Radio World

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An important deadline is approaching for most radio broadcasters that stream sound recordings.

This annual required fee — known as a minimum fee and related statement of account — must be filed with SoundExchange by Jan. 31, 2022. Stations can pay the fee through the Licensee Direct online filing portal, according to a blog post by the firm Fletcher, Heald & Hildreth that calls attention to the deadline.

Most radio broadcasters must file a report of use informing SoundExchange of the recordings that a station uses. Each report must include sound recording usage information pertaining to two seven-day periods in that quarter with reports due no later than 45 days after the end of the relevant month or quarter.

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If a station owes more than the $1,000 minimum fee for the year, a station must file census reports on a monthly basis. If a station owes less than that minimum, they can file sample reports on a quarterly basis.

The fee for the 2021–2025 license term for commercial and noncommercial webcasters is $1,000. That was increased for the current license term by $500, as determined by the Copyright Royalty Board. In addition, the per performance fee charged in excess of that minimum fee is $0.0022 for 2022 for non-subscription services and $0.0028 for subscription services.

The rates and rules are different for noncommercial educational stations and public broadcasters affiliated with NPR, as the blog post lays out.

Read the full blog post from Fletcher Heald.

The post Deadline to File Webcasting Fee Is on the Horizon appeared first on Radio World.

François Gauthier

GeoBroadcast Solutions announced a partnership with Quebec-based Octave Communications to provide GBS’s MaxxCasting solutions to Canadian broadcasters.

Under the agreement, which GBS said is exclusive, Octave also covers associated MaxxCasting sales, field service and post-sales support.

“Octave and GeoBroadcast have had a long, collaborative relationship in the U.S. based around Octave’s market-leading Nomad HDR/FM Analyzer, which is a key tool supporting the implementation of its MaxxCasting system,” GBS said in the announcement.

Octave is an engineering consulting firm specializing in radio broadcasting, telecommunications and RF analysis measurement software. MaxxCasting is a synchronized booster system for FM broadcasters. GBS says it increases signal quality and PPM watermark decoding, and allows geographic targeting and fencing of radio screen advertising.

François Gauthier is president of Octave Communications.

The post GBS Inks Deal in Canada With Octave Communications appeared first on Radio World.

U.S. radio stations have reason to be happy with Procter & Gamble and Uncle Sam right now.

According to a new report from Media Monitors, P&G was the number one parent advertiser on U.S. radio in 2021 based on the number of spots run. The consumer products goods company allocated 9 million spots to radio, more than to local cable or broadcast TV, and aired a whopping 71% more instances year-over-year on radio compared to 2020.

The U.S. government, which held the top spot in 2019 and 2020, fell to number 2.

On a separate list of the top individual radio accounts, job search service Indeed was number one, jumping from the ninth position a year earlier.

Among other findings, Media Monitors said Progressive Insurance aired fewer spots in 2021, and that Babbel, the language-learning service new to the list last year, rose to number three from number five

Across all of radio, local cable and broadcast TV combined, Procter & Gamble was the top parent advertiser for the second year in a row, while GEICO was again the number one advertising account.

The two radio charts are shown below.

The post These Are U.S. Radio’s Top Advertisers appeared first on Radio World.

In a recent ebook, Radio World asked engineers to talk about how their own organizations have been affected by the pandemic.

Josh Bohn at WAPR(FM) in Selma, Ala., with the station’s modified Continental 816R-3C.

Josh Bohn says most radio broadcast clients of The MaxxKonnect Group are operating their businesses in person again but also continuing to employ a significant level of remote services. “Real-time voicetracking is showing up in places it previously hadn’t, as well as pre-produced shows being loaded remotely in near-real time,” said Bohn.

“A lot of remote functions will continue long-term with radio broadcasters. They have discovered that you don’t need salespeople sitting around a bullpen at the station when they can do the same thing from home, or their vehicle.”

MaxxKonnect is a technical services company that offers wireless connectivity and high-speed internet services, and it does broadcast integration work. Bohn is president/CEO.

The remote broadcasting infrastructures that his clients built out during the pandemic, he feels, will continue to be used in a lot of cases.

“Maybe not as a permanent, full-time solution, but I don’t see companies dismantling remote studios for talent that they built, or talent themselves getting rid of their home studios. It adds a layer of versatility that radio has now fully embraced and will be utilized.

“It’s also allowing broadcasters to downsize studios to save on real estate costs, and put more critical functions in the cloud.”

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MaxxKonnect has quite a few integration projects in the pipeline. “A lot of capital dollars were put on hold during the throes of the pandemic, and companies are reinvesting in their infrastructure.”

General COVID precautions during projects are now part of its routine, including masks, more social distancing and general handwashing.

“With more talent working from home, studio projects are typically less hectic than they were pre-pandemic. Transmitter projects, of which we’ve got at least five scheduled currently, haven’t changed much unless we are directly interacting with the customer’s staff or other crews onsite.”

Bohn, who also owns WIEZ(AM) and its FM translator in Decatur, Ala., sees more cloud solutions being employed, including at his own company.

“Recently, with the assistance of Alex Hartman of Optimized Media Group, we installed redundant VM servers and a RAID server for our MaxxKonnect Group offices and the operations of WIEZ.

“In the near future, my plan is to virtualize many of the dedicated PCs we’ve got in our operation, as well as the DJB Zone automation system I’m running for WIEZ.” Some of his clients are working on similar setups for their back-office functions.

“We’ve also deployed a lot of MaxxKonnect Wireless units for remote studio setups due to the pandemic. Obviously internet access is the key component to any cloud-based solution, so multiple sources of internet are necessary. Diversification of those sources between wireline and wireless helps reduce the chances of any one failure taking out all your internet options.”

So what does a typical “hybrid” radio operation look like now?

“We see them from something as simple as VNC into an automation PC and file drop to insert items, to full-on AoIP via VPN with in-studio level functionality at the remote location,” he replied.

“I don’t know that there is a ‘typical’ hybrid operation in 2021. There are so many options out there when it comes to remote functions now, it makes it easy to be picky and get what you want from the a la carte menu!”

Bohn says good engineering practice after the pandemic looks a lot like it did before the pandemic, with an emphasis on backups, connection diversity and improving reliability.

“Radio needs to stay relevant to stay profitable, and that’s a struggle if you’re off the air or operating in a reduced capacity,” he said.

“Engineers need to continue to be more IT-savvy to understand virtualization, the cloud, network diversity and infrastructure security — and still know how to fix the old tube backup transmitter. Broadcast engineers have always had to have a diverse skill set. That’s only changed in the fact that it’s getting more diverse.”

