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Cirrus Streaming - Radio Streaming Services - Podcasting & On-demand - Mobile Apps - Advertising

Radio World

Cirrus Podcast Suite Supports Radio Applications

Radio World
3 years 6 months ago
The Cirrus Podcasting Suite Dashboard

Content streaming provider Cirrus Streaming recently released a suite of tools for podcast hosting, editing and distribution from a single dashboard. The company says this allows radio broadcasters to create podcasts automatically from a live audio stream.

The Podcasting Suite includes a podcast editor that lets users upload, store, organize and edit files via a multitrack waveform editor. With this, podcasters can trim, splice and insert segments into an audio file from a web browser without the need of separate audio editing software.

[See Our Who’s Buying What Page]

The system also includes an ad server, allowing podcasters to build commercials into their podcast stream. Users can then distribute podcasts to any number of outlets and syndicate them along the way. The suite also offers several playout options, allowing for customization, branding and digital advertising.

“With the rise in podcasting during the pandemic, it’s more important than ever for content creators to take full control of their material, so we’ve taken this into consideration to provide everything they need in one place,” said Cirrus Streaming CEO Nick Csakany in the announcement.

The podcasting suite is available by monthly subscription for broadcasters and podcasters with no contract requirements, the company said.

Send your new product and services news to radioworld@futurenet.com.

The post Cirrus Podcast Suite Supports Radio Applications appeared first on Radio World.

T. Carter Ross

Turis Uses Phillystran on NYC AM Array

Radio World
3 years 6 months ago
Phillystran tower guy lines support the new top section of AM antennas in New Jersey, New York.

From our “Who’s Buying What” page — Project management firm Turris Services Inc. has used Phillystran HPTG tower guys as part of the installation of a new top section of tower for WWRL(AM) at its transmitter site outside of New York City.

The tower was damaged by tornado winds late last year. The rest of the system’s Phillystran guy lines have also been replaced.

“First installed in 1960, four AM towers located in a swamp area in Secaucus, N.J., are used to transmit commercial radio stations based in New York,” Phillystran stated in a project announcement.

“The largest 300-foot tower was first guyed with Phillystran tower guys 40 years ago in 1970. At the time, Phillystran’s PSOM guy lines were supplied. These have now been replaced with Phillystran’s latest High Performance Tower Guys (HPTG) and corona sockets.”

A sample of the 40-year-old Phillystran guy lines.

The company said the old lines had retained their strength. “Subsequent testing of the 40-year-old PSOM guy lines has shown no loss in the residual breaking strength of the guy lines rated at 27,000 lbs. and 15,400 lbs.”

Turris Services retrofitted new top tower sections and installed the HPTG guy ropes. Phillystran makes synthetic fiber ropes for marine, utility, broadcast and military applications; it is part of steel wire rope manufacturer WireCo WorldGroup.

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

The post Turis Uses Phillystran on NYC AM Array appeared first on Radio World.

RW Staff

New Guidance for Audio Processing Streaming

Radio World
3 years 6 months ago
(Getty Images/alashi)

Many people do not understand audio processing. People do not listen to your station because you have incredible audio processing, they come for the desired content. That said, audio processing adds to the listening experience, making your audience comfortable and giving them the ability to best enjoy the content.

Naturally, audio processing for broadcast radio should be different from the processing of streaming audio.

For broadcast radio you want to be the loudest on the dial so that when a potential listener hits scan, the station stands out. It almost works as a “stop sign,” demanding the listener pause and pay attention.

This will momentarily capture the audience, but they will stay on the channel for the content. Here audio processing helps create a comfortable audio atmosphere that partners with the content to keep your audience.

For streaming radio, which reaches listeners on their computer, smartphone, or smart speaker, you do not need to be the loudest. As I have said many times, “Clarity beats loudness all the time.” With streaming, the audio should be clean so that the intended instrumentation can be heard. A flute should sound like a flute.

Processes for Downward and Upward Loudness Normalization (from AES Technical Document AESTD1008.1.21-9)

I am not saying compression or expansion should not be used, but they should be used for the intended playback. Process your stream for your stream; process your over-the-air broadcast for the radio.

Use music you are familiar with and that has a good range to calibrate the processing. I tend to use music by Linda Ronstadt because she has a good selection that ranges across many genres. In addition, a woman’s voice tends to have more range than a male voice.

And please remember that audio processing must partner with the content to increase how long your listener stays, and we all want larger total listener hours (TLH).

Loudness guidelines

As far as loudness goes, I highly recommend the new Audio Engineering Society Technical Document AESTD1008.1.21-9: Recommendations for Loudness of Internet Audio Streaming and On-Demand Distribution. This document, released in September 2021, supplies you with all the knowledge needed for loudness and much more.

The key point of the technical document is to keep your loudness consistent across the music, the DJ, the commercials and the station promos. You do not want to invite the listener to adjust their volume. If they are adjusting the volume, it is just as easy for them to change to another stream or turn off the player.

[Read more Radio World articles by the David Bialik.]

This document took the AES’s Technical Committee for Broadcast and Online Delivery (which I co-chair) more than two years to write, but it is available as a free download (which matches most broadcast budgets).

For radio streamers, the most important part of the recommendations is Table 2 on page 6 (reproduced below). This provides recommended loudness levels in Loudness Units with respect to digital Full Scale (LUFS) by format.

AES Technical Document AESTD1008.1.21-9 Table 2 Format Distribution Integrated Loudness News/Talk −18 LUFS Pop Music −16 LUFS Mixed Format −17 LUFS Sports −17 LUFS Drama −18 LUFS

The document recommends audio be normalized, which should not affect dynamic range. Normalization adjusts the loudness of content to match a desired Distribution Loudness by applying uniform attenuation or gain.

I suggest broadcasters use a loudness meter compliant with the ITU-R BS.1770 standard, such as the Orban Loudness Meter. This is a free download, and I believe broadcasters will find it to be an essential tool that provides not only BS.1770 measurements, but also CBS Labs measurements, a VU meter and a PPM meter. I find the addition of the other meters makes your transition to this new meter easier to understand.

David Bialik is a consultant who has held technical broadcast and streaming positions for companies like Entercom, CBS Radio, Bloomberg and Bonneville. He is co-chair of the AES Technical Committee for Broadcast and Online Delivery and chair of the Metadata Usage Working Group of the National Radio Systems Committee. Contact him at dkbialik@erols.com or 845-634-6595.

The post New Guidance for Audio Processing Streaming appeared first on Radio World.

David Bialik

Best of 2021, Best of Show Nominations Due Nov. 23

Radio World
3 years 6 months ago

Following the news that IBC 2021 is taking place, Future is moving forward with both our Best of Show and Best of 2021 Awards remain open for entry.

The two awards are supported by Future’s media and entertainment technology brands TVBEurope, Radio World, and TV Tech, and receive additional editorial coverage across our publications.

The Best of Show Awards are for exhibitors who are attending IBC in the Netherlands in December, while Best of 2021 is for non-exhibiting companies; both awards recognize outstanding broadcast products and solutions introduced between September 2020 (the 2020 IBC Showcase) and December 2021.

These award programs provide an opportunity to promote brands, products and services, with nominees and winners receiving:

  • Dedicated editorial coverage in the Best of Show digital publication, distributed post-show
  • Digital and social coverage
  • Winning entries receive guaranteed coverage in post-IBC editions of each participating magazine
  • Digital award-winner logo for all winning entries
  • Official nominee logo for all entrants to use in marketing (sent by email)

Due to government-imposed lockdown restrictions in the Netherlands, our judges will not be able to carry out booth visits during IBC 2021. Instead, our panel of independent industry specialists will handle the judging virtually.

The nomination deadline is Nov. 23; full details of how to submit an entry are available on the dedicated Awards’ website.

