Group owner Sheridan Broadcasting Corp. has announced a content deal with Radio Disney.
Radio Disney will provide video content to Sheridan’s Atlanta-based WIGO(AM). The audio for that content will be “telestreamed,” as SBC says, on WIGO(AM), while there will be a video feed on the station’s website, www.wigoam.com.
The programming will be a one-hour weekday show called “The Radio Disney Hour.”
Ron Davenport Jr., chief operating officer of SBC, said, “We are honored and extremely flattered to be the first radio broadcaster licensed by Disney to use Radio Disney video content. The Radio Disney team has been incredible to work with, and we are very excited about the possibilities going forward.”
HAMILTON, New Zealand — Free FM, a community access radio station, is part of the Community Access Media Alliance, a network of 12 stations around New Zealand. We have been operating for 28 years, for many as AM-only, but on FM for seven years and are making strong inroads in transmedia delivery.
Free FM is a not-for-profit entity, governed by a charitable trust and we operate as a non-commercial broadcaster. We have a small staff and content is created by approximately 80 volunteers, representing a very diverse range of communities, individuals and interest groups in our broadcast area (the greater Waikato region of the North Island — population almost 470,000).
Free FM is partly funded by New Zealand On Air (a government agency) to provide access to broadcasting facilities for individuals or groups with ideas, opinions or cultural needs which may not have the opportunity for expression through the mainstream commercial broadcast industry. The purpose of stations like ours is specifically described in the New Zealand Broadcasting Act.
Access radio is, in essence, radio “by the people, for the people,” where the freedom of expression of ideas, values and beliefs is valued and protected. Many of those who come to make content with us have English as their second (or even third or fourth) language and we frequently have people involved who have physical or intellectual challenges. Much of the content created at our studios nowadays is in the form of prerecorded 30-minute or one-hour programs.[AoIP Applies to Small Stations, Too]
Our philosophy at Free FM is also to stay ahead of the game, by adopting emerging technology where it is clear there are new opportunities to enhance what we do. While radio broadcasting is still our major activity, we have over the last 10 years become our sector’s leader when it comes to digital content delivery and embracing new developments (such as smart speakers). We are always keen to see and evaluate what is coming over the horizon in terms of how listeners are accessing content and what they want to do with it.
It had become painfully obvious that our analog studios were barely fit-for-purpose. There’s a limit to how far you can push things and much of what we had was well used before it came to us back in the 1990s. It became obvious that a complete refit was necessary, replacing decades of add-ons, patches and mis-matched equipment.
Naturally, we wanted to find a technically advanced solution, but budget was also a major consideration. In doing our homework, we looked at all the available digital consoles and audio delivery systems available and considered how they might work for us. One of the big factors to consider was robustness and ease of use for nonprofessional people. And because of language considerations, we were also keen to find products that were intuitive and easy to understand.
In our search, Wheatstone kept coming up as a front runner. Marcus Bekker from Southern Broadcast was already known to us as someone who completely understands our sector. He became an invaluable advisor when talking about our specific needs and wants.[From 2018 — Digital Radio Developments in New Zealand and Australia]
We did comparisons at every level, and everything we saw reinforced the view that adopting Wheatstone’s WheatNet-IP Blade technology would provide us with not only what we need right now, but also form the foundation to support whatever future direction we may take.
We locked onto Wheatstone’s IP-12 console as an affordable way to get us into the IP audio world. It had the ideal number of channels (12), and it was easy to navigate. We liked that each input module has an LED source display that we could name and that the meter bridge has easy-to-read bargraph meters and a prominent onboard timer. Because the IP-12 is a WheatNet-IP audio networked console, it gives us an in to an entire ecosystem for controlling, automating, processing and routing audio. It’s a very powerful system, and we now we have the capacity to develop other options if we wish, such as video, real-time social media content, or other input sources, with relative ease.
What is important to the future of Free FM, and stations like ours, is that we remain relevant and responsive to our changing environment. Digital delivery options are perfect for what we do, and it makes great sense to be at the sharp end of that platform as it grows and changes.
We are very pleased with the bang-for-buck we get from our new infrastructure as it is, and we look forward to the coming years with confidence that we have made the right choice.
For information, contact Jay Tyler at Wheatstone in North Carolina at 1-252-638-7000 or visit www.wheatstone.com.
“Best of Show Up Close” is a series about nominees and winners in the annual Future Best of Show at NAB Award program.