In the ebook “After the Masks Come Off,” Radio World asked engineers to talk about how their own organizations have been affected by the experiences of the past two years; whether they are applying cloud solutions or other types of virtualization; and what constitutes a typical “hybrid” radio operation now. It features comments from technical leaders at Audacy, Salem Media Group, Alpha Media, VPM, Cogeco Media, Educational Media Foundation, Second Opinion Communications, Burk and Shively. Read “After the Masks Come Off.”

The post Diverse Skill Sets Are More Important Than Ever appeared first on Radio World.

Joe De Angelis was promoted by iHeartMedia to the position of senior vice president of promotions for the iHeartMedia Markets Group, a newly created role at the company.

He’ll oversee promotions efforts for the company’s broadcast and digital brands and franchises.

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Part of his mission will be to “align promotional efforts across iHeartMedia markets by creating and spearheading iHeartMedia’s Promotions Center,” where he will be the promotions point person for clients and advertisers, as well as helping to develop promotional strategies to increase brand awareness for iHeartMedia stations.

He reports Scott Hopeck, division president for the iHeartMedia Markets Group, who called De Angelis “a natural leader and an exceptional collaborator” who oversaw marketing and promotions initiatives for the company’s New York City stations and national tentpole events.

De Angelis was director of marketing and promotions for iHeartMedia New York and has been national event brand manager since 2015.

Send your people news to radioworld@futurenet.com.

The post De Angelis to Create iHeartMedia Promotions Center appeared first on Radio World.

FCC Commissioner Simington gets to know radio (and vice versa). Two guys from StreamGuys talk about monitoring your audio streams.

Josh Bohn ponders radio workflows after the pandemic. John Bisset discovers something unpleasant inside an RF amp.

And James Careless tries out two worthy, affordable shortwave portables.

Read it here.

The post Inside the Jan. 19, 2022 Issue of Radio World appeared first on Radio World.

Bryan Jones

Telos Alliance recently introduced the Telos VXs, describing it as a virtualized version of its VX VoIP talk show phone system. Bryan Jones is VX product manager and senior support engineer. 

This story is part of our latest Buyer’s Guide on telco and phone system products for radio.

Radio World: What exactly makes the VXs “virtualized”?

Bryan Jones: The term has become somewhat ubiquitous to mean a number of different things.

All previous iterations of the Telos VX were delivered as some piece of hardware that required on-premise installation that often limits its use to that installation location. Telos VXs is virtualized to the extent that it’s delivered as software only, allowing the customer to define what virtualized really means.

“Virtualized” could mean the customer already has some on-premise solution, or it could mean that it’s fully virtualized and running on servers that are in the cloud and that there is no on-premise hardware. A cloud-virtualized solution might mean the VXs could be used across multiple markets from a single install.

Telos VXs is delivered as an OCI-compliant container deployed in the customer’s environment using products like Docker.

RW: What are the key benefits to a radio station of this design approach?

Jones: In short, VXs offers unprecedented scalability and flexibility. To some extent, in hardware-based iterations of ANY product, total capacity is gated by the hardware platform it’s delivered on. A smaller hardware platform means a product might not scale to the desired level, whereas a larger more robust platform might mean overpaying for hardware that will never be used or never needed. Virtualization allows the hardware to scale along with the needs of the facility.

RW: What about compatibility with existing AoIP networks, from Telos or other vendors?

Jones: Telos VXs fully supports Livewire and AES67, the same as our hardware-based VX products.

RW: What else should we know?

Jones: Other benefits of virtualization allow us to support a product for potentially longer periods of time because we’re not encumbered by the hardware the product is delivered on. The hardware is abstracted by the virtualization layer, allowing for future platform flexibility.

More Info: www.telosalliance.com or +1 (216) 241-7225

The post Telos Virtualizes VX VoIP System appeared first on Radio World.

An FM translator in Puerto Rico — which allegedly violated FCC rules by failing to file a license on time and operating without authorization — was handed a $3,500 forfeiture by the Federal Communications Commission.

In 2018 the Media Bureau issued a construction permit to International Broadcasting Corp. for FM translator station W293DE in Guayama, Puerto Rico. The expiration of that permit — on Jan. 10, 2021 — came and went. According to the bureau, because the permittee had not filed a covering license application by that date, the permit simply expired.

According to FCC rules, “any construction permit for which construction has not been completed and for which an application for license has not been filed, shall be automatically forfeited upon expiration without any further affirmative cancellation by the commission.”

International filed a petition for reconsideration with the bureau, saying the translator had actually been constructed prior to the permit expiration date. The bureau pivoted and decided to treat International’s petition as a request for a waiver of the rules. The bureau granted the waiver, reinstated the permit and instructed International to file a covering license for the application, which was received on Nov. 22, 2021.

But that still left the matter of more than 10 months of unauthorized broadcasts during 2021. The commission said that not only did International fail to file a covering license on time, but it continued operating the translator without any special temporary authority before finally filing the appropriate covering license.

In cases like these, the FCC has the authority to issue a forfeiture penalty with a base amount of $3,000 for failing to file a required form and $10,000 for operation without authorization. That amount can be adjusted up and down based on the facts of the case.

In this situation, the commission found that a $7,000 base forfeiture would be appropriate due to International’s failure to file a covering license and its months of unauthorized operation. The bureau then reduced the forfeiture even further — to $3,500 — because of the translator’s nature as a secondary service.

According to the bureau, International’s pending application for the FM translator can be approved once this forfeiture proceeding has been concluded.

Currently, International uses the translation to relay WIBS(AM), Radio Caribe, which is also based in Guayama.

The post Puerto Rico Translator Handed $3,500 Forfeiture appeared first on Radio World.

The British government has frozen the country’s long-standing TV license fee for two years as it pushes for a new funding stream for the 100-year-old British Broadcasting Corp.

First levied in 1923, the license fee has evolved over time, but currently it is required to watch or record television programs in the United Kingdom, Channel Islands, and the Isle of Man, no matter how the programs are delivered (over the air, streaming, or satellite) and regardless of where they originate.

Under the new policy, the fee is frozen at £159 (about $216) for color television until April 1, 2024, then it would be allowed to rise with inflation until Mar. 31, 2028. It is envisioned that a new funding mechanism will be identified as part of the BBC’s Royal Charter renewal in 2027.

In a statement on the government’s move, BBC Director-General Tim Davie and BBC Chairman Richard Sharp, called the freeze “disappointing.”

