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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.

Report Tabulates 2019 Biennial Ownership Data from FCC Form 323 and Form 323-E

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.

RBR+TVBR OBSERVATION

As the radio industry slid into the Labor Day weekend, ahead of the Jewish New Year (Rosh Hashanah), the NAB and a group of nine radio broadcasting companies each submitted comments with the FCC that essentially offer the same plea to the Commission.

They want a further loosening of the radio ownership rules, one that would allow one single company to own every AM radio station in a market, regardless of its size. They want one single company to be able to own every FM radio station in a market under No. 74 in rank. They want a company to be able to own up to eight FMs in markets No. 1-No. 74.

The reasons are replete with finger-pointing toward Facebook and Google, and Amazon, too.

But, is it fair? Given the consolidation the industry has seen in the last 30 years, are we ready to see more when the argument is clearly about dollars, and not about consumers?

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The NAB isn’t the only party with a deep interest in the FCC’s 2018 quadrennial review of its broadcast ownership rules.

No less than nine radio station licensees, along with a very well-known broker, have teamed up in offering joint comments that reiterates what many in the industry have desired for years: “modernization” of its cross-ownership rules.

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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 NAB is launching a Diversity Symposium at the upcoming 2021 NAB Show in Las Vegas. It’s a two-part program that will cover strategies for developing and fostering corporate diversity, equity and inclusion (DE&I) in the media industry.

The just-announced Diversity Symposium takes place on Sunday, October 10, and is scheduled from 11am-2:30pm Pacific. It will be held at the Las Vegas Convention Center and is open to all NAB Show attendees.

“The value of this new program cannot be overstated,” said Michelle Duke, NAB’s chief diversity officer. “The last year has made it clear that businesses need to take a more active role in creating and developing more inclusive and diverse workplaces, and we are excited for the role NAB has to lead a culture of change.”

The symposium will kick off with a Chief Diversity Officer (CDO) Roundtable, focused on how to develop diversity programs for media organizations. CDOs from The E.W. Scripps Company, iHeartMedia and TEGNA will join the conversation led by Duke.

Other sessions focused on developing a corporate DE&I strategy include:

• Building Effective ERG’s (Employee Resources Groups) and DE&I Committees
• Supplier Diversity: Developing a Strategy that Benefits Your Organization and Your Community

The symposium will then pivot to cover fostering diversity, equity and inclusion in the workplace and within the media industry at large. Two sessions will explore the impact of diverse leadership on the bottom line, and how intersectional identities can change reporting, news coverage and production.

Diverse leaders from across the industry will participate in the session titled “More Than a Seat at the Table: The Impact of Inclusive Leadership and Sponsorship.” iHeartMedia’s Senior Vice President of Diversity and Inclusion Yesenia Bello, Allen Media Group-owned KITV-4/Honolulu President/GM Jason Hagiwara and Cox Media Group Director of Sales Angelina Rosario will discuss leadership as individuals in groups that are underrepresented in media and the positive impact of creating an active culture of inclusion at their organizations.

The Sept. 3 announcement of the Oct. 10 symposium further solidifies a schedule of events designed for a five-night stay in Las Vegas, with events on October 9 for broadcast engineers and IT professionals and the Sales and Management Television Exchange bookended by the Radio Show. NAB Show events largely begin October 10 and conclude October 13.

The NAB Show is the largest convention and expo to be staged since the COVID-19 pandemic began in March 2020.

Jeff Winemiller and his Lowcountry 34 Media has engaged in a series of transactions in recent months involving low-power television stations.

On Thursday (9/2), he moved forward with the sale of six LPTV construction permits.

The buyer? The company co-led by Pat LaPlatney and Hilton Howell Jr.

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The Broadcasters Foundation of America has selected the soon-to-retire President/CEO of the National Association of Broadcasters (NAB) as the recipient of the 2021 Lowry Mays Excellence in Broadcasting Award.

The honor is bestowed annually on an individual in broadcasting whose work exemplifies innovation, community service, advocacy, and entrepreneurship.

This year, it is going to Gordon Smith, the former Republican U.S. Senator from Oregon who will be replaced by Curtis LeGeyt as the NAB’s head in January 2022.

Smith will be presented with the award at the Broadcasters Foundation Annual Breakfast, scheduled to coincide with the 2021 NAB Show. The affair is scheduled for October 12 at 7am in the Brahms Room of the Encore Hotel in Las Vegas.

Smith joined the NAB as its leader in November 2009. Prior to joining NAB, he served as senior advisor in the Washington offices of Covington & Burling LLP.

The Lowry Mays Excellence in Broadcasting Award salutes its namesake and is underwritten by The Mays Family Foundation. Past recipients include Ajit Pai, Bill Clark, Eddie Fritts, Cathy Hughes, Mel Karmazin, Jeff Smulyan, Dick Wiley, and others. 

There’s a new New York Yankee hero to add the list of legends associated with the Major League Baseball team.

Who knew that it would be a sportscaster whose widely known among English-language sports fans in Philadelphia who calls Yankees games en español while in the Bronx?

Rickie Ricardo is being lauded for rushing to the aid of the Yankees’ lead play-by-play announcer, John Sterling, late Wednesday, perhaps saving him from rising floodwaters associated with the remnants of Hurricane Ida.

