Industry News

The author is Colorado field engineer for Educational Media Foundation.

PUEBLO, Colo. — Educational Media Foundation is most often identified with its growing K-LOVE and Air1 brands, which today represent the largest contemporary Christian music radio networks in the United States.

EMF has provided a presence for both networks in Colorado through the acquisitions of KLCX(FM) and KWRY(FM), serving the Pueblo market and surrounding regions.

The acquisitions happened at different times, but both stations have long been combined into a common antenna. That antenna originally was designed to accommodate 104.9 and 107.9 MHz. KLCX broadcasts K-LOVE on 106.9 MHz, and KWRY carries the Air1 format on 104.9. Unfortunately, 106.9 MHz was not in the frequency range of the original design.

There were other concerns with the existing antenna, including its lack of protection against icing and other weather. The transmitter site is about 30 miles southwest of Pueblo in a mountainous area, so ice would often detune the antenna and raise VSWR levels, reducing coverage.

Following a severe system failure, we reached out to Dielectric for help, which led to the purchase and installation of a Dielectric DCR-M antenna and two-station combiner. In the months since installation of the antenna, combiner and two new transmitters, the new RF systems have eliminated all existing problems while strengthening our signal coverage.

The DCR-M model is a center-fed, eight-bay antenna with an omnidirectional pattern. The antenna design has unique attributes to meet the weight and wind load limitations of our tower. A typical two-station antenna uses half-wavelength bay spacing, which would have required 16 bays to produce the appropriate antenna gain and 100 kW ERP with a 30 kW transmitter. The 16-bay antenna loading would not have been a solution for the current tower without significant tower modifications.

Dielectric solved this problem by spacing the antenna bays at an approximate 0.92 wavelength, which allows the 100 kW ERP to be produced with a lighter eight-bay design.

Dielectric’s “funky elbow” design maintains the full-wavelength electrical spacing between the antenna bays while allowing the physical spacing to be reduced, resulting in near full-wavelength bay spacing antenna gain. It also simultaneously reduces the RF radiation on the ground, which was a concern given the tower’s proximity to walking trails, campsites and wildlife.

The antenna also includes a “fine matcher,” which allowed for easy adjustments of the antenna system’s input impedance upon installation on the tower.

Galvanized Endeavors of Colorado Springs handled the DCR-M installation, as well as removal of the old antenna and damaged transmission line. The new antenna mount and transmission line were put into place, and the antenna was installed on the tower with its center of radiation positioned at 163 feet above ground level.

Given that the site elevation is at 8,350 feet above sea level, the antenna is prone to very heavy winds (often above 100 mph) and a consistent 20-to-30-inch snowpack in the colder months.

These weather conditions truly require antenna protection, and Dielectric’s antenna radome design has already delivered. We experienced a hefty snowstorm in October, which left several inches of ice and snow on all surrounding structures. The antenna was white from top to bottom, yet the radomes offered full protection from the wintry conditions. The antenna remained in tune, and with no change to VWSR levels, which remained steady between 1:05 and 1:08 across both station frequencies.

Inside the transmitter building, the Dielectric two-station combiner is properly matched to both the transmission frequencies and the transmitter power output. This means the combined signals are sent to the antenna with the right amount of power with minimal loss and a proper safety margin — all while meeting the mask requirements. The combiner properly prevents intermodulation issues from the two signals mixing along the path.

Even though the transmitter site’s mountain elevation required the RF components to be derated for altitude, Dielectric’s modern combiner design is compact, and the new system opens up a great deal of interior building space.

As this is a shared space, floor space is at a premium. The new combiner fits comfortably in the building, which allows us to make the most efficient rigid transmission line run possible — a perfect convergence point with the antenna feedline coming into the building. The location of the combiner means I can access the rear of my transmitters and audio racks comfortably to perform maintenance.

Two months in, the new Dielectric system has exceeded our expectations performance-wise, while providing a robust and reliable solution which has simplified our lives in engineering.

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

For information about this product, contact Jay Martin (United States) at +1-207-655-8138 or John Macdonald (international) at Dielectric at 1-239-272-5962 or visit www.dielectric.com.

 

The post User Report: Dielectric Innovates for EMF Colorado appeared first on Radio World.

Look closely. A cleaning product has damaged this after-market shockmount.

