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Russia’s State Television and Radio Broadcasting Co. (VGTRK), Channel One and the Ostankino radio house have pulled out of the European Broadcasting Union effective today, Feb. 26.

The move comes after the EBU Executive Board’s decision on Feb. 25 to bar Russian acts from participating in the 2022 Eurovision Song Contest. That decision was in response to Russia’s invasion of Ukraine on Feb. 24.

According to the EBU’s statement, “The decision reflects concern that, in light of the unprecedented crisis in Ukraine, the inclusion of a Russian entry in this year’s Contest would bring the competition into disrepute.”

The recommendation to bar Russia from Eurovision came from the EBU’s Reference Group and was supported by its Television Committee.

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According to a report from the Russian news service TASS, the broadcasters said their exit from the EBU was “a response measure” to what “we view as an improper political sacrifice at the music forum which has always emphasized its non-political status.”

The EBU emphasized that it “consulted widely” among its membership before making the decision, and reaffirmed its apolitical goal of upholding the values of public-service broadcasting.

“We remain dedicated to protecting the values of a cultural competition which promotes international exchange and understanding, brings audiences together, celebrates diversity through music and unites Europe on one stage,” the EBU stated.

Eurovision 2022 is scheduled for May 10–14 in Turin, Italy.

VGTRK joined the EBU in 1993, followed by Channel One in 1995 and Ostankino in 1996. Russia first participated in Eurovision in 1994. In 2008, the Russian entry, “Believe” by Dima Bilan, won the contest.

The post Russian Broadcasters Leave EBU appeared first on Radio World.

Global named Ryan Ladisa as its VP of sales for Canada for its digital advertising platform DAX.

He comes over from Media.Monks, where he was SVP of growth for North America.

“A veteran in the Canadian advertising and technology business, Ladisa brings over 20 years of experience across outdoor, television, programmatic and technology,” Global wrote in the announcement.

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DAX is a digital audio advertising exchange “connecting brands with audiences at scale across music, radio and podcasts.” Global launched it in the United States in 2018. Publisher brands on the platform include TuneIn, LiveXLive, AccuRadio and Beasley.

Global, headquartered in London, is a media and entertainment group and describes itself as Europe’s largest radio company; it also has a large outdoor advertising business in the U.K. and Europe.

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The post Global Names Ladisa to DAX Sales Post appeared first on Radio World.

A recent Radio World ebook explores the world of streaming for radio. In this excerpt David Bialik lays out some commonly heard terms.

The following may help you navigate the language around streaming. It is not intended to be comprehensive but to give you a head start in this growing medium with new technology emerging daily.

• AAC — Audio Coding, an audio coding format for lossy digital audio compression. Usually preferred Advanced over MP3, it promises comparable or better quality at lower bitrates. AAC has been standardized by ISO and IEC as part of the MPEG-2 and MPEG-4 specifications.
• Ad Delivery Network — An on-demand file serving network that can deliver commercial content for the streamer.
• Ad Replacement — When ads broadcast over the air are replaced with different content on the stream.
• AES TD1004 — The Audio Engineering Society’s Recommendation for Loudness of Audio Streaming and Network File Playback. These recommendations primarily are intended for “radio-like” mono and stereo streams.
• Bitrate — Bitrate = Sample rate X bits per sample used to encode the music. The number of bits per sample also depends on the number of audio channels.
• CDN — Content Delivery Network, a scalable distributer of streams.
• Client-Side Ad Insertion (CSAI) — Advertising that only happens within the website or app streaming your content. Banners, video pre-rolls, other items specific to a player or page.
• CMAF — A container format (see below).
• Codec — Digital audio compression algorithm used.
• Container Format — Otherwise known as a wrapper, this may contain the audio and video plus all the associated metadata (i,e. MP4, CMAF). The container carries the payload (audio, video, or data files).
• Cuepoint — A marker residing in the metadata, triggering a new action.
• Decoder — A component that is part of the player, used to reassemble the content.
• Direct Ad Insertion (DAI) — Personalized ad replacement that is unique to the listener. This can be based on listener location, browsing preferences, etc.
• Encoder — The system used to take the content and send it to the stream, usually by compressing your linear audio into an MP3 or AAC stream.

