Industry News

One in a series of commentaries about how radio’s technical infrastructure will look in the future.

Michael LeClair is chief engineer of WBUR Boston and former tech editor of RW Engineering Extra. 

I recently moderated a roundtable interview with five leading technologists for the Radio World ebook “Virtualizing the Air Chain.”

We discussed whether the industry is ready for a fully virtual air chain, what kind of obstacles exist, and the implications for radio managers and their suppliers including a discussion of cap-ex vs. op-ex philosophies. You can read that very interesting discussion at radioworld.com/ebooks.

Radio World’s Editor in Chief Paul McLane then posed a related question to me: “All this is happening in an industry that, at least in the United States, suddenly is not required to maintain a physical studio in every city of license,” he asked. 

“This combined with the possibilities in virtualization seems to open some pretty remarkable implications for what a studio air chain looks like in a few years. Am I right in thinking that this is an important angle to this story?”

I replied, and Paul asked me to share my thoughts with readers.

Stretching the meaning

Yes, there’s an angle there; and the engineers in our ebook roundtable were clearly coming from groups that all would find that angle to their advantage.

But I note that satellite distribution already has consolidated the studio into one location if desired. 

The removal of the main studio rule simply codifies the lack of having any presence in a particular market that is associated with their license, except the physical transmitter and their EAS monitoring. 

Stations had already been stretching the meaning of the main studio rule for years of course, both in the commercial and NCE worlds. With music automation, we’re already at the point where the studio portion of the radio station has been virtualized into computers and it happened a long time ago. 

To take EMF and Cox as examples, they appear to be well along in building out the centralized “cloud” infrastructure, but not in the commonly understood sense of moving all their infrastructure into the hands of someone like Amazon, which handles web services for all kinds of web-based businesses

Neither appears to be enthused about the idea of moving their air chain content into a rented site with IT support, no matter how good it is. They are going to model their centralized IT operations like a content distribution site. They may even purchase the support for it if the price is right (as in the concept of “hybrid cloud” that we discuss in the ebook). 

But they don’t seem on a track to ditch all their assets and rent them from suppliers whose primary expertise is web site hosting. For the multiple streams and formats they generate, it could all be done in one location and then spread out across the country to fill in at a selection of stations that works for them. Assembly of localized advertising could be done over the web from anywhere. 

Much of what is streaming on the web has been shown to be aimed at listeners to legacy programming from radio stations. The volumes there are so large that most (if not all) large streamers have already moved to the model of renting out capacity from a CDN, a content distribution network. The station creates a stream they hand off to the CDN, and the CDN arranges the necessary parts and pieces like different versions of the stream (higher or lower bitrate), ad insertion and variable bandwidth upon demand to support a changing number of listeners. Individual stations don’t really have to do much except hand off the content and that could be coming from or going to anywhere in the continental United States. 

Creating live content would still require a studio somewhere — I’m imagining a large and uninteresting warehouse somewhere in the Midwest with 40 voice booths, cranking out the announcer bits and producing local ads when needed. Add in music assembly by automation at the CDN and you are ready to build as many feeds as you need for the broadcast side, using a few successful templates as a start. 

Cloud thinking

I would argue that we’ve already reached this model with existing distribution networks and there’s really nothing new there. 

The new part of the discussion is the idea of moving all the other aspects of the air chain that might normally reside at a transmitter site into this common studio for assembly so that a single stream could be deployed to meet the unique characteristics of a particular station: HD, multicast variations, processing, PPM, RDS metadata, HD PAD and EAS insertion. 

On the other hand, as Alan Jurison of iHeart said during our roundtable, this might be an attractive option to smaller broadcast groups or ones that serve low population areas that have limited local advertising revenue available. 

In order to get 24/7 support they might want to build the automation and the rest of the chain in an actual cloud center, then ship it off to the transmitter. As Philipp Schmid of Nautel said: All you need is an Ethernet jack and you’re all set. 