Allowing employees to work from home is an excellent way to keep them safe and healthy in a pandemic, but it’s not always possible. So keeping radio studios clean is more important than ever.

Best practice, of course, starts with training staff in proper hand washing and the use of hand sanitizers. And hopefully you have issued individual microphone windscreens to your air talent.

But what about cleaning your specialized radio equipment?

Let’s share some recommendations from manufacturers. The information should not be taken as a final say but as supplemental to national guidelines and what organizations like the Center for Disease Control and World Health Organization recommend.

Knobs become globs

The components of popular cleaning products can cause unexpected problems when used on broadcast equipment.

Jim Gray of Optimized Media Group has a client whose staff started bringing in household cleaners when the pandemic struck. These included 409, Clorox, Windex, Lysol and a few other familiar brands.

But many such cleaners contain ammonia, which can be very harmful to rubbers and plastics. Whether from one particular cleaner or a combination of them, the gear at the station reacted badly. Equipment knobs became soft and deformed. Automation screens became cloudy. Mic shock mounts had to be replaced.

Rubber-coated keycaps can turn to “jelly” after frequent cleaning with non-approved cleaners, such as products with ammonia.

Jim estimated the cost of the damage at around $2,000. Since making the necessary repairs, he has purchased disinfectants that are electronics-safe. He is using 70% isopropyl alcohol as his cleaner but encourages others to do their own research for their needs.

The CDC doesn’t have radio-specific guidelines, but for electronics it suggests using covers that can be wiped down when possible. Of course this is not practical for devices that are in constant use.

Follow manufacturer instructions for cleaning and disinfecting; if no guidance is available, use alcohol-based wipes or sprays containing at least 70% alcohol. Apply it to a clean cloth, not directly to the surface. Then dry the surfaces thoroughly.

For convenient cleaning, Jim Gray cut a roll of heavy paper towels in three and put them in a disposable Rubbermaid food container with 70% isopropyl alcohol.

The CDC has a detailed information page about disinfecting facilities, including sections on soft surfaces, electronics, laundry, outside areas and other problem spots.

Ask the makers

As the CDC points out, manufacturers are a key source of information on how to clean and disinfect specialty equipment.

For instance, at Telos Alliance, Support Engineer Johnny Goldsmith and Marketing Coordinator Bryan Shay note that some parts on Axia products have rubber coatings, so home cleaners may cause problems.

They recommend 70% isopropyl alcohol applied with a dampened soft cloth; allow it to sit on the equipment for 30 second or more, then thoroughly dry with another soft cloth.

Telos Alliance reminds us to wipe with 70% alcohol solution, let sit, then dry.

They say you should avoid using Clorox brand or similar wipes on consoles and similar equipment because it may cause fading of printing. They advise against spraying disinfectant or cleaner directly on a surface, because liquid can cause great problems if it penetrates the electronics.

On Telos VSet phones, the handset may be cleaned with Clorox wipes, but the company still suggests isopropyl alcohol, to be sure to not get liquid into the earpiece or mouthpiece holes.

Goldsmith says check out the company page “Recommendations for Cleaning and Sanitizing Consoles and Equipment.”

At Wheatstone, Support Technician Dick Webb says look for disinfectant wipes that are labeled specifically as suitable for use on electronic devices. Check the ingredients and avoid anything corrosive.

Dick recommends you test a cleaning product on an inconspicuous area to make sure it doesn’t hurt the surface. Also, in addition to not spraying gear directly, he notes that a cloth can also cause damage if it is sopping wet, dripping liquid onto and into the electronics.

Mic care

Microphones are an obvious area of concern. Where windscreens are in use, each user should be issued their own.

For cleaning, Audio-Technica’s Audio Solutions department says you can remove a windscreen and spray it lightly with a disinfectant. Foam windscreen and headphone coverings can be washed by hand with mild soap in a sink, but carefully wring them out and dry thoroughly before using them.

For mics, arms, booms and headphones, dampen a wipe with 70% alcohol and wipe the surfaces. It should be wet enough to show moisture on the surface being cleaned, but never so much that it saturates the internal workings.

Most microphones have metal grilles as well as foam or other material to cut wind/pop noise. The grilles can allow bits of food as well as viruses and other germs to get in. Some manufacturers suggest spraying a mic very lightly with a “mist,” but Audio-Technica specifically advises against that.

