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Some 14 FM allotments were removed from the FCC’s FM Table by the Commission in the recent past because a construction permit and/or license was granted.

Now, they’ve returned to the Table of Allotments, as these MHz-based signals are considered vacant because of the cancellation of the associated authorizations or the dismissal of longform auction applications.

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“Broadcasters still reliant on POTS lines for studio phones systems are facing hefty price hikes, if not now, then very soon,” says Broadcast Bionics. 

“In August 2022, the FCC removed requirements for ILECs to offer analog POTS at competitive rates. By October 2023, all remaining cost obligations were lifted.”

Bionics says this spurred carriers to plan to decommission outdated lines, aiming to end all PSTN lines by 2030. 

“Transitioning to SIPl can be daunting, and what about those trusted Telos VSets your talent loves?”

In response, the company offers Caller One, now with Telos VSet integration.

CallerOne seamlessly integrates with SIP (VoIP) lines on your network. With this new integration, CallerOne now works with any Telos VSet handsets you have or plan to purchase. 

“Moving to digital will not only help broadcasters save significantly on POTS line rental, but opens the door to all that AoIP offers.”

The platform streamlines the SIP setup as well as the call screening process, empowering air talent, call screeners and producers to manage calls and ensure seamless content flow. 

Separately, Bionics announced that its BionicStudio Director is now available with a live graphics management extension called ConText, to help teams deliver professional-grade live video streams. “Where Director handles intelligent camera switching, recording, and streaming, ConText enables live data-driven graphics management, all through a user-friendly browser interface.”

NAB Show Booth: C2030

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The post Caller One Now Integrates With Telos VSet appeared first on Radio World.

Chiefland, Fla., is a tiny community, due west of Gainesville. And, it has been home to a Class A FM simulcasting a Classic Rocker with signals in both Gainesville and in nearby Ocala.

Soon, a change will be coming, with a gust of “Wind” removing one asset from the Saga Communications stable.

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The FCC as expected moved ahead on a party-line 3-2 vote to implement what FCC Chairwoman Jessica Rosenworcel believes are new customer protections requiring all cable TV service providers and the nation’s two direct broadcast satellite companies to specify the “all-in” price “clearly and prominently” in their promotional materials and on every monthly billing statement.

To little surprise, pro-cable TV advocacy group ACA Connects was less than thrilled by the Democratic majority’s vote.

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With George Soros a key investor and a voluntary bankruptcy restructuring plan now firmly in place, Audacy has filed paperwork with the FCC signaling its need to gain Commission approval of its emergence from debtor-in-possession status.

Along with that filing came a second one — and it signals Audacy’s desire to sell a Class A “Magic”-filled FM serving Upstate South Carolina.

 

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In late January, RBR+TVBR first shared with readers the details surrounding a move by the owner of a low-power digital television station to put a stop to the “Low Power Protection Act” — a law the FCC unanimously enacted despite opposition from the Frank Copsidas-created LPTV Broadcasters Association.

Last week, the court ruled against the LPTV licensee — something Wilkinson Barker Knauer Partner Davina Sashkin explained to LPTVBA members.

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It’s been stated that many who pay for MVPD services, whether from a cable television provider or a direct broadcast satellite company, largely consume their local broadcast channels more than the plethora of channels found exclusively on non-broadcast subscription-based lineups.

Yet, in a move that some may perceive as an anti-retransmission consent decision, DirecTV on Sunday officially went live with an offering that effectively eliminates all over-the-air broadcast stations — positioning it as a cable-only lineup.

 

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It’s a leading audio streaming app for broadcast radio in countries ranging from Canada and Germany to the United Kingdom. Now, it is gearing up to compete head-on with TuneIn in the U.S., with a Partnerships Lead in place whose chief task will be to bring its internationally known app to domestic vehicles and other audio streaming platforms.

Ready to come across the Atlantic is Radioplayer, and Ken Lloyd hopes to make it stick from coast to coast.

To Lloyd’s benefit are existing relationships overseas between Radioplayer and Audi, Volkswagen, BMW, and Renault.

If Lloyd sounds familiar, it is because he exited in October 2022 as VP of Digital Distribution, Platform Partners & Licensing at Audacy. From October 2015-September 2018, he was at Paramount Pictures, in the role of Vice President Digital Distribution for North America.

Lloyd began his career at Sony Music Entertainment in autumn 2000 and would later work at Nickelodeon before taking a key digital role at Microsoft, in its Xbox Store.

