An auction of FM construction permits that had been planned for late April is now postponed.
The Federal Communications Commission said Auction 106 will be put off indefinitely.
[Read: FCC Bars Visitors from Facilities Due to Coronavirus]
Office of Managing Director may grant special permission for those with operational necessity
“Auction 106 applicants that submitted upfront payments may obtain a refund of those deposits after submitting a written request,” it stated. Details are in a public notice.
The auction, whenever it’s held, will offer 130 CPs including 34 that were available from prior auctions.
According to prior reporting on the CommLawBlog, these are channels formerly occupied by stations that lost or cancelled their licenses, channels sold to bidders who failed to pay their bids, channels that were offered but drew no bidders, and channels that have never been opened up to applications.
The post FCC Postpones FM Auction 106 appeared first on Radio World.
Research firm Nielsen released the findings of a study about American attitudes surrounding the COVID-19 crisis and radio listening.
“The study showed that consumers hold radio in high regard with 60% of adults 18+ saying that they trust radio to give timely information about the coronavirus,” the company said. “Eighty three percent of American adults also report spending the same or more time with radio as a result of the COVID outbreak.”
The survey was done online over three days last week among a weighted sample of 1,000 adults 18+ in the U.S.
Nielsen Audio is a supplier of research products for the U.S. radio industry; its ratings have been a major component of the relationship between stations and advertisers since it acquired Arbitron in 2013. It frequently highlights the power of radio, for example pointing out that when evaluated through the same Nielsen lens as other media and using directly comparable metrics, “radio reaches more people of every generation than nearly any other content.”
Managing Director Brad Kelly in Wednesday’s survey announcement stated that at a time of heightened uncertainty and disrupted routines, “consumers are turning to radio as a trusted source of information and community connection, mirroring patterns observed during past regional and national disasters and weather events.”
Among further findings, the survey found that 92% of American adults are concerned moderately or extremely about COVID-19. More than half said radio is a good source of information about the coronavirus and associated restrictions, trust that what they hear on radio is accurate, and trust information they get from favorite radio hosts. About 42% of consumers reported that radio has helped them deal with the outbreak; a slightly higher percentage indicated that radio helps them know what stores are open and where to shop.
The post Nielsen Survey Highlights Consumer Trust in Radio appeared first on Radio World.
Ed Czarnecki is senior director for strategy and government affairs at Digital Alert Systems and has served on numerous industry and emergency advisory committees, including with the FCC, DHS-FEMA, SBE, NCTA and others. He is currently chair of the ATSC TG3-10 working group on emergency alerts, and vice chair of the ATSC Advanced Emergency Information Implementation Team.
Radio World caught up with Czarnecki to learn about how the emergency alert system and broadcasters are handling the need to deploy critical COVID-19 and novel coronavirus information.
Radio World: We’ve heard a lot of discussion about the role of public alerting right now. U.S. broadcasters know the EAS and WEA systems; are these being used in the coronavirus crisis? How?
Ed Czarnecki: Public alert and warning systems are just starting to be used right now to keep the public informed about different aspects of this public health emergency. So far, we’ve seen WEA used more than EAS, with WEA notifications being issued in parts of Texas, Florida, California, Michigan, Rhode Island and elsewhere. Few EAS alerts have been sent so far, but it is possible that EAS will be used more frequently if this public health emergency continues to escalate.
RW: Which warnings specifically have come into play?
Czarnecki: A few jurisdictions have begun issuing advisories via WEA and even EAS.H EAS (and WEA) do not have specific event codes that directly relate to a pandemic or specific public health related alerts, so alert originators and broadcasters need to use generic messages like a Civil Emergency Message, or Local Area Emergency to cover those conditions (or a Public Safety Message for WEA).
One of the first COVID-19 related messages was a Civil Emergency Message (CEM) issued in Rhode Island on March 17. Their WEA message said: “State of RI: Due to COVID-19, do not gather in groups of 25+. www.health.ri.gov/covid.” For EAS, the message (if any broadcaster forwarded it) would have been the standard EAS header text for a CEM, followed by “This is a message from the State of Rhode Island. People should not gather in groups of 25 or more. Restaurants, bars and coffee shops are takeout or delivery only through March 30. All Rhode Islanders returning from international travel are required to self-quarantine for 14 days. Visit www.health.ri.gov/covid for more information.” The Rhode Island message is also an example of the CAP message being sent out with both English and Spanish messages.