“We actively look forward to the national debate on the next Charter and, of course, all options should be considered. The BBC is owned by the public and their voice must always be the loudest when it comes to determining the BBC’s future,” Davie and Sharp stated.

With the two-year license fee freeze, the BBC is expected to need some £2 billion ($2.7 billion) in savings over six years to fill the funding gap left by the freeze. “If the BBC’s license fee income is capped at £3.8 billion, then costs have to be capped, or it has to increase its commercial income from £1.3 billion,” analyst Alex DeGroote told Radio World’s sister publication TVBEurope.

The BBC 2020/21 Annual Report breaks out how the TV license fee is spent in per month per household terms.

In 2021, some 25,208 households paid the TV license fee (including four households that paid a lower fee for having only a black and white television set), according to the BBC’s 2020/21 annual report. This raised some £3.75 billion (about $5.1 billion), according to TV Licensing, the agency that oversees administration of the fee. According to the BBC, TV license fee revenue made up about 74 percent of the corporation’s income in the fiscal year ending Mar. 31, 2021.

The original 1923 license fee covered radio receivers and it was expanded to cover television in 1946. In 2016, the BBC iPlayer app was incorporated into the TV license fee framework.

In 1971, the radio license fee was ended; however, the funds raised via the TV license fee continue to support BBC Radio. According to the BBC, nearly 17.5 percent of license fee revenue, about £654 million ($889 million), went to support BBC national and local programming. An additional 9.75 percent, nearly £366 million ($497 million), went to support the BBC World Service.

The post British Government Freezes TV License Fee appeared first on Radio World.

Over the course of his career, Harry Simons has worked in numerous roles: on the air, as a chief, as a director of engineering and in station management. So it’s not so unusual that in retirement Harry chose to build a studio in his living room, shown here.

Fig. 1: Start with a studio in your living room. (left); Fig. 2: The musician’s pit! (right)

In addition to a Radio Systems console, Harry has added a variety of recording equipment and a Musician’s Pit; see the second photo.

Harry produces and mixes tracks for local groups, as well as music for a Part 15 carrier current/internet station he programs.

It’s true: Once broadcasting is in your blood, it never really leaves — even in retirement.

Harry can be reached at h790@cox.net.

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Potential gotcha

Dave Kline — who describes himself as a solder jockey — writes to comment on our discussion of 3.5 mm TRRS (Tip-Ring-Ring-Sleeve) connectors as used in computer audio wiring, and the potential “gotcha.”

Not only might the ground/common/shield not be where you expect it, but its location may differ depending on the device. Dave ran into this when trying to interface audio with Apple iOS devices and other devices such as ones from Samsung.

He found that there are at least two different “standards.” Most notably, the common, which is on one of the rings shown in our previous column, might be on the shield for other devices.

Dave found an explanation that included drawings. Google “Mashtips Apple headphone” and look for the story headlined “Apple Headphone on Android Is Not Working …”

The “standard” that uses ground on the shield not only seems intuitive but is more compatible with common TRS (Tip-Ring-Sleeve) wiring.

If we have at least two “standards” for wiring TRRS connectors, who knows how many more might be lurking in the dark to make our day more interesting? Great point, Dave.

I should add that Dave began his email with an appropriate quote from Andrew S. Tanenbaum, an American-Dutch computer scientist: “The good thing about standards is that there are so many to choose from.” (For you old-timers, think “AM Stereo.”)

A note about pins

Following up on our “Pin 1 is ground” discussion in December, here are a couple things to remember when wiring up an XLR connector.

First, although soldering wires to the pins on an XLR connector is straight-forward, when you observe the pin numbers imprinted on the connector, keep in mind that the location of “Pin 1” flips from left to right (or vice versa) depending on the sex of the XLR.

A common mistake is to wire all the terminals the same, regardless of the sex of the connector (Male A3M or Female A3F). Since Pin 1 is ground and Pin 2 (next to it) is the hot or “+” you should refer to the pin numbers embossed or printed on the connector. See the accompanying diagram.

Oh, and before you begin soldering, don’t forget to slip the XLR cover over the wires!

A nifty specialty tool

There’s nothing more frustrating than radiofrequency interference. But when RFI affects airport communications, the problem is no longer just a nuisance. It must be corrected quickly.

Fig. 4: European electricity transmission system company TenneT used a Fluke ii910 Precision Acoustic Imager to troubleshoot an interference problem at an airport.

In the case of Rotterdam The Hague Airport in the Netherlands, interference was coming from an arcing electrical substation. The problem was resolved with the help of a Fluke ii910 Precision Acoustic Imager, which was developed to help engineers detect and identify such sources of electrical discharge. (It can also be used to detect air leaks.)

The handheld ii910 has a 7-inch LCD touchscreen that displays the results of an array of integral microphones that convert ultrasonic signals into clear visual images. It quickly diagnosed the source of the problem at the substation.

Read more about this device and the problem it corrected at the airport. At fluke.com, search “The Hague.”

Vista meravigliosa!

A reader wrote in to ask, “Could someone identify the location of that mountaintop community tower site in the photograph included with the article ‘Time to Plan for Old Man Winter’ in your Oct. 13 publication? It reminds me of Tiger Mountain east of Seattle.”

Fig. 5: Do you know where this photo was taken?

Radio World Editor-in-Chief Paul McLane replies that the photo in fact shows towers atop Paganella, a mountain in the Trentino-Alto Adige/South Tyrol region of the Italian Alps.

Have you been there? Tell us about it at johnpbisset@gmail.com. And other great tower site photos welcome!

Plant a seed in our garden of ideas, and help a colleague at the same time. Send your tips and ideas to johnpbisset@gmail.com.

John Bisset, CPBE, has been in broadcasting more than 50 years and is in his 31st year writing Workbench. He handles western U.S. radio sales for the Telos Alliance and is a past recipient of the SBE’s Educator of the Year Award.

The post Workbench: Retirement starts in your living room! appeared first on Radio World.

Ed Lobnitz

Ed Lobnitz, retired principal/senior electrical engineer at TLC Engineering Solutions, wrote the chapter on lightning protection for towers that has appeared in several editions of the NAB Engineering Handbook, including the most recent. The chapter is recommended reading and goes into considerable depth. But for engineers reviewing their air chains and thinking about business continuity in the face of lightning threats, we asked Lobnitz for some general advice and resource suggestions. This article originally appeared in the 2020 ebook “Plan B: Ensuring RF Readiness.”