The post Best of 2021, Best of Show Nominations Due Nov. 23 appeared first on Radio World.

Jenny Priestley

Delilah revels in rediscovering her roots

Radio World
3 years 6 months ago

Most radio professionals have fond memories of their first radio jobs. Many a seasoned professional started his or her career as a teenage part-timer at a small-town AM or FM station, developed a love for the business there and turned it into a lifetime career track.

But how many professionals later had the opportunity to become the owner of their first station?

One person doing exactly that is Delilah Rene, the well-known syndicated radio personality. Delilah got her start in the mid-1970s in the small coastal town of Reedsport, Ore., where she won a high school speech contest at age 13. The judges, Jerome and Steve Kenagy, owned local station KDUN and were impressed enough to offer her employment.

Delilah Rene on the air at KDUN in the 1970s (left) and in the new studio space today.

After three years of radio experience at KDUN, she moved on a number of stations in Eugene and Seattle before landing at KLSY in Seattle. It was there that she created the nighttime “Delilah” show, taking listener phone calls and playing requests.

It quickly gained local popularity and then went into syndication in 1994 with four stations. Today the “Delilah” show is distributed to 170 stations and the Armed Forces Network through the Premiere Radio Network. Delilah Rene was named to the NAB Radio Hall of Fame and NAB Broadcasting Hall of Fame in 2016 and 2017.

Now, at age 61 and after experiencing career successes that few broadcasters achieve, Delilah chose to return to her roots when she had the opportunity to purchase KDUN.

The AM station, licensed for 50 kW days and 630 watts nights on 1030 kHz, was silent at the time. The physical plant consisted physically of just an overgrown tower site and a working Nautel transmitter.

[Visit Radio World’s People News Page]

She built new studios in the former Jewett Elementary School building — the exact space that was her homeroom as a child — and put KDUN back on the air on Labor Day morning in 2021.

It’s now operating as a traditional community-oriented station, with a live morning show, daily fishing and crabbing reports, a “Tradio” program and liberal promotion of local events. KDUN is using a PlayOUT One system for both live-assist and automated programs. She is planning to cover local sports in the near future.

“Like Brigadoon”

“I wanted to give back to the community where I grew up,” she said. “It sounds corny and foolish, and everybody in the world tried to talk me out of it. But I owe such a huge debt to the Kenagy’s and to Reedsport, and especially to KDUN, that I felt compelled to give back.

“I really want it to be a full-service small town local radio station, and that’s what we’re trying to build. Of course, I want it to pay for itself, I don’t want it to be a charity. But that certainly wasn’t my motivation.”

Reedsport, population 4,100, has no local newspaper. In addition to KDUN, it is served by an FM station and a non-commercial repeater from Eugene.

Asked if an AM station can be competitive today, she responded, “We’re up against some big challenges obviously. Technology has kind of left AM in the dust. But Reedsport is like Brigadoon, it’s like going back in time in a lot of ways. While I don’t believe it would work in a major market, I do think it will work very well here.”

Delilah believes local content will be the key to KDUN’s success.

Radio veteran Bob Larson is KDUN’s engineer and hosts the morning “Tradio” program.

“People are hungry for content, and Reedsport needs a voice. That’s what we’re endeavoring to do — to be that voice they’re missing. For school sports, for local news, for fishing information,” she said.

“The town is perched on the banks of the three rivers, and everybody who lives there loves fishing, loves crabbing, loves clamming. And KDUN used to provide all that information. We’re going to do it again.”

Perhaps a 50,000-watt AM signal is a bit much for small-town radio?

“When I was there, we were ‘5,000 watts of crystal-clear AM power — KDUN, the voice of the Oregon Dunes.’ I still dream that ID every few weeks. Now we’re 50,000 watts, how crazy is that?

“So, I’m hoping to step it down. We really don’t need 50 kW, and I don’t need the electricity bill. Right now, we reach almost border-to-border from Washington to California. But really, the station exists for and about Reedsport, so we’ll adjust that if we can in the future.”

Content is the keyDelilah believes changes in technology are a challenge for the radio business, but that the secret to survival is great program content.

“Technology is changing so quickly. Who’d have thought that TikTok and Instagram would take over where Facebook once was a year or two ago?

“But it doesn’t really matter what the platform is, or how you’re delivering the content. So long as people are hungry for great content, I don’t need to worry about being employed. My job is not to be the best radio personality. My job is to share my heart, my gifts and my talents with as many people as I can, whether that’s on my podcast, Facebook, or whatever forum.

“We want to do that on AM, but we’re also going to do it on kdunradio.com, and hopefully people will find us there.”

Following in Delilah’s footsteps is Molly Anne, who moved to Reedsport from New Mexico. She does weekends and helps with everything else at the station.

While she is obviously pouring her heart and soul into KDUN, she has no plans to quit her day job. She still produces her syndicated show at her home studio near Port Orchard in Washington state.

“I have an amazing support staff. My regular show has the best producers in the world. I take the calls, I do the breaks, and they figure out all the different incarnations of that. We produce several different incarnations of the show every night, 7 nights a week.”

But her new endeavor is occupying much of her attention.

“I am pretty much managing every aspect. I hope to get it up and running and the programs integrated enough that I can step back and let the people there run the show. But I’m sure I’ll be checking in on a daily basis.”

Local business is excited to have her. “In the short weeks since KDUN AM 1030 made its return, the positive impact on our community has been remarkable,” wrote Jennifer Rockwell of the Reedsport/Winchester Bay Chamber of Commerce in The News-Review newspaper. “The care, involvement and dedication that has already been shown to the area speaks volumes about the intentions of KDUN.”

Read more of John Schneider’s feature and history articles.

The post Delilah revels in rediscovering her roots appeared first on Radio World.

John Schneider

Survey: Spoken Word Audio Provides Meaningful Conversations

Radio World
3 years 6 months ago

In the fast-paced, overscheduled world we all live in, the idea of just sitting down and listening to a podcast or other spoken word content seems to be a thing of the past. Most respondents to the latest NPR/Edison Spoken Word Audio Report cite the ability to multitask as one of the main motivations for listening to spoken word audio, but there are many other motivators, particularly for the key demographics of young and multicultural listeners.

When posed with the statement “Spoken word audio is a productive use of your time,” an average of 58 percent of respondents said yes. Sixty-three percent of those 18–34 and 64 percent of listeners 35–54 also agreed. Among multicultural listeners, 63 percent were on board with this statement.

“The Spoken Word Audio Report” finds that listeners view listening to spoken word audio as an important part of their lives.

Multitasking

The reasons why those surveyed listen to spoken word audio are many. A distribution of the base of responses puts multitasking on top with 71 percent of respondents. Other reasons given include: encouragement/positivity with 57 percent; fresher than live radio, 51 percent; help with life’s problems, 46 percent; need a break from negativity, 56 percent; and religion/spirituality at 40 percent.

[Read more of our coverage of “The Spoken Word Audio Report”]

When that same data is indexed for the 18–34 and multicultural groups, all but one of those responses indexed above average. The 18–34 demographic ranked multitasking at 97 percent above average; encouragement/positivity at 111 percent; fresher than live radio got 120 percent; help with life’s problems at 124 percent; need a break from negativity got 111 percent; and religion/spirituality got 120 percent.

Respondents provided myriad reasons for why they listen to spoken word audio.

The indexed breakdown for multicultural listeners showed multitasking at 100 percent; encouragement/positivity with 112 percent; fresher than live radio with 124 percent; help with life’s problems at 120 percent; need a break from negativity with 113 percent; and religion/spirituality at 115 percent.

Forty-six percent of all respondents said they used spoken word audio to further their education; however multicultural and younger listeners were much more likely to cite the education value of spoken word audio. For the 18–34 demographic education indexed 117 percent above average, and for multicultural listeners it was 122 percent above average.