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• Encoding Format — The method of converting to a digital format (i.e., AAC, MP3)
• FLAC — Free Lossless Audio Codec, a compressed audio format with no loss of quality.
• FLV — Flash Video Format, a container file format used to deliver digital video content over the internet via Adobe Flash Player.
• HE-AAC / HE-AAC v2 / AAC+ — “High-Efficiency AAC,” a lossy audio codec for low bit rate streaming, expanding on the quality vs. size gains made by standard AAC.
• HLS — HTML Live Streaming, a high-quality transport format used by Apple.
• Icecast — A streaming media project released as free software, maintained by the Xiph.org Foundation.
• ID3 or ID3 tag — A metadata format that stores information (Title, Artist, etc.). This may be called the data container.
• Injected content — Content from another source, usually replacing other content.
• Interstitial — One or more recorded elements used in stream production (i.e., bumpers, jingles, promos, etc.)
• LKFS — “Loudness, K-weighted, relative to full scale.” A standard loudness measurement. Sometimes referred as LUFS.
• Lossless Streams — A high-bitrate non-compressed stream.
• Lossy Streams — Digitally compressed sampled streams (i.e., MP3/AAC).
• LUFS — “Loudness units relative to full scale,” synonymous with LKFS.
• Metadata — The data stream that accompanies the media content. This can hold the “Now Playing” information, commercial cues, time code or any other information needed to play the stream.
• MP3 — An audio coding format for lossy digital audio compression developed by Fraunhofer and Bell Labs. This supports very low bit rates.
• MP4 — One of the earliest digital video file formats. Can be used for high-quality video or audio while maintaining relatively small file sizes.
• MPEG-DASH — Dynamic Adaptive Streaming over HTTP, an adaptive bitrate streaming technique that allows for high quality of content. This is comparable to HLS.
• Now Playing Information — “What the stream is playing” can be displayed, usually sent by metadata.
• Ogg — A container format.
• Ogg Vorbis — An audio coding format with lossy audio compression.
• Player — The program used on the audience side to play the content; it could be an app.
• Podcast — A digital audio file that can be downloaded to a personal device and/or player.
• RTMP — Real Time Messaging Protocol, a TCP-based protocol that maintains persistent connections and also allows communication with low latency. This allows for a stream to be delivered correctly.
• Server-Side Ad Insertion (SSAI) — Advertising added to audio as it is streamed or delivered, rather than from the studio playout. Ads become part of the audio itself.
• Shoutcast — A software application that allows anyone to stream audio over the internet.
• Total Line Reporting — When the stream and over-the-air product are the same and no segments are substituted.
• Transport Format — How the stream is delivered (e.g. HLS, Icecast, rtmp)
• xHE-AAC — A lossy audio codec for low bit rate streaming. It also is used by Digital Radio Mondiale (DRM).

David Bialik is a consultant; co-chair of the AES Technical Committee for Broadcast and Online Delivery; and chair of the Metadata Usage Working Group at the NRSC. He is former director of stream operations for CBS Radio and Entercom.

The post A Simple Streaming Glossary appeared first on Radio World.

Issued a Notice of Apparent Liability for Forfeiture in the amount of $1,500 to La Casa de La Raza for failure to timely file a license renewal application for Station KZAA-LP, Santa Barbara, California

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The parent company of the group of television stations that includes WDIV-4 in Detroit and WKMG-6 in Chicago has released its fourth quarter 2021 earnings report.

How did this diversified company’s television broadcasting arm, led by soon-to-retire President/CEO Emily Barr, perform in Q4?

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On December 22, 2020, Cumulus Media closed a transaction that saw the sale of five radio brands serving the Albany, Ga., market to First Media Services for $450,000.