“Radioplayer’s unique ownership by the radio industry itself sets us apart, as we are laser-focused on ensuring radio’s prominence in the connected dashboard and on other connected devices,” Lloyd said. “I look forward to working with broadcasters and third-party platforms to deliver value-added services and continue breaking new ground in securing the future of radio.”

Radioplayer CEO Yann Legarson added, “At Radioplayer, we’re enthusiastic about pushing boundaries and ensuring that radio remains relevant and prominent in the digital age. With Ken joining our team, we’re keen to expand our dedication to empowering broadcasters in the US market, thereby improving the radio experience for listeners and our distribution partners alike. Leveraging our distribution capabilities, data-driven insights for better content, and enhanced radio experiences, we’re driving value for the entire radio ecosystem.”

Radioplayer’s expansion into the U.S. market coincides with the upcoming Radiodays Europe event in Munich, where the company will showcase its latest advancements and unveil upcoming projects. The event will include Radioplayer’s announced release session alongside Google and automotive innovator CARIAD.

Announcements about AI being used in radio and audio applications continue to roll in.

Dan (left) and Jim Price

Price Brothers, a sibling company to ad agency Oink Ink Radio, recently launched a Contextual Advertising service for podcast “host-read” ads. It uses dynamic targeting combined with voice cloning technology. 

Partner Dan Price said in the announcement that podcast ads read by hosts do well and that context such as localization increases effectiveness.

“The hurdle has been scalability. And so we began experimenting with cloning.” 

Their new service lets advertisers serve dynamically “stitched together” creative content relevant to a listener’s context and environment while adding scale from synthesized voices. 

“It would be impractical for every podcast host engaged by a brand like Staples, for example, to record 1,400 location addresses,” said Jim Price in the announcement. “So we thought, ‘Why not clone the hosts’ voices, with their permission, and cobble together the new audio to efficiently create versions relevant to the listener.’”

The Prices said consumers have been skeptical of the quality of cloned audio because it often sounds fake and inconsistent but that their company has experimented to get the best results.

They also highlighted the benefits of context awareness based on elements like a listener’s location, the name or type of app they’re using, and activity they’re engaging in.

They think podcast publishers and producers will also apply the tool to changing, updating or fixing audio previously recorded by hosts, such as updating URLs or incorrect promo codes, without having to wait for the host to get back to the studio or run a make-good.

They posted a demo presentation about their Contextual Advertising service.

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The post Price Brothers Deploys Voice Clones for Podcast Ads appeared first on Radio World.

Tom Hartnett is technical director of Comrex, which designs and builds equipment to connect broadcasters to their audiences, including IP audio codecs, IP video and telephony products. He commented for the Radio World ebook “Trends in Codecs 2024.” 

Tom Hartnett

Radio World: What would you say is the most interesting recent trend in codecs?

Tom Hartnett: By far, the inclusion of WebRTC clients in computer browsers. Essentially, every internet browser, desktop or mobile, is capable of performing the function of an audio codec. We see it as having a huge impact for radio contribution. We’ve been working hard over the last five years finding ways to leverage this into broadcast for our customers, and make WebRTC technology blend with the huge installed base of hardware codecs. We’ve already delivered hardware (Opal) and cloud-based (Gagl) solutions that leverage the low delay, audio quality and easy availability of WebRTC clients.

RW: How will virtualization and software-integrated air chains change how engineers deploy codecs?

Hartnett: Some of our larger network customers are inquiring about virtualization on the studio side. We’ve embarked on some projects to meet this need, but we still give a substantial reliability edge to hardware, as there are complications and compromises that need to be made both on the audio and network sides to achieve virtualization.

RW: Given advances in audio coding and wireless IP, what improvements can still be made in the quality of audio from the field?

Hartnett: Both technologies have matured, stabilized and sort of “met in the middle.” This means it’s reasonable to deploy a codec with a 4G/5G adapter and have an expectation of a successful broadcast. I don’t think 5G is a huge leap forward for codecs — most of the enhanced operation is on the downstream side — but modern 4G/5G networks should be expected to easily carry an audio codec channel. Of course, those still concerned can “double up” their wireless bandwidth using two modems and our CrossLock technology.

RW: What long-term changes did the pandemic eventually bring?