While the results of this survey strongly suggest that spoken word audio listening is done alone and often while multitasking, there is also evidence of a contrary trend, listening with other people. The average percent who listen with others is 51. Sixty-four percent of 18- to 34-year-olds share the sound, and 61 percent of multicultural listeners do the same.

Finally, here’s a defining statement, “Spoken word audio is becoming a more important part of your life.” The average of those who agreed is 45 percent. Those in the lead are aged 35 to 54 with 58 percent, while multicultural listeners are a close second with 55 percent.

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

The post Survey: Spoken Word Audio Provides Meaningful Conversations appeared first on Radio World.

Tom Vernon

NAB Leadership Foundation Adds Three New Board Members

Radio World
3 years 6 months ago

The National Association of Broadcasters (NAB) Leadership Foundation elected Tony Coles of Black Information Network and iHeartMedia, Paul J. Curran Jr. of Cox Media Group (CMG) and Melody Smalls of Allen Media Group, Inc. to serve on its Board of Directors.

“We are excited to welcome three outstanding individuals to the NAB Leadership Board and are grateful for our Board’s guidance as we work to develop leaders, advance diversity and highlight the community service initiatives of our industry,” said Darrell Brown, chair of the NAB Leadership Foundation and president of Bonneville International/KSL Broadcast Group.

[Visit Radio World’s People News Page]

“We want to thank the new members for their willingness to serve and look forward to their insights as we continue to expand our programs and prepare the next generation of industry leaders,” added Michelle Duke, president of the NAB Leadership Foundation.

Tony Coles, president of Black Information Network (BIN) and iHeartMedia’s division president of Metro Markets, has more than 35 years of experience in the radio industry. He joined iHeartMedia in 2004 and has held various on-air, programming and management positions across the country. Most recently, Coles served as the executive vice president of programming for the company’s West region. In his current role, he oversees profitability for 21 iHeartMedia markets.

Send your people news to radioworld@futurenet.com.

The post NAB Leadership Foundation Adds Three New Board Members appeared first on Radio World.

George Winslow

Adthos Vaxx Campaign Uses Synthetic Voices

Radio World
3 years 6 months ago

Adthos Creative Studio has released a free radio campaign that encourages Covid-19 vaccine uptake. The campaign uses synthetic voices created with AI technology.

Assets are available for free download and use. Promos cover 6,500 cities in 40 countries and in 70 languages and dialects. The company said that for the United States it includes 1,000 cities and communities.

https://www.radioworld.com/wp-content/uploads/2021/11/Adthos-New-Orleans-30-sec.mp3An example of the 30-second Covid-19 vaccination PSA produced by Adthos using AI-generated voices.An example of the 30-second Covid-19 vaccination PSA produced by Adthos using AI-generated voices. -->
The company said it wanted to do good while highlighting its ability to create targeted messaging quickly and easily for multiple locations. “We also see this as a positive use for AI technology that benefits humanity”

Adthos states this is “the largest audio ad campaign in history.” It bases that statement on involving the work of 13,000 creatives and “supported on its release by stations with a total of more than 250 million weekly listeners.”

[See Our Business and Law Page]

Stations using the campaign must disclose the use of synthetic voices to their audiences; the company posted examples of the required disclosure.

Adthos Creative Studio is a product that is intended to be used to create audio advertising using text-to-speech and synthetic voice technology.

“Using Creative Studio, broadcasters and advertisers are not only able to create, produce and playout their ads in record time, they also have access to a suite of pre-produced adverts covering various kinds of businesses or services which can be quickly and easily customized to their needs,” the company states.

Comment on this or any article. Write to radioworld@futurenet.com.

The post Adthos Vaxx Campaign Uses Synthetic Voices appeared first on Radio World.

RW Staff

C-Band Relocation Payments Begin

Radio World
3 years 6 months ago
Comtech dish on roof of WUWM Radio in Milwaukee. Courtesy DAWNco

The entity responsible for paying out claims to incumbent earth station operators affected by the C-band shakeup in the United States says it has started cutting checks.

The C-band Relocation Payment Clearinghouse (RPC) is paying claims filed directly by operators for costs related to reconfigure facilities in order to free up spectrum in the C-band.

The RPC says it is evaluating additional claims for reimbursement or lump-sum payments. It will continue to send payments as it approves applications and is urging potential claimants to come forward with their claims.

Approximately 1,500 earth station operators, some holding multiple licenses, already chose the lump-sum option, according to data from the FCC earlier this year, including many broadcasters. But licensees that did not accept that option are expected to work with their satellite providers or to directly recoup justifiable filter, dish and labor expenses from the RCP.

[“C-Band Migration Underway for Dish Users”]

Incumbent earth station operators, space station operators and other eligible fixed-service licensees transitioning out of the band are generally eligible for certain relocation cost reimbursements or other payments.

Some entities potentially eligible still have not filed claims, according to a press release from RPC, or have not registered with the RPC. “Once those entities have set up their profiles and filed claims, the RPC will evaluate their applications and make payments to those whose claims have been approved,” it stated in the release.

“We are making great progress in collecting claimant profiles, approving claims, and making payments to qualified entities that are relocating on the C-band,” said Frank Banda, RPC program manager. “We encourage all entities that might be eligible for reimbursement or lump-sum payments to register and file their claims as soon as possible. The sooner they file their claims, the sooner they can receive reimbursement or lump-sum payments.”

[See Our Business and Law Page]

Incumbent earth stations can seek reimbursement for the modification and reconfiguration of earth station dishes or possible relocation, if necessary to prevent interference from new 5G users, according to those familiar with the process.

Approximately 20,000 registered earth stations in the contiguous United States, according to the FCC, are classified as incumbent earth stations for purposes of the C-band transition.

To submit claims for reimbursement or lump-sum payments, claimants can log into their RPC Coupa profile and follow the instructions. The RPC website provides guidance.

The band repack process has several phases with hard deadlines involved, according to the FCC. Phase 1 involves earth stations in the lower 100 MHz of the band (3.7–3.8 GHz) in 46 Partial Economic Areas to be repacked by Dec. 5. Those are largely in urban areas and include most, if not all, major radio markets, according to the FCC. All remaining earth stations will need to be transitioned in Phase 2 of the repack by December 2023.

C-band refers to frequencies in the 3.7 GHz to 4.2 GHz range. The spectrum has been used extensively by radio and television broadcasters for satellite C-Band downlinks, but those services are being repacked to the upper portion (4.0–4.2 GHz) of the band. The FCC mandated the spectrum shift as part of its effort to move toward the national expansion of 5G. It is making available 280 MHz of C-band spectrum (3.7–3.8 GHz), including a 20 MHz guard band, for flexible use throughout the contiguous United States.

Submit business announcements to radioworld@futurenet.com.

The post C-Band Relocation Payments Begin appeared first on Radio World.

Randy J. Stine

In Australia, DAB+ and RadioApp Extend Radio’s Reach

Radio World
3 years 6 months ago

DAB+ is on the air in Australia’s five major metro markets plus several other cities. Commercial Radio Australia Chief Executive Officer Joan Warner has said, “DAB+ audiences have grown as a result of broadcasters enhancing their digital radio formats and car manufacturers continuing to add DAB+ radios to their vehicle ranges.” An estimated 2.8 million DAB+ receivers have been sold to date.
This is an excerpt from our interview with her in the ebook “Trends in Digital Radio 2021.”

RW: Many broadcasters ask whether they should invest in an over-the-air digital format when there’s so many other distribution channels.

Warner: They need to be a bit more strategic. We know that no mobile network can carry all of radio listening traffic live and local. If everybody tried to do all of their radio listening over a mobile network, the network would crash. We’d break the internet.

