Radio World

The author is head of Music for the European Broadcasting Union. Radio World invites industry-oriented commentaries and responses. Email radioworld@futurenet.com.

The many challenges faced by artistic programming and performances during the past 18 months are well documented but cannot be overstated. It has quite simply been a devastating time for the creative sector and the subsidiary industries that work within or closely with it.

Performing arts, live music, festivals and cultural programming have all been hit hard by the acceleration of the pandemic and the necessary measures to suppress it, from social distancing to national lockdowns. It was tempting to speculate whether we — and our sector — would ever regain lost ground. But, after multiple cancellations during 2020, I’m glad to see the green shoots of recovery, with welcome returns for some of the world’s greatest concerts and festivals. It is essential that this recovery continues and be supported.

[Read:EBU Finds That Radio Is in the Air]

Live and recorded music is central to radio programming. Every year, our Music Exchange delivers 3,000 concerts, which means 20,000 broadcasts from approximately 770 venues across a range of genres and sounds, from folk, jazz, rock and pop to classical and dance.

During the summer months of 2021, we’ve been able to offer our audiences 240 concerts, from 77 festivals through 28 public service media organizations. As well as the big beasts such as BBC Proms, the well-known festivals at Salzburg, Lucerne and Bayreuth, EBU members have contributed a range of unique concerts including a juxtaposition between Eastern and Western music from Granada in celebration of Jordi Savall’s 80th birthday; Philippe Jordan’s farewell concert from the Paris Opera; and a rare performance of music history’s first opera, Cavalieri’s “Rappresentatione di Anima et di Corpo,” from Utrecht, Netherlands.

Through our networks members, these national events are shared internationally for the benefit of audiences everywhere. Not everyone can get to the major cities for these big moments so radio broadcasting really does open up music to all, it is a public space in itself.

Theatre Antique Orange, one of the venues of the Euroradio summer festivals.

David Pickard, director of the BBC Proms, told us recently, “Our close collaboration with the EBU brings audiences and territories we can reach further and further afield. So many countries right across the world can hear this amazing concert series in their own homes due to the power of public service broadcasting.

This year, the Proms will be more important than ever at a time when musicians have suffered so much during the pandemic, to have the opportunity to perform again and to reach those huge audiences is going to be incredibly important both for them and for the future of music in our post-pandemic world.”

Case studies show that the range of music played on public service media is wider than on commercial channels. PSM outlets offer opportunities for new artists to get their material heard and enable audiences to experience – and discover — a diverse range of content.

These are just some examples from our members:

• Thanks to Belgian public broadcaster, VRT, 25,755 songs were played on Belgium’s national radio in 2020. That’s 72% of all songs. Again, VRT were responsible for showcasing 10,790 artists on national radio in the same year, accounting for 68% of different artists.
• According to the Centre National de la Musique’s report about diversity in radio in 2020, at least 38% of unique tracks played by French radio stations are only played by Radio France.
• And, in the U.K., analysis of RadioMonitor data found the four BBC ‘pop’ stations — R1, R2, 1X and 6 Music — played an average of 14,216 different tracks across 2020, compared to 2,279 on average for 10 key commercial comparators (all hours).

This commitment to an enriched listener experience is enhanced by expert curation, tailoring content to local audiences and the local music scene. Music journalism helping artists promote their music and concerts to build audiences. Multiple platforms — on-air, online, on stage, podcasts and video — providing listeners with convenient, engaging listening experiences. Educational and cultural programming providing context and analysis of music, songwriters, composers and performers.

It is right that PSM, funded in their unique way, should take risks and showcase content capable of stimulating creativity, and support national musical life. And, for us at the EBU, it is critical that cultural events produced and/or recorded by EBU Members can be shared on an international basis.

Because culture is vital for promoting well-being and increasing social inclusion and equity. After the recent debilitating months, we need that connection more than ever. We’re hopeful that the creative industries will be back to full strength and we look forward to sharing with you, our audiences, the very best of their work that ultimately brings us all closer together.

 

The post Radio Brings Audiences Together appeared first on Radio World.

Charlie Wooten

Hurricane season across the Gulf Coast of the United States puts Charlie Wooten on high alert.

Wooten, director of engineering and IT for iHeartMedia in Panama City and Tallahassee, Fla., is also a member of the iHeartMedia Emergency Response Team. He has seen the damage a Category 5 hurricane can do. He stood on the front lines as Hurricane Michael hammered the Florida panhandle in 2018.

That hurricane destroyed the three-tower AM array of WDIZ(AM) and knocked down the STL tower at the iHeart studios in Panama City. Only backup underground fiber circuits kept WPAP(FM) and WFSY(FM) on the air, Wooten said. Two other FMs in the cluster returned to the air within days utilizing a satellite feed to replace the lost STL.

“The iHeart stations were the only commercial stations on the air for over two weeks,” he said.

In 2019 the Society of Broadcast Engineers honored Wooten as the recipient of its Robert W. Flanders Engineer of the Year Award, citing his actions around the storm. “Because of Charlie’s experience, planning and system redundancy, the citizens of Bay County tuned in their radios the morning after the storm and found iHeartMedia signals live. Locals had access to critical information regarding, food, water and emergency health care.”

[Read: Jack DeWitt: An Engineer’s Engineer]

Wooten has had a wide-ranging and award-winning career. He has served as chief engineer for a radio station in Aruba, worked as general manager of a public radio station in Florida, and had a hand in building more than 120 broadcast facilities (RF and studio plants), including 30 in Eastern Europe while working as a broadcast engineering consultant early in his career.

The battle-tested technologist is 72 and has no plans to retire. Our interview with him is part of our series of profiles of leading industry engineers.

Radio World: Describe the scope of your job with iHeartMedia.
Charlie Wooten: I am responsible for all engineering, audio, RF and IT for the iHeart stations in Tallahassee and Panama City, Fla., which totals nine full-power FMs, four FM translators and one AM. We have HD on one station in each market.

RW: What is the biggest day-to-day challenge?
Wooten: Balancing my work priorities between two clusters 100 miles apart.

RW: What technology projects are you working on, and what’s next on the docket?
Wooten: iHeart is currently installing a software-defined WAN system to interconnect all transmitter sites and studios. This system uses two different paths, conventional wired internet and wireless internet, so that if one path fails, the system will seamlessly switch over to the other connection.

After this is installed, we will be moving to a playout system called Sound+, which will have playout equipment installed locally to retain redundancy and reliability. It is an ambitious project and requires many different programming elements be incorporated into the Sound+ platform.

RW: Are you moving more operations into the cloud, or planning to?
Wooten: Yes, we are leveraging cloud architecture, like most industries, but we are also leveraging local playout systems to improve redundancy and reliability.

RW: What are the primary challenges facing local radio engineering?
Wooten: Radio has dramatically changed in the past few years, so it’s important to continue to evolve and reach your audiences everywhere they are and how they want it.

RW: What types of hurricane preparation and planning have your Florida radio stations put in place?
Wooten: We have always had a hurricane plan locally since I came to work with the cluster in Panama City in 1997. We have continued to fine-tune that plan over the years. The plan worked out very well for us for all of the storms, although Hurricane Michael was a completely different animal and we had some new challenges we had to work through. Even with these challenges, iHeartMedia stations were able to continue delivering emergency information shortly after the storm.