Digigram nominated its Iqoya Talk. It is a portable IP codec designed for field work with built-in 4G/LTE, Ethernet, Wi-Fi and Bluetooth. It is battery-operable and features an onboard recorder, touchscreen and is 5G-ready.
We asked CMO Raphael Triomphe about it.
Radio World: What is the product and what are its targeted uses?
Raphael Triomphe: Iqoya Talk is Digigram’s all-new portable codec. The codec is so easy to use, secure and reliable than its baseline is “Simply powerful.” It is built for live remote broadcasting operations that require high-reliability transmissions with superior audio quality. It allows up to four journalists and guests to perform a studio-quality on-field reportage, without the help of any technician. Configuration can be done upstream, by predefined scenarios in the studio.
RW: What sets it apart from similar offerings in this product class?
Triomphe: One of the main features of a portable codec relies on its ability to stream the audio to the radio station. With the Digigram’s Iqoya Talk, you will have a great deal of built-in connectivity options included without extra cost. Iqoya Talk is well equipped with two Ethernet ports, two cellular modules, one dual band Wi-Fi module and two USB ports. That’s a lot.
The other important point is how many journalists and guests can participate in the remote broadcast event. Thanks to its three mic-line inputs and four headphones outputs, Iqoya Talk is one of the portable codecs allowing the most guests at once.
Before starting the design of the product we asked many journalists and technicians for their thoughts about what would fit their everyday needs in a remote codec. We understood that ease of use is the key point. So with its smartphone-like intuitive ergonomics, all the needed operations for a remote broadcast with Iqoya Talk can be operated by nontechnical users, whenever and wherever they are, with just two clicks.
Our Iqoya Talk is ready to tackle any event and make everyday life easier, whatever the outside conditions. To simplify and to secure the connection, we also utilize a SIP infrastructure. To manage, monitor and get instant remote access to the portable codec, a suite of web applications called Iqoya Connect comes along with our portable codec. Management of your codecs fleet has never been so powerful and simple.
The housing of our Iqoya Talk has been designed to be strong and long-lasting. As we know that sometimes, it can be hard to find a mains plug on the field, Iqoya Talk can accept up to two hot-swappable batteries and can be used for up to 12 hours without interruption.
Iqoya Talk is ready to go. It comes with either an optional hard case or convenient backpack to carry all the material you need comfortably and in complete discretion.
RW: What does it cost? Is it available now?
Triomphe: $4,490, available now on preorder, with delivery end of July.
RW: More generally, what do you see as the most important trends or changes happening these days in how broadcasters do remote live audio operations?
Triomphe: Closer than ever to the action and often alone in front of a multitude of uncertainties, journalists today have to be hyperefficient. Information is being shared and consumed faster than ever, everyone needs to be everywhere at the same time. Despite a constrained environment, contributors are still expected to provide quality content, on the move and in the blink of an eye, from wherever they may be and technicians are expected to set up their systems in advance from a remote location.
For all those reasons, our solutions for remote broadcasting has been developed to make the day-to-day operations of journalist and radio engineers simpler.
RW: What else should we know?
Triomphe: Digigram is focused in audio transport in remote broadcast but also in distribution applications. Last year we released a new range of IP audio codecs called X/Link, and next month we will strengthen the range by launching a new product for transporting an FM/MPX composite signal over IP networks. The focus of Digigram in terms of audio transport is to constantly develop qualitative solutions that will answer our customer needs.
The Future Best of Show Awards program honors and helps promote outstanding new products exhibited at industry conventions like the spring NAB Show. Exhibitors pay a fee to enter; not all entries win. Watch for more coverage of participating products soon. To learn about all of the nominees and winners, read the 2019 Best of Show Program Guide.
A few heads probably turned when a Miley Cyrus single popped up this spring, for reasons beyond the song. “DREAM” features that ethereal, low-key electronica in vogue at the moment, with the pop star weaving stories of parties and debauchery over a snaky beat. And just as the song closes, the light keys of one of hip-hop’s most iconic breakdowns plays; this is no surprise, since pop is, if nothing else, self-referential.