But it’s true that the pandemic has moved our entire industry into learning the techniques required to assemble a broadcast program largely, if not entirely, from home. These newly learned skills would be at the core of transitioning the industry further to a centralized data center model. 

What do you think the radio air chain of the future looks like? Email radioworld@futurenet.com with “Letter to the Editor” in the subject field.

The post Groups Will Model I.T. Like a CDN appeared first on Radio World.

John Schneider’s annual salute to radio’s golden past is back with a new edition for 2021.

The highlight of The Radio Historian’s 2021 Radio History Calendar is, as always, the pictures, usually originally black & white and now colorized by John himself.

These pictures include Gene Autrey singing at KMO in Tacoma, Wash., in 1949; bathing beauties on radio and, always eagerly anticipated views of old equipment and radio practices. Some of these are even more interesting in the age of COVID.

Especially fun is the cover shot of NBC Radio’s master control console at Rockefeller Center. It looks like something from the cover of a pre-World War II science fiction book.

Besides the eye candy, the calendar has a seemingly neverending list of important historical radio dates; at least one for almost every day.

Makes a great Christmas gift for that special radio engineer in your life. The price is $24.95, including shipping, in the United States. Foreign purchases are more.

The post 2021 Historical Radio Calendar Now Available appeared first on Radio World.

iCON Pro Audio has released its new Duo44 Live portable/desktop recording interface, intended for podcasting, home recording, live streaming applications and more.

The Duo44 Live is a four-input/four-output USB recording interface allowing full duplex simultaneous recording and playback. There are dual mic/instrument preamps accessed via front-panel combi connectors alongside potentiometers to control the input level of each of the associated analog microphone/instrument inputs, while the rear panel also includes MIDI I/O on standard five-pin DIN connectors.

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

A master level potentiometer is available on the front panel, while the topside-sited monitor knob allows for direct monitoring when turned clockwise and “computer” monitoring (complete with effects while recording by using low-latency ASIO monitoring) when turned anticlockwise. The unit sports D/A-A/D convertors delivering 114 dB dynamic range and provides 24-bit/192 kHz conversions.

The Duo44 Live is equipped with a +5 VDC power supply connector, enabling external power to be supplied when working with a USB-connected iPad, for example, so no need, necessarily, to work with a computer-hosted digital audio workstation. Beyond that, iCON Pro Audio’s (Windows-only) proprietary ProDriver 4 software lets users redirect audio from any source on their computer and also hosts VST or DirectX plug-ins without a DAW.

iCON Pro Audio’s Duo44 Live is available at $169.99.

Info: https://iconproaudio.com

The post iCON Pro Audio Debuts Duo44 Live USB Audio Interface appeared first on Radio World.

The author is chief engineer, Broadcast Operations Division, at Learfield IMG College.

JEFFERSON CITY, Mo. — As the chief engineer of the Learfield IMG College broadcast operations division, my team and I spend our days assuring that all of our broadcast facilities, equipment, remote connections, satellite uplink and internet streaming systems are all operating correctly.

In addition to these tasks, also make sure that our remote crews have all of the equipment and cabling they need to do a complete broadcast. As time has gone on, my expertise has grown to include doing this work for our podcast-creating networks as well.

Learfield started dabbling in the podcasting world a few years ago, and in the last two years we’ve gotten deeper into podcasting and Facebook Live streaming with many of the networks we work with. At this point, we’re using the Comrex Opal for several podcasts.

For example, we use it for a weekly coach’s interview podcast with Kansas State Network, North Carolina State Wolfpack Network and the Wisconsin Badgers Network. Some Learfield IMG College sports networks use podcasting platforms to provide a weekly 10-minute insight into the coming week’s football/basketball game, where the play-by-play hosts often interview an opposing team’s coach.

We primarily use Opal to acquire audio from our play-by-play host talents, who are usually connecting from a home office or from the broadcast studio at their university. We also often use Opal’s second connection to patch in either our coach, or an opposing coach that could be located states away.