RW: What critical infrastructure was most fragile when Hurricane Michael hit?
Wooten: Of all things, we had a battery problem with the generator, which had been tested with no problems on the Sunday before the hurricane hit on Wednesday. We were able to jump off the generator and get power back to the studio building.

All of the transmitter sites stayed on the air during the storm. They just didn’t have any audio. As soon as we were able to crank the generator and get power back on at the studio, WPAP and WFSY had audio, only because we have AT&T underground fiber that ran 100% underground from the studio to the local central office and from the central office, to the tower site 25 miles north of Panama City.

We lost part of the roof and building fascia to the offices, but the area where the studios and rack room were located did not suffer any damage. Luckily the STL tower fell away from our building. We were without commercial power at our studios for over a week and we are located 200 yards from a major substation. Our four FM transmitter sites stayed on generator power for over two weeks.

Wooten visits Slovak Radio in Bratislava, Slovakia, in 1993.

We had diesel fuel delivered to each site each morning and we actually took stations off for short periods at midnight to do oil and filter changes, which are required to insure reliable service.

Our Onan diesel generators operated flawlessly. One piece of flying debris put a small hole in the radiator of the WEBZ generator, but we were able to patch it until a replacement radiator could be located and installed.

RW: What aspects of your job have changed the most through the years?
Wooten: I have been a broadcast engineer since 1970, and the biggest change is the addition of IT to the engineer’s duties. This required me to learn about something I had not really kept up with in the ’80s as it became more prevalent in the ’90s and today.

IT is another aspect of broadcast engineering that is just as important as knowing how to change a tube in a transmitter or build a studio.

RW: What is your perspective on trends relevant to technical radio management?
Wooten: I think the more important question is, how will broadcasters find good people who want to be on their engineering staffs — making sure to have competitive benefits and salaries.

RW: How can the industry identify and develop new engineering talent?
Wooten: Frankly, I have been disappointed in some broadcasters who are not looking ahead and seem to think that engineering is becoming less and less important. While keeping the total station on the air, which today not only includes the transmitter, it also includes the internet stream and other digital means of delivery.

Finding and being able to retain the next generation of engineers should be one of the top priorities of broadcasters. Again, competitive benefits are a key part of attracting and retaining new engineers.

RW: Can you describe the regional structure? Do you have local help?
Wooten: I am part of what is called Region 16, which includes stations in the Florida Panhandle; Mobile, Ala.; Biloxi, Jackson and Hattiesburg, Miss.; and New Orleans and Baton Rouge, La.

I report to a regional lead engineer and we all roll up to a regional senior VP of engineering. As far as the structure of the local engineering department, that would be only me, but I can also leverage other engineers in the region if needed.

RW: What impact has the elimination of the main studio rule had on your technical approach?
Wooten: That has had no change in our local operation. We continue to operate as we had before the rule change.

RW: Are you using HD Radio?
Wooten: In both Panama City and Tallahassee, we have one HD station with HD2 signals that feed translators.

RW: How can radio manage to maintain and grow its presence in the evolving car dashboard?
Wooten: Radio continues to dominate consumer listening in the U.S. with nine out 10 Americans listening. Even though there’s an increasing amount of apps available in the dash, including iHeartRadio, research shows that drivers overwhelmingly still want the ease of AM/FM radio and the simplicity that comes with just pushing a button on their dial.

iHeart is a key player in both AM/FM broadcast radio and in digital, and while we continue to work with all major OEMs and aftermarket head units to make sure the iHeartRadio app is available in dash, that needs to be in addition to AM/FM radio in the dash, not instead of.

Wooten with his ham radio gear, age 12.

RW: How much longer do you plan to work?
Wooten: Honestly I have not set a date for retirement. I am still physically able to work, although I am not as agile as I used to be. My wife will not retire for several more years, and I plan to continue to work at least until she retires.

RW: What has been the highlight of your career so far? And what other interests do you have?
Wooten: My international work in Eastern Europe as a contractor for the State Department from 1991 to 1997 after the fall of the Iron Curtain. I built a bunch of small community stations in the former Czechoslovakia and a station in Zagreb, Croatia. A lot of my friends don’t even know about this part of my career.

I have two hobbies, ham radio — call sign NF4A. I have been a ham since 1962 when I was 12. I also love to deer hunt. I am president of the Bear Creek Hunting Club, which has 15,000 acres leased in the Florida Panhandle.

 

The post Wooten Manages IHM’s Florida Panhandle Engineering appeared first on Radio World.

The NAB is giving its support to several proposed changes to U.S. radio technical rules. But it opposes one change that it thinks would undermine interference protections.

The Federal Communications Commission in July adopted a Notice of Proposed Rulemaking that identifies seven technical rules it wants to eliminate or revise. As we’ve reported, various engineering observers who commented to Radio World have said they see these changes as beneficial.

Now the National Association of Broadcasters has weighed in.

It asked the FCC to stipulate that rule changes will not cause existing stations to be in violation and that any stations adversely affected should be grandfathered to avoid being forced to modify operation.

With that caveat, NAB supports most of the proposed changes: It said the FCC should eliminate the maximum rated power limit for AM transmitters; clarify and harmonize the definition of NCE-FM community of license coverage; harmonize the second-adjacent channel protection requirement for Class D FM stations; eliminate protection of mid-band common carrier operations in Alaska; and modify the definition of “AM fill-in area.”

But it also identified a few areas of potential concern.

It wants the FCC to grandfather the operation of any stations near the Canadian or Mexican borders that may become short-spaced or otherwise non-compliant as a result of the changes. Also it said the commission should clarify how distance figures in the rules regarding cross-border stations are to be calculated.

Last, NAB laid out an argument for why the FCC should not eliminate the regulatory requirement to consider “proximate” transmitting facilities.

In that proposal, the commission wants to eliminate a rule that says applications proposing the use of FM transmitting antennas in the immediate vicinity (60 meters or less) of other FM or TV broadcast antennas must include “a showing as to the expected effect, if any, of such approximate operation.” The FCC thinks this is unnecessary because broadcast radio antennas in this situation are unlikely to create interference problems if otherwise compliant. It calls the rule seldom-used and says it rarely prevents interference.

NAB disagreed and says the requirement provides an important legal tool for defining interference protection rights.

It said the rule helps to ensure that intermodulation distortion products are not generated and radiated as a result of a newcomer station collocating, or nearly collocating, with existing stations. It said IMD is a common outcome of collocation, particularly when an FM collocates with other FMs or Channel 6 stations, and that it can cause interference to other stations as well as aviation and land-mobile, including public safety.

“It is critical that such interference is anticipated, considered and corrected prior to the commencement of regular broadcasting,” it told the commission. “NAB believes that eliminating the rule is tantamount to instructing applicants not to worry about the potential effects of their operation on existing stations.”

Eliminating the rule could also muddy whether a newcomer station is responsible for correction. “A policy does not carry the same weight as a rule, and NAB believes that Section 73.316(d) provides important legal ‘teeth’ to its longstanding, but uncodified, policy with regard to the responsibility of newcomer stations to correct any problems they create.”

NAB believes the commission needs an enforceable rule codifying its “last in time, first in responsibility” policy.

[Read a PDF of the NAB filing.]

The post NAB Supports Most Proposed Tech Rule Changes appeared first on Radio World.

The acting chairwoman of the Federal Communications Commission says the latest data about broadcast ownership in the United States “makes clear that women and people of color are underrepresented in license ownership.”

Jessica Rosenworcel commented on a new FCC report (PDF) summarizing data collected in 2019.