[Visit Radio World’s News Makers Page]

And I’m talking about live radio. Podcasting has yet to be proven to be the river of gold we think it will be. I mean, podcast listening is increasing in Australia and in the U.S., but it’s still a relatively small part of audio listening. And we need to work out how we monetize it.

But even telcos will say, “Yes, we don’t want all radio listening on our mobile network, because there’d be no room for anything else.” So, broadcasters have to step back and take a strategic look and say, “All right, where do we want to be?”

And our answer is, we want to be everywhere. We want to be, as broadcasters, accessible on every single platform we can be. That will be AM and FM in the medium term.

It could be the case in the future that people go, well, “Fifty percent of listening is on streaming, 40 percent is via DAB, so maybe it’s time to think about an AM and FM turnoff.” But that’s not on the radar at the moment. Not until we’ve got digital out into the regions.

So don’t pick a winner. You can’t afford to.

One of our broadcasters who had the same doubts about digital 10 years ago said, “We’re looking at this as defensive spending as well. If we don’t do it, someone else will jump in and grab that spectrum and offer a product that we could be offering.”

Now it’s, “Okay, how can we be more offensive with our DAB+? What are the benefits?” Incremental audience, extra revenue. We’ve got new stations — and we’re able to put all of these stations, including AM and FM, onto our industry RadioApp. Now we’ve got 400 available on one app, where normally we have only 11 commercial stations in a city in Australia.

RW: It sounds like your app is an important part of this conversation.

Warner: It’s important. I mean, listening on the internet still is at fairly low levels everywhere. Our research shows us, on average, about 15 percent of all listeners will listen to radio online, either via an app or on their PC, whatever they’re using.

But they are not only solely listening online, they’re listening sometimes to broadcast in the car or at home. There’s a common misperception, people will look at that 15 percent and go, “Oh, okay, 15 percent of all listening is done online.” No. It’s that 15 percent of listeners will listen at some stage online, but that’s not exclusive listening. Sometimes they’re also listening on their car radio or on a DAB radio at home.

The app has provided us an introduction into organizations like Google and Amazon to get all of Australian radio working properly on their speakers, first time, every time.

[Check Out More of Radio World’s Ebooks Here]

Prior to us having RadioApp, the accuracy on smart speakers when asking for an Australian radio station on Amazon was 23 percent. The accuracy on Google was 40 percent. As [speakers] became more popular, people got them out of the box and said, “Oh, please play Hit Radio Sydney for me,” and what they were coming up with was New York or Los Angeles, or nothing.

That’s a missed opportunity for radio to be back where it may not have been for a while, back in the bedroom or the living area.

So we saw it as a strategic play. It was easy to say to Google and Amazon, “You only need to deal with one organization here.” Now because of RadioApp, on those speakers we’ve got 400 stations including every AM and FM and DAB station in Australia, commercial plus the ABC plus SBS and all of their DAB stations. Four hundred radio stations. And there are 3,865 ways to ask for them — by saying the frequency, by saying the name of the station, by saying the name of the station and the town.

Find our Q&A with Joan Warner in the ebook “Trends in Digital Radio 2021.”

The post In Australia, DAB+ and RadioApp Extend Radio’s Reach appeared first on Radio World.

RW Staff

Young, Multicultural Listeners Seek Out Spoken Word

Radio World
3 years 6 months ago

Research from the latest NPR/Edison Spoken Word Audio Report suggests a significant uptick in listening to spoken word programming, especially podcasts. With a commensurate growth in the number and types of spoken word programs available, one might wonder how listeners discover and engage with the available options. The report turned up some interesting answers.

The short answer to the discovery question is that listeners resort to a number of options to find what’s out there. The average number of options among all demographics is four, although 55+ trails with two. The top three most popular methods are searching the internet, recommendations from friends and family and social media posts. Once again, the 18–34 and multicultural demographics appear to be the leaders in most categories.

The most common way listeners find new spoken word audio programming is by searching the internet.

The fourth most popular discovery method according to the report is video-based apps or websites such as YouTube or Twitch, which was named by 42 percent of respondents. Broken down by demographics, these are used by 58 percent of 18- to 34-year-olds, 49 percent of the 35–54 demographic and 21 percent of those 55+. Thirty-five percent of white respondents reported using video, while multicultural respondents came in second with 55 percent.

Discovery strategy is a must

Looking at the number of spoken word topics or genres named by respondents makes it apparent why some sort of search or discovery strategy is necessary. The average number of genres named by those surveyed is 10. The most popular spoken word topics, according to the research, are news/information, music and comedy/humor.

This report also tracks listening habits, which have shifted since 2019. According to the research, travel, history and biography are trending downward, while romance, games/hobbies and celebrities/gossip are seeing upticks. It is important to note these popular genres over-index with growing segments of respondents, suggesting they are influencing the spoken word ecosphere.

[Read more of our coverage of “The Spoken Word Audio Report”]

When posed with the statement “Spoken Word Audio engages your mind in a more positive way than other media.” 62 percent of those 18–34 agreed, as did 58 percent of the 35–54 demographic and 44 percent of those 55+. Forty-nine percent of white listeners agreed, while 63 percent of multicultural listeners said yes. The reported negativity of mainstream and social media has surfaced in other parts of The Spoken Word Audio Report, and might be an important takeaway for those working in radio.

The next statement posed to respondents was “Spoken word audio is made for people like you.” The responses are very similar to those from the previous statement. Sixty-two percent of those 18–34 agreed, while 66 percent of respondents 35–54 said yes. Of those 55+, only 47 percent identified with the statement. Fifty-four percent of white listeners agreed, as did 66 percent of those multicultural.

Attention to advertising

The research from this report also supports the idea that the young and multicultural demographics are more likely to pay attention to ads and sponsorships on spoken word programming.

Younger and multicultural listeners are more likely to pay attention to advertising in spoken word programming.

When asked the question “How often do you notice ads or sponsorships while listening to spoken word audio?” the averages were 22 percent frequently, 57 percent sometimes and 21 percent never. Young and multicultural listeners were in the lead on this one. Among those 18–34, 31 percent responded frequently, 59 percent said sometimes, and only 10 percent replied never. Twenty-eight percent of multicultural listeners noticed the ads or sponsorships frequently, 58 percent said sometimes and 14 percent replied never.

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

The post Young, Multicultural Listeners Seek Out Spoken Word appeared first on Radio World.

Tom Vernon

In:Quality puts a twist on the ol’ codec

Radio World
3 years 6 months ago
In:Quality Touch XLR SIP Codec

Moving studio-grade audio from point to point is much simpler thanks to browser-based programs that use the open source Opus codec.

One such modality is ipDTL from the U.K.’s In:Quality, which I’ve used with success. This web application the Opus codec and allows the originator to send up to six bidirectional links for connection.

This begs a question: How can this process be simplified for two-way sessions (voice overs, program and news contributions) that won’t tie up a laptop or desktop computer?

The founder of In:Quality, Kevin Leach, worked for the BBC as a producer and audio engineer. He says using ipDTL from a computer, is a process that depends on configuring settings such as audio device selection in the right order, to deliver studio grade audio. That’s not a problem for technical people.

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

Leach says In:Quality’s SIP codecs were designed to increase simplicity and reliability for those who want a simple way to connect to a radio station.

“Once you put everything in a simple box [Raspberry Pi ] it takes away a lot of complexity. The USB SIP codec lets a user connect using a simple USB microphone and headphones, or a USB soundcard. The XLR SIP codec has Neutrik XLR-TRS connections for analog audio, and can also be configured to move audio on any network that recognizes AES67 as a protocol. It is available in a plain version, Zero, that is externally controlled, and a touchscreen-controlled version, Touch.