Other states, counties and cities have relied mainly on WEA, using the Public Safety Alert category for mobile alerts. New York City and El Paso, Texas, have sent out numerous city-wide WEA messages related to the coronavirus health emergency, so far. Michigan sent a state-wide WEA public safety alert on March 24, announcing that a “Stay at Home Stay Safe” order — prohibiting “nonessential” travel in Michigan, but telling people that you are allowed to leave your home for health and safety reasons, groceries and supplies, some outdoor activities and to care for others.
Manatee County in Florida sent out WEA public safety messages with the subject “coronavirus information” that read, “Prevent the spread of the coronavirus. Beach and restaurant restrictions in effect: 10 people per group, maintain 6 ft distance. Restaurant 50% capacity restrictions in place. Bars and nightclubs closed.” There are several other examples across the nation, all along the same lines. But, while relaying on WEA as a public warning channel, local authorities have tended to rely on broadcasters to relay broader public information about the public health emergency.
Michigan WEA alert:
Washington state alert:
RW: Some experts worry about “over alerting.” What’s the right amount?
Czarnecki: This is a bit of a subjective question. In South Korea, the government was issuing a steady stream of messages to mobile phones (alerts, updates and advisories). While the info was initially appreciated initially, we hear that many Koreans became bothered fairly quickly by the stream of messages, tuning them out. Korean authorities might have gone a bit overboard, sending dozens of messages a day, each time a case was identified, each time a restaurant might have been exposed, etc. The government credits the mobile phone alerts to helping stem the spread of the disease, but we still hear anecdotal information about mobile users getting frustrated at the amount of messages they had been receiving (and whether it was relevant and important enough for them).
Alert originators should bear in mind a balance between keeping people informed, versus bombarding them and causing message fatigue.
Another point is to remember that these public warning systems — both EAS and WEA — are best used for targeted, actionable information. Not general advisories, but specific information telling people what to do.
RW: Why is it important to be aware of the difference between public information and a public alert?
Czarnecki: In some of the WEA message examples we just discussed, you can almost feel the struggle to squeeze emergency information into a system that was designed for concise emergency alerts. This challenge is relevant for both WEA and EAS.
Public alerts are a specific call to action, while public emergency information may be more general (e.g. health and care information about COVID-19). An alert should be targeted and actionable. It should concisely tell identify the risk (or situation), where (and when) it is located, what exactly people should do to maximize their safety, and how specifically they should do it.
[Read More: IPAWS Coronavirus Guidelines]Public information tends to be the bigger story, a greater degree of information and instructions. More context, if you will. Emergency Public Information may be issued even though there is no “alert,” and EPI may also enhance an alert with more information on what is happening, what the response organization is doing, and what else the public should do for its safety.
The point here is that information needs to go through the right set of systems — the right tool for each type of job. EAS and WEA are best suited for that targeted, actionable alert and are not necessarily very good tools for conveying (or trying to squeeze) emergency public information into these relatively short message bursts.
When people receive an alert, they tend to seek additional information to make a decision — to confirm their understanding. And that usually means turning to radio, TV or internet news sites. This is the interrelationship between a public alert and public information — the alert is the “bell ringer” that drives people to seek additional information.
Alert and warning systems exist within a larger communication ecosystem. A public alert or warning about COVID-19 (or a stay-at-home/shelter in place alert) will serve to drive people to other communications media (broadcast, TV, cable, Internet) to seek out more emergency information. It may be a mistake to try to cram less actionable emergency information into an alert system — but it may be more effective to use alert tools to motivate people to seek out “the rest of the story” via media.
RW: What should broadcasters know or do right now that they’re not already doing?
Czarnecki: Broadcasters should ensure that their EAS equipment is in proper working order, and they should also check in with their LECC or SECC representatives to double check what event codes they should be enabling in case EAS is used for this public health emergency. This is also another reason why broadcasters should double check to make sure their software is up to date.
As I noted earlier, there is a real chance that the EAS system may be used by different jurisdictions, depending on what happens next with this public health emergency. It is important for broadcasters to double check that their systems are in proper working order, and up to date.
EAS operational readiness is essential — and this includes having the right event codes enabled for forwarding. If the originator is going to use a specific event code (like CEM, LAE, SPW or CDW), the receiver must be set up to handle it. The system fails if the originator uses an event code that a receiver is not configured to forward. In the DASDEC system, for example, the Alert Agent can be configured to be “open” to all sorts of event codes, but not necessarily fire off the alerts. It can essentially be configured to be “at the ready.”