Let’s assume we are talking about existing, installed systems that are in full operation, including transmission sites, electronic systems and racks, associated buildings and backup generators and/or UPS systems.

The design of such systems, when new, requires considerable thought and detailed design considerations to “lightning harden” facilities so that lightning and its effects are handled so as not to interrupt operations or cause extensive damage to tower sites and associated facilities.

I have previously prepared and have available a “Design Manual for Antenna Systems — Grounding, Bonding and Lightning Protection” for when constructing new facilities is anticipated; it is also useful in evaluating the adequacy of existing installations from a lightning protection standpoint.

In fact, it would be a good idea to review existing installations, using the manual, to provide a base knowledge that existing systems were “lightning hardened” when first installed. (To request this and the other resources mentioned in this article emailed to you for free, see the end of this article.)

As for existing facilities and protection against lightning effects, I would suggest reviewing all existing maintenance procedures and documentation from the time the facilities were constructed and comparing them to the document “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection,” which I prepared a few years ago.

Maintenance inspection frequency cannot be overemphasized — especially after any environmental conditions such as corrosive atmospheres, storm frequency and severity, any alterations, or extreme seasonal changes.

The maintenance inspections should include visual as well as complete testing and keeping complete records and test data. Another document I have prepared for maintenance help is a “Site Audit Check List/Report” that can be used as a first-time guide and to build on as future inspections are made. (See end of this article.)

Lightning protection for facilities should always be either UL certified, Lightning Protection Institute (LPI) certified or both, to ensure the installation is properly and effectively protected.

Also, familiarization with Underwriters Laboratories UL 1149 Standard for Surge Protection Devices, 5th edition, and National Fire Protection Association NFPA 780 Standard for the Installation of Lightning Protection Systems, 2020 edition, is highly recommended.

Also important where generators are involved is the 2022 edition of NFPA 110 Standard for Emergency and Standby Power Systems, which includes generator maintenance checklists. The Lightning Protection Institute is similar to UL in regards to lightning protection system and installer certification but is solely dedicated to lightning issues. I used to be on their board of directors and was also on the UL 1449, 3rd edition, committee.

The author has kindly agreed to allow Radio World to share three resources with readers who ask. Available are “Design Manual for Antenna Systems — Grounding, Bonding and Lightning Protection,” “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection” and “Site Audit Check List/Report.” There is no cost. Email a request to Editor in Chief Paul McLane at radioworld@futurenet.com.

Ed Lobnitz also welcomes questions from readers. Email ed.lobnitz@gmail.com.

Maintenance Checklist

This is an excerpt from “Maintenance Guide for Antenna System Grounding, Bonding and Lightning Protection” by Edward Lobnitz. This checklist is part of a discussion about inspecting lightning protection systems, grounding, bonding and related equipment:

1. The following data should be taken to the site or reviewed on-site if available:
   1. As-built drawings.
   2. Shop drawings or data sheets for all components.
   3. Prior test reports for:
      1. All grounding measurements.
      2. Soil pH.
      3. Soil resistivity.
      4. VSWR measurements at all coaxial surge suppressors.
   4. Prior inspection and maintenance reports.
   5. Clamp-on ground resistance meter.
   6. 3-pole ground resistance test meter.
   7. Digital camera.
   8. Sensitive clamp-on ammeter.
2. Check the following components for corrosion, damage, modifications or removal:
   1. Coaxial shield ground kits on the tower. Use binoculars or climb tower to make inspection.
   2. Grounding cable and connections to the tower base.
   3. Guy wire jumper and ground wire connections.
   4. Entrance bulkhead cable boots, mounting provisions and grounding connections. Check cable boots for pliability, cracks and leaks.
   5. Ground bar connections in all racks and RF cabinets.
   6. Single point ground. Meter and record all values. Compare to previous ground readings. Test for any current flow on each ground connection with the clamp-on ammeter. Record any readings and compare with previous readings.
   7. Record number of lightning strikes on the lightning strike counter (if provided). Inspect the counter for any obvious damage.
   8. Inspect all coaxial, low voltage, DC and 120V surge suppression devices related to the antenna systems. Measure VSWR reflected energy at each coaxial suppressor and compare to previous readings. Replace suppressors if VSWR increases more than 10% of if damage is apparent. Replace all suppressors every 3 to 5 years. On low voltage, DC and 120V surge suppressors observe failure lights if available and inspect for damage or inoperative equipment.
   9. Review all underground grounding cable and strap for any obvious dig-ins or construction activity that might disturb the system. Dig up any suspect areas and inspect grounding continuity.
   10. Verify that the main building service surge suppressor is still functional by observing failure lights. Proper functioning of this suppressor is important to the life of all low voltage, DC and 120V suppressors.
   11. Use the clamp-on ground meter to check all building lightning protection downlead ground terminals, walk the roof to observe any damage to the system, such as loose cable supports, damaged, missing or loose air terminals, broken cable, loose connections, etc., the system must be inspected by a UL certified lightning protection contractor and recertified by UL every five years.
   12. Review generator test logs for compliance with NFPA 110, Standard for Emergency and Standby Power Systems, maintenance requirements. If generator is not being tested, recommend a testing program be set up to test and record data per NFPA 110.
   13. Test UPS units serving the racks for proper operation. Follow manufacturer’s Maintenance and Test Guidelines.
3. Prepare a report of all inspection results, repair recommendations or other suggestions and include an album of all pictures taken, properly identified and referenced in the report as appropriate

The post Harden Your Facility Against Lightning appeared first on Radio World.

For smart businesses, in a world where the selection of audio channels just keeps increasing, having a strong “audio logo” for branding purposes is more important than ever.

Whether it’s the distinctive three chimes long used by NBC (the musical notes G-E-C),  McDonald’s short whistled melody or the choral “Liberty, Liberty, Liberty … Liberty” tag employed by the Liberty Mutual insurance company, the most effective audio logos stay in consumers’ minds.

Listeners just have to hear these short audio bursts to remember which brands the logos are referring to.

For the past five years, the audio intelligence firm Veritonic has ranked the most effective audio logos (as determined by AI-assisted measurement tools).

In 2021, Farmers Insurance had the highest ranked audio logo in the U.S., while McDonald’s was tops in the United Kingdom.

Make it stick

But the “2021 Audio Logo Index” — available for free download at www.audiologoindex.com — doesn’t just offer rankings by business sector: It also provides tangible advice on creating “sticky” audio logos — memorable, emotionally resonant, correctly associated with a brand.