“If a microphone has a removable metal grille, as most handheld microphones do, unscrew the grille and clean it while it is separated from the diaphragm and electronics of the microphone,” it states on a support page. “Internal windscreens should likewise be removed from the grille and cleaned separately.”

Though cleaners with ammonia or chlorine may be effective for viruses, I’d be very concerned about their use on microphones as both can destroy soft materials quickly; and they can leave a pretty foul smell for someone putting their face a few inches from a mic.

For a useful and detailed discussion, see “How Do I Clean My Audio-Technica Microphones?” For other brands, try a similar search or consult the manufacturer.

The folks at ElectroVoice add that if the mic has a removable threaded-on grille, it can be removed and soaked with the inner foam components in hot soapy water. The grille and foam components should air-dry before you put them back together and use the mic. For fixed grilles, a clean, soft-bristle toothbrush can be used to clean between the strands of grille wire. Visit https://electrovoice.com/support/troubleshooting/.

Cabinetry

Of course, regularly clean surfaces that people touch a lot such as light switches and doorknobs. Cleaners like Brillianize, used with microfiber cloths, can kill 99% of bacteria, according to a study from University of California, Davis, which the company notes on its website.

Studio furniture is one such surface. David Holland, chief design officer of Omnirax, says the company builds its countertops using Wilsonart high-pressure laminate, a very durable material. On these you can use more robust cleaners than with electronics.

Omnirax builds products with durable Wilsonart HPL. It suggests getting in the habit of trying any cleaner in an inconspicuous area first.

Wilsonart suggests cleaning first with dish soap, warm water and a soft cloth, then apply a SARS-CoV-2 approved disinfectant. In the absence of that, use a diluted bleach solution based on CDC guidelines (remember to test the cleaner first on an inconspicuous area):

Wilsonart has a helpful nine-page guide that includes discussion of specific brands; find it at https://tinyurl.com/rw-wilsonart.

You never want to forget your remote gear. Not only is it in contact with people, it’s also out in the field.

Jacob Daniluck of Tieline echoes the advice to never spray directly onto your gear and to use a clean soft rag dampened with 70% isopropyl alcohol.

Tieline and other manufacturers say don’t spray your gear; instead use a cloth that is dampened but not sopping wet. A solution of 70% isopropyl alcohol can be used.

A final note is that OSHA requires businesses to keep Material Safety Data Sheets (MSDS) for all chemicals and cleaners; keep this in mind when dealing with chemicals at your station. Should someone be “spritzed” in the eyes or inhale a cleaner, you’ll need to know how to treat them. You should consult OSHA regulations and/or your safety managers.

To summarize, manufacturers want us to be smart and well informed about cleaning. The real experts are doctors and scientists, so the manufacturers I spoke with all said that you should refer to CDC guidelines when it comes to protecting the health of your employees.

While this pandemic will eventually be overcome, colds and flus will not. Maintaining our best cleaning practices will help minimize sick staff and downtime in the future and keep your equipment and studios safe.

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

 

The post Radio Equipment Pandemic Cleaning 101 appeared first on Radio World.

RadioDNS pulls unique station identifiers from RDS. It rewrites these into a format that looks like a domain name. This gets passed to the nearest DNS server. The receiver then makes a direct connection to a station’s stream using the IP address.

Hybrid radio is just around the corner. Is your station ready?

Audi and BMW are selling vehicles with hybrid radios in the United States and Canada. This technology enables both over-the-air and internet radio reception in cars.

Impressive as that is, these receivers will also be able to display a station’s logo as well as station information such as “now playing” and other metadata from the web stream as part of a vehicle’s on-screen station guide.

A small web icon for KITS at the right indicates that the station, along with its associated metadata, is being received via the web stream rather than over the air.

Additionally, the Audi radios will offer service following, which means they will be able to switch from the FM signal to streaming audio when radio reception becomes iffy, effectively extending your station’s coverage area.

The receiver will enable the most seamless transition possible, matching timing and levels between the two signals, so long as the time difference is 30 seconds or less.

Audi radios offer “service following,” and the driver is given the option of switching to a station’s stream when the FM signal becomes marginal.

In order for stations to reap the benefits of hybrid radio, they must first create an XML file with station information, host it on a publicly-accessible web server, create some DNS records and register with RadioDNS.