Then, out of nowhere emerges one of rap’s undisputed legends and one probably on the short list for least likely to be on a Miley Cyrus song. Avid music fans know Ghostface Killah from his tenure with the group Wu Tang Clan. But the rapper has since forged a rare career as a unique character and storyteller, with scores of concept songs and even albums to his credit. Ghostface is one of the few hip-hop artists left committed to songwriting in a way that creates an aesthetic reminiscent of an action film or dense drama. He’s been a crime boss, a falsely accused man, a prizefighter, a rebel against authority and countless other characters in songs penned over his long career. Along the way, he’s concocted a lexicon of verbiage, alter egos and mythology that are unmistakably his. The Cyrus song verse is a short one, but it’s impactful. You cannot help but be enthralled by the guy who refers to himself as Tony Stark, also known as Iron Man, and his charisma.
How does all this relate to community radio? It is the New York artist’s email forays that may get you thinking about how our time with our closest friends, donors and fans can be equally resonant.
Like so many music performers, Ghostface Killah has been pushed to connect with fans in new ways. For virtually everyone, that’s on social media and their own websites. You can find the Wu Tang Clan member in all those places. He even has a newsletter, promoted as a place to get new music, giveaways and a glimpse of the artist.
Team Ghostface sends out a lot of newsletters. They are short and filled with the non-sequiturs the artist is known for. Each newsletter has a voice and manner a fan would associate with the musician. They are, in fact, so good you might think he wrote them himself. Stories from his glory days, new music or just witticisms, each newsletter is never more than a few hundred words. Yet it is just enough to have you looking forward to what comes next.
Contrast the Ghostface Killah newsletter sometime against your station’s newsletter. What could you learn in this style of communication? A lot, it seems.
Radio folks can be a verbose bunch. We can be talkers and, as a result, have so many words for what we think and feel. Station newsletters can be strikingly similar to the personalities of radio staffers and volunteers. In other words, there is a ton being said. There are paragraphs upon paragraphs about pledge drive, compound sentences about events, and dozens of words about programming. There is enough here to make you wonder how many people really read all this. Moreover, I am reminded of the short, punchy style of newsletter the aforementioned artist employs to promote himself. Is community radio promoting itself in its newsletters as assertively? Are we offering incentives to subscribe and stay subscribed? Or are we perhaps being a little complacent and assuming people will sign up because community radio is what it is and they will just subscribe because of what we say we are.Photo: Enrico Fuente
Try an experiment sometime and send your newsletter to a casual acquaintance. How much of it does she or he read? Perhaps the friend can tell you what she or he did not read, and why. You may discover, in this busy world, people only have so much time and attention. How long your newsletter is, how you write and the personality that comes across, as any marketer will tell you, are crucial issues.
With so many distractions, your voice and how it sticks with people counts. Witness the Detroit Free Press, which speaks online in a way that has created waves of followers. Note the observations about Ghostface’s newsletter; it sounds authentically like him, and fans flock to it for this reason. Does your station have that personality? How can you find it, if not?
Newsletters are more and more a go-to from organizations and artists. Community radio is no exception. Your station should be meticulous with its newsletter and look at every edition as a chance to create lasting impressions.
It’s new equipment season again!
Radio World’s “Summer of Products” feature is all about new gear that has come onto the market in recent months, especially during spring convention season.
Check out the first installment of broadcast goodies in this gallery.IK Multimedia iKlip 3 Series Device Mounts
Ideal for organizing smart devices around the studio, IK Multimedia is the iKlip 3 series of tablet computer and smartphone mounts.
The iKlip 3, iKlip 3 Video and iKlip 3 Deluxe provide mounting options for keeping smart devices within visual range and at visually useful angles rather than relying on laying the device on the table or trying to prop it up.
The iKlip 3 is designed for microphone stand or boom mounting and includes a newly designed holding bracket with more durable rubber pads and a spring mechanism that allows users to rotate the device up to 360 degrees.IK Multimedia iKlip 3 Series Device Mounts
The iKlip 3 Video is like the iKlip 3 but aimed at camera tripod mounting.
The iKlip 3 Deluxe includes both the mic stand mounting bracket and the tripod mount attachment.
According to IK Multimedia all three utilize materials superior to the previous iKlip series along with featuring a simplified mounting grip.
Prices: iKlip 3 and iKip 3 Vide: $49.99; and iKlip 3 Deluxe: $69.99.
Info: www.ikmultimedia.comWheatstone SwitchBlade Interface
The multifaceted SwitchBlade IP device “includes audio codecs, SIP messaging and ACI [WheatNet-IP Application Control Interface] control interface. It is the first product of its kind to combine the power of AoIP logic control with SIP connectivity and codec bandwidth optimization to transport both high-quality programming and the control logic critical for full studio operation between sites,” according to Wheatstone.Wheatstone SwitchBlade Interface
The ACI allows for sending commands such as turning microphones on or adjusting EQ.
