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On November 16, some of the radio industry’s biggest leaders gathered in New York to attend Forecast 2022. Little did they know that they were in perhaps the most underrated hub for AM and FM audio consumption in the United States. From Uber to Lyft, from retailer to sundry shop, traditional radio was alive and well. This leads our Editor-in-Chief to exclaim, “Can someone please alert Madison Avenue that New York loves Radio?!” Check out the newly updated Forecast 2022 Photo Gallery by clicking here now!

 

 

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NEW YORK —  Never More Than 2 Minutes of Commercials at a Time.

That was the pledge presented to listeners of the Alternative music station serving the nation’s largest market, implemented in August 2019 — well before COVID-19 and the pandemic led to advertiser cutbacks. And, it was a sign that Audacy Inc., was prepared to address the No. 1 listener complaint at its “ALT”-branded stations: the length of its commercial breaks.

Now, nearly 28 months after the “2 Minute Promise” even got its own hashtag, Audacy has abandoned it. The reason? Rising advertiser demand.

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Telos Alliance is highlighting Version 4.0 of its Omnia.11 software.

The company describes the new version as being cleaner and brighter, saying it “permeates open sound without a loudness penalty.”

Among its features is a new Silvio Clipper that provides “significant” sonic improvements for G-Force users and new presets for various multiple station formats to make the most of the new design.

Founder Frank Foti and Cornelius Gould will discuss these developments in an upcoming webinar on Dec. 1. The presentation will include interviews with users about the release’s capabilities.

The Omnia.11 is available in FM+HD with separate processing paths for FM or HD/DRM and FM without HD/DRM. The FM-only model is upgradeable to FM/HD at a later date.

The post Telos Highlights V4.0 of Omnia.11 Software appeared first on Radio World.

With Black Friday fast approaching, the holiday vibe is in full effect. For one retailer, that means dominating its ad category on both broadcast and cable television, the latest Media Monitors Spot Ten reports show.

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By Steve Newberry
Special to Streamline Publishing

Forecast 2022 was a great event. Seeing friends in person, gathering to hear industry influencers, and sharing ideas with colleagues felt wonderful! It was a slice of normalcy to the broadcast community that we’ve all missed since March of 2020.

While the social aspect of Forecast 2022 felt familiar, the business challenges facing radio and television broadcasters are far from normal. Digital revenue, D.C. policy battles with giant tech companies, the need for diversity and countless other topics are all impacting how we chart our future. In our previous “normal world”, these were seen as daunting obstacles for broadcasting’s future.

For far too long, our industry looked toward the inevitable changes to the media landscape as a looming threat. I’m criticizing myself as much as anyone. I loved how radio worked. I loved the margins. I felt like I had it figured out, and I really didn’t want to have to deal with a long list of new issues like podcasting, streaming, apps, digital sales, competition from the tech companies and…well, the list seemed to go on and on.

However, Forecast 2022 felt like a pivotal point in how broadcasting is approaching the future. Instead of frustration, objection to or denial of the challenges ahead, I heard optimism, strategic thought, and the embracing of new opportunities.

It seems, at long last, broadcasting is embracing the “new normal.”

There was excitement and energy around merging new business and distribution opportunities with our long-established and trusted brands. A realization broadcasters can do more than ever before. A fresh approach to taking traditional over-the-air signals, enhancing our familiar and trusted broadcast products with new delivery paths, and creating rich content. An approach that both deepens the relationships with our listeners/viewers while also creating exciting new revenue opportunities.

Panel after panel presented this new perspective throughout the day. Discussions about business growth, station valuations, diversity and revenue trends ALL had the same general theme. Radio and television broadcasting are strong industries with tremendous legacies of service. However, by embracing a different way of running our businesses, creating compelling content, and serving our communities, the future path is filled with opportunity for enormous reward.

It was great to be in-person at Forecast 2022 with so many colleagues. It felt terrific. But in reflection, what felt best about this year’s event was the sense of how those in the room have pivoted from defending threats to embracing opportunities. Broadcasting’s world is not back to “normal.” Instead, it appears broadcasters are now embracing a “new normal” with enthusiasm and a sense of opportunity.