Scott Klass

“The value of saying your name has never been more obvious,” states the report. Equally as important is crafting audio logos that reflect the diversity of the target audience, so that consumers feel acknowledged and respected by the brands they’re listening to.

(One nice feature in this report’s downloadable PDF: It includes links to the audio logos being cited, so that readers can hear what Veritonic is writing about.)

Also worth noting: Sound and words together can be extremely effective in creating sticky audio logos.

“In particular, companies that combine melody and brand name repetitions score consistently higher on our audio logo rankings,” said Scott Klass, Veritonic’s SVP of marketing.

“This is why the Liberty Mutual audio logo does so well: They sing the brand name four times. Liberty is the poster child for audio logos that not only stay in your head, but help people know exactly which brand they’re hearing.”

Why they work

Dave Bethell is co-owner of TM Studios in Dallas, a 50-year-old company known for its work in radio branding jingles.

Dave Bethell of TM Studios

“We sing our first audio logo in the form of the alphabet song,” Bethell told Radio World. “There’s a reason why we learn music when we’re children. Combining words with music imprints in a different area of the brain than is used for spoken word memory. Our ability to remember music melodies and the words or messages associated with them is scientifically proven to be more effective than words alone, which is why memorable audio logos stick with us.”

When it comes to audio logos for radio, the most memorable ones reflect the stations that they are promoting.

“Audio logos that evoke the brand in a visceral way can be especially effective,” said Fred Jacobs, founder of Jacobs Media, which creates audio logos for its clients.

“San Francisco’s KOIT(FM) was famous for its audio logo, which used a cable car sound effect. This sounded evoked the San Francisco vibe very successfully, and it made you think of KOIT whenever you heard a cable car go by.”

Meanwhile, WRIF(FM) DJ Arthur Penhallow came up with the Detroit station’s signature slogan “Baby!” that became an audio logo in its own right. “Baby!” was so tied to WRIF that “it eventually made its way to bumper stickers and merch,” said Jacobs. “Whenever people thought of WRIF, they bellowed out a ‘Baby!’ imitating Art’s voice and exuberance.”

Making logos

Jacobs is a big believer in audio logos for radio stations. But it takes more than a choir singing the station’s call sign to make an audio logo memorable.

Detroit DJ Arthur Penhallow came up with the slogan “Baby!” at WRIF.

In fact, so many stations use this form of audio branding that it may be counterproductive to create audio logos in this manner.

So what does it take to make an effective audio logo for radio?

“The key to winning in radio — and for a brand — is capturing the consumer’s attention; better yet, getting inside her head,” he replied.

“To achieve this, the sound has to be memorable and evocative. It helps to have a regional or local hook too, and to offer something that is relevant to the target audience.”

The success of KOIT’s and WRIF’s audio logos were rooted in these principles. Today, a similar approach can be used by bringing together a short instrumental sting that aligns with the station’s music format, locally meaningful sound effects like KOIT’s cable car, and the station’s call sign and punchy slogan — ideally something witty that has caught on with listeners like WRIF’s “Baby!” rather than a vague marketing tag like, “Always with a better song!”

To determine which audio logos actually capture consumers’ attention, Scott Klass recommends leveraging consumer response data targeted within the station’s listening area to see which ones work best.

“Veritonic is a data analytics company, so naturally I suggest that people look at the data,” he said. “If you need ideas as to what specific elements work best in audio logos, I would refer to our 2021 Audio Logo Index.”

Results on a budget

Memorable audio logos don’t have to be expensive, said Bethell, as long as the content is unique, evocative and closely identifiable with the radio station being promoted.

He does recommend keeping audio logos short, because attention spans are shorter than they used to be.

Top 10 Audio Logos in the U.S. (left) and U.K., according to Vertonic

“Back in the day, the radio industry used three-minute jingles where we’d sing all about the place where the radio station was from,” said Bethell. “Today, audio logos have to be very short because we want to get the listeners back to the music.”

As for radio executives who don’t think that audio logos matter?

“Whether you’re in a PPM or a diary market, consumers have to remember you — and then remember to listen or write you down,” Jacobs said.

“Sonic signatures can be that special identifier. Yes, there are other brand practices that are more comfortable and familiar to some executives because they’re more traditional, such as logo design, station voice and slogans. But in the age of smart speakers, when clear sound branding is more important than ever, standout audio logos are a must.”

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Broadcasters are among the first sources of information citizens turn to during emergencies. A new survey from advocates of NextGen TV illustrates broadcasters’ vital role and what consumers are looking for in how they get their information and what specifically they want.

In a survey conducted by the NextGen Video Information Systems Alliance (NVISA), and  sponsored by Sinclair Broadcast Group’s subsidiary, ONE Media 3.0, consumers were asked about what types of information they would look for in a mobile app that provides the type of granular information provided by NextGen TV.

More Details
On the top of the list, almost two-thirds said they wanted “the ability to receive geo-targeted alerts,” while more than half wanted “the ability to select only the alerts they want to receive” and “the ability to opt into a constantly updated stream of emergency information.”

Reliability was next on the list, with almost half of those surveyed wanting “a system that keeps working when their Internet goes down,” and more than a third wanting “a system that keeps working when their cellular phone service goes down.”

Consumers were also surveyed on what features in a new advanced emergency information app would motivate them to use it. With the ability to provide street-level geo-targeted information, NextGen TV offers the types of features consumers want, the report said, with almost two-thirds of those surveyed saying the costs of such targeted services were not seen as a deterrent.

When asked how much more they would be willing to pay for their next mobile phone purchase to deliver critical information in an emergency, almost two thirds of American consumers said they would pay an extra $5 and almost half said they would pay an extra $10.

Mobile First
Whether consumers get their information from a traditional broadcaster, streaming broadcast or mobile app, the survey proved what has been known for a long time: mobile devices are the first source consumers turn to during emergencies.

“This study gives broadcasters a wake-up call on the need to improve their mobile services,” NVISA said in its study, noting that the youngest survey respondents were the least enthusiastic about turning to local broadcasters as the “first stop” to get information. “These younger viewers are very mobile-centric. ATSC 3.0 will enable broadcasters to add the interactive features to their mobile apps that younger viewers expect,”  NIVSA said.

When it comes to getting NextGen TV onto smartphones, manufacturers have resisted the call to integrate chipsets into their devices. The only such device announced so far is the ONE Media Mark One phone that Sinclair developed in partnership with Saankhya Labs in India that includes support for NextGen TV. When it was announced in the fall of 2020 Sinclair said at the time that it was “in talks with two large MVNOs (Mobile Virtual Network Operators)” but no progress has been reported since then.