The lack of diversity, she said, “requires attention because what we see and hear over the public airwaves says so much about who we are as individuals, as communities and as a nation. However, changes in the law, technology and court decisions like FCC v. Prometheus Radio Project make addressing this complex. But we have a charge to promote diversity under the Communications Act and we need to honor it.”

She called for an effort to identify ways to encourage more diversity, including reinstatement of the Minority Tax Certificate Program.

The report covers about 4,600 AM stations, 10,900 FM stations and full-power, low-power and Class A television as of 2019.

The FCC released this chart summarizing the majority ownership interest of commercial broadcast stations in gender, race and ethnicity:

As shown above, women held a majority ownership interest in 8% of commercial broadcast stations, while men held a majority ownership interest in 65%, the FCC noted. White persons held a majority ownership interest in 76% of commercial stations while persons belonging to racial minority groups held a majority ownership interest in 4%. Hispanic/Latino persons held a majority ownership interest in 6% of commercial stations while not Hispanic/Latino persons held a majority ownership interest in 73%.

The second image assesses the same categories but for noncommercial broadcast stations:

Women held a majority ownership interest in 12% of noncom broadcast stations while men held a majority ownership interest in 75%. White persons held a majority ownership interest in 89% while persons belonging to racial minority groups held majority ownership interest in 3%. Hispanic/Latino persons held a majority ownership interest in 3% while not Hispanic/Latino persons held a majority ownership interest in 89% of noncommercial stations.

The report also provided charts specifically for various categories. For example, the image below shows majority ownership interest for commercial FM radio stations:

The full set of charts including those for noncom FMs, AM stations and various TV categories is posted on the FCC website.

The post Latest Data Confirms Underrepresentation, Rosenworcel Says appeared first on Radio World.

Newton Minow chaired the FCC under President Kennedy. He’s shown receiving the Presidential Medal of Freedom from President Obama. Photo by Cheriss May/NurPhoto via Getty Images.

Nine former FCC chairs are expressing support for reinstating a tax certificate program intended to encourage investment in broadcast ownership by women and people of color.

The National Association of Broadcasters distributed a copy of their letter to the media, highlighting the support of these former commission chairs. They include seven Democrats and two Republicans.

The letter supports the Expanding Broadcast Opportunities Act of 2021 introduced in the House and the Broadcast VOICES Act in the Senate.

[Related: “NAB Gives Thumbs Up to Minority Tax Bills”]

Among the former FCC leaders signing the letter was Richard Wiley, who was chair from 1974 to 1977. Photo by Ricky Carioti/The Washington Post via Getty Images.

A Diversity Tax Certificate Program would give a tax incentive to those who sold a majority interest in a radio or TV station to underrepresented broadcasters.

The letter was signed by Newton Minow (1961–1963), Richard Wiley (1974–1977), Reed Hundt (1993–1997), William Kennard (1997–2001), Michael Powell (2001–2005), Michael Copps (2009), Julius Genachowski (2009–2013), Mignon Clyburn (2013) and Tom Wheeler (2013–2017).

“In each of our administrations, one of the most critical goals was advancing diversity and competition in broadcasting,” the former FCC chairs wrote, noting that a similar program was in place from 1978 to 1995.

Among the former FCC leaders signing the letter was Mignon Clyburn, an FCC commissioner from 2009 to 2018.

“The greatest barrier to diversity is access to capital, which is why the Tax Certificate Policy was so important. It provided that a licensee who sold his or her station to a minority entrepreneur could defer payment of capital gains taxes upon reinvestment in comparable property. This relief benefitted buyers, sellers, and consumers.”

They called the former policy “highly successful” because it helped minority ownership in broadcast TV and radio quintuple. “But in the years since the repeal of the policy, the frequency with which broadcast properties have been sold to minorities has fallen dramatically.”

 

The post Former FCC Chairs Give Support to Diversity Certificate appeared first on Radio World.

Don’t change the local radio ownership rules. That’s the plea from the National Association of Black Owned Broadcasters.

Jim Winston, president of NABOB, said, “The reasons given for eliminating or radically relaxing the commission’s local radio ownership rule are not adequate to justify increased consolidation of ownership in local radio markets. The AM radio industry would be greatly injured by the proposals that have been put forth. We are pleased to see iHeartMedia and other companies rejecting these proposals.”

The association is thus at odds on this issue with the National Association of Broadcasters, which has pushed the commission to raise or eliminate the caps.

[Related: “Give Us Subcap Relief, NAB Again Tells FCC”]

NABOB filed comments in the FCC’s 2018 quadrennial review of its broadcast ownership rules.

“Any change in the local radio ownership rule to allow increased consolidation will have a significant negative impact on African Americans and other minority station owners and entrepreneurs,” NABOB wrote.

“Any elimination or relaxation of the subcaps rule would be particularly damaging for the AM radio industry as a whole, in addition to being damaging to African American AM station owners.”

The organization said that ownership of broadcast radio and TV stations has been “in steady decline” since Congress repealed the minority tax certificate policy in 1995, the Supreme Court decided the Adarand case in 1995 and Congress passed the Telecommunications Act of 1996.

“The proponents of elimination or relaxation of the subcaps rule have put forth justifications for these rule changes that are not supported by the facts. Advertisers are unlikely to shift dollars away from Facebook, Google and other internet companies to broadcast media.  Advertisers recognize that the two media deliver audiences in very different ways.  Advertisers seeking to buy radio can buy it now regardless of who owns the stations.”

The post NABOB Opposes Lifting Subcaps appeared first on Radio World.

Streaming products developer and services provider StreamGuys has announced that it is available for custom development of Google Actions, that company’s equivalent of Alexa Skills. Therefore, users of Google smart speakers and OS-enabled devices be able to access a station’s live and on-demand content through voice commands.

The company says, “StreamGuys’ Google Actions creation service allows broadcasters who don’t have their own in-house development capabilities to take advantage of the growing ecosystem of Google smart devices for engaging their audience.”

[Check Out More Products at Radio World’s Products Section]

StreamGuys Director of Technology Eduardo Martinez explained, “In today’s media-saturated world, it is important for broadcasters’ brand voice to be presented consistently to their audiences across all listening platforms. … The ability to create tailored experiences also helps them forge deeper relationships with their listeners than the typical ‘cookie cutter’ approach available through third-party aggregators.”

He added, “Our customers have enjoyed using Alexa Skills to better engage their audiences, and our new Google Actions offering lets them extend these benefits onto Google-enabled devices while providing consistent, cross-platform listener experiences.”

For broadcasters using StreamGuys’ CDN and SaaS-based solutions, tight integration between the Google Actions and StreamGuys’ SGmetadata metadata delivery system also allows live stream listeners to ask questions such as “What’s playing?” or “What song is this?”, with the device then speaking out the current song details.

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

Info: www.streamguys.com

 

The post StreamGuys Building Google Actions appeared first on Radio World.

Mary Jasitini and her father from Mgomba village listen to the “Let’s Talk for Change” program on Nkhotakota Radio.

The U.S.-based NGO Developing Radio Partners is playing a crucial role in socioeconomic development in several African countries by using local radio to address their communities’ greatest needs.

In Malawi, DRP is closing the knowledge and information gap on sexual reproductive health with a project that helps young people know their health rights. The project, supported by the U.S. Agency for International Development, has trained more than 400 young people ages 14 to 19 to produce weekly radio programs on diverse topics related to reproductive health.