Of course, broadcasters with newsroom operations are likely already in regular touch with local authorities, and that is a critical link for ensuring that emergency public information is being made available to the public. Local newsrooms are the nexus of the broadcasters’ role as an essential “first informer.”
RW: What should local alerting authorities do differently, if anything?
Czarnecki: Local authorities are challenged by this unprecedented situation. Their resources are being stretched in different directions. However, local authorities generally know best when emergency information is needed in their area and how best to communicate to people their jurisdiction.
We have seen in other situations overseas where medical professionals trained in risk communications had a measurable impact by releasing timely and effective messages for public awareness and other important information such as symptoms to look for. Clear, concise messages from authorities can help people (i.e. broadcaster audiences) feel more in control and persuade them to make important health-related decisions to help ensure their safety.
So, this leaves local authorities with the need to determine how much of that information should be sent via a public warning channel, like EAS or WEA, versus more general resources, like news stories and PSAs over broadcast media.
RW: You mentioned South Korea. What have other countries been doing?
Czarnecki: We have information about how a few countries have been approaching public warning during this public health emergency. In Canada, one province (Saskatchewan) issued a Broadcast Immediate mobile alert to deliver a public information message (stay at home). We’re expecting other provinces to be issuing similar stay-at-home messages, and likely over broadcast media as well (via their version of the EAS system). Canada has an integrated public alert and warning system (NPAS) that is roughly analogous to the U.S. IPAWS system — with both mobile phone and broadcast components.
New Zealand also just launched nationwide COVID-19 alerts via text messaging, essentially telling the entire country to shelter-in-place. In New Zealand, the alerts are being transmitted over their cell broadcast system, with emergency information being disseminated over broadcast radio and TV.
Back to public alerting, Britain, Denmark, Greece, the Netherlands, France, Denmark, Romania and many other European nations have sent social distancing and stay-at-home messages via text message alert. As far as I know, all these European countries have been relying primarily on mobile media to disseminate alerts, while relying on news media and PSAs to spread the word over broadcast media.
In the United Kingdom, the government issued a text message nationwide: “GOV.UK ALERT CORONAVIRUS New rules in force now: you must stay at home. More info and exemptions at gov.uk/coronavirus Stay at home. Protect the NHS. Save lives.” I believe this was the first use of mass mobile alert messaging by the UK government. The UK does not have a WEA-type system — the government asked the carriers directly to carry the message (and government agencies are now apparently infighting about who is in charge (or not in charge) of mass notification).
Interestingly (and perhaps disturbingly), the UK government is also in talks with mobile operators to use phone location and usage data to monitor whether people are actually staying at home or not (which has raised all manner of privacy considerations). Germany and Italy have also been evaluating this kind of mobile device location monitoring, which could include contact-tracing. I’m not opining on whether this is good or bad, or appropriate — just that different countries can have significantly different approaches to public warning and emergency information. And broadcasters tend to have a global role as a “first informer” even when there is no formal broadcast alert system in place.
Mobile alert in Saskatchewan:
Greek mobile alert (multilingual):
Mobile alert in Romania:
The Netherlands:
The post COVID-19 and Emergency Alerting Best Practices appeared first on Radio World.
Here’s your Wednesday roundup of some COVID-19-driven news in the broadcast industry.
— The Federal Communications Commission announced Tuesday that its March 31 Open Meeting will be live streamed via www.fcc.gov/live and on the FCC’s YouTube channel. There will be no in-person meeting due to the “COVID-19 pandemic and related agency telework and headquarters access policies.”
— On a related note, the COVID-19 pandemic has prompted many to speculate about whether networks are robust enough to handle a predicted increase in streaming due to increased numbers of people heeding government warnings to stay home. Analyst Dan Rayburn shared an update that indicates how things are going so far: YouTube has defaulted to standard-quality video streaming. Good thing radio broadcasters don’t have to worry about Hi-Fi and bandwidth.
— Ohio-based broadcast manufacturer The Telos Alliance it is able to remain in operation with a limited staff despite the state’s current “stay at home policy,” according to a post on the company’s Facebook page.
Westwood One White House correspondent Bob Constantini and colleagues assemble in the newly “socially distant” briefing room.— Even White House correspondents need to practice caution and social distancing in the age of the novel coronavirus. Westwood One shared a photo of Bob Constantini, who was cleared to attend the Tuesday coronavirus task force news conference as radio pool reporter only after his temperature was confirmed to be normal.