Now, 7.11% of the funds Cumulus earned from that deal, consummated in April 2020, could be heading to the FCC as a financial penalty for apparent violations of the Commission’s EEO rules.

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A veteran multiplatform media strategist and executive at Paramount’s CBS Stations division has been appointed Sr. VP of Streaming, reporting to division President Jennifer Mitchell.

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It’s known for six radio brands, a health and fitness directory, and a classifieds website serving Northeastern Nevada from the city of Elko.

Now, Ken Sutherland‘s Ruby Radio Corporation is preparing to part ways with the radio assets, according to the broker of record in this pending transaction.

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The 2022 Toyota Corolla

Toyota will include HD Radio as a standard feature in its next-generation infotainment system in the U.S., which means nearly all new Toyota cars in the country will have an HD Radio in future.

Xperi announced the development this past week while releasing its financial results for the fourth quarter and past year.

“Toyota has been a valued customer for some time, although the extent of their prior implementation was in mid-line and upper-end vehicles,” said CEO Jon Kirchner during an investor call.

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“I think this represents a decision recognizing the importance of HD Radio in the broader infotainment suite. It’s representative of the continued progress we make with the HD Radio ecosystem in North America, and it lays a foundation as well for follow-on next-generation entertainment features, which ties in with what we’re doing with DTS AutoStage.”

On that front, Xperi said 16 car companies are testing its DTS AutoStage technology in Europe, North America and Asia. “Multiple partners, including two major OEMs, are in advanced stages of testing.”

Radio people know Xperi largely as the parent of HD Radio and DTS AutoStage, but it has numerous other businesses including IP licensing, pay TV, consumer electronics, driver monitoring and TiVo.

Overall, Kirchner said the recent quarter was “solid” and that the company “continued to successfully deliver against the key strategic objectives we set following our merger with TiVo nearly two years ago.”

Revenue in the quarter was $214.4 million, compared to $433.9 million for the period in 2020, which included prior revenue from Xperi’s Comcast agreement. Xperi said quarterly revenue without that earlier adjustment was up 2% in Q4. The company posted a loss per share of 14 cents using GAAP calculations and earnings per share of 30 cents using non-GAAP.

For the year 2021 Xperi reported revenue of $877.7 million, down from $892 million the year before. It reported a GAAP loss per share of 53 cents and a non-GAAP earnings per share of $2.03. It said it had “returned over $100 million to stockholders through dividends and share repurchases” in 2021.

The post Toyota to Make HD Radio Standard in U.S. appeared first on Radio World.

A new Radio World webcast series, beginning in March, will help managers and engineers get a better grasp on technologies that can advance their organization’s goals.

The series “Running Radio Today: Produce, Deliver, Profit” is free. Produced by Radio World and hosted by Editor in Chief Paul McLane, it will have three parts, one per month focused on a different part of the radio broadcast business mission and workflow.

Each part features presentations from leading technology vendors, plus a roundtable discussion with Paul and a co-host from the broadcast engineering community.

The first of the series on March 17, “Produce,” will focus on trends and tools for how radio content is created. The 2020s have brought streamlined studio workflows, centralized network designs and expanded remote capabilities. What are the implications for content creation, from the microphone and automation system to the control surface and AoIP network? Discussing those questions with Paul will be technology experts from sponsors Telos Alliance, RCS and Comrex. Co-hosting will be Jason Ornellas, regional director of engineering for Bonneville International and past recipient of the Radio World Excellence in Engineering Award.

The second webcast on April 14, “Deliver,” is about how distribution of content is changing. What should radio managers know about advances in transmission, codecs, streaming and other technologies that deliver your content to the listener? Is your station up to date? Joining us for this will be experts from sponsors Synthax/Digigram, Xperi, Wheatstone and Comrex. Paul’s co-host will be Rob Bertrand, chief technology officer of WAMU in Washington.

And the third webcast on May 18, “Profit,” will focus on monetization and the use of technology that helps generate revenue for radio. Several new tools are available today to maximize all business operations of radio. We’ll find out how modern tech has infiltrated the ledgers and is improving the bottom line from companies including Marketron. Other participants will be announced soon.