SwitchBlade has two Ethernet connections, one for connecting to a SIP service provider or SIP-enabled PBX phone system and the other for connecting directly into the WheatNet-IP audio network. SwitchBlade also has codecs, such as including 256 kbps stereo Opus and G.711.
The company says that uses for the SwitchBlade include consolidating program operations for several stations scattered across a region; live remote production, including high-quality programming and console/mic control between home studio and sports or concert venues; sharing program and operating control between sister studios over an IP link; one-to-many STL codecs between one studio and several transmitter sites; a SwitchBlade at the studio feeds two, four, six or more existing SIP-compliant codec units at each transmitter site; and transferring high-quality music between two facilities or from a cloud-based automation system over the common internet.
Wheatstone Sales Director Jay Tyler explained, “SwitchBlade is the missing link for connecting WheatNet-IP facility to WheatNet-IP facility from city to city or across the world. Not only will it carry the audio, it carries the control, which means you can send and receive router commands, automation control, and even fader levels across the two locations.” He added, “Switchblade finally makes it possible to monitor each point of the audio chain and switch audio locally from network operation centers around the world.”
Info: www.wheatstone.comENCO enCaption Captioning Tool
ENCO says that its enCaption captioning tool is finding a home at radio stations, enabling hearing-impaired audiences to consume radio programming online or via over-the-top (OTT) services.” Furthermore it could be paired with visual radio programming.ENCO enCaption
Washington-based noncommercial station WAMU(FM) is testing the concept.
According to ENCO, WAMU Senior Director of Technology Rob Bertrand explained, “Our integration is still in the proof-of-concept stage, but we are happy with what we’ve been able to demonstrate so far. We look forward to being able to deliver our content to all members of our community, including those who have historically not been able to be reached by audio content.”
ENCO points at formats such as talk radio as being especially in need of captioning for deaf and hard-of-hearing potential listeners. In addition, the company says, “Automated captioning also enables immediate creation of searchable transcripts that broadcasters can post alongside recorded audio clips, enhancing SEO for their websites while improving content discovery for site visitors.”
enCaption is a software-based system. Captions created by enCaption can be output as files or streams in standard WebVTT format or as a raw text data stream for integration with the station’s website media player, mobile or OTT app. enCaption can also turn an audio-only source into a video stream with open captions overlaid on a plain background or graphic, or combined the audio with a separate video stream while embedding closed captions for display in a web-based video player.
Info: www.enco.comGatesAir IntraPlex Ascent Codec Manager
The Intraplex Ascent offers a cloud-based, redundant transport platform for multichannel contribution and distribution, while eliminating the need for many separate codecs and auxiliary hardware components.GatesAir IntraPlex Ascent
“GatesAir is taking the next logical step for our customers with direct integration into the IT infrastructure,” GatesAir Vice President and Intraplex Product Line General Manager Keyur Parikh said in a press release.
According to an announcement, Ascent is the first Intraplex system to live on a commercial-off-the-shelf x86 server, and it’s available as either a 1RU server or a virtualized software solution. Both versions support up to 32 audio channels and are interoperable with most Intraplex AoIP codecs. This solution is also AES67 compliant and compatible with Ravenna, LiveWire+ and Dante AoIP networking solutions, GatesAir says.
Ascent enables users to manage multiple Secure Reliable Transport streams on one platform; SRT is a low-latency, open source streaming protocol that provides packet encryption and retransmission capabilities, GatesAir explains. Also, the platform features Dynamic Stream Splicing, which is a proprietary technology used to diversify SRT data across redundant networks, eliminating some packet losses and network failures.
Info: www.gatesair.comInovonics Sofia Audio Stream Monitor
A new member of Inovonics’ SiteStreaming family of monitoring and streaming products is called Sofia.Inovonics Sofia Audio Stream Monitor
The Sofia offers signal monitoring tools such as signal loss, strength and other measurements.
According to the company, Sofia has independently adjustable analog and AES digital audio outputs along with AoIP networking.
It is AES67-compatible. It allows up to 10 people to listen remotely to the same audio stream simultaneously.
Sofia will display Artist Experience logos and art via a web interface.
It comes in a half-rack box. Inovonics says that firmware updates will be free.
[Read more about new products here.]
The post Bask in the Glow of New Gear: Summer of Products 2019 appeared first on Radio World.