— Everyone could use a little cheering up right now. Some stations think a temporary format change could be just the ticket. “Christmas in March” on the airwaves across the U.S. Stations getting press for this stunt include KEZ(FM) of Phoenix; WAJI(FM) of Ft. Wayne, Ind.; and KEZK(FM) of St. Louis.
Is your station experimenting with any format changes, either to keep up listeners’ spirits or to accommodate your staff’s work from home needs? Let Radio World know.
— UK company Glensound provided this update Wednesday about company operations during the three-week lockdown in the British Isles. First, the company says it has both a “very large component stock” and “a large stock of finished items ready for shipping.” While much of its staff is now working from home, they will temporarily have a smaller production capacity but will prioritize “order requirements.” Glensound also has bumped up online support service offering and is prepping some online webinars to provide product updates and tutorials.
The post COVID-19 Updates: Next FCC Meeting Is Online Only, Format Adaptations & More appeared first on Radio World.
National Spanish broadcaster COPE is making use of AEQ Alio audio codecs to maintain its programming during the COVID-19 crisis.
COPE Presenter Pilar Cisneros broadcasts from home.COPE’s correspondents have been using the portable codecs for years and have gradually increased the number of units they own. According to AEQ, today COPE’s team operates nearly 200 Alio audio codecs.
The fact that the broadcaster already owned so many AEQ codecs for remote broadcasting has been helpful during this health crisis, says AEQ.
Over the last few years, the firm says it has “fine-tuned” the codecs based on feedback from the radio network.
It says the user-friendly system allows non-technical staff to easily connect the already preconfigured gear to their internet router. The main studio controls the unit. In addition, operators can lock all buttons on the control panel, leaving only the “Help” button active to contact a remote operator.
The Control Phoenix software control application manages all remote Alio units from one or more workstations at the network headquarters. It can also pair them with the stationary Venus and Stratos codecs in the central rack room. If a journalist doesn’t have access to a cabled internet connection, he or she can use a 3G or 4G router.
COPE decided to send most staff home at the very beginning of the crisis. The station has also done done a massive campaigning on social media to encourage people to stay home.
The post COPE Uses AEQ Gear to Maintain Broadcasts appeared first on Radio World.
I sat in on Radio World’s presentation about “Digital Sunrise for AM Radio” hosted by Editor in Chief Paul McLane. The webcast lasted almost two hours and was technically informative.
The question Paul kept asking the presenters about going all-digital on AM was one he hears numerous people asking him, “Has the horse left the barn?” In other words, has the world moved on and does anyone really cares about AM radio anymore.
But that’s not the question that was running through my mind.
TOO MANY CHOICESWe live in a world with infinite choices when it comes to audio and video entertainment. Twenty-eight years ago, Bruce Springsteen released his song “57 Channels and Nothing’s On.” The lyrics are very telling of the condition we find ourselves in today.
I bought a bourgeois house in the Hollywood hills
With a truckload of hundred thousand dollar bills
Man came by to hook up my cable TV
We settled in for the night my baby and me
We switched ’round and ’round ’til half-past dawn
There was fifty-seven channels and nothin’ on …
It’s not unusual for people to spend an entire evening going through the program guide on Netflix only to finally retire for the evening having not watched a single program. We’ve all done that.
On just Netflix alone it was estimated in 2015 that it would take a person 34,739 hours to watch everything available on the streaming service. I’m sure that number has grown considerably when you consider in 2019 Netflix introduced 371 series and movies to view.
Add to Netflix more television streaming services like Amazon Prime, Hulu, Apple TV+, Disney+, YouTube and it means choice is not the TV viewer’s problem, it’s choice paralysis. (And maybe also how to pay for it all.)
ALL-DIGITAL AMThe question running through my mind about investing in building out an all-digital AM radio service in America is, “Why?”
When I scan the AM band now, I can hear the same talk shows on station after station. The FM band is no different when it comes to everyone doing the same type of programming.
It has me humming Bruce Springsteen’s song in my head, only with a lot more channels of programming attached to the “nothing’s on” part.
Digital AM seems to be the answer to a question that listeners aren’t asking.
LESS IS MOREMany businesses fall into the trap of thinking that more products equal more sales and radio certainly can be accused of falling into that trap.