I’m looking forward to Forecast 2023 and I’m really looking forward to broadcasting’s exciting new future. It will have its challenges, but the opportunities are endless!

Steve Newberry is CEO of Quu Inc. He was previously Executive Vice-President, Industry Affairs and Strategic Planning for the National Association of Broadcasters. He can be reached at snewberry@radioky.com

KIRO(AM)’s Jake and Stacy broadcast their mid-day sports show live from the emergency studio. (Photo courtesy FMEA Region 10 via Twitter)

In the event of a natural disaster or national emergency, Seattle’s KIRO(AM) is prepared to keep the public informed. The Bonneville International station is the latest station to upgrade its emergency broadcasting capabilities as part of the Federal Emergency Management Agency’s National Public Warning System (NPWS).

Based at the station’s Vashon Island, Wash., transmitter site in Puget Sound, the free-standing emergency studio is designed and hardened to withstand natural disasters and acts of terrorism. The upgraded facility was formally dedicated on Nov. 19. As part of the unveiling, KIRO mid-day hosts Jake Heaps and Stacy Rost originated their show live from the new emergency studio.

“It’s an honor for Bonneville Seattle to serve the community and we are proud to partner with FEMA. We share and salute the agency’s commitment to protecting the public,” said Bonneville International President Darrell Brown in a statement released by FEMA. “Radio is a lifeline, and the new studio and continued investment will ensure KIRO-AM 710’s resiliency during times of crisis when communication is vital.”

[Related: “FEMA Celebrates PEP Upgrade at Historic WBZ”]

Maintained under FEMA’s Integrated Public Alert and Warning System (IPAWS), KIRO is a Primary Entry Point (PEP) station — one of 77 across the country. PEP stations are specially designated NPWS broadcast stations that serve as the primary intake source of initial broadcasts for a national alert. Together, the 77 PEP stations provide coverage to 90 percent of the United States.

FEMA equips PEP stations, which are operated by local station personnel, with backup communications equipment and power generators, allowing them to continue broadcasting information to the public during and after an emergency, including conveying official alerts to communities regionally and nationwide.

KIRO is the 14th PEP station to complete the all-hazards upgrade, which included outfitting a hardened shipping container with a full radio studio, a 60-day supply of food and water, and sleeping and bathroom facilities, along with sustainable power-generation capabilities.

The island location of the site is not a problem for emergency readiness, according to Bonneville Seattle General Manager Cathy Cangiano. “The Coast Guard has standing orders to meet members of the KIRO staff at the Seattle waterfront and rush them to the Vashon transmitter site,” Cangiano told MyNorthwest.

Send news of engineering and executive personnel changes to radioworld@futurenet.com.

The post KIRO Unveils Upgraded Emergency Studio appeared first on Radio World.

Hubbard Radio is now a member of RadioDNS, the organization that promotes development of open standards for hybrid radio.

“We’re very much looking forward to supporting Hubbard as they develop their hybrid radio presence,” said RadioDNS Project Director Nick Piggott in the announcement. “They’re already doing some fantastic work with their hybrid radio systems, and contributing to development of new functionality.”

Piggott made the announcement with Jeremy Sinon, VP of digital strategy for Hubbard Radio, who was quoted saying, “As vehicle dashboards continue to evolve we recognize the importance of making sure our stations look as good as they sound. Working with RadioDNS is one of the ways we get there.”

Hubbard Radio is playing a role in the RadioDNS Technical Group.

Other broadcasters that are members of RadioDNS include iHeartMedia, Cumulus, Audacy, Beasley, NPR, Bauer Media, the BBC, ARD and others. RadioDNS also encourages manufacturers and service providers to participate.

[Related: “RadioDNS Welcomes Nielsen’s Gracenote”]

The post Hubbard Is on Board With RadioDNS appeared first on Radio World.

It’s a Class C 1kw AM radio station with an FM translator serving as the ESPN Radio affiliate for East Texas’ key Nielsen Audio-rated market.

Now, the facilities are being sold to a new owner, pending FCC approval of the deal.

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NEW YORK — Measurement of national television “in a more precise manner” is the promise Nielsen seeks to deliver by enhancing its Nielsen Individual Commercial Metrics.