Any number of service providers can do this for you, but in these challenging economic times, you can save some cash by doing it yourself. It’s not difficult, but like most things, it takes some study, advance planning and organization to ensure a happy outcome.

Founded in October 2009, RadioDNS is a non-profit organization based in the U.K. that promotes the global use of open technology standards to enable hybrid radio. In addition to HD Radio, the standard supports VHF/FM, DAB, DRM and AMSS. RadioDNS manages the internet-based technologies that can connect hybrid radios to radio stations providing internet content like streaming audio URLs.

DIY

To assist the do-it-yourselfers, NAB PILOT offers a free on-demand webinar that walks you through the process. It’s hosted by David Layer, vice president, advanced engineering in NAB’s Technology Department. Panelists include Christian Winter, development engineer, radio, media at Audi AG; Nick Piggott, project director and co-founder RadioDNS Hybrid Radio; and Andy Buckingham, creative technologist at Togglebit.

Help is also available on the RadioDNS website. There you can find step-by-step guides to implementing RadioDNS functionality, as well as presentations from technical conferences explaining how to manage RadioDNS hybrid radio application systems. There are also discussion boards where you can post your questions.

This fall’s Radio Show virtual event, co-produced by NAB and RAB, featured a session on “How Radio Broadcasters Can Support RadioDNS.” It was hosted by Layer with panelists Piggott; Jason Ornellas, regional director of engineering, Bonneville International; and Mark McConnell, system administrator and digital content manager, Bonneville International.

Layer began the Radio Show session by noting a September press release from Audi, announcing a collaboration with iHeart Radio, which is making more than 600 of its radio stations hybrid radio capable during its initial integration phase.

The release, according to Layer, underscored an important point. “Auto manufacturers are going to great lengths to introduce hybrid radio-equipped cars, and now the onus is on radio broadcasters to do their part by making their stations capable of utilizing this new service.”

Layer adds that no fees are collected for registering your station with RadioDNS; it is a free service. However, there are costs involved in setting up radio stations to make use of RadioDNS technology.

RadioDNS is supported financially by its members worldwide, of whom NAB is one, as are several broadcast groups in the U.S. Broadcasters who want to help move this technology forward should consider joining RadioDNS.

The XML file with station information previously mentioned is called the Service Information (SI) file, and is the main resource for conveying basic information about radio stations to the hybrid radio receiver.  To create this, you’ll need a database containing the station metadata from all stations being supported. For each station that should include call sign, name, description, genre, logo URLs and audio stream URL. Also needed is information on the station’s RDS PI code (for analog FM stations) or the facility ID (for HD Radio stations).

NAB PILOT has created a way to automate the collection of the PI code/facility ID and other “bearer” information. It’s called the “Radio Call-signs API.” For more information, contact David Layer via nabpilot.org. Station logos as well as a web hosting service to put the SI and logo files on are also required.

Next, you’ll need to create the XML file to make it all work. Most of the examples on the NAB webinar are created using the PHP scripting language, but other languages can also be used.

Preparation is key

The first step is to collect all the station information from the database. Next, all the images need to be prepared.

RadioDNS specified five different resolutions to support different receiver display resolutions, including 32 X 32 PX, 112 X 32 PX, 128 X 128 PX, 320 X 240 PX, and 600 X 600 PX. This step is really a matter of converting your one large image file into these smaller sizes. Then, you’ll need to ping the Radio Call-signs API to get back your broadcast station details. Finally, you must build the SI file document and save it.

After the coding is complete, you need to register your station with RadioDNS. A bit of preparation is necessary. You’ll need to gather some information about the parameters in your signal. In order to get into the RadioDNS hybrid radio registry, analog FM stations must be transmitting RDS, including the PI (Program Identifier) code.

It is further recommended that you transmit the ECC (Extended Country Code). This can help improve the accuracy of locating your DNS entry. For the United States, the ECC is A0.

The DNS utilizes a GCC (Global Country Code), which comprises the first digit of your RDS PI code followed by your ECC code. For U.S. stations, PI codes begin with A, B, D and E, so valid GCCs would be AA0, BA0, DA0 or EA0.

When you register, RadioDNS will create a DNS entry for each of your frequencies. If your group has numerous channels, you may be able to register with a wildcard (*) entry, and you won’t need to list them all. Otherwise, frequencies need to be entered as a five-digit number, i.e. 08850 for 88.5 MHz, or 10790 for 107.9 MHz.