Registration for Part 1 is now open.

The post Webcast Series Explores “Running Radio Today” appeared first on Radio World.

Introducing the Radio Masters Sales Summit — presented by Streamline Publishing’s Radio Ink and The Center for Sales Strategy.

The event is scheduled for September 22-23, 2022 at the Intercontinental at Doral, minutes away from Miami International Airport.

“For decades Radio Ink has led this industry and revealed information that is critical to its survival,” said Eric Rhoads, Chairman and Founder of Radio Ink and the Radio + Television Business Report. “At the time when only eight stations in the U.S. had websites, we brought you the Radio Ink Internet Conference, and it resulted in significant industry change. We then launched the Radio Ink Convergence conference to reveal online radio and what radio needs to do to be a part of it.”

Rhoads added, “We know you’re busy. So, the Radio Masters Sales Summit will be a quick in and out. Depending on flights, you can fill your mind with incredible knowledge and powerful tools without more than two days out of the office.”

 

Space is Limited so Register Today for The Radio Masters Sales Summit September 22-23 in Miami.

 

“I’m super excited about the Radio Masters Sales Summit in September. This sort of NEXT-level sales and management conference for the radio industry is needed as the business has clearly changed over the past few years,” Matt Sunshine, of The Center for Sales Strategy, commented. “The summit is about more than selling in today’s environment and with today’s trends. It will help you master sales in a new way, with critical directives every seller, manager, and owner needs.”

Radio Ink has decided to take immediate action and step up for the industry we love, throw it a lifeline, and give it new tools and new hope. Following two years of turmoil and distractions, it’s time to get back on track. It’s time to rethink sales strategy, refresh management skills, and refocus goals and expectations. Don’t Wait! Register Today for The Radio Masters Sales Summit September 22-23 in Miami.

The Ed Stolz Saga continues, as Royce International Broadcasting has assumed control of KREV/San Francisco, KFRH/Las Vegas and KRCK/Palm Springs, Calif.

And, the three stations are now silent, RBR+TVBR has learned, putting an LMA of the stations by VCY America on ice — at least for now.

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Since May 2019, she has served as Executive Producer of “Full Court Press with Greta Van Susteren.”

Now, she has been promoted to VP/GM of the Washington, D.C., operations for Gray Television.

Taking the role is Lisa Allen. This will see her manage the various elements that comprise Gray’s operations on Capitol Hill and ensure their close integration with other newsrooms and resources across the company.

Gray’s Washington operations include the following:

• The Washington, D.C. News Bureau that serves local newsrooms in all of Gray’s
  markets, headed by Bureau Chief Jacqueline Policastro
• Legal and political analysis for individual stations by Greta Van Susteren
• Political reporting led by White House Correspondent and Senior National Editor
  Jon Decker
• The Washington-based team of investigative journalists under Gray Television Vice
  President of Investigation Lee Zurik

Gray Television SVP/Local Media Sandy Breland commented, “Our Washington operations are expanding to serve our growing company’s reach, making it necessary for a strong
local leader who understands both our challenges and our strengths. We are thrilled to promote Lisa to this new role, as she will ensure that we continue to provide our stations and our audiences with the highest possible level of unique, quality journalism from the Nation’s Capital while also accelerating collaborative political content partnerships involving Gray’s D.C. Team.”

Prior to joining Gray, Lisa was a Supervising Producer for Scripps-owned Newsy, based in Chicago.

When it came time for broadcast media analysts to ask questions during The E.W. Scripps Co.‘s fourth quarter earnings call, two clear focal points quickly became clear. What are the dynamics surrounding retransmission consent revenue, given all of the money being put into the “streaming wars”? And, what’s the long-term revenue model for ATSC 3.0?

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It’s known as a home for “Middle Georgia Gospel” programming, and serves as an FM translator tied to a Class D AM licensed to Perry, Ga.

Now, the owner of that AM has secured the FM translator by converting a lease to an outright purchase.

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