This, the nation’s dominant audience measurement and consumer analytics company believes, will help transition audience estimates to a methodology based on individual ads — and not commercial minutes.

What does this mean for broadcast media AEs and sales pros?

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There are two huge users of Spot Radio that stand out, once again, in the latest Media Monitors Spot Ten Radio report.

For the week ending November 21, The Home Depot is the big No. 1 by play count, while job search portal Indeed is a strong No. 2.

Meanwhile, a new effort from cleaning tool Swiffer puts the product in the Spot Ten, as does a new effort from Wendy’s.

 

A TV channel solely devoted to environmental content has hired a new leadership team composed of industry veterans from Discovery, RIDE TV, Animal Planet and TLC.

The stated mission: to turn EarthxTV into “a globally recognized entertainment network catering to audiences increasingly attuned to issues affecting our planet.”

“We have an ambitious plan to expand development and distribution of EarthxTV into a powerful global entertainment and educational network, and I’m thrilled to welcome a truly talented leadership team to help us achieve our goals,” says Michael Fletcher, Co-CEO of EarthX.

Since its launch, EarthxTV now delivers hundreds of hours of programming with plans to aggressively increase its library of acquired and original series, films, and documentaries in 2022. The network is currently available at Earthx.tv, on iOS, and Android phones and tablets and through a growing list of OTT partners, including Roku, Apple TV, Firestick, and Google Play.

EarthX expects to announce traditional and digital 24×7 linear distribution deals soon. Helping its growth are the following new employees:

• Dan Russell is EVP of Content and Strategy for EarthX, “driving the acceleration of programming development and acquisitions for EarthxTV.” Russell’s experience in building multi-platform audiences and identifying new hit formats and personalities will enable EarthxTV to develop a slate of programming that resonates with current viewers and reaches new audiences around the globe. Russell has been a key part of multiple management teams responsible for launching and reformatting television channels in the US and internationally, including TLC, Animal Planet, Travel Channel, Discovery Health Channel, Velocity/MotorTrend, Discovery International, Poker Central TV (OTT/TVE), and now CuriosityStream (Linear/OTT/VOD). Before EarthX, he was VP of Channel Management at Curiosity Systems, launching the linear channel and digital/VOD offerings globally. He also served as SVP of Content Development at New Dominion Pictures.

• Rose Stark is SVP/Marketing for EarthX, overseeing marketing, social media, and communications for EarthX Expo, EarthxTV, and its annual EarthX Film Festival.  Stark has built and rebranded significant media enterprises, including Planet Green, Discovery Health, and TLC. Before EarthX, Stark spent more than 15 years at Discovery working on its global brands.

• James Levitt is EVP/Global Advertising Sales for EarthX, leading the company’s global sales strategy to expand opportunities for EarthxTV. Founder of Orama Advisors, he brings 30-plus years of experience across linear, streaming, CTV, OTT, and mobile platforms. Before EarthxTV, Levitt led global advertising sales for Ride TV. He also served as Senior Vice President of Advertising Sales at Discovery Inc.

• Mike Clark joins as EVP/Global Distribution, charged with expanding the availability of EarthxTV across digital and linear platforms globally. Before EarthX, Clark was at Ride TV, where he served on the board of directors and worked in numerous leadership roles, including VP operations, SVP Corporate Development, and EVP International Operations.

• Bryan W. Redd serves as Interim Chief Financial Officer for EarthX. Before EarthX, Redd was at Ride TV for over five years in various leadership roles including Vice President of Strategy.

• Tim Pirrello is SVP/Production for EarthxTV, leading the network’s creative, production, and post-production departments. A seasoned production professional, Pirrello served in a multitude of roles at AMS Pictures for more than 21 years, delivering hundreds of hours of television programming for networks including Discovery, HGTV, A+E, History, Food, Cooking, Lifetime, Bio, Showtime, WGN, TruTV and Reelz.

In this document, the Commission adopts several rule updates to reflect the conclusion of the incentive auction and post-incentive auction transition period. First, the Commission adopts a revised Table of Allotments (Table) to reflect changes to full power television channel allotments contained in the 2018 Post-Transition Table of DTV Allotments to codify Commission actions taken over the past several years that modified the DTV channel allotments reflected in the 2018 Table, primarily actions related to the incentive auction and repacking process authorized by the Spectrum Act. The Order also deletes or revises Commission rules that no longer have any practical effect given the conclusion of the incentive auction and post-incentive auction transition period, or that are otherwise obsolete or irrelevant.