When it came to teaching engineers about RF safety, few could hold a candle — or an RF monitor — to Richard Strickland. During his long career, first with Narda and later his own company RF Safety Solutions, Strickland instructed thousands of engineers and managers on topics related to RF radiation safety and compliance.
Strickland died in 2018 at age 73, following a long battle with cancer. Friends and family members recalled his personal and professional life for Radio World.
Even as a child, Strickland enjoyed taking things apart to see how they worked. His formal education in electronics began when he was in the Coast Guard. He served as an Electronics Technician I and got additional training in ships’ radar. During his tour of duty, he served in the Pacific during the Vietnam war.
He continued his education when he left the service, earning his bachelor’s degree in physics and mathematics from the University of Massachusetts, Bridgewater. He went on to earn his MBA from the University of Massachusetts, Dartmouth.
Strickland honed his skills in RF engineering and discovered the parts that he really liked by working for several companies, initially designing radomes for antennas. His last employer was Narda; there, he worked for ten years as director of business development.[From 2010 — May I Climb This De-Energized Tower?]
In that position, he would determine which products were developed and their performance characteristics. He was program manager for the Nardalert XT RF personal monitor; for his work on that product, he received an R&D 100 Award from a research magazine.
At Narda, he initiated the development of RF radiation safety courses and led them. Topics ranged from basic employee awareness seminars to in-depth application-specific courses. Audiences included environmental health and safety professionals, engineers, technicians, professional consulting engineers (PEs) and senior managers of major organizations. In all, he taught over 400 public and private seminars on RF radiation safety.
Strickland was both a featured speaker and member of radio frequency radiation panels at the National Association of Broadcasters, the Radio Club of America and the International Wireless Conference and Exhibition. He was the author of numerous articles on RF safety practices and measurement issues, including an occasional column in Radio World.
Strickland had always wanted to be his own boss, and in 2003 he left Narda and founded his own company. There, he could focus his energies on the things that he liked to do the most. For him, that was sharing his knowledge of RF radiation and safety issues with others, as well as his own hands-on form of consulting.MANY INTERESTS
Tom Ray, president of Tom Ray Broadcast Consulting, knew Strickland for 10 years. He shared stories from his work with Project Xanadu and SBE Chapter 15 in New York City.
At the time of Project Xanadu, a mall development project, Ray was director of engineering for WOR, New York. ‘“The Xanadu project was being built very close to the 50,000 watt WEPN AM 1050 transmitter site, located in North Bergen, N.J. Construction workers were getting shocked by the RF, and the large cranes in use at the site were especially hazardous,” Ray said.
“They hired Strickland, who came in and took measurements to prove it was a safe working environment, as long as precautions were being taken, such as grounding the cranes and avoiding a few RF hot spots. Since the cranes moved around as the construction progressed, he would check back every four weeks to confirm the site was always safe.”The late Richard Strickland, shown with wife Claudia.
From his days with the SBE chapter, Ray recalls Strickland as both a great storyteller and generous giver of his time.
“A discussion about RF safety compliance and regulations could bore you to tears, but Strickland brought it to life with his case histories. He got people involved with a good story, and knew not only the regulations, but also the science behind them. We would pay him for a three-hour session at our SBE meetings, but he would always stay after the session for Q&A, and not leave until everyone’s questions had been answered.”
Carl T. (Tom) Jones Jr., president of Carl T. Jones Corp., worked with Strickland and remembers him as something of a Renaissance man.[From 2012 — RF Safety Surveys at Broadcast Sites: A Basic Guide]
“There are others who do RF measurements, consult on RF radiation issues and do the actual measurements. Richard was unique in that he did all of those things. His company was really a one-man shop.” In later years, as his health began to fail, Strickland sub-contracted the measurement part of projects to Jones, which is how they became acquainted.
He adds that Strickland was equally well versed in broadcast, radar, cellular and satellite uplink RF measurement as well as safety compliance standards.
“Richard was an amazing person, with an immense knowledge base. He gave a great deal to the industry, and trained thousands of engineers and managers.”
Strickland had several interests outside of work, one of which was world travel. He and his wife were avid travelers through Europe, Alaska, the Caribbean and South America. Strickland looked forward to adding countries to the list of more than 70 he had visited.
He was also a master craftsman and woodworker, building beautiful cabinets and furniture of his own design. Most of the work was done in a well-furnished shop he had set up in his garage. In later years, he was also an amateur photographer, who took numerous landscape and wildlife photos.