In summary, each FM channel will information entered in the form frequency.pi.gcc, for example 08850.pi.BA0.

If you’re operating with HD Radio, you need to be transmitting your FCC Facility Identifier (ID) in hexadecimal format, padding with leading 0s to create a five-digit number. This should be followed by the country identifier (CC), which is 292 for the USA. And if you’re transmitting multicast, all of this needs to be preceded by MC.

An example of a multicast HD Radio entry would be MC.id.cc, for example MC.10C21.292.

Completed applications should be e-mailed to registrations@radiodns.org. These should include your fully qualified domain name (FQDN) and your broadcast parameters for FM and HD for each station being registered, your .zone file as an attachment (if you have created one), your name and telephone contact number, the registered name of the radio station(s), and finally the name of the authority that issued the broadcast license(s). RadioDNS will acknowledge the change request via email, within 48 working hours. New and changed entries take up to 24 hours to propagate through the Domain Name Service.

On the air

Some stations have already taken the plunge into this new technology.

As soon as Ornellas and McConnell heard about hybrid radio, they knew they wanted to make Bonneville International an early adopter in the six markets the company serves. Their journey took them to places they never expected.

Ornellas said, “Initially, we just wanted to be a part of it. Then Mark began looking online and realized we can do so much more than just have an online presence. The Capital FM example inspired us to put all the extra information out there for our listeners.”

McConnell adds, “The two big things that jumped out for us were their use of the PI content code, as well as their use of an electronic program guide which had links to their social media. But the entire structure is XML-based, so there’s a lot of flexibility to add what you want.”

The second big discovery for Ornellas and McConnell was how much data could be gleaned once the server logs are combined with owner data from car dealers.

“These can be used to create some powerful real-time analytics,” says Ornellas. “The age and sex of the driver, for example, can be combined with where and when they tune in, how long they listen, and what station they eventually switch to.

“There’s probably more to be discovered. The challenge for us is to take this wealth of data, which is already parsed out by station, and create a dashboard where it can be easily accessed and understood by sales, promotion and management.”

McConnell began the process by using a PI code look-up tool, which obtained the PI codes necessary for analog FM stations. A few things were left to be added by hand, including the ETSI content CS codes and electronic program guide links, including social media, website and studio line links.

The result was the overarching framework for the Bonneville station’s SI files, and it was left to station engineers to fill it in, using the Sacramento station as an example. All of the completed files reside in the Bonneville International corporate server.

Piggott said getting hybrid radio to work involves teamwork.

“The implementation of hybrid radio brings people from two sides of the business together. It’s the intersection of broadcast engineering skills, such as making sure PI codes are being transmitted on RDS encoders, but also knowledge of how to set up DNS records and put files on web servers.”

Ornellas added, “You need to have that collaboration with digital and engineering to really streamline this, especially the artwork and stream URLs. Some engineers have access to that, others rely on the digital folks. We’re unique at Bonneville in that we already work together so closely that this was a seamless process. Moving forward, I believe digital and engineering are going to become very integrated, and hybrid radio is a perfect example.”

Radio never stands still, nor should your SI file. Stations change logos, formats, call signs and even ownership, often with little advance notice. It’s best to think of creating the SI file, as well as your other digital assets as a process rather than a one-time event. This may be another reason to learn how to create and manage them yourself, rather than relying on a service provider.

The solution at Bonneville is a virtual machine located at company headquarters. When new logos or other graphics are created, they are immediately uploaded. Station engineers also keep backups of their SI files and other engineering data there.

Tom Vernon is a longtime contributor to Radio World.

The post Power Up Hybrid Radio With RadioDNS appeared first on Radio World.

Nexstar Media Group late Christmas Eve successfully reached “a comprehensive multi-year distribution agreement with DISH Network.”

The agreement restores Nexstar’s 164 local television stations across the country and Nexstar’s wholly-owned cable network, WGN America, to DISH Network’s programming line-up. WGN America will also launch on DISH’s streaming service, Sling TV, in early 2021. Financial terms of the agreement were not disclosed.

The agreement means that more than 5 million DISH subscribers will again have access to the network and local entertainment, sports, and news programming provided by Nexstar television stations and by WGN America, home of the prime-time national newscast, NewsNation.

During the last three months, Nexstar successfully completed more than 250 distribution agreements with its satellite, cable, telco, and streaming partners, it says.