HD Radio was designed to offer a higher-quality broadcast signal for AM and FM radio stations. FM station owners didn’t really get interested in HD Radio until they learned they could feed FM translators with HD2, HD3 signals and put more FM analog signals on the air in their market.
I learned that the all-digital AM service offers the opportunity for an HD2 signal that could feed another FM analog translator.
What Al and Laura Ries tell us from their research is how this strategy of adding more and more choice becomes a trap and can lead to negative consequences in the long term.
ONE GOOD REASONIn media sales, we try to have our clients identify what one thing makes them special and unique. What makes their business so different that consumers will want to come to them instead of their competitors. You may know this process as finding a business’s “unique selling proposition.”
Back in the day, 66-WNBC put up a billboard that gave radio listeners one good reason to turn their radio dial to 660 AM. It simply said. “If we weren’t so bad, we wouldn’t be so good.” This one simple sentence captured the essence of both Don Imus and Howard Stern. It was this radio station’s one good reason to listen. It was this radio station’s one good reason to advertise on it.
And speaking of one, I was told by the WNBC sales manager that it only took one commercial on Howard Stern for an advertiser to see immediate sales results.
That’s the power of a unique brand.
MISPLACED PRIORITIESRadio had a choice to make in the last decade, to develop unique powerful brands localized to the marketplace the FCC licensed them to serve, or build out more signals with programming that was virtually hard to tell apart from one another. Unfortunately, the radio industry chose the latter and as a result has turned the business into a commodity.
Something for everyone equals nothing for nobody.
Economics defines a commodity as goods or services that have fungibility, in other words something the marketplace treats as everything being nearly equivalent to each other, with little regard for who produces it.
This is why radio sales people will often hear advertisers says things like “all radio stations sound the same, now let’s talk about your spot price.”
Perception is reality.
Or should I say that the listener and advertiser’s perception is accurate, with the reality today being all radio stations do sound the same.
ELECTIONS & RADIO LISTENINGI read an article the other day that said what changes the outcome of any election is turnout. That the way someone wins an election is by getting people who normally sit it out on the couch engaged and out to the polls. It’s not getting people to switch party affiliations.
I think radio may have a similar problem.
For the radio industry to be growing again, what radio needs to be focused on, and investing in, are its people and programming, not putting more signals on the air with nothing to hear.
This commentary appeared at https://dicktaylorblog.com/ and is published with permission.
Dick Taylor, CRMC/CDMC, is a retired broadcast professor who taught at Western Kentucky University.
The post Invest in People and Programming, Not More Signals appeared first on Radio World.
DUBUQUE, Iowa — “You are kidding! That’s a 3 kW FM transmitter?”
That’s what I thought when I saw my first Ecreso at an FM station about 100 miles northwest of Dubuque, Iowa. It had recently hired me for some contract engineering work. To a guy who just returned to broadcast engineering after an 18-year absence, it was a wakeup call. This Ecreso unit, built by WorldCast Systems, is known as its FM 3kW. It recently replaced the station’s older main transmitter.
While I cannot take credit for the purchasing decision or its installation, I can tell you that they made a great choice. It comes as a complete, compact, 3U by 19-inch rack mount unit. Modular by design, this unit boasts an efficiency of up to 76%. It is powered by a 20 A single-phase breaker (184 VAC or higher), and can also be wired for operation on three-phase power.
When I mentioned complete, you will not only have direct-to-channel digital modulation, you can license (free testing included for 30 days) a flame-throwing five-band sound processor with your choice of audio presets to match your station’s format. Experimenting with the CHR and urban format settings, I was impressed how loud and competitive this baby was, all while automatically keeping the modulation peaking at 97%.
COMPREHENSIVE SOLUTIONYou can use direct AES or left/right analog in, with the optional five-band processing, or if you like your current audio processing, use the MPX input. Other features you will like are digital MPX over AES, the dynamic RDS encoder, and audio backup from an internal micro SD card player. Remote control and monitoring can be accessed via an easy to use web interface, or hard-wired to your current remote control via the standard (in the United States) GPIO board. SNMP is supported. Local control is menu driven from the front-panel screen and button keys.
What about reliability? With Ecreso’s FM 3 kW you have a standard version with two, hot-swappable, power supply unit modules with a load-sharing design. In the event of a DC power supply malfunction, the other PSU keeps the FM 3 kW on the air at about 1,900 W.