The project is aimed at making sure boys and girls understand their health rights and are aware of the reproductive health services that are available to them. DRP’s project includes partnerships with nine community-based radio stations that are focusing their weekly radio programs and public service announcements (PSAs) on topics aimed at ending child marriage and reducing rates of teen pregnancy, HIV infections and COVID-19.

The programs also encourage girls and boys to stay in school and complete their education.

In Burkina Faso, DRP trained community health workers and radio reporters to produce a weekly program that was broadcast by a community-based radio station. They believed that if local health workers delivered messages about COVID-19, the communities would pay attention and take preventive measures.

“Best option”

Charles Rice, DRP president and chief executive officer, says radio is how most people in Malawi and Burkina Faso get their news and information.

Internet is often nonexistent or very limited in rural areas, and television can be expensive and require electricity. Radio, on the other hand, is relatively inexpensive, and a radio set can be powered by batteries or by solar.

Women in Vithenja village listened to the “Nkhotakota Radio Youth Health” program in Malawi.

“We have found radio to be the best option to reach a lot of people all at once. In Malawi, for instance, our potential listening audience among the nine radio stations we work with is about 6.5 million people,” Rice said.

“We work with community radio stations because they are part of the community; they are operated by the community. They are often trusted, and the stations we work with often focus on stories that affect the community – whether it’s related to farming, public health or the environment.”

Chiko Moyo, DRP’s coordinator and trainer in Malawi, works directly with the mentors, the youth reporters and the radio listening clubs at the nine partner radio stations.

“Just as an example, the youth are taught how to hold public officers accountable and they see the fruits that come out of such actions; public funds for SRH (sexual and reproductive health) are put to good use, youth arise to monitor how officers are conducting youth friendly health services, and many other things that help communities to be served better,” Moyo explains.

DRP conducts trainings on a monthly basis and sends weekly tip sheets to help youth reporters focus on specific topics for their weekly programs and PSAs. The Weekly Bulletin is researched, written and fact-checked in Malawi; it provides background on specific issues as well as questions for the reporters to use in their programs and contact details for people to interview.

“Station partners have told us that they rely on these bulletins because they are accurate and timely — and we believe this is why their weekly radio programs are popular. Listeners know that the information they are hearing is accurate” said Mercy Malikwa, who writes the Weekly Bulletin.

DRP has been producing the Weekly Bulletin on sexual reproductive health since May 2017. It started a special weekly bulletin on COVID-19 in March 2020 and it is still being produced.

Changing behavior

The radio programs, both in Malawi and Burkina Faso, have proven to be popular with listeners as well as health officials.

“The project has tremendously improved youth reproductive health awareness and rights in the sense that we have better information dissemination through radio, and that has improved the lives of youth and changed their behavior,” said Jossein Chazala, the Youth Friendly Health Services Coordinator in Malawi’s Nkhotakota District.

In Burkina Faso, the radio program led to the creation of a health association covering 16 villages in the listening area; it comprises community leaders and local health workers who work closely with villagers to ensure everyone gets regular health checks and observes COVID-19 preventive measures.

The Malawi stations often use peer-to-peer storytelling to change behavior, and that was dramatically illustrative for Florence Deusi, who was a child bride at 16 but says the weekly youth program on her local station (Mudzi Wathu Community Radio in Mchinji in central Malawi) helped her escape her illegal marriage to a much older man.

“Whenever I was alone I could tune in to the youth program and that’s where I gathered courage to get out of the mess that I was in.”

Now 19, Florence has told her story on the program, “and I encourage girls who are in situations like me to get out of such marriages and go back to school.”

The Malawi stations have other notable successes, including a yearlong campaign by youth reporters at Chirundu Community Radio in Nkhata Bay to have an abandoned hospital converted into a vocational school teaching such skills as bricklaying, welding, and plumbing.

Also, data tracked by DRP and the stations suggests that programs and PSAs at the Mchinji station from January to March 2021 led to an eight-fold increase in the number of young people seeking HIV testing and counseling services. The station manager launched the programs after noticing a huge drop in visits related to HIV testing between October and December 2020.

After Gaka FM in Nsanje in southern Malawi began partnering with DRP in January 2021, visits to the local youth health clinic climbed 81% between January and March compared to figures from July-December 2020.

Data from the Ministry of Gender, Community Development and Social Welfare also suggest that there is correlation between the reduction in child marriages and the radio programs and PSAs produced by DRP-partner stations.

“Based on the data, we believe the radio programs are having a significant impact by reducing child marriages in the districts where we work and increasing the number of COVID-19 vaccinations in those districts where DRP is operating” Rice said.

The author, a public policy analyst, has served as a consultant with the United Nations and the World Bank. He has authored and coauthored numerous books and is a TEDx fellow.

The post Developing Radio Partners Makes a Difference in Africa appeared first on Radio World.

For our readers in the northern hemisphere, fall community sporting events are about to find their way onto many stations.

Here’s a neat project put together by Frank Hertel, principal with Newman-Kees RF Measurements and Engineering, ideal for your remote broadcasts.

When you are broadcasting from a crowded playing field or stadium, crowd noise may make it hard for your listeners to hear the announcer. What you need is an inexpensive and easy way to attenuate the crowd noise.

[Check Out More of Workbench Here]

Frank’s noise-canceling mic is a good solution. By connecting two mics out of phase and using a modified mating connector, you cancel out crowd noise picked up by both mics, which are 180 degrees opposed. The talent mic is clear, with the crowd noise greatly attenuated.

Frank’s idea was the result of a conversation with fellow engineer Phil Bailey around their workbench, preparing for the Evansville Fall Festival Parade, rumored to be only second in size and attendance to Mardi Gras.

The parade was less than a week away and the engineers needed a fix to control the crowd noise. Although they had tried several “noise canceling” microphones, the noise was still distracting.

As they talked, Phil recalled an incident that happened during the taping of a TV show. An intern had wired up a new microphone cable out of phase, with Pins 2 and 3 reversed on one end of the new cable.

Three guests were sitting alongside one another. A microphone, properly phased, was placed between the first and second guest. The out-of-phase mic was placed between the second and third guests. As a result, the guest in the middle was picked up by both mics.

But with one of them out of phase, the audio of the middle guest was subtracted from the combined mix. In this situation, noise cancellation was undesired, so they had to stop taping to fix the problem.

But the TV show’s wiring mistake became the fall festival’s crowd noise solution.

In use, Frank selected two Electro-Voice 635A omnidirectional mics. Imagine your reporter holding the top microphone within about 2 or 3 inches of their mouth, while the bottom microphone is pointing away from the mouth. Crowd noise is picked up equally by each 635A mic, thus the crowd noise is suppressed — virtually canceled!

You can experiment with pattern types; Frank finds that it works best with identical omnidirectionals, and the 635As are inexpensive, under $150 each.

The first photo shows the parts you’ll need to construct this project. Once you’ve gathered them, follow Frank’s step-by-step instructions.

Email me to let our readers know how well this works out for you during the upcoming sports season.

John Bisset, CPBE, has more than 50 years of broadcast engineering experience. 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.
Workbench submissions are encouraged and qualify toward SBE recertification. Email johnpbisset@gmail.com. 

 

The post Workbench: A Noise-Canceling Mic for Sports Remotes appeared first on Radio World.

Metadata as seen on an HD Radio display.