We utilize Opal by sending a connection link to guests, who can then connect to it on a laptop or mobile phone with just a click. Because some of our recurring weekly podcasts are streamed live, we use Opal in a live context as well.

When we think about doing an interview, whether with a governor or with talent or maybe even a sports icon, there is nothing better than using Opal to obtain a rich, full fidelity-high-quality audio feed.

We recently used Opal to do an interview on a COVID response with Kim Reynolds, the governor of Iowa. We sent the link, the governor’s team clicked it and connected to the Opal, and we connected our talent. With no extra fuss, we did a three-way call and recorded it.

The audio sounded incredible — much better coming through the Opal — than we would have had on a standard telephone coupler line.

In our experience, connecting talent and individuals with Opal is very simple. We’ve been able to use this platform across many talent levels — from folks that are not technically inclined all the way to people who are extremely tech-savvy. We’re able to walk most people through it, and once they do it the first time, they’re like “Wow, that was really easy.” And to me, that’s the beauty of this system. We send you a link, you get it on your laptop or on your smartphone, you press the button and talk into it, and you’re basically done.

Comrex Opal is a fantastic solution. We’ve found multiple uses for it: everything from doing a podcast to a phone interview or a three-way call. It’s affordable, and the audio quality sounds like everybody is sitting in the same studio. For anyone in the broadcasting world who wants to put up a high-quality audio stream or audio feed, there’s no comparison to anything else in the market. Opal sounds 150% better than just a standard phone call.

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, contact Chris Crump at Comrex in Massachusetts at 1-978-784-1776 or visit http://www.comrex.com.

The post User Report: Comrex Opal Polishes Podcast Interviews appeared first on Radio World.

Extending its investment in podcasting, iHeartMedia announced a partneship with European podcast platform Podimo to translate and adapt podcasts “across the globe in different languages.”

The announcement was made by Podimo Chief of Strategic Relations Eva Lægdsgaard and iHeartPodcast Network President Conal Byrne.

They’ll start with the true crime podcast “Forgotten: Women of Juárez,” or in Spanish, “Olvidadas: Muertes de Juárez” in Spanish, German and Danish.

The podcast investigates theories about the disappearance of hundreds of young women in the city of Juárez, some found with symbols carved into their bodies or their wrists bound.

The adapted series will be released early next year in 20 countries in Latin America, Spain and the United States, with Germany and Denmark to follow.

The post iHeartMedia, Podimo to Translate Podcasts appeared first on Radio World.

Interconnects hardware manufacturer SoundTools has introduced its new WallCAT 8, a two-gang wall plate with four female and four male XLR connectors.

The plate utilizes eight connectors, allowing the choice of either input or output across four XLR channels. A pair of RJ45 connections in the back of the plate transmit analog audio, AES3, DMX and interCOM signals to multiple locations with a Cat-5e, Cat-6, or Cat-7 cable. All connectors on the WallCAT 8 come preinstalled — ready to go without a need for soldering.

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

Noting that “The WallCAT 4, male and female, have been wonderfully popular products for us,” Dave Rat, designer of SoundTools products wondered if the company could fit eight connectors on to a standard 4-inch x 4-inch wall box plate, and then set out to design it. “The WallCAT 8 is exciting because it allows the same panel to be used as either inputs outputs or any combination,” he says.

As with all SoundTools products, the plate is guaranteed for life by the company’s Happy Human Warranty, he said. “If you need a replacement during the unit’s lifetime, give our team a shout.”

Info: www.soundtools.com

The post SoundTools Launches WallCat 8 Wall Plate appeared first on Radio World.

The author of this commentary is chairman of Digital Radio Mondiale. 

When a manmade or natural disaster strikes, we are reminded that radio broadcasting can be considered the most resilient and most widely available tool to reach out to people and save lives.