Hartnett: Comrex saw banner sales when Covid hit, but we also saw increased use of “non-broadcast” remote solutions like Zoom and Teams for remote contribution. While they provide better audio than telephones, there’s still quite a lot of audio distortion in these products. We set about creating a cloud service that would blend the reliability factor of hardware codecs with the convenience of PC/Mobile phone contribution. We launched our Gagl cloud service this year to meet this need.

RW: What codecs or apps are most commonly used for news work from the field?

Hartnett: For those looking for broadcast audio interface, pro-grade diagnostics and the ultimate in reliability, Comrex Access NX Portable is the dream field codec. Rather than apps, we’re promoting Gagl, our cloud-based codec bridge service, as an easy way to integrate phones and laptops on the field side with Comrex hardware codecs in the studio. Gagl requires no software install on the field side, and can host up to five contributors simultaneously.

RW: How widespread now are IP-based systems for STL applications?

Hartnett: I’d wager there’s more IP-based STLs out there than hard-wired or RF links today. Comrex BRIC-Link has established an industry reputation for reliability and is the go-to solution for most STLs.

RW: How do today’s codecs integrate with today’s AoIP networks and infrastructures?

Hartnett: We’ve chosen to remain agnostic in AoIP implementations by integrating the AES67 standard rather than any particular brand of AoIP. This makes us compatible with all the major players on that level.

RW: And how do today’s codecs avoid problems with dropped packets?

Harnett: Networks are a lot more stable than they used to be, and encoders in our codecs are efficient enough to work flawlessly on most networks without any error correction. But we’ve designed our own network reliability layer, CrossLock, to deal with packet drops using a combination of error correction methods for use on challenging networks. We have a growing list of customers for whom CrossLock has solved their reliability issues, even when using it on a single network.

RW: What considerations should be taken into account to allow radio talent to do shows using their phones?

Hartnett: While this is easily supported by our Gagl cloud service, I feel long-form programming like radio shows are best served by hardware codecs. These provide the proper pro-grade audio interfaces and a UI that allows you to get the job done easily. Phone services and apps are great, but should still be limited to short-form contribution in my opinion.

RW: What tools are available for sending audio to multiple locations at once?

Hartnett: Comrex codecs support IP multicast, but it’s primarily for private networks. Our codecs have also always supported multi-unicast, allowing delivery to as many simultaneous sites that can be delivered over your network. Finally, all our codecs can deliver an Icecast-compatible stream to a CDN for distribution, even simultaneously with a normal codec-codec connection.

RW: What would you consider to be reasonably low latency at this point?

Harnett: Latency is hugely application dependent. Many applications like STL are not interactive, and intentionally adding network delay buffer can enhance reliability. Interactive applications can usually tolerate around 100 mS delay — encoding, transmission, decoding — and this is easily achieved, even over relatively high-delay networks like 4G.

RW: We hear about Forward Error Correction a lot; why is this important?

Hartnett: In our products that emphasize low delay, we see little advantage to FEC in IP codecs, with the exception of dual-network redundancy, which can be considered FEC. To be effective, FEC requires so much interleaving and buffering that alternative error correction techniques like ARQ give better results. That being said, our CrossLock reliability layer implements both these functions when deemed to be effective by the system.

RW: Are ISDN and T1, for all intents, fully sunsetted?

Harnett: Dedicated circuits are long dead for new installs in North America, except that virtual T1s are still available. IP codecs have come so far in reliability; I really believe they replace ISDN very well, with the advantage of not having to custom install an expensive ISDN line for each remote.

ISDN is only now being phased out in Europe and eastern Asia. They are starting the transitions Americans began 15 years ago.

RW: Any recent examples of unusual problem-solving? 

Harnett: We’ve gotten a couple of success stories from users who need an STL where virtually no IP infrastructure exists. They installed a Starlink terminal at the transmitter site and have had good results. It does require a little tweaking of codec parameters, and it’s not perfect, but the reliability has come a long way since the early days of Starlink launches. Compared to other satellite options, it’s really cost-effective.

RW: Can engineers now create reliable remote setups on moving vehicles such as trains?

Hartnett: While it’s very enticing to do a remote from a train or airplane, I think anyone who has tried to use Wi-Fi on these vehicles, even for web browsing, understands their limitations. So it’s recommended for short-form contribution only. Cruise ships are an exception, we’ve had many successful cruising remotes using our hardware.

RW: What steps should an engineer consider to create redundancy and cybersecurity?

Hartnett: For redundancy, if an application is mission-critical, dual wired networks are the best practice and worth the cost using Comrex Crosslock. For less-critical links, wireless 4G backup using Comrex Hotswap is a cost-effective redundancy method.