“Just as the introduction of digital radio improved usage of RDS, the introduction of hybrid radio will lead to better usage by broadcasters of digital radio in general, and metadata in particular.”

That’s the opinion of David Layer, the vice president of advanced engineering at the National Association of Broadcasters.

Writing in Radio World’s ebook “Trends in Digital Radio 2021,” Layer says the technologies of hybrid radio and its cousin, audio streaming to computers, smartphones and tablets, are poised to bring new features and functionality to radio, just as digital radio did back in the 2000s. 

“Interactivity, non-linear (on-demand) content and rich metadata are going to be what consumers will learn to expect.”

He thinks newer products and services developed to support hybrid radio will support digital radio as well, and that broadcasters will take advantage of this dual capability. 

“As has happened before, consumer expectations will once again be raised (this time by hybrid radio) and as broadcasters respond they will again, or maybe for the first time, recognize the value digital radio can bring to their services.”

Layer believes the stakes are higher than ever for radio broadcasters, as the proliferation of mobile broadband has increased consumer choice in audio services. 

“It’s important for all broadcasters to embrace the use of metadata so that as consumers scan the terrestrial radio dial, what they see is as useful and compelling as when they scan their favorite streaming audio service or satellite radio,” he concluded. 

“Today that is not the case; but if history repeats itself, the introduction of hybrid radio will result not just in support by broadcasters for hybrid services, but better support for digital radio, too.”

Our ebook provides other opinions about the state of global digital radio from thought leaders at organizations like WorldDAB, Digital Radio Mondiale, RadioDNS, Commercial Radio Australia, the European Broadcasting Union, the Asia-Pacific Broadcasting Union, Audi, Xperi, 2wcom, Digital Radio UK and Nautel.

Read it for free at radioworld.com/ebooks.

The post Will the History of RDS Repeat Itself for Digital Radio? appeared first on Radio World.

iHeartMedia Panama City, located in the Florida Panhandle, is no stranger to hurricane goings-on.

Sympathizing with the people of New Orleans, the broadcast cluster set about on Operation Storm Relief to collect needed items, along with some money in the wake of Hurricane Ida.

[Read: Big Louisiana Radio Tower Comes Down in Ida]

When all is collected, the denizens of the Crescent City will receive three truckloads, the semi variety, of goods, food and water.

Items requested, other than nonperishable food, include everything from shampoo, to hand-operated can openers, baby products and bedding. Clothing is frowned upon though underwear and socks are requested.

iHeartMedia Panama City includes WEBZ(FM), WFLA(FM), WFSY(FM) and WPAP(FM).

 

The post iHeart Panama City Responds to Hurricane Ida appeared first on Radio World.

This is one in a series of interviews with companies planning to exhibit at the 2021 NAB Show in October.

Gregory Mercier is director, product marketing and pre/post sales support for WorldCast Group.

Radio World: What will be your top news or theme?

Gregory Mercier: We are glad to share many exciting developments this year. Our strategy since the pandemic is to support our customers and the industry to adapt to this new environment.

KYBIO, our monitoring and control software, has been improved with the launch the V4. Available on-premises or as a SaaS option, KYBIO is now fully agnostic for all communication protocols used within the media industry. Users also benefit from Dynamic Diagram enhancements, which have moved beyond the previous site level representation to now also include views at the root, site and equipment level.

KYBIO dashboard

On the broadcasting side, SmartFM is our innovative technology for Ecreso FM transmitters; it enables broadcasters to reduce their consumption by up to 40%. SmartFM has seen a huge increase of users worldwide, including big national FM networks. This year, we launch the V2 to increase the potential savings and to better meet broadcaster’s requirements on the field.

Our monitoring range has improved with what is probably the most powerful Audemat FM Probe. Still on the Audemat range, we also provide a new RDS Server that gathers any data source and feeds RDS encoders to improve radio datacasting and revenues. This solution is compatible with the new and fully digital Audemat RDS Encoder.

The migration to IP and less hardware remains on our priority list, with two new APT technologies: APTmpX, a unique algorithm to transport MPX over IP with low quantity of data and huge signal transparency; and SynchroStream, the most accurate technology to transport synchronous Audio or MPX over IP. These two technologies are also compatible with our existing ScriptEasy for advanced monitoring and control, and SureStream for always-on redundancy.

RW: What is your FM-SFN Solution and what is different about it?
Mercier: With our range of advanced broadcast products, technologies and services, we centralize all the expertise needed for synchronous FM: Ecreso FM transmitters with digital modulator and perfect control of the signal, APT IP codecs for transparent and reliable transport over IP, and SynchroStream to synchronize the content over multiple transmitter sites.

The solution can also include Drive Tests during the deployment phase thanks to the Audemat FM MC5, and Kybio to monitor the entire broadcasting network operation 24/7. This level of integration from a single supplier and the highest synchronization accuracy available on the market are key for several broadcasters to increase their audience and revenues.

RW: How has the pandemic affected your business?

Mercier: Since last year, and like most companies, our first concern was to ensure the safety of our teams in Europe, Asia and the U.S. while having to reorganize our business operations to meet multiple, new challenges.

Thanks to the agility and determination of our teams, we managed to keep our workflow as seamless as possible, and remain available for our customers who, like us, are impacted by COVID-19.

Added to the pandemic we are also dealing with a global component crisis. However, with the help of our dealers and partners, we anticipate purchasing and production needs to keep delivering our customers worldwide.

We also saw an increase of WorldCast sales in the first half of 2021, both from new customers and existing ones. It is positive from a market point of view but we are especially grateful for all the renewed confidence.

RW: In what way will your company’s booth plans or customer interactions differ because of the pandemic?

Mercier: It’s quite difficult to anticipate how NAB will be this year, but we remain positive and ready to adapt ourselves to make it. As I speak in mid-August, we don’t know if the borders will be open to foreign nationals during NAB, which would of course affect the number of visitors and limit our team on the booth. In such a scenario, we would keep the opportunity to meet our customers, remotely for those who couldn’t attend, and in Vegas with our U.S. staff from WorldCast Systems and Connect. Of course, teams will be reinforced if conditions allow.

The post WorldCast Builds on KYBIO appeared first on Radio World.

RCS Zetta2Go screen

This interview is excerpted from the ebook “Automation: The Next Phase.”

The “pandemic year” put new demands on automation and other software-based media management systems that serve radio. Most of these systems were well equipped to meet the challenge, yet there are lessons to be learned from the experiences of the past year and a half.

RCS is all about broadcast software — from its well-known Selector music scheduling system, introduced in 1979, to its 2GO browser-based extensions for mobile devices such as laptops, smartphones and tablets. 

Philippe Generali is president/CEO of RCS.

Radio World: How has the pandemic changed things?

Philippe Generali: The first thing engineers had to do was figure out a simple, easy setup that they could ship to the show host. We’ve seen different choices in various countries depending on what’s available locally, but essentially engineers started shipping a little mixing console and a microphone that sounded decent — whatever the talent needed to talk remotely and sound like they were in the studio. 

And clients that work with RCS software knew that Zetta2GO was an option. It’s built to operate remotely on any type of computer — tablets, PC, Mac or even phones, so there was no need to ship a computer for the host, no need to have a special IT setup, just a decent internet connection. 

RW: Will we go back to what it was before? What’s the new workflow going to be?