We know how this works in the analog world; on-air services are interrupted for short audio announcements and typically restricted to a single language.

The DRM digital radio standard (www.drm.org) retains all the basic strengths of radio broadcasting for alarm dissemination, adding a whole set of modern features that can establish DRM’s Emergency Warning Functionality (EWF) as part of any modern national alert network.

How does DRM work in case of disasters?

When a disaster situation strikes, an explicit alarm signal is triggered by the emergency authorities and sent by broadcasters to receivers indicating where to find the actual emergency program.

This allows radio receivers to monitor DRM’s dedicated alarm signaling channel in the background (e.g. while in deep standby mode) and to wake up on demand; or, while playing, to automatically retune to the indicated emergency program.

In practice this means that temporarily emergency services are inserted and available on air instead of interrupting ongoing services. This allows listeners to retune to the previously selected station as soon as they discover that they are currently located outside the affected area.

On various levels, a well-designed DRM network for EWF will ensure that an active alarm is limited to the extent possible for listeners in the area affected by the disaster. The Journaline component of the emergency program provides an accurate definition of the affected area as a region, so that a receiver can automatically switch back to the previously tuned service once it has established that the alarm is no longer relevant to the listener.

Digital radio’s unique capability of transmitting detailed and structured textual information using the advanced Journaline text application allows digital radio-based EWF services to reach a wider audience with different needs, like users with hearing impairments as well as non-native speakers or tourists who would not be able to understand audio-only announcements in the local language.

RRI implements DRM EWF

Where has been EWF on DRM been demonstrated? In one of the most disaster-prone areas of the globe.

The Indonesian public broadcaster Radio Republic Indonesia (RRI) has recently taken the final step towards implementing the DRM Emergency Warning Functionality (EWF) in its five DRM FM transmissions recently commissioned in the Java island, the most populous of the 14,000 in the Indonesian archipelago.

This is shaping into the first-ever large-scale implementation of the EWF service in DRM in the Asian region.

A recent in-depth evaluation of the technical parameters and coverage of the DRM FM transmissions was carried out by the Indonesian Ministry of Information and Communication (Kominfo), arriving at some very favorable conclusions on the performance of both DRM in FM and EWF.

This is part of the commitment made by RRI to providing comprehensive emergency warning services to the public in Indonesia, using the DRM infrastructure.

But the public broadcaster alone cannot deliver it and a proper command chain needs to be set up involving the authorities providing the information, the transmission including the specific emergency path and the relevant and suitable receivers.

A recent webinar explained this and detailed the many agencies that need to work seamlessly together for this. So, disasters are terrible and averting them is not for the faint-hearted as without cooperation and coordination such a system is unworkable.

In August RRI carried out a special trial and demo in  Jakarta  highlighting and proving that the DRM EWF is an extremely versatile and dependable warning system; the trial proved that it can be configured to reliably and accurately generate appropriate warning signals to be delivered to the specific affected areas.

RRI had already decided to implement the EWF service in its new five DRM FM transmitting stations, which have become operational since June — currently operational in Java (the first DRM FM transmitter to be commissioned in the Asian region), Timor and West Sumatra.

The location of these initial DRM FM transmitters has been selected so that these transmitters could be efficiently deployed for EWF warnings (including tsunami warnings) in the western and southern coastal areas. More such transmitters are planned in the near term to cover many such critical areas.

As detailed by Sharad Sadhu in a recent DRM article, currently, all the DRM FM digital radio stations that can deliver EWF are broadcasting audio services RRI Pro 1 and RRI Pro 3, plus a Journaline text service with news and current affairs information in textual form (in writing) in Bhasa Indonesia (national language all without the need for Internet connection.

The Official Ministry of the Communications, or Kominfo, conducted extensive measurements in West Java and later at RRI Jakarta. Kominfo concluded that the test results in the field are consistent with ITU-R Recommendation BS.1114 and BS.1660.