Ricardo is the Spanish-language radio play-by-play voice of both the Yankees and the NFL’s Philadelphia Eagles, and is a host on Sports Talk WIP-FM 94.1 in Philadelphia, the Audacy-owned station.

Ricardo and Sterling were at Yankee Stadium on Wednesday night, before rain and wind associated with Ida’s remnants arrived in the New York Tri-State Area, creating a late-night mess sparsely covered by local TV stations until the morning.

Sterling, 83, was in New Jersey, stranded on a road that had flooded. Cell phone reception was poor, and some 10 attempts were made for Ricardo to reach Sterling; Ricardo had called upon learning of how terrible the weather had become while also driving to his home in the Garden State.

Ricardo shared on WFAN Thursday morning what transpired from that point.

“He answered the phone and I said, ‘John, it’s Rickie. Where are you? … John is trying — in the dark because the lights are out — to describe to me where he’s at. He goes ‘Oh I’m in front of this Chinese restaurant on the corner of this bagel shop.’ And he’s in his car and the water’s rising.”

Rickie Ricardo

Ricardo sprang to action, and raced over the George Washington Bridge to find him. Suzyn Waldman, Sterling’s game-time partner, called Ricardo to give him the exact location: the unfortunately appropriately-named River Road in Edgewater, just south of the bridge and facing Columbia University on the opposite side of the Hudson River.

Ricardo got there. When he found Sterling, some 25 cars were stranded. The water had reached the tires of his automobile. Ricardo rolled up his pants, got out of his vehicle, waded through the flood waters, and got Sterling out safely into Ricardo’s Jeep.

“Finally I get John settled into my Jeep and he’s kind of shell shocked and I don’t blame him,” Ricardo said on WFAN.

The adventure didn’t end. Sterling’s home was just one half-mile away, but getting there proved difficult. With local law enforcement officers assisting, that trek took about an hour but was ultimately successful.

For Michael Kay, also associated with Yankees broadcasts, a trek home to Connecticut proved impossible, due to major flooding in the Bronx that turned the Major Deegan Expressway near Van Cortlandt into a deep river. Kay ended up spending the evening at his alma mater, Fordham University.

— With reports from Twitter and the New York Daily News.

He’d be celebrating five years at Gray Television‘s dual CBS/FOX-affiliated broadcast station serving the Mankato, Minn., market this month.

Sadly, the local leader’s brief battle with cancer ended Thursday, Sept. 2, leading those who worked with him at KEYC-12 and at Gray to mourn his loss.

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LOS ANGELES — For some, she’s fondly remembered as promoter “Bobbi Flekman” in the 1984 cult classic This is Spinal Tap. Most people know her as “The Nanny.”

Now, she’s succeeding Gabrielle Carteris as President of SAG-AFTRA.

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Fran Drescher has been chosen by the union’s national membership to fill the role, while Joely Fisher will serve as the next Secretary-Treasurer.

Their two-year terms began immediately upon the certification of the ballot count on Thursday (9/2).

It was a tight race, with Drescher seeing a strong competitor for the role that Carteris announced in June she’d relinquish. She’d been SAG-AFTRA President — and a highly vocal one — since her election in April 2016. In the election for president, Drescher received 16,958 votes, followed by Matthew Modine with 15,371 votes.

For the post of secretary-treasurer, Fisher received 18,547 votes, followed by Anthony Rapp with 13,593 votes.

A total of 122,154 ballots were mailed. Of the total number of votes, 32,362 were returned, equating to a return of 26.49%.

Commenting on her election, Drescher said, “Together we will navigate through these troubled times of global health crisis and together we will rise up out of the melee to do what we do best, entertain and inform. We must never forget the important contribution we make to many millions of people each and every day when they buy a ticket to sit in a dark theater or turn on their TVs or streaming devices. Our chosen professions within the SAG-AFTRA membership have literally gotten Americans to laugh, to learn, to momentarily escape that we are all in a pandemic. We members serve an invaluable purpose in the grand scheme of things. We must never forget who we are and what unites us as one union.”

SAG-AFTRA’s National Executive Director is Duncan Crabtree-Ireland.

With her election, Fisher continues a family tradition of union service, a path blazed by her mother, Connie Stevens, who served as secretary-treasurer for the Screen Actors Guild. Fisher’s acting credits include the role of “Paige Clark” on the Ellen DeGeneres sitcom Ellen, for which she received a Golden Globe nomination for Best Supporting Actress, Series, Mini-Series or Television Film.

SAG-AFTRA’s executive vice president, as well as the seven category and geographical vice presidents, will be elected by delegates at SAG-AFTRA’s biennial convention.

The event, which will be held October 15–18, will take place virtually, making it the latest affair to forego a live, in-person venue.

— RBR+TVBR West Coast Bureau, in Redondo Beach, Calif.

With growing calls for the Biden Administration to offer its nomination of an individual to serve as the official Chairman of the FCC, the NAB has filed comments with the Commission as part of its latest quadrennial review of broadcast ownership rules by staying the course on its quest to further deregulate the radio industry.

Given the chatter around D.C. over who would take over for Jessica Rosenworcel, the NAB’s words could easily fall on deaf ears.

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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.

The owner of an AM radio station with an FM translator has decided to sell the properties.

How appropriate. The licensee’s name is Sellers Broadcasting.

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