To overcome this hurdle then, broadcasters will need to find alternatives such as third-party cloud-based apps that can be used on mobile devices. However, the notion of broadcasters monetizing emergency information through an app could cause some blowback from regulators in particular.

But there could also be an opportunity to provide value-added information beyond basic emergency alerts, according to John Lawson, executive director of AWARN, a consortium of broadcasters, manufacturers and associations tasked with developing and promoting NextGen alerting technology.

“There could be acceptance of a business model that led to the provision of emergency information after the disaster strikes,” he said. “In other words, people might need information about where they can find generators or plywood or tarps for shelters—that could be a model that would be acceptable and make sense.”

The bottom line is that during emergencies, consumers look for the most trustworthy information available and the survey showed that broadcasters are among the most trusted sources and that they need to promote that capability, Lawson added, citing research from Dennis Mileti, a world-renowned expert on disaster communication.

“The research of Dennis Mileti tells us that the first time a consumer sees an alert it is important that they know where it comes from,” Lawson said. “If they do not recognize the branding of its source, they will keep milling around looking for a completely credible source… alerts that go out with branding that is clearly recognizable on the local level will have the most impact.”

The study is available here.

A version of this story first appeared in our sister publication TV Technology.

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Inovonics is out with two new HD Radio modulation monitors.

The company says the Models 551 and 552 are targeted for advanced FM and HD Radio signal monitoring applications.

The Model 551 HD Radio Modulation Monitor The Model 552 HD Radio Modulation Monitor

“Incorporating all the necessary features for station setup, regulatory compliance and remote monitoring, both models are on schedule to begin shipping mid-February,” the company stated in a release announcing the units.

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The Model 551 has a 7-inch TFT touchscreen to display modulation data in a graphic format on the front panel; the same data is also available via a remote Web interface. In addition, full-time audio outputs are available for FM and digital channels HD1 through HD4.

Model 552 is for remote installations where the graphic Web interface will suffice. It also has a lower price point.

Beta units are in the field and Inovonics is using those to make final firmware tweaks before shipping, but the monitors can be ordered now.

President/CEO Ben Barber stated that the last two years have seen “great strides” in its mod monitor development work. He pointed to the dynamic web interface that can be accessed from a smartphone, tablet or PC, as well as its SNMP capabilities, as an example.

Send your new equipment news to radioworld@futurenet.com.

 

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The author of this commentary is a broadcast technical author in Australia, which still uses AM radio extensively. He has spent a lifetime in training technicians. He writes here in response to Larry Langford’s recent commentary “Time to Come Clean on AM Quality.”

Larry Langford’s brief history should have noted that AM was invented in 1901 and the first permanent broadcasts were 110 years ago. By comparison, cellphone companies switch off their oldest technology every eight years, leaving an operating life of 16 years.

The AM channels are spaced 10 kHz apart with a high-frequency audio limit of 10 kHz, so the transmission channels overlap the adjacent channels. This may have been fine in the past due to the quality of audio equipment, but now with audio processors there’s plenty of energy in the 5–10 kHz range to cause more audible interference to broadcasters in the adjacent channels. Outside of the Americas, spacing has been reduced to 9 kHz with a 4.5 kHz overlap on each adjacent channel.

Figure 1

This overlapping is the reason many AM stations must reduce power at night.

As the number of AM stations rose, it may have been better to put in a 5 (4.5) kHz brick-wall filter prior to transmission, which would have eliminated much of the interference. Without the brick-wall filter at the transmitter, the receiver manufacturers took the cheapest option and limited receivers to speech frequencies to stop the interference. This has made music sound dull. If instead they had installed a 5 (4.5) kHz brick-wall filter in the receiver, at least they could have maintained the much more important frequencies between 3.5–5 kHz.

Larry has been lamenting the lack of implementation of pre-emphasis in AM radio from the 1988 version of the NRSC standards, which were updated in 2018 to include HD Radio, NRSC-1-C, a voluntary standard. However, of the receivers on the HD Radio website, there are now only infotainment systems in vehicles, aside from Sangean and Insignia radios with HD capability.

Software-designed receivers have made discussion of pre-emphasis irrelevant because there is no intermediate frequency filter. They use the homodyne or direct conversion system to convert the signal directly to audio. This makes any out-of-channel signals supersonic, thus inaudible and easily filtered digitally. SDRs are used in cellphones and infotainment systems, as they have a typical frequency range from almost “DC to daylight,” i.e., 100 kHz–2 GHz. If the broadcaster uses pre-emphasis and a standard SDR receiver, which has no de-emphasis, the sound will be excessively bright.

Because SDRs perform most functions digitally, they contain a specialized microprocessor that can be loaded with digital radio firmware such as Digital Radio Mondiale, DAB+ and HD Radio, as well as FM and AM. This is a single chip!

Figure 2

Pre-emphasis is used to minimize the characteristic hiss in FM and in AM to try to overcome the filtering effect of the intermediate frequency filter used in common super-heterodyne receivers.

There is a disadvantage to the use of pre-emphasis and de-emphasis in FM and AM. All broadcasters use sound processors that employ nine-octave-wide compressors. This will increase the level of high frequencies, which if boosted by pre-emphasis can overload the transmitter and cause interference. So the processors must not boost high-volume, high-pitched sounds. This results in dullness on loud sounds. Digital transmission systems do not use pre-emphasis as it is unnecessary; so it will sound “brighter,” particularly on drums, tympanies and piccolos, as they do live.

AM has a number of disadvantages:

It originally contained a carrier to provide DC bias for the “crystal” diode detector to prevent severe distortion. Modern AM and HD Radio AM receivers still use a detector diode buried in an integrated circuit. This is expensive for broadcasters and causes electric companies to produce lots of carbon dioxide on their behalf.

SDR radios when tuned to Digital Radio Mondiale and DAB, use some low-powered pilot tones to control the recreation of the carrier, because there is no wasteful carrier transmitted.

Also not mentioned by Larry Langford was the effect of increased interference and poor vehicle antennas, making reception unpleasant. “Static” from lightning has always been present.

There’s no immunity from noise, which has been increasing since the invention of the switched-mode power supply used in nearly everything powered by electricity, including electric vehicles and lighting. In addition, there are now many more electrical lines with high-voltage insulators to arc!