Combined with similar agreements reached with other providers in 2019, Nexstar adds it “now has long-term visibility regarding future retransmission and carriage fees covering 90% of the company’s footprint through 2022.”

Nexstar’s local television stations and WGN America had been off DISH Network’s satellite system since Dec. 2. “We regret the inconvenience experienced by our viewers and look forward to again providing them with leading network and local programming,” Nexstar says.

The author is co-founder of consulting firm P1 Media Group.

The year 2020 was like no other, a year we’d all rather forget. Coronavirus turned our world upside down.

But rather than dwelling on how COVID-19 decimated radio listening, revenue and personnel, we want to close out the year by sharing some of the amazing and extraordinary ways radio worldwide responded to the pandemic.

In mid-March when the lockdowns began, P1 Media Group felt compelled to do something, someway, somehow, to help radio. We knew there was no programming playbook for COVID-19, yet listeners all around the world were depending on us to keep them informed and entertained during this unimaginable time.

Smiles online

With P1’s global footprint we were beginning to see some very interesting ideas stations were executing in different parts of the world and had a feeling that if we could create a hub for stations to share and exchange these ideas, those ideas would spark more ideas and inspire more stations, and radio listeners everywhere would benefit.

It was our desire to use radio’s collective brainpower to help us through the pandemic that led us to the formation of the Facebook group “Coronavirus Radio Ideas.”

Thanks to the support of Benztown and Radio Days Europe, the Coronavirus Radio Ideas Facebook group took off like a rocket.

It quickly attracted several thousand members representing radio in more than 80 countries spanning six continents. Over 300 ideas were shared in the first months, covering everything from programming to podcasting, promotion to marketing, sales to social media and much, much more.

 

A laugh and a smile can be just what a listener needs to cope during challenging times and radio delivered its share of smiles both on air and online.

“The Kyle and Jackie O Show” from KIIS in Sydney, Australia created several amusing social media videos. One featured show producer Pete demonstrating social distancing on the sidewalks of Sydney with a homemade contraption that kept him six feet apart.

Another video revealed how parents could teach kids simple fractions while drinking wine.

CFOX in Vancouver, Canada produced a clever video — based on BBC nature series including an impeccable impersonation of the one and only Sir David Attenborough — called “Humans Are Emerging.”

“Intern Pete,” aka Pete Deppeler, shows off his homemade social distancing system for “The Kyle and Jackie O Show” in Sydney.

ACE Radio Network in Australia created wonderful theater of the mind with an extremely well-written and -produced call of a fictitious horse of race, naturally called “The COVID Cup.”

Songs parodies also provided fun topical ways to cope with life during a  pandemic.

Retired morning man and Twisted Tunes genius, Bob Rivers, changed the Beatles classic “I Want to Hold Your Hand” to “You Gotta Wash Your Hands.”

FFN radio in Germany changed Camila Cabello’s hit from “Havana” to “Corona.” And in Seattle, the Fitz morning on show on 98.7 The Bull, transformed 90s Hip Hop song “O.P.P.”  to “We’ve got no TP” to promote their toilet paper giveaway.

Music at home

COVID 19 closed the curtain on live concerts, so radio created new ways to bring live performances to listeners safely.

NRJ Radio in France held the “NRJ Music Tour at Home” while in Spain Europe FM showcased live performance through its “Home Festival.” And NRG Radio Kenya produced a massive one day fundraiser “We are One Africa Concert.”

Radio 7 in Hannover and the Local Media San Diego cluster produced drive-in concerts, where listeners were treated to live performances from the safety of their cars.

Some stations went to extraordinary lengths to honor our heroes on the frontlines.

Power 96.1 Atlanta arranged a salute to essential workers that included a massive heart over downtown.

Hospital workers in Cyprus were quarantined at hotels between long and grueling shifts at local hospitals. Mix radio threw those heroes a massive rave. iHeartMedia station Power 96.1 Atlanta took their nightly salutes for essential workers to the skies one evening, with skywriters creating a massive heart over downtown Atlanta. Z100 New York and Elvis Duran held nightly light shows set to music on the Empire State Building.

Yet stations didn’t recognize only the frontline heroes; the BBC in the UK staged weekly on-air sing-a-longs across their stations to raise the spirits of an entire nation.