Here’s what goes in that Raspberry Pi box: a software codec that uses the EBU 3326 protocol and SIP to make calls. The preferred codec is the open source Opus codec, but the software can recognize G.722, G.711 and, where still available and as part of a subscription, ISDN.

Purchasers of In:Quality codecs receive a one-year subscription to the sip.audio service, which is part of the In:Quality family. All sip.audio subscribers can make calls and connect to any other SIP device that allows incoming SIP calls.

The sip.audio website has a growing worldwide directory of facilities and contributors (subject matter experts, voice over artists, et al.) who are SIP enabled. When connecting these codecs, In:Quality strongly recommends that they be connected to a network via Ethernet. In:Quality cautions that some dynamic microphones might not work well with the XLR Codec, due to the available gain in the preamp.

I configured the XLR codec to transmit and receive audio through my Allen + Heath ZED-10. Settings and configuration for the unit were done from a laptop on the same network. Other settings and adjustments can be made from the codec’s touchscreen. Line level mix-minus codec transmit was fed via the ZED-10’s FX send; the line level codec receive was connected through a line level channel, and the codec was connected via Cat-6 to a network switch and router.

Clean audio was transmitted and received between my studio and In:Quality in Manchester, England, KHAS(AM) in Hastings, Neb., and WKBX(FM) in Kingsland, Ga.

Brad Beahm is the operations manager for KHAS/Platte River Media in Hastings, Neb. On a given Friday, he’ll have five separate football broadcasts on five separate stations in his cluster, between Hastings, Grand Island and Kearney, Neb.

“In the past we’ve used Skype and have had a few issues, like having a computer do a Windows update, sound card settings getting changed and forgotten Skype passwords. With the In:Quality SIP codecs, we give them the box and equipment, tell them to push the button for whatever station they’re on and go from there.”

Beahm has the XLR codec in his equipment rack. He deployed a Touch SIP codec for a newscaster who had to move from Nebraska to take care of a relative. The use of the codec allowed that newscaster to continue doing news for the morning show. When asked about the quality of the signal from Colorado to Nebraska, Beahm said “Our morning guy asked if the newscaster had a fan running during the newscast. The signal was clear enough that the fan in the background could be heard. That’s a good problem to have.”

Neal Ardman is the president of NIA Broadcasting and Broadcast Partners and WKBX in Kingsland, Ga. His station uses In:Quality codecs for hosts on remote and for high school football, for which the station will use a dedicated Verizon Mi Fi on Wi-Fi or 5G.

Ardman suggests that those using In:Quality equipment at home insure that there’s enough bandwidth on the home network. “Make sure the talent working from home has a good quality soundcard too, and that’s usually not the one that’s built into the computer.

He also shared a security tip about spoofed IP addresses: “Make sure that your router is set up to accept connections to your codec only from known IP addresses. That way, you don’t have to worry about spoofed IP addresses.”

The XLR Codec from In:Quality has a list price of $449 (Zero) and $499 (Touch with integrated touchscreen).

Paul Kaminski, CBT, is a veteran radio news reporter and host of msrpk.com’s “Radio-Road-Test.” Twitter: msrpk_com.

PRODUCT CAPSULE

In:Quality XLR SIP Zero and Touch Codecs

Plusses

  • Low cost
  • Clean audio using Opus codec
  • sip.audio subscription included
  • Web-based configuration
  • Easy professional connections (XLR and TRS), no soundcard needed

Minuses

  • Some dynamic mics may not work well with the XLR codec

Info: https://inquality.com

The post In:Quality puts a twist on the ol’ codec appeared first on Radio World.

Paul Kaminski

Debate over WMAS specifics heats up

Radio World
3 years 6 months ago

In August we told you about the notice of proposed rulemaking submitted by Sennheiser that asked the commission to formally define the Wireless Multi-Channel Audio System as a new class of wireless mics. The company also requested that WMAS be allowed to occupy up to a 6 MHz channel bandwidth.

The advantage, according to Sennheiser, is that by digitally combining signals from multiple devices into a 6 MHz channel, intermodulation issues would be eliminated while permitting denser use of the spectrum and reducing power density across the channel.

Sennheiser makes the case that spectrum demand has crunched wireless applications.

Shure has also been a supporter of the WMAS concept in general.

As we reported, the proposal had generated a flurry of comments from several parties, most generally in agreement with Sennheiser’s concept of WMAS but with varied suggestions on how it could be tweaked and improved.

Late this summer, followup comments were filed, with interested parties reacting to one another’s ideas.

Worried about interference

Lectrosonics expressed concerns that the proposed systems, by virtue of the wide bandwidths they occupy, will harm access to spectrum in situations where multiple operators must share a limited amount of spectrum.

It added its support to a key recommendation from the National Association of Broadcasters. Essentially, the NAB asked the commission to limit the use of WMAS to large events. Lectrosonics agreed with the NAB that the FCC should set a minimum threshold of 10 audio channels used by a single entity, and that the audio channels be under the control of a single entity, so that there would be a single point of contact for other wireless microphone operators.

[More: Wireless Mic Industry Debates WMAS Technology]

Lectrosonics agreed with Shure that the commission should permit Part 74 WMAS operations in the VHF-TV bands (54–72, 76–88 and 174–216 MHz), the UHF-TV band (470–608 MHz), the 653–657 MHz segment of the 600 MHz duplex gap, 941.5–944 MHz, 944–952 MHz, 952.850–956.250 MHz, 956.45–959.85 MHz, 1435–1525 MHz, 6875–6900 MHz and 7100–7125 MHz (“6–7 GHz”) bands as proposed in the NPRM.

However, Lectrosonics disagreed with Shure’s idea that the commission allow unlicensed WMAS operations and adopt technical rules for Part 15 WMAS technologies.

The operation of unlicensed wideband WMAS systems in situations where spectrum availability is limited, said Lectrosonics, incurs the risk of interference to licensed wireless microphone operations. They added that unlicensed users can continue to operate narrowband wireless microphones as in the past.

Another slide from Sennheiser on changes in available spectrum. The top bar is a color key to the rest of the graphic.

Lectrosonics favors a sliding scale for Part 74 WMAS power levels. While Shure proposed power spectral density (“PSD”) levels up to 750 mW per megahertz for Part 74 users based on the 250 mW limit for LPAS devices and a minimum spectral efficiency of 3 channels per megahertz, Lectrosonics says in its experience, a power level of 50 mW is typical. This, the company says, should be taken as the basis for sliding scale power spectral density limits.

The company also weighed in on whether the commission should reallocate the 6–7 GHz frequencies now designated for wireless microphones. It sided with Shure, saying in part, “this allocation has great promise for wireless microphone usage and that wireless microphone manufacturers, including Lectrosonics, are planning to develop systems that operate there.”

Finally, Lectrosonics added that the commission should require a minimum spectral efficiency of three audio channels per MHz for WMAS technology, and the maximum bandwidth should be limited to six MHz, but no minimum bandwidth requirements should be imposed.

Not just for large events

Waves Audio Ltd. agreed with the value of harmonizing WMAS regulations with European Telecommunications Standards Institute standards, but disagreed with the use of the ETSI emission mask. That, it said, would force manufactures to use cost-prohibitive measures in order to comply. Rather, the company suggested the commission adopt the emissions mask Waves proposed in its own initial comments.

Waves advocates for the commission to adopt a minimum efficiency level of three channels per MHz. It noted that the proposed six channels per MHz advocated by the NAB was not tenable, and agreed with Shure, which said three channels was optimal.

Waves and Shure disagree as to whether the commission should mandate a measurement of audio quality, with Waves arguing against. It said the state of the art in wireless microphones delivers “unheralded fidelity,” that codec audio quality is a major source of innovation and that any attempt to regulate sound quality could stifle this kind of creativity.