These conclusions, now publicly available, include that DRM digital radio in the FM radio band can be implemented side by side (coexistence) with analog FM radio using 200 kHz frequency spacing from existing FM radio; full DRM implementation can be emitted with a frequency space of 100 kHz between adjacent DRM FM radio transmissions; DRM technology can also be used for EWF very effectively.

With this the stage is set for the first-ever large-scale implementation of the EWF service in DRM in the Asian region. This will surely set an example for other countries in this region to use DRM EWF technology to save people’s lives.

The post Does Emergency Warning Really Work on DRM? appeared first on Radio World.

One in a series of articles about the careers and experiences of Black engineers in radio broadcasting.

Rodney Belizaire has worked in engineering in New York City for 37 years, work that allowed him to travel to points across the globe as a specialist in remote radio engineering.

Belizaire is senior engineer in Media Operations Engineering at Disney Direct to Consumer International. He provides technical management for the New York radio stations of ESPN and tech support for ESPN’s and DTCI’s audio initiatives, which cross over into TV and video.

Radio World: You started early in the field, showing notable initiative for a teen.  

Rodney Belizaire: When I was 13 years old, I gave myself a summer project of writing all of the CEs of all the major radio facilities I wanted to visit in New York.

I didn’t realize until years later how seeing one African American engineer, the only one I saw in my visits, made an impact on me. In seeing him do his job running the board, I saw someone who looked like me. It was at that point I realize that my dream was possible. I charted and planned my course from there.

RW: Has the acceptance level as a Black man in radio engineering changed since then?

Belizaire: I stand on the shoulders of mentors, colleagues and benefactors who paved the way for me throughout my career.

Due to the lack of diversity in broadcast engineering, there have been only a handful of those African Americans who I met coming up in the New York City community who were staff engineers, who by the way never even had aspirations to be more than that because they never felt the opportunities would come their way. Only one who was a CE, David Antoine, who I could look to for guidance and what I realized later was mentorship, on how to navigate the broadcast engineering field.

That said, there’s no way I’m in this industry without being given the opportunities by non-African Americans to prove myself. I’d like to think that my work ethic, commitment to excellence and good fortune to have crossed paths with the right people at the right time have kept me in the industry all these years.

I’d like to think that due to the diverse racial makeup and melting pot that New York City is, that as time went on, being an African American in media in general wasn’t like being a unicorn.

I’ve often wondered if I hadn’t been born and raised in NYC whether I would’ve have had the same opportunities. The cream of the crop in engineering talent works here, so I felt like I was playing catchup my whole career. I knew that I had to bring excellence to everything that I did every day.

There was also the silent but ever-present knowledge and burden that if I screwed up, I wouldn’t only be seen as just a bad engineer but I could jeopardize things for anyone who looked like me moving forward. My goal was and is every day to break stereotypes and biases that non-African Americans have about people who look like me.

[Related: “Is Diversity in U.S. Radio Engineering Possible?”]

RW: We’ve heard from other Black engineers about how they felt or were treated in certain employment circumstances. Have there been awkward situations?

Belizaire: I’ve run out of fingers and toes to count how many times that vendors, industry colleagues, etc., who have met me for the first time after dealing with me by email or phone, can’t even hide their shock that I am African American. Whatever they were or weren’t expecting when they do finally meet me, I knew that it wasn’t me.

At conventions, my attendee badge and the company I work for have opened many doors that I’m pretty sure would’ve otherwise been closed to me.

Most people tend to forget my skin color once they get to know me. I treat people the way I’d like to be treated and have been fortunate to be treated extremely well for the most part.

I’ve definitely done remotes, worked on job sites or entered buildings where I’ve experienced the standard extra level of scrutiny and circumspection.

I’ve also been stopped by the police for driving while Black in the middle of the night, on the way to a morning show remote prep, and had to have a White colleague vouch for me before I could enter a work site, because it was impossible, in the gatekeeper’s mind, that I was there to do what I said I was there to do, even if my name was on a list.