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I’m back from some college radio travels in San Diego and can’t wait to share more tour reports in the coming weeks. It’s always such a treat to meet fellow college radio participants and fans and with each visit, I find myself wandering down research rabbit holes as I hunger to learn more about the history of each and every college radio station that I encounter.
These tours are a small part of what I love about Radio Survivor. It’s been a joy to think deeply about the intricacies of radio culture over the past decade; delving into high school radio, transmission art, the incredible growth of LPFM, and even funky stories about radio in pop culture.
My colleague Paul Riismandel reflected on our 10 year anniversary in an eloquent post this week, which also digs into the Radio Survivor origin story and takes a look back at our early work in 2009. As I look ahead to our 200th podcast, I’m also anticipating my 160th radio station field trip report (as soon as I get caught up!). I’m so proud of the website, podcast/show, and radio resources that we’ve built for our fellow radio fans. Thanks for reading and listening!
- Meteorologist MCs Event to Help Save WUEV (Tristate Homepage)
- Stella Radio Inaugurated at Maris Stella College (The Hans India)
- Trine Radio and WEAX-FM to Move Online (Inside Indiana Business)
- Trine Expanding Online Broadcasting Presence (Herald Republican)
- An Update on Student Media and UA Global’s Upcoming Relocations (The Daily Wildcat, University of Arizona)
- KJACK Radio: From 1680am to 107.1 FM (Arizona Daily Sun)
- Explore the Art of Madison: WSUM (The Daily Cardinal)
- National Titles and a President: A Big Spring for this Student Reporter at WUVA (UVA Today)
- Genre MD of the Month: WKNC’s Erika Bass (NACC Chart)
- June MD of the Month: Brian Bourgoin, WCNI New London (NACC Chart)
- WNYU Radio Show and Label Spawns Mix Series (Chicago Reader)
- Roundup of Boston University Podcasts (Boston University)
- Fan’s Collection of 8,000 cassettes Preserves Unique Era in Princeton Station’s History (Current)
- Exhibit Celebrates 50 Years of KTUH Student Radio (University of Hawai’i System News)
- UW Archivists Working to Digitize Early Recordings of Public Radio in Wisconsin (Madison.com)
- U of A’s KUAF Names New GM (University of Arkansas)
- KFJC’s Psychotronix Film Festival Celebrates the Weird World of Cinema (Mountain View Voice)
- Student Station WSOU Sets Clothing Donation Record (Radio Ink)
- 2nd Annual Beasley Media Group Talent Institute at Emerson College (Radio Facts)
- Bona Radio Station will go Retro to Kick off Reunion Weekend (TAPinto)
- MTSU’s Second Day at Bonnaroo Packed with Learning Opportunities for Media Students (Murfreesboro News and Radio)
- Coyote Radio’s Splash and Dash (Coyote Chronicle, CSUSB)
- Audrey Bilger, WTJU Alum, to Lead Reed College (University of Virginia)
- ARTxFM WXOX offers a Place and Space for Unique Voices (Insider Louisville)
- 29-year-old Sherry Cola’s Whirlwind Life (Forbes)
- Time in Ghanaian Newsrooms Inspires Doctoral Student’s Research (Penn State University)
- Getting Personal: Brian Moline (News-Gazette.com)
- Jason Bentley is Stepping Down as KCRW Music Director and ‘Morning Becomes Eclectic’ Host (Digital Music News)
- Cassette Crews and Cosmic Cohorts: Seattle’s Emerging Labels and Collectives (Public Radio East)
- Broadcast Alumni Working Together at WFMJ (WCN)
- WSOU Alumnus Reports in Top-Tier Media Market (Seton Hall University)
- Behind the Mic: Ali Colleen (KMHD)
- Sing…How Music is an Expression of Everyday Spirituality (The Good Men Project)
- Liza French Graduates from Clark University (South Coast Today)
- How Sounds Australia is Paving Global Paths for Australian Artists (Billboard)
- Industry Interview with Phillipe Roberts, Marauder (NACC)
- National Awards for Youngstown State’s Rookery Radio (WFMJ)
- WOLF Internet Radio Wins Award for College Radio Day (Times-Georgian)
- FEU Student Named Veritas’ Best Male Anchor (Manila Times)
- Syracuse Student Wins Edward R. Murrow Award (LI Herald)
The post College Radio Watch: Ten Years of College Radio Coverage and More News appeared first on Radio Survivor.