A Shure image highlights the concept of scalability.

Waves disagreed with the NAB’s recommendation to constrain WMAS usage to large events, citing a number of reasons and calling this an artificial cap. A 10-channel minimum usage requirement would, according to Waves, probably cause users to take up more channels than they need just so they can use WMAS. Alternately, they might purchase both a conventional wireless microphone system along with a WMAS system.

Further, Waves wondered how such a requirement would be enforced. And even if it could be, the company said limiting use to large events would deprive smaller and mid-scale users of the advantages of WMAS; that in turn would slow the adoption curve, which would cause manufactures to reduce their investments in the technology.

Waves said the commission should scale WMAS bandwidth based on the number of carriers transmitted, rather than the number of audio channels used.

In this regard, the company strongly disagrees with the approach recommended by Shure, where the spectral efficiency of WMAS systems would be no less than an average of three channels per MHz across all channels, such that when using less than three audio channels a system must operate under the definition of narrowband.

Waves took issue with the NAB stance opposing WMAS operations under Part 15 at lower power. The company said that permitting Part 15 users will lead to higher and quicker adoption of the emerging standard, resulting in higher efficiency use of spectral resources overall.

Appropriate guardrails

NCTA—The Internet & Television Association focused on the need for coexistence measures for any WMAS operations in the 6 GHz band. It said the FCC thus would acknowledge the needs of wireless microphone users while allowing existing BAS and unlicensed users in the 6 GHz band to thrive.

Specifically, NCTA asked that the commission cap the total power permitted in a single WMAS channel; require that WMAS channelization be harmonized with BAS and 802.11 Wi-Fi channelization to avoid WMAS channels overlapping more than one of the channels of these other services; allow WMAS channels of up to six MHz, but not more; permit only Part 74 licensed WMAS use in 6 GHz; and restrict use to large events that require the use of many audio channels at the same time.

[Subscribe to Radio World Engineering Extra]

ViacomCBS sided with the NAB in asking the commission to place limits on the use of the technology, to ensure that it does not impede broadcasters from engaging in newsgathering and coverage of local events of interest to their communities. The company added, “The spectrum needed for local broadcasters to operate wireless microphones is already scarce, and overbroad authorization of WMAS may exacerbate this problem. Appropriate guardrails on WMAS operations are needed to avoid disruption to local news and event coverage.”

One of several examples that Shure provided to the FCC of an application for WMAS bidirectional mics.

Sennheiser stated its support for preservation of a vacant UHF TV channel for wireless microphone use in all market areas of the United States. It said that petitions for reconsideration filed by both Shure and Sennheiser have broad support, with 183 of the 184 parties submitting comments supporting adoption of a vacant low-band UHF TV channel for wireless mic operations.

Cisco Systems, Facebook, Qualcomm and Intel filed jointly. They focused their reply comments on proposals for the 6 GHz and 7 GHz bands.

They began by noting that they all produce unlicensed technology and thus are now stakeholders in the band. The four companies do not believe that proponents have established a case for WMAS in 6 and 7 GHz. Noting that Sennheiser had not sought rule changes to permit WMAS in these bands, they believe the record casts substantial doubt on the technical wisdom of doing so.

At the same time, they believe the record reveals minimal use of wireless microphones under LPAS rules. The consequence, Cisco and Facebook wrote, is that there is “negligible” harm in directing wireless microphone operations to the other bands that have proven to have strong utility for the wireless microphone user community.

Finally, they said that allowing a WMAS allocation to proceed at 6 and 7 GHz creates uncertainties for unlicensed deployments that could slow the pace of innovation and uptake of new RLAN technology.

Do no harm

Microsoft Corp. stated its opposition to WMAS operations in the 6875–6900 and 7100–7125 MHz bands, asking the FCC to remove “needless regulatory uncertainty” and avoid economic harm.

Microsoft sided with the NAB in opposing unlicensed WMAS operations, which Shure and Sennheiser support. At issue, according to Microsoft, is the use of unlicensed WMAS operations as an opportunity to circumvent the FCC’s current eligibility threshold for unlicensed users to obtain a Part 74 license.

Shure responded to comments about the company’s recommended WMAS power levels of 750 mW per megahertz PSD and unlicensed 150 mW per megahertz PSD.

It noted that these are based on equivalency to power levels permissible under existing narrowband rules, and said they have worked very well for years without raising reported instances of interference to co-channel or adjacent channel operation.

Shure also urged the FCC to align its WMAS regulations with the ETSI harmonized standard with respect to transmit mask requirements and intermodulation distortion limits.

The NAB’s own reply comments expanded on its concerns over spectral efficiency.

“While we continue to support the use of WMAS technology on a secondary basis subject to reasonable restrictions, we urge the commission to authorize WMAS only on terms that will actually help alleviate spectrum congestion rather than risk making it materially worse.”

Radio World invites industry-oriented commentaries and responses. Send to Radio World.

The post Debate over WMAS specifics heats up appeared first on Radio World.

Tom Vernon

Marketron Has New Integration Suite for Data Sharing

Radio World
3 years 6 months ago

New cross-platform data sharing options are being released by Marketron, with connectors for Salesforce, HubSpot and Oracle’s NetSuite.

The company said this integration aims to simplify and automate sharing of data between Marketron’s traffic systems and those platforms. By streamlining data exchange, the connectors help reduce data silos, eliminate duplication and improve data accuracy, the company said.

The announcement was made by Greg Aimone, vice president of professional services and presales.

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

Marketron plans to work with customers to customize existing connectors as needed and can build additional connectors on request.

Using the Salesforce Connector, Marketron said, customers can sync Salesforce customer relationship management tools with Marketron data to keep accounts, contacts, opportunities and custom objects up to date. The connector can pull order details and order projection data into Salesforce, allowing clients to take advantage of Salesforce’s dashboards and reporting capabilities for sales teams. Customers can also use Salesforce as a proposal system.

HubSpot Connector allows advertiser and order summary data to populate HubSpot from Marketron, enabling account syncing and giving clients the ability to view historical and projected sales activity. HubSpot can also be used as a proposal system by Marketron users.

Using NetSuite Connector, Marketron can connect to a NetSuite account and keep it up to date with Marketron transaction and accounts receivable data. Users can automate the flow of data into the NetSuite general ledger from Marketron’s platforms allowing for quicker invoicing.

Send your new product news to radioworld@futurenet.com.

The post Marketron Has New Integration Suite for Data Sharing appeared first on Radio World.

Susan Ashworth

Workbench: Toothpicks can help improve your bite

Radio World
3 years 6 months ago

A recent issue of Crawford Broadcasting’s engineering newsletter “The Local Oscillator” touched on the subject of budget season.

Crawford Director of Engineering Cris Alexander, who also is the technical editor of Radio World Engineering Extra, urged his chief engineers to focus on infrastructure as they prepared their ’22 capital budgets.

Fig.1: This door at a transmitter site is made of steel, but the interior wooden frame is wood. It rotted from years of exposure to rain and wind.

CBC’s chief in Alabama is Stephen Poole, CBRE, AMD. He writes that seasons of heavy wind and rain have taken their toll at several of his sites.

For instance, at one transmitter building, Stephen noticed that the steel door had a loose hinge. Closer inspection showed that the heavy door had a wooden frame, and exposure to the elements had caused the wood to rot and pull away from one of the hinges.

So much for site security! But this is why we always look around with a fresh eye whenever we visit a site.

Stephen isn’t looking forward to the replacement project, because that door and steel frame were sold as a complete unit, and the frame is embedded in the concrete of the building. I’m not aware of a quick fix for his problem; ideas welcome!