If you opt for the “+1” version, you will get an extra, or third PSU and if one is lost, you can still operate at 3,000 W RF output. RF amplification is also redundant and is capable of operating even in the event of a fault. You could lose a MOSFET and still be on air at a little over half power. In fact, Ecreso is very open about these scenarios. Go to the company’s website and download its tech guide titled “What Happens If?”
As rugged as this unit is, it’s nice to know help is just around the corner. I have worked with Ecreso/WorldCast’s Tony Peterle on a PSU software setting that needed changing. Tony said he could remotely change it, all he needed was IP access to the unit.
But this transmitter site has no network access. Tony’s solution was to lend the station a 4G modem and a switch, and with a remote terminal access program on my lap top, he was able to remotely log in and change the setting. I really appreciate his help, creativity and patience.
Warranty-wise, three years; but for a small charge you can extend your warranty to 10 years. To me, with a warranty that long, Ecreso must be very confident of the equipment it is building.
The unit I am familiar with has been installed and running for about six months trouble-free. As for that older transmitter, the station’s owner has new tubes for it and would like me to go through and get it ready for standby use. As reliable as the new Ecreso FM 3 kW is, I’m just not sure it will ever be needed.
For information, contact Tony Peterle at WorldCast Systems in Florida at 1-305-249-3110 or visit www.worldcastsystems.com.The post User Report: WorldCast Ecreso Transmitter Benefits Iowa Station appeared first on Radio World.
Radio continues to do what broadcasters do best, and associations are doing their best to help them keep it up. How are you and your station coping with COVID-19? Tell radioworld@futurenet.com.
— The Vermont Association of Broadcasters has received confirmation from the office of Vermont Gov. Scott media personnel are counted as essential during the current state of emergency and will be allowed to travel freely. However, VAB cautions that it’s currently unclear whether you will need to show credentials or other information certifying your need to be on the road, so it makes sense to have DHS/CISA Access and/or Fuel letters on hand. If you’re a Vermonter and need one, email your request to the association.
— “We’re all living this nightmare, we’re running our radio stations on gut, duct tape, and alligator clips.” Fred Jacobs may not sound optimistic, but he’s not one to give up.His media consultancy wants to know how your listeners are handling the novel coronavirus, and Jacobs Media has set up a survey to learn about the current listening climate and how consumers think radio is handling this gargantuan task.
— The Radio Advertising Bureau is acknowledging what strange times we’re in with a new website section on working “When It’s Not Business as Usual,” featuring tools and resources to help members. RAB says it’s also cueing up three new webinars dedicated to keeping the wheels on during the COVID-19 pandemic: “Business Unusual Requires Exceptional Communication — How To Talk To Your Advertisers Now;” “How To Craft Your Messaging In Times of Uncertainty;” and “Work From Home (WFH) Strategies To Maximize Productivity In Your New Office.”
— On a lighter note, if your work from home situation is making you go barking mad, apparently you’re not the only one, as evidenced by this Facebook post:
— Law firm Pillsbury has set up a page dedicated to COVID-19’s impact on contract performance issues. They’re offering guidance that’s not radio-specific, but is worth reviewing.
— The Radio Mercury Awards have been rescheduled and the timeline to enter has been extended. The awards will now be presented Oct. 6, and entries can be submitted until Aug. 3.
The post Radio Is Definitely Essential, WFH Resources & COVID-19 Updates appeared first on Radio World.
Radiodays Europe has announced that it will postpone the 2020 edition of Podcast Day due to the Coronavirus crisis.
Originally slated for June 16, the gathering will now take place Oct. 26. The location for the conference will remain The Mermaid in central London.
In a statement, organizers of the conference, which focuses on strategies and trends in podcasting, thanked their speakers and participants for their continued support.
The event moved from Copenhagen to London in 2019, where it attracted some 400 attendees.
The 2020 edition marks the fourth edition of Podcast Day by Radiodays Europe.
The post Radiodays Europe Postpones Podcast Day appeared first on Radio World.
GENEVA — Every year in February, the European Broadcasting Union headquarter hosts the Digital Radio Summit, where public service and commercial broadcasters from around the globe share their experience and vision about radio’s future developments.
Antonio Arcidiacono, EBU’s director of technology and innovation, gives his keynote speech. All photos courtesy of the EBU.The 2020 edition focused on radio’s potential to target the nonlinear market, primarily on mobile devices, voice assistants and car multimedia systems.
YOU CHOOSE
In his keynote speech, Antonio Arcidiacono, EBU’s director of technology and innovation, invited delegates to invest their efforts in developing a future radio ecosystem based on three pillars.