Affirming

Revenues were decimated due to COVID-19 and radio had to become more resourceful than ever to retain its advertisers.

There were stations offering one week of free ads or “run your schedule now and pay when you can” promotions, while others bundled hundreds of thousands of dollars in free airtime for clients and charities that needed it most.

In Dallas, Texas, iHeartradio called on the help of local billionaire Mark Cuban to provide insights and encouragement in a special five-station simulcast aimed at helping businesses.

Despite all the challenges we faced in 2020, radio found many ways to positively impact their local communities.

The NENT Radio Group in Sweden started “Listener Help,” a program that connected listeners in need with listeners willing to help. Listeners brought food, medicine and a smiling face to those who needed it most.

The Rolling Stones came to the aide of Fabulous 103 in Pattaya, Thailand, where the once-thriving tourist town was devastated by COVID-19, donating the proceeds from the song “Living in a Ghost Town” to feed the impoverished unemployed tourism workers.

Our global response to COVID 19 reaffirms radio is an amazing and remarkable medium with talented and creative content producers all over the world. Radio delivered the laughs and smiles, the essential information and the hope and reassurance we needed when we needed it most.

Get inspired and join the group at www.facebook.com/groups/coronavirusradioideas. View winners from the recent Global Coronavirus Radio Awards at https://p1mediagroup.com and click on Coronavirus Radio Ideas Winners.

The post Radio’s Global Response to COVID-19 appeared first on Radio World.

Serving as Chairman of the FCC has been the honor of a lifetime. And soon, my time in this position will conclude. 

Those are the words of Ajit Pai, who will preside over his final FCC Open Meeting come January 13. The meeting won’t involve any new business, with Bureau, Office, and Task Force leaders summarizing the work their teams have done over the last four years in a series of presentations.

And, it could involve a lot of salutes to the man some detest for “killing net neutrality” while others highly admire for his wit, affability, love of the Kansas City Chiefs, and that oversized Reese’s coffee mug.

RBR+TVBR OBSERVATION: Chairman Pai, we hardly new you. But, in the time you served on the FCC, you proved to be a champion of local media. From tiny AM radio stations to the biggest TV stations, you showed you care — perhaps a lot more visibly than your predecessor. The radio and TV broadcasters of America owe you much gratitude, and we will miss you and that coffee mug of yours. And, who can we taunt when the Buffalo Bills advance to the Super Bowl? While our Editor-in-Chief met you once — by chance at Reagan National Airport and you returned to D.C. from a Boston event in November 2019 — you were pleasant, and took time to chat in that airport corridor. Be well, sir, and best of luck on your next role.

 

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American Tower Corporation has closed its acquisition of InSite Wireless Group.

The total consideration for the transaction, subject to certain post-closing adjustments, was approximately $3.5 billion, including the assumption or repayment of existing InSite debt, and was funded by a combination of cash on hand and revolver borrowings.

American Tower Chief Executive Officer Tom Bartlett said, “We are pleased to close this immediately accretive transaction and expect to quickly begin driving new leasing activity on these high-quality, well-located assets. As 5G densification initiatives in the U.S. accelerate and network deployments in international markets continue, we believe we are well positioned to generate attractive, sustainable long-term growth, including on these new sites, while playing a key role in enhancing mobile broadband connectivity.”

American Tower expects the assets acquired from InSite to generate approximately $150 million in property revenue and approximately $115 million in gross margin in 2021.

One of Kansas’ only independent broadcasters has just seen one of its two UHF television stations placed into receivership.

It’s a channel that serves both Wichita and Hutchinson with a host of digital multicast networks including COZI TV, Estrella TV, Bounce, LIGHTtv and NewsNet.

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In the border city of El Paso, an FM translator at 88.1 MHz and its sibling at 101.7 MHz have offered Christian talk and teaching programs tied to KELP-FM 89.3, a facility located to the north in Mesquite, N.M.

That’s changing. The nation’s No. 2 licensee by station count is buying them.

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On December 22, RBR+TVBR reported on a transaction that will see a reborn “Ritmo” offer Tropical programming to Hispanics across the Delaware Valley, courtesy of Miguel Amador and his Ritmo Broadcasting.

Ritmo also operates a Top 40 operation with call letters that pay homage to a pioneering hit music FM that once served Philadelphia, and a FCC filing now shows he’s buying the AM and FM translator used to power up WIFI.

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