Digital Audio Communication

About the theme

In the first months of 2021, the live social audio app Clubhouse became a fulgurating global phenomenon. Their success revived the orality relevance in the age of convergence (Jenkins, 2006), and promoted significant changes in other social platforms.
Despite losing its original popularity, it has made a great impact on an increasingly sonorous communicative ecosystem. The popularization of podcasts and audiobooks; the multiplication of sound streaming platforms; the interconnection between audio devices; and the consolidation of voice as a digital connection interface in smart assistants and speakers, have positioned the sound as one of the main trends in communication.

The diversification of formats and devices, and the confluence between media and screens, have created new sound species that provide more interactive and immersive experiences. This evolution from sound to sound-media requires a reconceptualization of profiles, practices, and professional work routines in this communicative ecosystem. At the meantime, the diversification of devices, platforms and formats has generated new relations between socialization and individualization of listening, between large audiences and hyper-segmentation.
Podcasts such as ‘Serial’ (This American Life, 2014-2018) in the United States or ‘El gran apagón’ (Podium Podcast, 2016-2018) in Spain reveal that exits a captive audience for sound stories, but also a social audience with an interest in interacting around those contents. Meanwhile, smartphones, tablets and wearables have promoted the emergence of personal soundscapes that are redefining our experience of space.
The interaction between socialization and individualization of listening has grown in strength during Covid-19 pandemic; mobility restrictions have been a boost for online audio: while radio has reaffirmed its role as an information and entertainment medium, other contents such as podcasts and audiobooks have experienced a great expansion even as a cultural product. The health crisis has also underlined the urgency of defining new business models for audio media.


This monograph invites the submission of research papers of analytical, theoretical, methodological or review nature, preferably of international scope, around the following axes and lines of research:
–  Evolution of radio. Adaptation of listening habits, devices, channels, and distribution systems. Interactions between online and offline broadcasting. New formats and contents. Integration of artificial intelligence and other technologies in the radio production and broadcasting process.
–  Podcasting. Products, genres, and formats. Creative and expressive innovations. Podcast platforms: effects on production, distribution, prescription, and personalization. The podcast as DiY media. Podcast and slow journalism.
–  Sound platforms and music streaming. Editorial and commercial models. Curation using algorithms. Impact on the generation and modification of tastes and trends.
–  Business models. Sound contents as part of online broadcasting and monetization strategies. Influencers in/of sound communication.
–  Online radio and audio consumption trends. Audiences and participation.
–  The production context. Transformations in professional routines. New professional profiles. Access and self-mediation of social groups. 
–  Innovative contents. Experiences in the convergence of contents, formats, and genres. Segmentation and hyper-specialization. Fiction. Documentary. Daily. Online audio as origin and expansion of transmedia universes. 
–  Immersive sound experiences. Alternate reality games with sound base. Audio games. Mobile urban drama.
–  Audiobooks. Synthetic voices and content accessibility.Audio branding. Branded podcasts. Audio branded content. Corporate radios.

Manuscript submission

If you wish to submit an article, please read carefully the journal’s acceptance criteria and rules for authors:

And then send us your article through the OJS journal manager on:


If you are not yet registered as an author, do so here:


All articles published in EPI are double blind peer reviewed by 2 or more members of the international Scientific Committee of the journal, and other reviewers, always external to the Editorial Board. The journal undertakes to reply with the review results.