Beyond all this, AM has issues because the overlapping channels cause many broadcasters to reduce their coverage areas at night. It has high audio distortion levels and no stereo sound. And, as discussed above, there is a lack of high-frequency sound.

Hybrid FM, hybrid AM and pure digital FM HD Radio systems use overlapping channels, so, interference will remain, forcing broadcasters to hire lawyers. Lawyers are not required for the pure digital AM HD Radio, which has a low data rate mode, keeping the transmission within its channel.

The solution to this is to use the old analog TV Channels 2–6 (VHF Band I), where only 41 medium-power and 61 very low-powered transmitters still operate in North America.

One TV transmitting channel contains 58 DRM transmitting channels, which can carry three stereo music channels each. There are 208 DRM channels available in Band I in the Americas. One transmitter can carry six DRM transmission channels or 18 programs. All programs from one site will have the same coverage area, unlike the current HD1–HD4 channels, which are transmitted at a very low power to prevent interference to their own and other broadcasters’ signals.

Many AM broadcasters have obtained FM translators, choking the FM band, whereas Band I is virtually deserted and has more channels than the number of AM and FM channels combined. Since Band I is virtually deserted and the 100 kHz wide channels do not overlap, the FCC can allocate the power required to fill the license area without restrictions. It is also possible to use a low-powered repeater transmitter on the same channel within the coverage area for blackspots.

A decade ago in the United States, the telcos pushed government and broadcasters to complete the conversion of all television stations to digital.

Similarly, for AM radio, I propose the FCC provide a free DRM Band I license for every radio broadcaster for 10 years, provided they begin broadcasting in that band within five years. They would be allowed to simulcast with their existing broadcasts for 10 years, after which all existing AM/FM broadcasting will cease.

After five years it would be illegal to sell radios (including in vehicles) that cannot receive DRM Band I. Capable receivers already exist. There are more DRM radio models on the market than HD Radios, and in India 4 million cars have been factory installed over the past three years at no extra cost. For older cars, a Starwaves TukTuk receiver is available that converts the DRM signal into FM stereo.

Given the competition from audio on-demand services and the telcos, isn’t the dramatic drop in transmission costs and greenhouse pollution enough to convince the FCC to take this step?

This should be a task for the new president/CEO of the National Association of Broadcasters.

Comment on this or any article. Write to radioworld@futurenet.com.

The post TV Channels Offer Radio an Answer appeared first on Radio World.

Second-generation Shure SRH440A Headphones

Shure has improved its line of SRH headphones. According to the company, the second-generation SRH440A and SRH840A headphones offer enhanced audio quality and are built for long-wearing comfort.

The new models incorporate upgrades for critical listening and studio monitoring with lower harmonic distortion and more precise left-right driver matching. The SRH840A offers a tailored frequency response powered by 40-mm neodymium dynamic drivers for rich bass, a clear mid-range and extended highs. The SRH440A delivers detailed frequency response with audio designed for podcasting, home recording and critical editing and mixing, according to Shure.

Features for both the SRH440A and SRH840A include a closed-back, circumaural design with a lightweight, wide, padded headband that helps reduce background noise for long-wearing comfort, as well as a detachable straight cable standard for both models for better mobility.

The company says both headphones provide unique sound signatures optimized for creating and editing.

The SRH440A retails at £89/$99/€99 and the SRH840A is available for £135/$149/€149. Prices for both include the headphones; a detachable, straight 9-foot locking bayonet cable; and a threaded gold stereo 1/8- to 1/4-inch adapter. The SRH840A also includes a carrying bag.

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SiriusXM Holdings Inc. has acquired Cloud Cover Media, expanding its offerings for businesses that want music and messaging services.

Cloud Cover Media offers Cloud Cover Music, which offers services that “allow businesses to deliver music, with customized audio messaging if desired, to create the desired atmosphere for their prospects, customers and clients.”

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SiriusXM already serves the commercial music market with SiriusXM Music for Business and Pandora for Business. “Together these services provide comprehensive and complementary offerings for businesses of all sizes,” it said in the announcement.

Terms of the acquisition were not disclosed.

Cloud Cover Music has an online platform and a large enterprise account team that “offers organizations of any size in any industry a robust selection of ad-free music for their business with full control over what their customers and employees will hear.”

The announcement was made by SiriusXM EVP Joe Verbrugge and Cloud Cover Music team VP/GM Mark Lehman, who remains with the firm.

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DHD.audio DX2 Compact Mixing Console

The new DHD.audio DX2 desktop audio console will be unveiled next week in Germany at Hamburg Open 2022, January 19–20.

The DX2 compact mixing console is intended for use in small, tight spaces, such as newsroom desks, podcast studios, voiceover suites and video editing booths. It provides the same assistive mixing functions as other DHD consoles, including motorized faders, automix and auto level gain, and is designed for integration with DHD processing cores to form a complete system.

The DX2 is fully compatible with all current second-generation DHD cores running version 10 firmware. It comes as a four-fader console, with an optional six-fader expansion unit. A 3.5 mm output jack at the rear of the console doubles as an input, which can be used to connect a smartphone for live telephone interviews.

Also debuting will be the latest additions to DHD’s range of audio production processing cores, which integrate elements such as control surfaces, routing and external-device interfacing into a standalone or distributed system. The new XC3- and XD3-cores provide full support for intrasite as well as multisite IP-based device control and audio-over-IP signal distribution. They also support automated workflows and product virtualization.

The DHD XC3 IP core is designed for use in on-air studios. It comprises two dual-core DSP modules which combine into a compact 1U. These jointly support up to 48 stereo faders, 72 stereo buses and 16 channels of AES67 IP audio. IPx expansion modules can be added to accommodate 128 channels of AES67/Ravenna IP audio I/O and up to 512 Dante channels. A companion module, the new XC3 Concentrator, allows interconnection of multiple DHD IPx modules, control surfaces and I/O modules.

DHD’s new XD3 is an IP core for use with large mixing and routing systems. It includes support for networked operations such as DHD web apps. The XD3 IP core allows fully redundant configuration and can accommodate an optional router. Up to 96 stereo faders, 126 stereo buses and 24 Gigabit Ethernet audio ports are supported by the XD3 router and IP core combination.

DHD will also be promoting the extend feature set of is new version 10 firmware. This includes bolstered security and management features, unified user management based on web apps, expanded fader and bus handling, and refinements to the DHD Toolbox configuration software.

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Alan Jurison

Alan Jurison is senior operations engineer, iHeartMedia Centralized Technical Operations, and the chair of the Metadata Usage Working Group within the National Radio Systems Committee.