Cathinka Rondan, head of radio at NRK, tells the audience about NRK’s strategic project to strengthen the broadcaster’s podcast popularity.They are the multicast version of “hybridization” with content resident across the IP network and in users’ devices, the portability of the radio experience across multiple receivers, and individual settings for personalization.
“We have to move from the one-to-many broadcast model, ‘We know what you like, period’ to ‘We offer you many things you like, and you choose,’” explained Arcidiacono.
In his vision, the users’ smartphone will be a unifying device that enables the listening experience across the various different platforms and listening contexts, gathering information on user’s habits and preferences.
Through this accumulated knowledge, each receiver (including any in-car multimedia system, even in rented or shared cars) can offer each user his or her customized setup and personalized audio. It offers a way for each person to benefit from a unique and tailored experience, regardless of listening time and location.
GENUINE PASSION
Cheyenne Mackay, podcaster for SRF, emphasized the importance of passion in the creation of a success and fun podcasts.Podcast production, distribution and “searchability” on any device made up the core of the morning sessions with speakers sharing their production experience and ideas for the future stages.
The podcast market features a positive trend quite everywhere, and broadcasters consider podcast as a way to engage youth audience. In Norway, about 50% of the population aged 20 to 29 years listens to podcast.
“About 18 months ago we asked podcast users who their favorite podcast profiles were,” said Cathinka Rondan, head of radio at the Norwegian public service broadcaster NRK “and it ended up they were not from NRK. So we launched a strategic project, moving resources from linear radio to original podcast creation.”
Ruth Degraeve, head of distribution and product management for the VRT newsroom, explained why today metadata is more vital important than the content itself.The “Top 10” podcast list in Norway is presently headed by the NRK profile Friminutt, with twice as many listeners as the second in the row.
NRK distributes on Spotify and Apple, but is reconsidering how it distributes on third-party platforms, having noticed that those distribution platforms edit artwork, sometimes even removing the NRK logo.
Cheyenne Mackay, podcaster for the Swiss public broadcaster SRF, said a podcast is not just an audio content available online for non-linear listening. “An effective podcast has to bring some genuine passion with it,” she emphasized.
Her podcast Pipifax did not develop from a project or a production meeting, but she explains that it’s the result of a timely “eureka moment,” when she and her husband were taking care of their newborn child.
ATOMIZATION
Ruth Degraeve, head of distribution and product management for the newsroom of Flemish public service broadcaster VRT, and Ben Rosenberg, senior distribution manager at the BBC, dug into the topic of the growing need for implementing effective models of content atomization, meaning the ability to render a given content into a multitude of homogeneous fragments, able to be properly indexed and searched.
Lawrence Harrison, automotive partnerships director at Radioplayer, stressed the need to preserve radio’s identity in vehicles.This, they pointed out, is the starting point to ensure radio’s presence on channels where audience looks for specific content bursts on themes of their interest and from multiple sources.
“The internet was first built around text, and only thereafter did images, sound and video come onboard,” Degraeve said.
Text is still the best way for search engines to find any object or media excerpt on the internet. That’s why today metadata is more important than the content itself. Without appropriate indexing and keywords, that content may not be found. In the internet era, if something can’t be found it basically doesn’t exist.
RADIO’S IDENTITY
Radio’s presence in connected cars was also a hot topic at DRS 2020. Audio consumption in cars has dramatically evolved from radio to media and — thanks to large, touch-screen high-resolution displays — eventually to on-board multimedia.
Lawrence Harrison, automotive partnerships director at Radioplayer, spoke about the increasingly larger touch-screen displays with the multitude of dedicated apps available in modern cars. He questioned whether modern cars will ultimately “become an app-store or if the car companies retain control.”
The EBU headquarters in Geneva.Dashboard screens are getting bigger and entertainment more visual. Harrison pointed to the recent Consumer Electronics show that took place in Las Vegas in January. He said there were a lot of electric car brands offering visual entertainment at the heart of their experience.
Some worry that with these new dashboard designs radio may lose its identity, being placed behind navigation pages and with no apparent radio button to entice the driver.
“We have to preserve radio’s identity in cars, where, depending on the country, 25% to more than 50% of the listening takes place. To do this, it’s paramount that radio can ensure a great user experience and a great user interface design,” Harrison concluded.
The post DRS 2020: Radio Is More Than Linear appeared first on Radio World.
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