So sure, I’ve been made to feel like I don’t belong; but I don’t let that stop or define me. What defines me is that I’m there to do a job to the best of my ability and my employer’s satisfaction.

RW: What does it feel like to be in your shoes right now? What emotions do you have about the current social movement?

Belizaire: Let’s face it, most senior executives who run broadcast stations or operations don’t live in areas where they see many people or interact socially with anyone who look like me. Once they leave work, they may never see another African American unless they are at work.

Whatever they may feel about African Americans, whether it’s conscious or unconscious bias, they may not want to place anything as important as the technical reins, directly tied to their revenue, in the hands of someone who looks like me.

In general, every decision I make outside of my home is usually rooted in avoiding situations that could need or cause me to justify my existence based on someone else’s bias, prejudice, stereotypes, etc.

Someone said to me after the George Floyd incident that racism never really went away. It was only dormant. That’s a powerful statement inasmuch as even with the societal progress that’s been made, it may easily take a couple of more generations before enough biases have been put aside.

I’ll admit that I was caught off guard and dismayed by the events that led to the powder keg and frustration of the national movement, because I mistakenly thought we were more evolved as a society.

That said, I and my family do our part to dispel stereotypes, defy negative expectations and do the best we can to be part of a society that changes for the better. And I do believe this will get better with the awareness brought on by the events that put a spotlight on biases and still-pervasive racism. I pray that the conversations that have begun will continue.

RW: What can broadcasters do to improve recruitment protocols in order to bring more diversity into the technical side of radio?

Belizaire: The issue isn’t just recruitment. It’s pay parity. And education about career options since most kids don’t even see radio as a viable medium anymore.

I know that the SBE [Society of Broadcast Engineers] and others do their best to evangelize broadcast engineering, but broadcast engineering is seen as a dead end. I am guilty myself about not evangelizing for it, but the jobs are minimal, require a lot of work due to reduced staffing and are thankless in any markets outside of the top 10.

I mentor younger folks, but I can’t get them interested in engineering. The few I’ve tried to interest don’t have the fire in the belly and aren’t interested. There’s a reason why most recruits are coming from IT, which works on the studio side of things. Who’s teaching RF? Those are mostly contractor jobs now.

RW: On that topic, what would you say are the most important issues or trends in U.S. radio engineering?

Belizaire:  Relevancy, adaptability and trendsetting. The issues loom larger than ever with the exponential changes in technology year over year, instead decade over decade.

How do engineers use technological trends to reach the audience wherever they are, using whatever methodologies are necessary? More than ever, the radio engineer needs to continually adapt to be media technologists, staying ahead of the curve through continual education.

SIDEBAR: Hello From Venice

We asked Belizaire to share an interesting career project memory:

“One of the pinnacles was helming the first ISDN remote originating from Venice, Italy,” he wrote.

“In 1995 while being a staff engineer at WQXR-FM in New York, America’s foremost and most listened to classical station, I was afforded the opportunity to be the remote engineer for week-long live broadcasts originating from Venice.

“There were many challenges surrounding the use of an external Adtran NT-1. Outside of Italy or to non-visitors, it’s not universally understood that Venice is many little islands that make up two larger sections separated by the Grand Canal, making up one larger island not on the Italian mainland. The Venetian telecom central office had never done or had an ISDN use request off the Italian mainland, so their telco central office wasn’t even entirely equipped to accomplish what was needed.

“Between my broken — really, nonexistent — Italian, a dedicated Italian telecom professional, our benefactor’s political connections and clout and a miracle or two, we were able to become the first broadcasters to originate a live remote from Venice using ISDN in 15 kHz mono.

“All the broadcasts were done from the Safe Venice Society’s offices next to the Grand Canal, which provided great ambient sound and views for the host, who was giving play by play descriptions of the breathtaking views down the Canal and having the listeners view Venice from his mind’s eye.