Generali: It’s funny, the 2GO browser-based extension — of our traffic software Aquira, of our music scheduling software Selector, of our automation system Zetta — was seen as a bit of a gadget before. People said, “Yeah, that’s nice but I don’t really see myself operating the automation system on a tablet from a remote location.” 

But suddenly it became mission-critical. Tech support calls went through the roof here and in Europe and in Asia as people started to work from home. Many were asking about “that 2GO thing.” Our support people were being asked, “Can you help me set it up? How do I operate it remotely?”

This has changed the way engineers perceive working remotely as well as how good it can sound. 

Some of the talent will say, “I’m happy to work from home.” This was done before of course, but only for megastars like Rush Limbaugh, big syndicated personalities who were able to have their own studio at home. This will now be accessible to pretty much anybody who works at a radio station.

But there’s more. If you have a talented program director who is joining your operation but he doesn’t want to move, he can work with Selector2GO from wherever he is.

When I was a program director and on-air guy, somebody told me, “Be ready to be move around a lot.” I asked why. He said, “Because if you’re successful, you’re going to be hired in a bigger market. And, if you’re not successful, you’re going to be fired and have to move to a lower market. So, you’ll move no matter what.” But those days might be over.

RW: How do you keep radio live and local if more people are remote from the community of license? 

Generali: There’s a lot on social media that will allow you to monitor the situation in your home town. And what I call the “utilities,” traffic and weather — now you can have them anywhere you want. Services like Waze and weather services provide local information.

But you may not necessarily have to be far away from the studio. You could just work from home in the same town, if you want to. It doesn’t mean that you’re necessarily on the other side of the planet or are in a different time zone. The beauty of work-from-home means that, the days you want to come in, you can; the days you don’t want to come, you don’t. You can still know the local life and what’s going on locally.

RW: What are potential buyers of systems asking for these days?

Generali: “Can we have a metered service? We don’t want to build capacity for things that we use only once in a while.” So we discuss with them about whether they operate on premises or whether they operate remotely from the cloud.

We’re going to be very active in the cloud, particularly on the international side. 

We also get questions about how to protect stations from cyberattacks, a new plague that engineers have to worry about. When you speak with an engineer who’s had ransomware infect his network, you know this is a terrible thing.

We offer Cloud-Based Disaster Recovery, which allows the operation to run safely from the cloud. For instance, if you need to turn off all the machines hosting your on-premises software, the program will allow you to still run your voice tracks, which were uploaded a few minutes earlier, your commercials, your songs. They make the station sound like it’s still there and working fine. Meanwhile, you can repair your network locally without any problems. 

RW: When someone asks whether they should be in the cloud, what is your dialogue? 

Generali: Some people say, “Oh, you have to be a multi-city operator to be on the cloud.” However, we have companies that are very small, and some that are very big, considering cloud-based operation. 

As an engineer, you have to talk with management, you have to see how it’s going to change the operation of your stations. 

When you go onto the cloud, you’re going to trade cap-ex for op-ex. Instead of buying a big machine or set of machines that you’ll put on the balance sheet and depreciate, which is not going to impact your EBITDA, now you’re going to go with monthly fees, your cloud costs, bandwidth and software licenses. These costs have to be integrated into the way the station works. 

Do you need a different footprint on real estate? Do you have different staffing needs? Do some people go part-time to adapt for a cloud environment? It’s a profound change. 

You can’t go to the cloud just for the sake of going cloud. It’s not as simple as, “Should you buy an Exchange server for email or should you put the staff on Office 365?” 

RW: Do you find resistance to the idea of recurring costs that go with software as a service?

Generali: Yes, though we have found that the international community is more open to it.
Sometimes there are needs for a cloud-based environment, sometimes for a more hybrid system. But the cloud is a means to an end. It’s not a thing in itself.

Prospective customers ask things like, “Can we have a Christmas channel that would start on Dec. 1, run for one month at the end of the year, and only pay for that month?” Or they would like to do a special internet channel in the memory of rapper DMX for a week, so that they can play all his songs but without having to buy a separate machine or set up anything.

The flexibility of metered service is appealing to content creators. Right now you could go on a metered service within minutes, just the time it takes to put a few hours of logs together, and then you’re on the internet.

RW: One engineer told me he wishes there was more joint development between automation and network infrastructure companies. He actually said, “I’d love to see an automation company put the whole console surface right into the automation system and make it one product.”

Generali: I would gladly invite him to one of our booths at shows. We’ve been demonstrating such technology for the past few years in Europe and in Asia.

For example we presented a fully integrated demo on a gigantic 42- or 50-inch touchscreen. With the HTML Zetta2GO interface, you can operate a virtual console from Wheatstone or Axia on a flatscreen monitor. Zetta2GO is browser-based and everything is HTML. It is the ultimate virtual setup. 

You put a DJ on one of those integrated systems, which has the automation and the console and everything on one gigantic flat surface — tilted 20 to 30 degrees so it is easy to work with. It’s easy to start and stop the music, put pots up and down, cut voice tracks and do everything on one integrated system. 

This is made possible because the software is developed using APIs. The end of the big monolithic design of software applications is here. You cannot afford nowadays to have one big EXE and a few DLLs. All of the modules have to be independent and talking to each other by API. 

It allows features that talk to each other. It allows remote control of every module independently with a light software client like a browser. That, of course, allows moving the software to the cloud, which will be a must for any manufacturer. 

And to your point, having APIs everywhere allows easier communication between vendors for better system integration.

RW: What else should we know about where this class of products is headed?

Generali: API, API, API, the three rules of building software for a solid solution. Your products should be able to interact with anybody’s, including your competitors.

I believe in open architecture, whether you are running in the cloud or on-premises. By design, software in the cloud is based on micro-services and pieces of software that are containerized and able to talk to each other. But having that structure with on-prem software allows various vendors to interact with each other.

We at RCS like to be insulated from that; that’s why we offer music, scheduling, automation, traffic all in one. You only have one phone call to place in case of a problem. But we still build our software with APIs.

And I think we have to mention tech support. Tech support is more important than ever in an environment that can be decentralized for operations. Engineers aren’t always on hand to answer questions. So who do you call?

Tech support is really one of our fortés. It has been for the past 30 years. It’s so important to have this personal touch. Every one of our engineers picking up the phone and answering is being graded by the people they talk to. We cover 24 hours, seven days a week. Even on Christmas morning, you can call us.

Having that touch with the user is more important than ever in a remote work environment.

The post The Three Rules of Software: API, API, API appeared first on Radio World.

The Federal Communications Commission recently issued two Notice of Apparent Liability for Forfeitures to two secondary-class stations for the same violations — though the commission, as it has many times in recent weeks, reduced the penalty significantly because these stations provide a secondary service.

In the case of station WRIA(LP), a low-power FM station in Jacksonville, Fla., the Media Bureau found that the licensee — SCLC Jacksonville Florida — willfully violated FCC Rules by failing to file a license renewal application on time and violated the Communications Act by operating the station without authorization.

The details are similar in the case of Katahdin Communications, a permittee looking for a license for FM translator station W273DJ in Millinocket, Maine. Katahdin, too, was notified that it had apparently failed to file a license application on time and also repeatedly violated the Communications Act by operating the translator after its permit had expired.

[Read: Expired Licenses Lead to $7,000 Forfeiture for FM Translator]

In both cases, the Media Bureau concluded that the applicant would be liable for a monetary forfeiture in the amount of $3,500 — a figure that’s a good deal smaller than the base amount of $3,000 for failing to file the required form and another $10,000 for operating without authorization.