From our “Who’s Buying What” page: KICY(AM) in Nome, Alaska, has a pair of new Nautel transmitters in service.

The station, licensed to Artic Broadcasting Association Inc., took delivery of a Nautel NX50 and NX10 AM in the spring.

General Manager Patty Burchell told Nautel the NX10 will serve as a backup. “Because of our remote location in western Alaska, when repairs are needed it often takes weeks to get parts. This backup transmitter assures we can stay on the air if repairs are needed.”

Demonstrating the wisdom of that, the station immediately put the NX10 to use in May when the NX50 arrived with a transformer that had been damaged in transit. The NX10 was put on the air until the replacement part arrived.

Nome is a small community of 3,500 more than 500 air miles from Anchorage; road access is not practical. The community is less than 200 miles from the Russia as a cold crow would fly.

Burchell told Nautel that the station “immediately noticed a greater clarity in the signal. We have heard reports from some listeners on the fringe areas of coverage, and they are receiving us loud and clear.”

Send announcements for Who’s Buying What coverage to radioworld@futurenet.com.

The post KICY Installs New Nautel Transmitters appeared first on Radio World.

The winning bidder for a broadcast construction permit auction had her application approved, but she may incur a fine for failing to file important post-auction documents.

The Federal Communications Commission says Nanette Valdez-Schwartz took part in the July 2021 auction of AM and FM broadcast construction permits known as Auction 109 and was the winning bidder of an FM construction permit at Medicine Bow, Wyo.

Winning bidders were required to file certain forms by Sept. 13 — in Valdez-Schwartz’s case, post-auction FCC Form 2100, Schedule 301, otherwise known as a long-form application.

[See more of our coverage of FCC actions.]

The Media Bureau had warned that any winning bidder who failed to submit the required forms before the deadline and failed to establish a good cause for late submission would be in default. Those applicants would not only be subject to monetary forfeitures, but in most cases would see their application dismissed outright.

There are cases, however, when the Media Bureau decides to accept a late-filed application. It can consider these when the delinquency does not disrupt the auction process or undermine the FCC’s goal of getting service out to the public rapidly.

In Valdez-Schwartz’s case, she did not file the form by Sept. 13, but she did get submit it two weeks later. She also made a rule-compliant late payment on the balance of her auction bid. In approving the application, the bureau said it also gave weight to her record of compliance with previous auction-related requirements.

One thing Valdez-Schwartz did not do was to file a waiver request along with her late application.

But despite that, the bureau said it believes it is in the public interest to move ahead and implement a new service in Medicine Bow.

As a result, the FCC granted Valdez-Schwartz a waiver, assuming she makes the $3,000 forfeiture payment listed in the notice of apparent liability. She has 30 days to file a written statement asking for reduction or cancellation.

Comment on this or any article. Email radioworld@futurenet.com.

The post $3,000 Forfeiture Awaits Winning Bid in CP Auction appeared first on Radio World.

Kybio from WorldCast Connect is now based on Kubernetes. The company says the change will assure high reliability for its cloud deployments.

Last year, a new “software as a service” licensing option was made available to users of Kybio network monitoring. WorldCast Connect now says it has created a major update to that SaaS plaatform.

“After a rigorous benchmark of technologies to best meet Connect’s need for more scale and performance, its SaaS version of Kybio is now powered by Kubernetes, the standard container orchestrator for cloud,” the company stated in the announcement.

Kubernetes is an open-source platform for managing containerized workloads and services.

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

WorldCast quoted Product Manager Julien Libeau saying, “Using Kubernetes technology radically changes the way our team and engineers work on the SaaS offer. It also adds significant added-value for our customers in media and broadcast, especially by speeding up the time of deployment. They can literally have Kybio up and running in less than 10 minutes.”

He said the cloud-hosting solution lets Kybio scale more easily because the architecture provides the correct amount of compute power needed for each customer, depending on usage and license size.