With cyber, it’s all about putting security measures outside the codecs. For point-to-point links and STLs, it’s pretty straightforward to set up a VPN. Beyond that, constraining access to known IP addresses, using complex passwords, and turning off unused services in codecs are best practices.

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The post WebRTC Has Turned Browsers Into Codecs appeared first on Radio World.

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Audio Division terminates W279BC license under section 312(g), and proposes $16,200 forfeiture for WSFN(AM) unauthorized operations, WSFN(AM) unauthorized silences, WSFN(AM) unauthorized transfer of control, and failure to fully respond to FCC inquiries.

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The FCC’s Media Bureau has announced the mutually exclusive applications from the December 2023 LPFM window.

Out of the original 1,336 applications filed, there are 109 MX groups involving 264 applications. The groups are within 30 states and Puerto Rico.

The Media Bureau previously identified 730 singletons, which are applications that are not in conflict with any others. The published list of the 2023 LPFM window MX group applicants can be viewed here.

When considering whether or not an application is mutually exclusive, the FCC must determine if two or more applications in a specific filing window meet the minimum distance separation requirements — which for same-channel LPFM signals is 15 miles and first-adjacent channel LPFM signals is just under 9 miles.

During this MX review process, the Media Bureau identified two applications with “significant technical and/or legal defects,” filed from Portsonic Communications in Las Vegas, Nev., and Aire Broadcasting Foundation in Hazelton, Pa. Both applications were dismissed. The applicants have a 30-day opportunity to appeal.

Previously, in February, the FCC dismissed 203 applications filed by Weather Alert Radio Network (WARN) for its failure to demonstrate that WARN is an eligible public safety radio service. It said several of these WARN applications are mutually exclusive with other applications and “even if WARN was a legitimate public safety radio service applicant, the MX WARN applications would still be dismissed.”

Applicants that have been placed into the 109 MX groups have a 60-day period — ending May 15 — in which conflicts can be resolved. Applicants can either file settlement agreements or technical amendments.

For a settlement agreement, an applicant would propose at least one acceptable application within an MX group that does not create any new conflicts nor make existing conflicts worse — such as changing a first-adjacent short-spacing with a proposed facility to a same channel conflict. The commission says universal settlements, which resolve all conflicts within an MX group, are “encouraged, but not required.”

A technical amendment is deemed acceptable by the Media Bureau when it resolves conflicts between at least one application and all other applications in the same MX group. Only minor engineering amendments, which includes transmitter site relocations of less than seven miles, or relocations that involve 60 dBu service contour overlap between applicants, will be permitted. Technical amendments can be filed as part of a settlement agreement or unilaterally.

Applicants in MX groups that do not file a settlement or amendment will proceed to a comparative analysis by the Media Bureau, which is determined by point total after the 60-day period closes. Applicants are not permitted to amend their existing applications out of the desire to increase their totals in the analysis.

The commission says settlement and technical amendments submitted during the 60-day period will receive “expedited processing,” so the commission encourages applicants to take advantage of the window, even though settlements can continue after its closing. Technical amendments will be processed on a first-come, first-serve basis. Time-share proposals cannot be submitted at this time.

Full details on the steps applicants in the MX groups can take to resolve conflicts can be found here.

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The post FCC Announces 109 MX Groups From 2023 LPFM Window appeared first on Radio World.

“Townsquare is no longer the radio broadcast company it was when it was founded in 2010.” That reminder from Townsquare Media CEO Bill Wilson was brought even closer to home by the Purchase, New York-based company’s revelation that for the second year in a row, more than half of its revenue came from digital sources.

Wilson and CFO Stuart Rosenstein reported a slight decrease in net revenue, totaling $454.2 million for the year, positioning it as the second-highest revenue in its history, second only to 2022 after a 1.9% year-over-year drop.

Adjusted EBITDA also saw a reduction, coming in at $100.0 million. However, Townsquare’s pivot towards a digital-first approach has begun to bear fruit, with digital segments contributing 51% of new revenue and 55% of its Adjusted Operating Income. The digital segment has shown remarkable growth, with digital net revenue in 2023 being 47% higher than in 2019.

Wilson called it a “reset year” for Townsquare Interactive, which faced its own challenges in 2023. The Subscription Digital Marketing Solutions segment experienced a 14.5% revenue decline in the fourth quarter, which was attributed to elevated churn rates and internal issues. However, improvements are promised, and the company is optimistic about regaining growth momentum.