In the case of SCLC, its license renewal application was expected to be filed by Oct. 1, 2019, which would have been four months prior to the station’s license expiration date. The Media Bureau notified SCLC that the station’s license would expire if no renewal application was filed by Feb. 1, 2020. When the licensee did file the application on Feb. 25, 2020, it gave no explanation as to the untimely filing — though it did send a letter asking the commission to accept the late-filed application without a penalty. But the formal avenues were not followed, namely that SCLC seek a waiver of the renewal filing deadline. The licensee also failed to request special temporary authority to operate the station after the license expired.

The bureau tentatively found that a $7,000 forfeiture would be appropriate: a $3,000 forfeiture for failing to file on time and a reduced forfeiture of $4,000 for operating without authorization. The bureau adjusted that figure again to $3,500 to include a base amount of $1,500 for filing late and $2,000 for unauthorized operation because as an LPFM the station is providing a secondary service.

The language and methodology used to calculate the forfeiture for Katahdin was similar. The permittee failed to file a covering license application and continued to operate the translator when its license expired on Jan. 8, 2021. Katahdin also failed to request special temporary authority and engaged in unauthorized operation for nearly three months before filing the appropriate paperwork.

The base forfeiture amounts are the same for Katahdin as they were for SCLC: $3,000 for failing to file a required form and another $10,000 for operating without authorization. The bureau also dropped Katahdin’s forfeiture to $7,000 and then again to $3,500, citing the translator’s secondary service nature.

Both SCLC and Katahdin have 30 days to pay the full amount or submit a written statement asking for future reduction or cancellation.

 

The post Two East Coast Operators Penalized for Late Filing appeared first on Radio World.

Last month AT&T sent this notice that they are discontinuing ISDN service:

ISDN stands for Integrated Services Digital Network (though many engineers say it means It Still Does Not Work). In its day 30 years ago, it was the savior for many radio remotes.

With the use of codecs, stations were able to send clean digital audio for remotes or even as a studio-to-transmitter link. This involved broadcasters forgetting the aggravation of ordering equalized lines from the phone company and once again ordering ISDN service from the regional Bell company.

Many broadcast engineers will tell you that they had to teach the phone techs about this service. It was my common practice to check my ISDN lines at least twice a week to make sure they were still working.

Should we mourn the passing of ISDN? I say no. As long as there is stable internet, the broadcaster has conquered the “battle of here to there.” Audio over IP transport should be easy and readily accessible. Many companies make IP codecs that can be used. Utilizing codecs with a Content Delivery Network adds an extra level of stability and reliability that we only wished for previously.

Consider a couple of solutions provided by a supplier like StreamGuys.

Its Barix Reflector Service involves the inexpensive Barix Instreamer Encoder and the Exstreamer Decoder. The device is small, fitting in a coat pocket. These devices are common in many radio stations.

Once at Streamguys, the content (with closure data) is then sent to as many receiving Barix Exstreamer Decoders as necessary. The only requirement for the originating and receiving location is stable internet connection and a Barix device.

Once configured in its own web Graphical User Interface (GUI), it is almost plug and play. Connect the audio and it is working.

Yes, you can send contact closures through the RS-232 port. This is easy. Just worry about how robust your internet connection is.

The wonderful thing is that you can send to many decoders at once. This is great if you need to create an ad hoc sports network or a backup feed to your translators or repeaters.

StreamGuy’s GatesAir solution involves GatesAir’s Intraplex IP Link and Ascent Server. This can do what the reflector does but with a major improvement: Dynamic Stream Splicing.

DSS allows for two separate encoders to feed your decoder. You can switch between locations or use it as a redundant backup to guarantee that the show will go on. With DSS, I like having a second internet provider to guarantee the redundancy.

Also the IP Link has the ability to translate contact closures to a metadata string. This works in conjunction with GatesAir’s cloud-based Intraplex Ascent server for added reliability. This will transport metadata along with the audio.

StreamGuy’s PassKey solution, which can be added to most of StreamGuys’ services, can be used with a hardware or software encoder. This provides a secure connection by adding a token with a 128-bit encoded password. This prevents hacking or theft of your content. It can be used for audio or video. Again a very robust less hackable solution.

Good riddance, ISDN. With the above solutions you are supported 24-7 by a manned technical operating center that understands your purpose and is in the business to support the broadcaster.

[Also by this author: “Nurture Your Personal Network”]

David Bialik is a consultant who has held technical broadcast and streaming positions for companies like Entercom, CBS Radio, Bloomberg and Bonneville. He is co-chair of the AES Technical Committee for Broadcast and Online Delivery and a Senior Member of the SBE. Reach him at dkbialik@erols.com or 845-634-6595.

Comment on this or any article. Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

 

The post Goodbye ISDN, Hello Streaming appeared first on Radio World.

U.S. broadcasters are again urging the Federal Communications Commission to raise or eliminate the limits on how many radio stations a company can own in a particular market.

The National Association of Broadcasters filed comments this week in the FCC’s quadrennial review of ownership rules.

Under the NAB proposal, one broadcaster could, for instance, own all the AM stations in a city, no matter the size of that market. Also, in smaller markets, one company could own all of the FM stations.

NAB asked the FCC to allow one entity to own up to eight commercial FM stations in Nielsen Audio’s markets 1 through 75 — meaning cities as big as New York and as small as Baton Rouge — plus up to two more stations if the entity participates in the FCC’s incubator program

It also asked the commission to allow one company to own all AM stations in a market, and to allow one to own all FM stations in Nielsen markets 76 and smaller, as well as unrated markets. (Market 76 is currently El Paso.)

The current subcaps on stations are based on a sliding scale: In a radio market with 45 or more stations, an entity may own up to eight, no more than five of which may be in the same service (AM or FM). In a market with 30 to 44 radio stations, an entity may own up to seven, no more than four in the same service. In a market with between 15 and 29 stations, an entity may own up to six, no more than four in the same service. And in a market with 14 or fewer stations, an entity may own up to five radio stations, no more than three of which may be one service, as long as the entity does not own more than half of the radio stations in that market.

NAB also asked the FCC to do away with restrictions that ban combinations among top-four rated TV stations, regardless of audience or advertising shares and that prevent ownership of more than two stations in all markets, regardless of competitive positions.

[Related: “Further Relaxation on Ownership Seems Unlikely”]

The association had made these same recommendations in 2019. The latest comments are part of the FCC’s 2018 quadrennial review, which has been dragged out for various reasons including the ultimately unsuccessful legal challenge by Prometheus Radio and other critics to earlier rule changes under a Republican administration.

After the Supreme Court settled the Prometheus case, FCC Acting Chairwoman Jessica Rosenworcel opened up another round of comments to refresh the public record.

“The regulatory framework governing ownership of broadcast radio and television stations harms broadcasters’ ability to compete in the marketplace, impedes localism and fails to promote diversity in ownership,” the NAB wrote in a summary of its filing.

“Local radio and television stations operate under media ownership restrictions that date back decades to the analog era and fail to account for changes in the marketplace … These outdated media ownership rules, which no longer enable broadcasters to viably operate in a competitive market or effectively serve the public interest, are in more urgent need of reform than ever.”

The association says that with the decline of newspapers, broadcasters are among the few entities capable of producing “local news, weather, sports and emergency journalism,” efforts that demand high capital and operating costs, “which could be alleviated by leveraging economies of scale.”