It said its in-house local software agent, EdgeBots, played a role in the deployment of this cloud infrastructure. “They bring the ability to combine on-premise remote monitoring with a full cloud environment,” the company said. “The Kybio cloud offer is intended to be used in a decentralized network. By connecting EdgeBots with their remote network, users are quickly and securely connected to Kybio SaaS, offering high scalability for large network infrastructures.”

The company is offering users have the opportunity to test Kybio SaaS with a free trial license for one month.

Send news for Who’s Buying What to radioworld@futurenet.com.

The post WorldCast Connect Puts Kybio on Kubernetes appeared first on Radio World.

KRK Systems KNS 8402 Headphones

KRK Systems has updated its KNS line of studio headphones with the KNS 6402 and KNS 8402, both with enhanced sound quality, isolation and durability. Both models are closed-back circumaural (over and around the ear) designs with the KNS 8402 ($149 MSRP) updated for pro studio use and the KNS 6402 ($99 MSRP) more suited for home studio production and stereo music enjoyment.

All KNS headphones come only in matte black and are made using an impact-resistant plastic material that makes them super lightweight. The cables, head and premium leatherette ear cushions are easily field-replaceable, including the in-line volume control that uses a “long life” fader, connecting between the headphones and the supplied cable using 3.5-mm stereo plugs. You can easily remove the in-line volume control altogether.

I tried out the KNS 8402 headphones and immediately liked the self-aligning, sprung stainless steel yoke system in the headband that easily adapted to my head and retained that adjustment when I took them off.

The memory foam ear cups rotate up to 90 degrees and I found it more comfortable to not allow the center of the headband to touch the top of my head. There is a gap in the center of the headband, making them feel nearly weightless. They still hugged my head comfortably to block out sounds with up to 30 dBA of isolation.

[Check Out More Product Evaluations in Our Products Section]

The KNS series phones use 40 mm dynamic drivers with neodymium magnets; the rated impedance of 36 Ohms. They are rated at 0.1 percent total harmonic distortion while handling 500 mW per driver. Sensitivity on the KNS 8402 is 97 dB SPL @ 1 mW with maximum SPL of 124 dB. Frequency response is specified as 5 Hz to 23 kHz.

For all my sonic testing, I used my musicians’ cue system that uses a Simon Systems CB-4 Cue Box powered by a 100-watts per channel Hafler stereo power amp. I also tried my secondary cue system that uses a small Aphex Systems HeadPod 4 4-channel amplifier with good results. In addition to the KNS 8402s, I kept three other sets of phones plugged into the CB-4 with volumes matched, and I played different kinds of music, as well as individual tracks (drums, bass, guitars, etc.) out of Pro Tools. The KNS 8402s were definitely the lightest.

Overall the KNS 8402s are neutral-sounding: not overly bright or bottom-heavy compared to my more expensive audiophile models. They are smooth in the mid-range and not as abrasive as some other dynamic sets.

I am looking for a tight seal, which becomes extra important when five or six backing vocalists are singing around a hot mic. A studio might buy a dozen of these headphones for just that purpose. Once the KNS 8402s were properly fitted on a singer’s head, the ear cushions did a good job of sealing against leakage.

I was initially a little suspect of an in-line volume control on studio headphones. It could be “another point of failure,” but that little fader stays wherever it is set and the teardrop shape doesn’t catch on clothing.

If all headphones are fed from the same line, the in-line volume control becomes a necessity. Some backing singers like it louder than others in the same group. When the mini-fader is full up, it is the same volume as with the control removed — there is no difference in sound quality with or without the in-line module in play.

I liked the KNS 8402’s wide frequency response, dynamic range, stereo imaging and consistent voicing. These would be a smart buy for a new studio looking to stock their headphone collection with well-made, sturdy and good-sounding units.

This article originally appeared in our sister publication Mix. Users and suppliers are both invited to send news about recent installations and product applications to radioworld@futurenet.com.

The post KRK Systems KNS 8402 Headphones Put Through the Paces appeared first on Radio World.

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This Public Notice announces a virtual event, the Video Programming Accessibility Forum – Online Closed Captioning on December 2, 2021, from 1:00 pm to 3:45 pm ET. Chairwoman Rosenworcel will welcome participants and Senator Markey will deliver remarks.