However, when you are dealing with loose hinges on a wooden frame, here’s a tip that I picked up from a handyman years ago:

Fig. 2 (left): Toothpicks help build up loose screw holes in a wooden frame. Fig. 3: Place them deep into the screw hole as shown, then trim off the ends and reinsert the screw.

If a wooden door is sagging, it may be that constant use of the hinges has worn away the frame so there’s nothing for the screw that holds the hinge to “bite into.”

If the hinge screws just spin around when you try to tighten them, here’s a technique that may help. Remove the hinge screws one at a time and stuff several toothpicks into the worn-out holes. Shove the toothpicks in as far as they will go, then break off or cut the protruding excess so they are flush with the door or frame. Reinstall the screw. You should notice a markedly tighter fit as the screw bites through and compresses the toothpicks.

This is not a permanent fix but it should secure the door until you can schedule installation of a replacement door.

By the way, if the frame is rotted, try adding wood glue with those toothpicks.

When winter weather approaching, these tips may buy you a little time.

[Check Out More of Workbench Here]

Seal those crevices
In the same issue of the CBC newsletter, Mike Kernen, the chief of Crawford’s Detroit cluster, wrote about dealing with transmitter site pests.

Now is a good time to investigate any infestation, starting with wasps. Liberally spray wasp repellent around overhangs and vents. If you can arrange an overnight session, place one of those super-bright LED cordless flashlight inside your ATU or other outside enclosure (with the power off, of course!), and in the dark, look for any escaping light as you walk around the structure.

Mice and insects can squeeze into amazingly small holes and crevices. Seal any visible holes. Remember that for larger entry points, stainless steel or copper wool combined with a caulk-type sealing compound works best. Shop for stainless steel or copper wool in the kitchen supply department of a grocery, hardware or dollar store. (Regular steel wool will rust, causing its own set of problems.)

Do like Mike and include an electrical inspection of wiring to your towers. Combine this check with your quarterly tower inspection — whipping winds can loosen or break straps or black ties securing conduit.

The weather took a toll on one of Mike’s Austin Ring transformers that used to couple tower light AC voltage across the base of the tower. The primary winding needed to be rewrapped.

Again, with the power off, clean and dry the surface of the winding. Then brush Glyptal Red Insulating Paint on the transformer, followed by strips of gauze; allow them to dry, and then repaint. The Glyptal has a high electrical insulating characteristic. The idea is that the Glyptal and gauze form a smooth coating around the transformer core.

Glyptal is not cheap; a quart costs more than $60 on Amazon. But the compound effectively seals and insulates the Austin Ring windings.

Repairing and resealing is far more affordable than having to replace Austin Ring transformers.

Visit www.glyptal.com to read about its line of insulating and varnishing products. (Bonus tip: Put a dab of this paint on a nut you need to keep tight or on the edge of a potentiometer that shouldn’t be touched after calibration. It’s just a little extra peace of mind.)

Who knows where you are?
Advice that goes without saying sometimes needs to be said anyway.

Contract Engineer Allen Branch wraps up our inspection column by reminding us that whenever we’re headed to do work alone at a remote site, we should let someone know where we’re going and when we are planning to be back.

Also bring bottled water and a couple of protein bars in case the weather or a vehicle problem strands you. A roll of paper towels and a blanket in the trunk can come in handy. We have written before about other helpful supplies to keep at your remote site and in your car or pickup.

PS: Recently, one of Allen’s engineers went to a site and found several spent .22 caliber shell casings on the ground by the entry gate. There was no apparent damage, but let’s be careful out there.

John Bisset, CPBE, is in his 31st year of Workbench and has spent more than 50 years in broadcasting. He handles western U.S. radio sales for the Telos Alliance and is a past recipient of the SBE’s Educator of the Year Award.

Workbench submissions help your colleagues and qualify for SBE recertification credit. Email johnpbisset@gmail.com.

The post Workbench: Toothpicks can help improve your bite appeared first on Radio World.

John Bisset

Gonsales to Head Audacy Minneapolis Cluster

Radio World
3 years 6 months ago

Audacy named Jeff Gonsales as senior vice president and market manager of its Minneapolis market.

“In this role, Gonsales will oversee the market’s portfolio of stations, which includes 830 WCCO (WCCO-AM), 104.1 JACK FM (KZJK-FM) and 102.9 The Wolf (KMNB-FM), effective Dec. 6,” the company announced. He succeeds Shannon Knoepke.

[Visit Radio World’s People News Page]

Gonsales started his radio career at WCCO as a merchandising account executive.

Regional President Rachel Williamson cited his experience in the Twin Cities and reputation for integrity. Gonsales has been with Hubbard Radio in St. Paul for most of the past two decades, including 10 years as director of sales.

He also is a former regional director of business development for what was then Clear Channel Radio.

Send your people news to radioworld@futurenet.com.

The post Gonsales to Head Audacy Minneapolis Cluster appeared first on Radio World.

RW Staff

Radio is Top Entertainment Choice for Car Buyers

Radio World
3 years 6 months ago

Consumers buying new cars cite radio as their No. 1 entertainment choice. That’s according to a new Edison Research survey across six countries. The survey was commissioned by WorldDAB and released during Session 3 of the WorldDAB Summit 2021 on Nov. 9. (Recordings of the sessions are on the WorldDAB YouTube page.)

WorldDAB commissioned this survey “to make sure the carmakers fully appreciate the consumer’s attitudes towards broadcast radio and broadcast digital radio in particular,” said WorldDAB President Patrick Hannon. “Our hope is that car manufacturers can use some of these insights when they’re planning their radio systems in the future, which we firmly believe need to be hybrid radio with broadcast at its heart,” said Laurence Harrison, director of automotive partnerships at Radioplayer Worldwide.

The results of the Edison Research study were detailed by Tom Webster, the company’s senior vice president. “We did a survey of at least a thousand people [per country] in France, Italy, Germany, the U.K., the U.S. and Australia,” he said. “In all six countries, we looked at people who had either just bought a new car, a 2018 or newer, or were going to buy one in the next 12 months.” Webster added that weekly radio listenership across all six countries “is well over 80 percent.”

[Read more from Radio World about Digital Radio]

The big takeaway: “In all six countries, at the top [of the list] amongst recent car buyers, radio was most often cited as the top audio source that was wanted in the vehicle,” he said. “That’s given all of the other options that are currently available …. [and] one of the key findings of the whole study is that people think that radio should be standard in a car.” Conversely, well over 80 percent of those surveyed said they would be less likely to purchase a car if it did not come with a radio in it.

“The bottom line here is that radio [in the car] is an expectation for people,” said Webster. “Radio does exactly what they want it to while they’re driving, which is to be easy to use, to be free, to be entertaining, [and] to be informative.”

Tasked with giving the carmaker’s reaction to the Edison Research, Martin Koch, head of development entertainment & car functions for Volkswagen Group’s CARIAD, said, “my personal opinion is that radio is No. 1 in the car, but seeing this in … official research … really surprises me.” Speaking to Hannon and Harrison during their “Broadcast radio in the car audio entertainment landscape” segment, Koch added that, “I’m very happy with the results.”

In his presentation on “Integrating broadcast and connectivity in the digital dash,” NXP Semiconductors Senior Product Marketing Manager Jan Bremer spelled out the “must-haves” for modern car radios. “The unified station list has to become the de facto standard,” he said. “Seamless blending of analog, digital and IP radio is a must. We have to work to enhance the radio experience with digital radio and IP services like album art, station logos, lyrics … [And] it’s important that the user experience can be personalized.”

Commercial Radio Australia CEO Joan Warner wrapped up Session 3 with a call to action aimed at radio broadcasters.

“We can’t just sit on our hands,” Warner declared during her “What broadcasters are doing to thrive in the digital era” presentation.