It thinks current rules don’t take into consideration increased competition for advertising from big technology platforms or the impact of the pandemic on local journalism.

“In assessing competition, the FCC can no longer maintain the fiction that broadcast stations compete only against other broadcast stations … Given the record evidence … the FCC must conclude that its local ownership rules are no longer necessary in the public interest as the result of competition.”

It also said current rules restricting the size and scale of a station group discourage minority investment.

The post Give Us Subcap Relief, Broadcasters Again Tell FCC appeared first on Radio World.

More info is becoming available about how the NAB Show will manage its proof of vaccination process and other health procedures in Las Vegas next month.

Proof of vaccination will be managed through the free Clear mobile app and Health Pass feature, or by a Vaccination Concierge Service on site. More details about both of those options are expected to be released shortly.

A decision about mask requirements will be made closer to the date of the show, but as of right now Clark County, Nev., requires face coverings in public indoor places and crowded outdoor venues regardless of vaccination.

NAB also said that more health and safety measures have been added by the Las Vegas Convention Center itself.

Details

The NAB will require full vaccination of attendees, exhibitors and its own staff at the NAB Show, Radio Show, and the Sales and Management Television Exchange.

A person will be considered fully vaccinated two weeks after their second dose in a two-dose series, such as the Pfizer and Moderna vaccines, or two weeks after a single-dose vaccine, such as Johnson & Johnson’s Janssen vaccine.

Accepted vaccinations include those authorized for emergency use by the U.S. Food and Drug Administration, and COVID-19 vaccines authorized for emergency use by the World Health Organization.

The Clear Health Pass Validation App will be active and available to show participants 30 days before the start of the convention.

To validate their status, participants with vaccination records from the United States can utilize Clear Health Pass Validation. Alternatively, participants can visit the show’s Vaccine Concierge Service at the LVCC Oct. 5­ to 13 with their vaccination records and photo ID.

For badge pickup, attendees can bring their Clear Health Pass Validation or vaccination documentation (digital or paper) with a photo ID, to the badge pickup location in the Silver Lot at the LVCC.

More health measures

The NAB reported that  the LVCC is one of the first major convention centers to be awarded the Global Biorisk Advisory Council (GBAC) STAR facility accreditation by ISSA.

“This recognizes the LVCC as a gold standard facility and operation for outbreak prevention, response and readiness,” it stated.

Other health measures planned for the show include touchless registration; cleaning protocols, disinfection techniques and work practices; and HVAC upgrades at the LVCC to allow for greater ventilation as well as the use of air filters with a quality rating of hospital-grade filtration.

Meeting rooms and floor theaters will be capped at 75% capacity; transparent partitions will be placed in areas that require closer contact; and hand sanitizer stations will be placed in public spaces, corridors, show floor areas and food and beverage areas.

There will be increased medical staff onsite with reserved medical rooms, and a new telehealth station has been installed at the LVCC to offer on-demand access to health care.

A free contact tracing mobile app developed by the Nevada Department of Health and Human Services will be available.

Show organizers have also posted recommendations for exhibitors. These include providing space to allow three feet of separation; one-way traffic flow; dividers; touchless forms of engagement; no handshakes; regular cleaning; and use of digital rather than physical promotional materials.

Detailed information about health and safety procedures is posted at the NAB Show website.

The post NAB Show Will Use App for Proof of Vaxx appeared first on Radio World.

As he prepares to wrap up his tenure as head of the NAB, Gordon Smith will receive the Lowry Mays Excellence in Broadcasting Award from the Broadcasters Foundation of America.

“The award is bestowed annually on an individual in broadcasting whose work exemplifies innovation, community service, advocacy and entrepreneurship,” the foundation said.

[Read our interview with incoming President/CEO Curtis LeGeyt.]

Smith is president/CEO of the association and a former U.S. senator. He’ll receive the award at the foundation’s breakfast during the NAB Show on Tuesday Oct. 12.

The first person to receive the Mays Award from the foundation was long-time FCC commissioner Jim Quello. Recipients have included Ajit Pai, Bill Clark, Eddie Fritts, Cathy Hughes, Stanley Hubbard, Mel Karmazin, Jeff Smulyan, Dick Wiley and Stu Olds.

The award is named after Lowry Mays, founder of the company that became Clear Channel Communications, later called iHeartMedia. Former NAB head Eddie Fritts once said of Mays that the company he built “changed the face of broadcasting and mass communications.”

The breakfast is free for anyone in broadcasting; preregistration is required.

The Broadcasters Foundation distributes aid to broadcasters who have lost their livelihood through a catastrophic event, debilitating disease or unforeseen tragedy.

 

The post The Broadcasters Foundation Honors Gordon Smith appeared first on Radio World.

The author is director of engineering for Hubbard Radio Cincinnati.

Choosing Studio Technology to produce the studio furniture for the new Hubbard Radio Cincinnati cluster was one of the easier decisions that we made in that project.

Vince Fiola, Studio Technology’s owner, made a trip in person, sitting down with the local staff and development team in the earlier planning stages. He came up with several preliminary furniture designs based on the needs and features requested from our staff. After some revisions and tweaks, we had a solid furniture plan for the 12 studios that were to be built.

Studio Technology created 3D renderings of the studio spaces and furniture. Those renderings were helpful for the programming staff to better visualize the furniture design and how it would look spatially.

During the early stages of the building construction, Vince came back on-site and we did a walkthrough of the studios. He took detailed measurements and marked out where cable conduit wall boxes should ideally be located. He worked directly with our architects and their CAD drawings to ensure the furniture would fit perfectly into each space.

Studio Technology also worked with our interior designer and operations manager on the specific materials, finishes, colors, etc. After the furniture was installed, we had realized we needed to make a couple additions in the on-air studios. Studio Technology was extremely helpful and consulted through what the best options would be. They made it happen.

The furniture look was superb, and its design is very functional. Me and my team enjoyed working with it. Having the ample space inside to manage cabling and the overall easy cabinet access was great. The on-air and programming staff enjoy it daily because they now have a workspace that fits their needs.

We have been very pleased with the furniture from Studio Technology on this project.

For information, contact Vince Fiola at Studio Technology at 1-610-925-2785 or vince@studiotechnology.com.

Radio World User Reports are testimonial articles intended to help readers understand why a colleague chose a particular product to solve a technical situation.

 

The post User Report: Studio Technology Furnishes Hubbard in Cincinnati appeared first on Radio World.

Cleanfeed introduced an enhanced set of studio tools intended for the use of broadcasters and podcasters.

The tools are housed in the user’s browser, with no requirement for external hardware or software. They include enhancements to Cleanfeed’s Clips feature and a new Player for longer cuts of audio.

[“Cleanfeed Offers Effective Remote Solution,” 2019]

“The tools give podcasters and broadcasters the functionality of a professional radio studio, straight out of their laptop,” the company stated.

“Features now give users the opportunity to give their listeners and guests a finished production experience, including the ability to play intro and background music, host a panel show or quiz with sound effects, review music, have guests comment on interviews or even play voxes from the public.”

Cleanfeed promotes its product as providing high-quality remote audio “as if you were in the same studio as someone else,” with low latencies and multitrack recording, controlled via a link in a browser.

The announcement was made by co-founder Marc Bakos. A blog post provides more details about the new features.

The post Cleanfeed Adds Features for Podcasters and Broadcasters appeared first on Radio World.