“An attempt to originate a couple of the broadcasts from one of the hotels never happened because they could not move or provide ISDN in time to the second location. Whichever central office configurations that worked in the offices did not work at the hotel.

“Imagine traversing the Venetian streets with a cart full of equipment on almost cobblestone-like streets, rushing to make it back to the offices in order to get the broadcasts on the air. I will never forget that.”

The post Belizaire Reflects on Race, Success appeared first on Radio World.

Cranborne Audio has introduced its new Camden EC1, a desktop preamp with analog saturation and a headphone amplifier with a discrete line mixer built-in, all fit in a half-rack chassis, making it aimed at musicians, engineers, podcasters and voice-over artists.

The Camden EC1’s preamp design provides up to 68.5 dB of gain, allowing the preamp to pair with low-gain dynamic microphones and ribbon mics. Also onboard is a headphone amp with a dedicated line mixer to provide zero-latency monitoring of the preamp mixed with playback from a DAW.

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

At the turn of a dial, the Camden preamp takes on the persona of vintage transformer or tube-based preamps using its “Mojo” analog saturation control and “thump” and “Cream” styles. Users can split the Hi-Z signal using the link output to record both the DI and a processed amped signal, allowing for re-amping workflows. The unit’s connectivity includes balanced XLR and 1/4-inch impedance-balanced preamp outputs and a 10 dB pad to prevent clipping converters.

VO artists and podcasters can monitor their vocal channel directly using headphones connected to the preamp itself, and apply Mojo analog saturation control to apply different characters to one’s voice — Thump can be used to create a sense of intimacy or Cream to underline excitement. Podcasters will be able to apply 68.5 dB of gain to low-sensitivity microphones, such as a Shure SM7b or EV RE20, reportedly without adding noise or coloration.

The Camden EC1 features the same reference-grade design developed for the 500R8 audio interface, and its headphone amps deliver up to 1.2 watts of clean power per ear and a flat frequency response from 5 Hz to 70 kHz.

Info: www.cranborne-audio.com

The post Cranborne Audio Debuts EC1 Preamp appeared first on Radio World.

Streaming technology platform Radioplayer is launching in France, Sweden and the Netherlands, bringing its country total to 14.

Organizers are taking particular note of the importance of France as an automotive market, accounting for 14% of European car sales and more than a quarter of European car production.

[Read: Radioplayer Italia App Is Now Available]

Radioplayer started as a nonprofit collaboration of the BBC and the commercial radio industry of the United Kingdom. “Unlike other radio aggregation models, Radioplayer is nonprofit, and each system is specific to the country in which it is launched,” according to its latest press release.

“There are shared technical standards for the Radioplayer web-player, the radio discovery apps, and the back-end systems which power them, but broadcasters retain control over their own branding, streaming, and commercial deals.”

The organizers of Radioplayer say the effort is important so that “the international radio sector can speak to all car manufacturers with one voice, to keep radio strong in the dashboards of the future.”

The three countries will add metadata (station information, logos, streams, podcasts etc.) to the Radioplayer data feed that supports “hybrid” radio interfaces in a growing number of new cars. “These smart devices can switch automatically between DAB+, FM and streaming, to keep listeners locked-in to their favorite radio stations. Almost a million cars are already driving around Europe with radios powered by metadata from Radioplayer stations.”

Radioplayer France is supported by broadcasters Radio France, Les Indés Radios, M6/RTL, Lagardère, NRJ, and NextRadioTV. “The new partnership will provide 67 million French people with improved ways to listen to their favorite radio stations in the car, and via apps, smart speaker, and smart TV integrations,” according to the announcement.

Radioplayer Netherlands will operate as a partnership between public service broadcaster NPO and Dutch national commercial broadcasters. Radioplayer Sweden is backed by a consortium of major broadcast groups Sveriges Radio, Bauer and Nent.

The post Radioplayer Expands in Europe appeared first on Radio World.