“We’ve got to be talking about the importance of radio and in particular broadcast radio. Radio can’t be passive passengers during the journey towards the connected car,” she said. “Find the vehicle manufacturers’ contacts in your country, and reach out to them. Spread the word about the importance of broadcast radio. Lobby your governments for further regulations to enable broadcast radio to easily be found in new and connected cars.”

See Radio World’s coverage of WorldDAB Summit 2021 Session 1.

The post Radio is Top Entertainment Choice for Car Buyers appeared first on Radio World.

James Careless

Audacy’s Audio Manifesto Reviewed

Radio World
3 years 6 months ago

Entercom picked the Audacy name for a reason. Chairman David Field told his hometown newspaper the Philadelphia Inquirer that the old name no longer fit: “Entercom reflected radio only. We’ve outgrown it. It’s broader than that, and it also didn’t fit our aspirations.”

Audacy’s aspirations are now on full display in a wonderful new piece titled “State of Audio — What’s Next & What Advertisers Need To Know.”

It’ll take you at least 30 minutes to absorb this detailed 40-page promotional piece. Worth it? Yes! This is a must-read for everyone in broadcasting, podcasting, audio services or advertising. The nicely designed layout makes it easy to find sections that are of specific interest, but this statement of purpose is best digested whole.

It begins with a lovely, if hyperbolic line: “Advertisers who want to engage deeply with audiences are embracing Audio like never before.”

This intro makes me smile because it’s mostly true and offers promise for the future. The amusing part is that young media buyers will likely believe this line, not knowing much about broadcast radio’s many decades of dominance prior to television.

[Read More Promo Power Here]

While it may appear I’m poking fun here, I’m impressed with the way Audacy restates audio’s selling proposition saying, “New research affirms that Audio stirs emotion like no other medium.”

Audacy Chief Digital Officer J.D. Crowley states: “In a world where screen time has reached a new and sometimes uncomfortable peak, it’s the ears, not the eyes, that always connected most deeply. And it’s the ears that are generating the most excitement and energy in media today.”

So true. And it’s so important that a generation of advertising newbies receives this education.

There are sections of metrics that lay out the growth of smart speakers, podcasts and at-home listening. Audio is described as an immersive experience, beating out video, television and even social media. Your local sales staff should understand this playing field and be prepared to discuss it with clients.

There’s a terrific section on podcast listening, revenue generation, and a proposition on how to reach youthful audiences. Celebrities are rightly repackaged as Influencers with instructions on how to utilize their trust to generate results. I particularly enjoyed the “right moment, right message” section on how dynamic creative can run at just the right moment to match the weather, sports, or other events.

The final chapter paints a future for audio based on voice-commands (like shopping by voice), the cloud and the arrival of 5G. Nothing about the smart dashboard in a car, which seems like a miss.

The elephant in the room for our industry shows up on a graph from Edison Research on page 8, concerning the use of broadcast radio. There’s an attempt to paint a rosy picture with broadcast radio commanding the largest percentage of audio listening at 39%. If accurate, that’s a sad state of affairs. Those at the top would be wise to admit that it’s past time to invest significant time, energy and money into stopping this decline and determine how to start a resurgence for broadcast stations.

Audacy has proven its prowess at positioning new forms of audio for the future.

The fly in the formula: According to RAB/Borrell Associates data, digital ad revenue in 2020 hit $1.1 billion. This accounts for about 14% of total ad sales. While it’s fantastic to see digital sales growing for radio, without broadcast station revenue, the business model doesn’t work.

Can Audacy and other leaders leverage their clearly proven creativity to rejuvenate our core broadcast radio product? That’s a manifesto I hope to read in the near future.

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

The post Audacy’s Audio Manifesto Reviewed appeared first on Radio World.

Mark Lapidus

Most Spoken Word Audio Listening Happens via Radio

Radio World
3 years 6 months ago

This week, we’re taking a look at NPR/Edison Research’s new report on spoken word audio.

While the latest NPR/Edison Spoken Word Audio Report defines spoken word as anything other than music, podcasting is clearly the 500-pound gorilla in the room. The research suggests that podcasting’s share of time with spoken word audio has increased by 176 percent over the past seven years, up 16 percent in the last year alone, and that those who prefer to listen to spoken word most often via podcasts has increased by 27 percent.

[Read more our coverage of “The Spoken Word Audio Report”]

When the report parses the data by distribution of spoken word audio listening by platform, however, the results suggest that AM/FM radio has maintained a clear lead over podcasts, audio books and other platforms. That lead is steadily eroding though, falling from 79 percent in 2014 to 48 percent in 2021.

“The Spoken Word Audio Report” shows radio remains the most commonly used medium for listening to spoken word audio.

In addition to podcasts, mobile devices, according to the survey, are a key driving force in spoken word audio’s impressive growth. When broken down by demographics for share of time spent listening to spoken word audio on a mobile device from 2014 to 2021, the average increase is 278 percent.

The 18–34 demographic went from 19 to 51 percent, a 168 percent increase. Those aged 35–54 saw a 216 percent increase, up from 12 to 38 percent. Another big surprise in this report are the numbers reported for the 55+ demographic. In what seems to be a monumental game of catch up, they went from 2 to 18 percent — an 800 percent increase!

When the report breaks the numbers down by share of listening by content type of device, music is still the dominant player across the board. That said, mobile devices lead the spoken word segment with 35 percent, followed by AM/FM radio receivers with 29 percent. And the survey emphasizes that this 29 percent is actual over-the-air listening, and not listening to an AM/FM station’s stream. This is followed by computers with 27 percent and smart speakers with 24 percent.

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

The post Most Spoken Word Audio Listening Happens via Radio appeared first on Radio World.

Tom Vernon

NRSC Names New Chairs for Working Groups

Radio World
3 years 6 months ago

Leadership changes are on the horizon for two working groups of the National Radio Systems Committee focused on important technical matters for U.S. radio broadcasting. One focuses on digital radio standards development, the other on radio metadata.

The NRSC is a technical standards-setting body co-sponsored by the National Association of Broadcasters, representing the transmission side of the radio broadcast industry, and the Consumer Technology Association, representing the reception side.

Alan Jurison

The NRSC’s IBOC Standards Development Working Group, which is a subgroup of the Digital Radio Broadcasting (DRB) subcommittee, will be chaired by Alan Jurison, a senior operations engineer with iHeartMedia. Jurison has served as chair of the NRSC’s Metadata Usage Working Group since 2012.

Jurison will be tasked with overseeing headline-making activities within the IBOC standards group. This work includes developing an NRSC guideline for all-digital AM radio stations and updating the NRSC-5 digital radio standard (the technical standard behind Xperi’s HD Radio digital radio system).

Updating that standard is a task undertaken by the group every five years.

“Having Alan as the new [IBOC group] chair is a great development,” said Glynn Walden, consultant to Audacy and co-chair of the DRB subcommittee. “Alan has been a major contributor to NRSC technical documents and done an outstanding job at the helm of the [Metadata Usage Working Group].”

[Visit Radio World’s People News Page]

David Bialik

As for the Metadata Usage Working Group, consultant David Bialik of David K. Bialik & Associates takes the helm as chair. The working group is a subgroup of the Data Services and Metadata Subcommittee, chaired by Steve Shultis, CTO of New York Public Radio.

Right off the bat, Bialik will be responsible for leading the development of NRSC-G304, a guideline for streaming audio metadata.

“David’s expertise in the area of streaming for broadcast audio will be put to good use as the new chair,” Shultis said. “Radio broadcasters rely increasingly upon their audio streams and the NRSC is eager to help develop better standards in this area.”

Jurison succeeds Randy Woods, who until recently was with New Hampshire Public Radio. Bialik succeeds Jurison as chair of MUWG.

The post NRSC Names New Chairs for Working Groups appeared first on Radio World.

Susan Ashworth

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