This interview is from the recent ebook “What’s Next for Virtualization?” Find it at radioworld.com/ebooks.

Radio World: Alan you said a year ago that you define virtualization as consolidating broadcast functions into a software environment or single-purpose hardware and facility functions at the transmitter site. How is that definition holding up?

Alan Jurison: I think that concept is progressing. Many vendors are actively consolidating functions into existing processes, whether it be hardware or software.

This is a transition that will happen over time. For the most part, a lot of what has occurred in the last year has been in existing hardware platforms we are accustomed to; but looking towards the future, as new platforms are developed, I think we will be able to take what we’ve learned as an industry and consolidate even more functions in the next generation of hardware and software platforms.

RW: You’ve also said that there’s no universal solution for getting stations connected to run air chains completely virtually. How far are we from that?

Jurison: I’ve yet to see a cohesive strategy provided by a single vendor, or consortium of vendors, in this space. I think that’s what it will take for most broadcasters to get started — trusted industry partners to help them accomplish this. Vendors are working in this space, but I still think it’ll be a bit of time before we see an ecosystem — i.e., a “product line” or solution that a station could buy into to accomplish this.

RW: The idea of “air chains as a service” is just so interesting. Will we really get to that point?

Jurison: I think so. As connectivity options at transmitter sites improve and become diverse, there will be stations that opt to consolidate everything into a single service or set of appliances to enable them to do exactly that.

RW: We talked too about connectivity at the transmitter site.

Jurison: The success of these future solutions will live or die with connectivity. IP is competing with traditional RF-based STLs that, when designed properly, have near-perfect uptime.

Finding a combination of reliable and diverse connectivity to the transmitter site is key. Diversity is key. You can’t put all of your connectivity in one basket, i.e. with the same connectivity provider, and the same types of delivery mediums.

I think it is possible to achieve IP diversity at many sites across the United States right now with existing wired and wireless telco infrastructure with different providers. As we move forward, connectivity options will only increase over time, as additional technologies and delivery mediums are offered by IP/telco solutions providers.

RW: Are we farther along now in seeing virtualization come to PPM, to EAS?

Jurison: With PPM, we are already there. With the NAB Radio Technology Committee and Nielsen’s PPM Software Encoder, the major audio processing companies all have solutions that eliminate the need for an external PPM encoder.

With EAS on HD2/HD3/HD4, the industry now has a great solution for including alerts on HD subchannels.

EAS on main-channel AM and FM stations is a bit more involved, as the broadcasting industry needs to have broader discussions with our partners at the FCC and FEMA. I wouldn’t expect much change there immediately. But with the FCC’s recent proceedings on EAS, they are looking at ways to modernize EAS, improve alerting capabilities, and out of that process I think there will be a lot of great ideas that can only help serve the public and communities better than we can today.

RW: What are common misconceptions or unfamiliar terms in virtualization?

Jurison: Broadcasters generally think IP audio and software solutions are not as reliable as hardware and traditional STL. The truth is, given the proper hardware and software design, these challenges can be overcome, and someday IP- and software-based solutions will become more reliable and resilient than traditional broadcast infrastructure because it will have more redundancies built in.

RW: What else should we be considering on this topic?

Jurison: It’s interesting, when we started talking about virtualization a few years ago, it seemed like a good term to discuss the modernization efforts for our industry. As time has gone on, it almost seems the term virtual is becoming outdated.

The IT space has moved away from virtual environments and changing platforms completely to work with cloud-based infrastructure. While the industry doesn’t have a “virtual air chain” today, I think by the time we get to that, we’ll be calling it something else.

We likely won’t call it cloud-based either. What we are heading towards is a completely new ecosystem for our industry, and whatever terms we want to call that today will have a short shelf life. Because the new ecosystem will be rapidly changing to meet the industry’s needs, we won’t have time to sit around and dwell on what we should call it.

Share your thoughts on this or any other article. Write to radioworld@futurenet.com.

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What do country rock, boogie blues, swing and the state of Iowa have in common? This year, they’re all part of the Iowa Rock ’n Roll Music Association’s Hall of Fame Class of 2022. And an iconic radio station from another state is a big part of the celebration.

The association plans to welcome this year’s honorees during a Hall of Fame Induction Spectacular on Labor Day weekend.

The festival will kick off with a Rock the Roof concert on Sept. 1 followed by a weekend of festivities, including an opening ceremony with a guitar marching band, autograph party, Iowa Rocks talent contest and an inductee meet and greet. The weekend will wrap up with the Iowa Rock ’n Roll Induction Ceremony and Concert on Sept. 4.

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The announcement was made by Executive Director Clay Norris, who noted that this year is the association’s 25th anniversary.

Among the 2022 honorees is WLS(AM). The Cumulus Media-owned station might be based in Chicago, but it has served as a “huge part of the rock music history of the entire Midwest, and it had a profound impact on Iowa,” Norris said.

The Chicago station’s daytime signal can be heard across much of eastern Iowa — where two thirds of the state’s population lives — and at night, it could be heard all over the state, he said. WLS has also played and promoted other Iowa Hall of Fame inductees — bands like The Buckinghams, New Colony Six and Head East.

In the DJ Category, the Iowa Rock ‘’n Roll Hall of Fame will induct Ron Sorenson of KFMG-LP in Des Moines and Bruce Wasenius of KLKK(FM) in Clear Lake, Iowa.

2022 Iowa Rock ’n Roll Hall of Fame Inductees

• Band Category: Blue Strings, Gray James Band, The Library, The Pendletons, The Unidynes, Zini
• Individual Category: Dan Bern, Johnnie Bolin, Tommy Bolin, Jen Brucher, Barry Clark, Laurie Haag, Glenn Henriksen, Kelli James, Troy Johnson, Vance Jorgensen, Kris Karr, T. Wilson King, Ralph Kluseman, Tom Nelson, Paul Miller, Heath Pattschull, Jim Poffenberger, Robby Vee
• Venue Category: The Burlington Capital Theatre
• Radio Station Category: WLS(AM), Chicago
• DJ Category: Ron Sorenson, Bruce Wasenius
• Support Person Category: Bill Monroe, Mark Sampson

Special Achievement Awards

• Iowa Rock ‘n Roll Music Association Lifetime Achievement Award: JC Wilson
• Matousek Lifetime Achievement Award: Tom Pick
• Spirit Award: Jeremy Ober, Maddie Poppe, Amedeo Rossi
• John Senn Legacy Award: Naomi Senn

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