
documentaries, specialist music, comedy, event and other programming. Readings are
commissioned alongside special events or seasons.”98
Commissioning rounds are held in Spring and early Autumn, for which information is sent to
prospective producers who ask to be added to the mailing list.
In addition to its regular commissions, Radio 2 has introduced a scheme called ‘Ideas
Welcome’ which, it explained:
“[is] designed to allow for ideas that carry an ambition that works beyond the traditional
commissioning brief format [and] continues to evolve, [so] we look forward to receiving ideas
95
ibid., p.3
96
ibid., p.3
97
http://www.bbc.co.uk/commissioning/radio/network/radio3.shtml
98
http://www.bbc.co.uk/commissioning/radio/network/radio2.shtml
32