The digital advertising segment emerged as the fastest-growing part of the company, benefiting from proprietary digital products and solutions, and a focus on markets outside the top 50 U.S. cities.

In response to the company’s performance and future outlook, the Board of Directors has approved a 5.3% quarterly cash dividend increase, reflecting confidence in Townsquare’s financial strategy and cash flow generation capabilities. For the first quarter of 2024, revenue is projected to be between $98.5 million and $100 million, with Adjusted EBITDA estimates ranging from $17.5 million to $18.5 million.

The full-year outlook for the “Digital First Local Media Company” suggests net revenue between $440 million and $460 million and Adjusted EBITDA between $100 million and $110 million.

TSQ’s share price experienced surged following the earnings call, jumping from $10.36 to $11.50 after the earnings call, but by the closing bell had settled into a more modest 2% gain to $10.57.

After significant financial filing delays in 2023, Urban One hasn’t quite shaken off the leftover slowdown. The broadcaster helmed by Alfred Liggins has announced a delay in submitting its Annual Report on Form 10-K for the fiscal year ending December 31, 2023, to the Securities and Exchange Commission.

The delay is attributed to the need for additional time to gather and review necessary documentation to complete the Form 10-K and allow for the completion of audits by the Company’s independent accounting firm, Ernst & Young.

Urban One successfully warded off a Nasdaq delisting in January, but this new development could cause an issue.

The concern stemmed from a violation of Nasdaq’s Periodic Filing Rule, triggered by an accounting error with BDO. After switching to Ernst & Young in July, Urban One submitted its overdue Quarterly Report for the quarter ending September 30, 2023, on December 22, resolving the critical issues.

Despite this correction, Urban One remains under a Mandatory Panel Monitor by Nasdaq until December 29 to ensure continued adherence to the filing rule, and any failure to comply during this period could lead to immediate delisting risks, without the chance for presenting a new compliance plan or a cure period.

The company would then have to appeal directly to the original Hearing Panel or request a new panel for a hearing.

Urban One says it is actively working to file its final 2023 report as soon as possible but has confirmed it would not meet the original March 15 deadline.

The broadcaster reassures that there will be no revisions to its previously audited financial statements and anticipates the financial results for the fourth quarter and the full fiscal year of 2023 will align with the financial guidance provided during its third-quarter earnings call, indicating no material deviations.

The Federal Communications Commission is taking a coastal Georgia AM station’s FM translator and slapping the operator with a $16,200 fine for myriad violations, including unauthorized operation and modification, dead air, and unauthorized transfer of control.

The Notice of Apparent Liability for Forfeiture is levied against Southern Media Interactive LLC for multiple violations related to its operation of WSFN-AM in Brunswick and its FM translator W279BC in the same location.

SMI lost access to its licensed transmitter site in September 2022, leading to the station going off the air. Subsequently, SMI made requests for special temporary authority to operate silently and later, from an alternate location. The FCC granted these requests, allowing the station to resume operation in January 2023.

However, the FCC received an informal complaint that the translator was broadcasting while the AM signal was not, leading to an investigation that uncovered many other alleged issues.

The Commission’s scrutiny uncovered that SMI had willfully and repeatedly operated WSFN from an unlicensed location and with equipment not specified in their license, and that the W279BC’s license had automatically terminated due to over a year of unauthorized operation from a non-licensed site.

that they failed to notify the FCC or obtain authorization when WSFN discontinued operations on two occasions, and the broadcaster had willfully transferred control of WSFN and W279BC to Shanks Broadcasting, LLC without authorization.

The unauthorized transfer of control concerns not just the physical assets but also the programming, personnel, and financial management of the station.

The FCC also found SMI’s partial and incomplete responses to its requests for information impeded the Commission’s ability to assess the full scope of the violations and take appropriate action.

Given the scope of the violation, the FCC seeks to uphold termination of W279BC’s license and has proposed a monetary forfeiture of $16,200 against Southern Media Interactive.

An Alabama FM known as God’s Country is going to the non-commercial arm of Frank Lee Perryman’s Marble City Media LLC. Licensed to Goodwater, AL, Classic Country and Southern Gospel formatted WFAZ is being sold by The First Assembly of God and Lead Pastor Keith Jones.

WFAZ has been silent under an FCC Special Temporary Authority, and RadioAlabama Foundation is entering into a Local Marketing Agreement with the church to be terminated on the sale’s close.

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